Garyswordz

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

Visceral Brilliance, 3 April 2009

Author: gary-444 from United Kingdom

A wonderful film that succeeds in paying homage to the American gangster film genre whilst at the same time creating a distinct world all of its own.An unknown cast is brilliantly Directed by Fernando Meirelles to offer a stunning insight into the world of the slums in Brazil, and in particular The City of God.

Although telling the story over the decades of a group of slum children, and concentrating on one who made good, and another who made very bad,an Everyman story also emerges of poverty, survival and quick wits.The stunning Cinematography contrasts sharply with the grimy tale that unfolds told almost exclusively through the eyes of the young protagonists.

A body count unfolds which would make Tarantino blush, and we quickly become desensitised to the casual deaths, often of children.Yet a richness of spirit emerges which , helped by some gallows humour, keeps the story bounding along at a brisk pace.few films justify a 130 minute running time, this does.Told in episodic fashion each section is produced in a highly disciplined manner.With little in the way of special effects the narrative has to triumph, and it does.A particularly noticeable feature is that unlike in Hollywood, when rounds are fired, people are shot, and stay shot.

A foreign language tour de force.

Damned Brilliant, 29 March 2009

Author: gary-444 from United Kingdom

Football has been poorly served by the cinema to date. “The Damned United” goes a long way to rectifying that. A bravura performance from Martin Sheen as Brian Clough and a faithful, intelligent screenplay by Peter Morgan combine with a well chosen storyline to deliver a convincing tale. Crucially, this is not a film about football, it uses football as a framework for ambition, greed, success, failure, friendship and love.

The traditional traps surrounding a football film are avoided. “Live” action is limited, and team sequences brief. Consequently the characters are given a chance to breathe and develop , not just Clough’s, but those of Peter Taylor, marvellously captured by Timothy Spall, and others . Chairmen Manny Cousins and Sam Longson enjoy rewarding cameo parts and the footballers themselves are picked as actors rather than surrogate footballers.

Critics may carp about the odd anachronism and unconvincing physical shape of the Leeds United team in particular but it is the ego of Brian Clough which bestrides this story. The 90 minutes barely does justice to his 45 days at Leeds as his career up to the appointment is interwoven into the main tale. Although faction is a dangerous device, for me it does justice to both the lovingly recreated era and the characters. Cloughs family have apparently repudiated this work, which is a shame. It is broadly favourable with the wrinkles as foibles rather than damnable weaknesses.

The film closes with a re-creation of the YTV interview with Clough and Revie sitting side by side immediately following Clough’s dismissal. The atmosphere is electric, Clough is surprisingly conciliatory whilst Revie delivers an, “I told you so”, tour de force. Echoes of the Sheen/Morgan collaboration Frost / Nixon abound as does the repeated device of the late night telephone call from the arch protagonists, this time Clough to Revie, last time Nixon to Frost. The final reconciliation between Clough and Taylor is as brave a depiction of a male platonic relationship as has been screened for a very long time.

A triumph for all concerned

Leave Before The End, 29 March 2009

Author: gary-444 from United Kingdom

*** This review may contain spoilers ***

The basic ingredients for this film are all here, a fine Big Budget Director (Alex “I Robot” Proyas), Big Name Leading Man,Nicholas Cage, the guts of a good story, and lots and lots of money. Sadly, it is holed below the waterline with one of the worst endings I have seen in Cinematic History, a view shared by virtually everyone whom I know who has seen this film.The relatively interesting plot also suffers prolonged assault from a very poor script offering trite, clichéd mechanical dialogue.

Recovering a 50 year old time capsule from an Elementary School is a promising enough start. Child actor Chandler Canterbury , as Caleb Koestler has a father who is an University Professor schooled in Random and Determinist Theory, who has a friend who is an Astro- Physicist. When Caleb is given a 50 year old list from the time capsule it is not difficult to guess where this story is heading. Disasters are both foretold, and anticipated and their place in them becomes central to the plot.

A plane and subway crash,separately, are brilliantly realised in two of the most compelling disaster sequences I have seen, these two items alone score 6/10 for the film. The exact denouement is reasonably concealed, but whenrevealed is preposterous, absurd, risible and excruciatingly realised.

Out of nowhere an ET moment occurs so sickly sweet and devoid of credibility and tension that all before it is destroyed. Why Caleb doesn’t cry to his Dad ,”This spaceship is really cool, I’m going on board to take a look,” is beyond me. We then have a hugely impressive, and pointless, “Day After Tomorrow,” sequence as New York is wiped out AGAIN ( this City must have some bad movie karma).The closing frames of children holding hands, on a mythical planet, clutching cuddly rabbits as waving wheat and barley sweep around them in a verdant valley, complete with the Tree of Life is about as ill-advised as it gets.

If the studio had halved the budget, a credible ending and script might have emerged. Instead we get lazy, bloated Hollywood at its very worst. I await the DVD release purely to see if there is an alternate ending. Otherwise, enjoy a reasonable enough effort – and leave 20 minutes before the end. You will feel much better for it.

Conned, 24 March 2009

Author: gary-444 from United Kingdom

I was lured to see this on the promise of a smart, witty slice of old fashioned fun and intrigue – I was conned. A knowing, pretentious, tedious, overlong story which suffocates under its own artifice. Starring Julia Roberts ( Claire Stenwick) ,and Clive Owen (Ray Koval), as “Duplicitous” spies, the film tries to recreate the glitter, froth and intrigue of roles made famous by the likes of Cary Grant in the 1950’s, yet fails under leaden direction and total lack of chemistry between the leads.

Director “Michael Clayton” Tony Gilroy also has writing credits for The Bourne series, so his credentials are excellent. But Clive Owen seems ill at ease as a romantic, witty lead apparently yearning for the opportunity to play the more robust part he played in the under rated “International”. Julia Roberts shines in one of her better performances, offering more than her obvious glamour but without the quality of script to enable her to truly excel. She seems barely bothered about enticing Owen into bed, and the word play between them consistently falls flat.

An extensive travelogue incorporating London, Rome, New York, Dubai and Geneva provides some scenic interest, as these erstwhile CIA and MI6 spies swap political espionage for industrial espionage turning into criminal espionage. At 126 minutes it is at least 35 minutes too long. Sharper editing, greater pace, and less “flab” might have made this a better picture. But we are left with it as it is, an instantly disposable, and forgettable addition to the respective parties film credits