Hostiles

Director:
Scott Cooper (Crazy Heart, Out of the Furnace, Black Mass)

Starring:

Christian Bale (The Dark Knight, American Psycho, The Prestige)

Rosamund Pike (Gone Girl, The World's End, A United Kingdom)

Wes Studi (Dances With Wolves, The Last of the Mohicans, Heat)

Plot: 

In 1892, a Native American-hating U.S. cavalry officer (Bale) must lead an escort party protecting a Native American family back to their home in Montana. 
En route, they discover the sole survivor of a Comanche attack (Pike) who joins their party.

Verdict:

When I was in high school, I was assigned a project that I put my heart and soul into; to create a clock.  Not that difficult, right?

For weeks, I obsessed over ideas for how to make my clock stand out against others in my class.  

Maybe the clock face could be slanted? 
Maybe the numbers could be Roman numerals?  
Maybe the arms could go *gasp* counter-clockwise?!

Little did I know, it didn't matter what clock I made, because three years earlier my sister had created a clock that was being used as the epitome of what a student could create.  It was spoken about in hushed tones and sat proudly on the fireplace in my house.  
If they gave awards for Clock Projects, she'd win them all.

My efforts were earnest but ultimately outshone.

So, what is the point of this story, you might think?

Scott Cooper is me.

Hostiles is my clock project.

My sister's clock project is The Revenant.

And damn, Hostiles would be impressive if The Revenant wasn't released three years ago.

Perhaps I'm slightly biased when it comes to Westerns since, like boxing films, I haven't found many that actually entertain me.  They usually plod on a bit of a slow pace, with ultimately the cowboys triumphing over the Native Americans, or the man in the white hat beating his darker suited rival.  Ho-hum.

But The Revenant really shook things up for me and my expectations of the genre back in 2015.  Gritty realism, gory injuries and, finally, an Oscar-winning performance from Leo.  
For the first time, I was made to sit up in my seat.  Not just from the action on-screen and trying to figure out just what Tom Hardy was mumbling, but the beautifully-shot landscapes of rural America made me gasp and stare at the screen slack-jawed at the natural wonder of the American West.

And all that still can be found in Hostiles, but simply to a lesser extent.  Breath-taking vistas are underplayed by foreboding and ominous tones, but the setting never feels like a character in itself.  Shoot outs are still tense, but they lack a sense of fear and dread.

Similarly to Three Billboards... earlier this year, Hostiles focuses on the pointlessness of rage and hatred against our enemy when ultimately, we are all the same underneath.  Characters on opposite sides find themselves fighting alongside each other before the whole thing is over, but in a film like this, you can tell that is where the film is heading.

Again, I'm not saying Hostiles is without heartfelt emotion, as Rosamund Pike acts the hell out of her role.  Seeing true tragedy befall her early on in the film leaves Pike a shell of her former self and she seems genuinely struck with PTSD for a large portion of this film (I've been so impressed with Pike's work since Gone Girl and I really hope she is recognised for her talents in the coming years).  

The same goes for Christian Bale's stoic performance as the 'Indian'-hating cavalry officer.  He gives a subtle and believable turn as Joseph Blocker, learning ways of the Native American people as he continues to spend time with them over their journey across their 'shared' home, resulting in a logical conclusion that succeeds where many 'Gone Native' films have failed in the past.  Plus his moustache is just glorious, I mean, look at that pushbroom!

Hostiles is not a bad film at all; it's an entertaining and thought-provoking amount of minutes.  However the same can be said about my clock project; that work-of-art told people the time whenever they wanted.  But damn, it was nothing on my sister's.

Rating
6/10

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Alien: Covenant

Director: 

Ridley Scott (Alien, Blade Runner, Gladiator)

Starring: 

Katherine Waterson (Fantastic Beasts and Where To Find Them, Inherent Vice, Steve Jobs)

Billy Crudup (Watchmen, Spotlight, Almost Famous)

Michael Fassbender (Macbeth, Shame, Assassin's Creed)

Genre: 

Science-Fiction / Horror / Thriller

Opinion:

Let me start by saying: I liked Prometheus. 

It is not an opinion that is shared by many people, but I did.  I didn’t watch Prometheus expecting a film in the same mould as Alien or Aliens, but one that further explained and established the beginnings of an existing franchise.

You know… what a prequel is meant to do.

And what I got was a well-told and interesting science-fiction film that theorised about who potentially created life on Earth, and what would happen if you managed to royally piss them off.

It had everything I expected; tension, scares, body horror.  Even the added bonus of idiotic people who should not be sent into space, since they can't figure out how to avoid a rolling spaceship going in one direction.  But most intriguingly Prometheus was about ideas.  More than just "Who created us?", the film discussed free will and morality and whether the lack of these could have a corrupting influence.  It touched upon whether religion is a manufactured construct or a necessary comfort, and these aren’t topics you find in most modern sci-fi/horror films.

But unfortunately the film wasn’t warmly embraced among the Alien die-hards and it will forever be remembered as an honest attempt that failed.

Skip to six years later and Ridley Scott has got another shot.

Set a few years after Prometheus, a spaceship intent on completing a colonising mission comes across a radio signal from a seemingly habitable, but unknown, world.  Curious to it’s origin, the crew make the decision to investigate… and things go as well as you'd expect.

To go into further detail will spoil too much of the story, but if you have seen an Alien film before, you will probably see the signposts for where the film is heading.  However, the audience’s familiarity with the stereotypes of the Alien franchise is where Ridley Scott tries to make the best use out of his prequel; by showing the audience how the later and much more acclaimed films were set in motion; showing you how the dominoes were set-up before we saw them fall over.

Although it seems that Scott has bowed to pressure from the audiences, and tried to have his Prometheus cake and eat it with Alien knives and forks… if that makes sense.  

He wants to carry on telling the story he started in Prometheus, further developing the origins of the Engineers and theorise about ideas of our creation, but to keep the audience from complaining, he’s made some dumb people run around dark, steam-filled corridors whilst being chased by a slick, black, death creature.  And the film suffers because of it.

The crew of the Covenant are never given any back-story apart from Character X is married to Character Y, since all of these people are couples and most of them are going to lose their partner to a slick, black, death creature.  Billy Crudup and Katherine Waterston are given centre stage, but potentially interesting plot points are never fully developed and as with Prometheus, Michael Fassbender steals the show.  Crudup is a proven talent and Waterston is an interesting up-and-comer so it’s a shame that they aren’t given much with which to work.  

There ain’t no Ellen Ripley for the audience to root for, that’s for damn sure.

Whilst the locations are gorgeous and rich in detail (it might as well be H.R. Giger's homeworld), and the direction never falters, Alien: Covenant follows the trend of films with huge potential not being able to fully embrace their director’s vision, for fear of alienating too much of the audience and losing box office in the process.

Gareth Edwards’ Godzilla. Josh Trank’s Fantastic Four / Fan4stic.  Even Ghost in the Shell from earlier this year. 

They don’t want to leave the audience bored, or scratching their heads in confusion and telling their friends not to watch the film because of it.  It’s the nature of the industry currently, and I don’t blame Scott for bowing to this pressure.  I just hope that Scott doesn’t do the same with Blade Runner 2049 later this year.

Rating – 5/10 - It's worth a watch, just don't expect much.

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My Top 50 of 2015: 50 - 41

It's getting to the end of the year, and that means it's time to reflect on the year that was 2015. Usually I do a Top Ten list but because I've seen more films this year than most others, I thought I'd try and challenge myself to rank my Top Fifty Films instead!

Now as a warning, I won't be able to put films such as Star Wars Episode VII into my Top Fifty, as I have calculated this from the films I have seen prior to December.  But I'm going to review those as soon as January arrives!  

Also whilst I have seen an amount of films that stands as a personal record, I still haven't managed to see every film, so if a personal favourite is not in the list, feel free to let me know in the comments below and I'll definitely make an effort to see it!

But anyway, let's cut the bull and get to the list!  Starting at No. 50...

50. The Overnight

Plot

A couple meet some new neighbours and attend a dinner party at their house, but then things start getting weird...

Starring

Adam Scott (Parks and Recreation), Taylor Schilling (Orange is the New Black), Jason Schwartzman (The Darjeeling Limited)

Verdict

A subtle comedy where the less you know about the plot, the better. 

An interesting take on how diverse and complicated relationships can be. Full of awkward cringe moments but a surprising amount of heart, featuring a great cast as well.

49. Monsters: Dark Continent

Plot

Set ten years after Monsters, the alien life-forms have begun to wreak havoc in the Middle East. American soldiers have to battle an insurgency from locals as well as the extraterrestrials.

Starring

Johnny Harris (Snow White And The Huntsman), Sam Keeley (Burnt), Joe Dempsie (Game of Thrones)

Verdict

Nowhere near as good as Monsters but better than I had feared it would be. 

A heart-breaking tale of soldiers fighting a war they don't want to be in, having to fight battles on the outside and inside. 

A handful of tense scenes plus some of the poignancy that made me love the first Monsters so much.

48. Absolutely Anything

Plot

A British high school teacher gets granted the ability to make anything happen with a flick of his wrist. But should he use it for good or for evil? The fate of the world depends on it.

Starring

Simon Pegg (Shaun of the Dead), Kate Beckinsale (Underworld), the late Robin Williams (all my favourite childhood films)

Verdict

Essentially a British version of Bruce Almighty, and written by the Monty Python team, I did expect this to be the funniest film of the year. 

Whilst it isn't that (just wait a few weeks to find out what is!) the film is still packed full of irreverent British wit and humour, definitely enough to pass The Six Laughs Test. 

I just wish Robin Williams' final film would have been a bonafide classic.

47. Spy

Plot

A glorified secretary for the CIA goes undercover after the Secret Agent she's helping disappears. Hijinx ensue.

Starring

Melissa McCarthy (Bridesmaids), Jason Statham (The Transporter), Rose Byrne (Bad Neighbours)

Verdict

McCarthy is back to doing what she does best; be large and fall over a lot. 

But in between the pratfalls, there are some half-decent jokes and a fantastic performance by Jason Statham. His character truly pokes fun at the genre as well as his history with it, and you can tell he's loving every second of it. 

The film is pretty standard fare, but worth it for Statham and McCarthy.

46. Spooks: The Greater Good

Plot

Based on the BBC drama, disgraced MI5 Intelligence Chief Harry Pearce must track down an escaped terrorist leader before he can launch an attack on London.

Starring

Peter Firth ([spooks]), Kit Harington (Game of Thrones), Tuppence Middleton (Sense8)

Verdict

My first interaction with [spooks], which had been described to me as 'a British 24' and I can see where they are coming from. 

An exciting plot full of twists and turns, but very televisual as it didn't seem to embrace the new medium well. 

One for fans of the show.

45. Chappie

Plot

A South-African software developer manages to create a self-aware robot, Chappie. Initially childlike and innocent, the world begins to corrupt Chappie into using his robotic abilities for evil. 

You seen Short Circuit? Yeah, that.

Starring

Sharlto Copley (District 9), Dev Patel (Slumdog Millionaire), Hugh Jackman (Wolverine)

Verdict

Neill Blomkamp seems stuck in this repetitive cycle of trying to capture the magic of District 9; the brilliant mix of emotion as well as spectacle. With loads of guns and explosions thrown in. 

Similar to Elysium, it is a fair attempt but one that falls down in it's structure and character development.

An entertaining watch, but not a mind-blower.

44. Legend

Plot

Recounting London under the rule of the notorious gangsters the Kray twins, Reggie and Ronnie. American mobsters want to muscle in on London, making it the Las Vegas of Europe. Reggie has to make sure that doesn't happen, all whilst keeping Ronnie, his psychotic brother, in check.

Starring

Tom Hardy (Mad Max: Fury Road), Tom Hardy (The Dark Knight Rises), Emily Browning (SuckerPunch)

Verdict

The only reason this film is so high on my list is Mr Thomas Hardy. 

His dual performance is mesmerising throughout the running time, managing to make both twins similar and yet complete opposites. It's a shame that the rest of the film doesn't match in quality. 

The direction is quite mundane, the rest of the cast are pretty standard and ordinary, and the less said about Emily Browning's corny and irritating voice-over, the better.

43. The Moomins on the Riviera

Plot

The film adaptation of the Finnish cartoon centred around a family of talking hippopotami, as they go on holiday to the Riviera.

Starring Featuring the voices of...

Russell Tovey (Him & Her), Nathaniel Parker (Inspector Lynley Mysteries), Tracy Ann Oberman (Eastenders)

Verdict

A charming little animation that I watched mainly due to nostalgia of watching the television series as a child. And I can see why I liked it as a child. 

Very lovely artistic design, the animation is beautiful and the writers don't try to bombard many complicated ideas onto the audience. As an adult though, whilst it was still charming, I nearly nodded off! 

It's a nice change to watch a film that doesn't require such an in-depth story, but it kinda suffered because of it.

42. The Voices

Plot

A lonely but cheerful factory worker speaks to his pets, who constantly try to convince him to kill his co-workers.

Starring

Ryan Reynolds (Green Lantern), Anna Kendrick (Pitch Perfect), Gemma Arterton (Clash of the Titans)

Verdict

I can't usually stand Ryan Reynolds. I personally like only one film he's been in so far; Just Friends (which is hilarious). However, here he plays against type, as well as providing the voices for the murderous cat and comforting dog. 

The film toys with the idea of seeing things from inside a damaged mind and it surprisingly works well.  However it falls down towards the conclusion of the film, but it isn't as bad as a lot of people are saying. 

Plus Anna Kendrick and Gemma Arterton are brilliantly cast, and beautiful to boot!

41. Kill Your Friends

Plot

The music industry is a cut-throat business, more-so than you might think. An up-and-coming A&R man won't let his colleagues stand in his way of reaching the top.

Starring

Nicholas Hoult (Mad Max: Fury Road), James Corden (Gavin and Stacey), Edward Hogg (The Bunny and the Bull)

Verdict

Everyone has been comparing this to the magnificent American Psycho, and whilst this British version (English Nutter?) is quite similar in it's approach (narcissistic narrator, giving behind-the-scenes look at a lucrative industry, and killing co-workers due to petty squabbles) it doesn't come close to it. 

An entertaining watch, with some witty one-liners and a decent performance from Nicholas Hoult, providing more weight to his future as a possible leading man in bigger films.

And that's the first ten down!  Come back this time next week for the next instalment in my 

Top Fifty Films of 2015

Until next time folks, thanks for reading!

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Succinct Sunday - Welcome To The Punch

London Calling

Mark Strong and James McAvoy are in everything nowadays and whilst McAvoy is getting more notoriety, especially in award catergories, Strong is simply becoming known as "That Guy From That Thing".  The London-born actor has appeared in a broad range of films, ranging from the controversial Gulf War film Zero Dark Thirty to the Disney flop John Carter (of Mars) and I believe is one of the most reliable actors today.  Putting him together with James McAvoy is sure to guarantee a sure-fire hit, right?

Welcome To The Punch centres around London detective Max Lewinsky (McAvoy) who is becoming obsessed with capturing the notorious criminal Jacob Sternwood (Strong). During their game of cat-and-mouse, both detective and criminal become unlikely allies and work together to expose a deeper conspiracy in the London police force.

Shiny, shiny London!

First off, never have I seen London look so beautiful.  The cinematographer Ed Wild and director Eran Creevy have really made the capital pop and sparkle.  Secondly, both McAvoy and Strong's potent chemistry is evident from their first encounter.  Their clear antagonism drives the story forward with incredible pace and they both give terrific performances, which can also be said of the supporting Andrea Riseborough and David Morrissey.

God, the remaining members of Boyzone look rough!

However, the film never really provides the audience with anything new or interesting. Every scene could have taken from a previously-released crime film, with predictable twists and turns every step of the way.  The only exception would be a very tense scene of evening tea with an old woman and a pug, and I know that sounds unlikely, but it did have me on the edge of my seat.  However, I needed more examples of that.  It is a semi-strong entry into both McAvoy and Strong's portfolio, but not one that they will be remembered for.

Rating - 6/10

Top Five Friday: August (Yes, All Of It)

Good Lord, has it really been over a month? I am so ashamed. I promised myself I wouldn’t get back to these lazy ways of only updating every so often. I wanted constant updates, news and reviews coming from this website, which is what I will strive towards once again. Thank you for sticking with me.

Now, since my last review (The End is Nighy) I have been still watching my films, although I have been attending weddings, crashing cars etc., so not as many have been watched as I would like. So I will quickly run through the Top Five films I have seen in August.

5) Now You See Me

Let me just start by saying this crime-caper is only in my Top Five because I only managed to watch five movies this month. It is here by default.  This shouldn't be in anyone’s Top Five Films, unless it’s the Top Five Pale Imitations of Christopher Nolan’s The Prestige (where it would sit pretty as #1).

Four wise-cracking, obnoxious street magicians form a Las Vegas stage act after being grouped together by a mysterious non-figure with fancy looking blueprints and begin stealing money and distributing it to the public. This attracts the attention of the FBI and Interpol as mad-capped, magic-fuelled confusion unfolds between the hapless police and the seemingly-omniscient magicians.

Magic is a difficult thing to perform on film. With the special effects generated by smarter-than-your-Dad computers, current filmmakers have no problem with showing a woman sawn in half, a coin appearing behind a person’s ear or a rabbit being pulled out of a hat. The secrets are all in post-production editing, but when you see magic in person, there is the temporary suspension of disbelief, which is what films used to inspire in audiences.

The Prestige was such a fantastic and innovative film because it analysed the art of magic and the intricacies behind tricks and misdirection. The main spine to the film was the ultimate dedication to your art, your desire and your profession. Now You See Me may have a few fun special effects, some witty one-liners and an impressive cast, but it is mainly a sloppy mess of a film, too interested in confusing the audience and appearing smarter than it is. It seems to have successfully misdirected the public as it has made $317 million worldwide, despite being The Prestige… For Idiots.

Rating – 3/10

4) A Field In England

I came to A Field In England with a complete blank slate, apart from what I could gather from the title. There would be grass. There would be no need for subtitles. And what followed was 90 minutes of beautiful cinematography, cryptic subject matter and some chilling performances, especially from Reece Shearsmith and Michael Smiley, two actors very close to my television-loving heart.

Admittedly, Field is not for everyone, with some friends of mine justifying their hatred for it by saying that “…it was just five guys standing in a field, digging a hole. It was boring; nothing happened!”

This is precisely why A Field In England stood out for me.   Whilst my friends were correct in their description of the plot’s lack of explosions and car chases, the action instead came within the tensions of the central group of Civil War soldiers and the importance that they gave black magic. It wasn’t a drama film dependent on bleak outlooks; a comedy film that resorted to pratfalls; or a horror film that relied on silence followed by loud noises. However the director Ben Wheatley and writer Amy Jump managed to combine all three genres into one unnerving black comedy that made me physically uncomfortable and gripped to the screen ‘til the end.

Rating – 6/10

3) The Wolverine

Back in 2009, I was very excited to see the newest adventure of the invincible Wolverine in his X-Men: Origins prequel.  However, since that disappointed the hell out of me, as well as critics and audiences worldwide, I was a little worried when I sat down in the theatre, preparing to watch Hugh Jackman’s sixth outing as the adamantium-clawed member of the X-Men. Bryan Singer managed to perfectly balance edge-of-your-seat action with genuine character development in the first two X-Men films, exploring prejudice and inequality issues currently in America.  Brett Ratner took all of that and threw it away with X-Men: The Last Stand, preferring to end the trilogy with an all-guns-blazing approach that left many audiences cold and Origins: Wolverine didn’t do much to convince us that things were going to change. The Wolverine, thankfully, manages to buck that trend.

The Wolverine takes place after the events of X-Men: The Last Stand and Logan has become a vagrant, pining for the loss of his love, Jean Grey.  A powerful dying businessman, who Logan saved during the Hiroshima bombing, tracks Logan down to offer his thanks and repay him with the chance of mortality.

Focussing more on Logan’s time in Japan and his clash with a powerful Samurai-descended family provides ample time for Jackman to sink his claws into a more thought-provoking and interesting storyline, filled with romantic entanglements, bullet-train fights and Wolverine finally realising his inner-demons have led him to be a powerful, yet leaderless warrior.

The film does sometimes lose it way with pointless sub-plots and assassination attempts, and where some X-Men films seem to overdo the number of mutants on-screen, there is a certain lack of superpowers displayed in The Wolverine. However the lack of Logan's invincibility is a nice change of pace. When Logan decides to relinquish his power of regeneration, he is finally put into mortal danger and the audience can actually worry about his safety, a rare treat. Emotional investment means that The Wolverine is a big step in the right direction. Plus, thanks to a mid-credits scene, I ended up squealing like a young teenage girl at a No Direction gig. I really cannot wait for X-Men: Days of Future Past!

Rating - 6.5/10

2) Elysium

Back in 2009, South African director Neill Blomkamp wrote and directed District 9, a film that centred around the tensions between humans and a refugee alien race that landed in 1980s Johannesburg. The film did a fantastic, if sometimes heavy-handed, job of mirroring the real-life tensions between the two main ethnicities of modern South Africa.

Cut to summer 2013 and Blomkamp's second feature film Elysium, just like all good sci-fi films, focusses on other prevalent issues in today's society; namely immigration, health care and class.

The premise is that in the future, society's wealthiest live on the floating space station known as Elysium which is overrun by Jodie Foster and the inhabitants enjoy all of life's pleasures. Meanwhile the rest of humanity live back on the overpopulated Earth and get by as best they can. Often they try and sneak onto Elysium just to access the cure-all medicine tubes but most are arrested or killed trying. After an accident leaves him with less than a week to live, Matt Damon decides to storm Elysium to save his life, making Foster resort to using her secret weapon, a psychotic mercenary known as Kruger.

Let me start by saying that Elysium looks incredible. It is obvious that Blomkamp has an eye for iconic images, as both District 9 and Elysium are filled with them.  However, unlike District 9, the storyline tires pretty quickly and the arrival on Elysium doesn't really seem like such an important goal to the audience, but just to Damon's character.   Foster is wasted in her role, painting her and the rest of the wealthy as two-dimensional, stuck-up snobs who don't care for the lower classes.

Whilst District 9 mainly dealt with the satirical alien discrimination, the film really picked up when the action was introduced, but it is only reserved for the final third and thankfully, Blomkamp doesn't follow the same routine in Elysium. The action is there right from the start, and it is directly in your face.  This is mostly due to the previously-mentioned mercenary Kruger, played with such enjoyment by District 9's Sharlto Copley. Copley’s menacing presence instantly lights up the screen and he is a truly detestable screen-villain, if used a bit too sparingly to properly utilise him.

Overall a fantastic thrill-ride with a memorable villain that is a much better example of true science-fiction than the year’s earlier Oblivion and After Earth.

Rating - 7.5/10

1) Alan Partridge: Alpha Papa

AHA! We come to the best film of the past few weeks, and it’s the long-awaited screen debut of Steve Coogan’s beloved character, Alan Partridge. Set after the mini-series, Mid-Morning Matters, Alan is still a radio DJ, working at North Norfolk Digital as it is being bought out by a corporate mogul, Shape. In the streamlining process, Shape sack Alan’s fellow DJ Pat Farrell, who takes his revenge by holding the employees hostage until his demands are met. Who does he request for a negotiator? The one and only, Alan Partridge.

What follows is 90 minutes of sheer hilarious comedy and a very successful television show adaptation, which is harder than you may think. For every fantastic TV-to-film adaptation such as In The Loop and The Inbetweeners Movie, you get the failures such as Ali G Indahouse, Kevin & Perry Go Large and the abysmal Keith Lemon: The Movie, and this thankfully slots in the former.  Fans of the show will love the attention to detail that the writers Coogan, Iannucci and Baynham have included in the script, as well as how home-grown it feels despite including some inevitable Hollywood tropes. Whilst John McClane is blowing up skyscrapers in Die Hard, Partridge is diving through drywall and creating anti-corporate radio jingles under duress. The story remains in Partridge’s Norfolk roots and his relationships with his ever-present PA Lynn and best friend Michael The Geordie.

Even if you aren’t a fan of Coogan, or ever watched I’m Alan Partridge, the quick-fire comedy and genuine heart at the centre of this film will soon convert you to be screaming “A-HA!” every time you hear Abba’s Knowing Me, Knowing You. I whole-heartedly recommend this film, you won’t regret it.

Rating – 9/10