Category: Film Reviews

20th Century Fox Presents
www.whathappensinvegasmovie.com
It seems that these rom-coms are coming hard and fast at the moment, each trying to out do the other. Whether it’s comically, actor status, or the most far fetched approach to romance. I’ve probably seen about six romantic comedies in the past couple of months, and I have to say that this is probably the most favorable.

The story is basic, as usual, but it’s more about character than plot; so we begin with two polar opposite people, Joy (Lemon-face Diaz) and Jack (Man-child Kutcher), both suddenly thrust into these situations, one without a job, and the other without a partner. I assumed that this rarely happens to people who are this good looking, but apparently, it does. In an attempt to make themselves feel better, and shake off the feeling of rejection they both (separately remember) make their way to the city of sin, Las Vegas. And by some strange coincidence they not only end up at the same hotel, but with a computer malfunction, end up in the same room. After a debauched night of wild, craziness, they both wake up with more than a hangover.

After a mutual agreement to divorce, they jointly win the jackpot on one of the fruit machines, and suddenly their decision to separate quickly changes. Oh, and the hilarity ensues, obviously, with them eventually realizing that they do actually belong together.

Joy and Jack are endearing (together and separately) if not predictably over exaggerated. Unfortunately there aren’t many new twists or turns in this film, and it follows pretty much the same standard as most romantic comedies whereby you are left either rooting for the male or female. All I remember from the soundtrack was Mika (bleh), although I’m sure they threw in some 50’s swing to make it a bit less screechy and a bit more “classy” and romantic, because nothing says romance like Frank (wife beater) Sinatra.

Despite the ever lacking inventive story lines and creative script this film is easily watchable, it does exactly what it says on the tin, and if you go in expecting nothing more than a couple of cheap laughs, stale gags and some attractive people, you’ll be laughing, literally. You also have to remember that we have to have these mediocre films, other wise the really great ones wouldn’t be that great. I love the cinema, but this isn’t worth £12, wait for its Christmas showing on BBC1.

Emily Paget

Chelsea Films
www.thenshefoundmefilm.com

Then She Found Me is the new flick from Helen Hunt, but it is not like her previous work. For one thing she has taken the role of director as well as the lead protagonist. This is the tale of a woman who goes through a series of heartbreaking changes in her life such as the lose of her husband, her adoptive mother and being found by her biological mother, all within 23 days!

This story was originally a novel written by Elinor Lipman, but the movie makes a few changes, the most important being the realization that April, Hunt’s character is desperate for a child. Oscar Winner Hunt has stared in amazing films such as Twister, and As Good As It Gets, but this is her feature film-directing debut and she has done a fine job. This film has a beginner sense about it, some common mistakes such as the boom popping up the top of a scene and a few jerky camera shots are made but all is forgive when such amazing actors help to hit home with this film.

This is a flick where family is the main reason behind all the events, and through this an audience experience laughter, the odd tear of emotion and some home truths. To get the best from her cast, Hunt supports each of the characters and together they work as a team amazingly.

Hunt herself is de-glamorized, becoming pale and lean, especially with the lack of make up. The way she portrays April is remarkable. After the loss of so many people in her life and finding those she never knew were there, she still has the strength to press on with the turmoil that is her life. Matthew Broderick plays April’s husband Ben, who is so child like and at time ignorant of what he has in his life, that you begin to wonder what the attraction to his character ever was; in the two subtle sex scenes with April, there is lack of love and emotion.Then there is the appearance of Bette Midler as Bernice Graves, April’s mother. There was no one better to play this character. Bernice is a talk show host; she is confidant, larger than life, the most energetic character on screen as well as being a drama queen but with a good heart and good intentions. Her downfall and part of the reason April has doubts over whether she wants to get to know her real mother is her incessant fib telling. The most abundant being that April was the result of a fling with Steve McQueen. Frank, the love interest played by Brit actor Colin Firth is a heartbroken man, left by his wife to look after two young children. His most prevailing aspect is his need to walk off his frustration, which is often, and his storming off can be quite humorous.

Then She Found Me may have a few mishaps with camera direction, but the interaction between characters and Hunt’s capable guidance makes this film an enjoyable film where an audience can relate to some aspects of the characters.

Michelle Moore

20th Century Fox
www.meetdave.co.uk

When you hear Eddie Murphy is about to hit the big screen once again, a warm tingly sensation spreads through the soul. From the minute I saw Beverly Hills Cop I thought Murphy was a tremendous actor. He has a willing nature and a laugh that could strip paint as well as get a viewer hooked up in stitches. Unfortunately, there is no funny laughs or tingles spreading anywhere with this film, just a few nudges and that is basically it. I would like you all to, Meet Dave.

Dave is like no one else on planet Earth. Firstly, he isn’t actually from this planet, and secondly he is not a person, or an alien for that matter. Watch out Starship Enterprise, there is a new spacecraft on the loose. Dave is a spaceship made in the image of its captain, and piloted by a crew of many tiny individual’s, each becoming more human natured the longer they stay on the Planet, and try to find a gadget that soaks up the salt from the seas as a new power source for their own planet. The methods of how these miniature men, and women, change vary from developing attractions to the opposite gender, a taste for music, becoming more violent or transforming their sexual orientation; all of which can occasionally cause laughs but will not have you in stitches.

This is one of the problems with this flick. There are hiccups of humour every so often, but rarely do you jump with shock or bow with laughter. Whether it is the Dave spaceship sharpening pencils up his nose, pooping money to pay for goods or singing Bee Gee’s songs in that high pitch voice, to comical lines such as one of the miniature men stating “we had a gas leek, it was silent but deadly” upon reviewing the damage caused by the crash.

Eddie Murphy has had quite a history in the movie industry. From playing a badass cop (Beverley Hills Cop), the blubbery science geek (Nutty Professor), the strange voice of a donkey (Shrek) and a father with concerns (Daddy Day Care). Even with this flick though, his humour seems to be lost once again. Spaceship Dave attempting to imitate smiling is rather unnerving, however his imitation of Marc Blucas is quite amusing.

One of the most fake and unrealistic things about this film was the voice that Murphy gives on the Captain. He seems overly confident to the point his voice is annoyingly cocky, unconvincing and utterly ridiculous.

This is a flick with amazing scenery and a brilliant transportation through the spaceship. One concern I did have through was with the aggressive ending, toilet humour and action this is meant to be a family film. You wonder if a PG certificate was sensible and would a possible 12A seem more appropriate. Other than that, Meet Dave is a half decent funny film with a half decent story line.

Michelle Moore

Alliance Films
Newmarket Films

When I was sent to see this remake of the 1980 Jamie Lee Curtis flick, I went unknowing of the events held by the original, as I had never seen it. My mind was open and my heart free to feel the events that were held in store.

From the minute the credits began to roll the scene was instantly set, visions of where the events took place and the characters involved. By having the back history of the main character Donna (Brittany Snow), the viewer is able to relate to what she has previously been through before finding out what will happen to her next.

There are a few reasons why this movie worked so well – suspense being at the top of the list. By having the viewer on the edge of their seat, not knowing what was waiting around the corner, the director has a way of playing on their emotions. By doing this, trivial things, like pigeons flying or tripping over something can startle even the toughest of viewers.

A big round of applause goes out to director Nelson McCormick, as without the creativity and visions expressed, this film wouldn’t be half as effective as it was. Imagery is another reason for the films success as it gets a viewer rolling with emotions. Starting from the first scene with a flashback of previous events to the stalker appearing from the darkness of the closet, like a mutant from the X-Files. A tingly sensation runs through your body as if you were apart of the film. At one point the lights flicker over the stalker, Fenton, emitting a crazed look with his eyes appearing to light up.

The music held within this flick brought back memories of the first time I saw Halloween. Much like in that film, music is used as part of the anticipation and anxiety created. As well as keeping scenes with little dialogue enjoyable, the music creates emotions and feelings that cannot be put into words; the melancholy of the opening music floats through the entire film. The sound effects also play a role in grabbing a viewer and pulling them into the screen. The build up to a stabbing scene for example keeps an audience on their toes as well as creates the occasional false jump.

Many of us like the 20th/21st century slasher films where blood pours from wounds and the more blood preset within a flick the better. This film is the complete opposite and is significant for the fact that it reverts away from such images, so the only horrific blood scene is when someone gets their throat slit; the cause can not be seen, only the effect.

This film has a wonderful cast behind it, the most incredible being Brittany Snow. She helps the anxiousness; disbelief and terror cross from screen to individual through her facial expressions. She has been transformed from a blond Barbie doll in Hairspray to a terrified young girl. From the heartbreaking moment she sees her mother killed, the contentment of her prom to the horror and distress towards the end, the audience connect with her character and feel her emotions; she has a way of putting everything she experiences through to the crowd just by the look on her face.

To top off an already amazing film is a car chase to save Snow’s character from sudden death. Prom Night is a must see this summer.

Michelle Moore

Universal Pictures

When you hear that a movie adaptation of a West End stage musical is being produced and will contain non-stop ABBA hits, you either shout with enjoyment, or frown with annoyance. This reviewer did neither, she held her head up high, kept an open mind and I am incredibly glad that I did.

With a cast of many familiar faces and a few new ones, this film provides moments that can only be described as tingles through the soul, sensations that make you shed a tear and songs that make your mouth drop and you skip a breath.

The films plot is quite well known. Sophie (Amanda Seyfried) lives on a small Greek Island with her mother (Meryl Streep) running a hotel. With the wedding to her fiancé (Dominic Cooper) getting closer, like most girls, she wants her father there to give her away. The question is, who is her father, as it has always been kept a secret. After a quick peek in her mother’s old diary, Sophie comes to realise that there are a possible three suspects; Sam (Pierce Brosnan), Harry (Colin Firth) and Bill (Stellan Skarsgård). To find out which one it is, she invites all three to the wedding. With none of them knowing anything about each other, or her for that matter, you can guess things are not going to go as planned.

One of the main aspects that I found to be of great importance and an amazing feature are the relationships that play out though the film. Sophie begins desperate to know her true identity by learning who her father is, but by the end this doesn’t seem such an important aspect. On the reveres side, her mother’s determination to be alone changes when she gets told some home truths.

When you hear that stars such as Pierce Brosnan, Meryl Streep and Colin Firth among others are going to be in a flick where they are going to sing ABBA songs you wonder whether they can pull it off. The answer is a very big YES. The most amazing thing though isn’t the vocal chord of such actors, but the facts that the methods and places in the film where the tracks are used are remarkable. Take for example the presence of ‘Money, Money, Money’ when the diminished hotel is mentioned, or ‘Lay All Your Love on Me’ when Sky and Sophie are getting romantic. The way each of the tracks settles within a specific section of the film is precise and fits like icing on a cake.

You will be amazed and touched when you are watching this breath taker of a flick. Watch out for the hidden presence of Benny and Bjorn in uncredited roles. I wont give two much away but see if you can catch them.

Michelle Moore

Spyglass Entertainment
Universal Pictures

When apathetic office slave, Wesley, finds out that he is the son of “the world’s greatest assassin” he is thrown into a quandary. Does he give up on his insignificant life; stuck in his cubicle, bullied by his hideous boss, aware that his girlfriend and best friend are at it like rabbits behind his back, whilst suffering severe anxiety attacks, or does he leave it all to become a super assassin and avenge his fathers death. It all seems very “Fight Club“, Wesley’s voice over especially at the beginning of the film, and his inner monologue throughout the training montage and clichéd fight sequences.

However this film, unlike the original comic books, finds Wesley being thrust into an “ultra-violent” but sickly moral secret brotherhood, named The Fraternity. The Fraternity is a top-secret organisation that finds the future scum of society through stitches in fabric. Once a name appears it’s the assassins’ job to take them out of the picture before they have the chance to kill an innocent, “Kill one and maybe save a thousand. That’s the code of the Fraternity.”

Wesley quickly takes to the lifestyle as super-assassin, and the film nicely builds towards the predictable but climactic final face-off between good and bad. The film keeps its tempo with the fast then slow camera action, a la ‘The Matrix‘ bullet dodging. The director, Bekmanbetov, also throws in a very cool visual approach to what is basically, rewinding which involves film being sped up, slowed down, rewound and digitally distorted. But it’s generally in these sequences of visual displays you can’t help but compare it to ‘Fight Club‘, particularly one scene which involves teeth and a computer keyboard.

It is a well directed, action thriller that manages to bombard the audience with adrenaline soaked, pulse-pounding cinematic viewing. Some of the best bits are the smallest details, like Wesley’s anxiety attacks; you genuinely feel that loud uncomfortable pulse in your ear, like you’ve been stood next to the worlds biggest amp and when you move away from it, you can still hear that dull thud. Despite the obvious copycat visuals, a twist which isn’t predictable but still conventional, the film is still constantly watchable and has enough violence and movement to make up for the rather daft back-story (wait for the giant loom).

Emily Paget

Walt Disney Films

In case you have been in a cave for the past month, this is the second instalment in the ‘Chronicles of Narnia‘ adventures. And wow, what a huge improvement on the last piece of overly Christian, wooden, drippy cinema. I jest, I jest.
It is pretty much exactly the same, only this time there is a bit of eye candy, in the form of Prince Caspian. Not only was it VERY similar to the first (Lion, Witch, Wardrobe) it also felt unnecessarily lengthy, as do so many of the so-called ‘epics’ we have to endure these days. Being 5 hours longer than the usual 90minute film doesn’t actually make it any better, who knew?

After a hopping through a secret loophole, the wooden quartet find their way to the beautiful scenic paradise, known as Narnia, where they are considered royalty for life. I’m not even going to try and explain the age/time differential because I don’t really understand, and I don’t really care, (it’s probably on a Narnia forum somewhere if you’re really interested). Because when they return it is approximately 1,300 years later (in Narnia).

But this time there is no sign of the biblical lion Aslan, and his herd of loyal followers. Narnia is now unofficially ruled by a ruthless, evil lord called Miraz, who spares no time getting rid of whoever might stand in his way to the thrown (Prince Caspian). So as Caspian escapes the clasp of Miraz, and lands himself in with an underground military led by a dwarf and a badger (that’s just a sitcom waiting to happen). The children arrive, ready to find Alsan, then claim back their land and freedom, and give Caspian back the thrown. However first they must take on Miraz’s massive army, queue battle sequence minus the blood, gore and general nastiness that is war.

This film does have elements that make it darker than the first, but the returning director Andrew Adamson’s tends to overdose on the swordplay and battle sequences, (probably about 87% of the film), than focus on the underlying problems the children are going through. The heroes again are the expressionless, tweed-ridden, schoolchildren whose lips tend to take up more screen than anything else in the film.

Prince Caspian takes centre stage with his performance, despite the rather clichéd Spanish accent. Generally the film is okay, it would be so much better if it was shorter and less twee, but that said, it is a film for children. So if you tend to get sick quickly at morals and clean, tame jokes, I’d give this a pass. Take the children, the children who are young enough not to see the religious undertones and not be bothered by the strange lack of blood.

Emily Paget

Ascendant Pictures
www.timberfallsmovie.com

Watching ‘Timber Falls‘ was like watching monkeys play chess; inane and a bit daft, but you can’t look away on the off chance something interesting might happen. Washington couple, Mike and Sheryl, have set out in to the wilderness of West Virginia. Ready to camp it up, they begin a hiking adventure with no real knowledge of the trails or the forest. Luckily for them they bump into a local woman who’s eager to help, and lend a bit of her local knowledge, she recommends Timber Falls, for its beauty and lack of people.

The local crazy lady was right, the views are breathtaking, however the tranquility quickly fades, when they’re caught off guard by some bored, yokel brothers who force the couple to buy some moonshine (Deliverance anyone?). Anyway when Mike wakes up the next morning to find Sheryl missing he quickly suspects the rifle-wielding brothers from the previous day. However, Mike is very wrong, and in his haste and panic stumbles into a bear trap, which is one of those good old fashion squeamishly grim moments where the sound of crunching bone is much worse than anything visual. Mike is rescued by the lady who they briefly met before (Ida). But all is not as it seems, when Mike discovers Sheryl at the same house. Ida and her husband, the park ranger, want a child but can’t conceive so have gone to the extreme length at abducting a young fertile couple to basically do it for them.

This film is scary because of it’s setting, the backwoods of America scare the bejesus out of me, and if you’ve seen “Deliverance” or the X-Files episode “Home“, you will understand why. It’s always a terrifying thought, to be trapped in an isolated place, cut off from society, all bar a handful of deformed, redneck, psychopaths for company. Although Timber Falls aims to use these novel factors as it’s basis, it doesn’t really push it as far as it could, which basically means, they need a handful more disfigured Leatherface’s to gormlessly hack up younglings.

The reason this film doesn’t work like it should, is because it’s so basic. Neither Mike or Sheryl plot or plan or scheme their way out. Their captives are pretty dim, and there are a million moments when they could pretty much, up and leave. I don’t mind if there is no real gore, or brutality, but I’d like a bit of suspense and a few proper scares. If they had they filmed inside a dingy house in the daylight, it would have been a lot more unsettling, however, choosing to use the ‘cellar at night’ approach shies away from any real creepy developments. There are very few deaths in comparison to hack-em-up torture features like Hostel or Saw, which mean we have to focus on dialogue and plot, both of which are thin and weak.

There are almost too many chances in the film for it to turn around and shake things up a bit. But it doesn’t, it just meanders along, which to me is the reason it is so bad. Because clearly on a number of occasions someone could have made a brilliant spin, but they were just too lazy.

Emily Paget

Dark Blades Films Presents
www.ironmanmovie.marvel.com

I’ve seriously been looking forward to this piece of cinematic wonder for too long. And it’s got nothing to do with my ridiculous 10 year crush on Robert Downey Jr and Jeff Bridges, well not loads any way. The film starts with a bang, Tony Stark (that’s Iron Man to you laymen) being held captive by “terrorists” in Afghanistan, oh my God current and political! After a large explosion he’s left with pieces of shrapnel in his heart, on the edge of death the only way to save him is if some sort of electromagnetic gizmo is strapped to him, keeping the shrapnel from doing some seriously damaging stuff. Thankfully there is an Afghan genius on hand to create, assemble and hook Tony up, in a cave.

While he’s being saved by the genius, he’s ordered by the “terrorists” to create the same weapon that he’s created for the American government, or he will die, for real this time. And because he’s also a scientific genius mastermind, he can, but he doesn’t. He constructs a super-suit, blasts himself out of there and has a cheeseburger.

From then on Tony Stark becomes a different person, realising the error of his ways, he’s ready to stop iron-mongering and take a stand against terrorism, and bombs and bullying. But not without a quick head to head with a jealous, sexy, egotistical business partner!

I do really love comic book adaptations on the big screen; they’re shiny, fast and loud, the plot is simple and effective and if they’re good, you leave the theatre buzzing from all the high octane, adrenaline soaked drama. ‘Iron Man’ did this, it was slick and stayed true to the characters in the comics. The CGI of the Iron Man suit was effective without being to flash, I mean it was flashy, but it didn’t make me cringe or cry with laughter (see ‘Hulk’, not the new one, the Ang Lee one). Some of the cheesy one-liners still make me feel a bit queasy, but you have to take it with a pinch of salt, as really that’s part of the American cheese charm.

If there is one thing that America excels in, it’s these big budget, hard, fast action blockbusters. Despite it being quite clear that this was made for the fatigued patriots of the United States, desperately trying to stir up a last bit of national loyalty and patriotism with a swift fun-filled punch, it’s still completely great. A total summer ride with lots and lots of room for a sequel, obviously.

Emily Paget

(12A)
www.sonypictures.com/classics/persepolis

Persepolis is an animated tale about a typical teenager finding her identity, and learning to deal with the world. In her case, that was the Middle East, but her experiences are universal enough for any Westerner to identify with.

Marjane Satrapi is a survivor and this is her autobiographical story about growing up in Iran during the Islamic revolution of the late 70s. While it sticks to the blunt, monochromatic style of the original graphic novel, the hand-drawn, 2D animations are artistic enough to take it way beyond the usual Hollywood CGI output.

Seen through the eyes of a young Marjane, the political turmoil falls away and a sharp sense of humour and rebellious spirit shine through. To get through the dark times, she turns to music for refuge – and Iron Maiden are a match for her intensity.

With voiceovers by Iggy Pop and Sean Penn, this is a must-see movie, giving you an insider’s view of life in Iran, exploring beyond the stereotypes and propaganda to see the real people underneath. But at the same time, it’ll have you laughing out loud and purring at the sheer beauty of some of the animations, leaving you with a feeling of uplifted indulgence.

Anita Asthana