Reviews | Catfish (2010); Exit Through The Gift Shop (2010); I'm Still Here (2010)

Catfish, Exit Through The Gift Shop and I'm Still Here all have quite a lot in common. Not only are they documentary films, but they are also all documentaries that have had similar criticisms levelled at them at various points through their creation and release. The criticism focuses upon whether or not each film was genuine in what it purported to document. Whilst each hasproponents for both sides of the argument, two conclusions that seem to be arrived at by critics fairly regularly are:

i) that a documentary film not being "true" links in some way to the quality and aesthetic worth of what has been made;

ii) that the makers of a documentary not being entirely transparent about the levels of factual and fictional content in their film again impact on its quality and aesthetic worth.

Looking first at Catfish, reviewing the film's content is tricky as a fair amount of the impact that the film will have on its audience rests on finding things out as the film progresses. The film focuses on photographer Yaniv "Nev" Schulman who strikes up a friendship on Facebook with a young girl called Abby after she sends him paintings of some of his photographs. This online friendship soon spreads to Abby's extended family, including her mother Angela and her half-sister Megan, and the film continues documenting the unexpected directions these relationships take.

Since its release, the truth behind the events of the film has been questioned from a number of directions, including opinions from others in the film industry ranging from the relevant (Morgan Spurlock, most famous for making Super Size Me) to the not-so-relevant (Zach Galifianakis, most famous for playing an idiot in The Hangover). Some seem merely unable to believe that the events of the film could be anything other than fictional; others have analysed the way in which the film's events are related and the timescale over which they are purported to have happened, and concluded that the film can't be relating real life events. Nev and the makers of the film, his brother Ariel and their friend Henry Joost, have continually insisted that the film's story is completely true, although they have admitted to recreating a handful of elements after the event for the benefit of the film's narrative. For many, this is enough to call shenanigans on the whole film.

However, opinion on whether the film's events are "real" often takes over the entire view of the film. From armchair critics to professional journalists, the focus regularly returns to how truthful the filmmakers are being about how much (if any) of their film is fiction. This is undoubtedly a great shame, as Catfish has a huge amount going for it in terms of style and craftsmanship. The way in which modern technology is seamlessly integrated into the way the story is told is fantastic; using Google Earth to illustrate long distance travel and Google Streetview to produce establishing shots, for example, are simple yet inspired touches. The style of cinematography is matched perfectly to the tonal shift of the film as it progresses, beginning with a personal handheld style, moving to a more sinister quasi-horror style as events take a more unsettling tone, and then a cleaner, relatively more polished feel for the film's closing act. Schulman and Joost know their stuff when it comes to documentary style, that much is certain. The narrative is engaging and kept me hooked until the very end. Nev is presented as such an amiable character that you feel an immediate attachment to him and his life. And none of this hangs on whether or not what we are watching is true. Moreover, does it actually matter when the film is as enjoyable and masterful as it is?

I'm Still Here is, in almost every way, the counterpoint to all the things that make Catfish a great documentary. The film chronicles a year in the life of Joaquin Phoenix as he unceremoniously retires from acting in order to pursue a career as a rapper. And that's pretty much it. Phoenix's reasons for leaving acting are never entirely clear, other than boredom on the actor's part, with him essentially coming across as a conceited Hollywood brat. His rapping is awful, although his intention to become a serious rapper seems entirely genuine most of the time. Phoenix's meetings with P Diddy to get advice and try to jumpstart his new career move provide some of the film's most compelling scenes. The uncomfortable edge they have is comparable to that seen in Larry David's Curb Your Enthusiasm or Ricky Gervais' Extras, although never to such an entertaining degree.

Other than that, the film is filled with Phoenix and his entourage ordering hookers, getting drunk, taking copious amounts of drugs and generally behaving appallingly towards each other. Many of these scenes quickly become tedious and regularly unpleasantly uncomfortable. Phoenix himself comes across as highly unlikable and obnoxious to be around for most of the film. The way he treats those around him is abhorrent. By the end of the film, not only is it hard to care about Phoenix's struggle to break into the music business, but also that he left a promising career in film to do so. I just wanted him to go away.

Having insisted all along that Phoenix's tumultuous attempt at a career change was entirely genuine, soon after the film's release (and in what many have seen as an attempt to boost unimpressive box office returns after mixed reviews) director Casey Affleck admitted that everything seen in the film is entirely set up. Phoenix was playing a fictional version of himself the whole time, remaining "in character" during public and promotional appearances whilst the film was being made. Phoenix and Affleck have explained their desire to comment on people's willingness to believe everything they see as true when it is labelled as "reality". But this desire never comes across through the film, nor does coming clean about the manufactured nature of the film's events make it any more obvious. There is never a clear message behind the film, despite bookending the events seen with references to Phoenix's childhood and relationship with his father (also set up: the home video footage is fabricated and the man seen in the film is actually Affleck's father, not Phoenix's) possibly to imply Phoenix straying from his roots. This lack of clarity is not due to subtlety, but simply poor filmmaking.

Whilst there are moments that are made slightly more impressive by knowing they were set up (the scenes with P Diddy, for example, and an uncomfortable altercation between Phoenix and Ben Stiller), for the most part the revelation just serves to make Phoenix come across as even more self-indulgent. He has moved from a self-important actor failing to make it as a musician, to a self-important actor who apparently thinks watching him fail to make it as a musician will be entertaining for others. A film of this type needs to be shot through with either genuine humour or satire, and it is sorely devoid of both. Affleck too does not come off well. The revelation of the documentary's fictitious nature doesn't matter; either way, his directorial style throughout the film is uninspired, lacking in panache or storytelling know-how. Compared to the effortlessly stylish Catfish, in terms of craft this is pedestrian at best, downright amateurish at its worst. Affleck may be a highly promising acting talent, but based upon I'm Not There, I'm not looking forward to his next outing as a director.

Banksy's Exit Through The Gift Shop treads the ground somewhere between Catfish and I'm Still Here. The film begins by introducing Thierry Guetta, the man behind the camera and an obsessive camcorder user who stumbles into the world of street art almost entirely by accident, becoming the unofficial biographer of the underground movement. Guetta becomes obsessed with tracking down Banksy, apparently considered the most elusive of all street artists, and eventually their paths cross. However, events take a twist for the bizarre once Banksy sees Guetta's documentary and decides to take control of the film himself.

The main problem with ETTGS is that, very simply, a lot of what it shows you isn't actually that interesting to watch. After Guetta himself is introduced, a lot of the first act of the film is comprised of footage of street artists doing their thing. It's just that, whilst street art as a cultural phenomenon is interesting, watching people creating the street art just isn't as compelling as looking at the finished product. For around ten minutes or so, I found myself genuinely interested in watching Guetta's footage of the intricate painting and stencil work that goes into creating street art; but there are only so many times you can see shady figures spraying walls or putting up giant images of André The Giant or being questioned by the police before it all begins to merge together.

Things perk up a bit once Guetta has teamed up with Banksy. The sequence chronicling Banksy leaving a "murdered" red telephone box on the streets of central London is a particular highlight, as is footage of Banksy's infamous Disneyland Guantanamo Bay prisoner stunt, which becomes as tense as a scene in any thriller worth its salt. There is quite a bit of street art creation footage in between these however, which still failed to truly ignite my interest in the film. In many ways the film's running time of under ninety minutes is a blessing: had it been much longer, the less enthralling segments may have ended up as my lasting impression of the film.

Thankfully, the film's final third vastly improves upon what has preceded it, with the camera turned on cameraman (and by far the most fascinating personality on show here) Thierry Guetta and his own attempt to break into the street art scene. The result is a truly excruciating finale - a car crash of epic proportions waiting to happen that you can't bear to watch but at the same time can't possibly look away from, with a conclusion truly unforgettable.

It is largely the film's final act which drew skepticism from many, which is essentially the same criticism that Catfish received. Many refused to believe that the events of the film could be anything but fictitious, the greatest elaborate prank from the street artist who is almost as famous for his elaborate pranks as he is for his pop-culture-bending stencils. The makers of the film - or at least those involved who are happy to reveal their identities - have always stated that the story the film tells, and all the people depicted, are genuine. Out of all three films here, ETTGS probably has the most evidence outside the film to prove that at the very least a significant portion of the film's events actually happened. At the same time, however, it probably has the biggest reason for people to be wary of its claimed credentials. After all, you can't ignore that above the title on the film's poster appears the phrase "A Banksy film".

Essentially, these three documentaries together show that it doesn't really matter how candid the makers of the film are about the truth (or lack thereof) in the film when it comes to the quality of the film as a whole. I'm Still Here is the only film discussed here where those involved have unequivocally stated that the film's content is staged, and it is by far the poorest of the three. In fact, these three films are more revealing about the people passing judgement on them. Catfish and Exit Through The Gift Shop in many ways prove the well-known adage that "truth is stranger than fiction", but also that many people today would rather dismiss something remarkable as fabricated than stretch their belief to accept an unlikely truth.

Whilst I'm not saying that everything should be accepted at face value, there's being inquisitive and then there's trying to reveal the man behind the curtain for no reason other than spite. When I'm Not There was first revealed as a "mockumentary" rather than a depiction of real life, there were even those who poured scorn upon that admission, seeing it as an attempt by Casey Affleck to save face for Joaquin Phoenix. Essentially, the skepticism was reversed: critics claimed that Phoenix's actions were all completely real, and the claim of it all being a set-up was the hoax. To be that cynical must make life a constant struggle against disappointment. In the end, it is of course an entirely subjective decision as to how much of what you see in these films you actually believe. Just make sure this decision has no bearing on your aesthetic enjoyment of the film.

* * * * *

Catfish

8/10

I'm Still Here

4/10

Exit Through The Gift Shop

7/10

Review | Super 8 (2011)

Super 8 is resplendent in its Spielberg credentials. Honestly, why shouldn't it be? When you've got one of the most successful men in the film industry executive producing your film, you'd be a fool not to make the most of it. Except Super 8 doesn't just make the most of it, instead going beyond paying homage to Spielberg's earlier work (think pre-Schindler's List and you're about there) to jam-packing the film so full of stylistic and thematic references to other films that writer and director J.J. Abrams too often seems to forget to put in any of his own film.

The story is straightforward enough. A group of school friends growing up in small-town USA in 1979 set about making their own movie. Sneaking out to film at a ramshackle train platform one night, the group witness a catastrophic train derailment bizarrely involving one of their schoolteachers driving onto the tracks. It soon becomes apparent that that's not the only unusual thing about the crash as the U.S. Air Force soon make their presence felt as well, as strange occurrences become more and more frequent in the town.

The film does have a lot going for it, not least the performances of the young actors. Child actors can often make or break a film for me, either proving such a fresh and pleasing talent that they alone become reason enough to see it, or grating so badly they detract from the film's overall success. Thankfully the group of young'uns heading up Super 8 firmly avoid falling into the latter bracket. In fact, their collective performance is what makes the first half of the film so enjoyable. Standing out slightly more than any others are Joel Courtney and Elle Fanning (younger sister of Dakota) who play Joe Lamb and Alice Dainard respectively. The companionship that grows between these two throughout the film is wonderful to watch, and whilst Courtney's portrayal of a pre-teen boy who has recently lost his mother is at times a little too understated to feel genuine, the chemistry between him and Fanning in bringing Joe and Alice's relationship to life is palpable and impressive in such young performers. Fanning throughout shows immense potential to become a future star.

Despite his intent to make a film paying tribute to Spielberg, it is often when Abrams is being most true to his own style that the film shines. The derailment of the train and subsequent crash sequence is spectacular, done without the grandiose nature of Emmerich or the mindless busy mess of which Michael Bay can't get enough. Abrams makes it authentic yet fantastical and always captivating, reminiscent of the brilliant plane crash scenes seen in another of his creations - the television series Lost. His handling too of the scenes in which the extra-terrestrial attacks is also very tight, providing genuine jumps; Abrams expertly controls the precise moments at which the alien lets rip, as well as how much of the attack we actually see.

Super 8 is also beset with flaws, however. After crafting a heartfelt opening act and, for the most part, a well-crafted sci-fi mystery with touches of horror for the second, the film unfortunately wanders into less inspired territory for its final act. Things seem to shift almost entirely from inhabiting an ordinary world where extraordinary things are happening to a highly cinematic world of sudden character shifts and drop-of-a-hat action sequences. Perhaps Abrams was hoping to kick things up another gear or two for a stunning climax, but it just makes the final thirty minutes or so of the film sit uncomfortably at odds with what's come before it, denying the audience the type of payoff they were undoubtedly hoping for.

As stated previously, however, the greatest problem with Super 8 is also the element that at times provides some of its greatest strengths, namely its referential nature to not only Spielberg's work and style, but also other movies outside his canon of work. You will notch up nods to The Goonies, E.T. The Extra-Terrestrial and Close Encounters Of The Third Kind, as well as Stand By Me, Alien and even Cloverfield, a film to which Abrams himself is linked through production duties. Whilst Abrams at times invokes these spirits of the past with panache, giving his film an air of quality and heritage, more often they return to haunt his picture highlighting just how it often has very little of its own to say. The alien presence is a prime example. Those who've seen Cloverfield may find themselves experiencing more than a little déjà vu, to the point of anticlimax. Abrams also invites us to empathise with the creature in the way Spielberg did nearly thirty years ago with E.T., but this is easier to do before actually meeting Super 8's extra-terrestrial. Somehow I just didn't feel too inclined to emotionally attach myself with an alien after seeing it feed on human beings, apparently without discretion.

Ultimately, Super 8 does a lot of things right, but these in the end are regularly competing with errors too large to ignore. Whilst there is a great rite of passage story for at least one of the young protagonists in there, it becomes clouded by an unnecessary shift to a clichéd action style and Abrams obsession with alluding to other cinematic works. Ironically, if he hadn't tried so hard to emulate his executive producer, Abrams may have got closer to what Spielberg at his best does to perfection: great storytelling his own way, where the action is never placed above the heart within the story.

6/10

Review | Captain America: The First Avenger (2011)

Your enjoyment of Captain America: The First Avenger will most likely depend on what you are expecting before you go in and how you view it as both an individual film and part of the creation of a larger Marvel Comics universe. Because whilst CA:TFA is clearly cast firmly from the superhero movie mould in terms of it's foundations, in spirit it doesn't quite follow the patterns you'd expect. Unfortunate considering I'd sold seeing the film to my fiancée with a sentence something along the lines of "you enjoyed Iron Man, so you're bound to enjoy this", only for her to claim ownership of the next viewing choice at the cinema in recompense for her lack of enjoyment as we walked out of the screen.

In many ways we have your standard superhero origins story: frustrated by his continual rejections from the U.S. Army due to medical health problems and general scrawny stature, Steve Rogers (Chris Evans) is selected for a top secret "super soldier" programme due to his personality and willingness to fight. After undergoing the experimental procedure, Rogers is transformed into a "perfect" man, with abilities at the peak of human potential, and of course transformed from his puny frame into a towering musclebound adonis.

The development of Rogers' character in the opening act of the film is pleasing and handled well; it reminded me of the way in which Peter Parker is introduced in the first Spider-Man film. Whilst it means that the start of the film doesn't move particularly quickly, I was happy to accept it as a necessary element of the origins tale. However, it's in the film's second act where things begin to stray from what you might have prepared yourself for. Where Peter Parker began climbing walls and swinging through New York City, and where Tony Stark began honing his metallic suit and breaking the sound barrier, Rogers does very little in the way of superheroic activity. We get one action sequence following Rogers' transformation, and then that's it for a while. And whilst this turn of events is explained within the film's plot, it does take some of the momentum away from the film before things have even properly got started.

When the action does finally get going, again it's not quite what many will undoubtedly expect from a superhero film. The action is much more closely related to CA:TFA's war film roots than its comic book roots. The film is less a superhero film set during World War II, more a World War II film that happens to focus on a superhero. It actually feels quite different to most superhero films of recent years, and whilst this is not necessarily a bad thing, it does leave the film at times feeling a little awkwardly placed between two genres that don't often marry.

For all its "not quites", CA:TFA nevertheless has an awful lot going for it. Evans is great as the hero, giving a performance that fits with both who the character is and the time period in which the film takes place. The supporting cast are also consistently solid: Tommy Lee Jones is reliably excellent in his role as Colonel Phillips, required to run the gamut of feelings towards Rogers and his eventual alter-ego; Hugo Weaving somehow manages to toe the line between authentic and comic book maniacal villain with a strong performance; and Dominic Cooper impressed me as Howard Stark, bringing both arrogance and likability to the character. Only Hayley Atwell provides something of a weak link: whilst her performance is fine in many parts, I never found there to be nearly enough chemistry between her and Evans to make their romantic relationship anything more than hinted towards.

Ultimately, Captain America: The First Avenger works as both a standalone film and as a quasi-prequel to The Avengers film which is set to arrive next year (without giving too much away, the closing scene here could almost be the opening to that very film). It's a film that is likely to split opinion, as what some may see as bold, if not entirely successful, attempts to do something fresh and different with the superhero and war genres, others may see as unnecessary meddling to a tried, tested and desired formula. Taking a step back from (over) analysing the film, this is essentially a summer blockbuster made to entertain. And whilst it certainly could have entertained me more, it managed to do so sufficiently far more often than not.

7/10

Review | Harry Potter And The Deathly Hallows: Part 2 (2011)

The Potter film franchise is one that has divided many throughout it's decade-long tenure as one of the most successful film franchises in the history of popular cinema. Those who have wanted faithful interpretations of the books have essentially never had this, with characters and subplots deemed non-essential to the overarching story of Harry versus Voldemort unceremoniously chopped as if they had never existed. My own feelings towards the series have fluctuated throughout, with my main gripe being those films within the franchise that fundamentally become incoherent having had so much excised from the original source material. Alfonso Cuarón's Prizoner Of Azkaban, for example, has so much left out that some parts that are included are simply left hanging as nonsensical half-finished strands.

This was therefore my main concern heading into the final Potter film: would David Yates mangle things by leaving important parts of the final book out? His previous track record made me somewhat optimistic: Order Of The Phoenix, whilst having some elements removed, managed to tell the story of the fifth book faithfully by and large; Half-Blood Prince was less successful in this regard, however, and left me feeling unsatisfied; Deathly Hallows Part 1 posed a new problem - whilst splitting the final novel in two meant that much less is skimmed over or chopped, the film very much felt like half a story, again leaving an unsatisfying feeling. Deathly Hallows Part 2 therefore had a lot to prove - as a continuation and conclusion of the Potter franchise, as an adaptation of the final novel continuing from where Part 1 left off, and as a worthwhile film in its own right.

Thankfully, the film is much more success than failure. Yates wastes no time in getting straight back into the story - there's no preamble, no recap of the events of Part 1, and no information dump of exposition (something which I had prepared myself for, and was glad not to have to endure). This is a relatively bold move, considering the notoriously gentle and comedic openings of many of the previous films. But it works a treat, and we are soon back into what the Potter films generally do best: fantasy action sequences. Within the first half an hour we've had magical larceny, wand-based battles and a dragon. It's almost as if Yates is making up for the sluggish pace and decidedly unspectacular feel of Part 1. But it works, and gives the film a welcome adrenaline-charged start.

The battle sequences in particular are a strength of the film all the way to the end. The scenes are lucid and, for the most part, have a genuine sense of menace to them. One-on-one tests of wandsmanship are at times given short shrift (no doubt many fans will be left wishing Mrs. Weasley's showdown with Bellatrix Lestrange had been given slightly more screen time), but seeing as these are snapshots from within a greater, more epic war, Yates on the whole makes the right decisions.

The whole film, in fact, has a pleasingly epic feel to it that Yates has never managed to nail in his previous efforts. Images such as the Hogwarts Quidditch pitch razed to the ground, along with a stylish touch of a damaged goal hoop later being used as a giant's weapon, and Professor McGonagall summoning the statues that adorn the castle to protect the school will no doubt endure in the minds of the audience long after the credits have rolled.

The script is pretty standard Potter film stuff: key quotes and passages from Rowling's text make it through, but there's nothing too impressive with things regularly becoming fairly functional. It is the performances of the cast as a whole that equates to a large part of the film's success. Daniel Radcliffe as the eponymous boy wizard again failed to truly impress me - there's nothing particularly wrong with his performance here, but then there's nothing particularly right about it either. The main thing Radcliffe has going for him at this stage is that there's nobody else who could possibly play Harry Potter for the millions who have spent a decade growing up with his performances.

Rupert Grint and Emma Watson provide no further surprises; the former puts in the strongest performance of the three indicating the most post-Potter promise, whilst the latter's is charming but patchy, although stronger than she has been in previous films in the franchise. In fact, when surveying the performances of the young stars in this film, it is two others who genuinely catch the eye as talents of the future - namely, Matthew Lewis and Tom Felton, who play Neville Longbottom and Draco Malfoy respectively. Both young men put in strong, mature performances of emotion and depth. Felton has been a dark horse of the series for several films, but Lewis truly raises his game for this final film making Neville an authentic and sympathetic character.

It is the supporting cast who really make the difference, as the talent and star power on offer is simply overwhelming providing a "who's who" of the previous seven films. Big names such as Jim Broadbent and Robbie Coltrane give it their all in roles that have literally minutes of screen time, and it is the willingness of these former key players in the franchise to lend their weight to the film that really gives Yates' film a credence and sense of high quality. Ralph Fiennes' turn as big baddie Voldemort feels as though he has been holding back since his first turn in the role four films previous, and has now let loose in a genuinely maniacal, menacing and downright creepy performance. Praise must also be given to Alan Rickman as Snape, one of the most reliable talents throughout the whole film series, who gives this pivotal and complex character the swansong he deserves with one of the strongest and most moving performances seen in any of the films.

Essentially, In Part 2, Yates finally strikes the right balance of action, drama, emotion, menace and humour on his fourth and final opportunity, creating the strongest of all the Potter films at precisely the right time. The film is a great improvement on the sluggish and unsatisfying Part 1, feeling like its own entity rather than just the second half of a story. In my opinion it shouldn't go down as a truly great film, just a very good one, as the film is by no means perfect. But the spectacular battles and action sequences coupled with the brilliant star power on show makes this a thoroughly enjoyable and satisfying conclusion to a film franchise that has gripped popular cinema for a decade.

7/10

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 | Source Code (2011)

Watching Source Code is a bit like tucking into a juicy sirloin steak with a tough, fibrous line of fat running through it. There's a lot to like there, with a great many mouthfuls to enjoy without issue. But there's also niggling in the back of your mind that unappetising gristly bit that you try as hard as you can to avoid, even ignore. You have one spoiled bite. Then another. You try and eat round it. But when the meal's over, despite all those unsullied morsels you enjoyed throughout, you keep coming back to that unfortunate thread of adipose material that left you feeling not entirely satisfied with what had the potential to be a really great dish.

Let us first, then, look at the meat. Source Code's story, and the concept behind it, is generally pretty good. Captain Colter Stevens (Jake Gyllenhaal) awakens on a train unaware of how he got there sitting opposite a woman who knows him as Sean Fentress. Colter soon discovers that his reflection is that of someone else, but before he is able to find out anything further, the train explodes. Colter then wakes up strapped into a dark capsule, where he discovers from Captain Colleen Goodwin (Vera Farmiga) that the crash he just experienced happened earlier that day, and that he is part of an experimental military operation known as "Source Code". Colter's consciousness was transported into that of a passenger's - Sean's - for the final eight minutes of his life, with the aim of Colter discovering who is responsible for blowing up the train in order to avert further attacks in the future.

So far, so complex. But Duncan Jones' direction from the outset keeps things moving at a pleasing and steady pace whilst at the same time making the whole thing believable. You feel that Jones really hits his stride when depicting Colter's experiences outside of his transportation to the same eight minutes on the train. The design and nature of the bleak capsule Colter inhabits, with its harsh structural features and intrusive video and computer screens, has strong echoes of Gilliam's post-apocalyptic world Bruce Willis experiences in 1995's Twelve Monkeys. In fact, Jones' influence from a wide range of science fiction and beyond - from Inception to Groundhog Day - is apparent throughout Source Code, and the film is all the stronger for it. The director takes inspiration from respected sources, whilst at the same time crafting a fantastical concept that is original and fresh. Jones' first feature, the highly acclaimed Moon, is one that has so far (shamefully) passed me by, but on the strength of his handling of many elements on show here I feel all the more compelled to seek it out sooner rather than later.

Gyllenhaal too must not be undersold. His performance as the former army helicopter pilot thrown into a disorienting and perplexing scenario of which he has no recollection of choosing to be a part, shows diversity that perhaps has only been hinted at before. His previous roles, from romantic drama in Brokeback Mountain to action hero in Prince Of Persia, come together in his portrayal of Colter to provide a satisfying and genuine mix of humour, tension and pugnacity.

The supporting cast also do well, with both Farmiga as Captain Goodwin and Jeffrey Wright as Dr. Rutledge, the creator of the Source Code program, giving strong and memorable turns. Farmiga and Wright are key to the success of the darker and more mysterious aspects of the film; Wright's continuous use of a single crutch providing a unnerving quirk to his character. It is Goodwin's appearances on Colter's video screens that provide some of the film's most enduring sequences, however; the extreme close ups on Farmiga's face make her presence intrusive on both Colter and the audience, and the methods she uses to help bring the disoriented soldier back from his trips to the exploding train - asking him to recall series of cards from a story, playing bird calls into his capsule - have an unsettlingly sinister psychological edge to them.

Unfortunately, whilst there's a lot to like about Source Code, this is largely where the good stuff comes to an end. Michelle Monaghan is fine enough, if somewhat forgettable, in her role as Christina, Colter's perpetual travelling partner on the train. But the fact that her character, other than sharing some wonderfully shot slow-mo explosion scenes with Gyllenhaal, never feels anything much more than peripheral in the film as a whole means that the romantic thread between Christina and Colter largely falls flat.

The biggest failing, however, is the film's handling of the human side of its story. Whilst it's hard to address this without giving away large chunks of the story it's fair to say that, whilst Gyllenhaal makes his character sympathetic, many of the more emotional elements of his story regularly slip too far into melodrama and become swamped in pathos. As more and more about Colter's circumstances in reality (as opposed to on the train) is revealed, this becomes more and more of a problem. The second half of the film also has an ill-fitting anti-war undertone with more than a hint of schmaltzy Americana, which simply feels stale and tacked onto the science-fiction premise at the core of the film.

Ultimately, as stated previously, there really is a lot to enjoy within Source Code. Its sci-fi credentials are solid, and whilst it never reaches the heights of Nolan's Inception, it sits pleasingly a few steps below in the ranks of the cerebral blockbuster. In the end, however, Source Code leaves you feeling as though it never quite fully realises the potential that its concept holds. A little less preoccupation with pushing a message onto the audience, and a little more focus on both the darker mystery-thriller aspects that work so well throughout the film and the ingenious science-fiction concept at its nucleus, and this could have been an excellent film. As it is, the flaws are there, and noticeable enough to make it just very good.

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