Archive for the ‘ Films ’ Category

Top 5 Movies You’ve Never Seen

We’ve all seen them, those DVDs sat on the shelf in Xtra Vision that you’ve never heard of, or the oddball yarn you come across when you’re channel surfing late at night (or even early in the morning!) But we have a tendency to ignore these movies through lack of recognition and unfortunately this can lead to missing out on some real gems. Below is the Irish News Review Top 5 Movies You’ve Never Seen:

5 – Orange County
Ok so this one isn’t entirely under the radar. With a cast that includes John Lithgow, Jack Black and Colin “Son of Tom” Hanks, but it has unfairly disappeared without a trace after an underwhelming release. OC however stands as one of the finest coming of age comedies since John Hughes nailed the genre in the eighties.

4 – 52 Pick Up
First things first, if anyone watches this on my recommendation, it hasn’t aged well! Made in the eighties, it let’s you know this fact all the time! That aside though it’s a gem, Roy Scheider is excellent as the LA rich kid being blackmailed into coughing up cash for his wife’s safe return, who decides to take the situation into his own hands. A classic.

3 – Eden Lake
Like Orange County, Eden Lake wasn’t exactly under the radar but were it not for Michael Fassbender’s meteoric rise it would’ve been much smaller. Fassbender and Kelly Reilly star as a young couple who’s romantic day by the lake gets turned upside down by a group of psychotic Chavs. Not one for the squeamish but solid proof that for psychological horror, nobody does it better than British filmmakers.

2 – Right At Your Door
Released when the TV show 24 was at its peak, and made by the same production crew, Right At Your Door is for taut thrillers what Star Wars is for sci fi. A dirty bomb has detonated in downtown LA and residents are told to seal themselves on their houses. Brad does so extremely efficiently but when his wife Lexi makes her way back to the house he is left with the worst possible moral dillema. For one of the finest twist endings ever seen this sits proudly at second place.

1 – I Went Down
Believe it or not, there was once a time when Irish cinema looked like it would be able to consistently stand up to its American and European contemporaries. The finest example of this is this gem which is more than admirably held together by Conor McPherson’s razor sharp writing. Brendan Gleeson and Peter McDonald star as two debtors sent on assignment to Cork, and from there the greatest Irish movie,and arguably best ever road movie, made unfolds. Thankfully it has finally hit DVD, watch it and love it!

So hit up YouTube and check out the trailers and you won’t be stuck for something to watch next movie night!

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2012
08/14
CATEGORY
Films
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Film review: Grabbers

With the arrival of uptight Garda Lisa Nolan (Ruth Bradley) on the Erin Islands Garda Ciarán O’Shea’s (Richard Coyle) life is turned upside down, and not just because of the hip-flask in his pocket.  But the real problems begin when several dead, mutilated pilot whales are washed up on shore and no one knows why, except possibly fisherman Paddy (Lalor Roddy) who is keeping an alien in his bathtub.

Soon it becomes clear that the aptly named Grabbers are after the islander’s blood. Oddly enough the only thing that seems to slow the evil invaders down is alcohol. So with a storm on the horizon the only protection for the locals is a pub lock-in and getting hammered. And yes, then a battle between our drunken Garda and the Grabbers ensues.

Not only does the unique storyline of Grabbers balance perfectly between humour and horror, but the characters are brilliantly cast and the dialogues are quick, funny and very Irish.  Coyle is very endearing as the drunken Guard O’Shea and his comic timing is perfect. Bradly is lovable and quirky especially when she becomes outrageously drunk.

The supporting cast are brilliant too, Roddy shines as fisherman Paddy, David Pearse is wonderful as the local GP and Bronagh Gallagher is excellent as the Landlords wife Una. Sadly talented Russell Tovel, as the marine biologist Dr Adam Smith, is more annoying than funny, even if he does have some very good scenes and one-liners. .

Unlike many horror films the monster isn’t a letdown when it is finally revealed, as it is a truly nasty looking beast with some awful teeth.  So even if Grabbers is a funny, entertaining film there are plenty of seat jumping scares, too.

Not only has director Jon Wright managed to create a beautifully shot film, with long sweeping aerial shots and some picturesque scenes, he has created a welcome comeback of the 80s horror movies.

With its well-written script, superb actors and unique charm Grabbers is a definite one to watch this summer.

2012
07/26
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Film review: Brave

Disney is back and this time around the Princess is Scottish and animated by Pixar. This not so typical fairytale is set in the Scottish Highlands and the heroine is the feisty redheaded and hot-tempered Merida (Kelly MacDonald).

Forced by her mother, Queen Elinor (Emma Thompson), to learn everything a princess needs to know and how to act in a courtly manner, Merida sneaks out whenever she can to ride her horse and shoot her bow and arrow, with her flaming red hair always free flowing and wild.  King Fergus (Billy Thompson) loves his daughters’ wild nature but bows to his wife’s will and understands the importance of tradition.

But when Merida discovers that she is to be married off to one of the neighbouring clans to preserve the peace and fulfil a promise made long ago she breaks with tradition and enrages everyone in the process.  Not getting her way Merida runs away in true teenager style and finds a way to change the course of her life, with disastrous consequences.  Of course in true Walt Disney tradition there is always a way for those who believe.

This beautifully coloured and painted animation shows the true talent behind Pixar and although this is their first venture into the world of fairytales and also their first true female lead it is much more a Pixar than a Disney film.

This truly beautifully painted story about nonconformity, real relationships, emancipation and taking life into your own hands is another wonderful Pixar film and everyone in the family will enjoy the trip to the movies.

2012
07/25
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The Dark Knight Rises……..and Soars!

In 1997 Batman was dead. With Joel Schumacher at the helm, George Clooney under the cowl and Arnie as the villain the franchise was brought to a premature end with Batman and Robin. Such was the silliness and childishness in the way that the series was handled, it was seen as a franchise killer, and talk of another Batman movie was considered outlandish. Enter Christopher Nolan.

His take on Batman in Batman Begins was the complete opposite of Batman and Robin. Grounded, serious and well……..good. Better than good, great. He successfully rebooted the franchise and the word reboot become the common buzzword of Hollywood studios. So good was Batman Begins it was thought impossible that it could be topped. But Warner Brothers insisted and Nolan tried. And succeeded. Such was the brilliance of The Dark Knight, a dark, brooding, crime thriller at its core that showed Hollywood and the film world in general that a “comic book” movie could achieve widespread acclaim both critically and commercially. The only question that remains is could Christopher Nolan be able to achieve a trifecta, three films Batman Begins, The Dark Knight and The Dark Knight Rises, each one better than the last. The answer is almost.

That is not too say that The Dark Knight Rises is not a brilliant film in its own right, it is. Its epic in scale and length contains excellent performances and has an emotional complexity rarely seen in a “blockbuster”. It is however, not as good as The Dark Knight, but the difference is minimal, inches. Where the Dark Knight Rises succeeds is in its ability to finish off a three part story and that is why the trifecta has been completed.

Set eight years after the events of The Dark Knight, Gotham City has been cleaned up, and crime has become a non-issue. Enter the masked vigilante Bane, who unleashes is plan on Gotham’s citizens and forces Batman to come out of retirement. That is the basis of the plot, as much as should be revealed beforehand. Unsurprisingly it is much more complex once character motivations enter into it. But to avoid spoilers that’s all that will be revealed.

What can be discussed is the performances, which are excellent across the board. Christian Bale gives his best performance of the trilogy in this edition as Bruce Wayne/Batman. His Bruce is a broken man, a recluse who wants nothing to do with the world that surrounds, so caught up in his misery that his return in the cape and cowl is a thrilling moment. He is the emotional core of the film that would not work without his presence.

In support of Bale are the regular trio Michael Caine, Morgan Freeman and Gary Oldman, all excellent, all relevant. Caine in particular, who gets some of the most emotional scenes in the film and nails them perfectly. The newcomers also do well. Anne Hathaway was an unconventional choice for Catwoman (never called that in the film), but upon seeing the film was an excellent choice. She nails the toughness and sexiness in a complex role that could look silly in another actress’ hands. Tom Hardy, meanwhile is unrecognisable as Bane, but is a hugely physical presence and more than a match for Batman. His voice, while unorthodox and at times hard to hear (but not as often as you would think’s) is just the right side of menacing. Joseph Gordon Levitt is a fine addition to the cast as optimistic beat cop John Blake and Marion Cotillard does well with her scenes as Miranda Tate.

The action is also excellent. Nolan’s too good and to clever to let it overshadow the plot but rather to aid it. The set pieces pack a punch and work well because they tie into the story. Despite its excellent qualities, there are a few miss-steps, the score being the main flaw. While Hans Zimmer is an excellent and Oscar winning composer, there are times when the music gets so loud that it becomes a struggle to understand dialogue. The second act drags a little but not long enough for it do any real damage.

These small problems aside, Christopher Nolan and his team have created a fantastic, epic, action film that will require numerous viewings to take it all in. The Dark Knight trilogy taken together both individually and as a whole is the pinnacle of what comic book movies can do. The only problem now, is how the hell can they top it when they decide to do the inevitable reboot?

2012
07/21
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Killer Joe Review

Killer Joe (18)

Friedkin’s modern re-telling of the Faustian tale

(Matthew McConaughey, Emile Hirsch, Thomas Haden Church, Juno Temple)

 

“How old are you?”, “12”, “So am I…”.

It was at precisely that moment in William Friedkin’s new film, Killer Joe, I knew things could only spiral out of control. Chris (Emile Hirsch) shows up in the middle of the night at his fathers trailer park home and he has a problem. He owes some people money. He suspects his mother, who has kicked him out of the house, of robbing him and concocts a plan to have her murdered in order that her life assurance policy can be collected and the family can live happily ever after. Sounds like a straightforward enough plan, you would think

Enter Detective Joe Cooper, played by Matthew McConaughey. A local detective decked out in dark leathers, a 10 gallon hat and aviator glasses, he is a hired assassin. He is unimpressed by the offer that Chris and his father Ansel (Thomas Haden Church) have laid out for him. Money up front or no deal. But by this stage the audience has guessed that Joe has taken a liking to young Dottie (JunoTemple), the sister and daughter of the boys. He’s willing to make a deal; his retainer until the money comes his way will be Dottie. The moral turning point in the film occurs when the boys agree. And they let Joe, a murderous but sharply intelligent psychopath into their home. They engage in a Faustian pact.

Joe effectively moves in, and you get the sense that he is there to test the family, to see how far he can stretch them into degradation until they break. It turns out they can be stretched to the point of snapping. It is following the murder of the mother that the film springs into life and spirals towards a violent end. And what ensues is a web of double-crossings, lies, violence and downright stupidity.

The defining relationship of the film is the one most unlikely, between Joe and young Dottie. They are the two characters that you are inevitably drawn towards and their on-screen interaction is notable. They study each other, one in all respects the Devil, and the other the picture of purity and innocence. It is a fascinating glance at the subject of underage love and the corruption of youth. Friedkin attempts to illustrate Dottie as the exceptional moral youth, the Gretchen, corrupted by the people around her; her drug dealer loud mouth brother, her idiotic indifferent father, and the psychopathic murdering figure of Joe.

The film is undoubtedly sewn with the needle of the Coen Brothers. The humor is dark and ironic. The character of Joe is reminiscent of the famous Anton in No Country For Old Men. The setting is the south and the characters are for the most part imbecilic. The southern drawl is the trademark. But the most defining similarity is the manner in which Friedkin brings it all to a close. Every decision made during the film inevitably leads the characters towards the last scene. And this is the trademark of the Coen Brothers.

It is McConaughey’s best performance in many years and he should stick to similar roles. As for the support acts, JunoTemple is radiant and gives an exceptional performance. For the performances and on-screen relationship of Joe and Dottie I would merit a viewing but Friedkin somewhat over-cooks the violence for me. You suspect that the graphic scenes of violence and underage sex are just for show and shock-factor.

2012
07/11
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Movie Review: The Five Year Engagement

The Five Year Engagement is a Nicholas Stoller directed romantic comedy starring Jason Segel and Emily Blunt. The film begins with Tom (Segel) proposing to his girlfriend of one year Violet (Blunt) and follows their live together as careers and ambitions put heed to their wedding plans.

This typical romantic comedy premise however is supplemented by factors that are becoming increasingly relevant but rarely written about for the big screen, in particular in comedy. The fact that it is Tom who is the one affected by the success of Violet as a social psychology PhD for example is a rather intriguing gender role reversal and one that is becoming more and more common in western society.

As the film continues Violet also becomes happier, whilst Tom becomes miserable as a consequence for making a sacrifice for his fiancé.  How exactly do you tell the person you want to be happy that you are not happy as a consequence of their happiness? How do you deal with a loss of your manhood?

And the way in which both tom and violets fears and imperfections are not shoved in your face again and again with a big red flashing sign like most romantic comedies is a nice change. Life rarely is that simple and it’s nice to see movies trying to reflect that. In each situation there is never exactly a “bad guy”; the actions that occur are usually consequences of life not through men/women being inherently stupid or evil.

This would appear to be another film touched by the golden hand of producer Judd Apatow known for recognised films such as The 40 Year Old Virgin, Forgetting Sarah Marshall, Superbad and even the recent Bridesmaids. Judd Apatow has produced some of the best “laugh out loud” – for want of a better word – films of this decade and is one of the leaders in rejuvenating clever comedies which deal with serious issues. Films like this show that comedy can deal with serious issues in ways that go beyond easy laughs. There is no reason issues such as cancer (50/50) or even unplanned pregnancy (Knocked Up) can’t be laughed about if done tastefully. These films aren’t about laughing at the situation, they are about realising you are most likely no different from any of these characters and that’s no bad thing. Here it’s how to deal with the imperfection that is inherent in every relationship, and how we deal with this realisation.

Sure it drags in parts, and if you aren’t a fan of Jason Segel this won’t change your mind. There are also a few unusual jokes that are a bit out there, and the staple masturbation / boner jokes that American comedies can’t live without for some reason are ever present. That aside it’s a film you come out feeling a bit better that you aren’t weird enough to dress up as Princess Diana at a “make your own super hero” party or leave your crossbow on a kitchen table.  And that’s no bad thing at all.

2012
07/10
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Film review: Magic Mike

It may cost you a few singles but Magic Mike shows some of the hottest men in Hollywood take off their shirts, pants and what little they wear underneath. But this stripper film is about more than just some g-strings, great abs and gyrating hips.  Director Steven Soderbergh (Erin Brockovich, Contagion) may have been shooting under his pseudonym Peter Andrews but it’s not hard to miss his skill of pulling the best out of his leading actors.

Set in Tampa Florida Magic Mike tells the story of Mike (Channing Tatum), a part-time roofer who dreams of becoming a custom furniture designer while saving all the singles he earns stripping in the seedy nightclub Xquisite. A chance encounter with Adam (Alex Pettyfer) is the beginning of the end of his stripping career.

Mike takes Adam under his wing and mentor-protégé relationship develops. At first it’s all fun and games and the two hot male strippers enjoy the single life and spending the ones stuck in their underwear. But Adam’s protective older sister Brooke (Cody Horn) isn’t happy with the changes she sees in her little brother and sees Mike as the culprit when things go wrong.  But as the story progresses Mike discovers that the life he is leading isn’t the answer to his dreams and he struggles to see what and how he can change.

Tatum is perfectly cast in the role of Magic Mike and shows he hasn’t forgotten how to move since Step Up and performs acrobatic back-flips and sexy dance moves to prove it. But he is more than just a very sexy body in this movie, it is in the quite moments, particularly partnered with Horn or Pettyfer where his true ability shines through. As a producer on this film the idea behind the script came from his own personal experience as a 19-year old stripper at the beginning of his career, so maybe that is why his portrayal is so raw and real.

Pettyfer holds his own as the bashful newbie stripper, who leaves his socks on, who then succumbs to the lure of the night-life glamour.  But even at his best he can’t steal the scene away from Tatum whose charm and screen presents out shines him.

But the true star of this movie is Matthew McConaughey whose supporting role as the leathery, overly tanned club-owner and old-time stripper Dallas couldn’t be more cheesy, more greasy and more of a self parody.  Seeing him prance around in his ridiculous hats and outfits makes the film worth seeing on it’s own.

Magic Mike is hard to but into one genre as it is not a date-night film, the poor lads will never live up to the expectations given on screen, and it is not a chick-flick either as it is grittier than expected. But even though the ending is a little disappointing and one can’t help but feel let down or that the story ran out, Magic Mike is a good film with strong actors and surprising moments. And if you can look past the fact that Sonderbergh fell a little too in love with his yellow filter that taints many of the scenes and gives them a vintage feel, Magic Mike gives a little insight into a milieu most of us don’t know and isn’t afraid to be a bit controversial.

2012
07/10
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Film review: Seeking a Friend for the End of the World

Meteor Matilda is approaching earth fast and in 21 days the world will end.  Of course this means that every day is now casual Friday at work, you can have sex with random partners, not having to worry about any consequences and heroin is the latest party gift.

But while everyone around him has succumb to debauchery, drugs and random looting Dodge (Steve Carell) is stuck in his midlife-crises thinking of all the women who got a way, including his wife. Always playing it safe he sells insurance for a living, even the Armageddon package, and while he keeps trying to fire his cleaning lady he can’t help but wonder where everything went so wrong.

His neighbour Penny (a healthy looking Keira Knightly) is his opposite, a free spirit with a love for vinyl and the wrong kind of men. Always five minutes behind everyone else she has missed all the planes out of the US and can’t help but be upset by missing out on spending her last days with her family. When she discovers that it is her fault that Dodge didn’t get a letter from Olivia, the love of his life, the unlikely pair partners up to try and help each other.  With the agreement that she won’t kill him if he doesn’t rape her the two of them and Sorry the dog go on one last adventure, all bundled up in a tiny blue smart car.

Seeking a Friend for the End of the World is not your typical rom-com, although it is very funny in parts and tender and romantic in others, but refreshingly the ending is not your normal Hollywood scenario. The main let down in this film is that there is no chemistry between Knightly and Carell and while you could understand why someone like Dodge would fall for Penny, the reverse is not believable. Knightly is good and looks better with a bit more weight on her but Carell only has two facial expressions and none of them ever suit the situation.

But if you are looking for a funny and at times endearing film to while away a few hours on a grey and wet afternoon, Seeking a Friend for the End of the World is a good, enjoyable choice.

2012
07/09
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Film Review: Dr Seuss’ The Lorax

It may be 30 years since Dr Seuss published The Lorax but the topic of deforestation and ecological responsibility couldn’t be more timely. Sadly the latest animation by Illumination Entertainment (Despicable Me, Hop) is more plastic than real and even the singing and dancing can’t mask the fact that this film is all about commerce and not about saving the planet.

The story revolves around Ted Wiggins (Zac Efron), a young boy who lives in the walled city of  “Thneed-Ville”. Everything in Thneed-Ville is made out of plastic and is brightly coloured, even the pets aren’t real and trees glow at night and spin. When Ted’s crush Audrey (Taylor Swift) declares she would marry the guy who brings her a real tree Ted’s adventure begins.

Ted’s lively and feisty granny (the dame du jour Betty White) tells him he has to look for the Once-ler (Ed Helms) who lives outside the city walls, as he is the only one who knows what happened to the trees and where to find one. Escaping the clutches of the nasty mayor of Thneed-Ville (Rob Riggle) Ted finds the Once-ler living in a shack surrounded by pollution and wastelands.  The Once-ler agrees to tell Ted his story and over a series of visits Ted learns all about how the Once-ler invented the Thneed by chopping down a native Truffula tree. This act against nature summoned the Lorax, the grumpy, orange, peanut-shaped guardian of the trees. With a lot of singing, dancing and rhyming the Lorax persuades the Once-ler to not chop down any more trees, but to just harvest them instead. But when the Thneed becomes a commercial success reinforcements are called in and the Once-ler breaks his promise, destroying everything around him.  Now it is up to Ted to change the way things are and save the trees.

Unlike Wall-E, The Lorax fails to practise what it preaches and everything feels plasticy and even the forest animals and The Lorax are noisy and synthetic.  The film is loud, preachy, a little bit hysterical and very annoying. And while the animations in The Lorax do emulate Dr Seuss’s distinct quirky drawing style the graphics are more decorative than actual elements of the film.

Overall Children will enjoy the film due to its catchy music and easily learned songs and possibly the sensory overload will appeal to their sort attention spans. But the more mature audience may find The Lorax that bit too much and regret having paid for a ticket to watch such trite.

2012
07/09
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Batman and Spiderman Battle For Comic Book Movie Supremacy

Summer 2012 in cinema has been as most summers are in recent years, a comic book movie summer. Unlike previous years the comic book movies have either delivered huge as in the case of The Avengers, largely satisfied as in the case of The Amazing Spiderman or if early indication is to be taken seriously outdone its predecessors as in the case of The Dark Knight Rises.

The Avengers at this point has come and gone, a smash hit both critically and commercially, earning $1.4 billion at the box office, Joss Whedon has come good in film which raises the bar action-wise for all comic-book movies.

The Amazing Spiderman is in its first week of general release and has gained a mostly positive reception, many fans and critics praising the acting, specials effects etc. but feel it lacks in originality and an emotional punch, unsurprising given it has only been five years since the previous Spiderman trilogy ended. And despite Spiderman 3 being poorly received critically, Spiderman and in particular Spiderman 2 were critically and commercially lauded.

In fairness to the Amazing Spiderman, the origin story is a difficult place to start and it is a story that can’t really be changed or tinkered with. Spiderman released in 2002 was an origin story and was done well, so it’s unsurprising when one of the charges against the new film is one of “covering old ground”.  The main positives to be taken out of the new film is that the leads are cast right. Andrew Garfield and Emma Stone have received praise for the chemistry and approach to their roles, and that’s a good starting point.

A running theme in recent years in comic book movies is that the sequel, once the origin has been established, is usually a better film, as in the case of X-Men 2, Spiderman 2 and The Dark Knight. Given the high probability of the Amazing Spiderman doing the business at the box-office and with intentions already being made of doing a trilogy, it should be expected that The Amazing Spiderman two, free of the shackles of the origin story will be a much better film for it.

Once the credits rolled on The Dark Knight there was huge expectation on the shoulders of Christopher Nolan to deliver a similar standard of quality in the third film of his Dark Knight Trilogy. Since its announcement The Dark Knight Rises has been slowly gaining momentum as it approached its July 20th release date.

The film has now been shown to a number of critics in New York and Los Angeles and early indication is that the response to the film has been overwhelmingly positive, having received a standing ovation at its climax with a number of critics openly weeping with joy.

Despite a review embargo being set, snippets of responses have started to filter onto Twitter and online, and the response as seen below speaks for itself;

“Wow. Quite speechless at the moment….”TDKR” was everything I wanted it to be.”

“So much awesome… can’t wait to see it again. And again. And 9 out of 10 for me. I’d put “Amazing Spider-Man” at a 7.5 and “Avengers” at an 8.5.”

“This film was the perfect final chapter in the trilogy.”

“I think Bale gives his best performance as Batman and as Bruce Wayne in this one.”

“ Nolan manages to convey this wild ride into 165 minutes of his best work.”

“The Dark Knight Rises” is not only easily the best Batman movie yet, but now one of my favourite movies I’ve ever seen. It was unbelievable!”

“If this does not break the mold and win Best Picture, no comic book movie ever will.”

The most difficult challenge facing The Dark Knight Rises is also something of an advantage over The Amazing Spiderman and to a lesser extent The Avengers is that it is a sequel. The film has a huge challenge to overcome as it will inevitably face comparisons with The Dark Knight.  If it does compare to its predecessor and early indication would suggest that it’s a better film, which will then lead to a huge box-office return estimated to surpass The Dark Knights takings of just over $1 billion.

Due to its content being darker than the more family friendly The Avengers, it will not surpass that films box-office total but could possibly be a real challenge come award seasons something that as early as five years ago would have been unheard of. A comic book movie with widespread mainstream credibility.

Whatever the preference. Weather it’s the Marvel Universe or DC Universe, its unquestionable that summer 2012 will be the last comic-book movie summer.

2012
07/08
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