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The Walk (2015)
To walk in their shoes
When film makers run out of idea, history is their fall guy - when imagination fails, there's always an interesting glimpse of a past time that will leap on to our screen and transport us to a different place. Helmed by a man who has dealt with his own share of time travelling features, Robert Zemeckis takes us on a journey back to 1974 and into the mind of Philippe Petit prior to his timeless illegal high-rope walk atop the twin towers.
From the cobbled streets of Paris to the concrete jungle of New York, this film has a more light-hearted approach to proceedings with an often melodramatic, Broadway feel to it. Don't worry, there's no musical version of 'Walk the Line' but the cutaway narration that sets the scene from the Statue of Liberty feels very theatrical when hand in hand with Joseph Gordon-Levitt's odd french accent.
That being said it does feel as though the film blindly avoids the confrontation that must have occurred prior to the iconic final moments to protect the feel-good factor of the film as it leans more towards to the surreal shots of the thoughts that cloud Petit's mind. With someone as ambitious as our lead, it's undoubtable that there would have been more friction than what is displayed on screen and it would have fleshed out the mostly forgettable accomplices who fade into the set pieces.
Although the first act stumbles in areas, it hits its stride in the second half to successfully balance both style and substance recreating the moment of grandeur. With a subtle blend of old and new, it re- tells the story of Petit to nail-biting effect pairing C.G.I and practical effects seamlessly. Not only does this film entertain, it gives us more insight in to both the means and the methods behind wire-treading with a surprising focus on the science behind the walk.
Hinckley's Drop (2014)
The darker side of beautiful Yorkshire
Yorkshire is an unbelievably beautiful place. With its windswept hills and shipwrecked beaches, it's rich with character and history. In his debut in the directors chair; Hinckley's drop, Neil Vidler embraces every opportunity to explore the darker side of what it has to offer.
Steeped in grief following the untimely demise of his wife, Samuel Marston retreats to a small coastal town only to have his stay interfered with by an unpleasant apparition but how long will it be before it consumes him?
One of the many strengths of this short is its complete understanding of real horror as it avoids the trite clichés of jump scares, remaining focused on atmosphere and the unravelling of the story at hand which is strikingly intertwined with extensive shots of Sam's solitary wanderings through the countryside.
With a diverse range of talent both on-screen and behind the camera, Hinckley's Drop will leave a lasting impression on you with its layered narrative and admirable cinematography. Following its premier at the Bram Stoker Film Festival, there are plans to make it available on-demand online and I eagerly await the opportunity to revisit the drop.
Hitchcock (2012)
More romance than all-access
With a profound interest in behind the scenes featurettes, I often found myself delving deep in to my pocket for those "2 disc special edition" releases prior to the creation of Bluray. Where most people shunned them as a pointless exercise in money-making, I was intrigued by any extra insight into the production of movies.
Along comes 2012′s biopic of Hitchcock's life prior to his most notable career milestone, the release of Psycho. With an exceptional collection of talent involved, the film could have breathed life into an intriguing time in the director's life as it investigated the controversy that such a movie could generate. Instead, it directs its attention to his marriage with Alma Reville, their dynamic, and the financial troubles they face as they finance the production themselves.
Whilst it showers the audience with the wit and slight arrogance of Hitchcock, away from the studio, there wasn't enough of a spotlight on him physically directing on set and that was my attraction to the film due to this being how it was depicted in the trailer. I wanted to see the effects it had on the actors and actresses involved, perhaps how they adapted to his persona or reacted to what they were asked to do, how he prepared.
Regardless of the instances where it lived up to this, it was more about how Alma deals with the often tiresome personality of one of the biggest names in Hollywood. The film runs with the idea that; behind every great man, there's a great woman. Although you can tell she grows irritated with how he is, she remains there to guide him, however, there is always an underlying concern that she is ready for something new as she helps another aspiring writer at his beach house, clearly contemplating jumping in bed with a younger, more lively man.
It does feel as though Alma (Helen Mirren) is too much of a focal point. For a film based on Hitchcock's work, we don't even glimpse the shady Bates Motel which is a little underwhelming to say the least. Disregarding the limited time on the set of Psycho, the movie is satisfying enough to keep the viewer interested with the most gripping aspect being the award-winning, Anthony Hopkins wandering around in a fat-suit. He seems to have meticulously studied all of Alfred's posturing and mannerisms as he flies through the role with ease and charisma, despite Hitchcock's slight pompousness. Much like the 2005 Johnny Cash biopic Walk the Line, 'Hitchcock' sometimes goes too far into unnecessary territory, avoiding what is potentially the main interest for viewers; the filming of Psycho.
The ABCs of Death (2012)
Schlocky and offensive rubbish
Short films, in some respects, have an advantage to feature films within the horror genre. Without the need to stretch a storyline to a feature- length, they can be five minutes of pure, unadulterated terror. This is the idea behind 'The ABCs of Death' as it showcases 26 short films by 26 different directors, each assigned specific letters. Once assigned, they have full artistic license with their letter, able to do as they please. This is blatantly obvious throughout as some seem to just try to out- crazy the rest. Expect killer toilets and various other nonsense.
With such an absurd variety of shorts, there were only a select few which were actually watchable, as the rest blur into a banal stream of indistinguishable, repugnant schlock horror. Most simply resort to attempting to offend or shock the viewer as it rapidly delves into many joyous topics such as prostitution and mutilation.
If it wasn't aiming for outrage, it would spend the rest of its time trying to be 'different' or 'kooky' as you sit through shorts based on fart-asphyxiation and unflushable turds. I couldn't help but let my mind wander as I spent more time contemplating how the assigned letter tied in to the short, instead of the actual contents. Why would any of the directors consider their shorts to be of merit when their concepts have such poor foundations?
By the end of the film I simply felt drained. Out of the 26 movies that I sat through, there were none that were great, only several mediocre ones that stood out simply due to the horrendous quality of the rest. A bit of rain in a s**t-storm isn't going to help cleanse you after such a barrage of deplorable, hollow crap. Avoid this like the plague.
Lost in Translation (2003)
A heartwarming journey through Tokyo
After a recent stint of horror films, 'Lost In Translation' was a delightful retreat from the bleakness of the dark recesses of the human mind as it explored the budding relationship between two strangers in Tokyo. With both of our main characters being at a standstill within their respective careers, it seems as though they are also in limbo between their past lifestyle and the ones that they would ideally like to lead.
With the large age gap between Bob (Bill Murray) and the beautiful Charlotte (Scarlett Johansson), poor acting could have easily been the downfall of the film. Regardless, Murray exudes his trademark charm flawlessly as you witness the budding relationship between the drifters. Without, the movie could have had an entirely different feeling as the wrong male lead could have come across as creepy or inappropriate.
As you study how these characters are, you notice how bewildered they both seem by the overwhelming diversity of Japanese culture. The neglect they experience in various forms is perhaps enhanced by their isolation because of their lack of knowledge on the culture that they were immersed in. However, they find solace in each others company and this is when they dive in to the Japanese lifestyle and just embrace it.
Life is fleeting; Sofia Coppola captures this message perfectly. It may seem clichéd but Bob and Charlotte spend all the of their time together just simply living. Their flair for life is infectious. It gives this wonderful sense of adventure and wanderlust, to explore everything the world has to offer with the most wonderful company. A truly beautiful, heartfelt film that is exceptional due to the strong performances of the leads.
Little Shop of Horrors (1986)
A wonderfully dark bit of fun.
Sadly, when it comes to my relationship with musicals, we've never gone together like Rama-lama-lama-lama-dingidee-ding-de-dong. Perhaps this was due to a fascination with horror that I possessed in my younger years, but I never found myself sold by the idea of the genre with its exaggerated, happy-go-lucky façade. Regardless, 'Little Shop of Horrors' is, for the most part, an exception.
On the surface its the all singing, all dancing bastard cousin of Jim Henson's "The Muppets'. At its core, it's a black comedy with underlying brushes with themes such as domestic violence, drugs, and homicide. It sounds heavy-going for a children's film, right? Wrong, the film has a blatant Broadway flair that keeps things light-hearted and humorous for the duration. The sole element of the film that should be deemed unsuitable for anyone is the abrasive and piercing voice of the lead actress, Ellen Greene. On the other hand, all the performances have these exaggerated, camp qualities that you would expect on a stage show with Steve Martin's sadistic dentistry, Bill Murray's masochistic cameo as a patient and the recognisable, caricature-like facial features of Rick Moranis.
Although there was a diverse selection of music, the abundance of song and dance numbers became tiresome at a point. Disregarding this, 'Little Shop of Horrors' is an infectiously fun film that shows all involved having the time of their lives in an ultra-fun, campy depiction of one man's pursuit of the American dream.
Hollow Man (2000)
Hollow script, hollow acting, Hollow Man
Invisibility, a premise that many have often pondered at a time in their existence. What would we do if we were to harness the ability to disappear? Would we travel across country, drifting unnoticed into planes and onto the back of buses, or explore people's true opinions of us when we aren't around? The possibilities are endless, the self discovery and mischief that you could inflict could be catastrophic and without consequence. The allure of the idea finds its foundations within this and there has been an assortment of different scenarios caught on film over the years, one being Paul Verhoeven's Hollow Man.
With a filmography that includes such enjoyable popcorn fuelled outings as Starship Troopers and the original Total Recall, the bar was set for Verhoeven, yet it falls short at almost every hurdle. When the egotistical scientist, Sebastian Caine (Kevin Bacon) succeeds in producing and reversing the effects of an invisibility serum, he manipulates his co-workers, primarily his ex girlfriend Dr. Linda McKay, and Dr. Matt Kensington into withholding the information from the military. All for the selfish purpose that he be the initial human test- subject. Clinging on to what he believes to be the pinnacle of his career, he pushes that he should be used in the trial, hoping to stay relevant within the field.
The movie deteriorates as Sebastian's exploration of his new-found ability flounders into old and stagnant waters as he fails to test the boundaries of his experiment, instead, he opts to just ogle several women he knows from the female scientists within his team, to the lady across the street before plunging into the depths as it becomes a mediocre slasher film. I expected there to be more of a story arc outside of the confines of the laboratory yet it sells itself short when the remainder of the feature is spent with a seemingly invincible force as he hunts down his former colleagues.
Although Bacon's surprisingly versatile acting talent has the strength to carry some of his films, this is an exception. Granted, his performance gives Sebastian layers, yet it is still unable to redeem the rest of the movies faults as his descent into madness seems sudden and unjustified.
Regardless, the special effects have stood the test of time with impressive sequences of his transition into invisibility, otherwise, the film has few redeeming qualities as it leaves footsteps on regularly walked grounds, leaving the viewer groaning as the antagonist survives an excessive amount of fatal situations. Whilst Bacon may be invisible, the weaknesses within the plot are all too noticeable for an audience to ignore.
Pontypool (2008)
Ambitious, yet flawed
The popularity of Zombies is at an all time high. With the Grandad of the living dead, George A. Romero creating films on the undead for over 40 years, the genre has evolved and adapted over the decades to become one of the leading sub-genres of horror. With highly successful television such as 'The Walking Dead' being at the forefront of the genre (for the time-being), character development takes priority over the walkers as they take a shuffling step to the back of proceedings.
Pontypool decided to take its inspiration from other known media with the entirety of the movie occurring in one location, a radio station in the centre of an outbreak. With this, it clearly draws its influences from the original radio broadcasting of Orson Welles' 'The War of the Worlds' as it reports the potential epidemic as it unfolds using first, and second hand accounts.
It really was a brilliant concept as I often wonder when watching Zombie films; what caused the news outlets to go down? Throughout, there is barely any gore as callers and reporters detail the events, sometimes to spine tingling effect as it relies purely on the suspense and versatility of the voice acting. On the other hand, as the film progresses, it loses itself within it's own intelligence as the latter plot mechanic is delivered rather poorly, disengaging audiences from the situation as it seemingly tries to be too clever for its own good.
Whilst it was a different take on a tried and tested formula, the tight- knit cast succeed in drawing you into the room, much in the same way as the original broadcasting of "The War of the Worlds'. Regardless, some of the investment is lost in the final moments as a potentially intriguing plot-twist is spoiled by its flawed execution.
The Place Beyond the Pines (2012)
Rode like lightning, crashed like thunder.
Some say that actions speak louder than words. There are several actors capable of producing captivating performances simply by their demeanour and mannerisms. One of the aforementioned actors is Ryan Gosling, who skilfully balances the brooding, distant characteristics of a man struggling to provide for his family with the volatile persona he emits when in the midst of a bank robbery.
Whilst he may look like a backstreet boy who's partied too hard, in actuality he is a skilled motorcyclist who spends his days travelling America with a Carnival, living very much off his own back. His clothes are further evidence of his wanderlust and impulsiveness that haunts him throughout the film.
Upon returning to Schenectady, New York he discovers that a previous one night stand, Romina (Eva Mendes) has given birth to his son. In an attempt to do the right thing, he leaves behind his life of adventure to provide for his family, however, his inability to rekindle their relationship and the lack of funds soon cause him to resort to a life of crime.
Initially offered work in a garage for pocket-change by a man named Robin, he is told of the owners previous skills in bank heists. The theme of family and blood run thick throughout this feature and it is for his newborn son, that he makes the offhand decision to accept. With a simple scheme and no apparent contingency plan, he becomes absorbed in the lifestyle and the money that comes as a result.
In the same way that Kubrick would divide his works into two acts, The Place Beyond the Pines is divided into a three act structure. The first charting the rise and fall of Luke Glanton, his downfalls being his love of the chase in the pursuit of money for his broken family. He may have been a skilled biker, but when it came to the crunch, he was no criminal as he was shot by a rookie cop, Avery Cross (Bradley Cooper). Killing off one of your top-listed actors is a very bold move and it sets the scene for the rest of the film as the second segment shows the psychological trauma that Cross is left with, knowing that he has left a child without a father. Although he is proclaimed a hero, he has an unyielding problem with survivor's guilt when his colleagues take him to a surprise visit to see Romina and the baby, stealing Glanton's ransom money whilst he holds the dead mans child in his arms. In this moment, he is forced to look upon the ramifications of his action, along with the ugly reality of the corrupt workforce that he deals with. Subsequently, he dedicates himself to bringing them down so he can become assistant district attorney.
The third and final act was undoubtedly the weakest, bringing a strong film to its knees as it goes through yet another identity crisis, sporadically changing between it's genres. As we time-lapse fifteen years after the initial incident, we meet both Jack and Avery's adolescent teenagers in high school, Jason and AJ. Unaware of the history between their parents, they both become close friends.
Regardless of it not being shown on-screen, you realise that Avery's relationship with his wife had disintegrated several years prior, perhaps due to the common problem with people in the police struggling to "switch off" from the job. Along with his pursuit of a promotion, it's apparent that he neglected AJ as he was growing up, explaining his very 'ghetto'/anti-police persona.
Not only does this film touch upon the theme of family, I believe that the final segment of the film explores the Nature vs Nurture debate. Where Cross' child, AJ grew up in the absence of a father figure, perhaps he turned to drugs in an attempt to get some form of attention off his dad.
On the other hand, when Jason discovers his father's identity and the links to AJ, they have a fight where he ends up hospitalised. Hell-bent for revenge, Jason enters their home and forces Avery to drive into the woods at gunpoint, intent on killing him and repaying the debt. Was this in his nature? Was he born to reach this point? Nevertheless, when Cross breaks down and apologises for the death of Jason's dad, it absolves the situation as a near seventeen year-long issue is resolved and both are able to move on with their lives.
On paper, this sounds like a well crafted conclusion to the film, yet it was rife with bad acting and plot holes. I just couldn't connect to AJ as he swaggers about looking like another 90′s boy band tragedy and overall, the plot went down a path which I wasn't really interested in taking as it seemed slightly too far-fetched and coincidental. Although the film makes some rather daring decisions, much like its troubled anti-hero, it didn't feel like the writers fully thought through their plans.
Still, despite its flaws, the director, Cianfrance certainly had an eye for capturing those fleeting moments of happiness, along with the contrasting despair reminiscent of a Greek tragedy and acting that is,on the most part, commendable when accompanied by the stunning cinematography that chases them through the places beyond the pines.
Se7en (1995)
A relentless tour through hell
The origins of my love for cinema began when I started to discover many films similar to Se7en, ones that really provoke mass discussion long after seeing them. That overwhelming necessity to really explore the deeper meaning of the movie. They don't just aim to entertain, but to challenge opinions and push people to comprehend short-comings in society.
When the young, cocksure Detective Mills (Brad Pitt) moves to the city hoping for a more thrilling line of police work, a string of murders are set in motion. He is consequently partnered with the diligent veteran, Detective Lieutenant Somerset (Morgan Freeman) to resolve the case, forcing them to put aside their differences to end the sequence of events, only to become pawns on a much larger board.
Throughout the feature you get the feeling that these are two very different walks of life, the generational divide in their work methods are shown clearly. Whilst Somerset is cultured, world-weary and methodical, Mills is very impulsive and head strong, aiming to make an impression within the force yet not having the same determination when investigating. A montage shows Pitt's character is struggling to concentrate at home, meanwhile, his elder is shown pouring over books in a library, making reasonable headway with the case.
This is no buddy-cop movie, it's unrelenting and brutal throughout. Although all the murders happen off-screen, the events are retold via the crime scene investigations and photographic evidence which enhance the aura of mystery around the killer, building up to the final chilling performance by Kevin Spacey as their very own John Doe. Blank of regret and emotion, he fits the performance perfectly as you can see the criminal exuding delight as the detectives are forced to pursue him through the grisly cat and mouse game.
One of the ways that Fincher expresses how twisted the city-living can become is by the similarities between the characteristics of the 'insane' Doe and the disciplined Somerset. They act as two parallel examples of how someone can deal with a poor hand. Where the detective originally set out to better the world via law enforcement, using his intellect to prevent misconduct, John Doe executes a series of pre- meditated murders using his knowledge as a message to the masses. Their cynical outlook on how humanity has become so apathetic is resolved in two completely polar ways, their likeness fascinates me.
I believe that part of David Fincher's plan when filming this was to hold a mirror to modern society. For us to scrutinise why, when murders are committed, we show no empathy? Horrors and tragedies are a staple fixture of the world today and much like Fincher's 'Fight Club' adaptation, it questions the very core of how compassion seems to have become less predominant, replaced by a love for money, consumerism and our own well-being. How accustomed we have become to awful events described by various media outlets on a a daily basis. All roles perfectly delivered by all actors involved. The ending flawlessly ties all loose ends within the plot whilst delivering its distressing climax, undoubtedly still provoking debates over a decade after its initial release.
The Woodsman (2004)
Controversial topic, well made film
Paedophilia is a difficult subject for any film maker to cover. It requires a great deal of tact, causing many to simply use them as a plot device or villain whilst avoiding elaborating on them to bypass any disputes on their portrayal. 'The Woodsman' completely disregards any potential controversies and goes for the jugular, placing Kevin Bacon front and centre as the troubled Walter.
Upon his release from prison, Walter returns to his home-town to rebuild his life, only to find his past acts aren't forgotten. Ostracised by the vast majority of his family, he is ashamed and leads a quiet existence to avoid drawing any attention, failing when he attracts a co-worker, Vicki (Kyra Sedgwick) which leads to a complicated relationship.
Throughout the feature, Bacon is the protagonist, forcing the viewer to see events from his perspective. I can only compliment the cast and crew as they manipulate your mindset to empathise with the criminals troubles despite your own opposition to what he has done. It's an impressive feat which is reinforced by a solid performance, be that as it may I never found myself rooting for him due to his previous act. An interesting point as this reflects on other people within the movie. Regardless of the time that had passed since the crimes, the road to redemption for Walter would be a long and arduous one, with an abundance of distrust along his path to atonement, including a run in with another predator outside his flat. Ignored when contacting police because of his past.
Rather than going for a stereotypical depiction of a paedophile the character is given an abundance of personality and you can tell that the lead really made sure his appearance assisted in adding depth to the life he was portraying. He is shown as thin with a darkness around his eyes. Without even mentioning this, it is apparent he has problems with sleeping and eating due to his guilt.
Also, whilst he is determined to live a normal lifestyle without the torment and temptation that his demons encourage daily, the attraction is always there to him, which leads to the most disturbing idea that the film presents. The idea that his urges aren't suppressible, that it is a part of him, much like a sexuality. That concept is chilling yet it explains Walters frustration and depression.
It was a very audacious move by the film-makers to produce a film showing this perspective, however, its downfalls lie in the pacing and my disbelief that a convicted child molester would be re-homed across from a playground and the ease in which he has a relationship with an adult considering his problems. Surely the intimacy should have felt more forced to portray his attempt to move on from his past? Nonetheless, performances from all are of a high calibre. From the distant Walter, to the watchful Detective Sergeant Lucas (Mos Def) everyone gives a convincing display in each persona.
Due to it's content and pacing, it isn't a film I'd recommend yet I applaud how bold the industry were for going ahead with a movie of this ilk. My opinions are completely unchanged on paedophilia, it still sickens me to my core although this film does show a very compelling perspective on how their minds potentially work.
Paranormal Activity 4 (2012)
Avoid. Purely made for the avid fans
When Paranormal Activity was released back in 2007. It was considered within the same high praise as The Blair Witch Project. With a modest budget of $15,000, it managed to rake in over three million dollars in its opening weekend due to a successful promotional campaign and positive word of mouth. Whilst I didn't particularly enjoy the film, I appreciated what they achieved on a rather limited budget. With the franchise now four films in, I feel as though it's slammed one too many doors, leaving me longing for the end, preferably slamming my head between one of those doors. It wouldn't be a clean death but it would certainly achieve more in a shorter amount of time than this one- dimensional, feature-length episode of Big Brother.
Much like Big Brother, Paranormal Activity 4 has an abundance of characters that you couldn't care less about as they meander aimlessly around the house whilst you pray for them to slip in the bath or mix up their orange juices and bleaches, commenting on every slight bump and misplaced toy. Silence and heavy breathing are no longer effective within the found footage genre and the use of night-cam is now a common occurrence, voiding it from being an effective tool.
With this instalment's budget being approximately $500 million, you would expect they would be able to expand on old ideas, yet you find them using the same gimmicks and techniques to scare the audience as they did in the beginning. Recycling the same work every year makes each bump, more of a whimper throughout as it attempts to expand on the flimsy laws of the films. The same franchise that had an intriguing lift-off, then decided to jump out of the plane without a parachute as it rushed for its annual, Halloween release.
Throughout, the film feels as though it seems to be, for the most part, recycling old ideas. Where the third attempted to add more depth to the franchise with its depiction of Katie's childhood, the fourth brings us screaming into the technical age with the use of Skype, Webcams and Kinect. Being a self-confessed tight-arse, it failed to impress me as I wondered; do they ever turn off anything in that house? Furthermore, when you know the family have a high-tech security system installed, I cannot comprehend how two young children can simply walk out of the house? How does the best friend simply wander in and out as he pleases? I may be reading between the lines too much but when you're about ready to scrub your face with a cheese-grater, you notice these things.
One of the only redeeming features of the film was the potentially coincidental reference to Kubrick's 'The Shining' as there was a rather lengthy scene where the child, Wyatt is seen riding around the house on a trike rather similar to the one that Danny rode in the iconic sequence with the twins.
Regardless, slow build-ups are a renowned convention of the Paranormal Activity franchise, yet this film seemed to have no pay-off and little to intrigue you throughout. It touches on relationship problems between the parents but there is no further exploration into the matter. With very one-dimensional characters, the acting fails to grip you as they rely on predictable and ridiculous jump-scares that stumble up on to the stage as it tries to make you jump in a futile effort to maintain your drifting consciousness. If you're only watching Paranormal Activity 4 due to seeing the others, then avoid it. This instalment is solely for the die-hard fans of this found-footage output.
The Cable Guy (1996)
A rather dark comedy.
The general consensus on the credibility of Jim Carrey as an actor is forever varied, there will always be a divide in opinion. Some people are thoroughly entertained by his exuberant on-screen persona, whilst others believe he's too outrageous to be found funny. Personally, I have never come to a conclusion.
The first movie I saw was 'The Cable Guy', one of the popular mid 90′s comedies that began to shape his style, helping him become the household name that he is today.
'The Cable Guy' revolves around Steven (Matthew Broderick), a designer who relocates after an unexpected breakup with his girlfriend, Robin (Leslie Mann). Tempted by the idea of illegal television, he contacts Chip Douglas (Jim Carrey) who becomes increasingly involved in every aspect of his life. When Steve attempts to terminate the 'friendship', Chip goes out of his way to make his life a hell.
The movie has a darker sense of humour than Carrey's previous roles as he walks the line between insanity and loneliness. He builds upon his usual performances as his character flits between various television references at a speed, clearly showing a man who has been deprived of a proper childhood. My only gripe being that it didn't expand on this a little further so that the audience could build more of a connection with the character, perhaps showing more of his solitude rather than just his excessive search for acceptance. However this isn't what the film set out to achieve.
This is primarily a comedy and it works well doing just that but it veers incredibly close to horror at times as Jim drifts between overly- devoted friend to a complete psychopath. With surprise appearances from the likes of Jack Black and Owen Wilson, I was taken aback by their lack of screen time. Jack isn't even part of any of the laughs, playing more of a concerned friend overall whilst Wilson, who I am no particular fan of anyway, only appears in one scene.
'The Cable Guy' is an early example of Jim Carrey trying to develop himself as an actor and whilst it isn't too far from his quirky roles like 'Ace Ventura' or 'The Mask', it showed his potential and how he could try to distance himself slightly from his average goofy portrayals prior to him being involved in later films such as 'Eternal Sunshine of the Spotless Mind' or the less successful 'Number 23′. It wasn't a perfect film although it did give some satisfaction in knowing that his acting range is more varied than I was led to believe by others as he had moments where he truly shined. Whilst it isn't essential viewing it is perhaps worth a glance by fans of his other work such as 'Me, Myself and Irene' as the two are not too dissimilar in their plots.
Filth (2013)
A dirty cop story from the twisted mind of Irvine Welsh
When the first five minutes of a film involve Santa pissing up a wall and what appears to be the cast of 'The Lost Boys' beating up a man in an alleyway, you have the basic grasp of Jon Baird's adaption of Irvine Welsh's novel. Twisted and brash, this movie really lets you into the mind of Detective Sergeant Bruce Robertson, played by the multi faceted James McAvoy. Narcissistic, misogynistic, sexist and nihilistic.
These are all words that fit the troubled protagonist in the feature as he lies and manipulates his way through his colleagues in an attempt to attain a promotion come the new year, turning them all on each other whilst he sleeps with their wives and teases them into a state of vulnerability.
For the main character to be so despicable, yet so likable is a testament to McAvoy's skills as an actor as he hones in on his ability to play the arrogant arse-hole, often breaking the fourth wall as he literally winks at the viewer which goes well with the humour within, all as black as sin.
Throughout, the picture is littered with drug-use, sex and profanity reminiscent of similarly themed films such as the great 'In Bruges' which married both elements well.
Initially portraying itself as a comedy it soon spirals downwards into the Detective Sergeants psyche. Hand in hand with his god complex and paranoia, he slowly unravels as he realises how despicable he has become. When he is alone, he becomes a completely different character altogether, lonely and self-loathing. Perhaps he is awful to his co- workers in an attempt to make other people miserable so he doesn't feel quite so abandoned and all his treachery is really a cry for help? I believe it has a vague resemblance to 'A Christmas Carol' as it has that moment of revelation, although it certainly isn't a film that will become family Christmas tradition.
It's definitely a film which cannot be spoken about too much. It's an experience everyone has to judge for themselves, however, not all will enjoy it due to it's often gratuitous themes. It most certainly needs multiple viewings to let everything sink in, giving you the ability to re-evaluate angles after the reveal as I may spot many more idiosyncrasies that escaped me upon my first viewing. A bizarre adaption of Irvine Welsh's 1998 book, it transitions to the big screen well, being unforgiving in it's delivery as it pushes through it's visual onslaught. As Ray Lennox says, 'Don't start something you cannae f*cking finish'.
12 Years a Slave (2013)
A harrowing tale of redemption
Movies aren't just a source of entertainment and escapism. They can educate the viewer on culture, the history of society and how it has developed to lead us to how we are today, depicting distant lands and the hardships that people have endured to ensure that others can lead a better lifestyle, history that we may not have come across otherwise. The film industry has the ability to hold a mirror to an audience, unapologetically delving into the unspeakable truths of our ancestors transgressions.
All will know what to expect upon deciding to see 12 Years a Slave. The absence of basic human rights, the immorality and apathy that is a prevalent theme to many throughout it's run-time. When Solomon Northup, family man and professional violinist is wrongly uprooted from his life as a free man, he is forced to change or die. Leaving behind all identity he becomes Platt, forced to implement his skills in carpentry and music whilst later working in the cotton picking fields, all the while enduring constant physical and mental abuse. Fassbender's portrayal of a slaver may seem the films obvious antagonist however if you look deeper, you find not only more human flaws such as jealousy, but also other examples of compliance and blissful ignorance. Such is the role of Benedict Cumberbatch's, Ford. Whilst he was a man of the lord who respected his work force, he often overlooked the slander and abuse dealt out by his overseers. Although he had no hand in this abuse, I believe his acceptance for how things were was just as deplorable as he was too weak to challenge the status-quo.
TWELVE YEARS A SLAVE (Photo: Jaap Buitendijk/FOX Searchlight)
Gifted for his time with Ford, Solomon receives a Violin. Throughout his hellish existence in the Louisiana heat he finds it to be his only solace as he experiences the five stages of loss and grief; Denial and Isolation, Anger, Bargaining, Depression and Acceptance. Beat into submission, he experienced disturbing acts of cruelty until he broke, defending himself, leading to unwarranted ramifications as he is sent to work with the unforgiving, Epps.
12 YEARS A SLAVE
Not only does 12 Years a Slave have an incredible cast of renowned actors, it also displays new talent. Fresh from drama school, Lupita Nyong'o brings a fresh face to the big screen as the troubled gem of Ebb's workforce, Patsy. Her début is a tour de force as she brings the performance into her own, avoiding being overshadowed by the A-list cast. A period film of this nature could potentially crumble if it has a weak link within, however I commend all involved for honest, poignant performances. My only small gripe was with Pitt's accent. Reminiscent of the Southern drawl of Lieutenant Aldo Raine in Inglourious Basterds, I struggled to take him too seriously as I constantly thought of the unconventional lead in Tarantino's quirky perspective of the World War.
Regardless of all the sadness and brutality which this film purveys, it never ceases to show the beauty of the Virginian countryside. Shots of swamps and marshes teeming with insects and wildlife, cotton fields and woodland amidst the chirping of Crickets and the tweeting of birds all aid in immersing you in the experience.
Throughout, it is an intense and relevant viewing, delving into the murky waters of our ancestral past. Underlining our wrongs whilst perhaps provoking discussion on how to avoid similar modern failures after the viewing, it stays no longer than it needs to yet it will endure with viewers for the foreseeable future.
The Hobbit: The Desolation of Smaug (2013)
Although better, still room for improvement
The internal debate. When disappointed by the initial instalment of a trilogy, do you bite the bullet and give the second part a chance or steer clear to avoid further upset? I believe that in most cases, if you truly strive to enjoy a series then the former seems the obvious choice. Going in with poor expectations occasionally causes the viewer to dissect the following film. On another occasion, the bar is set so low that you are unable to be anything other than pleasantly surprised.
When The Hobbit: An Unexpected Journey was released, I left my local multiplex completely underwhelmed. With almost a decade between The Return of the King and the initial prequel, I contemplated whether my tastes had simply changed in the passing time. Prior to Middle Earths resurgence on the big screen, HBO made a sizeable impact on the small screen with Game Of Thrones which offered a darker, more adult alternative to the fantasy epic genre. Where Jackson's envisioning of Tolkien's Middle Earth were condensed into three hour films, the television adaption of George R.R Martin's book saga was debuted weekly, allowing a higher threshold of character development without glancing over certain plot points.
Regardless of these factors, surely the familiarity of such beautiful compositions as 'Concerning Hobbits' should have rekindled my past love for the franchise in those opening moments? It did, however the remainder of the film felt much different. Whilst the soundtrack felt familiar, including the new addition of the song of the 'Misty Mountains', the overall tone never seemed to reach a consistent note. Personally, it felt more akin to The Chronicles of Narnia adaptions than the previous Lord of the Rings trilogy with it's needless use of child orientated humour. Additionally, the creatures seemed to be heavily influenced by the input of Guillermo Del Toro with the Orcs taking a slightly contrasting appearance. Their presence moved further away from the more menacing, prosthetics based entities I had come to both respect and fear in my youth to a more CGI centric being.
The Desolation of Smaug is a much leaner, more refined continuation of the Hobbit storyline. Having already established all of the characters, the momentum is able to build at a faster pace without repeated introductions, moving swiftly between each set piece,from a conflict with a cluster of giant spiders to the groundbreaking encounter with the dragon, Smaug which showcases some of the finest CGI I have seen. On the contrary I felt that, excluding these two action sequences, the remainder of the effects were rather flawed as though they had spent all of their efforts on those key scenes. The rest of the film is weighed down by a comparatively horrendous usage of green-screens which will accelerate the ageing of the instalment in years to come.
Nevertheless, a balance between action and the progression of the cast seems out of reach. Perhaps prolonging the length of one book into a trilogy is the root of this problem with a limited amount of plot to cover. Some conflicts seem to border on filler and I felt there was a lack of conversation on some part amidst the hordes of Orcs although it did distinguish more defined combat styles. The Mongol-esque dismemberment of a spider by the Dwarfs and the graceful, honed battle skills of the Elves as they seemingly dance between their foes. The camaraderie feels less apparent than in the first trilogy and the lack of any fatalities to the company removes you from the same sense of danger that previous instalments emitted with Legolas or Tauriel rescuing our protagonists from any impending tragedies.
Overall it was an enjoyable film, I just deem it lacks some of what I once felt was a more substantial part of the franchise and the essence of The Lord of the Rings; such as the emphasis on friendship and the adventurers persevering through hardships. On the other hand it did capture the undertone of how overpowering desires and obsessions can really contribute to someone's downfall. Despite some of the negativity within this review this sequel was a vast improvement full of excitement and ambition ensuring that it leaves viewers craving the conclusion to the Unexpected Journey.
We're the Millers (2013)
From Friends, to family
After watching 'We're the Millers', I came to the realisation that Jennifer Aniston has had the most success out of the main cast of popular 90′s show 'Friends' after it went off air in 2004. Whilst David Schwimmer directs and occasionally lends his voice to animations such as 'Madagascar', most have rarely been on the big-screen since, perhaps peaking with the sit- com.
Whilst Aniston never veers far from her portrayal as Rachael when acting in most roles, it seems to have been a winning formula for her as she stars in a mixture of romantic comedies. In terms of putting aces in places, 'We're the Millers' excels at placing their actors as characters best suited to them which really helps pack the humour with an extra punch.
When local pot dealer, Dave (Jason Sudeikis), is robbed of his drug dealers money and stash he finds himself forced by his boss to smuggle a 'smidgen' of weed across the Mexican border with a family he assembled, as compensation, purposefully finding people to fit every family stereotype. The teenage girl with an attitude (Emma Roberts), the awkward son (Will Poulter) and the loved up wife (Aniston). Their motives for joining his escapades vary from being an out of luck stripper to a runaway child. Soon, things get out of control as they jump in a recreational vehicle, leaving a trail of madness in their wake. Along the way they are pursued by a drug cartel and meet a family of three who they repeatedly cross paths with.
The film reminded me of a more adult re-imagining of the 2006 Robin Williams outing, 'R.V' and whilst the Williams movie was based around him trying to bring his family closer together again this road trip was more of a personal journey for all involved in this film. Although it was obvious where the plot would go in the sense of the protagonist being a single, lonely drug dealer finding his missing link, the journey throughout was light and, at times, sentimental yet not overbearingly so as it kept the gags rolling thick and fast.
Despite Ed Helms being popular due to his recent achievements in 'The Hangover' trilogy I couldn't help but imagine Bob Odenkirk of Breaking Bad fame (Better Call Saul!) being the most ideal match for the part of Brad Gurdlinger. Maybe this is just down to my current addiction to that specific series yet Helms still performs well as the dirty drug dealer.
Additionally, the sporadic use of many references to popular television and films help to elevate the humour such as mentions to 'Dexter' and Christopher Nolan's 'The Dark Knight Rises', both immensely prominent in their respective mediums.
Regardless of the fact that some of the wisecracks are predictable. Some are pleasantly unanticipated as the family find themselves in odd situations that have laughable, unexpected resolutions including a scene where Aniston proves she's 'still got it'. Considering I went in with no preconceptions, I came out of the cinema content that I'd given this film the chance it undoubtedly deserved as it's truly one of the best comedic offerings of the year.
Good Will Hunting (1997)
A View Into The Mind Of A Genius
In the past few weeks, one man alone has succeeded in dividing and provoking opinions from across the internet in the most significant entertainment news of the past seven days. Ben Affleck was announced to be picking up the Cowl and continuing the cinematic legacy of the Batman. With Christian Bales performance of the caped crusader still fresh in everyones minds, many are unwilling to give Affleck the chance to prove himself. It was at this point that I decided to revisit several of his different roles from throughout his career in an attempt to come to a conclusion. The first of these films being the touching 'Good Will Hunting', co- written and starring both Matt Damon and Ben Affleck.
When a series of difficult equations are solved by a university janitor, he is pursued by a professor after he is arrested following a street fight. Help comes from mysterious places as he is released on the grounds that he meets regularly with both a Therapist and the Professor in an attempt to help him realise his full potential.
He goes through several therapists in quick succession as he outsmarts and analyses them prior to them being able to properly get to know him. This calls for Professor Gerard Lambeauto call upon his old college friend, Sean Maguire (Robin Williams). Both characters grew up in South Boston, which helps them to develop a connection that will test their limits.
Will (Matt Damon) soon understands that he has met his intellectual equal and their meetings play out much like a game of chess. It's thrilling to watch them both trying to gain the upper hand only to constantly counter each other. Williams is such an accomplished actor, always perfecting the role of the caring teacher as Hunting desperately searches for a father figure after having a turbulent childhood. Realising this, Maguire opens up to share real life experience as the genius has limited himself so much, knowing only what he knows from literature and quotations to protect himself from the pain of losing people.
All the characters have believable motivations for helping Will and it's good to see how they all approach it in different way. From the assertive, Lambeau (Stellan Skarsgård) who attempts to push the genius down various career paths to Sean, who tries to guide him to find his own path, understanding that Wills difficulties originate from the abuse and neglect that he experienced in his childhood.
Although Affleck isn't in the lime-light throughout most of the movie there are several key scenes which really triumph in leaving a lasting impression on the viewer. With honourable mentions to his final, poignant scene. On the other hand, collaborating with Damon to create such an incredible script is a testament to their skill. Far from being a skeptic, this has really made me far more open to his take on the worlds greatest detective.
The movie really tackles many issues as you see the darkness that some talented people can face on a daily basis and how his past overshadows his brilliance, preventing him from taking leaps towards a better life. It really is a film based on self discovery and the events that rekindle his intentions to push himself further in his existence begin as he comprehends how many people care for him. I'd recommend this film to anyone as it can really resonate with any viewer. Everyone will, at some point in their lives, question the path their life will lead and this really is an extreme example of this as he has ran himself into the ground over the years trying to find his direction only to rebuild his foundations and understand his potential.
Seven Pounds (2008)
More romance than redemption
Throughout Will Smith's career his roles have changed dramatically. From the early days as the comedic 'Fresh Prince of Bel-Air' to the dynamic, down – but not out, Christopher Gardner in 2006′s 'The Pursuit of Happiness'. He displays his versatility as an actor in an attempt to avoid getting stuck in a rut, not wanting to portray similar characters in every film despite the fact that he seems to constantly play the father figure as of late. Perhaps to bring his children into the spotlight? An admirable but undesirable trait as it often comes across as forced.
Following the critical success of 'The Pursuit of Happiness' comes 'Seven Pounds'. Another film about a man who seeks personal betterment. When Ben Thomas (Smith) is involved in a personal tragedy he seeks atonement, aiming to drastically improve seven strangers lives to ease the pain of the haunting event whilst slowly falling for one of them, Emily Posa (Rosaria Dawson). Completely devoted to his cause he is willing to risk anything to improve their well- being.
Prior to seeing this I thought there would be an even focus on each of the people he is assisting, however, this isn't the case. It revolves primarily around Thomas' growing devotion to Emily, a sufferer of congenital heart disease and although I enjoyed seeing their relationship develop I couldn't help but wish that Woody Harrelson's, Ezra had more screen time. Having only seen him in comedies I was intrigued to see him in a more serious role after the opening scene which really succeeded in catching my attention whilst bringing me to believe he would play a more significant part of the movie.
In fact, excluding Emily the other 'pounds' really don't have a great deal of screen time and feel like more of a plot device, not really being of any significance until the film begins to unravel its twist. Regardless, the closing moments of 'Seven Pounds' make up for some shortcomings as it reaches the emotional finale. The closing sentiment is touching and will resonate with viewers, pushing one simple message, 'Live life to the fullest and treat everyone with a kindness'. Nevertheless I question whether they could have shortened the duration of the film and still have achieved the same reaction as the run time felt slightly drawn out. At its core this is a movie about redemption and bravery and the wait for that final pay-off is well worth the run time. A very thought provoking and inspiring film.
Kick-Ass 2 (2013)
Hit-Girl the movie, starring Kick-Ass
Over the past decade Super-Hero movies have built their reputation to become a popular and well respected genre of film by geeks and casual movie-goers alike as people suspend reality for a two hour glimpse into their childhood dreams. But with great popularity, comes great potential for a spoof or a satire. And for every 'Kick-Ass' there's a 'Superhero movie'.
Thankfully, Kick-Ass 2 kept the momentum going from the first outing. The key to the first films success was not only it's gratuitous violence or the much disputed use of a young girl swearing, but how obvious it was that the cast and crew are blatant comic lovers. It didn't degrade comic fans, it instead opted to wink at us with a cheeky grin whilst blazing through a plethora of unrelenting action scenes that embraced what we love about the genre, sometimes prodding fun at some of it's weaknesses.
Picking up a few months after the climax of the previous instalment, Chris D'Amico (Christopher Mintz-Plasse) is blinded by grief from the passing of his father, causing him to ignite a vendetta against Kick-Ass (Aaron Taylor-Johnson), aiming to destroy him with his new team, 'The Toxic Mega C*nts'. Meanwhile, Kick-Ass' recent heroics motivate many more ordinary people to don mask and cape to fight crime, including Colonel Stars and Stripes (Jim Carrey) who orchestrates an alliance against the new super-villains in town.
Throughout the feature there seems to be more of a focus on Hit-Girl (Chloë Grace Moretz) than before, perhaps due to her popularity in the previous film as the sword-wielding bad-ass with a love for ultra-violence and profanity. It delves further into her normal life as Mindy as she attempts to acclimatise herself to a more normal life after the passing of her father. It hits all the conventions of a film about teenage growth whilst adding the superhero twist to proceedings as she struggles through an identity crisis. I thought some of the humour fell flat, such as the 'Sick Stick' scene which felt a little forced in comparison to some of the wit of the first instalment.
On the other hand, the almost unrecognisable Jim Carrey fits seamlessly into the boots of Colonel Stars and Stripes with his ludicrous persona which perfectly suits his humour and the style of the movie, however, he has a criminal lack of screen-time.
Although Jeff Wadlow doesn't always reach the heights that Matthew Vaughn set previously, he achieves a balance between the gritty nature, and its whimsy, surpassing my expectations. It stays true to what Kick-Ass is, and why it is so beloved. It isn't just a spoof of superhero films, but a love-letter which holds all the best parts of the genre. It then proceeds to shoot it up with a shot of adrenaline whilst sending it running on its way, watching chaos ensue. A strong chunk of summer entertainment, it really doesn't pull any punches and continues to build upon an already solid idea. My only questions are, "Where can it go from here?" and "Will it become repetitive?". With Mark Millar already publishing the next set of comics, i guess we may find out soon enough.
The Conjuring (2013)
Films still go bump in the night
When a trailer pushes 'Based on a true story' as it's first selling point, prior to even showing footage, it always makes me very weary of the final product. Gone are the days where this is a major selling point for a film where I am concerned. It's an over-used marketing technique that can often keep the small-minded filling the seats. Although the film may well be based on a true story, if you look into it. It doesn't matter how vaguely it resembles the actual happenings. They can still use the term as long as they keep a slight connection such as names. Regardless, after having positive word of mouth ignored my doubts and went to see the film.
The final product was completely dissimilar to the way it was portrayed in the trailer. It wasn't a documentary, but it also wasn't the standard exorcism film that I went in expecting it to be. It was a really pleasant surprise after seeing so many weak attempts in recent years as many people fail at achieving the greatness and controversy that films such as 'The Exorcist' produced.In 1971, the Perron family relocate to Rhode Island with their five daughters. When they come across a basement which had been concealed for a decade, they disturb many restless spirits and unmask a history of murders within the vicinity of their house. A series of outbreaks occur to them, leading them to contact leading investigators of the paranormal, Ed and Lorraine Warren to aid them in ending their torment. The house is found to be a congregation for the damned and an exorcism is vital if the family are to remain safe.
'The Conjuring' really surpassed expectations as its scares, on the most part, were more suggestive instead of just opting for copious bloodshed. However, there were a considerable amount of moments which made the audience jump out of their seats. The cinema screening I went to seemed incredibly loud and it really added to the atmosphere as the music had such effective crescendos and really let the film get inside of your head.
One of the most impressive buildups didn't even make the audience jump, instead, it makes you anticipate being frightened, only to then not deliver it. It misleads you to believe that the final shock will be predictable and then completely turns the table and it really felt like a final, cheeky wink.
It also avoids the typical issues that exorcism films often fall for in that the exorcism scene doesn't drag out for too long. I find others can over-do it until the scene loses momentum and this was suitably short, but strong. I loved the claustrophobia and helplessness in the scene as well as there is an intense chase through the crawl space of their home. It's rather distressing as you really feel the helplessness of the family but it would have been much more sufficient if they had developed the daughters more as none of them are particularly distinguishable. None really feel that significant other than being a plot device and you don't have the chance to connect with them.
It could have gone more in depth with the investigators home life as the doll excelled at creating an ambiance and putting the viewers on edge although they didn't really use it to it's full potential. I would have liked to have seen more although the relic room in the Warren house is a gold mine of potential sequels and/or prequels. I expected the doll to have more of a significance within the film but perhaps they will give it more attention in the sequel which has already been announced.
Minor gripes aside this really is a film that is in its element when watched at the cinema as it aims straight for the jugular from it's opening scene until the credits roll, ensuring palms remain sweaty, along with heart rates as it keeps the thrills frequent. Whilst they could have expanded on some of the family life, the length of the film was adequate as it never ceases to keep the audiences attention.
V/H/S (2012)
A fresh take on a worn out idea
Found footage horror films have pushed themselves back into the limelight of the genre in recent years and continue to split audiences around the world. The success of films such as 'Cloverfield' and 'Paranormal Activity' brought attention back to the sub-genre and created a massive new wave of films, not all generating similar levels of success.
In comes V/H/S, the found footage anthology packing 6 short films into a two hour package. After hearing about this through word of mouth, it reminded me of programmes such as 'Tales from the Crypt' and the slightly more child-friendly 'Are You Afraid of the Dark?' that originally got me walking down the dark path of the horror fan so I had high expectations of this film right from the beginning.
When a gang of crooks go in search of a rare VHS in a seemingly abandoned house they stumble on a collection and must sit through them as they search for the correct tape. I thought that the narrative would be a thin attempt to link all the shorts together however it fortunately evolves into it's own being in the final moments.
The quality of each of the clips were, at times, on completely opposite ends of the spectrum and I regard the first one as the pinnacle of them all. It involves a trio of college students who go for a night on the town with their friend who is sporting 'Camera glasses' in the hope that he will return to the motel with a woman so that he can covertly record an amateur porn video. The group successfully entice two ladies, one who is very interested in the main character, yet speaks very little. When they get back to the hotel they discover that something is amiss with the girl and the evening soon spirals out of control as she quickly transforms into a bat-like creature and slaughters the party.
The story develops well in the time it's given as it progresses from what seems like a fairly ordinary representation of a night on the town to that of sheer chaos and it captures both well from the intoxicated bathroom pep-talk to the malevolent silhouette of the disfigured woman as it blocks his exit. He injures himself as he attempts escape and the scene grips you as she moves towards him, enabling the viewer to see the full effect of her transformation. The monster is still infatuated with the central character, when he rejects her advances he is then captured, being dropped from a height, leading to his ominous downfall and a truly shocking finale. (9/10)
The rest all have their stand-out moments yet, as stated, the quality is inconsistent at times. Regardless, it never failed to come back swinging with murders in the Wild West regarding a lost love. (8/10)
A lakeside holiday where the hunter becomes the hunted as friends are used as bait to lure an elusive killer. (6/10)
Deceit rules a relationship as a woman uses regular long-distance video calls in an attempt to show her partner she is being tormented by an indescribable entity. It soon escalates as she attempts to communicate with the being and a huge cover-up ensues. (7/10)
Finally, a pack of Halloween party-goers arrive at the wrong house and let themselves in. They all mistakenly think it's an attraction, only to unintentionally interrupt a dark ritual as paranormal phenomena chase them out on to the street and follow them to an unavoidable demise. (8/10)
The film doesn't break into any new, undiscovered territory for the genre however it does succeed in providing suitably chilling outcomes for each of its acts. When it reaches these moments it truly compensates for any shortcomings as it captures what excels in this sub- genre whilst, for the most part, avoids it's short-falls. Once the dust has settled around the yearly 'Paranormal Activity' offering I believe people will discover, and return to this and be able to fully appreciate the heights this film has to offer in the majority of its duration.
Requiem for a Dream (2000)
Emotionally Draining Eye Opener
The movie industry has always had an obscure relationship with drugs. Originally being completely taboo, they are now a staple in many modern horrors and comedies. Where some films glamourise them such as the 'Stoner-Comedy' sub-genre, there are other films that really show the grittier, downward spiral that narcotics can easily take people down such as 'Less Than Zero' or 'Spun'.
Having seen Darren Aronofsky's 'Requiem for a Dream' before, I knew what film I was going to be sitting through. There would be no settling down, and no entertainment. This isn't to say that it is not a great film but you really do feel emotionally drained after the viewing. It isn't a movie you watch prior to settling down to sleep but one that will haunt you for a time after the credits have rolled. The surreal parts emphasise occurrences superbly, going from a very limited dark colour palette in reality to vibrant, energetic colours in their hallucinogenic, vegetated state that enables you to see things from their perspective without making drugs seem alluring. Far from it. This is potentially one of the greats of anti-drug cinema.
There is no way to really prepare yourself for such an experience. It is bleak straight from the opening scenes where Harry Goldfarb (Jared Leto) is introduced. Entering his own mother, Sara's (Ellen Burstyn) home, he takes her television to acquire money for a fix. All the while the cinematography really gives you a deeper insight into their tarnished relationship as there is a literal line drawn between the two characters, showing their actions and reactions.
Harry plans on becoming a dealer of high quality drugs with Tyrone (Marlon Wayans) whilst Goldfarb slowly drags his girlfriend, Marion (Jennifer Connely) into the fire with him, promising her their dirty money would go towards her own store where she can sell her fashion designs but, with her history of drug-usage. She soon finds herself back in a predicament.
The film takes place over three seasons; Summer, Autumn and Winter and each play out as an act, showing the escalating desperation as the four main individuals sink deeper into their troubles. Throughout Harry's ordeal with the heroin his mother is dealing with another form of addiction. After the loss of her husband she has become lonely and food and television have become her substitute for love. After a phone-call from a television station she is filled with false hope, entertaining the idea of her 15 minutes of fame. Determined to wear her once beloved red dress for her small-screen appearance, unknowingly, she turns to amphetamine and becomes increasingly reliant on it's effects.
Much like seasons in reality, each act becomes darker earlier, cold in it's outlook. Frosty in it's reception. Each of the characters push past the point of no return, sacrificing love, health and happiness in their own selfish or vulnerable haze.
It isn't just the acting or the content of the movie that pushes it above and beyond, it's the orchestral pieces by Clint Mansell that really capture the despair. I am unable to listen to his pieces, full of sorrow and foreboding. It has a confounding effect on the soul emphasising all that is occurring on screen. Without a doubt it is one of the most effective and provocative soundtracks I have experienced on film. As much as it is an essential watch. It's too taxing to watch regularly. However, it deserves pride of place in any DVD collection and I would implore everyone to give it at least one viewing in their life-time. A powerful and eye-opening view into an underworld that most people avoid in their life-times. It really is a challenging view.