Garyswordz

A 21st Century Gangster Classic, 18 June 2009

Author: gary-444 from United Kingdom

Director David Cronenberg has laid down a bloody marker for 21st Century Crime Thrillers with this visceral atmospheric work which ranks amongst his finest. Set in London, but played out almost exclusively amongst the Russian Underworld, “Eastern Promises” takes several brave risks, but wins them all.

Although set in the Capital, boldly most of the recognisable landmarks are absent save for a long shot of Tower Bridge. This , when combined with the frequent use of Russian, creates an insular, claustrophobic feel, the trademark of close knit ex patriot communities. The actors are mainly Europea,n adding to the sense of an alien culture playing out on familiar turf.

Cronenberg’s prowess in offering sudden antiseptic, clinical violence is viciously on show here, none more so than in a savage confrontation in a bath house which is as horrific in its realism as I have ever seen displayed on the screen. There is an amorality about the violence which is depicted which is as disturbing as the violence itself.

Viggo Mortensen excels as enigmatic driver Nikolai, Armin Mueller-Stahl offers a wonderful Godfather role as Semyon, oozing charm and cruel malevolence in equal measure whilst Naomi Watts, as Midwife Amy, provides far more than a bit of glamour as she pulls the bloody strands of people smuggling together. The beautiful rich cinematography belies the raw grittiness of its subject matter in a tightly scripted and fast paced ninety minutes. My only criticism is a strangely twee final few frames when a bleaker ending might have been more in keeping with what had gone before. Nonetheless the film is an absolute tour de force.

Slight , but Enjoyable, 18 June 2009

Author: gary-444 from United Kingdom

A quintessentially English film, but with a Gallic twist, this story should appeal to an audience far beyond the denizens of the Stretford End. In essence, a modest morality tale, a first half which fades dangerously is kick started by a plot development which sees things through to a happy, and satisfying conclusion.

Steve Evets plays, Eric, a down trodden, down on his luck Postman who is saved by his namesake Eric Cantona finding minor redemption from his life’s trials and tribulations. Cantona is impressive and convincing, playing himself with a wistful enigmatic quality that legend determines he has.A solid cast includes Everyman Northerner John Henshaw as best mate Meatballs and an enjoyable cameo by Lucy-Jo Hudson as daughter Sam whom many will recognise as Katy from Coronation St.

The humour is wry, rather than laugh-out-loud, and the first half succeeds so well in creating an impoverished, crushed, defeated air that it almost implodes.By contrast,the second half, with a purpose,means the minutes zip along as the pace, dialogue, editing and story advance.The running time at almost two hours gives ample time for the characters to breathe, pretty much a trademark of Director Ken Loach.This work leans more heavily on the verite of his early documentary “Cathy Come Home” than the lushness of The Wind That Shakes The Barley”.Yet Cantona lifts proceedings with his every appearance suggesting that a serious film career may beckon.

Authentic, well observed, raw in places, this film puts people first and is faithful to both Northern life, and the enigma which is Cantona

A Powerful Gore Fest, 16 June 2009

Author: gary-444 from United Kingdom

*** This review may contain spoilers ***

The horror genre lives in a bubble of its own, and so needs to be judged as such, and this ticks the genre boxes pretty well. Convincingly acted, and well plotted, Director Dennis Lliadis delivers a pacey, beautifully photographed film that understands its audience, even teasing it a little.It skilfully borrows form Road Movie, Revenge and Horror and Gore raw materials to produce a satisfying end result.

The first half unfolds in Road Movie mode, the bad guys appear, literally quite spectacularly, then our heroic heroine is introduced to meet her inevitable nemesis.Lascivious, lingering shots of her legs and torso leave little doubt that bad things are going to happen to her.This part,Mari, well played by Sara Paxton,is notable for eschewing girly screams for grim determination , and is all the better for it.When Mari and her friend Paige foolishly choose to smoke some dope at a run down motel, the result is kidnap rape and torture.The controversial rape sequence is much less graphic than is trailed ( what a surprise). I found the fate of her friend,Paige, far more disturbing.

The second half is Revenge, and Horror and Gore, time when the assailants inadvertently hole up at Mari’s parents house ! When they discover whom they are entertaining the blood letting starts.The morality of what you could, or should, do in such circumstances is touched upon, but not for very long, it is time for cold steel to meet deserving flesh.It is the revenge element which gives the second half its impetus as the audience celebrates the worthy demise of each bad guy.

The presence of a woman in the fugitive gang is a neat device.Once our original victims have flashed their bosoms it gives an opportunity for her to do so too. Indeed the only woman not to have her breasts on display is Mari’s mother – which would have been a horror too far for any self respecting teenage horror fan surely? The ending is a tease. Surely one of the bad guys will chance upon the boathouse? Who could possibly spring out of the water in the final boat scene? Instead, the final “surprise” is short, gratuitous, and wasted. The strength of this story is to combine the revenge themes explored in the likes of “Death Wish” and “The Brave One” with a conventional gore fest, which at least offers some purpose to the bloodbath,showing author Wes Craven at his best.

A Waste of Talent and Money, 1 June 2009

Author: gary-444 from United Kingdom

I have not read the book,and quite liked The Da Vinci Code so my anticipation level for this film was set quite high. Not only was I sorely disappointed, I was frustrated that so much money and acting talent had been squandered on what was basically quite a good premise for a blockbuster.Ron Howard’s Directorial debut is a mess.

One of the ironies of “suspension of disbelief” is that you have to earn that right through believability.It is at this level that things fail.So a bomb is set to go off that will wipe out the whole of the Vatcian City – thats fine, i’m on board for the ride.But Howard fails to convince from start to finish. Why should Tom Hanks, as hero Robert Langdon, risk life and limb ? Why are murders committed in the fountains of busy piazza’s with none of the bystanders noticing? At the end, how can the injured bad guy standing only a few feet away from Langdon and the massed ranks of Vatican Security outrun them for the finale ? The setting is superb and the visuals lush.The action sequences are numerous and well executed.Yet Hanks is lacklustre and the story told in such a preposterous way that I simply lost interest rousing myself to pay attention when Howard desperately injected another adrenaline shot into a fading corpse.

At 2 hours and fifteen minutes with too much money and time, Howard is lazy and fails in the fundamental skill of telling a good story.

Superb Gangster Fare, 25 May 2009

Author: gary-444 from United Kingdom

*** This review may contain spoilers ***

A tremendous British film boasting a strong cast, intelligent script, and a solid story. Tightly edited, the film bounces along mainly due to some superb characterisation. The plot basics are simple. A drifting loser finds boxing,a friendship and purpose, but all at a price.

Colin Salmon as Head Bouncer Louis dominates proceedings physically with an utterly convincing brooding presence, and a fine acting performance.Shaun Parkes shines as his sidekick Rob, and Mel Raido carries the lead role as Danny with a restrained, under stated performance.”Coronation St” fans will spot Nikki Sanderson ( the erstwhile Candice)as Dance Teacher Gee Gee.

Whilst violent, and crude, the cerebral reflections of Danny, and some wry dialogue ,elevate this above the banal “geezer speak” of some of its genre contemporaries, noticeably the work of Guy Ritchie.Although the bloody “crucifiction scene” echoes one from the seminal “Long Good Friday”, Director Neil Thompson succeeds in providing staple ingredients which deliver credibility rather than cliché, with the 95 minute running time just right. It is also far superior to the contemporaneous “Shifty” by Eran Creevy.

A hidden gem which will stand the test of time.

Above Average Horror Fare, 24 May 2009

Author: gary-444 from United Kingdom

Stephen king now bestrides the horror genre as a colossus and this cinematic interpretation of his novel is a fine one. Although all the thematic devices are obviously there, the screenplay by Frank Darabont provides a pleasing intelligence adding a further credit to his prior successes with the Green Mile and the Shawshank Redemption.

The formula is well concocted. The unexplained mist that descends on a backwater town comes with the same menace as John Carpenters “The Fog”. A supermarket provides both a refuge, and a prison for those engulfed, echoing Carpenters “Assault on Precinct 13”, whilst the crazed antics of the assailants and their victims are reminiscent of Romero’s work.

Thomas Jane is a convincing lead as hero David Drayton with Laurie Holden offering the glamour and a mother figure for Drayton’s young son who is also trapped.The stand out performance however is by supporting actress by Marcia Harden as Mrs Carmody playing a fundamentalist Christian convinced that Armageddon is upon them and whipping up a “Witches of Salem” hysteria.

The CGI is largely convincing, the suspense well created, and the gore sufficient for aficionados of the genre whilst not being used as an easy substitute for dramatic tension.The only let down is the ending. just before it I reflected that a certain ending wold be both childishly amusing, and preposterous – and then it happened!Nonetheless the previous 125 minutes more than compensate for this. Recommended

A Superb Reinvention of the Series, 18 May 2009

Author: gary-444 from United Kingdom

Director JJ Abrams is not the obvious choice to make a success of this film. Steeped in the episodic nature of TV serial “Lost” and with “Cloverfield” a divisive project, handing $150m dollars to him was a risk. But the risk has paid off triumphantly.He has produced an exciting reinvention of the original to set the scene for how it all began.

For aficionados, the characters are faithfully represented, yet with the twist that their younger persona’s can be explored. Thus a young rebellious, hot headed Kirk is brilliantly played out by Chris Pine,and the “sex on legs” Uhuru is sassily strutted by Zoe Saldana.It is easy to forget that her part was the first mainstream, principal female black character seen on American TV.

Improbably, the Studios paid as much attention to the plot as to the special effects. Consequently we are given a visual feast as a backdrop for a coherent, believable well executed story. Divulging too much plot may spoil things for the uninitiated, suffice to say it has a pleasant surprise and Star trek traditions are maintained.Unusually there are also a few ” laugh out loud” jokes.

A treat for old fans, and wholly digestible for the uninitiated, a sequel at least is both guaranteed, and deserved.

Visceral Comic Book Mayhem, 4 May 2009

Author: gary-444 from United Kingdom

A visually lavish, special effects laden, feast offering more than enough to keep genre fans satisfied. Director Gavin Hood, after his assured mainstream debut with “rendition” will surely have the studios after him as he delivers the goods in blockbuster format.

The opportunities raised by “going back to the beginning” are largely eschewed in favour of big set piece action scenes, with some of the scene setting sequences bewildering. Lyn Collins, as Silverfox is cruelly under used in a curiously emotionless picture. The fraternal relationship between Wolverine and Victor lies largely unexplored, until we are reminded that “brothers look after each other”.

Skillful, well paced editing combined with tremendous action sequences keep the 107 minutes zipping along, but ultimately this is for aficionados only. Fewer explosions, and greater characterisation, would have gone a long way.Under developed and over produced is a neat summary,8/10 for the visuals, 3/10 for the story

Depressing Urban Dirge, 30 April 2009

Author: gary-444 from United Kingdom

A valiant effort that fails due to a poor script.Any production made in 18 days for £100,000 deserves good luck.And it is not without its good points.The cinematography is excellent, the editing crisp, the shots well framed and the feel authentic rather than cheap. As Director, Evan Creevy does a good job. As a writer he is seduced into believing that a gritty, street realisation is going to be enough. It is not.Furthermore the music score appears to have been the coursework for a GCSE music student, it is that rudimentary and uninspired.

The running time of just under 90 minutes is perfect for telling a story,yet it feels like a long time.Well acted, Riz Ahmed as lead role Shifty, is convincing enough, but is let down by flat dialogue.His passing resemblance to Rio Ferdinand is further mirrored by the banality of his lines, many of which are about as compelling as a Rio post match interview.

Drug culture films are difficult to pull off.This certainly does not glorify drugs, but with no sparkling badinage, and glamour it struggles to find a place beyond a “bad day for a drug dealer”.Frustratingly, two scenes dripping with potential are thrown away. When Shifty and his sidekick literally bump into an acquaintance clearly on the run from something, the drama is eschewed for a cheap laugh.Then a junkie pensioner’s penchant for dead cats is again tossed away as a visual gag. Think what Tarrantino would have made of that.

Creevy’s previous expertise has been in music video shoots, and it shows. Great at creating a vibe – poor at telling a story.When he finds the right creative partner we may have something to enthuse about.A talented ensemble company do their best with thin fare.I suspect that the urban multicultural ingredients here found favour to secure the Lottery Grant which helped to fund this picture.But in buying this ticket they bought a dud

Deeply Disappointing Disjointed Drivel, 11 April 2009

Author: gary-444 from United Kingdom

*** This review may contain spoilers ***

I wanted to enjoy this.I used to listen to Radio Caroline, I love the music of the era and am a huge fan of Richard Curtis’s work – a sure fire combination.But it was not, and I was left reflecting on this “Deeply Disappointing Disjointed Drivel”.The music is wonderful.

Curtis is a fine writer, but an undisciplined one, and a strong Director would have tightened up this ship no end.For a film with a plot that comprises: DJ’s on a Pirate radio ship, government tries half heartedly to close them down, greenhorn discovers his long lost father is on ship, ship sinks, the 2hour 10 minute running time is inexcusable.

I did not laugh once.The comic situations offer pallid echoes of Curtis’s best work.Tom Sturridge plays a young ill at ease fop in a sub Hugh Grant role,a bumbling Government underling is named Twatt, a poor imitation of the “Darling” device in Blackadder as is Thick Kevin a poor imitation of Baldrick from the same series.

A strong ensemble cast offer little warmth and drift in and out like the Pirate Radio signal itself used to.The last 20 minutes is bizarrely cranked up to offer an ending synthesising the likes of “Titanic”, “The Poseidon Adventure” and “Das Boot” making the whole enterprise even more risible.

The Boat rocked – the plot and script sank