brendandevere Reviews

London Has Fallen (2016)

London HAS Fallen!!!

[6/10 · 23 March 2016]

It is too easy to pick apart 'London Has Fallen', with its obvious political agenda, cheesy one-liners and predictable plot but I am going to stop short of saying that the finished product was an all out disaster. Once again it is the Hollywood Producers that should be held accountable for believing that this sequel to 'Olympus Has Fallen' needed to be made in the first place. Could it be that the conglomerate of production companies behind this movie have little regard for the intelligence of the average film punter, that they as the viewer cannot understand the underlying narrative that is being told to them? Or could it be that these 'big boys' just don't care and have a blind faith that there is a successful market still available to them? I really couldn't confidently answer these questions but I do know of one redeeming feature that 'London Has Fallen' does have going for it - it is entirely mind numbing violence where the audience can completely escape and not have to think about a thing. With this in mind, a couple of hours on a rainy afternoon was never going to hurt.

Well known action genre Director, Antoine Fuqua attached himself to the original, 'Olympus Has Fallen' and in his place is the little known Babak Najifi. Fuqua's expertise are sorely missed in this struggling sequel as Najifi tries his best to give the audience an experience that would justify the $60 million price tag that the producers forked out. Unfortunately this hefty budget could have been spent on something else. Babak has failed to connect his film with the viewer and perhaps he felt compelled to make such a production that is beyond the realms of believable (even in today's international climate) and lacks genuine purpose other than to give Gerard Butler something to do. All too rapidly 'London Has Fallen' becomes predictable, following a well travelled road that many action films of the past have followed. It is almost a throw-back to the 1980's when the audiences acceptance was far easier to obtain than it is today. People still enjoy the mindless violence as I do but there has to be substance behind it. The screenplay written by Creighton Rothenberger and Katrin Benedikt is basic. It provides very little challenge for the more accomplished actors attached to the film and at times the script writers seemed to of run out of ideas.

10 Cloverfield Lane (2016)

The Lane of no Return.

[8/10 · 20 March 2016]

Found footage monster thriller, 'Cloverfield', came out in 2008 to mixed reviews. The shaky, raw camera footage generated a sense of realism that was supposed to create an authentic atmosphere, giving the audience the feeling that they were witnessing an event that actually happened. The whole spectacle worked well but lacked cohesion and purpose that affected the overall impact. I for one was left a little confused about what was happening, possibly mimicking the emotions of the young actors that appeared in the film. '10 Cloverfield Lane' has been promoted as a distant cousin of the Gen Y original piece but what we have here is a return to a more traditional thriller that works its magic very well. '10 Cloverfield Lane' keeps you guessing all the way through the 103 minute running time setting itself in a more personal and private situation that fabricates a considerably greater atmosphere of anxiety than its blood relative.

Young Directorial débutant, Dan Trachtenberg, has been given his shot at impressing the big boys at Paramount Pictures and he hasn't done his reputation any harm. Backed up by Executive Producer, J.J. Abrams Bad Robot Production Company and young Danny is ticking all the right boxes in the presence of some very powerful Hollywood heavyweights. His niche seems to be the suspenseful surroundings of the thriller and with a first time effort such as '10 Cloverfield Lane', Trachtenberg is well on his way to becoming one of the best men behind the camera in this genre. He has made a compact, intimate thriller that oozes an anxious and awkward mood that never lets the audience to comfortably settle into their seats. The viewer is always presented with the question - Is it or isn't it? - when it comes to the context of the story. Originally based on a script that had nothing to do with the "Cloverfield" time-line, the narrative was re-worked by Josh Campbell and Matthew Struecken into a 'Cloverfield' sequel that never becomes too complicated but rather relies on a simple setting that is easy to follow. Like all good thrillers, '10 Cloverfield Lane' simmers away under the surface with the occasional well timed burst of body jolting suspense that inevitably builds up to an interesting climax.

Michelle (Mary Elizabeth Winstead) is a woman that is going through a difficult period in her relationship. Whilst driving alone in her car on a presumably quiet and uneventful night, she is suddenly driven off the road in a high impact collision that was never seen coming. When she wakes, Michelle finds herself in a room on a mattress with her injuries carefully tended to. A strange, off beat man reveals himself to her as Howard (John Goodman) who tells her that she has been saved from a catastrophic disaster that has left the breathable air toxic. Michelle is in a bunker deep underground with no knowledge of what is actually happening in the world above. For her own sanity, the young woman welcomes the discovery of another member of this strange abode, Emmett (John Gallagher Jr.), who is an acquaintance of this mysteriously unhinged Howard. As the film progresses, layers start to form around the narrative that immediately keeps the audience enthralled.

There is not much to the cast as it revolves around three characters but each are absolutely necessary to create the desired affect. Relative unknowns, Winstead and Gallagher Jr. put in some very engaging performances as the two young occupants (or are they victims?). Both look comfortable in their roles that will no doubt catch the attention of future employers. Michelle and Emmett are two characters that provide plenty of exposure for the young actors as they look to step up the ladder in terms of their careers. The real "meat in the sandwich" is John Goodman as the uneasy sociopath, Howard. The man is a volcano waiting to erupt with a mood that ultimately encompasses the whole production. I love Goodman and this is without doubt his most accomplished role since his star turn in the Coen Brothers, 'The Big Lebowski'.

'10 Cloverfield Lane' is a good strong thriller. Watching John Goodman work his way through his very disturbed character is worth the price of admission alone. The film has a simple layout that builds into an engrossingly layered story. If there is to be a small complaint to Dan Trachtenberg's debut feature it would have to be the climax but then again it is a relation to 'Cloverfield'.

Triple 9 (2016)

Cops and Robbers.

[8/10 · 11 March 2016]

What immediately comes to mind after watching 'Triple 9' is the Michael Mann epic crime drama, 'Heat'. Mann's criminal masterpiece has long been considered the benchmark of such films in this genre and Hillcoat's attempt to bring a similar experience to the screen can be seen as a reflection of this mans ambitious talents. It is a travesty that productions like these are made all too infrequently. They instantly capture the imagination of the audience and open up so many brilliant narratives and plot lines. So much can be created with the characters and how they integrate with each other. 'Triple 9' is not up to the same level as 'Heat' in terms of its overall impact but it is still able to deliver a powerful punch for those viewers that enjoy being fully immersed in the world of 'cops and robbers'. Even with a poor marketing campaign, 'Triple 9' is a tantalising film to engage.

John Hillcoat (The Proposition, Lawless) is a very popular Director and one that can be easily identified by the art that he creates. Always exploring the relationships of his characters in male dominated turbulent settings, he accompanies his direction with gritty painful scripts and brooding sombre scores that echo through a narrative that consumes the audience. Hillcoat has played around with the time-lines of his stories, placing them in the near future (The Road) and the recent past (Lawless). It was only going to be a matter of time before he was going to place one of his films squarely in the present. Employing his tried and tested techniques from past productions, Hillcoat churns out another enthralling and addictive drama. Matt cook is credited with writing this crime tale. Cook's story is set to a formula that has been explored before but it still works, building up to an unexpected climax that will keep the audience interested. A question can be asked about the absence of Australian musician and writer, Nick Cave. Has his non involvement affected the quality of the narrative? Cave has been the scripted inspiration behind Hillcoat's last two productions, with both having that real dark, raw edge but Cook has been able to compensate nicely. 'Triple 9' still has an eerie atmosphere boiling away underneath the surface.

John Hillcoat has put together a stellar cast to drive his film and it begins with a bang as we are all thrust straight into the middle of a bank robbery in the city of Atlanta. After a greedy mistake is made by one of the bandits, the true identity of these criminals is revealed that sets the tone for the entire movie. Chiwetel Ejiofor plays Michael Atwood, an ex military veteran that is up to his eyeballs in criminal activity. His crew, which includes Anthony Mackie as Marcus Belmont is made up of Atlanta's finest from the police department and like Atwood himself, army veterans. 'Triple 9' refers to the police code for 'officer down' and it is this exact incident that these bandits are relying on to do one last job for the dangerous Russian mob that is run by Irina Vlaslov (Kate Winslet). On the other side of the fence are two tough cops. One is a hard nosed, unconventional leading detective, Jeffrey Allen (Woody Harrelson) and the other is his nephew, Chris Allen (Casey Affleck), who is more of your idealistic, 'wants to make a difference' lawman. Chris rubs a few of his colleagues up the wrong way by asserting his authority on the rough streets of Atlanta and it soon becomes apparent that he is the one that is the target of this lawless crew.

With so many great actors, we could have seen a jostling for top billing but each plays their roles professionally. Woody Harrelson stands out as the experienced commanding detective that has perhaps spent too long fighting the scum on the mean streets. His tactics are borderline criminal but he is a realist and tough, knowing exactly how his world works. Casey Affleck is solid in his performance as is Ejiofor but it is again the extraordinary talent of Kate Winslet that shines through, adding another element to a male dominated story. This modern day great can do about anything and playing a Russian mob boss is just a feather in her cap. Throw in Gal Gadot as Winslet's sister and Teresa Palmer as Affleck's wife and the magnitude of the cast becomes obvious.

'Triple 9' won't be for everyone but it will excite the loyal audience. It paints a gruesome picture of life on some very mean and real streets in Georgia. Hillcoat's film burns away at a steady pace, dishing out enough drama and confronting violence for the viewer that has patiently waited for a strong crime show.

13 Hours: The Secret Soldiers of Benghazi (2016)

Bay's Propaganda?

[7/10 · 6 March 2016]

Michael Bay is known for his high impact action films that burst at the seams with unbridled patriotism. Each paint a picture of sheer superiority for the 'red, white and blue' in its devoted battle against in surmountable odds for the good of mankind and '13 Hours' is no different. Bay's flirtation with a serious event takes time to build but when the temperature rises, so does the death count as bullets fly and explosions deal out maximum destruction. '13 Hours' has all the hallmarks of a sensational night out at the cinema and knowing of its impending release, I was unashamedly excited when the opening scenes flashed up onto the screen.

Michael Bay (Transformers, Armageddon) has been described as on odd kind of bloke, requiring his cast to go about performing unusual tasks in between scene takes and camera shots. Now I don't know if the source to these little rumours are reliable but you can get a feel for a Director's personality through the story he or she is trying to tell. The big question would have to be - Is Michael Bay disguising his production as a form of propaganda considering today's political climate? The Director has been quoted as saying that he wanted to keep the politics out of the film but politics is war and war is politics. '13 Hours' is very much in the mould of another high impact battle film, 'Black Hawk Down', and it is Ridley Scott's war epic that is referenced in Bay's movie. Whereas 'Black Hawk Down' was able to provide the audience with a repenting emotional edge, '13 Hours', although just as sombre, just as disastrous, does at times fail to connect with its targeted audience. This is not to say that Michael Bay's little foray into the world of the modern soldier is not compelling watching. The whole production is extremely well made and it immediately puts the viewer right into the highly intense atmosphere of North Africa. The acting is first class with a cast best suited for the conditions rather than having the temptation of bringing in big names that perhaps would look out of place in such a production where the action is the star of the show. Chuck Hogan's screenplay based on Mitchell Zuckoff's book, is gritty and authentic, fabricating the strained and volatile atmosphere of the situation that is so evident throughout the movie.

Based on a true event, '13 Hours' is set in the North African hotbed of Libya just after the fall of their Military ruler, General Gadaffi. Quite simply, it is the one of the most dangerous places on earth with a hotpot of warring factions trying to claim control of a country on the brink of destruction. America's presence is strong throughout the crumbling cities but intelligently keeping a low profile, hiding their existence from the dangerous warlords and gangs that are rising up from the ashes. Six men, all ex United States Military are employed as special security contractors to expertly 'babysit' diplomats and consular officials in the Libyan city of Benghazi. When the US Ambassador is captured and killed in an American complex the six hired soldiers must defend the remaining personal under their protection. All hell breaks lose as the audience is witness to total warfare in an intense battle that lasts through the night. John Krasinski, James Badge Dale and Pablo Schreiber are three of the actors cast to play these brave men. Not household names but they do all look like professional military men, beefed up to provide imposing figures as they blast the enemy to 'kingdom come'. But they do exactly what they are being paid for, which seems to be a surprise to everybody.

'13 Hours' is great to watch, there is no doubting this and it builds up nicely to a climax that is full throttle action. The film will appeal to any blood thirsty action junkie wanting their adrenalin hit but where it seems to wane is the connection that the characters don't seem to have with the audience. It seems hard at times to really feel anything for the cast, with Bay preferring to focus on the heroic deeds of these contractors. They are heroic if this is indeed what went down on this very violent night but it may be a little too 'Team America' for some viewers.

Concussion (2015)

Concussion's not that bad.

[8/10 · 29 February 2016]

'Concussion' has not received the best write up. Not here or abroad but I would have to disagree with most and have to say that this film is very compelling even for those in the audience that don't fully understand the impact that contact sport has on the athlete. The amount of punishment that the average American NFL player has to contend with is astounding but not surprising with the ferocity of the collisions that are demonstrated out on the field, made even greater by the competitive glory that each athlete strives for. It's the same for the fighters inside the ring who put their bodies through so much all for the dream of seeing themselves crowned the 'greatest' ever. Unlike boxing which has had to contend with the controversy for years, light has only been shined on the affects of head injuries in American football and Rugby codes in the last decade. Men are men and they know what they are getting themselves into right? Maybe but what 'Concussion' has done is not destroy the image of these great sports but make aware to us all that these favoured past times do have their dangers and some of the greatest competitors to play the game have suffered because of them.

'Parkland' Director, Peter Landesman gets the job of telling this delicate story, more so for those that hold the NFL in high standing but becomes relevant for all those that participate in such full contact sports like Rugby Union and League where head injuries are just as serious. Landesman can also be credited for writing the provocative narrative. His story requires a fair bit of diplomacy and Landesman can be accused of playing it safe but there is no doubt he has successfully navigated through a sensitive issue, pointing the finger not at the game itself, rather the complacency and arrogance of the organisation that runs it. Putting it simply this story needed to be told and Landesman has created a cinematic environment that is both informative and emotional.

Dr. Bennet Omalu (Will Smith) is the hero of this story but it becomes apparent that he doesn't want to be. "I am the wrong person to of discovered this", but he provides the fighting voice that these supreme athletes needed to bring them the dignity they deserved in their final horrific years. Omalu's discovery comes in the saddest of circumstances when he performs the autopsy on Pittsburgh football great, Mike Webster, portrayed by an unrecognisable David Morse. Webster eventually died of a heart attack but not before experiencing some disturbing behaviour up until his death. After this shocking discovery, evidence points to more cases of severe brain damage in top line footballers that had made their name in the NFL. 'Concussion' becomes a David and Goliath battle as Bennet Omalu tries to expose the damage that repeated head trauma does to the average footballer. With the support of his superior, Dr. Cyril Wecht (Albert Brooks) and a former NFL team doctor, Dr. Julian Bailes (Alec Baldwin), the against the odds confrontation to force the powerful football league to be proactive about the dangers that lurk in their sport.

'Concussion' has the right balance of quality that helps make the film provocative watching. Will Smith provides a reliable and solid base for Landesman to build his production on. Smith's bona fide portrayal sets the tone for an intriguing film and with another strong performance by Alec Baldwin in a meaty supporting role, 'Concussion' has more going for it than just another sporting drama. It does inform and it does make aware what we have all known for so long. Repetitive head trauma can destroy an athletes health. 'Concussion' does come with an emotional presence that will leave the audience satisfied.

Deadpool (2016)

Deadcool!

[8/10 · 22 February 2016]

Crude, crass and controversial. Hilarious, creative, fresh and violent. 'Deadpool' goes to a place where other superhero films don't dare to go and the result is a total laugh-out-loud, beat-them-up calamity that sucks the audience right in and refuses to let go. It doesn't mind in the slightest to make fun of itself, relayed brilliantly through the anti-hero star of the show, Deadpool himself. It sarcastically points the finger at the whole Marvel superhero world but never forgets that it still must deliver the riotous impact that the viewer is expecting. Like many people, I had never heard of Deadpool and was unfamiliar with his whole world. Even with a cameo in the 'Wolverine Origins' film as motor mouth Wade Wilson, this off-the-wall character never made it in my comic book collection.

'Deadpool's' debut on the silver screen coincides with first time Director, Tim Miller's virgin feature and what a way to announce your arrival. There is nothing safe about Miller's production and with an R rating, it couldn't have been anything less. 'Deadpool' simply needed to be let loose to see where this outrageous character would take the whole film and right from the very first scene the audience will know that they are in for one hell of a ride. Rhett Reese, Paul Wernick and co had the very enviable task of being able to fabricate a narrative where the boundaries are not as constrained as its well known and famous rivals and the whole blasting spectacle benefits from the less conventional script.

For the first part of the film we are treated to a story that goes from the present back to the past and then returning to the explosive present until we have all caught up with the crazy, fast paced narrative (and able to suck in some much needed oxygen). Wade Wilson (Ryan Reynolds) is a mercenary of sorts. He makes his living as a thug and stand-over man for those that will pay the right sum. Wade is also a smartarse, quick witted and crude but then one evening he meets his match in the form of the very beautiful Vanessa (Morena Baccarin). She has the ability to in successfully dealing with Wade's ways resulting in an adventurous and active relationship. This all turns to sewerage when Wade is diagnosed with a terminal illness that directly leads him to becoming the anti-hero, Deadpool with the help of an experimental 'cure' that transforms him into an unstoppable force. There is a side effect that quickly becomes obvious leading to carnage as Deadpool, with the help of some minor X-men, goes about amusingly righting the wrongs that were thrust upon him by Ajax (Ed Skrein) and save the woman he loves.

Ryan Reynolds is the only actor that could convincingly play this character. He has experience in the super hero genre when he jumped the fence and rode into DC world to strut around in green as the Lantern but it just didn't work out. Not to worry, he is known for his outlandish behaviour but it does seem as if 'Deadpool' was in some way auspiciously written for him. Reynolds doesn't disappoint, completely immersing himself in this performance that can only result in this very funny, action packed production. Everyone else that appears along side Ryan is there for the benefit of Deadpool's hilarious nature but by no means out of place. The characters come and go but all play their part, each providing moments of R rated controversy that will leave the audience in stitches. The narrative is simple but it drives the 'merc with a mouth' on a riotous journey to seek out his vengeance in typical Ryan Reynolds style. It is his film and he grabs it with both hands and feet. But remember.......he isn't a hero.

Steve Jobs (2015)

A Flawed Genius?

[9/10 · 11 February 2016]

Steve Jobs. Flawed, controlling, narcissistic, and dare I say it......a sociopath. A genius, brilliant, driven and a man before his time. The bloke can be described in both ways but there is no doubt that he was one of the great achievers of his generation. His pursuit, vision and drive to succeed has resulted in some of the most unbelievable personal technology that humankind has come to know. Everywhere on the planet the undeniable legacy that Steve Jobs has left us all is evident. I-phones, I-pods, MacBooks and Apps are just a few of Jobs's iconic creations that are now a very big part of our daily lives. The man needed a film that could justify his existence and a performance from an actor that could be taken seriously. A Luke-warm production went down like a led balloon when it was released a few years back with the greatest error casting Ashton Kutcher in the lead role. Jobs is far too complex a character for a limited actor like Kutcher to give the role any real credibility so when a new and improved production was in the works there was some hesitation on my part to give it genuine thought.

Highly respected Director, Danny Boyle, is given the task of re-booting (no pun intended) Jobs' biopic. With productions such as the award winning 'Slumdog Millionaire' and the controversially brilliant 'Trainspotting', Boyle brings a fresh new look at the man that was at the forefront of personal technology at the beginning of the millennium. Based on Walter Issacson's non-fiction book and with a narrative written by the equally respected Aaron Sorkin, this new biographical story was always going to attract the very best talent and it has been claimed that Kate Winslet actually went after the role of Joanna Hoffman because of Boyle and Sorkin's involvement in the production. Boyle and Sorkin have given the audience more of a biopic of Steve Jobs soul rather than his life and it is this direction that immediately fixates the viewer and pulls them into the story.

The film is simply told in three parts, all of which revolve around a highly anticipated launch of one of Steve Jobs ground breaking technological inventions. Each launch focuses on the man's tortured mind, the darkness of his soul and the flaws in his personality. Michael Fassbender is magnificent as the very unlikable Jobs, expertly sliding into his role with all the creative talent of a seasoned professional. Without Fassbender's engrossing performance 'Steve Jobs' would have been just like its predecessor........an awful mess. He completely encases the spirit of Steve Jobs with all the complexities of the character. Although Jobs comes across as a demanding disliked sociopath, Fassbender is good enough to get an emotional response from the audience. "I'm just not well made." It's this comment to his daughter that thoroughly encapsulates this difficult man.

Kate Winslet is already receiving high praise for her role as Jobs long suffering right hand woman, Joanna Hoffman. There is very little that Winslet can't do and she again attacks this outstanding role like it was her very first. Jeff Daniels is returning to grittier roles and puts in a solid effort as the Chairman of Apple, John Sculley but the biggest surprise comes from Seth Rogan in his role as Steve Wozniak. Rogan knows he can't match it with Fassbender and doesn't have to with his appearances well timed and full of quality.

'Steve Jobs' may not be factually correct and fails to tell the complete tale of this iconic man but it goes right to the heart of Jobs' soul and the result is a tremendously layered narrative of how and why this man worked the way he worked. Jobs' relationship with the people that were closest to him are put right out on display for the viewer to consume and it is up to the individual on how they receive such a film.

Spotlight (I) (2015)

Catholic Church in the Spotlight.

[9/10 · 3 February 2016]

Relevant, powerful and astonishing. Shocking, criminal and true. These are the only words to describe this film as it has literally put the 'spotlight' on the systematic cover-up by the Catholic Church of mass molestation and sexual assault acts performed by the priests in the Boston archdiocese that were trusted in the communities they represented. These 'men of God' preyed on the weak and vulnerable for years and the most powerful religious sect in the world did nothing but sweep it under the proverbial carpet. 'Spotlight's' dramatic importance has immediately drawn the attention of film lovers who crave a riveting production that dives deep into a very real circumstance that has impacted every corner of the globe.

Tom McCarthy could not have been at the helm of a better film and what he has been able to achieve in terms of wrestling the attentions of the audience is worthy of the highest praise. McCarthy, along with Josh Singer have written a gritty story that pulls no punches and it isn't afraid to get right into the heart of the required subject. For 'Spotlight' to have been received by the critics as well as it has it had to stride unapologetically into this unbelievable and sordid affair. It needed to expose the sensitive and controversial information that some people may find confronting but in the context of this outstanding production, absolutely essential. It destroyed lives and revealed the blatant arrogance of this pious organisation.

The all star cast jumps right out at you even before the opening scenes are shot up onto the screen. Based on true events, 'Spotlight' pushes all the right buttons from the beginning. As the name implies, 'Spotlight' refers to the investigative journalism team who report for the Boston Globe newspaper. They are thorough, relentless and will stop at nothing to expose headline stories that affect the everyday lives of normal American's. When the new editor, Marty Baron (Liev Schreiber), drops a potentially explosive story in the lap of Spotlight chief, Walter Robinson (Michael Keaton), about allegations of sexual abuse involving the Catholic Church, Robinson and his loyal crew go about uncovering one of the greatest criminal cover-ups in human history. The deeper their investigation goes the more sadistic and shocking the outcome becomes. Fingers are pointed, people are accused and the list of clergy involved becomes larger and larger. The whole situation ceases to become a Boston problem and grows to a worldwide exposure. Rachel McAdams and Mark Ruffalo are part of the investigative team as young committed journalists Sacha Pfeiffer and Mike Rezendes respectively. McAdams performance is award worthy and Ruffalo is fully engaged in a role that matches his talents. Michael Keaton has found his niche in Hollywood as a sort after mentor showcasing another strong performance as the tenacious and hard hitting Robinson. The real 'cherry' in the cast is the presence of the magnificent Stanley Tucci as Mitchell Garabedian who represents the victims in the whole saga. Tucci adds the class that takes 'Spotlight' to another level with an engrossingly accomplished performance.

This is the best journalistic drama since 1976's 'All the President's Men'. Tom McCarthy has centred his narrative within the confines of the Boston Globe's newsroom as it should have been. 'Spotlight' doesn't shy away from the true nature of newspaper drama and the audience benefits from such an authentic setting. Top shelf acting from some of the very best young talent sparks the fire that captivates the viewer. Throw in some true icons in Keaton and Tucci and 'Spotlight' has the perfect balance. This film will be classified as the very best in its category and has set a benchmark in terms of confronting realism. Sit back and enjoy.

The Hateful Eight (2015)

You Can't Hate This Eight.

[9/10 · 29 January 2016]

Quentin Tarantino is back with his eighth film and his second foray into the world of the western with his typically familiar dialogue driving this thrilling whodunit of sorts, backed up by a score that takes the audience on a time warp to the yesteryear of cinema. To put it simply, this is as good a Quentin Tarantino film as any before it, with every little detail carefully included into the whole spectacle, creating an event for the audience that is both fun and special. I got an awesome surprise when my flatmate came back from Bali with a copy of 'The Hateful Eight', but immediately coming to the conclusion that it was going to be poor quality. I readied myself for a viewing in the traditional manner but with the DVD's quality top shelf I settled in for an afternoon on the couch to witness the three hour extravaganza.

Growing up with Tarantino, his films have become a voice for the X Generation. His way of presenting his work to the audience personifies 'cool', fabricating many memorable scenes that have stayed with all of us throughout our lives. The narratives that have been the linchpin of some truly special movies still submit a strong voice and there isn't a day that goes by without somebody in the big wide world mentioning a Tarantino moment. The great thing about all this is that the iconic Director doesn't seem to be slowing down anytime soon. Why would you when you have been at the helm of classics like "Pulp Fiction" and "Jackie Brown" that are now well entrenched in Hollywood folklore and the more recent productions, "Inglorious Basterds" and "Django Unchained", considered to be his best work.

'The Hateful Eight' is a risky film for Tarantino. He has taken a step into a genre that is a little unfamiliar but with perseverance, simplicity and rising to the challenge, this new installment under the Tarantino banner has just as many memorable moments as the films that have come before it.

'The Hateful Eight' signals its arrival with an eerily sombre score from legendary spaghetti western composer, Ennio Morricone, highlighting the Director's obvious pulling power when it comes to employing the very best. The industry want to work with him and want to be apart of the whole set-up.

Set in a very bitter Wyoming winter just after the American Civil War, a stagecoach is hurling itself through the snow before it is stopped by a bounty hunter going by the name of Major Marquis Warren (Samuel L. Jackson). "Got room for one more?" And so it begins with the audience quickly introduced to John 'The Hangman' Ruth (Kurt Russell) and his vicious little prisoner, Daisy Domergue (Jennifer Jason Leigh), with the famous Tarantino banter immediately coming hard and fast. The three actors have fun dishing out the dialogue with Quentin's main man, Sammy L, letting loose to give his character the authentic charm that it commands. Jackson is made for these flavoursome productions and it is his presence that the other talent feed off. Kurt Russell is amusingly brilliant but little Jennifer provides the biggest punch as the very 'polite' Domergue. Ninety percent of the film is shot entirely in a cabin in the middle of nowhere but it provides the perfect backdrop for what unfolds. It is the ultimate showdown for Tarantino's vast array of suspect characters and it provides sparkling and amusing entertainment. Tim Roth and Michael Madsen return to the world of 'cool' playing suspicious men, Oswaldo Mobray and Joe Gage respectively, with Roth particularly watchable, throwing himself into his role. Cameo appearances by 'old timer' Bruce Dern and Channing Tatum round off the star quality but like all of Tarantino films, 'The Hateful Eight's' greatest achievement doesn't lie in the narratives plot; no, no, no. It's the glorious ride that the audience endues. It's the interaction between the awesomely crafted characters that brings the punters to the box office.

'The Hateful Eight' is great viewing. It is quintessentially Tarantino but to some fans it may not be the right fit for their expectations. The film burns slow but with a little patience it does provide the usual violence and gore that we have come to know from a film of this calibre. Look for a wonderful little rendition of an old convict ballad by Daisy Domergue that only heightens my suspicion that the Director is mad about everything Australian. This is a mature film for a mature audience.

The Big Short (2015)

You Gotta Hate the Banks

[8/10 · 19 January 2016]

I know what I was watching was an original, cynical look at America's financial institutions criminally fraudulent rip off of the public but I was still left a little perplexed at the films end. Outstandingly directed, authentically written and superbly acted, there is no doubt that 'The Big Short' is worthy of the high praise that it has been receiving from the voices that matter. Perhaps I went into the cinema with my mind already made up that I was going to find it difficult to enjoy this film so I have made the mistake of not fully engaging properly with the narrative. As good as the movie is, it is a lot to take in when your only knowledge of the banking system is casually walking up to the ATM and expecting it to spew out its precious contents. It does though, highlight the unbelievable turn of events that brought down the American economy that resulted in the Global Financial Crisis in the first decade of this century.

The story is told through the eyes of a selection of financial 'experts' and how at different times, predicted the credit crisis and the downfall of the American economy. It's another who's who of Hollywood that sensationally entertain us with outstanding performances from each of the big name cast members. Steve Carrell is the standout as a man on the edge. His character, Mark Baum, is genuinely disgusted by what is unraveling before his eyes and cannot fathom that such banking fraud could actually happen. Christian Bale puts in another thoroughly professional performance as the eccentric Michael Burry who seems to of been the first person to indicate that a catastrophic financial fall is imminent. This all leads to the systematic betting against the banks. Throw in Ryan Gosling's zealous appearance and Brad Pitt's subdued role and it becomes a highly watchable film. Each character takes advantage of their foresight and goes about exploiting the banking institutions overconfidence. It's just great to see somebody take on the greed that motivates the system.

Well known comedy film Director, Adam McKay (Anchorman 2), has lent his expertise to a script that amusingly and sarcastically points the finger at everything that was wrong with America and perhaps the world at the time of the financial meltdown. It's the perfect ploy for such a production that's main content is still very raw in the minds of all those that have been affected; turn something that has been described as "the crime of the century" and retell the story to the masses but with a resounding cynical twist. Highlight what went wrong, who was to blame and then show the audience just how amusingly criminal it all was. McKay with the help of Charles Randolph have uniquely devised a narrative, chock full of linguistic dialogue that will most scratching their heads at what is being said but knowing that this could bore the average viewer, both writers have originated a simple way to breakdown the Wall Street 'lingo'.

Somebody like me may need to see 'The Big Short' a second time to get the full value of this uniquely told film. It does't take a genius to know you are witnessing a good bit of cinema. It is craftily written and fabulously directed, allowing us all to take a look back at our recent past, learn from the mistakes and come to terms with what really happened in the build up to the GFC.

The Revenant (I) (2015)

The Perfect Epic.

[10/10 · 13 January 2016]

'The Revenant' is a rare, perfect feature epic that is a must see for all those film buffs that yearn for a movie where the experience becomes an event. Films such as this are just not made, simply put in the 'too hard' basket because of the dedication that is required to pull off such a cinematic production. Only the very best in their chosen field can give such a story any justice and for once, Hollywood have got it right. So right in fact, that when I entered the theatre, I wasn't sure if I really wanted to be there. I was afraid that such a production wouldn't live up to my expectations but after the violent and intense opening scenes, my anxiety was quickly put to rest. I knew this was going to be an epic event and judging by the resounding silence by the audience, they knew it as well. Everyone had forgotten that they were cradling popcorn or holding their coke. All eyes were riveted to the screen and that is where they stayed for the rest of the movie.

Alejandro Gonzalez Inarritu is a modern day genius. His sublime vision as a Director could only have resulted in this masterpiece that will long be remembered as one of the great visceral narratives of all time. The commitment, the detail, the patience and the confronting realism that it took to bring 'The Revenant' to life is a minor miracle in itself. What Inarritu keeps doing as a Director is his obvious ability to take mammoth risks not for his own glory but to genuinely give the audience a film that they will remember. His use of natural light compliments the vastness of the environment that he places this story in, so much so, that 'The Revenant's' spectacular backdrop is undoubtedly an extra cast member. The whole spectacle of Inarritu's film is breathless.

Partly based on Michael Punke's book, the audience is immediately thrust into nineteenth century America, where the frontier is wild and dangerous to say the least. Legendary Explorer, Hugh Glass (Leonardo Di Caprio), leads a party of fur trappers into the unknown so they can go about their business of stripping the hides off the local wildlife. It isn't long before they are all set upon by native Pawnee Indians and a brutal and bloody clash ensues. With an intense and hasty retreat, the expedition finds themselves at the mercy of the harsh frontier environment. With the Pawnee closing in on their trail, the men must walk out of the wilderness on foot. Glass is ferociously attacked by a bear that leaves him within a half breath of his life. To make matters worse, the men desert him, leaving just his half breed son, Hawk (Forrest Goodluck), a young trapper named Bridger (Will Poulter) and the dangerous and conniving John Fitzgerald to look after him. Fitzgerald takes matters into his own hands and leaves Glass for dead, disposing of his son before fleeing with Bridger in toe. What results is an incredible tale of survival and revenge against insurmountable odds and a journey into the very depths of one man's soul as he fights his way out of the shadows and into the very personal realm of vengeance.

Leonardo Di Caprio is mesmerising as he fabricates one of the greatest performances ever seen on film. His involvement in the bear attack is worth the price of admission on its own. The reality of this murderous attack is extremely confronting but lays the platform for this extraordinary man's quest to live at all costs. Di Caprio has been at the top of his game for a while now but his complete transformation as Hugh Glass will long go down in cinematic history. The man is on another level and if he is not recognised by the Academy for this performance then it will be a travesty. Tom Hardy is the perfect adversary to Di Caprio's Glass. Fitzgerald is a sinister character where money is his only motive and Hardy plays him to perfection with his mumbling delivery of the dialogue only adding to the suspense. Tom is not afraid to explore his dark side and there is no doubt that he does this so well.

'The Revenant' is a must see film. Such a movie comes along once in a generation and it will be some time before we see anything remotely like this production. It is violent in parts and the reality of the story is confronting for the audience as we watch Glass fight and struggle to survive. But it is worth it.

Point Break (2015)

Point Less.

[5/10 · 2 January 2016]

The first mistake in the recreation of 'Point Break' is the startling realisation that Hollywood actually thought it was a good idea for a remake to be produced. Surely these fools have enough original material to stay away from projects like this. The second mistake is the absurd amount of money committed to the production of this bland, eco-environmental crime thriller, if in fact that is what it can actually be called. In saying this though, the cinema was at capacity for the reinvention of Kathryn Bigelow's original edgy crime thriller that quickly became a cult classic upon its release back in 1991. Most of the audience were there on the pretense that they were about to witness a crafty update packed with plenty of glorious thrilling action. What you actually get is a misguided film that preaches its obvious left wing message and forgets to develop any bona fide relationships between the cast. As one women stated as we were all leaving the theatre, "I almost fell asleep".

Let me start with what was right with the film. There is no doubt that the incredible locations used as a driving force to create an authentic sense of extreme, is a total eye opener. This is where the greatest slice of the reported $105 million budget has gone to. It's a National Geographics where's where of tremendous locations, showcasing the wonderfully powerful forces that mother nature has at her disposal. The audience is treated to mammoth middle ocean surf breaks, stunning scenes of snow covered mountains, and superbly scaled shots of cliff faces rising out from South American jungles. The film is NOT a wildlife documentary and this is where Director, Ericson Core, has failed in his attempt to deliver a production that has any connection with the audience. Core has been too busy in his persistence for shooting the impossibly outrageous stunts than trying to develop a consuming story. Kurt Wimmer's screenplay is not totally weak, doing its best in inviting the audience into the narrative but it just isn't strong enough to balance out the blatant overuse of the death defying skills. Unfortunately 'Point Break' just cannot make it past the first twenty minutes before you realise that this is as good as it gets.

Core's 'Point Break' focuses on the world of extreme sports. Motor Cross daredevil, Utah (Luke Bracy) joins the FBI after a tragic accident sees him walk away from the sport that he loves. He is recruited by his instructor, Hall (Delroy Lindo) to infiltrate the world he once belonged to. His task is to identify and investigate a gang of extreme athletes that have been responsible for some truly impossible heists that has resulted in the loss of billions of dollars. This crime gang has disrupted major American interests but any attempts to catch these fearless criminals has proved fruitless. In his investigation, Utah comes across a man of interest who goes by the name of Bodhi (Edgar Ramirez). Like Utah, Bodhi is highly skilled in all things dangerous and it isn't long before the two form an unusual bond. The young Fed becomes fixated on Bodhi and his crew and when their plans are revealed, Utah must choose between the life he once knew and the life that he wishes to pursue.

Along for this pointless ride is Ray Winstone as Pappas, Utah's handler while he is on assignment but it becomes obviously apparent that Winstone seems out of place in the whole context of the story. He just doesn't need to be there. Even more confusing is the role that Teresa Palmer plays. She is Utah's love interest, Samsara, but all she seems to be is a stoned hippi who has been carelessly written into the script. While the cast have tried their best to engage with their characters, none seem to have any special attachment to the other. For 'Point Break' to seize the attention of the audience, Bracey and Ramirez needed a certain chemistry to give the film an authentic feel. It all seemed too laboured. It lacked the star power of a Swayze or a Reeves to navigate the narrative through the feeble dialogue.

The remake of 'Point Break' didn't need to happen. If you plan to see this film based on the presumption that it could be a riveting criminal action film you will be disappointed. The stunts are spectacular and the locations are worth a look but a good reinvention it is not.

Daddy's Home (2015)

Ferrell versus Wahlberg!

[8/10 · 27 December 2015]

Everybody loves a good laugh, but what makes us burst out into shrieks of delight is purely in the eye of the beholder. Some people still find Adam Sandler funny (and relevant)while others find the rebooted canned laughter of early eighties slapstick comedy the right fit for their sense of humour. It is all about taste and what one actually finds amusing. I find Will Ferrell amusing and when he teams up with Marky Mark Wahlberg, then what you have are a couple of "goofs" that can actually make people laugh. They are opposite in every way and because of this extreme difference, their personalities just seem to gel.

Director, Sean Anders (We're the Miller's) has reunited Ferrell and Wahlberg for the first time since their maiden outing together in the goofed up comedy, 'The Other Guys'. Surprisingly, that film worked with a collection of the most bizarre casting coming together to produce a funny cinematic experience. 'Daddy's Home has created a similar feeling with plenty of riotous events that will leave you with no other choice but to laugh out loud before choking on a mouthful of popcorn. Brian Burns screenplay is nothing spectacular but it doesn't have to be as Ferrell revels in the moment, delivering his trademark idiosyncratic 'fruitcake' performance. The funny man is constantly on the receiving end of Wahlberg's macho act but it sets the tone for some memorable events. Ferrell's films are predictable but he does them so well that the fans keep coming back for more. Marky Mark is proving versatile and isn't afraid of fabricating his own style. He is comfortable in allowing Ferrell to take the lead and then with all the smoothness of a newborn babies bum, slides into his role, bouncing off the comedic turn of big Willy's antics.

As the title refers, 'Daddy's Home' is primarily about fatherhood. Ferrell is the Step-dad, Brad Whitaker, who has longed to be a dad but because of an unfortunate incident, can no longer father his own. He gets his opportunity when he marries Sara (Linda Cardellini), a sheer beauty who has two children from a previous relationship. Ferrell's dopey, almost juvenile approach to his two step-children fuels the laughs from the very beginning. He is a man that loves his role and even in the face of adversity he enthusiastically launches himself into the children's lives. Brad's world is threatened when the irresponsible biological father makes a visit. Dusty Mayron (Mark Wahlberg) is everything Brad is not. In a simple word, the man is cool. He is popular with everybody and can do pretty much anything.

What follows is a riotous narrative of Step-dad versus dad as both Brad and Dusty go to great lengths to out do each other for the admiration of their children. There are some truly gut busting moments and throw in the dry humour of Thomas Haden Church as Leo Holt, adds flavour to an already delicious pie. A real standout are the well timed comments of Hannibal Buress whose presence is hard to ignore. His character, Griff, is likable from the very first appearance. Griff's relationship with both Brad and Dusty are priceless and commands the audiences attention whenever he is on the screen.

'Daddy's Home' does exactly what it was supposed to do and that was to make people laugh. Director, Sean Anders has delivered a thoroughly amusing film that allows its cast (especially Ferrell) to do their stuff. Relax and enjoy it. You will be rewarded.

Star Wars: Episode VII - The Force Awakens (2015)

The Force has Awoken in me.

[8/10 · 23 December 2015]

It's an awesome time to be alive when your life co-exists at a time when 'Star Wars' ruled the cinema screens. This is the film I was looking for. Being reunited with some old friends brought a nostalgic smile to my face as I returned to a time long ago, in a galaxy far, far away. It was simply coming home for this 'Star Wars' fanatic. Before I even thought about reviewing this latest installment, 'The Force Awakens', I had to see a viewing not once but twice. The first was out of pure excitement and after allowing my brain to process what I had just seen, I took a quick trip to the local cinema and relive the magic all over again.

J.J. Abrams has to be commended for taking on this massive task. The self confessed fan knows exactly what 'Star Wars' means to the countless souls throughout the world but in saying this, the man is a professional and does get paid the big bucks. What Abrams has done well is instantly transporting the audience back to galactic worlds where the forces of good and evil are played out in an eternal struggle for supremacy. Against the backdrop of wonderful galactic arenas and timeless characters it doesn't take long for the audience to know that they are watching something uniquely 'Star Wars'. J.J has introduced new characters to drive the fresh direction of the space saga but is still respectful of the past by casting familiar faces that have made the 'Star Wars' epic so special. Abrams experience with the rebooted 'Star Trek' series has given him the knowledge and wisdom to recreate an epic universe and recognise the importance of George Lucas's story.

'The Force Awakens' begins thirty years after the events of 'Return of the Jedi'. A map containing the whereabouts of the legendary Jedi Knight, Luke Skywalker (Mark Hamill), is placed into a BB8 droid by a resistance fighter named Poe Dameron (Oscar Issacs) before he is captured by the New Order led by the evil Kylo Ren (Adam Driver) who possesses the power of the force. And so the episode begins and it isn't long before we are introduced to Finn (John Boyega) and Rey (Daisy Ridley) who cross paths with each other on the junkyard planet of Jakku. They are forced to escape the planet with the BB8 droid after being tracked by the enemy and it is here that they fortuitously run into Han Solo (Harrison Ford) and Chewbacca (Peter Mayhew). Together, they all set about returning the droid back to the Resistance before the New Order can intercept them. The Millennium Falcon races across the galaxy where General Leia Organa (Carrie Fisher) awaits the precious cargo. Absolutely brilliant stuff!

The new cast of Ridley, Boyega, Issacs and Driver drive this new trilogy for a new generation. Each have created their own piece of history in the 'Star Wars' saga and need to continue to grow in the roles that they have created just as the original cast did before them. Daisy Ridley looks very comfortable in her starring role and doesn't seem overwhelmed by the magnitude of the narrative. Ridley works well with John Boyega with each increasingly familiar in the others presence. Harrison Ford is prominent throughout the film as his timeless character, Han Solo, effortlessly engaging with the younger cast members. Han's relationship with his lifelong mate, Chewbacca, oozes charm and is worth the price of admission alone. They truly are two of the greatest characters ever to grace the cinematic screen.

J.J. Abrams has delivered an engrossing space fantasy that will satisfy the fans who have waited for the magic to one day return. He has been respectful to George Lucas's story but has had enough vision to open up avenues that the rest of the trilogy must explore. With the baton being past to a new Director for the next installment, the final trilogy has the potential for greatness. It is calling to us all.

In the Heart of the Sea (2015)

A Very Angry Whale.

[7/10 · 7 December 2015]

'Moby Dick' is the well known adventure of a whaling ship and its crew, relentlessly hunting the legendary white whale that had been a proverbial thorn in any whaling expedition. But before Herman Melville wrote his most famous piece of work in 1850, the American author had received the inspiration for his classic from a real life whaling expedition thirty years prior. The true story of the Essex and its crew reverberated around the world and had the potential to destroy the whale oil industry at a time when the precious commodity was the 'electricity' of the day. Its use in everyday life was common and was the main source of heat and lighting in the nineteenth century. The hunt for the rich oil saw large numbers of whaling ships spending years at a time out at sea so the bright lights of towns and cities could burn before the introduction of electricity. How far we have all come, even from the recent past.

Ron Howard has always been a bankable Director. He has been at the helm of some truly delightful films in recent memory and has rarely provided the audience with a bad experience. His solid wisdom has enabled him to deliver a film that is concrete without being spectacular. Charles Leavitt's screenplay shadows that of the direction; it provides the opportunity for deep dialogue without ever pushing the boundaries of its cast, leaving the best performance to a CGI generated whale. Howard has been able to create an authentic nineteenth century atmosphere, with rich scenes full of all the wonderment's of a by-gone era but the film on a whole seems to lack an emotional impact that Herman Melville's story was able to achieve. 'Moby Dick' seemed to have an excitable expectation about it where as 'In the Heart of the Sea' failed to deliver any really memorable moments. This is not to say that Ron Howard's film is not watchable, it just has been unable to conjure up anything new.

The narrative focuses on the booming whaling industry out of Nantucket and its heavy reliance on whale oil to provide the energy that society needs to live through their everyday lives. The whaling ship 'Essex' is the pride of the fleet and has been commissioned for a new expedition for the growing need of the priceless liquid. The story is told through the eyes of Thomas Nickerson (Brendan Gleeson), who is the last survivor of the fateful adventure that took place thirty years before. His narration is for the benefit of Herman Melville (Ben Whishaw) who is compelled to write about the story. Nickerson centres his narration around Owen Chase (Chris Hemsworth), the second in command of the Essex and a man that was born to be a whale-man. Chase is respected by his crew and is good enough to be the Captain in his own right but lacks the heritage to demand such a post. George Pollard (Benjamin Walker) is given the task of commanding the Essex and it isn't long before his personality clashes with that of Chase.

Through heavy storms, potential mutiny and misdirection, the Essex and its crew struggle to make the quota of three thousand barrels of oil needed for a successful voyage. With hope quickly turning to doubt, morale is boosted with a story of infinite whale sighting's a thousand miles from land and the chance for the crew to meet the demands of their employers. once the Essex reaches its location they are confronted by a monster that they have never encountered before; a sperm whale with white markings that is one hundred feet long and full of vengeance. It doesn't take a genius to know what happens next but the aftermath leaves both Pollard and Chase with memories that changes the course of their lives.

This is the whales film and the gigantic beast's on screen presence is what the audience wants to see. He makes an absolute mess of the Essex and hauntingly stalks the survivors as they float in small boats in the vastness of the Pacific knowing that they are all at the whale's mercy.

Brendan Gleeson is always good to watch and puts in a solid performance as the older Thomas Nickerson. Ben Whishaw is a star of the future and does credit to his role in a safe performance as the famous Melville. Chris Hemsworth is trying to spread his acting wings by expanding his appeal to the powers that be. The big Aussie hunk is doing his best to become a bankable leading man but the jury is still out as to whether he has the screen presence to successfully become the film star that we all want him to be. He can act but I feel at times that he is left behind by more accomplished craftsmen.

'In the Heart of the Sea' is a curious film. See it once and enjoy what it has to offer but 'Moby Dick' it ain't. The audience does get an insight into the extremities of an industry that was once the life blood of human civilisation. There is a scene that could be confronting to those viewers with a weak stomach as the Essex crew go about extracting the oil from the harmless beasts of the ocean but luckily this is only seen once although vital in the context of the narrative.

Creed (II) (2015)

Creed is a Champ.

[8/10 · 28 November 2015]

Welcome back Rocky! I have missed you, or at least a 'Rocky' film worth watching. Not since the Italian Stallion's second outing has Rocky Balboa been so believable and authentic. 'Creed' quickly circulated around my eardrums with whispers of an intending release and my first thought was, "oh no, not another one". How far can this story stretch? How much more can Sly honestly show us? It was all becoming a little tiresome as we watched Rocky fumble his way through sequel after diabolical sequel so Stallone could relive past glories and have one more moment in the sun. If there was ever going to be another film in this franchise, Sylvester Stallone was going to have to take a back seat and pass the baton on to someone else so as Rocky could take a fresh direction.

'Creed' has demonstrated the importance of allowing others the chance to inject new and innovating ideas into a much loved character. The very impressive Ryan Cooglar is the young Director given the important role of reinvigorating a franchise that had been on life support. He has been wise enough to continue with a simple formulaic story knowing that there is only so much a film like this can achieve. He fits a solid narrative perfectly in its boundaries but with enough room for the story too find an emotion edge and performances from talent that is well above par. Aaron Covington's screenplay provides well balanced dialogue superbly performed by the characters that matter.

Michael B. Jordan plays the title role (Creed), Adonis Johnson, who just happens to be the illegitimate son of Rocky's great rival, Apollo Creed. Johnson is a young man that holds a hidden rage and resentment that he can no longer ignore. He is tormented by his famous fathers legacy and seeks out the one man that can train him to fight for the world championship, Rocky Balboa (Sylvester Stallone). Balboa's initial reluctance does not dampen the young Johnson's desire and it isn't long before Rocky is drawn to the son of his great friend. Johnson has the fight of his life become a reality when a deal is made for him to fight the undefeated champion, 'Pretty' Ricky Conlon (Tony Bellew). Adonis is soon humbled by Rocky's untimely illness that threatens to derail any genuine chance that the young challenger might of had.

Jordan is the perfect choice as Adonis Johnson. His presence is hard to dislike and gives an easy, natural performance in front of the camera that will see his star quickly rise. Jordan's chemistry with Stallone was always going to make or break the outcome of this film but both actors look comfortable moving around each other as if they had been making movies together for decades. This is Stallone's best performance of his career and just might the tough guy an 'Oscar' for his trouble. Yes it is that good. With a script that demanded a quality showing, Sly gives his heart and soul to a performance that oozed character and filled the cinema with emotion. Rocky looked comfortable taking a step back from the young Adonis confirming that it was the right decision by Stallone to just melt into his signature character without the burden of writing and directing.

Tessa Thompson plays Adonis Johnson's love interest, Bianca, and her presence doesn't get in the way of the solid story. Bianca provides a calm voice of reason to a youthful boxer that is boiling under the surface.

What we have here is a very good film that can be considered in the same league as the original. With a beautifully shot background of modern day Philadelphia, 'Creed' gives the chance for a new generation to experience the iconic Rocky legend and the motivating themes about rising up to meet the challenge of our greatest rival.....ourselves. Career best performances by Jordan and Stallone adds charm to a film that provides many satisfying moments.

Secret in Their Eyes (2015)

Not a thrilling secret.

[6/10 · 24 November 2015]

Hollywood has done it again! They have taken a successful and well made foreign film and produced a second rate theatrical release that has failed to create an impact that would be considered worthy of being mentioned in the same breathe as the original. The only thing that has saved Director Billy Ray's remake is the wealth of talent that he has been able to bring along for the ride. With a cast of prominent Oscar winners involved, 'Secret in their Eyes' should have been much more than what it ended up being - a struggling thriller that failed to boil.

I must admit that I am not familiar with the 2009 release of the Argentinian Oscar winning film, 'El secreto de sus ojos' so it would be unfair of me to directly compare the two but by all reports it is a thoroughly recommended thriller worthy of the accolades that it received at the time of its release. Because of its undoubted success, the wise and powerful elite from Movieland, felt compelled to make an English version that has been rewritten for the mass market but has forgotten one important lesson; big names doesn't mean great chemistry. In saying this though, the names of Roberts and Kidman do get the average punter to the box office and into the cinema. With very little time spent on marketing, a film like this is going to rely on the talent at hand but also must live up to expectations put upon it. Sadly it just lacked the atmosphere that puts the audience into a suspended trance whilst being on the edge of their seat.

'Secret in their Eyes' centres around a trio of characters that have their lives changed forever following a harrowing crime. Ray (Chiwetel Ejiofor) and Jess (Julia Roberts) are young investigators attached to an FBI task force based in Los Angeles not long after the tragic events of 9/11. Their main purpose is to weed out any threats of terrorism that might have a detrimental effect on the citizens of the city. Ray and Jess along with the rest of the task force have been focusing on a mosque that could be harbouring such extremist cells. The new assistant to the District Attorney, Claire (Nicole Kidman) has caught the eye of Ray and a very confusing courtship follows until an unforgettable incident happens in a garage next to the mosque that they have all been investigating. Thirteen years pass and the trio of Ray, Jess and Claire are reunited. Ray is now in private security, Jess is still with the Fed's and Claire is now the District Attorney of L.A. The events of the past have haunted all three but with Ray's determination, he relentlessly pursues the case that had such a disastrous affect on him personally, hoping for justice and to right the wrongs of the past.

'Secret in their Eyes' had such potential but it was let down by a story that cannot keep a constant flow. The narrative keeps moving back and forth from the past to the present without building any real tension. Billy Ray gives the audience too much credit in thinking that they are following the events presented to them and on many occasions you could be forgiven for being confused about which time line the film is actually in.

Roberts and Ejiofor are quite brilliant in their delivery of characters that are torn apart by a tragic event. Both are thoroughly convincing in their roles, fully engaged and manage to give the film some aspect of authenticity. It just goes to show how good these two actors really are. They are able to bring a solid performance to a narrative that lacks any evidence of a 'wow factor'. Unfortunately, Nicole Kidman cannot enjoy the same positive review for her performance. This is an actor that for too long has been over rated and her lack of skill and emotion comes to the surface alongside two outstanding craftspeople. Kidman struggles to look real. Her presence doesn't have any genuine warmth about it, and because of this, many scenes involving her character do seem a little overworked. Her relationship with Ejiofor's character, Ray, was supposed to create an atmosphere that would compliment the film on a whole. Instead, Ray and Claire seemed lifeless together and the courtship quickly became unrealistic.

All in all, 'Secret in their Eyes' is average without being anything special. Argentina's 'El secreto de sus ojos' will feel safe in knowing that it is by far the more superior version. Billy Ray's film simply is void of thrills and chemistry and without them the film suffers to find a pulse. At 111 minutes, viewers will be glad that it doesn't drag on more than it has to but if you want to see how brilliant actors are able to deliver rousing performances on a less than thrilling script then 'Secret in their Eyes' could be a fine example.

Spectre (I) (2015)

Spectrecular!

[9/10 · 18 November 2015]

With an excitable audience chirping away to each other inside the cinema, I too felt exhilarated as I rubbed my hands together with admirable expectation at the impending prospect of viewing the return of Britain's favourite secret agent, James Bond. From his very first outing in 'Dr No', I have been intrigued by the man with the License to Kill. I have felt jealousy over the beautiful women, captivated by the exotic locations and enjoyed the thrill and danger of his missions. I have watched the villains in all the glory and have been amused by the flamboyant dialogue. What I have truly come to appreciate about a Bond film is that the series has evolved into an event. Whether it is Connery, Craig or Lazemby, Moore, Brosnan or Dalton; each has been involved in the hype surrounding a blockbuster release, each has brought their own interpretation to the famous role and each have become superstars because of it. James Bond is the character that we all want to be.

Daniel Craig returns as 007 in this new addition to the Bond franchise and 'Spectre' fits nicely into the top pantheon of Bond releases. The rebooted series has provided a new generation to connect deeper with the famous spy and Daniel Craig is the perfect actor to deliver a well rounded assassin for the 21st Century. Craig's portrayal of Bond has given the audience a glimpse into a man that become too one dimensional. Bond is now a man that is haunted by his occupation, vulnerable in a world of danger and voluntarily cold in his emotion. It is played out to perfection by Craig.

007 is now hot on the trail of a mysterious organisation that goes by the name of SPECTRE and the deeper he goes, the more sinister his mission becomes. Bond travels to all corners of the globe to seek the truth behind SPECTRE and its connection to his past. Along the way Bond has his predicted 'dance' with the beautiful Lucia Sciarra (Monica Bellucci) and gets involved with a fellow assassin's daughter, Madeleine Swann (Lea Seydoux). Christoph Waltz has scored the plum role as Bond's infamous nemesis, Ernst Stavro Blofeld and delivers a cold, emotionless portrayal as SPECTRE'S main man. His almost arrogant delivery of dialogue creates a sociopathic villain who knows he has the power to manipulate anything.

On the home front, M (Ralph Fiennes) is in a battle of his own in convincing the powers that be, that MI6 and the 00's for that matter, are still relevant in the present international climate. Along with Moneypenny (Naomie Harris) and Q (Ben Whishaw), M gets his hands dirty to uncover the truth about a new privately owned security network.

With layer upon layer of fantastic narrative, the story twist and turns through an array of helicopter scuffles, aeroplane sequences, car chases, hand to hand combat, explosions and torture. A wonderfully devious role played by Dave Bautista as Mr. Hinx as the old style villainous muscle, adds another dimension to a film that is jam packed full of extraordinary 'Bondisms'. Mr. Hinx relentlessly tracks after Bond with a superb climax unavoidable when the two eventually come face to face. Brilliant stuff.

'Spectre' has everything for the Bond fanatics with Daniel Craig throwing all he has into the role. He is truly superb as the famous spy and will be hard to replace. At 148 minutes it is the longest Bond film ever made but Director Sam Mendes has not let his audience down with action sequence after action sequence the order of the day. Their are periods of down time to let the viewer breathe but this is only to grow the story and it isn't long before another high voltage scene sprawls out across the screen. You will enjoy.

No Escape (I) (2015)

An Old Fashioned Action Thriller.

[8/10 · 6 November 2015]

With a very limited release and bad reviews, I wasn't expecting anything outstanding from this film. It took some intense and considerable research to find a screening of 'No Escape' and once I arrived, the box office didn't even know about the movie when I asked for a ticket. "You want a ticket to what???", said the young fella behind the counter. My worst fears were on the brink of being realised and after a moment of doubt, I came to the understanding that I was about to watch a car wreck. I sat down to an empty cinema, tried to relax and waited for the catastrophic film to unravel in front of me.

'No Escape' shocked me. It was no car wreck. 'No Escape' is a good old fashioned action thriller that moves along at a rapid pace, not allowing the audience a chance to catch their breathe whilst keeping everyone on the edge of their seats.

John Erick Dowdle ( Devil, Quarantine), has asked the question, what if???, and the result is a non-stop thrilling ride that gains momentum the deeper the story goes. 'No Escape' is violent bordering on confronting but in the context of its narrative it needed to be so it could build up the frightening reality that the films characters found themselves in. Dowdle purposely creates an atmosphere that is uncomfortable for the viewer with many scenes challenging to watch but authentic in their delivery. Past experiences with such mentally disturbing films in 'Devil' and 'Quarantine' has helped Dowdle to cross over to a more conventional genre, allowing him to expand his creativity with a little more freedom.

Set in South East Asia, we are introduced to Jack Dwyer (Owen Wilson) and his young family including his wife, Annie (Lake Bell) and two daughters, Lucy and Beeze. Jack has taken them away from the relative comfort of their American lives and brought them to a foreign environment. His employer has opened a middle management position in a big time water company that has taken control of the country's water supply. Jack believes he is there to do good for his new home only to find out that his company's presence is not tolerated by the locals. After a quick and deadly military coup escalates, Jack and his family find that they are a target in this dangerous game. A mysterious British National named Hammond (Pierce Brosnan) becomes a reliable ally to the family, aiding them when the cost of capture is certain death.

Dowdle's recruitment of two actors that have made their names in the safe haven of outrageous comedies was a risky gamble that has paid off with both Wilson and Bell relishing the chance to be involved in a genre that they are not commonly attached. Both give compelling performances in roles that have taken them away from their comfort zones. They have been thrust into a world of high stakes life threatening thriller and it is the genuinely frightening circumstances that brings the best out in Wilson and Bell. They look tormented, sound scared and it translates nicely onto the screen. Brosnan slides into his usual role of a clandestine type figure whose motives are unclear but his presence is not annoying. Hammond seems to come along at the right time and is a voice of reason to Jack's naivety.

'No Escape' is fun and thrilling. The violence is in your face and the movie speeds along. Some of the scenes are a little far fetched but the scenarios don't become impossible. If you go in thinking this film is going to be a terrible tornado then you will be disappointed. Your eyes will never leave the screen.

The Dressmaker (I) (2015)

An Australian Classic.

[8/10 · 29 October 2015]

'The Dressmaker' is not the type of film that instantly attracts me to the cinema. It's the wrong genre, (although this movie is difficult to place) the wrong story and it creates the wrong type of atmosphere. Leave this to the women and go and see something a little more.......you. How wrong I was and how glad I am to have jumped out of my comfort zone. It was a good excuse to take my good old mum and treat her to a midday-midweek viewing and some company with her first born or that is what I told myself when I entered the theatre only to find it filled with women and retirees excited to be out and about without the frightening hording masses that congregate on weekends.

'The Dressmaker' has been dubbed as the long awaited return of Director Jocelyn Moorhouse to the chair since 1997 and she has delivered a film that will be remembered for some outstanding performances from Judy Davis, Hugo Weaving and Kate Winslet. I agree with the statement that this film doesn't fit into any particular mold but this peculiar inconsistency is what keeps the audience fixated on the screen. Just when you think that the story is heading down a certain path it quickly turns sideways, takes a detour before arriving at its intended destination. Some viewers may find this lack of direction annoying and even film destroying but I think this could be a little over dramatic.

'The Dressmaker' holds a certain charm that never leaves it as it sways back and forth from one type of genre to the next. It can be billed as a 'black comedy' but it does allow the audience to experience an array of emotions. At times you will be laughing at the antics on screen and at other times you will be gripped by the drama unfolding.

Based on the novel of the same name by Rosalie Ham, 'The Dressmaker' centres around Myrtle 'Tilly' Dunnage (Kate Winslet) and her chaotic return to a small Australian country town in rural Victoria in 1951. Tilly's tumultuous departure years before were under controversial circumstances and the small rural community have not forgotten. She is everything the town isn't - sophisticated, stylish, experienced and worldly and she has come back for one reason......to reek havoc on those that callously betrayed her all those years ago.

Kate Winslet rarely puts in a bad showing and her turn as Tilly Dunnage is made even more exceptional with a flawless Australian accent. The audience will forget that she is English as she seamlessly slides into the fabric of her surroundings, not once slipping up when delivering her dialogue. Judy Davis is the star of the show as Tilly's mad mother, Molly Dunnage. Davis effortlessly steals every scene she is in with outstanding engagement with a character that is a little bit off centre. Judy will be recognised for this performance with an AACTA and it will be thoroughly deserved.

Hugo Weaving adds his superb presence as the cross dressing cop, Sergeant Farrat. His character grows on the audience with eccentric colourful manner, bringing the best out in Weaving that gives this wonderful film an extra element of charm. Liam Hemsworth provides the eye candy for the ladies in a solid role as Teddy McSwiney. Both Davis and Winslet are caught hot under the collar on numerous occasions. He is the stereo-typical tall, blue-eyed, rugged country boy who is the proverbial apple in his mother's eye and does exactly what Moorhouse hired him to do......stand there and look pretty. Good onya Liam.

Joining the familiar talent is a who's who of Australian television that many international audiences won't recognise but they do give the film a more authentic Aussie flavour. Could this be the breakout role for Sarah Snook? Her character Gertrude Pratt is totally transformed by Tilly Dunnage only to treat the outsider with disdain when 'theories' are whispered throughout the town.

I cannot see any reason why this film won't be enjoyed by the masses. It is Australian and its dry wit may not appeal to foreign markets which is a shame. The narrative is all over the place but don't let this put you off. Dig a little deeper and you will be rewarded with some brilliant performances.

Bridge of Spies (2015)

A Safe bet in the Cold War.

[7/10 · 25 October 2015]

When a story needs to be told against the backdrop of a volatile world in the middle of the Cold War, who better to employ than a couple of silver screen legends in Steven Spielberg and Tom Hanks. Add the storytelling brilliance of the Coen brothers and Hollywood has a sure fire winner when it comes to 'Bridge of Spies'. With recent tensions resurfacing between the United States and Russia it is appropriate timing that the big players in movie land have handed such a sensitive issue safely in the steady palms of four powerhouse individuals to deliver a movie inspired by real life events.

But was it too safe? 'Bridge of Spies' was billed as a political thriller with dramatic historical undertones but I can't help feeling that this film has missed its mark in its desire to leave an impact on the audience. Spielberg has delivered a film that comfortably plays within its boundaries without giving the viewer the 'wow factor' that allows the audience to walk out of the theatre with a sense of content satisfaction. This is not to say that 'Bridge of Spies' is a bad film, I just believe with the talent available, it could have been better. The Coen brothers have written a story that was always going to be strong, intelligent and interesting but the narrative seemed stale and tired. 'Bridge of Spies' could have been written by any number of decent script writers. It would have been very difficult for Joel and Ethan to insert their edgy trademark into a story with a set path leaving me perplexed as to why they would have agreed to write the script that relied on rigid conformity.

Tom Hanks is his reliable solid self as Insurance Lawyer, James B. Donovan who has the unenviable task of defending accused Russian spy, Rudolf Abel (Mark Rylance). In 1957 at the height of the Cold War, America's distrust of anything communist is evident with Donovan's staunch morals and belief in his countries constitution is tested and his families safety is not guaranteed. With Abel's outcome a foregone conclusion it comes as surprise to many at the result in his trial. Sometime later, Donovan is given the opportunity to broker a deal in East Berlin to exchange Abel with an American pilot that had been shot down while taking photographs over Russian airspace. Hanks plays out his role without a hiccup, never really challenged by his character who could be a little too close to Hanks own personality but it is his solid unspectacular performance that allows Mark Rylance to shine. Rylance's calm, intelligent interpretation of a British national that has ties with the USSR bounces wonderfully off Hanks's presence and it becomes apparent that the two characters have a mutual respect for each other. Amy Ryan has a bit part as Donovan's wife, Mary, but doesn't get the chance to make a significant impact and Alan Alda has a cameo as James B. Donovan's boss, Thomas Watters Jr.

Spielberg does give the audience an outstanding look into the recent past with a reconstruction of East Berlin. The wall has just been built and the infamous Checkpoint Charlie is brought back to life with disturbing images of desperate wall jumpers being mercilessly gunned down. An authentic contrast of conditions on either side of the wall adds some much needed tension to Donovan's negotiation's in an atmosphere where uneasy paranoia is just below the surface.

At a little under two and a half hours, 'Bridge of Spies' strains the patience that the viewer puts into it believing that they are going to be given more than what they actually get. It's solid and it is safe but it is not brilliant.

Legend (I) (2015)

The Legend of Tom Hardy

[7/10 · 17 October 2015]

The jury is still out on 'Legend'. I know it was trying to be a great 'gangsta' film but it never climbed to great heights like I hoped it would nor did it seem to have any particular purpose other than to let the audience know that in 1960's London, the infamous Kray twins ruled the streets. Brian Helgeland, who gave the world the pointless 'A Knight's Tale', has tried to give his Directing career some much needed street cred by tackling the 'Old Darts' notorious Reginald and Ronald Kray and their violent rise and fall on the mean streets of London's East End.

Helgeland's version is based on John Pearson's book 'The Profession of Violence' and the movie is told through the eyes of Reggie's unfortunate wife, Frances Shea (Emily Browning). Frances's blind love for her man inevitably leads her down a path that would ultimately challenge her fragile state of mind. Her honest belief that she could change her husband's ways falls on deaf ears as Reggie refuses to see past his own life as a successful 'Club Owner'. Her brother-in-law, Ronnie, knows exactly who HE is and has no problem admitting to his life of blood thirsty crime but Reggie at times seems conflicted. He loves his wife dearly but has tremendous loyalty for his psychotic twin. All said and done, its obvious that Reggie enjoys his life on the wrong side of the law.

Tom Hardy is given the enormous challenge of playing both the Kray twins and it is his performance alone that makes 'Legend' more than just a mediocre charmless piece of cinema. Hardy's portrayal of Ronnie Kray is down right scary and amusing as the mentally unstable twin reeks havoc across London without any regard of consequence or respect to his own brother. Hardy moves back and forth seamlessly as both twins, convincing the audience that there just might be two completely different identities on the screen. Hegleland has done a terrific job in bringing Tom Hardy and Tom Hardy together in certain shots and the epic fight scene between the two brothers is quite magnificent. Not for a second did it look unauthentic as Hardy lays into himself with all the ferocity of a heavyweight boxer.

Emily Browning seems to take a back seat to Hardy's imposing performance with her delicate presence sometimes going unnoticed. A selection of England's finest actors join in on Helgeland's little playground with both Christopher Eccleston and David Thewlis playing solid roles as Nipper Read and Leslie Payne respectively. Paul Bettany has a cameo as rival gangsta, Charlie Richardson but he is on and off camera quicker than you can tie your own shoe lace.

Where 'Legend' is let down is not in the acting but in its narrative. The film doesn't really know what it wants to be. At times it is extremely violent as to say, confronting, and at other moments you can't help but cackle at the amusing dialogue. A lack of an inspiring score creates an emotionless atmosphere that doesn't allow the audience to connect with the film on a deeper level and at 131 minutes long, is a little overdone for what it is. Hegleland could still have told his story in a film that should have been under two hours. Towards the end it became a little tiresome and I couldn't help but look at the time on my phone.

It is violent, it is crazy and at times it is amusing but you cannot deny Tom Hardy's performance. Any actor taking on duel roles should be commended and his reputation will not be lost here. He single handedly adds another star to a film that is good but not great.

Black Mass (2015)

Depp is Black!

[8/10 · 12 October 2015]

James 'Whitey' Bulger is a name that I had been unfamiliar with and even after a quick google search whilst waiting for the film to begin, Boston's most infamous Irish mob boss was still an unknown quantity. My lack of knowledge into the life and crimes of Jimmy Bulger worked in my favour, enabling me to sit back, relax and enjoy the film without the inevitable comparisons that Depp was receiving in his portrayal of the 'Real McCoy'. I made a mental note to allow the film to naturally unfold knowing that most mob/crime genre films are immediately compared unfairly to such classics as 'Goodfellas' and 'The Godfather'.

'Black Mass' deserves a good write-up because it is simply a good film. Depp's impeccable performance as the psychotic Bulger shows the doubters how good an actor he really is when given a character full of meat and less salad. Depp's scary portrayal drives the movie to heights that it otherwise would not have got to with a lesser craftsman. Johnny may have not looked exactly like Bulger but he wasn't far off it and his manner might of reminded us all of Ray Liotta out of 'Goodfellas' but the way in which he delivered his character was nothing short of superb. Depp's blue-eyed stare would have been disturbing for anyone on the receiving end and the ruthless nature that he goes about eliminating anyone that crosses him would have the best of us packing up and flying to a different planet. Johnny Depp may fall short of the ultimate gong at award season time but a nomination would not be unjustified.

Scott Cooper (Crazy Heart) hasn't done his Directing any harm with a film that won't look out of place in its genre. It may not get the same kudos as the mafia classics but it has a sound narrative driven by some outstanding talent. Cooper's main goal was to highlight the ferociousness of one of America's most dangerous men and the alliance he had with the FBI. Bulger becomes an informant for the Fed's so they can bring down rival mobsters that ruled the city of Boston in the 1970's and 80's. For the information that Bulger provides, he and his Winter Hill Gang are able to rise up from Boston's 'Southies' Projects and stake a claim to being the city's number one mobsters. Australia's very own Joel Edgerton plays the corrupt Fed, John Connelly, who is able to keep the aggressive Bulger in business. Edgerton is now at the top of his game in Hollywood and carries himself well along side the tremendous Depp. Benedict Cumberbatch brings star quality to his role as Jimmy Bulger's politically aligned brother, Billy Bulger and Kevin Bacon has a nice solid performance as Charles McGuire, an FBI Taskforce leader who is at loggerheads with Connelly about Bulger's involvement with the law.

Go and see this film for Depp's performance alone. His portrayal is first class all the way down to the idiosyncratic mannerisms. He looks psychotic, sounds psychotic and even feels psychotic. Cooper has given Depp free rein to develop a memorable character and it is backed up by an array of talent that makes 'Black Mass' worth the price of admission.

Macbeth (I) (2015)

What was done, was done well.

[8/10 · 2 October 2015]

The world of William Shakespeare can be a tricky road to navigate, especially if you are not educated in his tediously difficult language that arrogantly lies in waiting, sprawled across the pages of his many plays. If you are neither a Thespian or English Literature Graduate (which I am clearly not), you will struggle to understand the famous playwrights narrative. It just might be easier to learn French or German at the local community college than it is to painfully study what Shakespeare is actually trying to say. I have seen just a handful of the Elizabethan era writers work; the tragic love story of Romeo and Juliet, Julius Caesar and the very puzzling comedy, A Midsummer Night's Dream. Each time I came away scratching my head, my feeble brain trying its best to piece together the events that had actually taken place. Through all the confusion, I still found myself enjoying the fragments of dialogue and story that made sense to me. This is why I was drawn to another of Shakespeare's great tragedies, even though I knew I would be sitting through nearly two hours of theatre without the use of subtitles.

Macbeth is a well known story of ambition, murder, rage and tyranny but what I was looking for in Justin Kurzel's interpretation was a connection that an uneducated sloth like myself could get from a tale that had four hundred years of retelling. I wanted to feel the characters emotions and I wanted to visualise their world. I wanted to be able to identify Macbeth's tragic blind ambition and lust for power. More importantly, I wanted a tangible belief in the story being presented to me.

Kurzel knows his audience well because he has directed one of the greatest Shakespearean plays ever put onto film. The brutal and bloody world that Kurzel has visioned, creates an authentic and powerful atmosphere that never deserts the viewer, allowing the famous story to illustrate itself effortlessly across the screen. Half the battle is won. Accompanied by an outstandingly appropriate score sets the scene for a film that would not look out of place amongst the very best movie releases this year. The eerie and sombre acoustics help keep the audience fixed to their seats as the savage tragedy of Macbeth unfolds in all its brutal glory.

Michael Fassbender (Macbeth), plays the character to perfection and it is his performance alone that makes it easier for the common man to understand Shakespeare's historic language. Fassbender is thoroughly engaged in his role and every word he delivers oozes emotion. Marion Cotillard is equally impressive as the conniving Lady Macbeth. Cotillard was an interesting choice to play the femme fatal, but she has proved here that she can rise to any challenge. This performance is a very colourful feather in a exceptional cap. Her Lady Macbeth helped me to realise that she became somewhat of a victim to the King she had created. "What is done, is done." I am quite sure that she didn't envisage her warrior husband to become the tyrant that he became. Adding to the list of superb performances is Sean Harris, the vengeful and savage Macduff, who is hell bent on ending Macbeth's reign as the Scottish Monarch. Great little cameos by David Thewlis (King Duncan) and Elisabeth Debicki (Lady Macduff), along with brilliant visionary direction by Justin Kurzel will give the uneducated hordes a chance to witness one of Shakespeare's masterpieces.

Sicario (2015)

A Hit.........man!

[9/10 · 25 September 2015]

I was looking forward to this film. When I first saw the unusual title leap out at me, I knew that curiosity would get the better of my inquisitive mind. A brief research into 'Sicario' revealed the true meaning of the word, a smile grew across my face and the date of its release would be forever etched into my brain. In Mexico 'Sicario' is the name given to a hit-man but the true origins of the word go back two thousand years when the Roman's occupied Israel. Sicario was a term given to the hunters that tracked down Roman soldiers as their prey, and with this knowledge my excitement was only fueled at the anticipation of what this film would have install.

I was not disappointed, as from the very first scene, the violent world of drug cartels, FBI agents, death and destruction graced the screen leaving my eyes hooked onto the thrilling story that was unraveling before my eyes. Denis Villeneuve has reintroduced me to a genre that always grabs my attention and he has done it in a way that gives the audience an authentic depiction of life where drug cartels are the only reality for many people living in the border communities of Mexico. As the film simmers through the early scenes, building up tension, you begin to realise that nobody is who they say they are and not everything is what it seems to be. For those that remember Steven Soderberg's 'Traffic', this is very much in the same mould, but, whereas 'Traffic' looked at the drug trade on a larger scale, this story is much more personal when dealing with the narrative and its characters.

The audience is immediately thrust into an FBI operation lead by the tough but idealistic Kate Macer (Emily Blunt). After a brief but intense shootout, the agents realise that they have stumbled upon something much larger than they can handle. With the grim discovery still burning through her veins, Kate is introduced to Matt (Josh Brolin), a man that seems to work by a code that she does not fully understand. On the promise that real justice will be done Kate agrees to join Matt in a Task Force that sees them cross the border into Mexico. Accompanying them is a mysterious character going by the name of Alejandro (Benicio Del Toro), who says very little about his involvement but delivers big when needed to. Kate's suspicions grow as the Task Force goes deeper into dangerous territory but she finds herself compelled to find out the truth even if it costs her life.

Villeneuve has recruited the very best talent to drive Taylor Sheridan's story with Emily Blunt holding her own in a world full of men that believe her presence is not in the best interests of the operation. She gives the story the opposition it needs. Her idealistic, righteous stance provides outstanding drama against the secretive and questionable constitution that Matt lives by. Josh Brolin adds the grit that the film strives for but Del Toro's performance is what gives the movie its thrilling underworld edge. He won the Oscar for his role in 'Traffic' and could get a nomination here as we watch the focus of the story move towards his characters clouded background. We are also treated to a memorably eerie score that compliments the essence of the film, keeping the audience suspended on the edge of their seats, knowing that something brilliant is about to happen.

I want to give 'Sicario' full marks but I was left a little deflated by its conclusion as if it didn't really have a purpose but perhaps this is what Villeneuve is trying to bring out in his film.