The American directed by Anton Corbijn; released in 2010

This is a very unique story. A man whose forte is guns, passion is women and on top of this, is wanted dead by more than one person. Put this together with the director of the dark Ian Curtis biopic, ‘Control’ and you have something that is a very interesting watch. Set in the idyllic Castelvecchio, a rural Italian town; which in hindsight isn’t the normal place to set a sort-of spy thriller in the mould of old spaghetti westerns,  Jack (George Clooney) is in hiding after recently disposing of a lover and two contract killers in Sweden. From the outset, you are presented a character who is confident but at the same time, confused with life. He is unsure that he has chosen the correct career, even though he is many years into it, which isn’t the best one that allows him to build relationships, which seems to be his favourite pastime. The film’s main theme though, which is not necessarily a theme, is the prolonged silences where the only thing you hear is the construction of a gun, footsteps of someone being followed or the firing of a gun. This, paired with the plot, makes for 95 minutes of total suspense. George Clooney’s career really has gone from strength to strength since playing Doug Ross in ‘E.R.’ over 15 years ago and his performance in this, is one that really makes him one of my favourite actors. He draws from his performance as the titular character in ‘Michael Clayton’, allowing for some very blunt, explosive dialogue which makes his character, an efficient arms expert, all that more believable. Throughout the film you are unable to decide on what you want the outcome to be, which when coupled with shots of the beautiful Italian landscape make the shocking ending that more despairing. The area shouldn’t be subjected to the arrival of violence, which makes the film that more exciting and brutal. His friendship with a local priest makes the subject matter even more controversial, resulting in each scene between Jack and Father Benedetto (Paolo Bonacelli) very cryptic. Constant questioning from the priest about Jack or Edward’s (alias’s play a big role in the life of a hit-man) life, make for some weird responses and seriously hamper the killer’s entire outlook on life. The blossoming romance between him and a local prostitute is again, due to the story, very tough but exciting to watch. You know from the beginning that any form of love interest for Jack will be, in the end, questioned, when whoever he falls for discovers or notices something to do with his line of work. The chemistry between him and Clara (Violante Placido) is thrilling and when Jack finally makes his choice about his chosen career, you know that something is going to go wrong. The film’s supporting cast is also good, most notably Thekla Reuten and Johan Leysen as Mathilde and Pavel, who both pull of the ‘so called friend’ role very well. I really enjoyed this film and would recommend it to fans of Clooney, the director and westerns/thrillers. P.S. Don’t go into this film thinking you are going to be seeing a ‘Bourne’ paced thriller. You aren’t.

9/10

The Woman in the Fifth directed by Paweł Pawlikowski; released in 2011

What is there to say about this film? Is it a romance, is it a drama, is it a violent thriller? If you were to combine all three of those genres, you would still probably be wrong. The film starts out as an innocent story of a broken man, with an unexplained past wanting to get closer to his six-year-old daughter in a small unpopulated unnamed French town. From then on, the levels of intrigue, suspense and confusion mount and you are pulled quickly and cleanly through a timeless period in the life of an American writer who may or may not be completely sane. He is used differently by three women, his wife hates him and sees him as the reason why they broke up, which may be wrong, as you are again, much like his past, not given any sort of basis to understand their relationship. Margit (Kristin Scott Thomas) is his escape, the one he uses to pour out all his feelings and needs without any censorship; the scenes with Margit, once the film is finished add to the confusion of the entire movie but at the same time help you understand what is going on with the other women in the film. The final woman, Ania, played kindly by Joanna Kulig is the one who truly loves him but the one he shows most negativity towards, which completely explains the frame of mind he is in. Much like the classic David Fincher film ‘Fight Club’, this film doesn’t fully explain itself to the very end, which makes for, at points, some tedious viewing but at the same time the intrigue is so much that you can’t help but watch it till the very end. This may have been the point of the film and if it was, the film maker has more than achieved what they set out to do. If Pawlikowski set out to confuse you on a level that is hard to explain but when viewed, easy to understand, in a world so close to reality that you could be there, then this could be one of the best films I have seen in recent years. Ethan Hawke’s French is great and acting along side a legend of 80’s French Cinema, Kristin Scott Thomas, it’s not hard to see why this film has been highly praised and with the use of American English speech throughout, this film could easily make the move into the more commercial market. I also enjoyed the performance of the French supporting cast, mainly the inhabitants of the hotel, who were as close to reality as you could get, which is in great contrast to the rest of the film, as it seemed like one long dream sequence, reminiscent of Cameron Crowe’s ‘Vanilla Sky’. I enjoyed this film and believe it will see Ethan Hawke go on to achieve even better things in the future and also underline the presence of Kristin Scott Thomas as one of the best actors of the last 30 years. I would recommend this to fans of French Cinema and the two main stars.

8/10

The Ghost Writer directed by Roman Polanski; released in 2010

Written basically in conjunction with the book ‘The Ghost’ by author Robert Harris, who adapted his own book into a screenplay for directorial friend Roman Polanski, ‘The Ghost Writer’, could be seen more as an imagining than an adaptation, which most films are called when they are based on famous novels. What happens with other films that are ‘adapted’ from famous written works is that sometimes they sadly become action blockbusters aimed at a paying audience, who aren’t there to see a book – they are there to see something fun. Examples of this include Danny Boyle’s post Titanic DiCaprio attempt ‘The Beach’ and Steven Spielberg’s second collaboration with Tom Cruise – ‘War of the Worlds’. Unfortunately these were unable to match the thrilling nature and appeal of their source material, which is a shame, as they could have outdone their original’s, most notably ‘The Beach’, as it included DiCaprio, Tilda Swinton, Paterson Joseph and Robert Carlyle. Okay, time to talk about the actual film I actually watched. Firstly, I enjoyed it. A story that takes you on the journey of an unnamed writer played by Ewan McGregor, who is thrust into the job of ghost writing shamed politician and former Prime Minister Adam Lang’s (Pierce Brosnan) memoirs. Unable to fully understand Lang’s past due to not being a great fan of the politics; this enables the writer to really ask the questions that a political advisor/journalist would ask and to his surprise they bring out the greatest insights into the life of an alleged war criminal. The hatred towards Lang is weirdly close to what Tony Blair faced during his later years in office. The writer/director team of Harris and Polanski insist that the book and film have no relation to the life and times of Tony but you find it hard not to see similarities, they both have two children and an overpowering lawyer wife, played in this by Olivia Williams. The film flows well and you are fully able to grasp the shocking revelations that spill continuously from the past of Lang, which also make to film an eye-opener to people without an interest in the past 15 years of government. Played out like an on stage production, with only 4 main people, you don’t have to remember characters names or personalities and this makes the complex and detailed dialogue all that easier to comprehend and in the final scene of the film, sit there and gasp at. I would compare this film to films of the past that leave you completely baffled at the end, such as ‘The Machinist’ (2004) and ‘Memento’ (2000); these are memorable, always talked about and completely twist your thoughts for each scene you have witnessed at first viewing. This is so evident in ‘The Ghost Writer’ and mainly why I enjoyed it from beginning to end, with the only let down being Ewan McGregor’s weird English accent, if he had been American (Moulin Rouge) or Scottish (Trainspotting) I would have enjoyed the film that little bit more. With a great cast and great direction I would recommend this film to fans of thrillers and the original book.

8/10

The Amazing Spiderman directed by Mark Webb; released in 2012

Is it too easy to say that director Mark was able to cast his ‘Webb’ over the previously successful Spider-Man franchise? No. It isn’t too easy, as after being given the task of trying to out-do his predecessors, there was always going to be criticism; this film however, even though it does have the same plot as the original ‘Spider-Man’ (2002), is able to put a fresh spin on the historic character. With Andrew Garfield replacing Tobey Maguire and the screenwriters deciding to take Spidey back to high school, you are thrust into the world of a teenage boy, who after visiting his dad’s workplace, is unknowingly bitten and given the chance to live the life of a human-insect hybrid. Breathing fresh life into a film series that maybe didn’t need it, Andrew Garfield has successfully been able to portray the infamous Peter Parker in a tough loveable rogue sort of way, unlike the burden that Maguire believed it was. From the bite, he enjoys the power, loves chasing down bad guys and still has the time to create an arch-nemesis. What I enjoyed more about this film than the previous instalments was the coming-of-age spin on it. You see him grow into the Spider-Man character parallel to growing up and taking school exams unlike the past films which saw Maguire, already in a successful career, thrust into it. As he grows up, his powers become stronger and to the audiences enjoyment; he isn’t modest, he enjoys beating up criminals and borrowing from his portrayal of Eduardo Severin in the Facebook biopic ‘The Social Network’, is cruel and has the attitude that makes the enemy’s skin crawl. What I also loved about this film was the romance he has with Gwen Stacy, played by up and comer Emma Stone. Much like Webb’s previous directorial effort ‘500 Days of Summer’, he enables you to more than warm to the budding affection between the two and when the film reaches its explosive climax, understand the decisions made by both of them. Another great highlight of the film was the battle between Garfield and Rhys Ifans, who plays Dr. Kurt Connors, the man who decided to transform himself into a giant Lizard! The battles didn’t look like CGI, with choreography that could have been seen in other recent Marvel Films, such as ‘Captain America: First Avenger’ and ‘Thor’, as these included man on man, not Spider vs Lizard. The CGI though is used to great effect, leaping from building to building reminded me of Neo’s first leap in ‘The Matrix’; I would compare this films CGI to the ground-breaking effects seen in The Matrix Trilogy. A film that may not have been needed, with the previous trilogy of films still having undeveloped plotlines, I was surprised how much I enjoyed it! Andrew Garfield, a Spider-Man fan as a young boy, really has thrown his entire life into the character, which completely shines through during the entire 136 minute duration. I loved this film and even though it doesn’t go as dark as the recent Batman re-boot, it still has a darker feel to the previous instalments, which will hopefully be developed in the sequel, planned for 2014! I would recommend it to fans of the comic, the director and Andrew Garfield.

8/10

Minority Report directed by Steven Spielberg; released in 2002

 

Philip K. Dick’s work is adapted from book to screen every few years. From ‘Blade Runner’ to ‘Paycheck’, ‘Total Recall’ to ‘A Scanner Darkly’. It’s amazing to think that ‘Minority Report’s’ source material is older than the main star of the film, Tom Cruise. A story that was so far ahead of it’s time, even today, really shows how much of an influence Dick’s work has had on not only works of fiction but real life technology. The Precogs within the story have recently been echoed in technology to predict crimes based on personalities within the population and is nearly on the verge of being trialled in Washington D.C., the setting for the film. A complex film, which tells the story of John Anderton (Cruise), the main man within the Pre-Crime Division in the year 2054, who with a sad past is on a race against time to prove his name after being cruelly set-up by a close friend. I am a great fan of Science Fiction films and thankfully, without going to over the top, Steven Spielberg has delivered a film which questions reality and suggests a deeper meaning to the life and times of the people who police our streets. What sets this apart from other films within the genre is the emotions you feel towards Anderton, from beginning to end you are on the side of him and only him, never the people wanting to track him down, which I sometimes feel when watching action movies – this is due to the lack of character development and no real grasp on what the film is going out to achieve. Happily, for the entire 139 minute duration you find it hard to take your eyes from the screen, as you witness his life fall apart piece by piece and the team sent to track him down, which includes Colin Farrell, who is a cleverly hidden red herring, go from strength to strength; this makes the task of finding his ‘Minority Report’ seemingly impossible. What I also love about this film is the way it looks like a modern day piece, even though it is set in the future. Much like other science fiction films of recent times, ‘Moon’ and ‘Sunshine’, it isn’t so ridiculous in nature that it makes the premise seem unbelievable. Another great aspect of the film which helps it achieve a non-ridiculous nature is the special effects, from the futuristic weaponry to the hyper cars of a not to distant world, they all combine to present what is a great visual experience. The dark nature of the film, reminded me a lot of ‘Blade Runner’, each scene looks like a page torn from a comic book, this allowing you to experience it in a way that feels like you are the first. This film though does have to thank the source material, as without it, it would never have come into existence. It couldn’t have been written by a group of screenwriters, it could only have come from the brain of Philip K. Dick. Tom Cruise delivers a great portrayal of the broken Anderton and nearly delivers the performance of his career, second in my opinion to his portrayal as Vincent in ‘Collateral’. You fully believe his past, the loss of his son, the belief he has in the pre-crime initiative and the sense of betrayal when he discovers the ugly truth in the penultimate scene of the film. A great cast that includes Samantha Morton, Colin Farrell and Max Von Sydow, ‘Minority Report’ is one of my favourite films and therefore I would recommend it to anyone.

9/10

Manhunter directed by Michael Mann; released in 1986

Being a fan of the Hannibal franchise of movies over the past 20 years, I thought it was time to see the original, the one without Anthony Hopkins playing the infamous Hannibal Lecter. This film however, is different, in a sense that Lecter or ‘Lecktor’ in this adaptation of the book ‘Red Dragon’ hardly features the psychopathic human eater, this doesn’t though take away from the films creepy eerie feel and the fact that it is a great film. William Petersen stars as Will Graham, a man torn apart by his past involving the legendary cannibal. He is forced out of retirement to take on a case involving a man being dubbed the ‘Tooth Fairy’ and from then on has to deal with him, Hannibal and his own demons. This film has such a weird atmospheric feel to it, much like later Mann films, the way it is shot plays with your emotions and really makes you connect with the characters as they are taken on the grizzly journey involving death and the challenge the police face. It also really reminded me of the battle Pacino and DeNiro have in ‘Heat’ and Foxx and Cruise have in ‘Collateral’ but due to the fact this film pre-dates those by 10 and 20 years respectively, it has such a rough and scary feel to it that Graham’s own demons have an even greater battle with him than anyone. This is not helped by the fact he has to talk with Leckter, played in this film by Brian Cox, who in my opinion portrays the monster in a more sinister way than Hopkins and one that truly scared me, even though he is in the film for less than 15-20 minutes. The way he speaks completely embodies evil and through this and Cox’s performance, you are able to imagine the relationship and horrific past experiences he and Will have had together; this is the cherry on the icing of an already chilling movie. Another great aspect of Mann’s films are the soundtracks, they help it move at a pace that at points make it nearly unbearable to watch – this at it’s greatest when the film comes to it’s terrific climax. The song ‘In-A-Gadda-Da-Vida‘ by Iron Butterfly makes it mesmerising viewing, the way in which Tom Noonan has no fear of the police coming to get him, is embodied in the music and lyrics of the song, ‘Oh, won’t you come with me And take my hand, Oh, won’t you come with me And walk this land, Please take my hand’, relates to his frame of mind at the time; his confused love for the blind character of Reba McClane who is played frightfully by a young Joan Allen. A film that received mediocre reviews on release and then gained a cult following throughout the years is one that is definite viewing for fans of cinema. Fans of the Hannibal franchise may be put off by the lack of screen time for their hero but this will be made up by the film’s overall scary and action packed nature. I thoroughly enjoyed it and would recommend it to fans of Michael Mann, CSI and the Hannibal franchise.

8/10

No Way Out directed by Roger Donaldson; released in 1987

From looking through the films that Roger Donaldson has directed, he really has had a hit and miss career. ‘The Recruit’, ‘Cocktail’ and ‘The Bank Job’ have hit and ‘Dante’s Peak’, ‘Seeking Justice’ and ‘Species’ haven’t. Happily, ‘No Way Out’ in my opinion is easily his best film. It tells the story of Navy Lieutenant Commander Tom Farrell (Kevin Costner) who, after performing bravely on a routine mission is given the job of being the Secretary of Defense’s David Brice(Gene Hackman) liaison to the CIA within the pentagon. The death of the woman (Sean Young) who Farrell and Brice are seeing, causes Brice to start a mole hunt within the pentagon, claiming her killer is a Russian KGB agent named ‘Yuri’ who has been raised as an American and infiltrated the U.S. Government. I really enjoy this film every time I watch it due to the acting, the pace and the distinct plot. The films moves at a fast pace from beginning to end, which keeps you on your feet, most notably the climax of the film, which leads to a twist which you will enjoy and be very surprised by. The plot is understandable but detailed, which will keep you gripped in every scene, much like a Bourne film. The action is sporadic but when it occurs is delivered to a high standard and keeps you guessing who is going to come out on top at the end. I also enjoyed the performance of Kevin Costner who is able to balance the task of being a lover with one of the efficient nature of someone in his job within the government. He is tough yet caring, confused yet focused, which makes the climax of the film a guessing game for the viewer and when you discover the truth are amazed by his loyalty and regard towards his role as a liaison to the CIA. He is able to pull this off and you are made to feel very sorry for him when he learns of the death of Susan, which enables him to bring empathy and drive to the role. This film should also give a lot of thanks to the great book ‘The Big Clock’, which it has been adapted from. This has a much more detailed plot and therefore would contain the right amount of thrills and interesting dialogue which unsurprisingly made the transfer from book to screen look easy and very enjoyable. This makes the film what it is, a puzzling thriller, hidden with sub plot that will cause you to question what you first thought from the outset. You care for the characters within the film, wanting them to achieve what they have set out to, even if it is bad. One let down I had with the film is the performance of Sean Young, she is unbelievable as somebody Kevin Costner would fall for, they could have maybe cast Sigourney Weaver or Meryl Streep in the role, both would have made the relationship seem feasible and make her death that just that bit more tough to take. The film’s plot though is what makes it a great spy thriller for the ages and enjoyable every time you watch it. The twist is so well hidden that I always forget it, which should also thank the performances of Gene Hackman and Will Patton, who are both evil as Brice and Pritchard. I really enjoy this film and would recommend it to fans of Kevin Costner and spy thrillers.

8/10

Prometheus directed by Ridley Scott; released in 2012

As a huge fan of the original ‘Alien’ series of films I was eager to see what Ridley Scott was going to do with the new film ‘Prometheus’. With a cast that includes Michael Fassbender, Charlize Theron, Noomi Rapace, Guy Pearce and Idris Elba, unsurprisingly I thoroughly enjoyed it. The film’s premise pre-dates ‘Alien’, as the crew of the ship Prometheus are sent to an outer solar system to discover the true origin of life itself. What I enjoyed most about the film was the detailed plot, that is delivered very understandably by all the cast. The film starts off slowly, which when looking back may account for the fact the crew have spent two years in hypersleep to reach their destination and when woken are still coming to grips with their crew-mates, situation and adjusting their brain but happily, after a shocking discovery, the film’s action, suspense and true scariness builds up. The film is truly scary, I found the first deaths of two crew members and the ‘abortion’ that occurs to be sickening to watch and helped it pay homage to it’s predecessor. It also reminded me of many recent space set films, such as ‘Sunshine’ and ‘Moon’ which, set in the not to distant future aren’t made to look too ridiculous, which this, with the aid of some great CGI and costumes completely matches and at some points is even more believable. As much as I loved the film, the only let-down was the predictability of the plot, which even though is acted well, didn’t add anything to the ‘Alien’ premise. There could have been something more, something that could have taken this film to another level. Don’t go into this film thinking it is going to be better than the original, it isn’t, it’s different. There are obvious parts of the film which are there to remind you of the original series and keep you grounded but these are few and far between; the film’s action is brilliant and very enjoyable. It could have turned into a slasher movie but due to great performances, it doesn’t, the deaths of many of the crew are needed, which makes the climax all that more sad to watch. Michael Fassbender’s performance as David, the android sent to accompany the crew (saying he is a robot isn’t a spoiler, it is stated at the beginning), is by the far the stand out within the film. He is able to convince the crew of his handiness but due to being a robot has been sent a real task, which makes his performance tough to watch. So human-like but nothing like a human, he pulls it off well, better than Ian Holm in ‘Alien’ and it also reminded me of the performance of Matt Damon as Bourne; extremely efficient but unable to comprehend why. Another great aspect of the film was the performance from the British trio of Idris Elba, Sean Harris and Rafe Spall, who hold their own against a big international cast and showed grit, sadness and excitement throughout. Overall, I thoroughly enjoyed ‘Prometheus’ and really believe it will rejuvenate interest in the original series and thankfully has plenty of inklings to think there could be a sequel or maybe even a new quadrilogy of films. I would recommend it to fans of science-fiction films, the original series and Michael Fassbender.

8/10

Witness directed by Peter Weir; released in 1985

Many directors try to film real life but none I believe do it better than Peter Weir. Having the genial knowledge to put together films such as ‘Master and Commander: Far Side of The World’ and ‘The Truman Show’ but to name only a couple, really show how he is able to completely engross you in the characters, the plot and to such a point, that when there is sadness, completely tear you apart. This is such a unique skill and one that I love to see on-screen. ‘Witness’ therefore, does not disappoint. It tells you the story of a young Amish boy Samuel Lapp (Lukas Haas) who witnesses a murder in a train station toilet and from then on isn’t safe from anybody, most importantly the corrupt police who are after him. The man who assigns himself the job of keeping Samuel and his family safe is Philadelphia Police Captain John Book (Harrison Ford). The film is advertised as a thriller but not the sort of thriller that you would expect, it explains that the a thrill in life can not only be, the thrill of being a police officer and chasing down ‘bad guys’ but also wanting something you can’t have. He is taken into the world of the Amish and from then on does his utmost to protect Samuel and his mother Rachel (Kelly McGillis). This film was very enjoyable however don’t expect a gun fight or car chase every scene; this is the sort of thriller that builds the tension from beginning to end and then comes at you with total action during the climax. This is what I enjoyed most about the film, the way it makes you think about what could happen, whether or not Harrison Ford will be able to protect them, will he destroy a small Amish community or will everything fall apart. Like other thrillers of the era, such as ‘No Way Out’ and ‘Manhunter’, it really was before it’s time and I believe would still do well if it was released in 2012. A great aspect of the film is the love story between Brook and Rachel; this builds from the moment they meet and threatens to tear apart his career as a police officer and could cause her to be ‘shunned’ from the Amish community. I would call it a modern-day retelling of the famous Shakespeare story ‘Romeo + Juliet’; two completely different worlds and families – if they were to be together, everything could change. The performances within the film are also to a high standard, most notably that of Lukas Haas as the young Samuel. He shows emotion, holds his own on-screen with a major star at the time, Harrison Ford and is enjoyable to watch. I really am not surprised that he has gone on to appear in such films as ‘Brick’ (2005) and ‘Contraband’ (2012), making the transition from child to adult star much like Joseph Gordon-Levitt. Harrison Ford is also very good and I would go as far as saying this is my favourite performance I’ve seen from him. Unlike his performances in such films as the Indiana Jones series and the Star Wars series, he has a much more emotional, dark and loving side to him, this is used well in scenes with Kelly McGillis, who is also very good in the film. This film’s influence is clear to see in Weir’s other films, most notably ‘The Truman Show’; the emotion and nerves build up towards the film’s great climax. I really enjoyed this film and would recommend it to fans of emotional thrillers and Peter Weir.

8/10

Contraband directed by Baltasar Kormákur; released in 2012

‘Contraband’ is a remake of a 2008 Icelandic film ‘Reykjavík-Rotterdam’ and sadly, in my opinion, it has been unable to live up to the original’s critical success. The director of ‘Contraband’ was the star of the original and you would think he would just insist that Mark Wahlberg would copy his performance and maybe even improve on it but with numerous action-thriller clichés, it just about misses the mark. It tells the story of Chris Farraday (Wahlberg), an ex-smuggler, who is drawn back into the world of crime after his wife’s (Kate Beckinsale) younger brother Andy (Caleb Landry Jones) has to dump the drugs he is attempting to smuggle and due to this, ruthless mobster Tim Briggs (Giovanni Ribisi) demands repayment. The film’s premise may seem like the film is going to contain intricately plotted drug-smuggling related dialogue but from the first scene you are thrust into another obvious ‘We will kill your family if you don’t get us the money’ film. It had all the makings to be a dark thriller but the only dark thing about it was the fact that most scenes are in the dark! As the film progresses, there are plot twists but these are easy to spot and could have been hidden in a better fashion as the film moved towards its obvious climax. It may sound as though I completely didn’t enjoy this film but there were glimpses that make it enjoyable for a wide audience; the action scenes were good, most notably the gun fight where Farraday is able to get away with money and a priceless piece of art, the storyline was good but could have been executed to a higher standard; I felt as though Giovanni Ribisi was miscast, his portrayal of the main protagonist ‘Briggs’ was hard to believe and wasn’t anywhere near as volatile and scary as it could have been. With the dark feel to the film and his character he could have made it more like Mark Strong as ‘Pinbacker’ in ‘Sunshine’ or Samuel L. Jackson as ‘Mr. Glass’ in ‘Unbreakable’. This would have made his character stand out and make the task he has set Wahlberg and his crew as much more believable. Another part of the film which could have been made to look a lot better was the relationship between Wahlberg and his ‘so-called’ best friend Sebastian (Ben Foster). It was hard to comprehend their past as smugglers of many expensive cargo’s, they lacked the on-screen chemistry which didn’t help the film’s obvious turn towards the end. Mark Wahlberg’s performance was good, much better than when he played  Charlie in ‘Italian Job: L.A. Heist’ but not as good as when he was Troy in ‘Three Kings’. His portrayal of a reborn legit businessman takes this film from poor to average and this was also helped with the believable relationship he has with his wife Kate (Kate Beckinsale) which had emotion, love which looked like love and being able to grasp the dialogue that showed their tough transition from the world of crime to one which focused on raising their two young children. This film wasn’t rubbish but also wasn’t very good, therefore I would recommend it to fans of Mark Wahlberg and someone looking for something to rent for a few nights!

5/10

Gangs of New York directed by Martin Scorsese; released in 2002

The last ten years has seen a great partnership formed between director Martin Scorsese and actor Leonardo DiCaprio; the Howard Hughes biopic ‘The Aviator’, the brutal gangster flick ‘The Departed’ and the psychologically chilling, ‘Shutter Island’ and by no means least the historically action packed original gangster tale, ‘Gangs of New York’. Every time I decide to watch this movie, it’s down to one thing, the performance from DiCaprio. The obvious praise received by Daniel Day-Lewis, who is very good, always seems to take away from the dignified and grown up performance from Leonardo. He’s able to pull off a more than believable American-Irish accent/persona and in parallel to this present an amazingly truthful understanding of the upbringing of an orphaned youngster in 19th century America. In a way that is so reminiscent of great leading men of the 70’s and 80’s, such as Jack Nicholson and Robert DeNiro, he is able to connect with an audience in such a way that you are drawn into his character that absolutely may have suffered the hardship of a foreigner in the racist, patriotic, still growing country. I always find it hard to believe that when this film was made, he was only 27, it’s amazing to think he performed so well, so early on his career; he maybe has 30-50 years in the business to improve his abilities. The film, as a whole is brilliant also, with the obvious help of the two leads and a stellar supporting cast, Scorsese is able to present a truly believable vision of early modern America. With a detailed script which makes the fighting and dialogue all that easier to understand, the film is shown in such a way that the sadness, celebration and sickeningly hard times is excruciatingly tough to see. A great example of this is the plight suffered by Cameron Diaz. She plays a shockingly good pickpocket with a troubled past, brought in as a youngster, raised, got pregnant by and then agreed to have it aborted all by the same guy, the evil and commanding Bill Cutting (Daniel Day-Lewis). Their relationship also helps to drive the film; you see how much she cares for him and therefore, why it is so hard for her to have any sort of relationship with Amsterdam and due to this heaps more fire into what is  an already hostile (as the film progresses) relationship between Amsterdam and Bill. This moves me on to the action, which is sporadic but brilliant throughout, the brutally gory violence which makes the wounds, suffered in a pre modern healthcare era, all that more tough to watch. The scars suffered, the battles fought and in turn, the relationships built and that in time crumble from beginning to end come together to present a climax that is worthy of the film that preceded it. The climax of the film shows how the original ‘Gangs of New York’ built what is today a less hostile and financially safe country. This film is an educationally brilliant, historically accurate presentation of the growth of America, jam-packed with great performances. Last but my no means least is the recognition that Day-Lewis needs for his portrayal of a big-headed, brutally truthful psychopath intent on destroying any future immigrants want in their new country. He commands the screen and when in a scene with DiCaprio, the two are nearly as good as you can be when wanting to showcase the talents of the cast you are performing with. This film is gripping, truthful and has all the makings of a modern classic. I highly recommend it to fans of Scorsese and the lead actors.

9/10

Heat directed by Michael Mann; released in 1995

With a duration of 164 minutes, you would think a film would contain moments of dullness or would stray off plot for a tiny bit but unsurprisingly, with the two lead roles being portrayed by Al Pacino and Robert De Niro, ‘Heat’ is an action epic that is one of the most intense movies I’ve ever seen. From the outset you are thrust into a world of crime, heated relationships and a life based entirely on trust. Throughout, you wish Waingro (Kevin Gage) was never recruited by Neil (De Niro) as it would have resulted in a completely different outcome for a film that is a rare breed of picture, you are completely on the side of the villain, at no point in this film did I want Vincent Hanna (Pacino) to succeed in stopping him. It’s really unfair that Michael Mann had to make this film, as following it he has been unable to match the sheer brilliance of acting, action and edge of seatness that ‘Heat’ contains. I’m a big fan of Mann, ‘Ali’ is a close to perfect biopic, ‘Public Enemies’ is a historically factually action thriller but ‘Heat’ easily topples them in terms of enjoyment. It’s the battle between Pacino and De Niro which puts this film ahead of many released in the 90’s, even films such as ‘The Firm’ and ‘Casino’, (which is a lot to say) look on with jealousy, wondering how Michael Mann has created such a film. De Niro’s performance is great in ‘Casino’ but he is able to go one further as Neil Mcauley, making his character of Sam Rothstein look like a little girl; he is close to pure evil in ‘Heat’. He’s tough, efficient, loving and extremely focused but still modest; this makes his character even more believable, you think the crimes he is committing are being done during filming. He makes it look effortless though, which for De Niro isn’t surprising, he probably did all his scenes in one take. Al Pacino’s performance very much mirrors De Niro’s, they both, within their gangs are very confident towards women and our able to portray the role of a volatile but deeply caring and loving boyfriend/wife, which make the film’s thrilling climax all that more difficult to witness. It is their one on ones that make the film what it is, a duel of two greats within their profession, one a detective at the peak of his ability and the other a tactically aware, ruthlessly sharp career criminal. You get the real sense that everybody involved really enjoyed making this film; conversations and body language are all well acted and are made all that more believable by the happiness of sadness each actor has put into each scene they are in. The action is also close to perfect; each cast member must have been given months of training in police and criminal activity, the gun fights, police assaults and crimes committed all have a very real feel to them, this is echoed by the way in which the film is shot, using a live-action directing style, the film looks more like a police television show, such as the British shows ‘Traffic Cops’ and ‘Crimewatch’, this again, makes the film not only enjoyable to watch but at some points scarily truthful.  He used this effect in two of his more recent films, ‘Public Enemies’ and ‘Collateral’ again, to great critical praise. It is viewed in such a way that you are there, with the characters, making it edge of your seat and hard to take your eyes of even the dullest piece of action/dialogue. It reminds me of watching a live sporting event or news coverage of a live event, such as covering a bank robbery. Other films, which owe a lot to ‘Heat’, include The Bourne Series, ‘The Town’ and recent superhero movies. The only let down I have with this movie is the female leads, they could have been recast to make them seem more believable. This would have made the relationships that even bit more enthralling, I really didn’t believe the chemistry between Hanna and his wife. This is a minor let-down in a film full of major success stories though, Tom Sizemore in a career defining role as Michael is able to show the true nature of a career criminal, unable to balance life with the rush of committing a crime; which ultimately leads to his untimely downfall. I thoroughly enjoy this film every time I see it and would recommend it to fans of Michael Mann and the two lead stars.

9/10

The Rainmaker directed by Francis Ford Coppola; released in 1997

All John Grisham books that are adapted into films always promise to be a good watch and thankfully ‘The Rainmaker’ doesn’t disappoint. With a great book to adapt into a screenplay, this film is gripping, sad and thrilling to watch, most notably in the courtroom. Other adaptations, such as ‘The Firm’ (1993) and ‘A Time to Kill’ (1996) were both very good in different ways but in comparison to this, lacked the out of court laid back feel, which helped balance Matt Damon’s young character’s age which reflected the new kid on the block feel to the film. Being laid back as a practiser of law not only helps focus on what you are doing within court but also on your social life, which in this goes as far as being involved in a murder. Damon’s performance really reminded me of his assured portrayal of Will in ‘Good Will Hunting’; his past unknown, which helped you as a viewer imagine what it could have been and maybe not answer the questions that you wanted answering; this made him more mysterious and therefore more entertaining in the majority of his scenes. The subplot, involving a young Claire Danes, helps to round Damon’s character and give him a backbone which he takes into court and in the film’s happy climax, sees him achieve greatness and move on to a life which could see him have great success. In comparison to Francis Ford Coppola’s other works; I am a great fan of the Godfather films (these are the only FFC films I’ve seen), this also has that villainous feel to it, this obviously referring to the legal team set up to try and protect the healthcare company on trial. With Jon Voight fronting the enemy, he portrays an evil lawyer with a background of trying to get cases thrown out. He is able to make you completely hate him throughout the entire movie; firstly, his body language is spot on to someone who would look down on everybody around them and he plays arrogant well – much like his performance as Jim Phelps in ‘Mission: Impossible’ a year earlier. I thoroughly enjoyed the debate in the court room but it didn’t offer any major surprises and was much like other John Grisham adaptations, where the protagonist always comes good in the end but happily that’s always good to see. The film was very well scripted and contained deep emotional monologues, most notably Matt Damon’s final speech in court which was proceeded by the last words of the claimant’s dead son Donny Ray Black (Johnny Whitworth); this was very tough to watch but without it the film wouldn’t have been what it was. It also contained comedy, which helped to balance the dark script, which highlights the great performance of Danny DeVito. He is able to add his usual witty one-liners, Italian charm and talent to a role that was needed to back up Matt Damon’s nervy but assured portrayal of a just out of college jock. There is also a great cameo from Mickey Rourke as a shady lawyer, which at a point in his career when he was on the comeback really showed him a good light; his performance was funny and intelligent when need be. I really enjoyed this film and would put it up there with the best law related dramas I’ve seen in recent years, such as ‘The Lincoln Lawyer’ and ‘Michael Clayton’. I would recommend it to fans of John Grisham, Matt Damon and courtroom dramas.

8/10

The Prestige directed by Christopher Nolan; released in 2006

A film about magic that when finished is a trick all of it’s own. This film brings together the art of magic, revenge, deception, mystery and suspense and when it’s over will leave you asking question after question. From the duo that brought you the ultra-confusing ‘Memento’ – the Nolan brothers, is another film that is enjoyable and baffling from beginning to end. Christian Bale and Hugh Jackman go head to head and it is amazing to watch them try and out-do each other in not just their characters roles of brilliant magicians but also their acting ability. This is why this film works so well, they both continually try and out-act each other, which makes each scene better than it’s last, resulting in a final showdown that is deeply moving but finally brings together careers and lives. I really enjoyed this film, especially the performances from the two lead actors. Hugh Jackman, an actor of stage and screen really shows his abilities when performing on stage as the ‘Great Danton’, which surely can attribute Jackman’s stage work which make his magic shows all that more believable, the presentation and final ‘Prestige’ make the film more of a documentary style, echoed by the use of flashback and the two leads diaries. It’s hard to feel sorry for Angier in this film, even through the loss of his wife, as he goes to great lengths to ruin the life of Borden; at some points I feel great hatred towards his character and I was very pleased by the films ending, as I feel he get’s what he deserves – this is all down to Jackman’s great acting.  Bale’s performance as Alfred Borden is one of trouble, he has to juggle two lovers and still continue his work as a great master of his trade, with this I mean Bale’s performance and Alfred’s on stage presence, which is dark, withheld and chilling. The film’s major twist, not revealed until the very end, to the great distress of Robert Angier, is presented to the audience throughout the film,  played greatly by Bale, who has to balance two very different characters, one who is deeply caring and the other of a true performer. This makes the film very hard to watch at some points, when you learn of the sacrifice he has had to make to continue his mystique as a magician. I really appreciated both relationships he has in the film, most notably that with Rebecca Hall (Vicky Cristina Barcelona) which seemed very believable and is at some points deeply tragic and her acting skills make it very tough to watch, as you are thrust into the world of a wife who really doesn’t know her husband at all. His other, with Scarlett Johansson, is at different points in the film, tough to watch and when you learn the truth, is also deeply tragic. The film’s outcome make the woman you feel more tragic towards hard to work out, as one had Alfred’s child and the other supported his on stage work. The script is also good, filled with great confrontations and obvious research into the history of magic, the presentation of magic and this equates to great suspense throughout the entire 122 minute duration. This film, in terms of confusion level, has nothing on ‘Memento’ but maybe a little more than ‘Inception’, therefore it is aimed at an older audience, which is greatly appreciated, as a younger audience would find it hard to grasp and wouldn’t find time to see how good the acting is. Another great surprise is the performance of Michael Caine, a frequent collaborator of Christopher Nolan. Throughout, he seems to be the only true person who loves magic and believes that it should be performed safely, this is acted brilliantly and is parallel with the fact that he seems to be the only person happy at the end of it all. The detail and accuracy of 19th century London makes the film’s setting very believable and adds to the mystery that surrounds the great battle of the two magicians; I believe this makes the film stand out from Magic films of the past, such as ‘Magicians’ (Andrew O’Connor, 2007). Great cameos from Andy Serkis, David Bowie and Piper Perabo all come together to present a film that is confusing but enjoyable, sad but happy and exciting but depressing but also one I love to watch again and again. I would recommend this to fans of Magic, Christopher Nolan and Suspense/Thrillers.

8/10

Memento directed by Christopher Nolan; released in 2000

Christopher Nolan is way more than the ‘Batman Trilogy’ and ‘Inception’. ‘Memento’, released in 2000 was his second picture but first with a major budget allowing him to attract big stars at that time, Guy Pearce who had appeared in ‘L.A. Confidential’ three years earlier and Carrie-Anne Moss and Joe Pantoliano who had just appeared in ‘The Matrix’. However, you may think it is these actors who made Nolan what he is today and if you did, you would be wrong, it is his great direction and mind boggling plot that keep you on the edge of your seat for the entirety of the film. He adapted the original concept, thought of with his brother into a screenplay which any actor would find hard to put down. I believe this film was also more successful due to the lack of established actors and also Nolan not being a household name. The film is hard to explain and even more confusing to watch; the opening shot in the film turns out to actually be the climax. In more detal, the film is told in backwards chronological order with flashback in black and white cut into it to help explain the story but also to play with your mind as a viewer. Every time I watch this film I skip back over scenes and make sure I’m fully aware as to what point the movie is up to, this is echoed by the condition that Guy Pearce’s character Leonard Shelby suffers from; anterogade amnesia, which impairs his ability to store new explicit memories. The film is told through this narrative to not only show you how difficult it is to live with such a hindrance but also I believe to test an audiences memory and whether or not they spotted a vital bit of information which could mean they know the outcome from maybe the beginning of the film. Nolan’s script really keeps it’s cards to it’s chest throughout and you are still baffled by the climax even after your tenth or twentieth viewing. The performance from Guy Pearce is also a joy to behold, from watching the bonus features on the DVD I learnt that he improvised a lot of the black and white flashback scenes and from this I was astounded, the detail and plot that goes into those scenes would be hard enough to learn from the script, to make it up on the spot is unbelievable. I really enjoyed the strange way in which the story is told, as throughout you believe everything that is happening and when you reach the end, you may have had it totally wrong, much like Nolan’s later film, ‘Inception’, which I believe should give thanks to this film for preparing audiences for the genius of Nolan. I also enjoyed the use of only a few locations within the film, as it runs parallel with what Pearce’s character would want, something easy for his mind to learn, which is tested again and again as he awakens in moments that he cant explain. This film also challenges the viewer with each scene, it asks the question; Who are you rooting for? What do you want the outcome to be? With the end of the film, I believe each audience member could have their own questions answered and their own individual story concluded. This is what sets this film apart from a number of psychological thrillers, it allows you to believe what you want unlike similar film such as, ‘The Sixth Sense’ and ‘Mulholland Drive’, which have clear endings. The supporting cast, Moss and Pantoliano play similar characters both with a sort of the same motive, to not only convince Leonard to choose them but to also confuse him; both knowing about his amnesia. You are unsure of who to believe throughout the film, what is staged, what is the truth and both actors portray characters that are both believable and unbelievable, therefore making the film a thriller that will excite you everytime you watch it. I thoroughly enjoy Memento every time I watch it and would recommend it to anyone, especially fans of Christopher Nolan and Guy Pearce.

9/10

Drive directed by Nicolas Winding Refn; released in 2011

This film always makes thing of the game Grand Theft Auto: Vice City; purely because of the colour of the opening credits, the 70’s style writing and the dark feel and music that helps to set the film up to not only impress but also shock the audience. The similarities with console games continue through the film; each job gets harder, there is brutal violence, an interesting and detailed plot and it is just truly enjoyable. This is where the similarities with 18+ video games end but where the other great aspects of the film begin. I really hope director Refn, who is better known as the director of the ‘Pusher’ series of films and ‘Bronson’, which saw Tom Hardy elevated to stardom, took inspiration from these sort of video games, as if he has, the effect it has you when are watching it, is nothing short of mesmerising. You are gripped for the entire film, the action is sparse but more than intense and the acting is perfect. Ryan Gosling plays the lead character, in an insanely scary manner who remains unnamed throughout the film but better becomes better known as ‘Driver’, with an honesty and level of violence that reminds you of De Niro as Travis Bickle, Brad Pitt as Tyler Durden and Kevin Spacey as John Doe in ‘Seven’. His performance is undeniably what makes this film one of the best I’ve seen for a number of years. Throughout, you find it hard to believe that he is not in fact ‘Driver’ himself, as you are taken through the daily routine, his job, his friends and his passion for driving. Gosling is able to balance the brutal, action packed lifestyle with a caring side, that goes on to become the turning point in the film. His life is unfairly altered by the obvious person of his affection’s (Carey Mulligan) husband’s return from prison. With this, his friendship and feelings for her go out of the window and it is down to him to solve the puzzle and make it all okay again, as he is the only person with the requried skill set and lack of conscience who is capable of such a job. The themes of darkness, loneliness, self belief and revenge are all played out beautifully in this film and you can’t take your eyes off each scene involving either Gosling or Mulligan, as they deal with what is happening, what they want to do and what they know will happen. Each contradicting idea makes it harder and harder for all the characters in the film to come out of it alive and this is echoed in the bloody and violent nature of the film’s terrific climax. Reaching the end of this film is always the worst bit, as you want to see what will happen next for whoever is still alive, as there is questions left unanswered and also a need to see Gosling be a fucking mental driver once more. ‘Fucking Mental Driver’, is the only way to explain his ego and skill in this film. The supporting cast are also of a high level and show this in all their performances; Bryan Cranston, who has found critical fame in the series ‘Breaking Bad’, is conniving yet friendly as Driver’s employer and as a viewer, throughout the film are undecided on what side he is really on, this makes each scene with  himself and Gosling all more exciting to watch. Ron Perlman plays one of the two primary antagonists in the film and brings his roughness from ‘Sons of Anarchy’ and his scare factor from ‘HellBoy’, which both coincide to present an evil grudge baring psychopath intent on derailing any future somebody in his path may have had. Albert Brooks, who has received critical acclaim for his appearance in this film, is exceptionally good, he portrays a sort of Godfather like character, without the power but with the scare factor, I even believe the almighty ‘Driver’, has an eye in the back of his head especially for him. What I believe to be the second best performance in this film though, is delivered by Carey Mulligan. She, since ‘Drive’ was released has appeared in ‘Shame’, which much like this film requires her to play off a commanding lead performance, which in this she does with ease. Playing a single, unloved, obviously needy neighbour she hangs on to Gosling with all her will and makes you believe she would let him do anything for her but when the time is necessary will put her foot down. Reminiscent of strong female leads within 80’s films, she draws in the lead man and plays with his mind, sending him on a quest to find out what he needs to do, to make her love him. This is the best part of the film, Gosling and Mulligan playing off each other. The action is brilliant and even though there is only around 10-15 minutes of it in the film, it is dangerously truthful and enhances the violent nature of ‘Driver’ and what sort of man he is. I highly recommend this film and would tell anybody to watch it. Drive has become a modern classic and will see Refn go on to achieve great things in film.

9/10

RoboCop directed by Paul Verhoeven; released in 1987

After many years of seeing this film in the TV Times magazine to be broadcast at 1 or 2 in the morning, I decided to sit down and finally watch the classic that is ‘RoboCop’. I always thought it was going to be as corny and ridiculous as Paul Verhoeven’s other films, ‘Total Recall’, ‘Starship Troopers’ and ‘Hollow Man’ but happily this film is scary, sad and has action that wouldn’t look out of place in a late 90’s early 2000’s film. The film’s concept came from the producers seeing the film ‘Blade Runner’ and wondering whether or not it would work the other way round! It tells the story of Detroit Cop Alex Murphy (Peter Weller), who after transferring is brutally murdered on his first day on the job and reborn as the crime fighting RoboCop. The film though, is more than what you may imply from the obvious revenge fuelled action film plot’s of the 1980’s, as it contains themes of capitalism, corruption and human nature.  Set in a near future, which is presented well and doesn’t contain flying cars, futuristic forms of living or anything else that is presented in other future portraying films since the 1980’s – this makes the film stand out and demonstrate that the future isn’t as far away as you think – make this film very enjoyable to watch. The future setting reminded me very much of recent future set films such as ‘Moon’ and ‘I, Robot’. The corporation responsible for his rebirth is OCP, who are in the process of trying to turn Detroit into a new metropolis and believe that a new super reliable police force is needed and therefore try and create this with the wealth they have before, RoboCop, an idea belonging to an exec Bob Morton (Miguel Ferrer) is finally put into place. This annoys the senior president Dick Jones (Ronny Cox) and he, much like other villains in this sort of film, decides to eliminate RoboCop with help from the ED-209 robot – his idea for patrolling the streets of Detroit and local crime lord Clarence Boddiker (Kurtwood Smith pre ‘Red’ in ‘That 70’s show’!) The film’s easily understandable plot make is so easy and enjoyable to watch, helped significantly by the peformance of Peter Weller in the title role. He is able to play two completely different characters; Murphy and RoboCop. As Murphy he is caring – he deeply loves his family, is efficient – this is why he received the transfer and both of these are delivered brilliantly by Weller. In the role of RoboCop he is able to forget everything he has learned as Murphy and deliver a frighteningly accurate robotic performance as the super intelligent and brutally efficient RoboCop. As the film starts to unravel and RoboCop starts to remember his life as Murphy, both of these personalities collide and lead to revenge, sadness and great cinema for the viewer. You feel deeply sympathetic towards RoboCop/Murphy when he is remembering his family and past but without any reason why due to his death and rebirth as a product of OCP. Another great aspect of the film is the special effects, which in today’s terms wouldn’t be satisfactory but with a limited budget and the decade that the film was made in are surprisingly brilliant and presented in a future that isn’t so ridiculous and are therefore very believable and would fit with the money and capitalism of that point in time. The supporting cast is fronted by relatively established actress of the time Nancy Allen in the role of Anne Lewis. She does very well to go from colleague of Murphy to the only person who does anything to protect the efficient cyborg RoboCop. I really enjoyed her performance, as it could have come across very ridiculous when acting alongside a robot but it was believable and you are eager for the team to defeat the evil OCP and crime within the city. I thorougly enjoyed this film and would recommend it to fans of science fiction, revenge orientated films and all out action thriller fans.

8/10

American History X directed by Tony Kaye; released in 1998

One of the most heart wrenching destructive pieces of cinema I believe that has ever been conceived. Starring Edward Norton, in one of his best performances, in what was only his 5^th film is the powerful story of Danny, who after the death of his father when he was a teen, turns into a headstrong white supremacist with what he believes, nothing else to live for. Norton’s performance is outstanding, he makes you cry as a youngster, having to deal with the death of his father and then makes you smile with joy when realising how much his past has affected his family and the people surrounding him. Edward Furlong plays his younger brother, Derek, who from a young age idolizes Danny and does his utmost to copy his traits and mannerisms to impress not only Danny but himself and the entire neighbourhood, with dire consequences. Their relationship as two troubled brothers is compelling viewing, not only do you hate them for the atrocities they have taken part in but feel deeply sorry for the deluded mind of their father during their younger years. As you watch the film, you find it hard to understand the life they have chosen to live and how it has severely damaged their health, family life and future. The use of black and white flashback to show the history of the white supremacist gang and Danny’s time in prison is brutally honest and at some points very difficult to watch but you wouldn’t expect any less with the story and themes that Tony Kaye has chosen to include. The historical accuracy within the film also make it so easy but yet so horrible to watch, the presentation of the KKK, Nazism, racial hatred in America in the nineties and many more examples are understandably sickening. The film moves effectively slowly towards it’s shocking climax but you will be gripped the entire way; this is the sort of film which you can’t just watch five minutes of, once you have decided to watch it, you are in it for the long term. The film itself is described as ‘Violence as a way of life’ and this sums it up perfectly; I would recommend this film to anyone with an interest in the historical background of American racial hatred and fans of Edward Norton, as this is up there with the best leading role performances of the past 20 years.

9/10

Moon directed by Duncan Jones; released in 2009

Moon tells the lonely story of moon worker Sam Bell (Sam Rockwel) who believes that he is close to returning home to his wife and young daughter in a matter of days. His life is changed when a shocking discovery is made that effects him mentally and physically and reveals a twist that is on the same level of surprise as the end of Usual Suspects or the discovery made by Ed Norton in Fight Club. I love the way in which this film grips you throughout and even with it’s lack of characters, Kevin Spacey who plays GERTY, Sam’s computer friend, does brilliantly to play the antagonist and protagonist and you are never really sure what side he is on or if he is just obeying rules set by Sam and the company back home. Sam Rockwell’s performance is worthy of the praise it was given, not only is he able to capture the sense of loneliness you would encounter when undertaking the job but keeps you on the edge of your seat the entire time, think 2001: A Space Odyssey meets Fight Club. The amount of action throughout the film fits perfectly within the story and is parallel with the brilliant dialogue that keeps revealing new information and twisting the plot from beginning to end. There are some great visuals in the film, such as the outside of the space station and the surrounding area that it is enclosed in, these are presented in a near future-like fashion and are totally believable and not completely ‘light-years’ ahead, as some films seem to do when attempting to capture maybe just 10-15 years into the future. Overall, the cast has been put together well and with supporting roles from Benedict Wong, Matt Berry, Dominique McElligott and Kaya Scodelario moves from start to finish in a well structured 97 minute duration. A clear beginning, middle and end sequence helps adjust you to the situation you believe you are taking part in with Sam. One of my favourite films of the last 5 years, this film is a must-see for science fiction fans.

9/10

Chronicle directed by Josh Trank; released in 2012

Think Cloverfield meets X-Men in this thriller from the director of the critically acclaimed indie hit ‘Big Fan’. It tells the story of three boys who unearth the ability to control objects with their minds. This may sound like it could turn into a corny action flick that is easy to watch but is actually the complete opposite, all three boys see their power in different ways and as the film moves along at a fast pace, they all have different opinions on why they have received the gift. The film, at some points is very dark and has poignant undertones, for example, how Andrew’s (Dane DeHaan) father beats him – this I believe is why Andrew thinks he may have received his power, Steve (Michael B. Jordan) feels the powers are to be showcased and celebrated by their friends – the talent show and Matt (Alex Russell) I believe is unsure why the powers have been thrust very quickly into their hands. The film is very well scripted and you get the sense throughout that something is going to go very wrong as their powers become stronger, this is in parallel with the friendship the boys have; as their powers go stronger they begin to grow apart and are undecided on what to do with their lives. The action scenes in this film are as good or not better than the brilliant script and the fact that it is presented in the ‘found footage’ style make it unbelievably believable. The scenes where they first discover their powers are a delight to watch, for example, when Andrew moves a car with his mind, it is so in sync you are blown away. Overall, the young cast performed brilliantly and made a great script look amazing on camera. Michael Kelly delivers an efficient performance as Andrew’s father and your feelings towards him change towards the end of the film as Andrew begins to evolve into what he didn’t want to be – his father. I thoroughly recommend this film, not only for fans of the ‘found footage’ style of cinema but also a teen audience wondering what it would be like to have powers and how wrong it could go, remember these guys aren’t X-Men, they haven’t been born with the ability – the films asks one big question; What would you do if you developed telekinesis?

8/10

25th Hour directed by Spike Lee; released in 2002

Even though I’ve now only ever seen three Spike Lee films; this one, Inside Man and Malcolm X, I have become a huge fan. With each film he brings such a sense of meaning and a wanting for his actors to really express themselves on screen. The way in which he uses a range of close ups, shooting the same scene twice from different angles and cutting it sometimes out of sync really puts his marker on a film. I really felt the first half an hour of this film was very mysterious and I was made to believe that any of Monty’s (Ed Norton) close friends could have sold him out to police and in turn sent him to prison for 7 long years but from then on it became a story of wanting and needing for each character, Frank (Barry Pepper) wanting to be the most successful and most arrogant person at his workplace or even the world, Jacob (Philip Seymour Hoffman) wanting to have sex with an underage student and Monty wanting to discover himself, who set him up and his lost relationship with his father (Brian Cox). The relationship Monty has with his girlfriend Naturelle (Rosario Dawson) is a poignant one, as she throughout the film I believe, is seen as the main suspect in selling out Monty. Ed Norton is the real star of this film though and after looking back at the films he has won awards for; Primal Fear, People vs Larry Flynt and American History X, I was amazed to find he was only nominated for a Saturn Award for Best Actor. The films brilliant cast all come together to form what easily could be a real group of childhood friends and this makes the story all more sad to watch, as you fall more and more in love with Monty as the film ticks towards its final minute. To show how critically successful this film was, the writer of the original book and the adapted screenplay went on to write; The Kite Runner, Brothers and the critically acclaimed Game of Thrones. This is must watch for all fans of Ed Norton, Spike Lee and anyone who wants to see a film where ‘Anything that can go wrong will go wrong’.

8/10

Adjustment Bureau directed by George Nolfi; released in 2010

Matt Damon plays David Norris, a charismatic young politician running for senate when he is thrown into a story he never knew existed. A broken man, wanting to make a difference after the death of his family, he randomly meets  Elise Sellas, played by Emily Blunt, in a men’s toilet on his election night and immediately falls head over heels in love with her. From the moment Matt Damon steps on screen, you can see why he is now being heralded as one of the world’s finest actors; you are gripped by everything he says and with the help of Emily Blunt form an on screen partnership that is hard not to believe. Both their performances are stunning and with director George Nolfi, who must have cast Matt Damon after seeing him act brilliantly in his script for The Bourne Ultimatum, you find it hard to take your eyes from the screen. A film based on another Philip. K. Dick novel is all the way through a mix of science fiction and drama and after the critical success of Blade Runner, A Scanner Darkly and Minority Report, you find it hard not to see why directors use his work as basis for screenplays. There is a very eerie feel to the film from the outset and it flows smoothly, with every twist and turn looking like a surprise to the actors and not just the characters they are playing. This is not made any easier by the performances from John Slattery (Mad Men), Terence Stamp and Anthony Mackie (Hurt Locker), as the adjustment team sent to change the future’s of the two main characters. Mackie delivers another fine performance as the only member of the squad, of what the audience are made to believe are angels, with a soul. The film comes to a great conclusion and could be seen as some sort of religious propoganda but not too much that you believe that it is ridiculous.

8/10

Social Network directed by David Fincher; released in 2010

Any lover of facebook will be a lover of this film. Not only does it give you a detailed history of the website, which has made Mark Zuckerberg the world’s youngest billionaire, (played wonderfully by Jesse Eisenberg) but it also shows you the importance of, if you have an idea, don’t let anybody hold you back and put all your heart and soul into it. It’s business, don’t let even close friends stop you from achieving greatness. The antagonists in this film played in a duel role by Armie Hammer, are the Winklevoss Twins. Armie plays them in such a way, that you despise them from the outset. This is made even worse from what you learn at the end of the film! Justin Timberlake delivers a so far, career defining performance that will surely see him achieve greatness, much like Mark Zuckerberg, he plays Shaun Parker the Co-Founder of the the now bankrupt Napster music file sharing website. From the moment he steps on the screen you believe every word he says and this not only sucks the audience in but even though he is playing the character of Mark Zuckerberg, Jesse Eisenberg seems to be sucked in himself. A what you call ‘drama thriller’ from the outset, this film is one of David Fincher’s best since ‘Fight Club’. Eduardo Severin is portrayed as a dark and at sometimes jealous and deceiptful character played by Andrew Garfield, he does great when bouncing back and forth in the legal discussions and also as Mark Zuckerberg’s only friend in what seems to be a tale of joy and woe.

8/10