tubby1 Reviews

The Lego Movie (2014)

Everything is Awesome.

[8/10 · 6 August 2014]

Logic would dictate that a film based on Lego would be a childish endeavor. However, the Lego Movie proves such ill-aspersions wrong and succeeds on many levels, and indeed in finding the inner-child in us all.

The Lego Movie takes you on a relentless and manically choreographed adventure with Emmet (voiced perfectly by Chris Pratt), a somewhat inconspicuous Lego construction worker, whose world is turned upside down when he discovers the 'Piece of Resistance'.

The audience needs to sit tight and strap themselves in for an adventure, which can be overpowering (just like a child's imagination) but always entertaining. The script is witty, and the creativity oozes off the screen as we come across Lord Business, the Kragle, and all sorts of wonderful concoctions.

This is a film that catapults you into the Lego world and does not cease to impress. Everything is Awesome (the theme tune) is utterly delightful, and ridiculously difficult to eradicate from your everyday thoughts.

The Lego Movie is an adventure that has heart, imagination and creativity in spades, and at best a message wrapped up for children and adult alike. A joy.

Open Range (2003)

Zzzzzzz

[3/10 · 2 October 2013]

You certainly see a lot of fields in Open Range. Fields in the sun, fields in the rain, fields with cattle in. Oh, and in the foreground - a woefully spurious film concerning freegrazers and their conflict with the authority of a small town called Harmonville.

How did this film get made? Over two hours long and it proceeds to step on every stereotype. There are no shades of grey it is good versus bad. The villagers of Harmonville are but playthings - they are 'good people'. The good people utter indignation at the 'bad men' - the authority. However, we never see the bad men ill-treat the populace but we have to accept such things. Oh, and the authority are just utterly bad men no conflict there.

Open Range tries measly to bring a moral string to proceedings. Charley Waite (Kevin Costner) conveys a sense of past ill-doings in conversation with the prim and proper Boss Spearman (David Duvall)but this is mere snippets in a vast emptiness of narrative - it is a very weak pretense to setup a redemptive arch.

The necessary love story? This seems to be an afterthought to fill the vacuum left by the expansive running time. Squimish, utterly laughable at times it treats the audience as prehistoric beings with the most toe-curling narrative I think I have seen, and the most soppy score in tail.

Open Range is one to miss.

Star Trek Into Darkness (2013)

Master of Emotion

[8/10 · 9 September 2013]

Into Darkness is a thrilling and affecting sequel. It shifts from the youthful and cheeky beginnings of the re-boot to what I consider to be a more mature and sophisticated piece of film-making. It masters the emotional turmoil, and character relationships but is less rigorous to the needs of story-telling.

The shift of tone is welcome and Into Darkness moves ably through two-thirds of its running time, in an absorbing, tumultuous and thrilling cocktail of character arcs, suspense, and a non too over the top infusion of light relief. Scotty, although somewhat still an irritant, has markedly toned down his rhetoric to match the more sombre affair. In fact, Into Darkness strength is the emotional sweep of the film, the blooming relationship between Kirk and Spock the finest example.

It is a shame that when Into the Darkness is at is apex of tension it fails to sure up the plot. We are left bemused as to the magnitude of Khan's potential as we are never fully appraised of Khan's pre-cryo sleep life. I am still not sure of how the 72 torpedoes came about, and how they got where they did, and why. Nor is it fully understood where Admiral Marcus's concern of all out war with the Klingon Empire manifested? Is he a military hawk out to provoke war or a man with inside knowledge only wishing to keep the peace?

The introduction of Alice Eve seems forced upon us, and the Enterprise accept her presence matter of factly. We discover later that her family connections save the Enterprise from imminent destruction, this is a little too fortuitous. Lastly, and most pointedly the death of Captain Kirk, (which was highly affecting) in a sequel, seemed somewhat pretentious on the writers part. It felt like the grand end of Star Trek not the very beginnings.

Into Darkness is a feast for the eyes and hugely entertaining. The emotional turmoil is engrossing and it cannot but wet your appetite for the voyages before it. Although Into Darkness fails to tie-up some loose ends it is gorgeous to watch.

The Hobbit: An Unexpected Journey (2012)

Why three hours?

[5/10 · 19 December 2012]

On learning that The Hobbit, a 400 page children's book was to be extended over three films (Unexpected Journey being the first) it seemed Peter Jackson may have been seeking a compromise between the children friendly book and the more darker and foreboding LOTR trilogy. Unsurprisingly, An Unexpected Journey fails to transcend the source material, although it is debatable if this was Jackson's intention.

The first fifty minutes is actually the most impactful (Gollum's appearance not too far behind). There are nice homage's to LOTR and it provides the necessary back-story. Most importantly, it enables the twelve dwarfs to be more than a generic rabble just fighting and squabbling. Martin Freeman starts as he ends the film, playing Bilbo Baggins with aplomb, in a fine performance, providing the understated and yet determined nature of the intrepid adventurer. Once Bilbo leaves Bag End however the magic ceases.

The rest of the film is a number of set-pieces which fail to propel the story. What we have is an A to B to C without an emotional arch or purposeful plot. One continues to watch An Unexpected Journey waiting for Jackson to rein in on the needless superfluous activity but it does not happen. It is at this juncture that one begins to accept, rather belatedly, that An Unexpected Journey is not the cross-over adaptation that one may have hoped. Jackson's 'off-the-map' excursion with Elrond, Galadriel, Gandalf and Saruman only help to conflate rather than placate the elder viewer.

The special effects are satisfactory, if not altogether an improvement on LOTR. Unfortunately, this is for me An Unexpected Journey's biggest fault. It becomes apparent through the effects that Jackson has decided, pardon the juxtaposition, 'evil-friendly'. The appearance of the Great Goblin and his cohorts, Azogand his wolves are much less menacing than LOTR and have an intentional illusory, and non-frightening composition. Can one even forgive the over-intrusive nature of the subtitles?

If more credence is needed that An Unexpected Journey is a more youthful creation one only need to look at the manner in which Bilbo comes across Gollum, and the way in which the Company fall into the Goblin Kingdom. One has to suspend disbelief at the comic book survival skills of the party (noticeably altered from the book too).

An Unexpected Journey does have its moments. There is some fun bravado, a couple of meaningful montages, and some much needed pathos. The acting is of the highest quality.

I have to conclude that An Unexpected Journey was intended for a younger audience, and I cannot begrudge Jackson for this. However, the three hour long running time is just unnecessary when to all intents and purposes a longer film would be more inclined to an older audience. As a consequence An Unexpected Journey should be cut with big scissors. A big disappointment and I only hope that parts two and three try to provide a more menacing and intelligent cross-over.

The Cabin in the Woods (2011)

Inventive but missing something.

[7/10 · 12 October 2012]

The Cabin in the Woods... If I was looking for a weekend away this would not be on my list of places to go! However it befits the films nature, poking fun at the horror flick, and with some success.

Although the parody was successfully encaptured by the Scream franchise The Cabin in the Woods manages to spruce up the formula with an original twist and a modicum of present day insight.

The Cabin in the Woods, we soon learn, is a 'Truman Show' set watched by the masses and for what specific purpose - it is not first revealed. Goddard and Whedon have melded a horror story around the populous reality TV format and to a satirical degree probes at our human passivity to violence/death in the twenty-first century.

There are some nice moments in The Cabin in the Woods, and although it works to a degree it seems rather benign. It would be unfair to say that it lacked horror because it seeks a more comical stride, but it lacks that vital punch. Kudos where it is due The Cabin in the Woods is inventive enough to not feel like a Scream-replica but its original setup does not have the matching narrative.

The Dark Knight Rises (2012)

A Shining Example.

[9/10 · 21 July 2012]

The Dark Knight Rises is a blockbuster - it is thrilling and enthralling and a riveting spectacle. It towers above the saturated and ubiquitous market of the comic-hero genre, and provides its finest example of excellence and entertainment.

Firstly, and I will get this out of the way. I am aware that there is a large fault with Dark Knight Rises, which were apparent in the The Dark Knight, the narrative framework. Plot holes, inconsistencies and plot devices are prevalent enough that I suspect one could produce another two hour forty-five minute film to fill in the gaps. However Dark Knight Rises is such a gripping and atmospheric experience that I will let it go.

The villain of DKR is Bane, a behemoth of a man kept alive by his facial mask to appease chronic pain. Although indecipherable at times Bane's voice has a lingering fear factor. Tom Hardy's frame provides the physical bulk that dominates and blots out the exterior and exudes menace and awe throughout.

The star and revelation of DKR is Anne Hathaway, she moulds into Selina (Catwoman) effortlessly and one does not question her physical capabilities. Selina's moral ambiguity is also refreshing and a nicely rounded figure in a film pulsating to the climax.

Nolan, has once again provided a film that has been flawlessly developed and produced. The script is intelligent enough to surprise, and twist, and make The Dark Knight Rises a thrill to watch. Although it suffers decidedly as TDK with an inadequate audit of the narrative - it is popcorn entertainment at its very best - Just enjoy!

The Quiet American (2002)

Patience is a virtue.

[4/10 · 4 July 2012]

Graham Greene's 'The Quiet American' is wonderful evocation of Saigon and Vietnam during the French War. The story revolves around Mr. Fowler, a cynical British journalist, and Pyle a young American idealist both of whom are in love with Phuong, a young Vietnamese woman. Unfortunately, the film is a bitter disappointment. Greene's deftly crafted canvas has been brazenly mis-handled with the film applying impatient and ill-defined strokes.

'The Quiet American' uses the love triangle as the focal point of the story when it should have been rather more focal on the political and personal intrigue within the book. The film is certainly a commercial one, dumbing down the themes and spoon feeding the audience. I was even let down by the production values, as it did not transfer the lavish and brooding atmosphere in Greene's work. The romance is not creditable and the characters are vastly under developed and malnourished. The film does not spend enough time in any one place and this is probably its biggest fault.

Maybe I am prejudice by my memory of the book but the film is way off-key, poorly conceived and mis-aligned with Greene's words. If the purpose of the film was to capture the book it needs to re-study the masterpiece.

The Girl with the Dragon Tattoo (2009)

Was never a template for the big screen.

[3/10 · 10 June 2011]

The book's commercial success has inevitably lead to the development of this adaptation. Based on the unfolding plot of the film, however skeletal it may be to the book, it has certainly extinguished any interest I had in this literary phenomenon.

The film is rather formulaic and generic but hopes to bolster its difference with its dark and broody atmosphere. However, the darkness in The Girl with the Dragon Tattoo is suffocating rather then compelling and originality or vibrancy, that I thought this film may produce (having no concept of the story), and based on its huge literary success was non-existent. Dan Brown's adaptations (Da Vinci Code, Angels & Demons) although a poor relation to his page-turning books had stimuli, something of consequence. In The Girl with the Dragon Tattoo you are joining a murder investigation which has been unsuccessful for over thirty years, and of little relevancy apart to an ensconced and broken family. Furthermore, the private investigator discovers clues that any astute and professional police investigator should of deduced.

The main plot, driven by excellent performances from the two leads never gets in gear. The main protagonist's unclear past and eccentric behaviour does not excel the film in any character driven manner, and their attempt to make this film a character study come murder mystery falls flat. The screenwriters try to bring in a couple of subplots but these are barely introduced before they are just as quickly concluded.

The Girl with the Dragon Tattoo is a cumbersome and idle affair with the story essentially not evolving at any satisfactory level. The film pursues its inevitable and ugly course... A story I think that should be read rather than seen.

Despicable Me (2010)

A Despicable Delight

[8/10 · 25 February 2011]

Despicable Me is a fun film. It is a simple story coated with wonderful moments, and characters that are pleasing to watch. From Gru with his aim to become the most evil villain in the world to his eccentric but utterly lovable Minions (a great creation).

Giggles, and there are lots of them work through a certain subtlety. The moving of a characters face, voice or body (special mention to the Minions)or the sweet scene stealing 'Unicorns I love them' Agnes really does work. When Despicable Me does try with a more slapstick, or crash, bang wallop it does full a little flat. Arch-nemesis Vector and Gru's assistant Dr. Nefarious are at times in Despicable Me a little weak. Indeed it is Gru but more so the orphan girls and Minions that we want to see.

I must mention the animation which is very good and well-brought to life but also the musical presence in the film, as I really noticed it. The music is rather modern and funky for an animation, and gave for me a contemporary twist, which I enjoyed.

I admire Despicable Me for its simple yet highly creativity tale. There are many scenes that are highly memorable and you would have to have a heart of steel not to be touched by the manner it draws the film to its loving and charming conclusion.

Buried (2010)

A Buried Treasure

[8/10 · 22 February 2011]

Although the idea of watching a man wriggle and squirm within the confines of an underground coffin seems a claustrophobic nightmare both for the protagonist and the viewer (where will the excitement come from?), Chris Sparling's clever screenplay ensures we are riveted to this startling predicament.

The plausibility of the plot, that a truck driver would be buried alive as ransom for his release is a devilish but flawed concoction. Is this really the most effective manner for the kidnappers to ransom their asset? Nevertheless, when we get down to the nitty-gritty within the coffin I was satisfied with the manner in which it transpires.

The film strength obviously relies on the screenplay and the acting of Ryan Reynolds, who does not fail to perform with the ferocity and desperation we can only imagine. The direction is very good and I for one never tired of being enclosed in this cinematic straight-jacket.

For a film that refuses the audience additional stimuli by way of flashbacks etc, it really should be applauded. Although I cannot see longevity in its repeatable viewing, Buried is original and the first viewing is a gripping experience.

Scott Pilgrim vs. the World (2010)

The Scott Pilgrim Experience

[7/10 · 21 January 2011]

Scott Pilgrim is a heavily stylised mesh of arcade and comic exuberance. It's bold and eye-catching graphics certainly give this film memorability, and helps transport the film into a playful and wistful world. However, for all its enjoyment it is the foreknowing of events which hamper the Scott Pilgrim experience.

In terms of enjoyment, Scott Pilgrim excels early on with its charming flare and originality. It is very youthful, refreshing and dynamic in the way it strings scenes together. As well as providing this visual experience there is a constant stream of witty interplay. This is most visibly conveyed by the wonderful Michael Cera who excels as Scott Pilgrim with his goofy and radiant charm offensive.

Where Scott Pilgrim fails is when we understand that he must fight 'Seven Evil Xs'. Once the first two contests have passed, it becomes a film of re-treading, and although it conjures different effects to each contest it becomes less of a thrill and its adolescent vibrancy becomes regrettably diluted.

Scott Pilgrim certainly entertains, and if it had managed to cut half-an-hour from the film or reduce the number of 'Evil Xs' it could have been a really enjoyable roller-coaster of a ride. It is a film which I recommend seeing as it is so originally brought to life and a rather refreshing movie experience. The film does have heart, and although Scott Pilgrim might not of won over the world, and it does lose its initial momentum, it did win me over.

Inception (2010)

Nolan's Dreamwork

[10/10 · 28 December 2010]

This is Christopher Nolan's masterpiece. Inception is not only the film of the year but truly the most original piece of work in the sci-fi/thriller genre since The Matrix.

Inception is visually beautiful both in special effects and set-design. The clean-cut feel does without doubt make Inception that extra illuminating, and the set-pieces are riveting. The effects not only showcase the 'dream-world' but equally are used as a specific narrative device to visually inform the viewer(slow motion) and thus unbound the film from arduous exposition. In addition, Hans Zimmer score sweeps excellently through the film delivering an emotional and thrilling punch to the plot.

The effects and score, however, are not the key to Inception's success. The film's sheer original concept of 'dream-extraction' and its ability to balance this with the drive of the plot are seamless. That is the magic of Inception. One never gets to embroiled in the specific dynamics of Inception (although important) as you are expertly enthralled by the story.

The characters of Inception are also part of this magic, each and every one of Cobb's team have a specific role and they each have a plausibility and engaging quality. The cast of Inception is superb, and Leonardo Di Caprio is beguiling as ever; Tom Hardy, Cilian Murphy and Joseph Gordon-Levitt are also of particular note.

A work of a master craftsmen,Christopher Nolan has delivered a film that is brilliant in both concept and design. Inception is that rarity, an original idea that is beguiling as it is thrilling to watch... What dreams are made of.

The White Ribbon (2009)

Haunting and disturbing

[7/10 · 29 March 2010]

The White Ribbon is a brooding and deeply disturbing piece of cinema, it is both powerful as it is unsettling. Although, it is rather extreme and disturbing,it manages to provide a stern voice.

The village in White Ribbon is hardly ever shown in a light that one could suggest was tranquil, vibrant or positive. There is always this underlying and potent misery languishing around the characters. The beautiful black and white cinematography, which is very exact provides I think this antonym of beauty and ugliness. At Haneke's most bleakest the black and white serves as a truly haunting presence.

The film assess the strict religious upbringing of the community, and within these environs Haneke proceeds to provide a deeply malignant underbelly of both moral corruption and repression. The disturbing events that askew the supposed peaceful and obedient community serve as almost a repost to those of the hierarchy, being those in the most respected positions being the Baron, The Pastor and The Doctor, as they are all affected somehow.

There are some strong scenes in the White Ribbon in particular when a young boy is learning the meaning of the word death and when the son of the Pastor provides a replacement bird for his father's newly deceased one (one of only a handful of pleasant moments in the film)are very emotive.

Haneke never provides answers to the events depicted although you can garner what you wish. In essence the disturbing events appear to be either rather unfortunate or the actions of the youth who are repressed by the community and wish to exact their revenge in the only way they know, or can.

The White Ribbon is a powerful film conveying how Haneke believes evil ferments. The village is used in essence as a microcosm for the state of Germany in 1918, and provides a possible reason for why Germany turned to fascism. Although I found it at times rather unpalatable, and it is not a film you will enjoy,it is undeniably potent in its delivery.

Henry V (1989)

No Sparkle

[6/10 · 15 March 2010]

Henry V announces that the Shakespeare play cannot be done justice in the restrictive space of theatre. Yet, for all Shakespeare's literary brilliance and the fine acting, Henry V feels like a nomadic and underwhelming experience.

The story is linear and this is in stark contrast to the complex but deeply meaningful language of the play. Although the acting is of the highest quality the straightforwardness is rather cumbersome. The introduction of Chorus played by Derek Jacobi certainly serves a necessary purpose of providing immediacy to proceedings.

The introduction of the four characters Bardolph, Nym, Pistol and Flagstaff just didn't fit at all in the scheme of the film it felt rather strangely and obtrusive. I understood they knew Henry V but couldn't understand their relationship, it was vastly under-explored. Most of the characters are tipped very lightly in characterisation and their deaths do not nurture a single regret.

The cinematography is the films greatest strength providing the necessary atmosphere but I felt the direction, suffered a lack of emotional structure and set bearings. This is where Henry V suffered as a film, the battles are staged in rather closely shot environs, not wishing to expand the destruction and death of warfare. The fine speeches and acting is severely hampered by not providing the audience with sufficient stimuli that a film can only provide. Henry V goes on his journey to Agincourt, and indeed to his famous victory with a tiny consortium of people that is not grand or epic but rather non-sensical, how did they win the battle of Agincourt?

Henry V provides the necessary thespian talent but it is ravaged by its lack of coherency and piece-meal offerings of epicness. The film is too straightforward and suffers greatly from its almost nomadic sense of pushing to the end, leaving the cinematography to make up for the lack of extras, landscapes and grandeur. Henry V although admirable in some ways does not enrich the vistas of our imagination as it had so offered to do so at its beginnings.

Milk (I) (2008)

Harvey Milk brings hope.

[8/10 · 8 March 2010]

Prior to watching Milk I had no knowledge of the man Harvey Milk accept that he represented a gay community in harsh times, and managed to attain political office. The film is excellent, the screenplay is succinct and informative and Sean Penn sparkles as Harvey Milk in this stirring and gripping social truth.

The film follows the political rise of Harvey Milk who on moving to San Francisco decides to run for political office on the social and moral injustices facing the gay populace. The strength of the film is in its highlighting of the political and social injustices at that time. The incorporation of actual real footage really conveys the deep embedded homophobic prejudices in the United State. Without the real footage I think the film would have struggled to project this sense of underlying tension.

The entire cast excel but Sean Penn is the star. Penn embodies Harvey Milk, he is compelling and enchanting and nuances every action fluently and ceaselessly without fail. Milk represents not only the gay community but the minority populace, he is a lovable and determined individual. Van Sant makes it clear that Milk could not have managed his rise to politics without his close colleagues, and this is an astute point. Harvey Milk was an eccentric and beguiling character but him alone was not the driving force of change it was those pursuing their rights and freedoms.

Within the well-formulated screenplay which stirs the emotions, there are a number of good pieces of cinematography and the costume and set designs are exact.

Milk is more than a film about the man, it is a social commentary of the prejudice faced not only in the gay community but by other minorities as a whole. Milk is a film about social rights, freedoms and the need to hope for a better world for today and tomorrow, and one cannot argue with that.

Magnolia (1999)

Patches of Greatness overwrought by time

[7/10 · 2 March 2010]

For all its commendable efforts Magnolia strains under the length of running time. The melancholy at times is overbearing and although the acting is first-class the film does out stay its welcome.

The ensemble cast is quite exquisite and they all perform with great aplomb. Tom Cruise does enough to make comment of only because he plays an individual much against his usual character-type, and he delivers a real and powerful display.

The cinematography manages to entice and enthrall the viewer in equal measure with its concerted unedited running shots and focus. The screenplay is steady, and when this is merged with the musical score the narrative flows quite nicely. However, the film prolongs its conclusion too long, you do toss and turn, and change your seating position regularly as some character arcs are not as responsive or enduring as others.

Magnolia does have a lot to say, coincidence or connections being the main narrative tool. For that very reason it felt rather fancy for the film to have a prologue when it was quite explicit in Magnolia that lives were intertwined. The down-pour of frogs, a biblical reference to veer the story from the possible to the hypothetical was off-key, and much of the melancholy I believe could have been expressed in a much more cohesive structure.

The best way I can describe Magnolia is as a failed attempt at greatness. It has its elements of brilliance; the screenplay really grips at times; the original use of the heartfelt song 'Wise-up' by Aimee Mann and the cast of characters is vividly memorable, the intelligent and smart cinematography and the great acting really do plant you into the world. However, the story is rather tiresome, and its running time eradicates the emotional heart of the film. I finished the film rather unfulfilled and disappointed in consideration of its patches of greatness.

The Big Lebowski (1998)

Original but too quirky.

[6/10 · 22 February 2010]

The Coen brother's The Big Lebowski is a quirky, odd-ball comedy which succeeds in providing original characters and scenes of comedic wit. However, the eccentricities at times are too outlandish, and frustrates the viewing experience.

The film follows 'The Dude' played by Jeff Bridges who is mistaken for a rich-namesake. The consequence of this mistaken identity leads The Dude and his psychotic-friend Walter Sobchak on a journey of double-cross and bewilderment.

The film is creative and supplies a number of good one-liners. On the whole you are happy to go along with the oddity of the story. The Lebowski's one big drawback is its rather impeding 'dream sequences', which are rather ill-fitting. Without these dream sequences the film would have flowed a lot better. However, instead it leaves you aghast at the incongruity of there inclusion. These moments together with other eccentric creations shift the Big Lebowski's strength as a story.

Without doubt Jon Goodman is the star of the film. Jon Goodman's character Walter Sobchak is a somewhat Jekyl and Hyde individual. Walter's actions and words are the underlying strength of the film. His predominantly psychopathic ex-Vietnam vet reactions contorted with his apparent intellectual mind make him one of the most memorable characters. Unfortunately, Steve Buscemi role as 'Donny' is more the opposite and I disliked the gimmicky inclusion of the character.

The Big Lebowski is not an altogether bad film. Jon Goodman provides a great performance which invigorates the story, but the Coen's quirkiness was just a little too overbearing for me and I felt at times an unnecessary distraction.

Doubt (I) (2008)

Don't doubt the intentions but its means

[6/10 · 21 February 2010]

Doubt, adapted from the very successful play, produces strong performances and interesting thematic endeavours. However, all its efforts to provide a discussion on morality, or psychological suspicions is hampered by its open-ended conclusion, which bases the film in a theoretical rather than real-world bias.

Doubt, is very much a character driven film and is heartened by its fine cast. Philip Seymour Hoffman plays Father Flynn, a seemingly kind and well liked character who provides a nuanced performances of ambiguity. The principal of the school Sister Aloysius is the opposite to Father Flynn, she is respected in the congregation but is a stern and authoritative influence on the pupils. Merryl Streep gives enough venom and underhanded wit as Sister Aloysius to make her agreeable and obtuse in equal measure. In between the two is the sweetly-innocent Sister James (played by Amy Admas), who acts as I suppose a mediator between Flynn and Aloysius. James can be seen as the voice of reason, as she is the only other person open to the discussion. However, I would add that although her thinking and actions are logical, she is too weak to bring any bearing on the outcome and is handily away from the film when Doubt begins to unroll.

Doubt is finely directed and I like the way it uses symbolism such as Sister Aloysius annoyance of open windows to project her traditionalist and non-flexible views. Yet although the film is setup nicely between the modern priest and traditionalist nun it is orchestrated with exact precision to provide an ambiguous outcome. Although I believe one scene in particular certainly conveyed if Flynn was guilty of the suspicions, you have to accept that Doubt is a film concerned with theoretical leanings.

Doubt is delivered to be an intelligent tale about suspicion. However, logically the screenplay does not play ball. The questions, which would be raised and would need to be certainly investigated are left to linger frustratingly on the peripheral. It is never the films intention to provide a clearer and rounded picture but to cast us adrift from the real to a theoretical debate surrounding 'gossip' and 'intolerance.' The intentions of Doubt are good and its purpose does stir up debate, however if you cannot accept its intentions,you are left slightly cheated by its refusal to progress along a more thorough foundation.

Surrogates (2009)

Commercial intelligence

[7/10 · 13 February 2010]

Surrogates is a sci-fi film which has the feel of an audience pleasing action-thriller and a touch of thematic quality that propels it too a more satisfactory experience even if it is rather cliché and formulaic.

The premise is intriguing and paints a picture of the future which one could foresee. Humans remain at home and in their place are 'surrogate' robotic creations which the humans have complete control of and who perform all their everyday activities in the outside world. Without going into too much detail the event the film relies on to propel the story is rather unoriginal but a necessary tool to up-the-ante and provide its talking points.

The introduction to Surrogates is good at setting the scene of this future world but it misses a finesse, or a quality, it settles for a more commercialised feel. Indeed this is the precedent that the film sticks too - there are a number of shoot-outs and car chases. Mixed into this we have the concept itself that is of natural interest, which is aided by the reasonable special effects and the highly impressive makeup and technical work.

The two female characters in Surrogates are played by Radha Mitchell and Rosamund Pike two very good actresses who impress, although the film does not stretch their talents. Bruce Willis is at home in this thriller/sci-fi as Tom Greer an FBI agent caught up in the startling revelation. Willis's performance is played in the right spirit and with the necessary intensity to provide Greer with a connection to the audience. The only performer, who seemed out of place was Ving Rhames sporting a rather funny hairstyle, and looking ill-at-ease. This I would also put down to his character 'The Prophet' who is the failure of the film, he screams of stereotypical design.

Surrogates was made to entertain and it does do this well. The story is straightforward enough and has a nice twist, without being too challenging. Surrogate does what it needs to be a satisfactory viewing and although the script is rather Hollywoodesque it has enough of a concept to be that little bit more.

The Damned United (2009)

Caricature of Clough but finely shot

[7/10 · 13 February 2010]

Damned United is excellently shot. Although essentially a film about football, the cinematography is its biggest strength. The man Brian Clough is not really studied in depth but the film is enjoyable to watch.

The film does not really portray Brian Clough in a light that is particularly flattering. We see Clough as an altogether ambitious if somewhat flawed individual. Clough is arrogant and cocksure, and has an unhealthy obsession with out-doing Don Revie, one of the most successful English managers of the time.

The special attention to the cinematography really provides the film with a greater realm of credibility; particular attention has evidently been paid to every shot and it was very nice to see. Furthermore, credit should also be given to Michael Sheen who does a commendable job of Clough offering moments of applaudable wit.

Damned United does feel rather caricature and prefers to skim the surface of the man Brian Clough rather than delve with any depth. The film is excellently shot and the narrative is intelligently devised. Damned United is enjoyable, funny at times but it lacked a certain gravitas.

Lakeview Terrace (2008)

Lack of subtlety

[5/10 · 4 February 2010]

Lakeview Terrace is too brash to be considered a film of good value, or in discussing the issue of race. It is a steady genre film if rather unsuspenseful and superficial.

Patrick Wilson is miscast as Chris Mattson, firstly he likes hip-hop music, and for all his acting it just doesn't rub. I could never really accept his inadequacy in compromising with Abel Turner, played by Samuel L. Jackson, you look at Patrick Wilson's physicality and are slightly miffed. Samuel L. Jackson doesn't really do anything new to his art he continues with his tensive and passionate display without setting the film alight. The relationship between Chris and Lisa Mattson (played by Kerry Washington) is performed well enough to suggest they are closely knit.

The script is far too quick in unleashing the confrontation between the two neighbours. There is not enough build-up to really accept the catalyst which begins the bitter fighting. Events used to up-the-ante are rather brash and superficial, Lisa being pregnant just seemed like an unnecessary disruption. The race issue in the film is too overt and incorrectly judged throughout the film to suggest the film had any particular message. Furthermore, the way the forest fire is used as a narrative tool throughout the film confirms the lack of finesse and subtlety of this production.

Lakeview Terrace doesn't create the tension at the beginning, and for this failure you fail to emotively comprehend the escalation of events. The events are too superficially crafted to produce an impact,and a much more subtle display would have been a much needed anointment.

Transsiberian (2008)

A journey a little too long

[6/10 · 26 January 2010]

Transsiberian has suspense and engages the audience most of the time. However, it is a thriller which does not liberate itself from the genre. Although the suspense is palpable the events are rather predictable.

The film takes sometime to setup the scenario and characters in the film. I did not mind this but felt it progressed a little too slowly, and you had to persevere rather than seamlessly fall into the folds of the story.

Woody Harrelson is much of a revelation in Transsiberian playing a nerdy, loving man who you kindle a fondness for. Emily Mortimer is also very good as the pivotal character of the film brooding with fear, anxiety and foreboding. Although the way the film arcs is cleverly constructed so that Mortimer's character gets entangled in a 'Catch -22' situation it remains a problem that she does not utter a truth sooner.

The film doesn't really shift gear an awful lot, it remains at a constant gambit heightening the suspense through eerie environs outside the train and minute and too evident facial expressions. The film does up the ante towards the end but by that time the outcome can be predicted.

Transsiberian is a predictable tale and does dawdle a little. However, it does display a fine sprinkling of suspense, which is enough to make this film an enjoyable watch.

Cube (1997)

Not rounded

[5/10 · 24 January 2010]

The Cube is original and credit can be given for its clever resolving of how to escape the predicament of the Cube. However, for all its anxious interplay it just feels rather frugal both in script and appearance.

The film is able to project the feel of claustrophobia and delusion rather well in its short period of running time, we are never able to escape the constant of the Cube and its horrifying predicament. The Cube and its purpose are never satisfactorily resolved leaving you to determine the where and whys, which may frustrate some.

Unfortunately, the acting seems to be a contest of wills, each and every actor trying to out do one another with emotion. At points in the film you are at the opposite end to their projected emotional outpourings. The script is rather threadbare on providing a succinct or logical discussion of their predicament preferring stereotypical interplay and physical violence and language. More time should have been given to other areas of discussion if it was to propel itself to a sci-fi with more bite but maybe that was not its purpose.

The Cube is an okay film but for all its hard-work it is rather frugal looking. The Cube tries valiantly to be a film with depth but its lack of purposeful debate, stereotypical characters and at times woeful acting make it a film which never fulfilled its possible potential.

500 Days of Summer (2009)

95 minutes of Summer

[8/10 · 22 January 2010]

The strength of 500 Days of Summer is all in the telling of the story. The quirky script, and rather original format is much more beguiling than the all too regular linear romantic tale.

The story depicts the 500 days that Tom Hansen encounters Summer Finn and their ambiguous, unconventional and absorbing relationship. The film is partly narrated and gives 500 Days a rather comforting feel as though the Narrator is an all wise deity, indeed he inform us of the outcome of the film at the onset. The film thereafter is conveyed in a grounded but other worldly feel... If that makes sense.

The relationship is brought whimsically and imaginatively to life by the almost random fluttering between the 500 days. The interchange between such days never becomes tiresome. The ups-and-downs are injected with life by two great young actors. Levitt plays Tom with aplomb, and provides a subtle coolness whilst conveying the almost touchable emotional angst. Summer is much the same as Tom rather a cool chick but remains rather evasive throughout. Deschanel providing a wonderful performance by producing an enchanting aura around Summer.

There are some excellent moments in particular the 'Reality' and 'Expectations' scene, it is not only intriguing viewing but a raw depiction of human emotion provided in a refreshing way. The imaginative 'dance scene' conveying the joys of Tom Hansen as the first shoots of romance spring is aptly deft at providing his internal emotions. The film is intersperse with segments of music, which help glide the film along and resonate a certain connectivity to the emotions of Tom and Summer. One personal gripe was the Sweet Disposition track which plays frequently through the film. I just don't like the song.

I did have a few problems with the film one being the idea that Tom's young sister can provide relationship advise. Although this is rather endearing it is too quirky and mis-directed. The film also ends rather gimmicky when Tom encounters a lady at a job interview. Lastly, the film brings a rather startlingly revelation near the end of the film concerning Summer, which seemed like a last minute afterthought and had an abruptness which I wasn't keen upon.

500 Days of Summer is original, refreshing and excellently brought to life through the direction of Marc Webb, the novel screenplay and the great performances from Deschanel and Levitt. A film to be watched and admired for its well-structured and creative story.

The Wrestler (2008)

Wrestling with life

[8/10 · 17 January 2010]

The Wrestler is a vivid, down to earth and deeply personal tale that is expertly crafted and directed without the need for elaborate or superficial trickery to provide its entertainment.

The film provides an inner glance into the world of wrestling without ever being overwrought with its subject matter. It conveys the love and deep affection of the wrestling fraternity and their sheer dedication and willingness to be physically punished for the art.

We are provided with the insight into the world of wrestling through Randy 'The Ram' Robinson. Randy a once revered wrestler is seeing out his last remaining days on the wrestling circuit in high school gyms and community centres, signing autographs to die-hard fans who still hold a high respect for the man. He carries physical scars of his wrestling experiences, and reminisces passionately about their inflictions. It is clear that Randy is submerged by his life as a wrestler, his walls are layered with posters and memorabilia of his time in the spotlight. The respect that the wrestling fraternity have for Randy as he turns up for these shows is perceptible, and this provides his motivation to continue his art and to push his aging body to extremes.

Into this equation is Cassidy an aging stripper played heartfelt and excellently by Marisa Tomei who Randy has visited, we must surmise on a number of occasions. Cassidy shares the same estrangement from her work, she is no longer the beauty that she once was and like Randy it has come to a chapter in her life where she fears the unknown, the possibility of being alone and away from everything she knows.

You will not find a more pitch-perfect performance than that of Mickey Rourke who effortlessly brings Randy to life with his staggering ability to convey his frustrations and motivations through physical and emotional trajectory. You believe in Randy's journey, his abiding attachment to the only thing he knows wrestling, and his efforts to seek a life away from its addictive allure.

Darren Aronofsky has produced a film of heartache and real engagement. The film touches the fear we all have of loneliness and resonates passionately without ever seeking a superficial spin much to its credibility, providing a potent and passionate film.