Red State

Red or Dead

Kevin Smith has grown up.

Most people reading this review will probably not know much about Mr Smith, but as a teenager, the larger-than-life American made some of my favourite and repeatedly watched films. His mixture of the mature and immature really spoke to me as a growing teenager, and his stories of independently funding his first feature film Clerks in turn inspired me to become an amateur filmmaker myself. To really show my love for him, his ability to combine sometimes slapstick humour and immature characters with profound dialogue and controversial themes led me to choose Kevin Smith for a college-assigned study in the nature of the 'auteur' (a director with a discernible style). Most people were analysing the use of the macabre in Tim Burton's films, or how gritty Martin Scorsese's early movies were. I, meanwhile, studied two guys talking in a convenience store about the plumbers working on the second incomplete Death Star.

Cut to six years later and here is that same auteur and idol, standing in front of me and several hundred others, retelling anecdotes in a Q&A session in Manchester. It took all my effort not to run up and hug the man who had created, and starred in, some of my favourite films. He had just finished showing us his newest, most mature and possibly best film yet, Red State.

Red State begins with old cliché of three teenage American boys trying to lose their virginity. However, things don't go to plan when the local trigger-happy Jesus-loving extreme Christian fundamentalists, headed by the incredibly well-cast Michael Parks, try to punish them for their sins. This leads to a stand-off between the Five-Point Church and the local SWAT team, headed by the always impressive John Goodman.

That sound like a simple plotline, but the complete film takes you through so many twists and turns, you never know where the film will end up. I was literally open-mouthed at some points, and it is completely refreshing to find a film that can still do that in today's industry. Just when you think you have a grasp on the film, it shocks you and surprises with you with something you truly didn't see coming. Not only does the film feel fresh and exciting, it is enjoyable to see Kevin Smith re-invent his approach to direction. No longer does he use steady shots and angles, but instead picks up the camera and brings a kinetic and invigorating take on the photography, especially in the shoot-out scenes and chase sequences. Bruce Willis gave Smith a tip on the set of Cop Out: “This is a movie; let's move!” Smith seems to have gladly heeded that advice.

As well as the direction, the cast are also phenomenal, with Michael Parks and John Goodman taking home most of the plaudits. Cast as the sinister and devout patriarch of the Five Points Church, Pastor Abin Cooper, Parks delivers each line pitch-perfect and seems to really enjoy the role. The pastor gives a speech early on in the film that would probably be two minutes long in ordinary films, but Smith gives Parks the chance to really show you the full duality and juxtaposition of Abin Cooper, with his hate-filled and vile speech being spoken like a kind-old grandfather to his adoring and similarly devout family. Like Smith, I had been a fan of Parks since his brief appearance at the start of Robert Rodriguez's From Dusk Til Dawn and his brief role in the Planet Terror half of Grindhouse was one of the definite highlights, so it is very pleasing to see Parks get a meatier role for him to sink his scenery-chewing teeth into. 

John Goodman also delivers a fantastic performance that reminded me of why the Coen Brothers valued him so highly back in their heyday. Portraying a conflicted but just man, he displays the calm power and the rationality needed for such a position. The real revelation is the casting of Kerry Bishé, most known to people as the ditzy Lucy in the final series of Scrubs. I had reservations about Bishé's casting before watching Red State, mainly due to her background of being on Scrubs and assuming the subject matter may be a bit serious for her. But she defiantly proves me wrong, delivering an impressive, varied and powerful portrayal of Cooper's granddaughter Cheyenne.

Overall, I believe that Kevin Smith has gambled with this venture, having recently made the sub-par Cop Out and Zack and Miri Make A Porno. Luckily though, I believe the gamble has paid off incredibly well. In my eyes, Red State can be counted as one of his greatest works, in a portfolio that contains such classics as Clerks, Chasing Amy and Dogma. If the rumours are to be believed, Smith will be making one last film, entitled Hit Somebody, and then will retire from filmmaking, which I believe is a massive shame. This could have been the start of a new direction for Kevin Smith, writing and directing hard-hitting films such as these would have brought him into the main public's attention, but I suppose that's never been a place that Smith has felt at home.

Please find this film and watch it. 'The End is Nigh' for the directing career of Kevin Smith; make the most of it while you can.

Rating - 9/10

The Inbetweeners Movie

Lads On Tour

During their time in Sixth Form College, four teenagers, Will, Simon, Jay and Neil aren't the cool kids. Not by a long shot. But they aren't the nerds either. They're The Inbetweeners, wannabe-popular kids always trying to find that one aspect that will label them as 'cool' and set them for life. Much like the four semi-adults, The Inbetweeners Movie isn't really a movie. Not by a long shot. But it makes bigger steps than its television origins. So has it joined the ranks of successful adaptations such as Serenity or South Park: Bigger, Longer and Uncut? Or is it simply a uninteresting 90 minute-long episode like The Simpsons/Family Guy movies?

The Inbetweeners Movie starts with the foursome finishing school and deciding to travel to Malia, Crete for a 'lad's holiday' and so Simon can get over his break-up with love-of-his-life Carli. Whilst there, they meet and try their luck with a quartet of girls, have to deal with narcissistic and obnoxious club reps as well as struggles within their own tight-knit group.

Firstly I must apologise if there are any American readers of this blog, although I kind of doubt it. The Inbetweeners Movie was released in the UK on 17 August, and will not be released in the USA until 25 November, so this won't really be appropriate to read until you're getting your starting to reach for the scarf rather than your sandals. Therefore we got to see the attractive, sunny beaches of Malia during our almost-Summertime, but for the Americans, they will see four young English lads enjoy radiant Crete whilst they shiver in their mittens. I predict that the film may not do so well over the pond, with America not really understanding the type of humour (e.g. 'briefcase wanker') but it could be the new Shaun of the Dead, a film that the Yanks inexplicably lean towards and embrace. Meanwhile, here in the UK, The Inbetweeners Movie became the most successful British comedy of all time in merely its first week's release, and I can't say it's a shock.

I believe that I laughed at The Inbetweeners Movie more frequently than I did at Horrible Bosses, Bridesmaids, The Hangover Part 2 and any other comedy released this Summer. The writers have managed to capture the debauchery, lost innocence, and wild-eyed enthusiasm that these characters would have on a lad's holiday. The characters transfer to the film smoothly, with their adventures gladly fitting the television series' style.

However, since the film's tag-line is "This Summer, Four Boys Become Men", you'd expect some growth in the characters, and only two of the characters really change for the better, the other two just stay the same as they are. Potential personality improvements or maturity are teased briefly but quickly sidelined by more jokes about sex and certain character's mothers. Personally I would have preferred to see each of the four main characters have their own journey to experience, but they have slightly left the Inbetweeners story open for further instalments so there may be more to come. If the film is the end of The Inbetweeners, then I feel it is a rather fitting way for them to go. A few open plot-lines here and there allow the audience to make up their own story-lines and due to intelligent writing, the characters manage to charm you through their vulgarity and camaraderie.

This film has been compared to the letdown that was Kevin and Perry Go Large or called the "British Pie" of comedy, whereas I believe that it stands as both a fantastic instalment into the Inbetweeners story, as well as a fun, enjoyable, laugh-out-loud comedy about adolescent boys finding their feet in foreign land. It's much better than anything else that's being offered at the moment, that's for sure.

Rating - 8/10

Rise of the Planet of the Apes

The Apes Are Revolting

A solitary and angry ape, escaped from his confinement, revenge on his mind, runs down the middle of a deserted street at night. He enters his old Master's house and silently watches him sleep.

This is why I now fear apes.

Before tonight, they were harmless, playful animals that you see on National Geographic or piano delivery men in Tetley Tea Bag commercials. They weren't threatening to bite my finger off due to the unsanitary living conditions in zoos, or planning on overthrowing society because Draco Malfoy sprayed them with water. Now I'm going to be looking over my shoulder, worried that some pissed-off simian is going to be plotting my downfall. Anyway, enough about my new found agrizoophobia (that's right), let's talk prequel!

Rise of the Planet of the Apes is a reboot of the apes-as-overlord franchise, as well as the longest film name since The Imaginarium of Doctor Parnassus.  Set in the present day, ROTPOTA has loose ties to the Charlton Heston-original Planet of the Apes but isn't wholly a prequel to it. Thankfully it has nothing to do with the débâcle that was the Tim Burton remake either.

Perpetual-stoner James Franco plays Will Rodman, a scientist trying to find the cure to Alzheimer's by testing drugs on lab monkeys. One ape reacts well to a particular sample, largely increasing her intelligence. However due to a bout of monkey-rage and a security guard's gun, the Momma Monkey dies and Will ends up raising her baby, Caesar. Caesar shows advanced intelligence, learns sign language and eventually becomes a proper member of Will's family. But when fully-grown Caesar defends himself and attacks a neighbour, he is taken to an ape shelter and mistreated, leading to him encouraging his fellow apes to rise against us oppressive humans.

Andy Serkis, famous for portraying Gollum in the Lord of the Rings trilogy and King Kong in.... well.... King Kong, again dons the Motion-Capture suit to provide the movements and facial features of Caesar, and the effects are astounding. They may appear slightly off-putting at first, but as you grow to know Caesar, the uncanny valley smooths out and by the end, you start cheering this fictional ape as he does his destructive best to overthrow our society. The other apes looks so damned lifelike, I honestly thought the film-makers had taught an orangutan to sign to Andy Serkis. The special effects are definitely what makes this film stand out. It couldn't have been made without them, as we empathise with Caesar from the start, and full credit to Andy Serkis, whose fantastic acting quality is again shown through a digital character.

The other actors in the film, especially the main stars James Franco and Freida (Slumdog Millionaire) Pinto aren't really used to the best of their abilities, and are merely sideline characters to Caesar and his storyline of imprisonment and escape, which is a shame. Franco never really grows as a character, and he isn't really shown fighting for Caesar's freedom that much and Freida Pinto might as well not have starred, as she brings nothing to the storyline. The only other actor worthy of mention is John Lithgow, perfectly portraying Will's father as he slowly slips into dementia and the wracks of Alzheimer's. His face just oozes innocence and blank wonder as his world steadily drifts away from him.

Despite that most of the audience know the outcome of the film, the writers have made sure that the origin of ape and man's role reversal is one wrought with emotion, as you end up wishing the apes to be free from their oppressors and come out on top. And when a film has the power to make you want to see humanity overthrown, you know that it's made you care for these digital creations.

Now bow to your Ape Overlords! You have only James Franco to blame.

Rating – 8.5/10

Two For Tuesday: Kung Fu Panda 2 / Pirates of the Caribbean - On Stranger Tides

Nowadays, Hollywood films tend to fit into one of three categories: an original story, an adaptation of a popular TV show/video game/already released film, or a sequel/threequel/fourquel. The latter usually carries a heavy burden of continuing the storyline and characters that the audience have become associated with, whilst making the situation feel fresh and original. Recently, the two newest instalments of popular franchises were released to the cinema-going public. One has recently broken the $1 billion worldwide box-office mark, whereas the other has received near-worldwide critical praise.

I found the first Kung Fu Panda to be an absolute delight, and believe that it is the best animated film that Dreamworks have done, closely followed by How To Train Your Dragon. The comedy was sharp, the animation was crisp and the voice acting was performed brilliantly, especially Dustin Hoffman's Master Shifu. Thankfully the sequel more than matches its predecessor.

The disgraced and tyrannical peacock Lord Shen (brilliantly voiced by Gary Oldman) has created the world's first cannon and threatens to take over China by defeating any Kung Fu Master that stands in his way and make Kung Fu obsolete. Po travels with the Furious Five to defeat Shen, whilst attempting to learn about his origin and attain inner peace.

The first Kung Fu Panda earned my respect for making a children's film that the whole family could enjoy; Po might have been a tubby lovable oaf for kids to laugh at and there were bright shiny colours to amaze them, but there were often instances of mature friendship between the Master Shifu and his apprentice Po, quite deep conversation on the nature of the Universe and the occasional sarcastic side glances given by someone unimpressed by the chubby panda. It was able to mix both adult and child-orientated humour perfectly, which is something that steadily drifted away within the Shrek franchise. Kung Fu Panda 2, on the other hand, not only manages to maintain that balance, but also feature genuine heart-tugging moments when delving into Po's back story and contain much more mature content; I can't really see Shrek 5 dealing with the genocide of ogres, nor Cars 3 showing the terrible tragedy of a Mother Jeep sacrificing her life for her only baby.

As well as handling the subject matter delicately and professionally, the creators of Kung Fu Panda also treated the setting with respect as well, not succumbing to making the film into a stereotype. Instead, the whole Kung Fu philosophy and Chinese ancestry is taken seriously and honoured in significant ways. Whilst Panda started the film with a dream sequence shown in an Anime-style, Panda 2 starts with shadow puppets telling the story of Lord Shen's dark origin.

Away from the sometimes-serious storyline and authentic setting, the film is still incredibly enjoyable and fun. Jack Black continues playing a panda version of Jack Black, although the side characters receive a bit more fleshing out, especially Angelina Jolie's Master Tigress. The animation is as crisp as ever, and the 3D technology finally does make a difference, with quite a few instances being improved with high-flying acrobatics and weapons being chucked in the direction of the audience.

Despite its cutesy appearance, Kung Fu Panda 2 sits very highly in my personal opinion and I think that when 2012 comes around, this will be known as the Animated Comedy Of 2011. Dreamworks can gladly quote me on their DVD box-art.

Now on to Disney's latest and unnecessary venture into the already stagnant waters of the Pirates of the Caribbean franchise.

Like many others, I was a huge fan of the first Pirates of the Caribbean film, The Curse of the Black Pearl; despite being based on a theme park ride, it was something fresh and an exhilarating return to the swashbuckling films of the past, infused with an overall dry humour and topped off with an eccentric Johnny Depp performance, combining to create an overall entertaining thrill ride. However, the sequels managed to screw something that wasn't broken by introducing confusing two-dimensional side-characters (is she a bayoux-dwelling voodoo witch or the Spirit of the Sea?), elevating boring main characters to positions they would never inherit (Pirate Lord Swann?!) and having an unimpressive and non-threatening main villain behind it all. (Can you remember his name?...... Not Barbossa or Davey Jones. The other one. The small English tit with the wig. No? My point.)

But here was a chance to make things right. A new start. A way to apologise to fans of Pearl for the second and third films. The proposed beginning of a whole new trilogy. No Kia-ora. No Or-Blando. Rush and Depp were staying. Everything seemed so hopeful.

The result? Let's just say when you're halfway through a film and you reckon that what you're watching could use either of Or-Blando or Kia-ora to spice it up, it's not doing it for you.

The newest instalment of Pirates takes place immediately At World's End finished, with both Captains, Jack and Barbossa, starting to look for the long-lost Fountain of Youth. On their way, they must face adversaries such as the legendary Captain Blackbeard (Ian McShane), a Spanish fleet intent on destroying the Fountain and mythical creatures such as mermaids and voodoo-style zombies, etc etc. Anyway, on with the autopsy!

The great aspect of the original trilogy, especially the first instalment, was that Bloom and Knightly's duo were relatively new to the Pirate World. It was scary, unknown and required a guide to help them. Enter Captain Jack Sparrow. Jack knew the ins and outs of the lingo, mannerisms and code of pirates and helped the innocent couple find their way. He was the Gandalf to Frodo, Dumbledore to Harry, or Yoda to Luke. Just one that was often drunk and duplicitous. Now that the Swann/Turner collaboration have decided to hang up their corset and sword, Jack steps into the protagonist role and the film follows how he manages to wiggle out of numerous sticky situations. Hardly enthralling watching, especially when Depp's 'Pepe Le Richards' act is getting tired now. There's nothing new for Jack to learn as he easily handles himself in tough predicament after tough predicament.

The other reason I returned to the franchise was to see Geoffrey Rush continue chew more scenery as the delightfully double-crossing Captain Barbossa. He was the personal highlight of Pearl and World's End, and his inclusion into the four-quel made me excited for the potential in his new role. However, as always the case, his acting talent is squandered, being reduced to a role where he isn't really allowed free reign to evil-do like his previous performances. Instead, more screen-time is dedicated to new characters such as Penelope Cruz's bland and blatant romantic interest, and the uninteresting storyline between an abused priest and an appropriately fish-faced mermaid.

Overall, I gladly recommend the nuanced and fun animation over the pirate-filled nonsense. I see a bright future for the Kung Fu Panda franchise whereas the 'new' Pirates trilogy need vast improvement to bring it any closer to the original three.

Kung Fu Panda 2 - 9/10

Pirates of the Caribbean: On Stranger Tides - 3/10

The Green Lantern

A Certain Shade of Green

Remember The Green Lantern? Sure you do! He's the guy with a.... magic ring... or something? Part of a space police squad? Anyway, he's green. And so are a lot of other people. Aliens, in fact. And they can fly, breathe in outer space and create whatever they want just by thinking it. Cool, right? I mean, why not?

Yeah, I hadn't really heard of him before the trailer was released. But I wasn't the only one, as I had quite a few conversations of people confusing him with The Green Arrow, The Green Hornet and The Jolly Green Giant, so at least I knew a bit about him.

Since Lantern isn't as famous as his DC brothers Superman and Batman, a quick Wikipedia research session provided me with the background. Hal Jordan (Ryan Reynolds) is a cocky and arrogant fighter pilot who is chosen to become a Green Lantern. The Green Lanterns are fearless universal peace-keepers who use the power of might and will to protect justice in the Universe. They use Power Rings to manifest their imagination and can create anything if their ring is charged by their Lantern. However, they don't take kindly to Jordan, the first human Green Lantern. His first task puts him against the world-devouring 'fear entity', Parallax.

That mouthful should give you the hint of how much this film tries to pack into itself, quickly skipping over important plot points to the integral back-story. The entire film seems to be based around the graphics, trying to create an spectacular world of the countless Green Lanterns throughout the Universe, however coming across as a less-impressive Mos Eisley cantina. A classic case of style over substance.

The film's storyline merely feels flimsy due to the lack of depth to Hal Jordan. Unlike the impressive Thor, the cocky and arrogant titular hero doesn't learn the error of his ways and become humbled by his status. He starts off a dick, and ends up a dick with unlimited power. A potential storyline exploring Hal's relationship with his deceased father and surviving family begins the film but is quickly overtaken by the more explosive storyline of the Lanterns and their fight with Parallax.

Despite Reynolds failing to impress, both supporting actors Blake Lively and Peter Sarsgaard do their best with incredibly camp and outrageous situations as well as body modifications. Actors who have starred in fantastic films such as The Town and Jarhead deserve better than this though, and the hints of trilogy depress me even more. They do need a paycheck I suppose.

With lots of blockbuster films coming out this summer, I am disappointed by DC's attempt at adapting a lesser-known comic-book superhero, as if they were attempting to match Marvel's success with Thor. It definitely could have learnt a few lessons from the Norse God of Thunder. With a character not as famous as others, more information must be given, for us to become acquainted and to understand his values and beliefs, rather than shoving Joe Nobody onto an alien home-world and expecting the audience to care about his adventures.

Must try harder DC.

Rating - 4/10

Sucker Punch

You Will Be Uninterested

A bleached blonde and porcelain-like Emily Browning fires a gun at her abusive stepfather to protect herself, whilst a haunting version of 'Sweet Dreams (Are Made Of These)' is quietly surrounding the ensuing drama.

This is how another Zack Snyder film begins; an impressive opening montage. Things seem to be going very smoothly; I'm sat in the cinema with my sweets and drink, waiting to be blown away.

Babydoll gets institutionalised and meets a bunch of other girls at the asylum. She is told she is to have a lobotomy and *SNAP*, suddenly they're in a brothel.

Huh? Sorry? Weren't they just in an asylum? Why are these young girls suddenly in corsets and fishnet tights?

Babydoll slowly walks down the steps of the Japanese garden and begins fighting the huge zombie Samurai warriors?

What? I'm all for surreal, but really? And that's just the introduction. To escape the asylum/brothel, Babydoll and her friends spend the rest of the film trying to acquire certain objects and enter different alternate realities to acheive their dream of freedom.

Boy, did I get my hopes up for Sucker Punch. Not following my own advice, I got swept up by the breath-taking trailers, intriguing posters, and impressive cast and crew. It looked like the film was going to be epic. When I sat in my seat, waiting for the film to start, it reminded me of how I felt going to watch 300 back in 2006, and similarly Watchmen in 2009, which were also directed by Zack Snyder. And the result?

It kinda bored me. Don't get me wrong, the situations were very exciting and energetic, but I just didn't care what happened to the characters or their struggle. There was no personalisation to the five main girls. They just seemed like 2D characters, dressed in provocative outfits, made to jump about, swing swords, shoot guns and be every 14-year old boy's dream. It all looks fantastic, but I just did not care. Am I just getting older? Would Teenage-Mike have forgiven this sporadic jumping from reality to reality with no real backbone to the film?

The films that Zack Snyder has directed in the past (the Dawn of the Dead remake, 300, Watchmen, Legend of the Guardians) all seem to share some characteristics, such as numerous fight sequences featuring instances of slow-motion, and Snyder directs them very passionately and precisely. However the films are assisted due to each film's script being unique and interesting in each instance. Perhaps this is the problem with Sucker Punch. Snyder is a very exciting young director, but as a scriptwriter, I believe he has a long way to go. He seems to have merely thought of what a teenage boy loves, and stuck in all together in one messy story. Only a couple of characters are given the smallest of backgrounds, whilst most are just left unexplained and uninteresting.

Whilst having no point to them, the battle scenes are incredibly well done, with the budget seemingly being spent entirely on the grand special effects. The five girls do well with what they're given, but talents such as Jena Malone and Emily Browning deserve much more.

Additionally, I feel that the film was restricted by studio interference. Before watching the film, I had heard that Warner Brothers had told Snyder to amend a scene so the film could be given a '12A' instead of a '15' certificate. I believe this not only affected this particular scene but the film in general, as the girls couldn't be as violent as the film required, or the poor condition in the asylum/brothel to be shown to it's full extent.

Either way, I'd recommend waiting for the 'Unrated Director's Cut' of the film to be released on DVD to see this film, so we can actually see what Snyder wanted to show. It surely couldn't be worse than the film he decided to release.

Rating - 3/10

Limitless

Behind Blue Eyes

I've been a fan of Bradley Cooper, ever since he starred in a low-profile American comedy called Kitchen Confidential. On Confidential, Cooper played a chef at a high-quality restaurant who often got into hijinks through his good looks and charm; a role that he seems to have made his own since the show was cancelled and Cooper became a film star, starring in films such as The A-Team and The Hangover. Since I saw Brad (we're on first-name terms) start off in the business, I am glad to see his name appear in more films and become increasingly widely known in Hollywood.

In Cooper's latest, Limitless, he plays Eddie Mora, an aspiring writer who can't seem to get a grip on his wasteful life, as well as an irritating case of writer's block. When a friend offers him a pill that allows him to use the full potential of his brain power*, Eddie becomes incredibly smart, resourceful and efficient. The pill leads Eddie to a high-paying job and the life that he wants, but with the fantastic benefits, the pill starts to take over Eddie's life, making life insufferable without the miraculous pill.

(*Despite this, research has said that we humans do use 100% of our brain power sometimes, and that the whole 20% thing is just a myth)

I left the screen showing Limitless with a very big smile on my face. The film's premise is incredibly intriguing and like the title suggest, has limitless amounts of potential to access. was surprisingly artistic and well-crafted, with some of the visual set-pieces actually blowing me away, all twinned with an appropriate pounding soundtrack. The storyline does get a bit lazy in parts, with the typical Russian gangsters and scary, all-powerful men-in-suits trying to find out Eddie's secret for themselves but it stays as overall good fun.

Shia LeBeouf was originally cast as Eddie, but then replaced by Cooper, and I can't help feel that the film wouldn't have been as good with the annoying gormless wonder-of-tomorrow as the main star. Cooper does an impressive job as the down-and-out writer, and the make-up department did a very good job at making the normally 'breath-taking' Cooper look like this:

Pretty sure all the girls reading this still would though, right?

Bobby deNiro co-stars as Eddie's Big Boss, and seems a bit wasted, as he occassionally gets to impose his screen presense but is mainly in the background, watching Eddie weave his magic. He could have been used more, but then again, it's good to see him in a role that doesn't involve prancing around in drag or starring in a film without the word "Fockers" in the name.

Overall, Limitless was quite inspiring, I left the theatre full of new ideas to try out for this site, as well as numerous ideas for articles, all of which have drifted into obscurity. Perhaps Limitless is my pill of choice, that will constantly awaken my imagination every time I watch. With the amount of time I've spent on these reviews recently, we can only hope so.

Rating - 8/10

The Lincoln Lawyer

In Need Of A Service

Usually, it only takes one word to put me off watching a film: McConaughy. My dislike for this man borders on Nicolas Cage territory, but his association with the film Frailty won some points with this reviewer, but only because he was barely in it. I mean look at his smug face. Don't you just want to punch it?

Sigh. Anyway, weirdly enough, he suits the role he plays in this film and I was surprised by how settled he seemed in the role of professional defence lawyer, showing the pieces of talent lying underneath the stoner/surfer/idiot surface. Please understand how hard that is for me to say.

The Lincoln Lawyer tells the story of Mickey Haller, a Defence Lawyer who operates out of his Lincoln Continental car. He inherits a high-profile case, defending the privileged son of a wealthy family accused of rape, played by Ryan Philippe. As Haller begins investigating the case with the help of his friend played by William H. Macy, he finds that his client might not be as innocent as he once thought.

Sounds intriguing right? The only problem is that the interesting storyline only kicks in halfway through the film. Sixty minutes in, the film becomes exciting. The first half is simply there to set up McConaughy's character and his history with his father, which is only necessary for a single part of the second half. The instant the catalyst hits, the film kick-starts into an intriguing crime thriller which includes some interesting plot points, fantastic performances and a nice game of cat and mouse between McConaughy and Philippe. However, the case gets resolved and the film reaches a point where it would naturally end, but the film continues. For another twenty minutes or so. I was fidgeting in my seat, wanting the film to finish, but they insisted on wrapping up the countless pointless story-lines that ran parallel to the interesting one. It's a shame that an interesting thirty minutes is surrounded by an hour and a half of dross.

Ryan Philippe returns from the mist to deliver a solid performance, at first whiny and innocent, and then delivering quite a powerful character further into the film. However, both William H. Macy and Marisa Tomei are underused and deserve better from just fleeting interactions with McConaughy. To give credit where it's due, McConaughy gives a performance I haven't seen him give before and I came out thinking he was one of the best parts of the film, which has never happened.

The Lincoln Lawyer deserves plaudits for having a good cast deliver convincing performances and it is an solid attempt at being inventive, but it's a shame that it's inconsistency lets it down. Hope to see more serious roles for McConaughy in the future too, if this is how he reacts to them.

Rating - 4/10

Two For Tuesday: True Grit / Rango

Two films have recently been released that are fairly similar: the Coen brothers' True Grit and Gore Verbinski's Rango. Both are set in the Old West and feature the same themes of retribution and proving oneself. However, Grit features an Oscar-winning cast with names like Jeff Bridges, Matt Damon and Josh Brolin. Rango revolves around a chameleon teaming with a gecko to fight off a turtle and snake. Despite this, I believe both can be compared when it comes to the quality that the films possess.

True Grit, a remake of the 1951 Western of the same name, begins when outlaw Tom Chaney (Brolin) guns down the father of Mattie Ross (Hailee Steinfeld) and steals his possessions and horses. Maddie decides to pursue Chaney with the help of hired US Marshall Cogburn (Bridges), and Texas Ranger LeBoeuf (Damon), who also seeks Chaney for personal reasons. Along the way to bringing Chaney to justice, they each learn that the others have the 'true grit' necessary to each get what they want.

Despite Jeff Bridge's scene-chewing performance as the cycloptic US Marshall Rooster Cogburn (originally played by Uber-Cowboy John Wayne), True Grit is a character ensemble film, with Matt Damon and Hailee Steinfeld being equally important and impressive as Bridges. Steinfeld deserves mentioning especially, due to her incredibly impressive debut, delivering the Coen's fast-paced dialogue with the confidence of an actor 20 years her senior and she genuinely seems to be enjoying herself doing it. Matt Damon also deserves praise for his performance, as I was honestly surprised at how well he suited the role of the cocky and arrogant LeBoeuf, as well as the Western setting. However Bridges, as always, steals the show with a stellar performance worthy of a Best Actor nomination, with his drunken slurring and violent nature feeling very realistic and making you forget he ever starred as the free-living pacifist “The Dude” in the Coen's epic The Big Lebowski.

The only problem I had was the underused Josh Brolin. The main plot revolves around the three characters searching for this elusive, crafty and murderous 'Tom Chaney'. But when they discover him, he only appears on screen for the last fifteen minutes or so, and after Brolin's performance in the Coen's No Country For Old Men, he was one of the main reasons I wanted to see this film. A talent such of his should have had a bigger role for certain, but what he had to deal with, he handled expertly as usual.

True Grit marks the Coens' first real attempt at a 'genre' film, instead of making a film in that certain 'Coen Brothers' way. Whilst Westerns have certain aspects that need adhering to, such as gunfights, the double-crossing and the authentic dialogue, the Coens handle it incredibly well as well as adding their own style to things, such as Rooster's dry humour and a situation involving a man in a bearskin. The Coens make sure that everything looks sublime, with BAFTA-winning cinematography from Roger Deakins, as well as the costume and music. I am certain I will be labelling this one of my films of the year come December.

It is possible that Rango will be up there too. High praise indeed for an animation that isn't made by Pixar or Dreamworks, but Gore Verbinski's Rango isn't really aimed at the same audience, which is quite refreshing. Verbinski did it for a change of pace from the Pirates of the Caribbean franchise, and that is exactly what it is.

Rango tells the tale of a chameleon who ends up lost in the Mojave Desert. When he happens upon the town of Dirt and it's inhabitants, the chameleon takes on the persona of 'Rango', a tough gunslinger. The townpeople are thoroughly impressed by 'Rango' and make him their Sheriff, and put him in charge of finding out what is happening to their ever-diminishing water source, as well as defending their town from Rattlesnake Jake.

Now the storyline isn't really going to enthral the little 'uns and it might go a little over their heads. Some of my colleagues walked out of the film due to 'being bored', so it isn't for everyone. I got the feeling that it was mainly aimed at film fans, as the film features many references to Westerns of the past, such as Rango speaking to a Clint Eastwood figure, as well as nods to other films, such as Rango landing on the car windshield of Raoul Duke, a character Depp played in Fear and Loathing in Las Vegas. The animal characters are quite grotesque, and look truly anthropomorphsised. The script is quite witty and sharp, with Johnny Depp doing a great job as usual as the titular chameleon. It might be a little complicated but it is fresh and original and I sincerely hope for more in the future.

With both True Grit and Rango making a decent impression on the box office figures, and with the upcoming Cowboys and Aliens, it looks like Westerns may be coming back from the dead. I just hope that Jeff Bridges stars in ALL of them. Sorry, make that ALL films. Eye-patch: optional.

Ratings: 8/10

I Am Number Four

I Am Number Poor

I Am Number Four is an adaptation of the popular young adult novel of the same name. It concerns Number Four (Alex 'Stormbreaker' Pettyfer), the fourth in a line of aliens that have fled their planet, taking refuge on Earth. The bad guys they are fleeing arrive on Earth to finish them off. They kill the first three aliens, imaginatively named Number One, Two and Three, and start on their hunt for Number Four. This leads Four to flee with his guardian (Timothy Olyphant) and settle in Paradise (sigh), Ohio.

There are three positives I took from this film:

1. Timothy Olyphant. Like most things that Timothy stars in, he's the shining light. He might have starred in the god-awful Hitman adaptation, but his role in The Girl Next Door and his villainous turn in Die Hard 4.0 have made him a favourite of mine. However, he is pushed to the sidelines for most of the film, maintaining a 'disapproving father figure' status throughout. A waste of good talent, he deserves better;
2. Number Six. Played by Australian actress Teresa Palmer, she only appears fleetingly throughout the film, making a worthwhile impact in the final act. Her enthusiasm and attitude is a refreshing change to the dull and boring 'acting' given to us by the two leads. Again, not used well.
3. The first three minutes. Similar to last year's Solomon Kane, if the rest of the film was like the first 180 seconds, it would have been a pretty good film. The opening depicts Number Three's death at the hands of the Big Bads and their gigantic monster-alien-killing-machine-pet thing, and is an exhilarating and shocking chase sequence through an unnamed jungle at night! Since nothing in the film matches up to the attention-grabbing introduction, the film feels like it's steadily going downhill throughout.

I won't describe my dislikes in list format as well, as it'd be a long damn list. Let's just start with the basics.

The acting is atrocious, with Pettyfer giving Keanu and Nic Cage a run for their money in the Wooden Actor Awards, and the storyline is incredibly trite, contrived and similar to many other superior sources, for example, the villains being cheap replicas of the vampires from Buffy The Vampire Slayer. Speaking of which, I Am Number Four's storyline is essentially the trials of refugee aliens on Earth, evading their enemies whilst coming to terms with the normal human experiences of an average American teenager. Sounds familiar? It should to any fans of the late-90s/early-00s U.S. TV series, Roswell High/Roswell (jumping point for a teenage Katherine Heigl) as it is essentially the same basic plot.

Perhaps I am just too critical and demanding of a film that is aimed at a younger audience. However, there are certain scenes that are a bit too graphic, such as the film's dental torture scenes (yes, dental torture in a 12A rated film) or the film's special effects-laden fight scenes, which suggest it's trying to encorporate the older audiences too. The film tries to balance the two sides of the film equally, with the 'alien at high school' plot taking slight priority over the 'bad guys are coming to kill you' storyline. This leads to an incredibly predictable series of events including the stereotypical American high-school party and town fair, complete with ferris wheel and ghost train. Meanwhile, we cut to fanged baddies laughing maniacally whilst drilling into people's mouths. Ridiculously juxtaposed storylines.

All in all, I believe Roger Ebert got it right by describing I Am Number Four as 'shameless and unnecessary', as it has just become another stale and uninteresting entry into the already-diluted pool of adaptation and remakes polluting the film industry. Although, on a lighter side, before I watched this film, I was struggling for my Worst Film of the Year contender. Now I have a firm bookend that I'm sure will still be there come December.

Rating - 2/10

Blue Valentine

Roses Are Red...

Blue Valentine tells two timelines of a couple, Dan and Cindy (Ryan Gosling and Michelle Williams), as they romance each other and get together, and the dissolution of their marriage several years later. During their relationship, they have a daughter, Frankie, and for fear of raising her in a broken home, Dean tries to reignite his marriage.

The film was absolutely heart-breaking and engrossing in every aspect. It is easy to tell that every look given by the actors and the framing of every shot has been considered and thought over by director Derek Cianfrance, and since the film had been in production since 2003, Cianfrance has had plenty of opportunity. The story is very well-structured and the split storyline, despite being initially confusing, compliments the film increasingly towards the end of the film. For example, Dean plays a song to Cindy as he tries to cheer her up in the present storyline but fails in even making her smile, and a few minutes later, we see the song becoming 'Their Song' in the past storyline, making the significance apparant as well as a tad upsetting.

Even though the story is a large contributor to the film's overall special quality, the impressive main leads help bring the story to life.

Ryan Gosling has got to be one of the finest actors of our generation. Big words I know, but I have yet to see him put in a performance that isn't totally committed. Many females in the audience tonight will mainly remember Gosling for his role as Noah in 2004's The Notebook. However he first grabbed my attention, as well as shot to the forefront of the critical circles, in 2006 when he starred as a drug-addict high school teacher in Half Nelson. He then carried on his impressive resume with Lars and the Real Girl in 2007. His acting style is very muted and realistic and this often-mistaken-for-Ryan Reynolds actor is definitely one to watch when he finally breaks into the mainstream, following the trails of actors such as Joseph Gordon-Levitt and Tom Hardy.

Michelle Williams on the other hand, I am not so familiar with. I knew of her when I was younger due to my sister's love of Dawson's Creek, but unfortunately recently I knew of her for merely being Heath Ledger's widow. However more recently, she did give an amazingly chilling performance in Scorsese's Shutter Island last year, and she continues on her good form with another impressive Oscar-nominated performance in Valentine. Only a small role, but Faith Wladyka playing the couple's young daughter Frankie was a treat to watch too.

The film may be a tad upsetting and depressing if you choose it as a 'date movie' but the realism is what gives the film such a surprising and refreshing edge. Relationships do break down in real life and anyone who has suffered through a split can identify with one of the main characters, if not both. You live through their lives as they find love and despair, and due to the effective soundtrack, emotive cinematography and brilliant performances by the entire cast, you truly feel for these characters. That is a sign of a carefully-constructed love-story and definitely worth a watch, regardless of your relationship status. Just maybe not on Valentine's Day.

Rating - 9/10

Paul

E.T.: The Exceptionally Tedious

You cannot find a bigger fan of Simon Pegg and Nick Frost than I.

I currently have a signed poster of Hot Fuzz on my bedroom wall, signed by the two men themselves, as well as the film's director, Edgar Wright.

I know virtually every line of their Channel 4 sitcom Spaced, their big-screen debut Shaun of the Dead and the aforementioned Hot Fuzz.  Shaun of the Dead actually sat in my Top Ten Film list for quite some time too.

All of which add to the disappointing fact that I really didn't find Paul funny. Like, at all.

Pegg and Frost play a pair of sci-fi nerds on a tour of America's best-known nerdy and alien hotspots, starting at nerd-travaganza Comic-Con, before travelling through Roswell, New Mexico and past Area 51. Whilst passing Area 51, they encounter the laid-back alien Paul (voiced by Seth Rogen) who has escaped from 51 and is in need of a lift to a rendezvous with his spaceship. However, special agents (Jason Bateman, Bill Hader and Joe Lo Truglio) are hot on their tales to retrieve Paul.

Hear all that comedic talent? Not only Pegg and Frost, but Rogen, Bateman, Hader, as well as Kristen Wiig, Jeffrey Tambor, David Koechner and Sigourney Weaver (of all people) making an appearance too! This is pretty much my ideal combining of comedic talent from both sides of the pond, as well as all being under the helm of Superbad's director Greg Mottola! What could go wrong?

19 minutes. That's how long into the film it was before I laughed.

I was so amazed by the first laugh-less 18 minutes that when a joke did make me chuckle, I had to check my watch to note it.

Sigh, I truly need to stop expecting so much from films involving actors I admire. It only results in disappointment. It happened with The Invention of Lying, Couples Retreat, Dinner For Schmucks, and now Paul.

The problem with all of these films is that the jokes were a bit too 'safe' (for lack of a better word) and Paul is no exception. An often-repeated line in the film is that 'sometimes, you have to roll the dice'. Pegg and Frost should listen to their own advice. Shaun of the Dead and Hot Fuzz were incredibly funny because they immersed themselves in the genre they were parodying. The amount of zombie/cop film references in both Shaun and Fuzz are staggering but they add to the feel of the world they are in, which is something Paul misses.

Is the film a comedy? A science fiction? Action? Thriller? It doesn't really know, and therefore spreads itself far too thin. It makes sense to try and appeal to the larger audiences since this is Pegg and Frost's first big American-funded film together, but I felt like most of the funniest bits of humour might have been left on the cutting room floor for fear of alienating too much of the American public (no pun intended).

And speaking of alienating the audience, can I have a quick word with liberal comedy writers everywhere?

Hey guys! Can I just say? Please be careful when concerning religion. It's fine when you mock those who take themselves and their religion too seriously, like Chris Morris' Four Lions or Bill Maher's Religulous.  When you start enforcing your beliefs on others, then you're rife for parody. 

But when the message of a large part of your film moves from “Ha, aren't these fundamentalists silly people?” to “No, you are wrong in believing in God, and I, the writer, am right!” it stops being funny and moves to slightly offensive and alienating. Gervais fell into this trap with The Invention of Lying and now Pegg and Frost have done the same. The main diatribe from Lying was that Gervais' character created the first lie, and he ended up inventing the Christian religion: “Har-har! Everyone who believes in religion is believing in a lie!” And that's all the theists in the audience offended and mocked in one fell swoop, bravo! You are perfectly allowed to have your view on the state of religion in the world, but then so are the rest of the world.

Anyway, back to the review! Paul wasn't completely devoid of comedy. Like I said, it might have been 19 minutes into the film, but I did end up laughing and again several times during the film. Bill Hader was the main reason for this, as his delivery and timing had me chuckling for most of the time he was on screen. I was simply hoping for more of them, and therefore, I was left wanting.

I should say that I seem to be in the minority when it comes to this film. Many of my friends have said it's an early candidate for their Film of the Year, so maybe there's just something wrong with me, but all I can give you is my honest tendentious opinion.

Disagree entirely? Agree in parts but not overall? Let me know your thoughts and we can have a nice little discussion.

Rating - 4/10

The Fighter

Boogie Fights

I've never been a fan of boxing films. Sorry, that's an understatement, let me rephrase. Boxing films bore me. They've just never interested me and I don't know why. It's not a hatred of the sport, even though I've never been that interested in that either, but the idea of a film about two guys punching each other just never grabbed me. And that's from a fan of WWE wrestling. To this day, I haven't seen a single Rocky film, and I gave up watching Raging Bull half an hour in. *cue cries of outrage* I know, this is certainly unacceptable since both are held in high regard and have become the benchmark for boxing films ever since.

Therefore when I saw “the best boxing movie since Rocky!” was being released at my nearest cinema, I wasn't that awe-struck. Then I noticed who was starring in The Fighter: Mark Wahlberg and Christian Bale. They had my attention. Checking the film's background, I read how Marky-Mark had put on a lot of weight for the role; as always, Bale had lost a lot of weight for the role; and the film was going to focus on their relationship and not the sport of boxing. With this new knowledge, along with my New Year's Resolution hanging over my shoulder, I made the decision it was worth a watch.

The Fighter tells the true story of brothers “Irish” Mickey Ward (Wahlberg) and Dicky Eklund (Bale) and their struggle as they try to achieve glory. For Mickey, it's potential glory in the boxing world, but for Dicky, it's former glory as he wastes his life addicted to crack cocaine, trying to kick-start his failed boxing career. As Mickey trains and fights to become champion, he has to cope with personal troubles, embodied by his girlfriend (Amy Adams), his mother (Melissa Leo) and his numerous sisters as they all think they know what's best for him.

The story might be cliched, but this film is driven and held together by the magnificent performances from the entire cast. Bale, Adams and Leo deliver their characters perfectly and create a chaotic world around the otherwise calm Mickey. When it comes to roles like Dicky Eklund, “Ultimate Method Actor” Christian Bale is a safe bet to fully commit to the role and you can see him almost lose himself in the character. You don't really realise how spot on his performance is until the end credits, and you see the real life Ward brothers; it's as if the real life Dicky is imitating Bale's performance! Bale went on to win Best Supporting Actor Oscar for his performance, and both Adams and Leo got Oscar and BAFTA nominated, with Leo rightfully winning Best Supporting Actress. They capture the often cliched mother-in-law/girlfriend tension superbly as Leo feels Adams is stealing Mickey away from her.

Despite the supporting characters being pitch-perfect, this did bring a flaw to the film. Due to the extroverted characters around him, the self-titled “Fighter” Mickey, was the least interesting character. He was the calm eye of the storm going on around him, but that resulted in more of the action and drama coming from Dicky's storyline of his drug addiction and imprisonment. I felt Wahlberg wasn't given enough material to let him shine as he did in The Departed and I (Heart) Huckabees.

At this point, I feel I must return to my original point from the start of this review. It is true that boxing as a sport doesn't interest me greatly. However, the boxing scenes in this film strangely did grab my attention and had me cheering towards the end of Mickey's journey. They were filmed very authentically, as if the audience is watching a gritty television pay-per-view in a downtown bar. I believe that's what let me get through this film in one piece. The boxing action takes backseat to the drama of the Ward family, and as one brother conquers his demons in the ring, the other conquers them outside the ring as well. The Fighter is more about retribution than boxing. I'm sure that's what people say about Rocky or Raging Bull, and I think The Fighter has shown me that I should maybe broaden my viewing horizons. …..Maybe.

Tangled

Golden and Charming

Despite being a 22-year old guy, every time the "Cinderella Castle" appears and the music that filled my childhood begins to play, I can't help but be reminded of all the memories Disney have given me over the years. Their casting of Robin Williams as Aladdin's Genie started my interest in acting, their collaborative work with Pixar's Toy Story began my love for film, and they also knew how to frighten the utter piss out of childhood me, be it via pink elephants with no eyes in Dumbo or gigantic and evil whale Monstro in Pinocchio (still to this day, probably one of the most disturbing childrens films ever!)

Last year in 2010, when Disney returned to their traditional 'hand-drawn Princess movie' with The Princess and the Frog, I was a little tentative, especially with the possible sloppy stereotypes into which Disney could have fallen. Thankfully the film worked and earned both praise and profit.  A Now with all the demographics represented, and since there hadn't been a white Princess since Belle in Beauty and the Beast (1994!), Disney have retreated to what they know best; Caucasian princess fairy-tales.

Tangled tells the story of Rapunzel (Mandy Moore) and her incredibly long and magical golden hair. More in-depth explanation? Okay, there's an old woman who steals young baby Rapunzel from her King and Queen parents for her magical hair to keep her ever-youthful. She keeps her hidden in a tower and deprives her of knowing about the outside world. When Rapunzel runs into a dashing thief, Flynn Rider (Chuck's Zachary Levi), they team up to visit the kingdom she came from to realise her dream of seeing some lanterns. (Weak dream right? Don't worry, it works when you watch it.)

Occasionally computer-animated Disney films are themed around some technological advancement. For example, Monsters Inc. was able to look so realistic due to the groundbreaking advancements in creating the fur for Sully's and other monsters' bodies. The same goes for Finding Nemo and their realistic water animation, and now they have mastered the realistic look of a young girl's hair, and there is plenty of it in Tangled.

Tangled is Disney's 50th animated feature film, and they have gone all-out, spending $260 million on the development and promotion, making it the most expensive animated film ever, and second only to Pirates of the Caribbean: At World's End for Most Expensive Film Ever Made. At the time of writing, it's also the second highest grossing animated film, having earned $537 million. Not too shabby, some would say the price-tag was worth it.

With all that money behind it, you can see the difference it made, as the film looks absolutely beautiful. The backgrounds and settings look like they have been painted and are incredibly detailed. The film also includes a sequence involving flying Chinese lanterns that I count as one of the best things Disney have ever done. It's magical, romantic, and overall, jaw-dropping when you see it.

The plot may be a little thin, but it is supported by well-written characters. An innocent and naive protagonist Rapunzel, the humorous and dashing rogue Flynn and the antagonist Mother Gothel who, despite her over-controlling possessive qualities, still loves and cares for Rapunzel. Rapunzel and Flynn have a realistic chemistry and interact well with each other. As the antagonist, Gothel especially stood out for me, with her evil qualities portrayed subtly and through passive-aggressive techniques (e.g. annoyance shown through sarcasm and snide remarks), and her overbearing being shown to be both selfish and caring.

However the characters don't go through much of an emotional arc, with Rapunzel's main life aspirations not being that unreachable, and the main revelation towards the end of the film is quite flimsy and quickly put-together. Plus with Gothel coming across as both caring and manipulative, and the secondary villains (the Stabbington Brothers) pushed to the side for most of the film, the film suffers with having no real villain and must leave children wondering who to hate.

All-in-all, it's a fantastically made film, with a witty and sharp script, if there are a few plot-holes here and there, but it's a fairytale after all! One of the best animations released in a long time, and very reminiscent of the Renaissance period of Disney's history when The Little Mermaid and Beauty and the Beast were watched by the world's children. With Disney's re-resurgence, I can only hope for more films of this quality to come in the future.

Black Swan

The Lady In Black

I've been a fan of Darren Aronofsky since his debut in 1998 with π (Pi), a psychological thriller in which a number theorist obsesses and dedicates most of his adult life and fragile psyche to numbers. Despite π's modest budget, Aronofsky managed to create a complicated yet intriguing film with its basis being in quite a boring subject.

After π, Aronofsky created the more commerically-successful Requiem for a Dream (a film that will put anyone off drugs), the unsuccessful romantic-drama The Fountain, and the critically acclaimed The Wrestler. Aronofsky still had to create a film I disliked. So that's why I was quite confident when I saw the trailer for his newest psychological thriller Black Swan as well as their incredible marketing strategy.  Five different styles of posters, all classically made and aesthetically pleasing, all depicting a woman turning into the titular black swan. Despite the trailer showing more of a physical transformation, the film effectively treads the line between surreal and cerebral.

Black Swan tells the story of Nina Sayers, stunningly played by Natalie Portman in a career-high performance. Nina is a member of a prestigious New York ballet school who is picked to be the lead role in their new production of 'Swan Lake'. As the lead, Nina has to embody the dual roles of The White Swan (eloquent and timid) and The Black Swan (passionate and sensual), a task that director Thomas Leroy (Vincent Cassell) doubts Nina can do. Through Leroy's advances and encouragement from fellow ballet dancer Lily (Mila Kunis), Nina begins to tap into her sensual side, resulting in her protected and repressed life becoming more at risk.

Can I just say? Annette Benning, Nicole Kidman, Jennifer Lawrence and Michelle Williams; don't practice your acceptance speeches this year. Natalie Portman is walking away with the Best Actress Oscar this year, hands down. Your work in your respective films may be very impressive, but no actress has performed with as much passion and enthusiasm as Portman does in Black Swan. Her transformation from a timid supporting-ballerina to a driven no-nonsense, obsessed performer is as mesmerising as it is disturbing. Her character arc is the most prominent I have seen in a while, and I was captivated by this one woman's change in personality and appearance.

Her co-stars are also brilliant for Nina to interact with. Mila Kunis plays Nina's enigmatic and spontaneous friend/rival Lily with lots of vigour and believability; Vincent Cassell confidently acts as the head of production Thomas, with his high expectations for Nina and guiding (and wandering) hands forming the mold; and Barbara Herschey chillingly plays Nina's mother Erica Sayers, a failed dancer turned amateur artist who tries to control much of Nina's life. All the cast add another layer to the film and to the breakdown of Nina's psyche, especially Herschey, who's performance more than deserves recognition from the Oscar committee, however like a certain Mr. Nolan, Herschey will have to go waiting.

Although it's not all about the actors. Everything in Black Swan feels as carefully choreographed as the ballet it portrays. The music by Clint Mansell is as beautifully constructed as any of his previous work, and he utilises the Swan Lake score masterfully. Aronofsky's direction has rightfully earned him an Oscar nomination, as his film tentatively plays with the surreal hallucination scenes, hoping the audience will stick with the film during these confusing moments. The ballet scenes also are poetically staged and arranged, as well as breathtakingly performed by Portman and Kunis. Their dedication can clearly be seen, and Portman's final performance as The Black Swan truly had me captivated.

Seriously, don't let the films surreal moments put you off watching this absolute masterpiece of a film. The performances from the cast, especially Natalie Portman, are worth the ticket price alone. Those combined with the amazing soundtrack, breathtaking choreography and truly twisted storyline all create a film that will definitely stay with you after the curtain is drawn.

Rating - 9/10

The Green Hornet

No Sting In The Tail

This is as 3D as the film gets...

The only things I knew about The Green Hornet film, radio serial and other incarnations before I watched the 2011 film were:

1. Seth Rogen had slimmed down a tremendous amount to star in this film, so I knew that his performance would have some passion and enthusiasm behind it.
2. Bruce Lee had starred as the original Kato, so Jay Chau had some big shoes to fill as far as fans of the originals went.
3. Michel Gondry was directing. Although an odd director/film combination, I expected the personal touches he had brought to films such as Eternal Sunshine of the Spotless Mind and The Science of Sleep; such as handmade props, innovative and alternative camera angles and with 3D technology at his disposal, utilising that to the best of it's capabilities.

I, and many of the general public, didn't really know the storyline apart from what was told to us through the trailer and advertising for the film: Rogen plays Britt Reid, a rich playboy son of a newspaper tycoon (Tom Wilkinson). When his father is murdered, Britt inherits the newspaper and tries to take on the crime in the city with his sidekick/butler Kato (Jay Chau) by posing as criminals to get closer to the criminal kingpin Chudnovsky (Christoph Waltz). Along the way, he is assisted by his secretary Lenore Case (the terribly-miscast Cameron Diaz).

Bit convoluted, but as far as origin stories go, it's pretty simple. As Reid wastes his life partying, his father's death brings him to realise his and Kato's full potential. However, with both Britt and Kato's relationship with Reid Snr. being the main reasons behind their catalyst, we don't learn much first-hand, as Reid Snr. is killed in the first ten minutes, and the relationships between the two anti-heroes and Mr Reid are simply told to us through anecdotes. Maybe Mr Wilkinson could only work for one day?

Rogen obviously has the passion for the project as he seems to be enjoying himself throughout the film, and Chau effectively shows off his extensive knowledge of martial arts and his athleticism but, the partnership between the two never feels even, which is actually addressed during the film. Whilst Kato is rightfully labelled a “human Swiss-Army knife', Britt doesn't really bring anything to the team, requiring him to use weapons, and not always to the best outcomes. Britt often calls Kato his 'sidekick' but Kato seems to be the only member of the team that realistically could be a crime-fighter. Britt can't even fight hand-to-hand against a ordinary gang member without requiring Kato to step in and help him. Despite the origin of their friendship being slightly rushed and unexplored, as well as the uneven feeling to it, the two have a realistic chemistry and win over the audience quite quickly.

Although, a hero is just as good as his villain, and The Green Hornet's villain is crime kingpin Chudnovsky, played by the brilliant Christoph Waltz, made famous by his Oscar-winning performance in Quentin Tarantino's Inglorious Basterds. In Inglorious, Waltz steals every scene he is in through his impeccable delivery and charming persona.

However in Hornet, he seems relegated to a storyline about how he can make himself more villainous to keep up-to-date with today's society. Whilst this identity crisis might be a new approach to handling a villain, his first scene sees him told a laundry list of reasons why he's not imposing or threatening, thanks to an impressive cameo from James Franco. Not the great start to a “Hero vs. Villain” narrative. His character barely interacts with The Green Hornet and so the hero/villain dynamic is never established. The Hornet seems to be fighting the concept of local crime, with Chudnovsky merely an example of it.

Also I was quite disappointed by Gondry's lack of personal input in the film. It is by far his most main-stream film, which I suppose it needed to be with The Green Hornet being quite a low-key franchise. But if the studios wanted a pretty “safe” film with few surreal moments or innovative camera angles etc, then why employ a director known for such trademarks? The 3D is hardly utilised as well, with more of the impressive visuals appearing in the credits than the actual film.

Despite my nitpicks about the storyline being a bit thin and Gondry playing it safe, the film is entertaining and the banter between Rogen and Chau constantly makes you smile and enjoy the ride. Honestly, I don't see a franchise coming out of this release, but it is nice to see quite obscure material being brought to the Silver Screen rather than the already-famous comic-books or television shows being remade.

Rating - 5/10