TRON Legacy

Tron Legacy is a perfect example of lazy plotting and style over substance.

The film is undeniably pretty. It's dark landscapes, neo-punk nightclubs, impressively designed vehicles and ships that looks like something out of a Star Wars spin off. The action scenes are mostly impressive too, well directed, and mostly make some good use of the 3D format. But I'm not really impressed by that. I'm not really impressed by how much money a production company has thrown at a film. That does not up my opinion of it, especially when there are so many 'pretty CGI' films out there nowadays.

If the film did not have any of the aesthetics, it would be a boring, nonsensical mess that I'm surprised even fans of the original have any time for. Despite everything else being pretty, CGI Jeff Bridges will have to go down in infamy as one of the worst pieces of CGI since The Rock in The Mummy Returns. I mean, what were they thinking? The mouth barely moved when he spoke, the expressions just looked awkward, and what they ended up with was something that barely looked human, let alone like a young Jeff Bridges. It was a constant distraction, and as a result, I could not take the character of CLU seriously.

But what excuses the rest? There was an awful lot of coincidental nonsense in the film, especially towards the end. I can't really go in to it without ruining it, but it was akin to a badly written wrestling storyline. A inexplicable face turn, sudden use of superpowers, and really stupid bad guy behaviour. Long, wordy sequences pass by between the characters when they try to explain and justify the silly storyline, involving the last of a race of beings that could solve every human problem if brought in to the real world. It was never really explained how this might happen, or why Flynn knew this. It's just all very poor, and should not be anywhere near two hours in length.

Something for the kids, but why an adults are wasting their time with this is beyond me.

3/10

The Tourist

The Tourist is the tale of criminal person Angelina Jolie, attempting to pass off Johnny Depp as a non-criminal person in order to throw off the cops. As a premise, it's fine.

The film undoubtedly stylish. As a host, Venice doesn't have to do much to sparkle, and is actually the film's major strength. It's ceaselessly beautiful, which is a welcome distraction from an occasionally mediocre plot. Johnny Depp's understated, often cooky performance is enjoyable for the most part. Angelina Jolie is fine too, despite the fact her journey in to being typecast is almost complete with yet another femme fatale under her minute belt. The action sequences are few and far between, leaving a lot of time for a heap of slow moving, hammy pieces of dialogue between the two leads. At times, it feels as though you're watching a rather well done perfume commercial rather than a spy thriller.

It's hard to know what else to say about this film without giving the game away, but the last ten minutes of the film make it a lot more enjoyable as a whole than the rest of the film had up until that point.

6/10

Harry Potter and the Deathly Hallows - Part 1

This does not work as a stand alone film. I'll just say that outright. This film is chocked full of technical problems, pacing issues, plotting flaws, bad dialogue and inconsequential HOURS of footage. At times, I found myself laughing out loud, unable to control myself. At times, it's just that bad.

But people seem to be forgiving of it just because it's Harry Potter. Ooooh, this is deep, I haven't seen a quidditch game in this one so it must be a mature, intelligent social commentary... no. When I say the plot is bad, things just happen for the sake of it. I won't go in to too much explicit detail otherwise I'll ruin it (unlikely) for you. There is no thread of logic between the events. A lot of the time, they're wandering about camping, saying 'what are we supposed to be doing now?', 'I don't know, check the script', 'it's blank', 'oh shit'. And when they do actually formulate some kind of plan, it obviously works despite not having any real bearing on events that came before, or things just happen out of sheer luck. These occurrences start doubling up on each other by the time Harry visits his parents grave. It's just bad writing.

I will say that the first hour is actually fine, but it goes down hill at such a rapid decline it was jarring as a viewer. The soon to be infamous 'dance' scene was a complete misfire, it had the cinema audience laughing at just how awkward it was. A bad choice to even put it in, I'd say. Rupert Grint totally outmatches Daniel Radcliffe in their heated exchanges, Radcliffe looks incapable of showing an emotion period, but the dialogue between Hermione and Harry when they are alone is mind numbingly poor. The best bit of the film is actually when the holy trinity are not actually on screen for about fifteen minutes, and when Ron provides some much needed comic relief.

The finale is fine, if a little too convenient, like everything else. It would be nice to see Harry use wits, cunning and bravery to solve his problems rather than moping around and getting really lucky. In all, the second hour should have been reduced to a montage of camping, that would have been fine. Look at Lord of the Rings, we didn't literally see Sam and Frodo stop and camp every single night, did we? Only when it was important to the plot. I predict that watching this will make Part II seem bearable. I just want this to end now. I do think Part II will be a hell of a lot stronger, just because things are bound to actually occur, unlike in this dull mess. In fact, it will be interesting to see if this film was needed AT ALL.

And who cares about Dobby, for God's sake? Wasn't he in it four films ago?

4/10

The Men Who Stare at Goats

A film about a branch in the US army that uses the power of the mind and the will to do good to win wars, who refer to themselves as 'Jedi'. Like most of the jokes and the plot, the concept is quite amusing. But, it will rarely get you laughing, or really even thinking about any sort of bigger picture. Can it really be taken seriously?

While it's certainly a nice idea and story, it left very little impression on me as a viewer. While the satire is quite well done, the characters are not likeable enough to really care about, Spacey's antagonist isn't really hatable enough either. It's all a bit too safe, undramatic, and as a result I found it very hard to be absorbed by the events unfolding. While much of it is very quirky, and very easy to watch in an inoffensive kind of way, it's never going to be someone's favourite film. It would have benefited drastically by pushing the more ludicrous elements to the forefront and really using them as real gags, or toning it down and going for a bit more drama, because there was potential there. Without that, it treads the middle ground between offensive and passive and doesn't really provoke any reaction at all. Still, I could watch Clooney, Bridges and Spacey act all day.

5/10

Flash Gordon

Perhaps one of the most insane, idiotic and unashamably hilarious films I have ever seen. For the most part, Flash is depicted as an unbearable idiot. Here is a man with the expression of a lemming and the IQ of a puddle, who we are to get behind and support as he takes down an evil empire. How does he take it down? Well, with blind luck, mainly.

Everything about the film is dated and budget. The aesethetics are garish and laughable. The action scenes are among the stupidest I have ever seen. When Flash uses his 'American Football Powers' to beat back the armed to the teeth guards, I thought my stomach was going to explode. The heroine is a wimp, yet manages to beat up about six guards using nothing by hiding behind things at ninety degree angles from the guards, the supporting cast look like they want to be somewhere else (yes you, Timothy Dalton) and who could blame them? 

It's obtained a cult following, and probably rightly so, but I can't really see myself wanting to see this film ever again, even out of novelty value. So bad, it's good. Then bad again.

3/10

Despicable Me

Endearing, charming, intelligent, fun. Even if it is 3D.

Steve Carell voices Gru, a man who wants to be the best evil genius going and embarks on a plan to steal the moon in order to prove to himself (and his mother) that he really is just that damn good. Along the way, his plan involves adopting three young girls in order for his plan to succeed, and the evil genius finds himself wanting to have fun more than world domination.

In terms plot, the film never really sags and the motivations of the characters are spot on. Children will be just as entranced with the 3D effects as the adults will be with the often witty humour and fantastic sense of the absurd. The film's highlights for me, and many others I would have thought, come in the guise of the tiny yellow followers who dominate the film with their random, playful antics. The three girls whom Gru adopts are the real stars of the show though, each lovingly characterised to be so endearing (especially the youngest - 'It's so fluffy I'M GONNA DIE!!!') that they will melt the iciest of hearts.

While many cynics might class the film as sappy and aggravatingly simple, this is a really enjoyable, loveable film that will make you laugh, and if you're that way inclined, blubber like a schoolgirl. And the 3D is actually okay.

8/10

Harry Potter and the Half-Blood Prince

In this sixth instalment of the world-beating little wizard franchise, the teenage angst is all over the place as Harry, Ron and Hermione experience their first loves, and some bits and pieces involving wizardry, apparently.

The most noticeable thing about this film is how little it seems to really contribute in terms of originality to the series. Up until this point, each film seemed to serve a purpose. They ideas were fresh enough, the dynamics changed enough, and there were usually enough new characters to keep things ticking over. Despite the addition of Jim Broadbent's master of potions, it's all very familiar. It really is just another year at Hogwarts – another quiditch game, another flashback to Tom Riddle, another visit to that alley everyone likes, and despite the film involving perhaps the most significant event in the books chronology to date, past the two hour mark I was too indifferent to care.

Visually, on a par with the others, but for supposedly one of the 'darker' of the films, it's all a bit too safe and comfortable for Harry for the most part, and the climax left me feeling fairly unimpressed. The fans will love it, but for me this might be the weakest of the series to date. I will remember the Half-Blood Prince as the one before the two part finale, and nothing more.

5/10

Jackass 3D

There's something very comforting in knowing this piece of our collectives pasts (the piece we don't really like to admit) still breathes life, ten years after its initial conception.

Johnny Knoxville and co. are back once again, featuring a fresh batch of the amazing, the disgusting, and the utterly insane. Expect big hands, lots of sick and a fair bit of poo coming at you in, yes, 3D. I have to say, even though I am a firm unbeliever when it comes to the '3D revolution', it did make 5% of the film funnier. Worthwhile? You be the judge.

You either dig it, or you don't people. Is there really anything else to say? 6/10

Due Date

Due Date is this year's unofficial remake of Planes, Trains & Automobiles, and an unfortunate case of an all too familiar trend for the 21st century's comedy output - all the funny bits are in the trailer.

And, I could pretty much finish the review there, but let's milk it a little bit. Robert Downey Jr. & Zach Galifianakis play to their strengths, more or less the same characters they have been doing for the past few years. While both leads are likeable for different reasons, the film often seems to be playing for time, stretching out enjoyable set pieces and rendering them 'okay'. With a snappier delivery, this could have been great. The emotion is text book, and feels kind of stuck on just to give these guys a reason to be together. Generally this is a forgettable comedy that you can lump in with Step Brothers, Pineapple Express, Hot Tub Time Machine, Date Night etc etc etc.

For die hard American stoner comedy fans only, unless you have seen the trailer, in which case you will probably enjoy it. Actually, forget that, just watch the trailer. You'll save money.

5/10

Romero's 'Dead' Series - Part 2 (2005-2009)

Though the reception was more or less luke warm, I happen to think Land of the Dead (2005) is as good a Dead story a 21^st Century Romero could have given us. Twenty years since Day, the effects are sublime, the characters are likable and well developed. It’s actually quite hard to fault. The story is interesting enough if slightly basic, but I like nothing more than a miniature fascist state in a post apocalyptic setting being taken down by a group of do-gooding rebels. Dennis Hopper’s charismatic baddie is a real winner. Perhaps the best thing for the film for me was that it was a real sequel to the first three films, set in the same timeline. It was interesting to be shown a wider scope of the effects of outbreak, as opposed to just a mall, or a bunker. However, I’m not convinced about the whole ‘zombies can think like us now’ vibe… 7/10

Deciding that he wanted to make a change in form, and perhaps connect the series with a new generation of zombie fans, Romero decided to take on the hot 'new' filming style of the time, and do a first person camera horror, a la Blair Witch, Cloverfield etc, the result was Diary of the Dead (2007). While the change adds a certain interesting edge in terms of character development (being allowed to talk to the camera, and the viewer directly), it makes for some pretty stilted viewing, dodgy metaphors (a character asks another to put him out of his misery by pleading ‘shoot me’, while ‘shooting’ him with the camera – err, slick) and a social commentary that doesn’t really work. Despite some entertaining scenes, this reboot to the series was a disappointment and, frankly, lacked the intelligence of previous instalments. 6/10

Survival of the Dead (2009) was possibly one of the worst films its year. Even a few minutes in, I was wondering if I was watching a spoof, or maybe the camera would suddenly pan back actually show the characters from the film watching a spoof, as a nice little joke. But the camera never panned back. This is a terrible film in terms of character, plot, substance, effects… It really has nothing going for it. The deaths are gimmicky, the effects are lame, and the script is borderline retarded. A zombie riding a horse? Farmers feuding on an island? Who cares? Survival is dross that once and for all confirms Romero has lost it. Never mind George, it was a good run of genius while it lasted. 3/10

In all, the series has had some incredible highs, but there appears to be no chance of a resurgence. It’s time for the series be firmly put in the past, and... well... DIE.

The Green Mile

The Green Mile is the second of what I suppose you could call a trilogy of films adapted from Stephen King stories by Frank Darabont. After the critical and commercial success of the film that is currently sitting on top of IMDBs Top 250 (Shawshank Redemption), The Green Mile is another human, emotional journey, with an added fantastical edge. Set in a 30s detentions centre for those on death row, the green mile is the last place those committed to die call home.

Despite a mammoth three hour run time, it never seems to drag. The characterisation of the main characters, and the performances from Hanks and Clarke Duncan, are fantastic, both showing strength and insecurity in equal measure. The film dares to show those on death row, particularly Michael Jeter's character, who have been condemned to die for terrible crimes, as incredibly humane and hinged characters. The real villain is Doug Hutchison's Percy, who has to be one of the most despicable, hated characters in film history.

Despite the overall positivity of the piece, it can be fairly grim stuff. The subject matter becomes increasingly dark, sometimes shocking, which ups the stakes and the drama by a couple of notches. The film confronts you with the worst of human life, and gives us a light at the end of the tunnel in John Coffey. However, there is no real message or morality tale here, if nothing else it seems to be simply that bad things can happen to good people, and that magic would be cool if it actually existed. It wasn't a tale of personal triumph like Shawshank, this is just a fairytale, but you have to say, a very good one. But, when would you really be in the mood to watch it again?

8/10

Leon

Leon is a very famous, very well thought of, very influential film. But is it, in fact, any good?

Yes, mostly. Occasionally amazing, thanks to two fantastic lead performances. The dynamic between the quiet hit man Leon and the twelve year old Mathilda is multilayered and complex. It takes your assumptions of what the dynamic should be and throws them away, giving you something fresh yet familiar, loveable yet occasionally nauseating. I won't go in to too much detail, but having watched the aptly named 'Long Version', you'll be shown a picture of a relationship that will split opinions. I personally did not have any problems with the subject matter, however run time was an issue, something I feel a little guilty for having a go considering the afore mentioned version. Regardless, I think the film sags in the middle. The relationship, while interesting, arcs quickly and once the meat of the story is over, we're left trudging through familiar ground. In other places, the story is quite by the numbers, a tale of revenge. Gary Oldman is fantastic as the psychotic antagonist, with a lovely identity twist early on. It was the kind of performance that really leaves an impression.

The action sequences are great, the pay off is rewarding, and there is a lot to like, but as I have all ready said, the subject matter and occasionally overtly surreal moments may be a little of a turn off. Stylish, emotional, but an acquired taste.

7/10

Romero's 'Dead' Series - Part 1 (1968-1985)

One of my favourite directors. One my favourite series of films. I'm biased. While zombie films divide the movie going public, I'm here to stick up for them and give the unbeliever a glimpse of why they really should be on board.

Night of the Living Dead (1968) is often considered one of the original horror films, and certainly the scariest of the entire series. Any reviewer can talk about its cultural significance, the censoring, the legacy and interpretations, but lets not get too carried away. The film, or the most part, is solid, well written and tight. Direction is controlled and simple, with good use of light and dark to really get the most of the grim surroundings, making the house and fields area even more daunting and eerie. Characterisation is an obvious strength, each sympathetic in their own way. The ending is fantastic, and while the pace sags in places, the pay off is well worth the wait. On the whole, the film is a humourless, horrid spectacle that intrigues as much as it entertains, but bears very little resemblance to Romero's later work, of which I am more of a fan. The wit and fun of the sequels is strangely absent. While a solid classic, for me it's not something that can be re-watched and enjoyed more than a few times. 7/10

Dawn of the Dead (1978) is possibly one of the greatest horror films ever made. In fact, I would consider it to be one of the greatest films ever made, period. Social commentary and consumerism satire aside, it's tremendous fun. Sure, the direction is occasionally a little shaky. Okay, the dialogue is mostly ridiculous and borderline insane. It's one of those rare films that will provoke completely different responses from people. Some would see it as a horror, some as a comedy. I like to enjoy both perspectives when watching. Some of the sequences and exchanges between characters are undeniably funny, but there's always this heavy weight bearing down on the film, you can really feel the impending doom, the inevitability of the fact that even though they're living in luxury and the zombie's can barely put one foot in front of the other, they will eventually all die a horrible, theatre paint red death. Amazing fun, great effects, superb tone, a true original. 10/10

Day of the Dead (1985) was a true sequel to Dawn in style and substance. Perhaps even more bleak and dark than Dawn, the underground military base, home to grisly experiments and borderline psychotic soldiers makes for some riveting viewing. The balance of power between the parties involved is perhaps even more scary than the gore, as for the first time we are given a true antagonist in Captain Rhodes, who is delightfully unhinged, a victim of his environment and responsibility. Then add to the mix a lot of surreal dark humour, an Irishman with a catch phrase, caravans, 'a mouthful of Greek salad', a typically zany score, guts (lots of), an awesome opening scene and a better closing half an hour of zombie nonsense. It may not have the wide reaching themes of Dawn, but it's just as much fun. 9/10

Coming soon, Part 2 and the not so amazing 21st century Romero films...

Ricky Gervais - Keeping the Faith

Ricky Gervais is one of the most successful and talented British comedians the country has ever produced. He has won tens of awards for acting, directing and writing the genre defining worldwide phenomenon The Office and the brilliant Extras. For me personally, he's a hero of mine. He's the hero. He's the man that made me pick up a finger and type and try and make people laugh, perhaps had more impact on my life and world view than anyone else. He has his critics, but these are the facts. However, he has yet to truly broaden his talents in to filmmaking. While his films have by no means been ill received, or financial flops, he has yet to reach his full potential and produce that comedy masterpiece on film that will truly define him.

His first lead role came in David Koepp's Ghost Town (2008). Gervais said at the time that it was the best script he had been offered, and presumably he had been offered a considerable amount since his break through Golden Globe win in 2003. Despite being a very 'golden age Hollywood' comedy, directed and produced with a whimsical, light hearted tone to suit the subject matter, it was a suitable vehicle for Gervais's first lead. While the story was somewhat pedestrian, Gervais was able to demonstrate his trademark social realism and work with a great cast. He was the star, and without his performance the film could have been unwatchable under a lesser lead. Enjoyable and charming, the film was well received and gave Gervais the start he deserved. 7/10

Many believed the best was yet to come. The Invention of Lying (2009) was Gervais's first co-written and directed film, and many believed this would show the cynical, biting Gervais at his best, working on his own terms, ready to take on the world with a venomous piece of social satire. But something strange happened - A miss fire. The film was not the piece of genius fans like me had hoped for. In many ways, the film was remarkably similar to Ghost Town - a light hearted, fantastical yet contemporary Hollywood comedy. It was all too nice. The score bounced. Jennifer Garner smiled. There was no cutting edge and no real bite, despite a heap of controversy around the fundamentally atheist concept. Even as a religious satire, the film showed little risk. Perhaps a more important and disheartening problem was the fact the film wasn't actually very funny. Polished, quite enjoyable, but not very funny. Gervais had not yet translated his genius to the big screen. 5/10

Another year, another stab. I had high hopes for Cemetery Junction (2010), Ricky's first collaborative effort with long time partner Steve Merchant. It was a love letter to 70s England, it was a coming of age story about the young being young. The execution was great, both the direction and the performances were stylish, but perhaps a little too stylish, and too cool to really be funny. I would have preferred a much grittier take, finding a bit more edge between the mundane and the 70s hip. The funnies are not the film's focus - It's all about the coming of age tale. Though told flawlessly here, its been told flawlessly hundreds of times before because, let's face it, there's nothing to it. 'Cemetery Junction' was a rom-com by the numbers. It didn't give Gervais and Merchant enough space or leeway to really nail the gags or the emotional substance they are capable of. Too nice, too safe, too ordinary, and frankly too generic, and I hope it was just something they needed to get out of their system. 6/10

If his big screen career to date tells me anything, it's that next time he needs to go back to his roots, get nasty and have a go at society again. The genius IS there, just need that one great original idea to really show it off. The obvious comparison would be with Simon Pegg & Edgar Wright, who have translated their craft to the big screen with breathtaking results, for me surpassing their television accomplishments (though I'm sure there are many die hard Spaced fans who might say otherwise). I have faith that Ricky Gervais will do the same. One day he will get it right, and come up with his Spinal Tap. He's never let me down before.

Heat

Most sane film goers are fans of Di Niro and Pacino. Their collective body of work boasts some of the best films ever made. It's little wonder then why there was so much hype around the film that finally brought the two actors back together under the direction of Michael Mann. Heat is a gritty, three hour, cops and robbers, cat and mouse epic. Pacino is the cop. Di Niro is the man he's chasing. Game on!

The film's obvious perks are the two leads. Di Niro and Pacino carry the film almost entirely with their flawed but ultimately endearing characters that share similar problems (they're jobs are taking over their lives, their love lives are falling apart) with one major difference. While Pacino has a kind of symbiotic relationship with the job that defines him, Di Niro is looking to walk away from the criminal life. It's this difference from which all the drama really stems. Despite the two actors sharing very little screen time, the scenes that feature them both are gripping, especially the finale.

Unfortunately, the film suffers in places. It's very stuck in the nineties, with an intrusive 'COP DRAMA' score that never lets up. If two people are talking in a bar, you can bet there's some twat playing a blues guitar solo in the background. The direction is hit and miss. While the action shines, the slower moments suffer from too many needless close ups and tracking shots. Less would have been more. The plot is fine, but even with the film's mammoth run time, it couldn't quite get to grips with the vast amount of peripheral characters that Mann is desperate for us to become attached to. As a result, everything that involves something other than the two leads leaves you feeling a little underwhelmed.

Faults aside, A good COP DRAMA, if you have three hours to kill.

7/10

Bond - The Timothy Dalton Years (1987-1989)

After the series was left stale by the end of Moore's tenure as the British icon, it would take a strong lead and taking some risks to get the series back on track. Despite only starring in two films, Timothy Dalton brought a more mature, realistic and often darker Bond to the table for the better.

While The Living Daylights (1987) has a few Moore's traits left over, it's a worthy stab at something a little different. We still have the odd innuendo, but nothing as ludicrous as what has come before, except maybe a ski chase scene involving a cello case. The plot is at times a little overcomplicated, but at it's best it's a strong, character driven world cruiser with an enjoyable turn from Joroen Krabbe as the central antagonist. Strangely, we see Bond blatantly lie and take complete advantage of a helpless female simply for the mission, something never really done before in the series. That in itself shows a shift in the tone, however small at this stage.

It was in License to Kill (1989) that Dalton and the character really came in to its own. The story is not simply a man on the job, but a quest for revenge. Despite a typically Bond-esque pre-credits opening, the film quickly darkens, hitting Bond with some pretty severe personal blows. It had been since pre-Moore era we had seen Bond humanised and effected by a plot in such a way we were given a real reason to root for him. The film plays out efficiently, the action is slick and Dalton shines in what was probably the best Bond in over a decade. It's only a shame we weren't given a third Dalton film in order to see how the character may have progressed. I believe the best was yet to come.

6/10 a piece.

The Social Network

Have you ever wondered how Facebook, the thing you visit every day of your life, came in to being? Do you have an interest in intellectual copyright? Well, has director David Fincher got a treat for you! The Social Network is the story of how it all came in to being, and the proceeding court battles. What fun.

The film's strengths lie with some tight, fast paced direction. The pace never slackens, which makes trudging through the programming and legal talk a lot more bearable than it should be. The dialogue too is quite neat, and the characterisation, performances and the drama around the court case is reasonably engaging. If this had been a film about anything else, it might have been a triumph.

Unfortunately, does anyone really care about this stuff? Despite the film making plusses, following the dense story is dizzying and pretty exhausting. I'm surprised that audiences are connecting with this enough for it to top the box office in the US. While the journey is not always chore, I'm not sure if it's worthwhile. Also, there's something kind of pretentious about all these genius making billions of dollars and sleeping with super models only to winge and moan about it. Just buy a country, you'll feel better.

6/10

Scott Pilgrim Vs. the World

I'm a huge Edgar Wright fan, I suppose. I think Spaced is great. I believe Shaun of the Dead and Hot Fuzz to be two of the best comedy films ever made. I would say that qualifies me. Based on a graphic novels of the same name, Scott Pilgrim is an geek-fest tale of a hero's journey to love. And he has to beat up some people along the way. Cue pretty colours and break neck action!

Going in to the film, I had my doubts. The dizzying ad campaign here in the UK had more or less put me off it, but it didn't take long for Wright's charismatic, quick cut direction to work its charm on me. He is well known for his often blatant references of cult films, and this time its computer games. From Mario to Street Fighter, there are plenty to keep you interested and laughing as you recognise music and catchphrases. Any film in which a character plays the bass line from Final Fantasy 2 gets my thumbs up. The direction is so fun and the sense of humour is so loveable (despite Michael Cera's one trick pony acting), it will more than likely entertain. Though it was difficult for me to look past the direction, the script is tight and well written. The ensemble cast members work well and never intrude or outstay their welcome, and though the soppy love story would usually be a turn off, there's enough good to divert your attention from it. 

There's no denying this film has a niche. It's you're not looking for a fairytale geek-fest for geeks to geek-out to, then it will probably be a big turn off. If you're not in the loop, then it will leave you behind. However, I can say that being one of the target audience, this has to be one of the most entertaining films of the year, and a misunderstood commercial failure. 

8/10

Frost/Nixon

Nominated for five academy awards in 2009 and starring one of my favourite actors in Charlie Sheen, I had a good few reasons to go in to viewing this with a certain optimism. The film re-tells the play of the same name, which in turn tells the story of how David Frost (Sheen) came to interview Richard Nixon (Frank Lengella) after the Watergate scandal. To be perfectly honest, I had no idea what the Watergate scandal was, let alone the its historical significance. I am now enlightened.

The films strengths come from characterisation and performances of the two leads. Despite an inform Sheen giving a charismatic, heartfelt performance, Langella steals the show with a strong, accurate portrayal of the former president. The way the two trade punches, so to speak, in the closing stages are a joy. Strangely the film holds a lot of parallels with Rocky, with lots of emphasis in the dialogue about 'the fight' and battle between the two's verbal jousting, making the final show down a great pay off.

Despite the film being slow burning, it never really sags. Sam Rockwell & Oliver Platt are good additions to the background, giving the piece a bit more weight. Rebecca Hall is amicable but never really shines. The only reason I there were times I felt a little bored was because I'm not a huge politics fan, nor am I American, so the subject matter didn't connect with me in a way it may have for someone like Sam Rockwell's character.

Still, a very assured, classy film that does well to entertain considering the rather dry subject matter.

7/10

The Town

Stifled, dreary, cliche - these are just some of the words I would use to sum up Ben Affleck's latest critical and commercial success. Affleck plays a man who robs banks. When a job goes awry, his cohorts take a female hostage (Rebecca Hall) to secure their safety, and release her soon after. Paranoid that the hostage may rat them out to the FBI, Affleck's dangerous running buddy (Jeremy Renner) decides she needs to be kept tabs on, and Affleck takes the job. He falls in love with her. And there is the twist!

Poor old Ben Affleck's acting has always been subject to a hefty amount of scorn. Unfortunately, he does himself no favours here. Often sounding like a punch drunk stroke victim, Affleck's performance is so wooden, slow and plain you will drift off half way through. Poor old Ben, the same can be said of his direction too...

The film is littered with basic, fundamental film making flaws. The pacing is tired and stale, drifting from one awkward conversation to another. At no point was I convinced Hall's character would EVER be interested in Affleck's slow talking, world weary criminal, but then we aren't really told a great deal about her. Rebecca Hall struggles to make a role devoid of any character come to life. However, Jeremy Renner's character is intimidating and well played (if ultimately under-utilised) and the actual hiest scenes are enjoyable. I can't think of much else positive to say.

Despite the film's generally warm critical reception, I cannot understand why anyone but uber lovers of the genre would be interested in this cliched, badly scripted, boring 'COP DRAMA' that views like it was made for television.

3/10