pturner1010 Reviews

Salmon Fishing in the Yemen (2011)

Satire runs dry in a soggy romance.

[5/10 · 19 April 2012]

Fisheries expert Dr Alfred Jones (Ewan McGregor) gets reeled in by a billionaire Sheik and his lovely assistant Harriet (Emily Blunt) in attempting to bring salmon and fishing to the desert of Yemen. Can love bloom in the arid region? Despite his reservations, Dr Jones (far less exciting than his namesake, the adventuring archaeologist) accepts the offer of bringing fishing to the desert. This decision is made easier by his tentative relationship with the Sheik's delightful assistant but also because of the government's pressure to create a story of positive Yemeni-British relations.

Casting the net and catching Kristin Scott Thomas is the greatest achievement of director Lasse Hallstrom whose former glories (Chocolat, The Cider House Rules) seem like distant memories. Scott Thomas lands the tastiest role as the Prime Minister's press guru and gets all the laughs with the sneaking satire that made the book so well loved. Her oily spin doctor slices through the sentimentality of the script delivering welcome moments of spiky dialogue like a cactus in a sea of sand.

Despite being quite an appealing character with his musings on faith and fishing, the Sheik's motives for his expensive experiment remain fishy. The violent complications that briefly add excitement to the story are dubiously dealt out by those typically slippery Middle Eastern stereotypes but the film does question the ethics and intentions of both the wealthy Sheikh and those intent on destroying what he intends to create.

The love affairs of the upper crust characters fail to ignite the screen with the relationship between McGregor and Blunt being a little damp but both stars give charming performances given the limitations and predictability of the script. It's all very typically upper middle class with restraint and lip-chewing over who should jump in the sack with who but the resolution is never in doubt and the emotions are all so reserved, it fails to hook the audience or swim away with any tears.

Simon Beaufoy, an extremely reliable screenwriter adapts Paul Torday's book but has lost much of the political satire present in the source. Following excellent adaptations that even exceed their origins with 127 Hours and Slumdog Millionaire, this is somewhat of a disappointment from Beaufoy. Next up he's tackling Hunger Games sequel Catching Fire. Let's hope he hooks a bigger beauty with that one.

Nevertheless the film is infinitely more entertaining than anyone with no interest in salmon, fishing or Yemen would suspect. It's a sweet if only mildly satisfying romance that has a memorable turn from Kristen Scott Thomas. As a whole, most minds will release it as quick as they caught it.

While not even remotely close to being as boring as the title would suggest, this film is still highly unlikely to get you swimming upstream for it.

The Cabin in the Woods (2011)

This is Cabin Fever Worth Catching

[8/10 · 6 April 2012]

If you are in the unfortunate position of having seen the trailer for this little 'horror' flick, then you may already know too much. Erase it from your memory; stop reading this review and book a ticket, safe in the knowledge that this cabin is full of surprises that defy the clichés. But before you go, be aware that I will reveal nothing of what is in store if you choose to see this film.

It all starts with the typical set up familiar from a thousand other horror films. Five college kids head off the grid to find a secluded cabin belonging to a cousin. It's the perfect place for a bit of sex, drugs, swimming in a lake and getting picked off one by one in grisly ways. So far, so Evil Dead, Wrong Turn and Cabin Fever.

But right from the opening scene, there's something different about this Cabin in the Woods. Who are the corporate types in the opening scene and where do they come into the plot? Why is there a man on a roof spying on the college kids as they set off on their adventure? And how come these kids aren't quite the usual stereotypes we expect in this kind of film? To say anymore could ruin the experience for readers of this review. But what can be said is that this film is an occasionally hilarious white-knuckle ride. Horror fans will rejoice at the old school set up and the vicious violent deaths while all viewers will enjoy the comedy, the surprises round every corner and the clever subverting of genre conventions.

The cast do a good job but it's the mostly smart ideas and the clever writing that really make this stick out. Hemsworth can deliver handsome jock while sleepwalking, while Kristen Connelly and Fran Kranz ably tackle virginal sweet girl and stoner shtick respectively. There might only be the odd surprise in terms of who buys it next and who will make it to the final frames but what will surprise are the regular deviations from the main plot to the sinister activities of the corporate types from the opening scene.

And if you don't enjoy the brilliant and hilarious bloodbath finale, you'll need to look long and hard to find something else that can satisfy your horror needs. The final reveal may lack the surprise hoped for from the rest of the smart set up but it's a minor complaint when the ride is this much fun.

Verdict: It's fast-paced, fresh, frightening and ridiculously funny! But be warned: be careful what you read/see before you go in. Blessed is s/he that knows next to nothing about what is in store. www.ilovethatfilm.blogspot.com

The Best Exotic Marigold Hotel (2011)

Dench and Nighy are the standouts in a film full to the brim with colour, joy, a little bit of sadness and hardship and a lot of hope.

[7/10 · 12 February 2012]

Ever wondered what the cue to get into heaven at St. Peter's Gates is going to look like? Try standing in line for a preview screening of this little gem. The Daily Mail readers were out in force this morning, free tickets in hand and storming the cinema, to catch this charming story of a bunch of old folks retiring in India. Like the line for entry to heaven, there was regretfully the odd young person in the audience, no doubt terrified at the prospect of leaving their life behind to sit with all the oldies for what might seem like eternity.

But fortunately The Best Exotic Marigold Hotel is a charmer and even the youngest viewers will find something to enjoy here. Whether it's Bill Nighy, again stealing the film from under the noses of an accomplished ensemble (see also Love Actually) or the sweet love story of the films only younger characters, the film has enough unexpected moments to mask the more predictable and clichéd elements of the story.

When seven British retirees opt to 'outsource' their retirements to cheap and cheerful India, they arrive at a hotel that is not as expected from the brochure. Dev Patel's Sonny runs the place under the watchful eye of his disapproving mother and the visitors are left to dust off the furniture and make do with the cockroaches on the floors and the curry served up every dinnertime.

The stars of the movie are delightful; Judi Dench does vulnerable but determined; Bill Nighy funny and heartbreaking; and Tom Wilkinson quiet, reserved and struggling with an unexpected burden. It is a story of seven characters facing up to a new time of their lives with new challenges and new loves presenting themselves. It is a hopeful story about letting go of the past and embracing the future.

Like any film set in the country, India is a central character. The colours, the faces, the smiles, the sounds, the hustle and bustle of the packed streets all assault the senses, not just for the characters but also for the viewer. You might see less of the real India than many would like, but it is always present in the background.

The love stories are touching with the ups and downs of relationships sensitively written. The unwinding of Bill Nighy and Penelope Wilton's Douglas and Jean is particularly well handled and bound to induce the odd tear once the inevitable finally happens. Wilkinson's search for a lost love is concluded a little too conveniently and lacks the emotional gut-punch it could have. But all the characters get their moments in the spotlight; whether it is bigoted old racist Maggie Smith's opening of her heart to the locals or Ronald Pickup's desperate search for a last bit of nookie (ahem sorry… meaningful connection).

The elderly members of the audience loved it, laughing heartily from the opening moments of Dench on the phone to her internet service provider. More unsettling was how many found Maggie Smith's Muriel and her hideously outdated racist comments at the beginning even funnier. Hopefully the Daily Mail readers, like Muriel, will come away from the film with a slightly enlightened view of the world outside their doors.

Overall, Dench and Nighy are the standouts, but Wilkinson also gets a strong storyline in a film chock-full to the brim with colour, joy, a little bit of sadness and hardship and a lot of hope. Just like India itself then.

Coriolanus (2011)

Voldemort does Shakespeare

[8/10 · 8 February 2012]

After targeting concentration camp inmates and a boy wizard in some of his darkest acting roles, Ralph Fiennes sets his sights on a lesser known Shakespearean tragedy for his film directing debut.

John Logan's screenplay takes the Bard's original script as a foundation for a contemporary re-telling of General Coriolanus' rampage of war, oppression, family strife and political wrangling.

Old Shaky's wordplay might be as impenetrable to many younger viewers as the 'youth-speak' of last year's Attack the Block was to many older viewers, but Fiennes lets the performances and violent set-pieces do much of the talking in this confident and clever adaptation.

Unlike Baz Luhrmann's flashy 1996 Romeo + Juliet update that featured heartthrob Leo DiCaprio swooping Claire Danes off her feet to a modern soundtrack, MTV style editing and hyperactive camera-work, Fiennes' direction is far more restrained and less likely to grab a teen audience.

However, Shakespeare's theatrical language for the most part translates well to the screen. The themes of power, politics and the rule of the people versus leadership and authority feel particularly relevant with comparisons easy to draw with contemporary movements such as Occupy Wall Street and the Arab Spring.

As well as calling the shots, Fiennes takes the lead role of Caius Martius Coriolanus. Amidst riots in his home, the general of 'A Place Calling Itself Rome' leads his army against the Volscians and their leader, Coriolanus' sworn enemy Tullus Aufidius (Gerard Butler). After a successful battle but failing to kill his nemesis, Coriolanus returns home to great praise and his loving family. His mother (a breathtaking performance from Vanessa Redgrave) encourages him to run for consul and despite briefly winning the support of the Roman Senate and the commoners, a pair of scheming senators bring about the general's downfall as he rails against the idea of the rule of the people. Coriolanus is banished but joins forces with the Volscians and with the help of his old enemy Aufidius decides to bring ruin to his former city and its people. The only folks who can stop him are his family and old friend Menenius, a standout performance from the ever reliable Brian Cox. With a cameo from Channel Four's news anchor Jon Snow and the use of what could easily be actual footage from war zones, the contemporary relevance of Shakespeare's tragedy is easy to digest.

Fiennes uses modern locations, weapons, and details such as televisions, cameras and mobile phones to bring his modern re-telling into the 21st century.

Despite the script's use of Shakespearean language, fans of writer Logan's screenplay for Gladiator will be gripped by Coriolanus' similar mix of violent battles and political drama.

It might slightly over stay its welcome but the film packs enough mighty performances (Fiennes, Redgrave, Cox) and verbal and physical confrontations into the two hour running time to keep both Shakespeare devotees and newcomers alike entertained.

Harry Potter and the Deathly Hallows: Part 2 (2011)

Harry Potter and the grateful it's all over

[7/10 · 14 January 2012]

As the franchise closes, Radcliffe finally becomes quite a fine actor. He carries the burden of the film and never fumbles the performance like in so many of this film's predecessors.

The story is still a bit of a jumbled mess from the point of view of someone who has not read the books but at least all the recognizable characters are back for the pretty impressive at times Battle of Hogwarts.

Voldemort, despite a fine performance from Fiennes is still just not scary or evil enough to match the truly great villains of fantasy cinema. He looks the part but the character fails to have the full impact he should.

It's great to see actors of Rickman and Fiennes' calibre sharing the screen but now the franchise is finished, I only hope that all this talent can be put to better use.

I don't wish for all the hours I spent watching these back but I do wish the money lavished on the budgets could have been spent on more interesting and better-written projects. Potter fans will no doubt love the climax, the showdowns, the romance, the deaths but the rest of us will probably just remain a little baffled by the mind-blowing popularity of it all.

Tucker and Dale vs Evil (2010)

Squeal like pigs, college kids!

[30 October 2011]

Surprisingly enjoyable silly horror comedy with nods to classics like Evil Dead and Texas Chain Saw Massacre. When college kids meet hillbillies in the woods, chaos ensues.

But these college kids aren't your average bunch of slasher fodder. And these hillbillies aren't trying to rape or kill anybody.

In fact Tucker and Dale are the nicest characters on offer and all genre clichés are flipped, reversed and mocked in this gory but funny film.

Sexist but sweet, the film clocks in at under an hour and a half but still manages to slightly outstay its welcome come the inevitable final showdown.

Alan Tudyk is reliable as ever, but the real star is Tyler Labine as Dale. The teens are adequate, but the actresses and female characters are severely short changed, with the exception of Katrina Bowden as Allison who at least gets some good scenes before being relegated to damsel in distress status.

Nevertheless it's fun and quite clever and does something original with the tired hillbilly, cabin in the woods, teen slasher sub-genres.

Rio Breaks (2009)

The reality of Rio

[7/10 · 29 October 2011]

Interesting without being entirely gripping. This documentary follows two favela dwelling kids who take to the beautiful beaches of Rio to escape the harsh realities of the slums they live in.

Depressing but with glimmers of optimism, the favelas are always a place for intriguing stories with characters ranging from drug dealers to ordinary children caught up in the violence and struggles of everyday life.

Rio Breaks tells the story of two kids who choose to surf as opposed to earning money working for the slum lords who deal drugs in their favelas. As engaging as the kids' stories, are the other characters, particularly the adults who encourage the kids to keep surfing and to stay in school in order to break away from the inevitability of their young lives being turned into short, crime-led existences.

The structure lets the film down, but the use of cinematography is often beautiful and the central characters are hugely engaging. Like Hoop Dreams, the film takes us through the trials of two young men who have a crossroads before them and big decisions to make that could affect the rest of their lives.

If you've seen City of God or City of Men and want to learn more about kids from the favelas, check out this real slice of life. No guns, drug deals or shootouts. Just two kids caught between the favelas and the ocean.

Real Steel (2011)

Jackman's a jackass but the boy and his 'bot got real heart.

[13 October 2011]

It's commendable how much of an asshole a Hollywood star like Jackman is willing to play here. OK, so there are no points for guessing if Jackman's down on his luck robot boxing promoter Charlie is going to change his ways by the end of the movie. But for a good forty minutes of the film, you'll probably find yourself wondering how the hell the director, screenwriter and star are going to make a single audience member give an ounce of sympathy for this most unsympathetic of schmucks.

But in good old Rocky style, you will undoubtedly be cheering on the underdog when it comes to the David vs Goliath robot boxing match that is the climax of the film.

The central relationship between Charlie and his estranged son Max is believable as is the setting of the not-too distant or unfamiliar future. Kids still have daddy issues (especially kids who have dads like Charlie) and all that seems to have changed is that robot boxing is the sport of the future.

The robots are a brilliantly seamless blend of puppetry and CG effects and when Max discovers a battered boxing droid discarded (as he once was by his own jackass dad), the plot kicks into motion.

It's an enjoyable but predictable ride with Dakota Goyo impressive as the justifiably antsy kid. Jackman carries the film with his detestable Dad and a surprisingly convincing character arc. Lost's 'Freckles' (Evangeline Lilly) is wasted in a very similar way to her recent cameo in The Hurt Locker. She needs to find a new agent that won't leave her cheering on the action from the side lines.

The robot fights are realistically rendered but it's the father-son relationship that makes this film the real deal. Great for families. It's out 14th October.

Footloose (2011)

Pointless for fans of the original, fun for everyone else.

[6/10 · 7 October 2011]

I admit I went into this rehash expecting to hate it. I watched the trailer and cringed. I watched the 1984 original trailer and my heart went out to all the fans of Kevin Bacon and his classic 80s rendition of the film. I thought of how I would feel if some hack director for hire dared to remake 1985's The Breakfast Club or The Goonies or Back to the Future.

Just think… if 1984's Footloose can be remade in 2011, all these classics could be despoiled for 2012 audiences. That's next freaking year! So if you want to avoid this (and the unleashing of Armageddon with it), don't, whatever you do, pay to see this remake in the cinema. It will only encourage Hollywood to keep sacrificing originality at the altar of making a quick and (relatively) easy buck.

That said, I have a few admissions to make: 1. I've never seen the original Footloose. Kevin Bacon is great but dancing movies just aren't my thing so it was never really on my list of missed classics that I had to watch. 2. Like I said I don't particularly like dancing films or even musicals or teen romances. So I've never seen Save the Last Dance, Honey, Stomp the Yard, You Got Served or even West Side Story. 3. I actually thoroughly enjoyed the Footloose remake.

Why? Well I'm sure most of these reasons extend to the original. The dancing's great. The story (though a little ridiculous) is involving and the characters engaging. The forces of religion and the law versus the kids of the small town make for a compelling and righteous battle between order and chaos. In this age of the curtailing of civil liberties under the guise of protecting us from evil, perhaps this remake is actually rather relevant.

Dennis Quaid is always very good value, no matter how poor the script but his character here is well-rounded and sympathetic even when banning dancing and public gatherings.

The two leads look pretty and dance like pros and while Julianne Hough (how's that pronounced???) spends much of the film looking like she's on a modeling shoot, emotions run high in climactic conflicts with her father (Quaid).

Comparing the two trailers, it looks like the remake has slavishly stuck to the original's template in terms of characters, narrative and even specific shots so this is probably another ridiculously pointless remake along the lines of Gus Van Sant's Psycho. However audiences like me who have never seen the original will no doubt be sucked in by the good story, great dancing and even better music.

If your toes aren't tapping by the finale, you're either a fuming fan of the original or your feet must be nailed to the floor. It's out October 14th and is definitely worth a watch. But before you shell out… please heed my warning. The Breakfast Club could be next.

Albatross (2011)

The birth of another British star

[6/10 · 6 October 2011]

Introducing a new mega-star: Jessica Brown Findlay. Some films are destined to remain in the shadows of the stars they create. Albatross is one of those films.

The story follows Emelia, a rebellious, seductive and intelligent teenager played by Brown Findlay. Taking a job as a cleaner at a guest house, Emelia befriends the teen daughter of the house, begins an affair with the husband and gets scowled at by the wife and mother of the family who live there.

Alternating between comedy and drama, the film has an awkward tone. The writer Tamzin Rafn claims it was written as a comedy but there are only occasional really funny moments. Instead, it is the drama that is more gripping with a range of characters who are trapped in miserable lives in a beautiful but dead-end location. Filmed with a great eye for scenery on the breathtaking coast of the Isle of Man by director of photography Jan Jonaeus, the narrative takes in the kids on the beaches, the family in the guest house and most notably Emelia and new friend Beth. But these disparate people all appear confined and resigned to unfulfilling and disappointing existences.

Emelia's snarky way with words brightens and amuses what could be a depressing film. There are laughs to be had and there is hope for a better life for many of the characters, but the film is dealing with some serious issues like Alzheimer's, suicide and unfulfilled potential. Perhaps director Niall MacCormick saw an opportunity to inject more drama into what could have been a fluffier lightweight British comedy and went for it.

The cast are all excellent, Sebastan Koch all guilty nervous ticks, Julia Ormond neglected, spiteful and probably the saddest character in the story. But Felicity Jones and Jessica Brown Findlay carry the weight of the film and are believable opposites, angel and devil, bookworm and loose cannon. Brown Findlay particularly shines with comic delivery of vicious put-downs but also scenes of more hefty emotional weight. It is the moments spent with Emelia's grand parents that help to explain the actions of this troubled young woman and will keep audiences sympathising with what could have been a one-dimensional typical teen tearaway.

See it for the scenery, the performances and for the drama. Witness the making of a star! Writer Tamzin Rafn and star Jessica Brown Findlay attended a screening and answered questions from the assembled audience on Monday (03/10/11) night. Thanks to LoveFilm as always for another great opportunity to hear from the people involved.

What's Your Number? (2011)

Got Anna Faris' Number!

[6/10 · 26 September 2011]

Do you looooooove Rom-Coms? Do you looooooove Anna Faris? If the answer is yes to either, then you can add at least another star or two to this rating.

For me, rom-coms are just too damn predictable and therefore never going to get above a six rating (unless you're talking unconventional genre spasms like 500 Days of Summer).

However taking into account I don't like rom-coms, this is the highest rating one of these films will get from me. Anna Faris is extremely likable as ever and Chris Evans is very funny and probably a perfect specimen of man in the eyes of many an audience member.

Watch the trailer and you'll know how it ends but the journey provides the kind of rude laughs and romantic moments in iconic locations that are becoming ever more familiar in the modern rom-com.

Like the recent Friends With Benefits (not bad) and the hilarious Bridesmaids, What's Your Number? is ruder and funnier than many older rom-coms with hand-job jokes, potty-mouthed dialogue and a female character who is liberated, crude and played by a star who is definitely not too shy or vain to embarrass herself.

As Faris' character searches for the perfect man among her twenty ex-lovers, cameos from Martin Freeman and Andy Samberg maintain interest but it's Faris and Evans that provide the real laughs and chemistry.

Nothing new if you're not a rom-com fan but ticks all the boxes for the target audience and keeps the genre headed in a dirtier direction.

Baghead (2008)

Just not my bag baby...

[25 September 2011]

So this is 'mumblecore'? This is the first 'mumblecore' film I've watched and on this evidence, it's unlikely I'll watch anymore.

I was hoping for a silly horror film parody, something similar to the recent and infinitely better Rubber featuring a nasty rubber tyre that likes to blow peoples head ups with the power of its little rubber mind.

Unfortunately, though Baghead does feature a guy who stands menacingly outside four friends' cabin in the woods with a bag on his head, it also features no surprises, not much of a script and DV cinematography that just seems downright lazy.

Beginning with a preachy bit about still being able to make good films on a very low budget, it then proceeds to prove that it doesn't matter what size your budget is, you need some likable characters and some interesting plot developments that aren't obvious about 10-20 minutes before they are revealed.

I guess this might be likable if you like 'mumblecore' films like Funny Ha Ha and In Search of a Midnight Kiss but after this I won't be in too much of a hurry to seek them out.

If you fancy an unconventional, silly horror film... go watch Rubber... NOW!

Inglourious Basterds (2009)

Nazis, scalping, revenge! Tarantino's back on track!

[8/10 · 24 June 2011]

Synopsis: Jewish-American soldiers, the titular 'Basterds' hunt, kill and scalp Nazis in WW2. Massacre survivor Shosanna makes her own plans to bring down the Third Reich.

Thank God Tarantino's back on track! After the double whammy of disappointments, Kill Bill Vol.2 and Death Proof, the director returns with this blistering, uber-violent, very funny 'masterpiece (his words!) The cast handle the script brilliantly with standouts being Pitt and Waltz. Pitt's accent and jutting jaw are hilariously OTT and Waltz's 'Jew Hunter' is another deliciously watch-able villainous and charismatic bastard that makes the audience wait in suspense for the bouts of (often) vicious violence.

Tarantino unfolds the story with trademark chapter headings and makes it plain from the opening title that this is a fairytale fantasy (though set in a very real, very sad time of world history). The script crackles with dark humour and cool characters, flying high above the (frequently) boring dialogue of Tarantino's last couple of efforts. Building to a bloodthirsty climax in a cinema, the setting is fitting for a film that is all about film; filmy film where cinematic references are plentiful and the film-lovers in the audience are in on the jokes.

The opening scene is classic Tarantino and sets the tone for the rest of the movie with its promise of violence, a cracking villain and another Tarantino heroine out for revenge. If you were losing patience with the masterful cinematic magpie, give Inglorious Basterds a spin and then settle in for the long wait till 'Django Unchained'.

Rossiya 88 (2009)

Racist Russia revealed in above average mock-doc.

[6/10 · 22 June 2011]

Synopsis: 'Russia 88' is a gang of fascist skinheads who roam the streets filming themselves being a right bunch of racist twats.

Continuing the filmic trend for charismatic psychos followed by sensation-seeking camera operators, Russia 88 successfully uses the mock-doc aesthetic to deliver its derivative but engaging narrative. Following in the footsteps of Man Bites Dog, The Magician and Behind the Mask: The Rise of Leslie Vernon, Petr Fyodorov plays Shtik, an angry, ranting lunatic who just loves having an admirer film his every move. Though not as memorable as Edward Norton, Stephen Graham or Russell Crowe's terrifying performances as Nazi thugs, Fyodorov holds the movie being reminiscent of Colin Farrel's early appearance in Tigerland.

While the pace lags at times due to the minimal plot, the last act of the film veers into predictable but vaguely silly territory after building up a strong sense of realism in the rest of the film. The hand-held camera and other traits of the mock-doc format such as the voxpops with (real?) members of the public, direct address to camera and seemingly unedited material give the film a powerful feeling of watching the footage of a bunch of rhetoric spouting racist thugs keen to share their life and views with the world via the internet.

Like an anti-American History X, the film uses no fancy tricks like excessive slow-mo, black and white or orchestral and choir filled music, making the film feel more real and closer in tone and style to This is England. However there are also moments of humour (mainly in the first half of the film) where the mock-doc style is used to undermine and humiliate these characters who take themselves too seriously.

Briefly touching on what turns young men into Nazi's, the film comes up with one or two interesting answers. The scene in a training camp may be a reminder of the hatred and indoctrination that is spawned in other training camps around the world and the use of voxpops and the constant references to the footage being put on the internet make this a very contemporary spin on the skinhead psycho cycle.

Overall, Russia 88 is filled with realistic detail but tries too hard to create a powerful and shocking 'movie' ending that feels out of place with the rest of the 'documentary' style. However Bardin may be a director to watch out for in the future.

Stake Land (2010)

Real vampires are back in a another post-apocalyptic road movie

[7/10 · 17 June 2011]

Synopsis: Orphaned Martin is taken under the wing of bad-ass Mister as they travel across vampire-ravaged America in search of the refuge known as 'New Eden'.

Aside from the fairly frequent jumps, scares and gore, Stake Land feels surprisingly subdued for a recent horror film. With its melancholic tone, ravaging of the religious right and focus on characters over action, the film succeeds in being a bit more thoughtful than many of its contemporaries. And don't go into this expecting sanitized, pretty-boy vampires a-la-Twilight. These monsters are old school to the core- more like zombies than modern takes on vampires; all ferocious snarls and messed up faces. With fairly few jumps or scenes that are likely to scare a grizzled horror fan, Stake Land is easier to recommend for its realistic world-building, mournful soundtrack and interesting, well-drawn characters.

Opening with Martin's voice-over as he introduces himself and his traveling companion, the enigmatic father figure and teacher, Mister, the film quickly flashes back to a vicious encounter between Martins family and the horrific vampires. Sticking with most of the rules of the vampire myth, it is soon established that stakes and sunlight are still useful in this tale of vamp vs human conflict. The pace is deliberately slow and the film painstakingly constructs a very authentic feeling vision of post-apocalyptic America. Guarded communities living in fear while supplies dwindle, drinking and sleeping together in packed bars until the sun rises and religious nutjobs taking over the wilderness to rape and murder as they please. It is this rendering of the Christian crazies that strikes the biggest false note in the story, feeling over-blown and too simple for the subtleties of much of the rest of the story and character drawing.

The cast are great, particularly Nick Damici as Mister who delivers a convincing performance with the familiar role of mean old git with a soft heart underneath. Kelly McGillis is barely recognizable as a constantly victimized nun (bet she must be wondering what happened to the days of getting jiggy with Tom Cruise in a Navy uniform) and the youngsters, especially Connor Paolo are good in their less demanding roles. It's particularly nice to see Danielle Harris still working, even if she has lost some of the spunk of her early appearance as Bruce Willis' daughter way back in The Last Boy Scout.

Jim Mickle should be applauded for his direction; the film works very well as a whole, with good performances from the cast, a bleak soundtrack and pacing that could have easily been spoiled by trying to appeal to a bigger audience. It is a brave movie; not overly rushed and taking its time to build to its understated climax. The action and horror are handled well and the villain is a right nasty piece of work that should stick in the memory.

The film is most memorable for its details of life after the vampires take over. The small communities that have popped up round the country feel realistic and lived in. A sense of community, of something we have lost to some extent in 2011 shines through and gives the film a nostalgic feel, as if the vampire apocalypse may help America return to a simpler, more caring time. The positioning of the cult of Christian crazies dropping 'bombs' on peaceful communities and their obsession with deliverance and the 'will of God' is the least subtle and most forceful of themes on display and does feel a little OTT in places but the journey of the characters and their encounters with ordinary folk ground the film and make up for its excesses in other areas.

Stake Land is a very well made film and can be enjoyed as a simple horror film but also as an experience of a post-apocalyptic society and the highs and lows of living in a world with a drastically reduce population.

Bridesmaids (I) (2011)

Women being very funny, very sweet and very rude! You got to love it!

[8/10 · 16 June 2011]

Synopsis: Down-on-her-luck Annie becomes maid of honour for her best friend Lillian's wedding. Fighting and bonding with the other bridesmaids, Annie attempts to deliver the best wedding she can.

Kristen Wiig is officially a comedy Goddess. The co-writer and star of Bridesmaids takes centre stage after years on American television's Saturday Night Live and being sidelined with smaller roles in recent comedies like Paul and Date Night. Here she is barely off screen and is a hysterical joy to watch throughout. Funnier than the entire cast of The Hangover (either of them), she would be enough to single-handedly split your sides, but with an ensemble this brave and funny and writing this hilarious, Bridesmaids is a laugh-out-loud comedy that deserves to rule this summer. The sisters are doing it for themselves!

Bridesmaids is very rude, occasionally very sweet and often ass-clenchingly awkward. If you think gross-out comedy belongs to boys, wait till you see these girls at their dress fitting. If you think men being mean to women is funny, wait till you see it as written by a couple of women. If you think the writer/producers of films like The Hangover push the boundaries of taste, wait till you see these girls get angry. But most of all if for some reason you think women, can't be funny, give yourself a slap and go see this film!

The story might follow a fairly conventional path with the romantic-comedy trimmings resulting in an ending that lacks much surprise. However the narrative is tightly constructed and Annie really 'hits bottom' (allowing for countless awkward and self-deprecating moments) before the film delivers its predictable resolution. The script is brilliantly written with a touching and believable relationship between the two best friends, Annie and Lillian. The comic set-pieces escalate in a consistently hysterical fashion, standouts being the dress fitting and a plane journey that allows Wiig to show off what a gifted comedy performer she is. The script crackles with witty and memorable dialogue, much of it delivered by Wiig, but the supporting cast all get their own moments to shine as realistic and funny characters.

The best reason to see this film is Wiig. There is nothing she won't do in this film for a laugh. Whether it's flailing her legs in the air in the opening sex scene, toilet humour, acting drunk, selfishly ruining parties, or swearing at a young woman, all vanity is left behind. Wiig's performance is consistently hilarious. As writer she has rightly put herself up-front, giving her a vehicle to finally show off her comedic prowess. The supporting cast are excellent with particular standouts being Melissa McCarthy as Megan (in another unflinchingly funny/awkward performance) and Chris O'Dowd as a sweet cop. However despite the presence of a couple of male British TV stars (O'Dowd and Matt Lucas), the women get all the best lines and even Matt Lucas is totally outshone by his look-a-like 'sister' in the film. All give solid, believable and occasionally completely over the top performances, but they are anchored by a sweet script that (like so many other Judd Apatow produced/directed movies) isn't afraid to poke and prod at the state of people trapped in unhappy marriages.

Paul Feig directs effectively, drawing riotous performances from the cast and keeping the pace brusque throughout. Like many recent comedies that are produced, directed or executive produced by Apatow, the film is over two hours, but unlike some others, Bridesmaids does not drag or sag after the half way mark and its story feels full and not overburdened by an abundance of improvisation.

The film is a sweet look at female friendships, the madness that surrounds wedding preparation and could be seen to deal with the pressures put on modern women to conform, succeed (in both love and career) and above all get married! Wiig's lovable loser clearly does not have enough respect for herself and the audience will find themselves rooting for her to make big changes in her life. However Bridesmaids is a comedy; there's no message of self-empowerment and marriage and heterosexual romance are still held as the aspiration for modern women.

Aside from the overly familiar romantic comedy elements the film should be enjoyed for the hilarious script and the performance of a brilliant ensemble of very funny, very entertaining women. It is hugely refreshing to see a film with female performers totally lacking in vanity that is this rude, this vulgar and this amusing. Written by women, starring mostly women but aimed squarely at both men and women, Bridesmaids deserves to be a huge comedy hit.

Frankenstein (1931)

It's STILL alive and kicking!

[8/10 · 12 June 2011]

SYNOPSIS: Man creates monster by stitching together body parts of the recently deceased and giving it the brain of a criminal.

James Whale's original film version of Mary Shelley's Frankenstein story is an undisputed classic of the horror genre. While lacking in the scares and gore of more contemporary entries into the genre, the ideas and themes played out here are smarter than many a modern day science fiction/horror mash-up. The film is unlikely to make a young audience of today scream with terror but it still manages to muster sympathy for the hopeless story of the victimized monster. Watching the film now conjures memories of many films it has influenced. Sympathetic, misunderstood monsters, crazed arrogant scientists and a screaming damsel in distress all feel overly familiar now but this film would have served up a powerful and original telling of an original tale back in the 1930s. More modern films that spring to mind while watching Frankenstein included '28 Days Later' with its chained monster being provoked by an unsympathetic captor, 'Edward Scissorhands' with its misunderstood protagonist chased out of town by angry villagers/suburbanites and 'The Terminator' with its unstoppable man-made monster on the rampage (to name just a few!) The influence of this film on contemporary cinema is immeasurable. The less said about recent rip-off 'Splice', the better.

The story is tightly structured and the script has its faults but keeps the action rattling along at a brusque pace. The opening scenes of body-snatching are intriguing and followed by some grating scenes of exposition. However this is soon forgotten as the creation of the monster becomes a great set-piece that builds suspense and climaxes with the iconic cry of 'It's Alive!' The supporting cast is lumbered with a fair share of exposition-spouting, theatrically-staged scenes and the tone of the film veers wildly between moments of dread and horror and moments of comic relief with Frankenstein's father but the progression of the narrative is overall logical, well-crafted and fast-paced (particularly for a film of this age).

Frederick Kerr plays the Baron Frankenstein with an easy comic touch, mumbling and bumbling like a grumpy but amiable old git. Colin Clive delivers a performance that is far from subtle and contains far too much of the familiar theatrical style of acting from so many classic old movies where the character stares just off camera into the distance when thinking. However the award for really over doing this has to go to Mae Clarke playing Elizabeth whose performance would be ridiculed if it was in a modern film. Karloff plays the monster perfectly, inviting sympathy with his tragic mix of innocence and rage.

The actors work well together and despite some overly theatrical thesping, the cast is generally believable and carry the narrative convincingly. Whale never allows the pace to slow and there are some moments of interesting cinematography. However the majority of the camera-work is simple and functional, restricted as they were with the technology of the time. There is a distinct lack of musical soundtrack and this is a blessing as overly powerful orchestral scores can be a distraction in many classics from the thirties.

The special effects and set design are also worth mentioning as the interior of the windmill is an iconic construction filled with convincing contraptions that create memorable, iconic moments of the (re)birth of the monster. Karloff's scars and screws add to this to ensure the monster is one of the most enduring and recognizable images of horror cinema.

The idea that God must not be challenged and that scientific progress will KILL US ALL is persistent but not forced down throats with quotes from the Bible. The arrogance and madness of the scientist is punished. However the innocence of the monster and the guilt of the aristocratic protagonists are not fully explored. The manipulation of the masses by the aristocrats is touched on but not overtly dealt with as a major theme At barely over an hour long the film is over before anyone could possibly have a chance to get bored of it. In fact the climax feels rushed and could have been more drawn out. More sympathy could have been created for the monster and the connection between creator and creation could have been explored further with a longer third act. Frankenstein is very enjoyable and clearly a hugely influential work in the cinematic horror genre. It is an easy watch even for viewers raised on blood, guts, slashers and torture porn. Iconic, sympathetic and deserving of its classic status.

The Road (I) (2009)

Father and son travel a long, long road, battling the elements, cannibals, starvation and the temptation for suicide in post-apocalyptic America.

[8/10 · 12 June 2011]

According to Hollywood the world's going to end very soon. Not sure how, not sure why… all that's clear is that civilization will crumble and only a few survivors will be left. As if the idea of the decimation of most of the world's population isn't depressing enough, John Hillcoat's The Road plunges the viewer into the desperate, hopeless struggle of a father and son to survive against misery, despair and the degenerate remnants of humanity. For much of its run time, the film is unrelentingly bleak, pessimistic and difficult to enjoy. Sadness and hopelessness bleeds from every frame. Still, for fans of drama, this film is a real tearjerker. Stick with its slow pace for a rewarding ending that may surprise with its glimmer of hope after all the preceding misery.

The Road is unlikely to appeal to fans of other recent post-apocalyptic cinema such as I am Legend, The Book of Eli and Terminator Salvation, but if viewers are willing to succumb to its mounting sense of despair and forget about action set-pieces, there is plenty here to, perhaps enjoy is not the right word… but… appreciate.

The plot is barren like the landscape the protagonists are traveling. Like Lord of the Rings, there is a great deal of walking to be done (only this time Aragorn does a hell of a lot less fighting along the way). This is road trip without the girls, drugs, good times with great friends or even a sodding car. So much of the film is just the man and his son (Viggo Mortensen and Kodi Smit-McPhee) walking, occasionally talking and grimacing at the cold, the hunger and the fear of strangers on the titular road. The two leads carry the film, helped only briefly by interludes of flashbacks/dreams that add to the overwhelming sense of despair coursing through the veins of the film. In these flashbacks Charlize Theron has a thankless but memorable role as suicidal wife and mother that adds to the hopelessness of it all. The flashback structure adds to the poignancy of the central relationship between the father and son and reminds the viewer of the determination of the pair to survive. Cameos from Robert Duvall, Guy Pearce and other assorted traveling folk (some friends, some foes) add interest to what could become a stale, repetitive and unbearably slow and depressing slog.

Duvall is fantastic in a brief role, but Mortensen and Smit-McPhee shoulder the burden of the entire film. Rarely off screen, Mortensen's performance is haunting; gaunt, caring, determined and half-broken. It is an incredible performance. Smit-McPhee is equally good with a whinier role but some heart-wrenching scenes that he pulls off convincingly. With scenes that require the father to put a gun to the head of his son in moments of desperation and despair, the pair are outstanding and believable throughout.

While the pace is slow, the film feels a hell of a lot faster than the book which is a difficult read, despite its prize-winning popularity. The cinematography is excellent, particularly with the strangely beautiful shots of decimated landscapes. The never ending grey adds to the relentlessly bleak tone. Grey skies, grey trees, grey buildings and grey sea. Life has left this planet and it shows in every frame. Moments of colour are only glimpsed in reminders of what the world used to be; the opening flashback, the solitary coke can. Nick Cave and Warren Ellis' score complements the tone and gets under your skin with its sad, unrelenting piano.

This film is far from the crowd pleasing post-apocalyptic scenarios of films like I am Legend. Cannibalism, starvation, rape and suicide are all very real threats to the protagonists. The film seems to be dealing with notions of morality with the father constantly teaching his son right from wrong. The boy must learn to be a good guy, not a bad guy. But the film questions the father and his moral codes, as the son does. What is bad in this new world? Is stealing wrong? Is suicide wrong? Is cannibalism wrong? It could also be argued the film also implicitly deals with contemporary America. The idea of fear and isolation and shutting oneself off from the 'bad guys' is crushingly foregrounded in the closing moments of the film. The idea that so many of these apocalyptic films have been made recently is because of American fears of civilizations imminent collapse rings true. The use of the gun as the last hope a man can have of protecting his family feels very right-wing and familiar from so many other American films. But the gun is almost used on many occasions in the film to prematurely end life, not just as protector of the family. The cause of the apocalypse is never explicitly stated but the original book has been praised by environmentalists for taking the potential outcomes of the human races current actions as a serious threat.

The Road is undoubtedly a tough watch. It's not a popcorn/multiplex kind of movie and fans of 2012 and I am Legend may possibly want to give this a miss. It is a slow, grey and depressing film. There is very little action but many moments of suspense; heartbreaking, unbearably tense in places and carried by a pair of grim but inspiring protagonists, played with conviction by a couple of bright stars.

Life in a Day (2011)

A day in the life of the planet Earth and the human race; this is the 24th of July, 2010 as recorded by anyone with a video camera.

[9/10 · 12 June 2011]

Democracy. Power to the people. Digital technology. Video cameras, the internet, editing software and music. Life in a Day is a unique, ambitious experiment. And boy does it work! A call went out from director Kevin Macdonald (Touching the Void, The Last King of Scotland) and executive producer Ridley Scott to the YouTube community. Capture your life in a day. Anyone with a video camera and access to the internet could enter and submit a video of what was happening in their life on the 24th July 2010. Cameras were even sent out to far-flung places to allow people who do not have access to these filmmaking tools to contribute to the film. So is this a documentary, an experimental film or a social action media production? Well it's all three and more. It's also a narrativised piece of thrilling, enjoyable and inspirational cinema that will leave audiences crying, smiling and feeling blessed for their own lives and loved ones.

The narrative is not forced; the film begins in the early hours of the morning and takes the audience through the day to midnight. Characters occasionally reappear throughout the day and others come and go in the blink of an eye. The ordinary, everyday lives of the people of the planet are given an epic quality by the capturing of the full moon and many time lapse shots of changing landscapes and in one brief sequence the beauty of the northern lights. People rise early; people have stayed up all night drinking and one man howls and barks at the moon. The film then has many montages, people taking a morning leak, eating breakfast, taking their first steps out of bed in the morning. The soundtrack adds to the feel of the ordinary becoming extraordinary and the editing emphasizes the universal ways that people go about their days. It might sound boring but it's not. The pace is swift with moments of humour, sadness and plentiful details that will strike a chord with many an audience member.

People play themselves and I say 'play themselves' because there are moments when the camera set ups draw attention to the constructedness of the scenarios. For example the montage of people waking up in the morning is rather let down by the people who have clearly set up the camera on the tripod and then pretended to wake up in front of it. Much more 'real' feeling are the moments of people filming their partners as they sleep and capturing true moments of awakening. There is also a notable emphasis on children which seems to tie in to a major theme of the film. Children are filmed by their parents (from sonograms to babies to a young man's first shave) and in fact this is one of the first moments of the film when it settles on a character for more than a brief moment. The pride and love these parents feel shines through with the following of their children and cannot fail to put a smile on your face.

The task of editing 4500 hours down to just over 90 minutes must have been a monumental task and it's a wonder that the film has been released in just under a year from the date that all the filming was done and uploaded. The editor, Joe Walker and the researchers must have sifted through countless hours of crap and should be applauded for their selections and for managing to also keep the film to a concise 90 minutes. I imagine there are also numerous moments that were fought over and eventually ended up unceremoniously dumped on the cutting room floor.

Life in a Day is thought-provoking and life-affirming. Though no message is forced down the audiences throat, there are many ideas presented here that should be thought about and discussed for hours after watching. The global origins of the footage, the various languages spoken, the colours, sounds and sights of people of varying cultures brought together in one film emphasizes the similarities between the people of the planet. The footage of rituals, customs, and celebrations from around the world show that love and loss are universal, that family is universally important to all cultures. Juxtaposing an Afghan photographer with an American soldier's partner or a grinning Lamborghini owner with a shoe shining child suggests a political agenda but again, no message is forced. The viewer decides what to make of what they are seeing. There are some horrific moments; the tragic outcome of the German Love Parade, the killing of a cow, but these are contextualized in a positive film that does not dwell on the sadness of life but focuses more on the joy.

At just over 90 minutes the film does not outstay its welcome and I dare to suggest that a sequel would be worthwhile in a few years time. Life in a Day is a time capsule and a treasure trove of the ordinary. Through skillful editing, beautiful and emotive music and the desire for the people of this planet to share themselves honestly and openly with others, Life in a Day becomes more than a film, more than a documentary and more than an experiment. The ordinary becomes extraordinary and the film becomes a gift, a statement and a powerful dedication to love, family and unity. Watch it and embrace it.