Review Round-Up | August 2011

Rise Of The Planet Of The Apes (2011)

A highly crafted summer blockbuster with enough brain and enough heart to push it from being a very good film to a great one. The narrative is compelling, successfully combining the pacy style of an action film and the epic feel of a story laced with gravitas. One or two elements feel somewhat lacking in development, such as the relationship between Franco and Pinto's characters, but these are easily to forgive as minor issues in a largely enjoyable and skilfully related story. The computer-generated effects are incredibly impressive, seamlessly interwoven with the live action elements to the point where I regularly forgot where the CGI elements ended and the "real" features began. Franco continues to impress as a likable and talented leading man, and the supporting cast also do well. It is Serkis, however, who deserves by far the highest praise for creating in Caesar the ape a believable and authentic animal performance as well as a strong protagonist with depth and sympathy.

8/10

Toys (1992)

Too long, as the plot is stretched out to fit the running time of a minute over two hours; there are several moments in the film which feel like filler, and occasionally the film strays over to the undesirable side of self-indulgence. The narrative also becomes patchy and confused at times. The film's moral message (to put it crudely: fun is good, war is bad) feels laid on at times and things get somewhat schmaltzy at several points. That said, there are great performances from all involved, and the vast majority of the jokes and comedy set pieces throughout are successful and clever without feeling self-aggrandising. The film is a visual treat as well, with scene after scene providing an imaginative treat for the eyes. Ultimately, Toys is flawed but enjoyable.

6/10


Face/Off (1997)

An incredible action film packed with stylish, adrenaline-fuelled fight sequences and set pieces throughout. Woo uses many of the hallmarks seen in his previous action movies, but makes them seem fresher and more electric than ever. The main contrivance of face-swapping is a risky plot device, but in the skilled hands of Woo it comes off brilliantly. The greatest credit, however, must go to Cage and Travolta for two outstanding performances throughout the film. The way in which both men inhabit both characters that they play is superb and a delight to watch. Both men manage to mimic each other's tics and traits whilst keeping the film firmly away from farce and parody. The skill of the two leads raises this from being a great film to an outstanding one. One of the defining, must-see action films of the 1990s.

9/10


Leaving Las Vegas (1997)

Strong performances from both Cage and Shue, and the genuine chemistry between them, provide the backbone for the film's success. Cage in particular balances extroversion and high emotion well, bringing to his character a pleasing balance of humour and sadness. The narrative is simple, and becomes somewhat hazy in the second half, which results in the film feeling unfocused at times. The film's slow pace throughout is also a double-edged sword: whilst it allows for the central relationship between Cage and Shue's characters to properly develop, it also made the film drag occasionally. Figgis' cinematography presents a paradoxically gritty yet artificial Las Vegas, giving the film's setting an unnervingly unpredictable quality rarely achieved in cinema. Ultimately a very good film, although be prepared for some emotionally punishing and unashamedly graphic scenes throughout.

7/10


The King's Speech (2010)

A highly polished film that exudes quality in every way. Hooper's direction and use of cinematography is refined with welcome splashes of originality, and the script is tight and charming. The film has a wonderful sense of authenticity, recreating the period in which it is set with panache, whilst at the same time delivering a sharp and fresh contemporary cinematic experience. At the core of the film are some outstanding performances from both Firth and Rush, bringing to life the relationship between the two men with authenticity, emotion and genuine humour. The supporting cast are also incredibly strong; Bonham Carter especially deserves high praise for a charming and heartfelt performance. A truly excellent piece of cinema that deserves the high accolades it has received.

9/10


Night Of The Living Dead (1968)

Like all the zombie movies it has spawned in the four decades since its release, the film is at its best when dealing not with the dead brought back to life, but with the very human stories that are created through those who are living through the horrific situation. The actions and reactions of the band of survivors thrown together through circumstance are compelling viewing and a masterful comment on human behaviour. Romero's direction is fantastic, with cinematography clearly inspired by Welles and Hitchcock and even matching their standard when at its very best. The film suffers from a middle act slower and less focused than its opening and closing sections, almost as if Romero felt the need to pad things out a little, and as such the television report sequences become a little tedious. The final act, however, gives the film a harrowing, punch-packing finale. Ultimately, an entertaining and effective horror film which has stood, and no doubt will continue to stand, the test of time incredibly well.
8/10


The Addams Family (1991)

Not only a film that brings back great memories of childhood enjoyment, but also one that, two decades on, has stood the test of time incredibly well. The script and style of the film timelessly and effortlessly parodies gothic horror as well as lampooning society and culture without locking the film into an early '90s time capsule. The main cast are incredibly strong and never miss a beat, with Anjelica Huston and the late Raul Julia deserving particular mention for a pair of flawless performances. The plot is somewhat simplistic and the narrative a little thin here and there, but this is pettifogging as what the film does right vastly outweighs anything it gets wrong. Clever, entertaining and very very funny.
8/10


Addams Family Values (1993)

Considered by many to be superior to the first film, for me when Values is at its best it outshines its predecessor, but it also manages to miss a few more beats than the original film. Its strengths are similar strengths to the first film - Julia and Huston are again perfect as Morticia and Gomez; Lloyd is given more time to truly shine as Fester than in the previous outing; Ricci as Wednesday is superb; and Cusack is a welcome addition bringing her reliable wackiness to the antagonist role. The script at its sharpest is even better than the first, but there are elements which begin to tire - whilst the summer camp subplot begins ingeniously it eventually becomes a little tedious, and the segment where baby Pubert (best baby name in film history?) suddenly becomes cute always feels somewhat tacked on with no real purpose other than to unnecessarily pad things out. That said, just like in the first film, there is a huge amount more here to like than dislike. Overall, this sits well with the original to form a pair of excellent comedies.
8/10


Westworld (1973)

Sluggish pacing and decidedly unimpressive direction from Crichton hamper the telling of what is a genuinely excellent story. The first hour gets gradually more tedious as no character receives enough development, and whilst Benjamin and Brolin's performances are fine, they never make either of their characters sufficiently memorable. It is Brynner who shines here with a chilling performance throughout that, upon expansion during the film's second half, elevates the final act far above what has preceded it. It is clear to see that Westworld is an important entry into the action sci-fi canon, with obvious influence on future films including Terminator and Jurassic Park; as a film in its own right, whilst this is undoubtedly enjoyable it is also unforgivably flawed.
6/10


The Super Mario Bros. (1993)

For a video game fan, there is fun to be had in spotting the homages to the original video games; it is pitiful, however, that you can count them on one hand. Simply put, the film is dull and unimaginative, wasting one opportunity after another. Hoskins and Hopper phone in their performances, clearly under no illusions that what they are creating is worthwhile, and it's a wonder that Leguizamo managed to forge a respectable career after debuting in this turkey. The film presents a mix of action and fantasy which never sit comfortably together throughout. The film has retained a modicum of kitsch and cult value which save it from being entirely unwatchable, but with far better options in the video game adaption and action fantasy camps, there's very little point in doing so.
3/10


The Bourne Identity (2002)

Successfully gels the action, mystery and thriller genres with style and seamless excellence. Damon brings the right balance of gritty authenticity and action-hero audicity, making Bourne a believable yet fittingly enigmatic protagonist. The story is solid, and the action set pieces are consistently adrenaline-charged and entertaining with some fresh ideas presented throughout. The supporting cast are solid, with particularly strong performances from Cooper and Potente, as well as Stiles, Owen and Cox bringing pleasing quality to relatively minor roles and adding strength to the film as a whole. Overall, this is a thoroughly enjoyable and well made action movie that rightfully left its mark on the action and spy genres giving a somewhat stale subcategory within film a welcome reboot.

8/10

Charlotte's Web (2006)

Eleven years after Babe, the premise of a live-action pig and other animals talking with human voices is decidedly unspectacular. The voice cast is impressive on paper, and it's fun to spot who each animal is voiced for about ten minutes after the animals start talking, but it's clear that those involved are here for the pay packet and not to bring the characters to life. The film does not do justice to the children's novel from which it is adapted, losing it's charm and feeling decidedly sanitised. Fanning as the young farmer's daughter is fine, but the rest of the cast are forgettable. Ultimately a distinctly middle-of-the-road children's film.

4/10

Scream 2 (1997)

Slightly better than the original, with the returning characters benefiting from the depth already established in the first film, and the cast as a whole giving a stronger performance. The self-referential postmodern style is crafted even better than in the first film, with the discussion of the nature of film sequels being a particular highlight. Whilst the film famously suffered from internet script leaks resulting in last-minute rewrites, the moments of tension and fear are just as finely crafted as in the original, and the story has enough surprises and twists to keep you on your toes and guessing right until the end. Overall very enjoyable and well made.

7/10

Unbreakable (2000)

Forever destined to be compared to The Sixth Sense, overall this is not as good as Shyamalan's breakout masterpiece but is still an excellent piece of cinema. The story is compelling, if a little slow at points, and the performances from Willis and Jackson are fantastic throughout. Shyamalan demonstrates sharp direction with clever use of and reference to comic book style and mythology. Whilst the ending is perhaps somewhat anticlimactic, it also grounds the film - and the audience - into the leaden reality crafted by the director throughout the majority of the film. Ultimately compelling and well made.

8/10

Scream 3 (2000)

A considerable step down from the first two films in pretty much every way. The franchise now feels tired, with the scares pedestrian and the action at times cartoonish. The story, whilst keeping you guessing, is ho-hum overall. The postmodern film references are at times still clever, but just as often feel laid on too thick and very contrived with characters and situations seemingly dropped in and out of the film without any thought or build-up. Ultimately, whilst this remains in the same tradition as the first films, it never hits the relative highs previously seen in the franchise and at times even becomes somewhat clichéd - a cardinal sin for a series with its tongue supposedly firmly in its cheek.

5/10

The Bourne Supremacy (2004)

Greengrass is the perfect choice to continue the Bourne franchise, picking up the baton from Liman and taking the story further and darker with a satisfyingly more complex feel. Damon fits back into the character of Bourne with ease, taking the character to new heights stretching both his human and fantastical sides pleasingly. The action becomes even more impressive; Greengrass' incredibly authentic feel brings an energy to the set pieces, and the ideas for the action sequences are ever more impressive as the narrative fizzes along. Whilst his camerawork is at times bewildering in its speed, barely keeping up with what's going on at times, this only serves to enhance the way in which the story is related. Essentially, this film takes everything that was great about The Bourne Identity and does it just as well or, in several cases, even better.

8/10

The Queen (2006)

The performances from the cast as a whole are the key to a large part of the film's success. Mirren as Elizabeth II creates a multi-dimensional and sympathetic character, exuding both the grandeur of a reigning monarch and the genuine humanity of a family matriarch in a time of sadness and crisis. Sheen also deserves praise for a balanced and compelling portrayal of Tony Blair that rarely forces you into viewing him in one narrow light. Cromwell also deserves high praise for his role as Prince Philip, again bringing humanity to his portrayal of an often lampooned and caricatured figure. The film at times lacks flair, and is often cinematographically unspectacular. The use throughout of genuine news footage woven into the dramatised narrative works well, however. Ultimately an enjoyable and worthwhile film.

7/10

Monsters (2010)

A solid, well made and engaging film that is all the more impressive when the relatively tiny budget and professional cast of only two actors is taken into account. The effects are original and the tension and scares throughout are palpable and skilfully crafted. McNairy's Andrew comes across as a genuinely unlikely hero, and it is impressive that, for a character who at times is clearly not a particularly nice person, he gives a sympathetic and compelling portrayal throughout the film. Able also does well as Samantha, pleasingly adding layers to her character as the film. The narrative offers both a compelling science-fiction story and a pleasingly subtle comment upon contemporary social and political issues. Whilst the film slows down a little too much at the very end, overall this presents a modern, clever and restrained take on the extra-terrestrial invasion story which kept me hooked from start to finish.

8/10

Review Round-Up | June & July 2011

Firstly, apologies for June and July not having their own entries - no specific excuse other than life being very hectic over the last couple of months. However, seeing as the next month or so should allow me more time to write here, I'll make up for my neglect with a few individual reviews in the near future. Anyway, to get things back up to date, here's June and July's reviews.

* * * * *

A Few Good Men (1992)

In a film overflowing with brilliant performances, it might seem unfair to single out any individual, but Cruise gives one of the most impressive performances of his career here. It is Nicholson who steals the movie in every scene he is in however, proving yet again what an enigmatic and powerful actor he is. The story and script from Sorkin are both intelligent and compelling, and the direction from Reiner is tight and polished. The penultimate act may miss a minor beat in not getting to the film's climax quickly enough, but ultimately this is a film I find it very difficult to fault.

9/10

Wild At Heart (1990)

A film that demands your attention from the opening scene and leaves you gripped until the credits rolls. A brilliant mix of mystery, comedy, action and crime tied together as a wonderfully surreal road movie. Lynch's inimitable style is present throughout with some fantastically dark and mindbending scenes, masterful cinematography and captivating dialogue. The narrative structure is not as bewildering as in some of Lynch's other works, which affords you more opportunity to appreciate the top-notch acting and direction on show here. The cast as a whole is excellent throughout. Things slow down noticeably during the second hour as compared to the first, but the story remains compelling and Lynch remains entirely in control. Bold, enthralling and thoroughly entertaining cinema.

9/10

The Other Guys (2010)

Distinctly average, with a plot that neither excites nor interests. The jokes miss at least as often as they hit, and Ferrell and Wahlberg never produce the chemistry needed to keep this properly afloat. Samuel L. Jackson and Dwayne Johnson's cameos are the highlight of the film, and are also over far too quickly. Keaton is amusing as the police captain, but again is underutilised. Ultimately, whilst raising some laughs as it trundles along, this is nowhere near as successful as McKay and Ferrell's previous work together and overall fails to impress throughout.

5/10

Scream (1996)

Lauded as the saviour of horror/slasher films on its release, Craven's Scream has aged much better than many other films of the '90s but certainly isn't timeless. Campbell does well in the lead, and the supporting cast range from satisfactory to strong. The mix of horror, black comedy, postmodernism and genre satire is overall an entertaining success.

7/10

The Day The Earth Stood Still (2008)

Entertaining sci-fi/disaster romp. Reeves is fine in the lead (due in part to the fact that he needs to come across as mechanical and emotionless) and the supporting cast are fair aside from the constant irritation from Jaden Smith. The disaster set pieces are fairly impressive and enjoyable, and there are enough questions left unanswered to keep things intriguing with a sinister edge. If you're looking for a groundbreaking reinvention of either genre, look elsewhere; for an enjoyable Hollywood popcorn movie, you could do much worse than this.

7/10

She's The Man (2006)

Corny teen Shakesploitation that's so bad it's good. Awful on so many levels, but never takes itself seriously for a second. Cheesy enough that you can't help but enjoy it, with enough clever Shakespeare nods throughout to keep even the most ardent Bard fan grinning. Casting Vinnie Jones as a football coach who deplores violence on the pitch is a knowingly satirical touch too. It's no 10 Things I Hate About You, but it's certainly good fun.

5/10

EdTV (1999)

Often retreads very similar ground to that covered so well in The Truman Show, but with much less to say. The narrative is a little uneven; after a somewhat rushed opening, the first half maintains a good momentum, but is followed by a second hour that feels too long and unfocused, and in which characters are introduced or forgotten with little to no explanation. The cast is fairly solid, and this is one of McConaughy's better performances. Ultimately, the film doesn't take the opportunity to say nearly as much as it could have, but as lighthearted entertainment this is a success.

6/10

Gnomeo & Juliet (2011)

Enormous fun from start to finish. The animation is charming, whilst never of Pixar standard (but who except Pixar is?). The voice cast works well throughout, although there are probably too many characters as some do feel a little underdeveloped. That said, this is a knowing comic tribute to one of Shakespeare's best loved plays, with plenty of pleasing Bard references scattered throughout. Funny, well-paced and never given the chance to drag - as lighthearted animated comedy goes, this is quite simply great.

8/10

How To Train Your Dragon (2010)

Everything in this film smacks of being above average, with a few glimmers of excellence, but there is nothing - from the voice cast to the animation to the pverall concept - that stood out as particularly noteworthy to me. Compared to Dreamworks previous efforts this felt good but uninspired, and at no point comes anywhere close to the brilliance of which rival studio Pixar is capable. Undoubtedly entertaining and well made, but nowhere near a classic.

6/10

Pretty Woman (1990)

Gere is fine, as is Roberts who only occasionally grates, but this stays safe and predictable despite its potentially interesting subject matter. A film that ultimately has very little to say.

5/10

Due Date (2010)

Doesn't bring much to the table in terms of originality, and the gags don't come as thick and fast as they should for this type of movie; that said, this is still enjoyable, mainly due to Downey Jr. and Galifianakis' performances. Obvious comparisons to Trains, Planes & Automobiles don't really help either, seeing as no part of the film ever comes close to the comic brilliance of the older movie. Worth watching, but all involved have done films far better than this.

6/10

Review Round-Up | May 2011: Haiku Special Edition

Simply because none of last month's films neither require nor deserve more than fourteen syllables to be reviewed. Next month: sonnets.*

Godzilla (1998)

Mutant iguana

foiled by Leon and Bueller.

Mindless disaster.

4/10

Head Of State (2003)

Rock's one-note satire:

One joke told ad nauseum.

Last nail? Obama.

3/10

The Pacifier (2005)

Vapid Disney dross.

Diesel's Schwarzenegger-style

half-arsed comedy.

3/10

How To Lose Friends & Alienate People (2008)

Neither good nor bad:

considering the talent,

this should have been great.

5/10

Big Momma's House (2000)

Neither brain nor heart

are found in this "comedy";

Watching's just a drag.

2/10

*I reserve the right not to write next month's reviews in sonnet form.

Review Round-Up | April 2011

Wanted (2008)

A film that puts style firmly over substance all the way through. Bekmambetov's envisioning style of action that worked so brilliantly in both Night Watch and Day Watch again works well here, although at times it feels as though he's been pushed to emulate the style of others (particularly the Wachowskis) rather than truly put his own stamp upon this. That said, the style is more or less all there is to enjoy here. McAvoy fails to cut it as either whining office worker or superhuman assassin with a patchy performance throughout; Jolie is on action autopilot; and Freeman is clearly fully aware that the script he's spouting is lifeless drivel with a phoned in and forgettable turn. A couple of action disaster sequences of which Roland Emmerich would be proud are somewhat impressive, but the plot and concept riddled with inconsistencies coupled with a flat script leave this as a wholly unsatisfying film.

4/10

The Elephant Man (1980)

In this, his second feature film, Lynch as director again brings his unique cinematic style seen in Eraserhead to this film, and with much more success. The director's invasive use of sound is captivating, and the urban gothic version of Victorian London he creates is the perfect setting for the story Lynch is telling. Hurt gives an unforgettable performance as John Merrick, bringing both class and sensitivity to his portrayal of the infamous disfigured man. Taking into consideration how little of Hurt's actual face is available to him throughout the film under the heavy make up and prosthetics, the range and emotion that he is able to put across is quite astounding. The technical side of transforming Hurt into Merrick is also captivatingly real, leaving it no surprise that the film led to the creation and inaugural presentation of the Oscar for best Hopkins opposite him is just as superb as Frederick Treves, giving an understated and quietly emotional turn; the scenes between Merrick and Treves are touching and genuine, whilst at the same time managing to stay away from becoming overly sentimental. Occasionally a little slow, but overall an excellent piece of cinema.

8/10

U.S. Marshals (1997)

Inferior to its precursor The Fugitive, but still enjoyable nonetheless. Jones never misses a beat, stepping back into the character of Marshal Sam Gerard as easily as you would a comfortable pair of shoes, playing him superbly with the same cocky gruffness as in the first film. Snipes, however, never comes close to Harrison Ford's wrongly accused runaway; he struggles with scenes in which his character has to show any emotion other than anger, although he comes across a lot better during the film's action sequences. Downey Jr. does well playing against Jones, and provides enough ambiguity in his allegiances to keep his character interesting; he does lose some momentum in the final act however. The story has several ideas rehashed from the first film, but there's enough new material here to make it a worthwhile exercise. That said, the film is about twenty minutes too long, with some sections dragging and an ending that feels somewhat rushed. Overall, a fairly decent actioner which gains an extra half star because Tommy Lee Jones is in it.

7/10

American: The Bill Hicks Story (2011)

Hicks is one of the finest comedy minds of all time. As a performer he was never anything less than consummate, and this is clear through the presentation of the recordings of his stand up throughout. Unfortunately, the film as a documentary is much less successful than its subject. The photographic animation used for the vast majority of the film is effective in places, but becomes pedestrian, repetitive and even somewhat patronising in parts (do we really need to see a photo-animated Hicks sitting in the back of a black cab to illustrate him travelling to London?). The film moves very quickly between speakers over the animation without showing the speakers' faces or a caption introducing them, and this becomes increasingly confusing especially as many of the people Hicks grew up with all have a very similar Houston accent. Whilst I am a huge fan of Hicks, I found the film to be too biased towards worshipping the man rather than taking a critical eye at certain points (Hicks' alcoholism is given a balanced view, but his drug-taking seems almost entirely to be presented as a positive thing). Ultimately, Harlock as director never makes his aim clear, his film coming across as technically pedestrian and unremarkable. Hicks' performances deserve top marks; Harlock's documentary as a film deserves less than half, so things ultimately even out somewhere in the middle. Ultimately, American is worth watching as an introduction to Hicks' work and to see footage of his performances from the very start of his career to the very end, but if it's Hicks as a comedian you're after, you'd be better off buying a full recording of one of his live shows.

6/10

Scott Pilgrim Vs. The World (2010)

One of the most stylish and finely crafted films of recent years. The plot is incredibly simple, which works perfectly as the film moves from one beautifully extravagant fight sequence to the next, but can make things seem to lack focus during the more story-driven sections of the film. Wright's direction is some of the most confident I can remember seeing, bringing many of his brilliant touches seen in Shaun Of The Dead and Hot Fuzz to this film. He grabs hold of the fantasy video game style with both hands and commits to it fully, which leads to an incredibly pleasing feel to the film overall as well as some gloriously detailed touches that hit their mark every time. The performances from all involved are very strong, with several of the evil exes in particular feeling satisfyingly fleshed out after only a short amount of screen time. Ultimately a very enjoyable and well made film that will almost certainly only get better with age.

8/10

Brassed Off (1996)

A modern classic of British cinema, this is packed with strong performances from all involved - Pete Postlethwaite is predictably flawless, Stephen Tompkinson gives the performance of his career, and Ewan McGregor shows how much substance he could bring to roles before transferring to Hollywood. The script is charming and tight, giving the film a gritty yet comfortable authenticity throughout. The story is poignant, compelling and funny in the right measure. And whether you're a fan of brass bands or not, the way in which the music is showcased throughout the film is fantastic. Ultimately a thoroughly enjoyable and well-made piece of cinema.

8/10

The Game (1997)

A moody thriller which at times becomes pleasingly dark. Douglas does well in the lead role, and the supporting cast is generally strong. Fincher's direction is tight with a polished and atmospheric feel throughout. The story is ambitious, and at times is pleasingly cerebral; Fincher clearly enjoys leading the audience down one path, only to then reveal things to be in a differently place altogether. Ultimately, however, the film strains under its own complexities, and occasionally feels sluggish in its execution; the opening act particularly feels unfortunately clunky at times. This is undoubtedly an enjoyable film overall with some pleasingly tense scenes throughout but, when all is said and done, this never shows Fincher at his best.

7/10

Dawn Of The Dead (2004)

Simply put, this is enjoyable zombie fare all the way through. The performances are as good as they need to be, and the simplistic plot, whilst feeling somewhat thin in several places, allows for a satisfying amount of horror scenes. The action gets going pretty much straight away, showing an understanding of what the audience want and getting straight to it. Scenes dotted here and there have tongue pleasingly at least partway in cheek, ensuring the film doesn't merely stay on the same well-worn note. If you're looking for innovative cinema that challenges both its audience and the boundaries of its genre, look elsewhere; if you want a pleasing and entertaining addition to the zombie genre, this is for you.

7/10

Mary Poppins (1964)

A true family classic that has aged very well. Julie Andrews is superb as the eponymous magical nanny, and Dick Van Dyke is endlessly enjoyable even with his infamous questionable cockney accent. However, it is David Tomlinson, often overlooked, who provides the perfect counterbalance to Andrews; he never misses a beat as the self-important George Banks, providing a wonderful blend of caricature and authenticity to create a character of both simplicity and depth. The music throughout is superb, with many tunes and lyrics that have since embedded themselves in Western social consciousness. The film itself showcases a huge variety of cinematography from glorious multicoloured scenes mixing live action and top notch Disney animation, to darker, more menacing scenes of early 20th Century London. It could be argued that the film is a little too long, but engross yourself in the wonderful world created and it's unlikely you'll even notice the time passing. A cinematic triumph, and a film that will no doubt remain a cinematic treasure for decades to come.

9/10

Mulholland Drive (2001)

This is one of the trickiest reviews I've ever had to write: how do you rate a film that, whilst watching, you enjoyed in part but in all honesty had difficulty understanding large portions of? A film which you then did some post-viewing research on, understood a lot more (but certainly not entirely), and retrospectively enjoyed it more as a result? Well, I'm going to try. Lynch's cinematography is as top notch as ever, with his trademark uncomfortable and dreamlike quality present throughout, although here I felt it was more subtle and refined than in his earlier work to the film's benefit. The whole cast are solid, with Naomi Watts in particular giving a fantastic performance ranging from darkly comic to devastatingly emotional. Lynch's unconventional narrative structure, surrealist outlook and refusal to hold the audience's hand through the story at any point is undoubtedly brave, bold and striking film-making. It does however lead to several points within the film where I had almost entirely no idea what I was watching or how it related to the story, so much so that I became frustrated with the film at two or three points throughout. As stated previously, after reading around the film after I had watched it, I have a clearer idea of how many previously confusing elements fit into the film's overall story and themes, and I'm fairly certain I will appreciate the film as a whole much more on a second viewing. I have a strong feeling that when I watch Mulholland Drive for a second time I will want to review it again giving it a higher score. For now, I feel that the score I have awarded it reflects my view of the film after seeing it just once.

7/10

Review Round-Up | March 2011

Amadeus (1984)

F. Murray Abraham is never less than excellent in his performance as (prior to this film) all-but-forgotten composer Antonio Salieri, consumed by a paradoxical cocktail of hatred and guilt over his role in the tragic fate of Wolfgang Amadeus Mozart. His aging Salieri bookends the film with panache, whilst his performance as the composer in his prime is a compelling and enigmatic tapestry woven simultaneously of idolatry and envy, awe and hate. Tom Hulce as Mozart begins the film as an unsavoury caricature, gaining layer upon layer as the film progresses as Hulce constructs a sympathetic and enthralling presentation of the tragic genius. Mozart's music is wonderfully showcased throughout, especially his operas, with fantastic staging and highly polished performance at every opportunity. The Director's Cut version of the film, to me, felt somewhat slow during the middle acts, with little driving the story forwards here and there; this is a minor niggle in what is a captivating, entertaining and very well made piece of cinema from start to finish.

8/10

Eraserhead (1977)

Often described as a nightmare on film, or the ultimate manifestation of male paranoia, Eraserhead is far from a comfortable watch. This in itself is not necessarily a bad thing, as director David Lynch clearly never intended to make an easy film to sit and relax to. That said, I at times found parts of the film had been made weird simply for weirdness' sake, rather than to enhance either the telling of the story or the quality of the film. The pacing of the film is perpetually slow, which allows Lynch's brooding imagery and style to fully hit home only slightly more often than it makes the film drag. Ultimately a film that I definitely appreciated more than I enjoyed, being as it is a unique and fascinating piece of art within the historical context of cinema. As my first experience of Lynch as a director, however, this was in hindsight almost certainly throwing myself in at the deep end; I would very much like to revisit this film once I've experienced more of his work.

6/10

Seven (1995)

The film which allowed director David Fincher to spread his wings, take off and begin to soar after having them cruelly clipped during his tenure at the helm of the famously problematic Alien 3. Brad Pitt and Morgan Freeman are both superb - over fifteen years later and both men's performances are regularly cited as amongst the best of their career. The detective pairing created by Pitt and Morgan - the former as pigheaded Mills, the latter as stoic Somerset - is a relationship that is unwaveringly compelling and believable. Solid support comes from Gwyneth Paltrow and R. Lee Ermey, and whilst Kevin Spacey's final act turn as John Doe takes nothing away from the film, I don't think I'll ever become a fan of his. It is the film's final act that somewhat lets things down all round, relatively speaking, as its more conventional feel doesn't match up to the moody, grimy, noir-esque cinema preceding it that Fincher allows us to gorge upon. Overall, however, this is finely crafted and thoroughly enjoyable.

8/10

Prince Of Persia: The Sands Of Time (2010)

If it's a standard action adventure blockbuster you're after, it really doesn't get much more standard than this. All involved have fun with the sword-and-sorcery style swashbuckler, and the story, whilst tangling itself in a couple of knots here and there, isn't totally mindless and firmly takes a backseat to the action and set pieces. Jake Gyllenhaal earns his action chops with a generally satisfying performance as hero Dastan. Gemma Arterton is satisfactory in support as damsel-in-distress-cum-strong-and-independent-female Tamina, and Ben Kingsley is enjoyable hamming it up immensely as Nizam. Ultimately this never excels, but never really does anything wrong either, from the enjoyable yet somewhat reserved action and fight sequences to Alfred Molina's amusing yet largely forgettable ostrich race organiser (yes, really). This feels like a live action version of Disney's Aladdin on several occasions (which, again, is not necessarily a bad thing) and if you enter into the spirit of it wanting unchallenging and enjoyable 12A-certificate action that's light on depth then you'll most probably enjoy this.

6/10

Review Round-Up | February 2011

Hard Candy (2006)

A simple story told chillingly and stylishly through two great performances. Patrick Wilson is excellent throughout; it is a pre-Juno Ellen Page who steals the film with a calculated, mature and genuinely frightening performance that sends shivers down your spine. The direction from David Slade is high quality throughout, bringing a claustrophobic edge to the film which intensifies both the horror and psychological thriller elements. The film's refusal to paint the characters and events it shows you as definitely good or bad but frequently an uneasy mixture somewhere in the middle is key to its success, drawing you into a violent, extreme and uncompromising world. Brave and powerful cinema.

8/10

Brokeback Mountain (2005)

The performances from Jake Gyllenhaal and Heath Ledger are outstanding throughout, with Gyllenhaal's raw emotion providing many of the film's most powerful scenes. The understated turn by Ledger, smouldering with intensity and suppressed passion, is the film's highlight and now tragically an indicator of a brilliant acting career cut short before it could truly take off. Support from Anne Hathaway and Michelle Williams is solid, although the film is at its best when Gyllenhaal and Ledger share the screen. At times the story feels a little too slow and loses momentum, and parts which don't focus on the relationship between Ledger and Gyllenhaal's characters feel a little underdeveloped at times. Ultimately a powerful film which, without agenda or prejudice tells, a fascinating story of two ordinary people.

7/10

The Prestige (2006)

Christopher Nolan's unmistakeable moody, unsettling and highly polished feel gives the film a luscious authenticity whilst at the same time remaining undeniably modern. Christian Bale puts in a strong and convincing performance throughout; it is Hugh Jackman however who makes the part of Robert Angiers his own, delivering a magnificent mix of obsession, passion and showmanship to make the magician a truly engrossing character. Michael Caine is reliably excellent in support, counterbalancing the increasingly extravagant and emotionally charged of Bale and, in particular, Jackman with a grounded and humble turn. Unfortunately the same cannot be said for Scarlett Johannson who appears out of her depth in a role that never really comes into its own. The story is regularly and pleasingly dark told through a grippingly mysterious plot which unfolds with energy, never losing momentum and keeping you guessing right until the final moments.

8/10

Intolerable Cruelty (2003)

An underrated Coen Brothers gem. Whilst this might not be the brothers' best, their unique take on the romantic comedy that also pays tribute to the screwball comedies of Hollywood's Golden Age is finely crafted and immensely enjoyable. Clooney never misses a beat as Miles Massey, and whilst I usually find Zeta-Jones decidedly average, here her performance is a great counterbalance to Clooney. The supporting cast are also top notch, with Adelstein as a perfect comic foil to Clooney and Thornton giving a wonderfully caricatured performance as oil tycoon Howard D. Doyle. Whilst the Coens' unmistakable style is not quite as apparent as in previous films, it is most certainly present throughout the film with some gloriously dark moments (a magazine called "Living Without Intestines" has to be one of the brothers' finest creations). The film also presents some wonderfully intelligent cinematography with an ingenious choice of colour used throughout. Often too easily dismissed as the Coens' "sell-out" or "mainstream" picture, upon closer inspection this is a comic masterpiece that stands proudly next to the brothers' other work.

9/10

Bubba Ho-Tep (2002)

Surely one of the quirkiest and most ludicrous ideas for a film ever conceived. A B-movie-style delight full of charm and held together by a unforgettable performance from Bruce Campbell as Elvis Presley. Ossie Davis also does well in support. The first half is slow, albeit entertaining, but this is remedied nicely with a final act that pulls out all the stops. The script is strong with some pleasingly philosophical sections that never feel out of place, as well as some fantastic comic lines scattered generously throughout. Go into this with the right frame of mind and expectations and you can't help but have fun and enjoy it.

7/10

The Fountain (2006)

Jackman shows depth and diversity in a challenging and demanding role - his excellent turn in three separate yet intertwined roles is a key part to what makes the film great. Beautiful cinematography and effects bring to life the three stories (although some are closer to motifs or visual concepts than definite narratives) with artistry and lustre; Aronofsky's deliberate ambiguity as to how, if at all, the three are connected adds to the enigma making the film constantly captivating. This is brave film making which demands your attention to grasp its themes, ideas and structure. An excellent piece of cinema provided you are prepared to give it the commitment necessary.

8/10

Memento (2000)

Now over a decade old, Nolan's first big budget outing is still striking and bold, delivering stylish and intelligent cinema that never dips in quality. Pearce is strong throughout, bringing an authentic yet outlandish quality to Leonard, and making the anterograde amnesia from which he suffers both believable and not gimmicky. Pearce is supported ably by Moss and Pantoliano who ably ensure you are kept guessing about their characters roles and motivations in Leonard's story until the end. Occasionally the film gets too wound up in its own premise, although Nolan makes sure things never become self-indulgent; this is a minor niggle in what is a brilliantly original and constantly gripping film that may still be Nolan's best execution of a non-linear narrative structure.

The Fugitive (1993)

The first hour outshines the second, where the pace slows a little too much, but this is a gripping thriller from start to finish with a handful of great action spots scattered throughout for good measure. It is Jones and Ford who elevate this from very good to excellent however, with fantastic performances from two Hollywood stalwarts both arguably at the top of their game. Ford's emotional and adrenaline-fuelled turn is complemented perfectly by Jones' US marshal entirely lacking in sympathy and hell bent on recapturing his man. Thoroughly enjoyable if somewhat imbalanced.

8/10

Following (1998)

Genuinely intriguing not just as a film, but as an early document of Nolan as a writer and filmmaker. It is clear from start to finish that this was made on a minuscule budget with an unavoidable "film student" feel throughout. Whilst in itself not a bad thing, this does however hand the film some shortcomings. The acting from the non-professional cast, whilst never terrible, often comes across as flat and amateurish, which in turn affects the flow and clarity of the film at times. However, Nolan's skills as a storyteller are as apparent here as in his later work, and whilst his skills in direction and cinematography are limited financially and by the cast at his disposal, this is still a stylish and very intelligent film which concisely tells a fascinating story.

7/10