Unsane

Director:
Steven Soderbergh (Logan Lucky, Side Effects, Ocean's Eleven)

Starring:
Claire Foy (The Lady In The Van, Rosewater, Season of the Witch)
Joshua Leonard (The Blair Witch Project, The Town That Dreaded Sundown, Hatchet)
Juno Temple (Horns, The Dark Knight Rises, Killer Joe)

Plot:
Fearing from a stalker in her past, Sawyer (Foy) attends a psychiatric support session.  When letting her counsellor know that her stalker has driven her to once contemplate taking her own life, she is committed for a short time in an institution against her will.  And she begins to see her stalker everywhere she looks; even mistaking staff in the institution.  But is she really the crazy one?

Opinion:
A few years back, Steven Soderbergh directed a film called Side Effects.  It starred Rooney Mara, Jude Law and Catherine Zeta-Jones and it was, without a doubt, one of the most interesting films released that year.  

Whilst the second half of Side Effects goes in a... 'different' direction, the first half was dedicated to depicting a young woman's struggle with depression after her husband's arrest, her dependency on her prescribed medication and the supposed 'side effects' that wreak havoc with her life.  The film seemed like Soderbergh was trying to make a statement about the America people's current dependency on medication to get them through their day-to-day lives, as well as cast a harsh spotlight on pharmaceutical companies preying on those in need of help.

One Liberace biography and an "Ocean's 7/11" later, and Soderbergh is back using that harsh spotlight to highlight a dark truth within the American psychiatric system: that many Americans are told they are in need of further help, and even commitment, just to keep a hospital's beds filled, quotas met and funding secure.

But don't worry, Soderbergh isn't going to do this thing like a boring documentary, but instead hide it within a tense, character-driven B-movie style thriller.  Fun!

From the beginning, Unsane doesn't hide it's attempts at trying to unnerve you, since the film is entirely shot on an iPhone.  Possibly this is Soderbergh trying to visually stand out amongst the current releases and trying to push the boundaries of how easily he can make a tense thriller, but to his credit, I believe the style added to the overall aesthetic and creep-factor in an 'edge-of-your-seat' way.

Since Unsane is focused on a stalker's obsession with his victim, the entire film feels like the audience is watching through the stalker's P.O.V and I felt truly uncomfortable throughout.  And that's not to mention the dark twists that the storyline throws at you, as well as the cat and mouse game that slowly unravels itself before your eyes.

I want to tell you more, but it is truly a film where the less you know about it, the better.  All I knew about Unsane was "It's Steven Soderbergh, and it's all shot on an iPhone." and I was definitely pleased by the unexpected routes that Soderbergh takes.

Not only is Unsane a tense watch from start to end, but the performances are fantastic as well.  Former Saturday Night Live star Jay Pharaoh gives the film and the main star a shoulder to cry on when the plot gets a bit too rough and needs a breather, Juno Temple is under-utilised but when she's on camera, she makes sure your attention is on her, and Josh Leonard just steals the show as Sawyer's stalker, David.

However the film belongs to Claire Foy.  Her portrayal of Sawyer is a complicated and tough one, but one she carries off effectively, as some of her decisions and actions could easily lead you to dislike her.  

But some scenes towards the end of the film where she stands up to her oppressors is definitely a scene where she grabs the audience's attention and won't let go.  Also the film allows Sawyer to be an imperfect protagonist, something definitely refreshing to see in amongst the squeaky-clean 'final-girl' heroines from other thrillers like this.

Rating:
7/10

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All The Money In The World

Director:

Ridley Scott

Starring:
Michelle Williams (My Week With Marilyn, Brokeback Mountain, Shutter Island)
Mark Wahlberg (The Departed, Transformers: The Last Knight, The Happening)
Christopher Plummer (Beginners, The Girl With The Dragon Tattoo (2011), The Sound of Music)

Plot:
J.P. Getty (Plummer) is the richest man in the history of the world.  His vast fortunes come from investment in oil and real estate, but he has never truly invested in his family.  When his grandson is kidnapped whilst living in Italy, the kidnappers deliver a ransom of $17 million, but Getty refuses to pay.  Getty's daughter-in-law (Williams) tries to persuade him to change his mind, but instead he hires an ex-CIA agent (Wahlberg) to get his grandson back without having to spend a penny of his money.


Verdict
It's not often that a film's reputation precedes it.

In recent memory, I remember waiting for The Dark Knight to start, unfortunately knowing the untimely demise of Heath Ledger, which only amplified his performance and made the film feel special.

Similarly with Justice League last year, I had heard about the film's troubled production and how much money went into digitally removing Henry Cavill's moustache during re-shoots, which again added to my experience when first watching the film.

Unfortunately ATMITW's notoriety didn't come from re-shoots and dodgy moustaches, but the actions of one of my former favourite actors, Kevin Spacey.  There's no doubt that you know of the reason why Spacey has been in the news over the past few months, but understandably he was removed from this production and replaced within a month of the film's release by beloved character actor, Christopher Plummer (who had actually met Getty during the 1960s!).

Unfortunately, nothing in the film comes closer to the controversy surrounding it.  Whilst Michelle Williams gives a decent performance as the distraught mother looking for a way to bring her child back and Mark Wahlberg shows up and effectively smolders, the two stand-out performances are from Plummer (shocker) and Romain Duris as one of the kidnappers who starts empathising with the grandson, and almost starts wishing for the kid to escape.

*NB: I wrote this review before the Williams/Wahlberg salary news was made public, but comparing the two performances, Williams outperforms Wahlberg in every scene and this should have been represented in their pay, but unfortunately this was not the case*

Thankfully, it is in the performances of Plummer and Duris that the film asks its main question: "What does family mean to me?"

Whilst Getty sees family as some sort of leech on his own personal fortune, the kidnapper Cinquata is bound by his family to see this grisly duty through to the end, despite his moral objections. 

This dilemma manages to flip the perception of who truly is the villain, as Getty's constant refusal to pay for the release of his grandson, even whilst the ransom lowers to $10 million and then $4 million paints Getty as a heartless and selfish monster, yet Plummer stays resolute and stoic in his performance. 

Apparently Spacey played up this monstrous side of Getty, almost becoming a caricature, which is another reason I'm grateful for the recasting.

Plummer added a warmth to the character, with certain earlier scenes between the younger grandson and his kindly grandfather contrasting even more so when Getty reveals himself to be so cold-hearted towards his own blood relative.

Moving onto the direction, this is a welcome change for Ridley Scott to focus on a tense thriller mixed with a family drama, rather than an action-filled set-piece set in space, or some boring and pretentious swords-and-sandals film. 

However, the pace of the film slows to a dull plod after the initial kidnapping and doesn't really kick off again until the last third of the film when escapes attempts are made and the grandson gets closer to freedom.  Unfortunately by that point, most of the interest has died away and you're just wanting the film to be over.

Overall, an interesting and subverted premise is wasted by a lack of pace and some sub-par direction, and ultimately a large feeling that just something isn't right. 

Removing Spacey was obviously the correct decision and Plummer is an inspired replacement, however in keeping with current times, the removal of a powerful and rich white man had a resounding impact.

Rating

5/10

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Molly's Game

Director:
Aaron Sorkin

Starring:
Jessica Chastain (Zero Dark Thirty, The Martian, Interstellar)
Idris Elba (The Dark Tower, Prometheus, Thor: Ragnarok)
Michael Cera (Scott Pilgrim vs. The World, Superbad, Youth In Revolt)

Plot:
Based on the true story of Molly Bloom (Chastain), a former Olympic-level freestyle skiier who became the host of the most exclusive poker games in Los Angeles and New York, which often comprised of famous celebrities, movie stars and even mobsters.  Two years out of the game, Molly gets arrested for involvement with the Russian mafia and requires a lawyer (Elba) to represent her.

Verdict:
As an amateur screenwriter, I have a certain affinity for Aaron Sorkin's screenplays.  Whether it be his work in films (A Few Good Men, The Social Network, Steve Jobs) or television (The West Wing, Studio 60, The Newsroom), I am always enthralled by his characters' sharp wit, their rapid-fire dialogue and and often their extended monologues where they intend on fixing the broken state of the United States.  It might make everyone in his films seem like sarcastic, over-privileged pricks but for some reason, I relate with these people instantly...

There is not much different with the titular Molly Bloom, a woman determined to make something of herself by creating the most lucrative and exclusive poker game in a city full of rich, stupid people who are out of their element.

You could instantly dislike Molly due to her arrogant attitude, but Jessica Chastain's performance keeps you on her side throughout Molly's struggles.  An over-bearing father, over-shadowing siblings and over-grown tree branches all culminate in Molly finding herself at the end of a destroyed career path and in need of something new in her life, and her rise to the top isn't handed to her.  She earns everything she gets and you are more than along with her on this ride to the top.

The high times are appropriately depicted in with slick cinematography and a fantastic pace-setting soundtrack, all making the locations pop with eye-catching visuals that make you want to be in Molly's world.  Apparently David Fincher provided some tips to his friend Aaron Sorkin, and it definitely shows, with some scenes feeling at home in their previous collaboration, The Social Network.

However, similar to the structure of The Social Network, Molly's rise to fame is twinned with her fall from grace as she seeks out Idris Elba's lawyer Charlie Jaffey to defend her in a lawsuit as she is accused of having connections with the Russian mob.  This is where Sorkin's patented dialogue and banter can be properly utilised as a definite chemistry unfolds between the two leads, Chastain and Elba.

Molly's character often gets brought into question throughout, with her flitting between attention-seeking, media-obsessed snob, and earnest woman trying to make a living in a male-centric world and the film doesn't seem to know which one to paint Molly as.  Just when Molly has the audience on her side, she manages to do away with all the well-earned respect.  But nobody's perfect.  Just like the script.

Sorkin manages to shoehorn in some tacked-on father issues on top of everything going on in Molly's life and it unnecessarily makes the film feel a bit bloated, especially when it gets resolved in record time.  However Sorkin feels that if he draws attention to the rush-job by having characters mock it, it will forgive the sloppiness.  No dice, Mr Sorkin.

However this is a minor flaw in an overall fantastic script.  I'd highly recommend seeing this, whether it be cinema or at home.  An entertaining and dazzling ride through the ups and downs of high-chance poker games, with some brilliant side-performances from the likes of Michael Cera and Chris O'Dowd, but overall it is Chastain's show.  Or should I say Molly's game?

Rating

8/10

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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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Star Wars: The Force Awakens (spoiler-free!)

A New Hope?

Since I'm in the middle of my Top 50 of 2015 countdown, I tried to tell myself that I wouldn't review films I watched in December, and save them for January.  They could last a few more weeks without me writing down my opinions on them.


I just couldn't do it.


Last night, my childhood was reawakened as I finally witnessed my heroes back on the big screen.  None of this Qui-Gon/Dooku/Grievous nonsense; Han, Leia, Chewie, they were reunited and it felt so good!  Even iconic and yet background characters like Admiral Ackbar and Nien Numb got a smile out of me just by appearing on screen.


Finally I was back in the universe that I spent so much time when I was a child.

So what has been happening since the Luke, Han and Leia were partying with Ewoks at the end of Return of the Jedi? 


To avoid some spoilers, let's just say a new evil organisation has risen and the Rebel Alliance is needed just as much as it ever has been.  But in order to make an difference, the Alliance need some plans that are hidden with a droid, BB-8.  The plot ringing any bells so far?


What follows is a beautiful, emotional and exhilarating adventure crossing planets, starships and iconic Corellian freighters. 


It might come across like a checklist of every Star Wars nerd's ideal sequel, but it's necessary to restart this sleeping giant of a franchise.

We are reacquainted with old faces, with the reappearance of Han, Chewie and Leia providing a weight of familiarity and love from the audience that truly is hard to replicate. 


There is the feeling of unspoken hardships and battles in the past in their muted and effortless performances, which honestly brought a tear to this film critic's eye.

We are also introduced to new heroes; the AWOL stormtrooper Finn (John Boyega) and Rey (Daisy Ridley) making sure BB-8 doesn't fall into the wrong hands, and daring pilot Poe Dameron (Oscar Isaac) leading the X-Wings in battle whenever they are needed. 


Boyega brings an intensity and earnest nature to the character of Finn as well as a surprisingly comic timing, whilst Ridley initially struggles with the role but eventually settles into her role as the new female protagonist with a lot of potential hidden for the future.


The real surprise comes in Oscar Isaac.  Having never impressed me before in roles such as SuckerPunch and The Bourne Legacy, Isaac appears to be incredibly at home in the Star Wars Universe, bringing an air of cool not seen since a young Han Solo shot Greedo first.

But heroes such as these are only as compelling as the villain facing them and one of the most intriguing parts of The Force Awakens is the guy plastered all over cereal boxes and pencil cases worldwide; Kylo Ren. 


Ren is possibly the most interesting villain the franchise has produced since Darth Vader, and whether it is his petulant and unpredictable attitude or his unique and dramatic background, his story is the most I am most looking forward to watching.

The effects are brilliant and won't be outdone for a long time, as finally seeing the Millennium Falcon diving and swooping will certainly make you feel like you are finally in the dogfights among the TIE Fighters and X-Wings. 


Again, it's like the director J.J. Abrams has asked the fans what they want and just given it to them, all the while making sure there are compelling storylines with fascinating characters at the heart of them.

This isn't to try and say it's perfect as that isn't the case at all.  But it is the film that the fans, and the franchise, have needed since the failures of the prequels.  Once the cobwebs have been shaken loose, it's clear that this is simply a breath of fresh air into a Universe of infinite possibilities.  One that I am eagerly waiting to visit again.

Star Wars is back, ladies and gentlemen, and it's packing a punch.  Like a lightsaber being passed from father to son, it is a film that will be cherished and viewed for years to come.

Rating - 9/10

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The Martian

Disco Inferno

So after my little outburst about Pixels, I feel like I need to review a film that reminds me that there are still credible actors and directors out there.

And not just hack, washed-up comedians who aim to make as much money as possible and just clearly don't give a....

Sorry... sigh... anyway, The Martian...

PLOT

In the close future, we have been able to send humans to Mars.  On one of these missions to study the red planet, astronaut and botanist Mark Watney (Matt Damon) gets struck by the site's communication satellite during a evacuation-worthy sandstorm.  With no trace of him and his suit reading no life-signs, his fellow astronauts blast off to safety, unwittingly leaving him behind for dead.

When he regains consciousness, Watney realises whilst he has a year's worth of food, it's four years until another mission can be launched to come and get him.

Of course, that's if he can let Earth know he's alive...

And his tent doesn't rupture in another sandstorm...

And he can grow food and collect water on a planet that has neither...

It's not looking good...

OPINIONS

Going into The Martian, some colleagues and fellow film reviewers had described the film as "the best film of 2015 so far!" or even "best science fiction film ever seen!".  I cannot agree with either of these statements, but that doesn't mean I thought it was a bad film.

Quite the contrary in fact, as I was delightfully surprised by The Martian.  For one, it is much more upbeat, light-hearted and positive in it's approach to the storyline that I would have imagined.  A film such as this usually comes with dramatic music, peril throughout and more than enough amounts of self-pity.

But that's where The Martian and it's main character, Mark Watney, differ.  A day or two into his lone stay on Mars, Watney declares that he is "not gonna die here!" and sets about fixing his situation. He begins to use his scientific mind and botany skills to grow a sustainable food source on Mars to keep him alive.  His trials and experiments are great entertainment as Matt Damon uses his charismatic skills to their very best and is an incredibly watchable lead actor.

His optimism and humour is a refreshing change of pace in these sort of 'All Is Lost' films and allows the film to never feel depressing or boring.  The 70's era soundtrack also helps, as Chastain's Commander Lewis is a huge disco fan (unfortunately for Watney).  From ABBA to Donna Summer, the classic anthems never fail to put a smile on your face and move the story along at a brisk pace, often framing the film's montages in a seamless fashion.

To counterbalance the one-man show taking place on Mars, the film has an abundance of talented side-characters, such as Jessica Chastain, Jeff Daniels and Chiwetel Ejiofor being those entrusted with bringing Watney home alive. Everyone plays their part well, with no one letting the film down.

ON THE OTHER HAND...

Having said that... it was a shame to have up-and-coming actors such as Kate Mara, Donald Glover and Michael Peña come across as under-utilised. However that is bound to happen when the cast-list is so overburdened with famous names.

Suffering from another issue with such a large cast of characters, The Martian spreads itself a little thin when trying to flesh out all of them.  The film's light-hearted and jovial attitude seemed to flow through every character, seemingly making everyone not take the situation seriously.  Whilst it was refreshing not having a villain to root against, with humanity joining together being a worthy and admirable central message, consequentially, all the characters seemed bland, similar and unremarkable.

Going back to what I said before about the film being remarkably upbeat for an 'All Is Lost' type of film, I feel that whilst that was refreshing and what the film will be remembered for, I felt it still needed more peril and danger in the mission and Watney's overall situation.

Watney's solutions came too easily to him and mistakes he encountered became less frequent.  He seemed too capable in the situations he faced, coming across as a little too 'Hollywood' in places.  I was expecting a level of danger and loneliness as experienced in the similar Cast Away or 127 Hours but everything came together too easily for my taste.

LET'S WRAP IT UP...

By no means is this a disappointing or bad film.

This film is a remarkable and beautiful piece of work.  Director Ridley Scott and writer Drew Goddard have adapted this story onto the screen incredibly well and I think it is one of the best science-fiction works to have been on the silver screen in the past few years.  I personally preferred Gravity or last year's Interstellar, but The Martian can be easily held next to those names.

The cast is brilliant, the soundtrack is foot-stomping and the overall message is an important one, full of hope and perseverance.

I just would have preferred Matt Damon to go through a little bit more trouble.  And there's no harm in that.

Rating - 8/10

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Mad Max: Fury Road

Hell Hath No Fury

Mad Max: Fury Road (not to be mistaken with Furry Road; a completely different film) takes place in a post-apocalyptic desert wasteland where water, petrol and bullets are the three most precious commodities. Everyone now is either a poor, flea-bitten and mutated hermit, or an absolutely crazy person hell-bent on death, destruction and driving really, really fast!

However there are still police, or 'Road Warriors', and one is Tom Hardy's Max Rockatansky.  Max has some demons in his past but we find him a bit busy being kidnapped by the warrior tribe of the tyrannical warlord Immortan Joe.  Whilst kidnapped, Max gets involved in a family squabble between Immortan Joe and Charlize Theron's (amazingly named) Imperator Furiosa, and that's where the fun begins.

Now admittedly, I have never seen the first three Mad Max films that shot Mel Gibson to international fame.  Not even the Tina Turner one.  I know that many people will now be thinking 'Oh My God!  How has he never...?!  They're CLASSICS!!!" etc. but they never really appealed to me.  I have heard they were incredibly ambitious and truly iconic, which I appreciate but still the appeal was just never there.

However now with $150 million behind the project, the director George Miller has finally been able to make the film he always wanted to make in 1979, and I was in such awe by the sheer production value of this film alone.  The entire film is gorgeous from start to finish.

I think I blinked twice during the entire 120 minutes.  Maybe three times.

Oh What A Lovely Day!

Miller was called a 'visionary director' by the teaser trailers, which I thought to be quite big-headed of him, but seeing what he can produce with a bigger budget behind him, I'm truly shocked that this is the same eye behind Babe: Pig In The City and both Happy Feet films.  Really.

I don't want to spoil any of the film's plot but when Immortan Joe assembles his posse to take revenge on Charlize Theron, his band of miscreants are completely bat-shit crazy, focussed on a glorious Viking-style death due to their overall radiation-poisoned existence.  Due to this, they pull off some of the most incredibly inventive stunts and just jaw-droppingly amazing action that I have seen in a film for a few years.

I mean, one of the big rigs is just a gigantic wall of speakers with drummers and a flame-throwing electric guitarist strapped to them.  Why?  Because.  That's why.

See?  Told you.  Because.

I really cannot stress how fantastic the film is from a creative viewpoint, especially how colourful and vibrant it is.  The African landscapes that have been used to replace the post-apocalyptic wastelands are filled with natural beauty and Miller has definitely used them to the best of their ability.  Special effects were only used when they had to be, to emphasise how real the Dead World feels, and it definitely works  Everything feels so raw and authentic, from The War Boys' modified war-cars to the boggy marshes past the desert wasteland, and every bone-crunching fight scene in between.

Notice how I'm not speaking about Max himself much in this review so far? That's because I don't really have to. Tom Hardy is a decent enough casting for the lead, but he is a lead in titular name only.  The film definitely belongs to Charlize Theron's Furiosa and her struggle against Immortan Joe.  Max simply stumbles upon this fight and decides to help, despite his quiet loner nature.  He is the calm at the centre of this mad world, having his actions speak louder than his words.  Which is helpful because when he did speak, I truly could not decipher his accent (in true Tom Hardy form!)

Oh, and, on a final note, some critics of the film have downplayed the movie as having an unwelcome 'feminist agenda' which is simply ridiculous.  The film advocates freedom from tyrannical rule for all, not just simply female freedom.

I truly recommend watching Max Mad: Fury Road, and if you can, on the biggest IMAX screen you can find.  Because you just can't beat Mad IMAX.  Ha!  See what I did there?!

Rating - 8/10

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Big Game

SMALL IMPACT

What do you get if you combine Air Force One, Snakes On A Plane and The Troll Hunter?  Actually that sounds like a fantastic film.  Unfortunately that's what writer/director Jalmari Helander has tried to do with Big Game, and it doesn't quite match expectations.

Samuel L. Jackson stars as William Alan Moore, President of the United States, on his way to a G8 summit in Helsinki, Finland.  However a psychotic Middle-Eastern terrorist with a passion for 'big-game hunting' pays off some of the President's staff, blows up his plane Air Force One and decides to hunt him for sport.  But the terrorists haven't planned on Moore finding help in the form of Oskari, a young Finnish boy on a solo hunting trip through a non-specific Nordic forest, trying to prove his masculinity to his father.

I'll be honest; with the adverts, trailers and billboards all focussed on SLJ holding a machine gun, quoting one liners and explosions going off left, right and centre, I feel like my expectations were slightly higher than usual going into Big Game.  It screamed 80s/90s throwback, high-concept nonsense, but I was looking forward to it.  However I didn't really expect this amount of nonsense.

Villain Mehmet Kurtuluş does not come in peace...

I believe this concept could have been utilised to its fullest by having a cat-and-mouse game through the Finnish woodland, President and young lad being hounded by crazed madmen, killing for sport.
But instead it gets bogged down with silly conspiracies, sub-plots that don't get fully developed and makes the villains seem downright stupid and weak.

In trying to appeal to all audiences, Big Game intentionally falls between the 12A and 15 certificate territory and suffers because of it.  It's a bit too cheesy and young for the mature audiences, but a bit too violent and political for the young 'uns.

Whilst I did love the authentic Finnish background to Oscari's masculinity trial and his relationship with his father, it was eventually overcrowded by the American bravado and silliness.  The writer/director was quoted as intending to combine an action film with that of a coming-of-age drama, and therefore I don't think he knows which one he wants it to be.

SLJ enjoyed hearing he was heading to
Blackpool after the interview

As the most expensive film to come out of Finland and for it's honest attempts at trying to enter the worldwide blockbuster market, I'm tempted to recommend seeing Big Game.  However as more and more ludicrous things began to happen, my frustration and lack of patience grew.  It's a true shame but I would perhaps wait until it comes onto Netflix,

Rating - 4/10

Until next time folks, thanks for reading!

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