The Hunger Games: Catching Fire Review

The Hunger Games: Catching Fire Review

 

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Being a massive fan of both the Suzanne Collins novels and the original film, The Hunger Games Catching Fire is one of the most exciting film events of the year. It gives me great pleasure to say that the latest film in the series does not disappoint.

 

 

The action again revolves around the newly championed Hunger Games winner Katniss Everdeen. With the imminent arrival of the 75th annual Hunger Games approaching, and the increasing political tension between the districts mounting, it falls on Katniss Everdeens shoulders to keep the peace, or else lose her family and friends to the villainous president Snow. As Katniss attempts to dampen any signs of resistance by playing by the Capitol's games, it becomes increasingly clear that a revolution is beginning, with the mockingjay pin that Katniss wears becoming the symbol of the rebellion. When Katniss accidentally fuels the revolution, President Snow announces that the 75th Hunger Games' tributes are to be selected from the pool of existing winners, unsurprisingly, Katniss and Peeta are picked. From here the plot simmers slowly until the start of the games, when it escalates and explodes into an adventure filled romp that far exceeds its predecessor's Hunger Games in terms of sheer action. The final scene of the film leaves the viewer with an excruciating need to see the next film, which is a major success in the film franchise business.

 

 

Visually the film is stunning, directed with sublime elegance by Francis Lawrence, a man who's previous credentials include Lady Gaga and Britney Spears music videos. In Catching Fire he proves that he can direct a film just as well as a music video, wisely swapping out the original film's wildly shaking camera for a new, easier to watch shooting style. The change is even more apparent when both films are watched back to back, one of the main problems with the Gary Ross directed original was that the action scenes were near enough unwatchable, here the tides have been turned significantly and for the better. The special effects have had a noticeable improvement as well, giving the film a much shinier finish than the previous, and again making it easier to watch.

 

The star studded cast including Jennifer Lawrence, Josh Hutcherson, Woody Harrelson, Lenny Kravitz and Liam Hemsworth is a lineup to die for. The clear standout is Jennifer Lawrence, who brings a feisty yet humble and down to earth flair to Katniss, a brilliant female role model for the younger generation. Woody Harrelson once again shines as the lovable alcoholic Haymitch, as does Lenny Kravitz as the quiet but brilliant Cinna. Elizabeth Banks delivers another zany performance as Effie Trinket, who is given a much larger role in this film and, astonishingly, is much easier to warm to.

 

 

Catching Fire is the ultimate blockbuster, it adheres to some of the traits of the genre, yet never succumbs to them, and ties blazing action and adventure with heavy characterisation and real world commentary. The Hunger Games is turning out to be the darling of critics around the world, and one of the only franchise films in which the second film eclipses the first. One things for sure, I'm definitely looking forward to the final film.

 

9/10

Blue Jasmine Review

Blue Jasmine Review

 

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Rich socialite Jasmine arrives at her sister Ginger’s house in New York after her life hits rock bottom. In need of a place to stay she is forced to live a much more simple life, and struggles with her loss of her identity as well as her mental state of depression and anxiety. As she regains her personality, she realises that there is more to life than money and social status.

Woody Allen’s 45^th feature Blue Jasmine is a welcomed change of pace for the established American director, a performance driven drama revolving around the tough subjects of depression and anxiety. When the upper class, elegant socialite Jasmine (Cate Blanchette) loses her fortune to her criminal husband she is forced to stay with her sister (Sally Hawkins) in New York. With her life in tatters she must cope with losing her rich husband (Alec Baldwin) to prison as well as her money driven care free lifestyle while at the same time helping to solve her sister’s problems. Allen’s script is a masterclass in dark humour, combining the raw emotional intensity of Jasmine’s depression with her amusing higher than thou attitude and longing to carry on living the life of luxury she once had. Jasmine is a very interesting character, her obsession with social status along with her ungrateful and spiteful remarks make her deeply unlikable, but at the same time remarkably watchable. This is in part due to Blanchet’s astounding performance, which is likely to see her nominated for an Oscar. As her world crumbles, her attention turns to her sister Ginger, who struggles with her relationship as well as being the underdog of the family. Sally Hawkins once again proves she has undeniable talent as Ginger, displaying her character’s warm and loving personality flawlessly, as well as adding her staple quirk to the film. The narrative is carried by the beautiful cinematography, which should be praised for its easy on the eye blend of warm, rich colours with stark realism, similar to Allen’s 2011 Midnight in Paris. As Jasmine’s caring side begins to emerge, we see a different side to the character, providing some welcome relief that she is not completely cold and uncaring. By the end of the film Jasmine has displayed a rebirth; her upper class life has been destroyed, along with her lack of compassion, and is replaced with a wonderfully likable character, despite her continued glares of disapproval and eye rolling narcissism. The underlying issue of the loss of one’s identity and the mental problems associated with it, along with Cate Blanchette’s astounding performance as the troubled Jasmine makes it an instant Woody Allen classic. 

9/10

Top 5 Sci Fi Films of All Time

Top 5 Sci Fi Films of All Time

 

Sci-Fi is a genre which has a cult like following, some of the most loved Sci-Fi films are followed like a religion. In the 1970's, Star Wars was perhaps the first Sci-Fi film to create a fully realised universe full of lore and deep narrative that millions of people around the world adore to this day. It is the escapist nature of Sci-Fi films that brings massive audiences together, so this week I'm giving a run down of my personal best Sci-Fi films of all time.

 

#5 The Man Who Fell To Earth

 

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Roeg's The Man Who Fell To Earth is one of the more strange films on this list. The film revolves around an alien who crashes to Earth to find water for his home planet, and so begins to work his way up the business ladder in an attempt to build a ship for his return home. The interesting thing about The Man Who Fell To Earth is that it is both an entertaining and funny Sci-Fi film in the form that is widely recognised, and at the same time a more artsy social commentary on the capitalist world we currently live in. It's a brilliant combination, giving the film an intelligent satirical edge that always manages to undercut the sometimes cliche and predictable plot. David Bowie stars as the extraterrestrial, and does a magnificent job, using his weird and wonderful persona to his advantage. A must watch for any Sci-Fi fan.

 

 



 

 

#4 Avatar

 



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While some may condemn this film for being a rehash of similar plot ideas and set pieces, I find Avatar to be massively refreshing amongst a backdrop of generic Sci-Fi blockbusters. Of course Avatar's visuals are completely astounding and still impress to this day, but perhaps even more impressive is Avatar's focus on character development. We all know that Avatar has the action set pieces and the stereotypical characters we associate with the genre, but at the same time a good two thirds of the film are focused on the relationship between two people. It's a rare thing in Sci-Fi films for the attention to be focused on characters over action scenes or deep and technical stories, but that is what sets Avatar apart from some of the more bombastic films that could have been put on this list. By the end of the film, we care about the characters, something that should not be pushed aside in favour of pure adrenaline fuelled entertainment.

 

 



 

 

#3 Terminator 2: Judgement Day

 



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The Terminator franchise has long been thought of as one of the best in Sci-Fi, and most of that praise is down to this film. It's rare for a sequel to rival the original film, but in this case Judgement Day surpasses the original Terminator film by a mile. The film is pure entertainment, it is escapism and doesn't pretend to be anything else, but rather than go the easy route and imitate other similar films for easy cash, T2 attempts to be something different. John and Sarah Connor have a genuinely touching relationship, and the chemistry between the two far exceeds any mother and son seen in a Sci-Fi film, this is what sets the film apart. Like Avatar, T2 does not forget about character development, in a sense T2 is both an action blockbuster and a coming of age story, as we see John transform from a boy into a young man by the end of the film. It helps that the action in T2 is structured brilliantly, with some excellent use of early CGI in the form of the T-1000, and some great set pieces, most noticeably the final scene in the Steel Mill. While Schwarzenegger usually drives me nuts, his over the top masculinity and emotionless acting ability works as a robot, and he gives a fine performance as the Terminator himself. Overall its brilliant escapist fun, and something that any Sci-Fi fan should watch.

 



 

 

#2 Alien

 

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Ridley Scott's Alien is perhaps one of the best films of all time, so its no surprise that it has made it onto my list. While some argue that the sequel Aliens is better, I disagree. Alien bests the sequel with its atmosphere and genuine mystery, rather than the action scenes or set pieces which feature heavily in the sequel. The basic plot is based around a ship that lands on an alien planet when they receive a distress beacon, as they explore the planet they begin to uncover sinister and disturbing things, and the rest is history. Sigourney Weaver is outstanding in Alien as well as all of it's sequels, she has become somewhat of a female empowerment icon through her role as Ripley, which is thoroughly deserved. In terms of Sci-Fi, Alien raised the bar of what can be done in terms of atmosphere and mood, giving us one of the most terrifying landscapes ever seen on film. The film's lack of dialogue and long takes can turn many viewers off hoping for a thrill a minute roller coaster ride, but stick with it and you'll be rewarded with some of the best Sci-Fi ever created.

 



 (Also one of the best trailers of all time in my opinion)

 

#1 2001: A Space Odyssey

 

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Stanley Kubrick's absolute masterpiece 2001: A Space Odyssey is the best Sci-Fi film of all time. You'll find it at the #1 spot on a good majority of lists, and there are a number of reasons why. Firstly, this 1968 film is shot in a way that is still to this day completely revolutionary and state of the art. Considering that Star Wars didn't come out until 1977, this film was way ahead of its time in terms of set design, camera work and special effects. As well as the visuals, the film brims with ideas and concepts about life and evolution, which any Sci-Fi fan will drool over. As with Alien, 2001 is filmed in a way that some people will find hard to watch and off putting, with little dialogue and sometimes achingly long shots of apparent nothingness taking up much of the film. If you're in the right frame of mind to see this film, you will instead see art at its finest, with each frame obsessively perfected and refined, making it a joy to watch for cinephiles. 2001 has inspired countless films, most recently Terrence Malick's The Tree of Life, which shares 2001's spiritual and meditative style of minimalistic plot. This is the kind of film that everyone should see at least once.

 

 

Thanks for reading!



Top 5 Love Films

 Top 5 Love Films

 

As an apology for the lack of blog posts as of late, I thought it best to come back with another top 5 post, as they seem to be the most popular pages. This week I'm giving a run down of my top 5 favourite love films of all time. Love films have always been one of the more popular genres of movie, they can provide escapism through fairy tale-like romances, make us laugh with the classic rom-com, or relate to us through emotionally complex narratives and realistic situations. Either way, love films can appeal to people of all ages and genders, making it a universally adored genre. Here are my top 5 favourites, if you don't agree, feel free to comment below. Enjoy!

 

#5 Eternal Sunshine of the Spotless Mind

 



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The Charlie Kaufman penned Eternal Sunshine of the Spotless Mind is quite simply one of the most inventive and original love films ever made. Kate Winslet and Jim Carrey play strangers who fall in love, only to have their memories erased when their relationship crumbles. It's difficult to explain what happens next, suffice to say that there are a lot of deep themes and confusing plot twists that manage to keep you engaged right til the very end. The stunning cinematography, brilliant performances from both Winslet and surprisingly, Jim Carrey, along with the quirky yet powerful script make this a film that anyone seeking a new and original love film should watch.

 



 

#4 Breathless



 



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Jean Luc's French New Wave classic Breathless is a crime-thriller, yet the action revolves around a relationship between the small time thief Michel and his love interest Patricia. It's a film that manages to stay away from the schmaltzy and corny Hollywood sweeping romance films, and instead depicts the two characters as realistically as possible. One of the best scenes in Breathless is the near 30 minute conversation the couple have while just sat in a bedroom, clearly the inspiration behind many contemporary art house love films such as the Before Sunset/Rise/Midnight films. This realist love film concept introduced by French New Wave cinema is further enhanced through the filming style, which is all shot on handheld cameras to further heighten the documentary style of realism. By the end of Breathless, a powerful bond has been created between the two, which makes the iconic climax powerful and affecting. A must watch for fans of European cinema.

 



 

 

#3 Brokeback Mountain

 

 

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Ang Lee's modern classic Brokeback Mountain is surely one of the best depictions of a relationship on film. The film is quiet, tender and subtle and in no way melodramatic or cheesy, which was a refreshing change to the genre when it was released. The film depicts the relationship between two cowboys played by Jake Gyllenhaal and Heath Ledger over a span of several years. Due to the homosexual nature of the relationship, the film received a fair amount of controversy on release, which was soon silenced when the film won numerous awards and nominations for best picture. Both the late Heath Ledger and Jake Gyllenhaal provide Oscar worthy performances, and the supporting cast including Michelle Williams and Anne Hathaway are again wonderful to watch. The emotions displayed in Brokeback Mountain are universal, anyone who is or has been in love can relate to it, the understated and raw emotional intensity on offer here makes it a film that everyone should see.

 

 



 

 #2 Revolutionary Road

 

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This Sam Mendes film tackles the issues facing couples living in 1950's suburban America. It's a film that asks questions about the American Dream, family dynamics and the decay of a relationship. The film revolves around April and Frank, a couple with two children who are unhappy with their lives and try to find a way to escape the treadmill while keeping their family together. It becomes apparent during the film that Mendes is commenting on the way in which the American life traps its victims in a vicious circle, and how that can impact on relationships and families. While this is not a film to watch snuggled up to your partner on a rainy day, it is a must watch for anyone who enjoys something more from a love film.

 



 

#1 Lost In Translation

 



 

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Lost in Translation is one of my favourite films of all time, and will be a film that stays with me forever. It follows film star Bob Harris (Bill Murray) and neglected wife Charlotte (Scarlett Johansson) as they form a bond while crossing paths in Tokyo. The film is the definition of love, it is tender, sweet, funny and emotional, while never falling into the cliched traps of the genre. Director Sofia Coppola is a master of the mood piece, and this is no exception, the use of music and on location shooting give the film a melancholic and dreamlike feeling, while at the same time staying down to earth and heartwarming. The bond between Bob and Charlotte is created using subtle body language and unspoken feeling, which is all held up by a fantastic script that manages to be laugh out loud funny and moving at the same time. By the end of the film you will be in tears no matter what your age or gender, this is a film for everyone, a film that explores the emotions of real human beings rather than the prince charming fairy tale that so many Hollywood pictures attempt to create.

 



 

I know some people will be outraged at the lack of 'Classics' in this list, but this is just my personal opinion, feel free to comment below if you disagree. Thanks for reading!



Elysium Review

Elysium Review

 

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Elysium is the second full length film from South African director Neill Blomkamp, and the follow up to his 2009 directorial debut District 9. Blomkamp follows up his critically acclaimed Sci-Fi with yet another social-political action romp, however Elysium can't quite match the perfection of his previous film.

 

It is clear from the beginning that this film attempts to stray from the Sci-Fi action formula, instead choosing to focus on back story and character over spectacle. The first hour of the film almost exclusively revolves around character development, a welcome breath of fresh air from the recently stale genre. The character in question is ex-convict Max, a man seeking to travel to the world of Elysium, a man made space station in which the wealthy live a life of luxury while the poor suffer in poverty on Earth. The film gets off to a brilliant start, with a flashback sequence introducing the audience to a young Max as he dreams of travelling to Elysium with his best friend Frey. Flash forward to 2054 and Earth is in tatters, with disease and poverty striking the majority of the population while a robot police force keeps the public in order. From here the plot escalates into a predictable, but well enough thought out, time limited mission to save both Max and the world from the clutches of the powerful elite living on Elysium. Like District 9 there are some strong political and social statements being made underneath the special effects and action, with the director seemingly covering the same apartheid ground as his previous effort. Being of South African descent it is understandable that this is the focus of Blomkamp's films, but a change would have been welcomed, there is only so much to say on certain political and social issues. Needless to say the commentary adds yet more depth to the film, and provides enough intelligence to save the film from medioracy.

 

The film is technically impressive, Blomkamp had more than 3 times the budget that he had for District 9, and it shows. Elysium itself has a creepy suburban look to it, with white picket fences, bright blue swimming pools and glossy interiors looking suspiciously like the kinds of houses found in LA or Hollywood. Meanwhile on Earth you can practically taste the grit and dirt as desperate civilians wander the dusty streets looking for help, clashing with the sheen of the metallic police force who watch over them. Its atmospheric and immersive, doing what District 9 did brilliantly, creating a living breathing world reflecting the concerns of the real Earth we all know.

 

On the other hand, there are some things that bring the film down a notch or two, the main one being the second half of the film. While the first hour of Elysium may not bow to the stereotypes associated with the genre, the second half does, unfortunately ruining the film. District 9 managed to pull off being an action packed film with its well written script and character development, Elysium on the other hand seems to forget about these things when the action starts. Its a real shame, because the action scenes aren't particularly bad, but they just lack any sense of emotion that the first half of the film had. The race against a ticking clock plot line is tired and cliche, and didn't manage to add any suspense to the film, leaving it worthless. In this regard the film fails to live up to District 9 and manages to only just save itself from mediocracy by wrapping up the plot nicely in a meaningful way. The other let down in Elysium is Jodie Foster. Her seemingly dubbed British accent is horrendously bad, and her inability to properly lip sync the words detract from her character and ruin her villain status.

 

Other than these few niggles however, Elysium is a rather fun Sci-Fi popcorn film. As a political commentary it succeeds in introducing some interesting ideas such as the links to the apartheid, but doesn't result in anything more than District 9's similar statements. The focus on character is what saves the film, as well as the satisfactory conclusion. The action scenes, while pretty, are soulless and provide little entertainment other than the obligatory explosions and slow motion stunts. Overall though, this is a solid Sci-Fi, and a cut above the rest.

 

7/10



From Up On Poppy Hill Review

From Up On Poppy Hill Review

 

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Following in the footsteps of Hayao Miyakazi, his son Goro has created a beautiful piece of Japanese cinema, a touching love story set against post war 1960's Japan.

 

From Up On Poppy Hill is Studio Ghibli's latest feature, following on from last years Aritetty. The film once again proves that Studio Ghibli are devoted to creating emotionally stirring, character driven films, regardless of the fact they are cartoons. The film itself is about a girl called Umi, a girl who's father has disappeared in the war and who's mother has made a long trip to America. Because of this Umi has an entire house to run, as well as going to school and getting an education. The main story thread is to do with Umi's relationship with a boy she meets at school called Shun, and there are a fair few plot twists along the way that ensure this film isn't just a typical romance affair. The sub plot of the film follows a group of students from the school including Umi and Shun, as they attempt to stop their clubhouse from being destroyed in preparation for the Tokyo Olympics of 1964. The plot is both a culturally relevant romance mixed with a historic subtext that provides an interesting mix. The two main characters have an incredible chemistry, and as the film happily skips along the two form an emotional bond that is wonderfully touching. As with most Ghibli films that aren't fantasy epics (Spirited Away etc) the film is short and sweet, not overstaying its welcome yet at the same time providing just enough material for a full length feature, its a film that is very easy to watch. This is mostly down to the excellent voice work (I watched the English version) which manages to translate the plot from its Japanese origins perfectly into English, as with all Ghibli dubs, it shines.

 

Visually the film is a beauty. The unmistakable Studio Ghibli watercolour style is again prominent, making the film seem like a moving painting. The attention to detail in this film astounds, with the light bubbling of a fish being fried or the slow rustling of the trees in the wind giving the impression that this is a living, breathing world, and that in turn immerses the viewer fully into the historic setting. The musical score is also perfect, utilising subtle piano melodies and breathy Japanese vocals to add to the calm and gentle mood set by the visuals, making the entire film come together beautifully in a harmony of visuals, likable characters and subtle yet moving music.  

 

I can wholeheartedly recommend this romance drama to anyone, its a genuine crowd pleaser as long as you can appreciate mature animation. As for kids, the film could potentially win over the young teens, but I don't think anyone under the age of 10 would appreciate the film, it's slow paced and isn't filled with action or exciting scenes. Studio Ghibli fans should find a lot to love in From Up on Poppy Hill, even those who prefer the more fantasy style epic's that the studio is most well known for. A beautifully told story that excels in all aspects.

 

9/10



Mid Year Roundup

Mid Year Roundup

 

 

Since we're half way through the year, I thought I would make a few midsummer lists to demonstrate some of the highs and lows of 2013 so far. Here are my top 5 best and worst films of 2013 so far!

 

Top 5 Worst Films of 2013 So Far

 

#5 - Hitchcock

 

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Review HERE

 

#4 - Song for Marion

 



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Review HERE

 

#3 - Man of Steel

 

 



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Review HERE

 

#2 - Oz The Great and Powerful

 

 



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Review HERE

 

 

#1 The Last Exorcism Part 2

 

 



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Review HERE

 

My Top 5 Best Films of 2013 So Far

 

#5 - V/H/S 2

 



http://thatfilmfeeling.blogspot.co.uk/2013/06/vhs-2-review.html

 

Review HERE

 

 

#4 - Evil Dead

 



bloody-disgusting.com

 

Review HERE

 

#3 - Frances Ha

 

 



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Review HERE

 

#2 - Before Midnight

 

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Review HERE

 

#1 - Les Miserables

 



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Review HERE

 

So there you have it, my best and worst films of this year so far. Some of the choices may be controversial, but in a film fan mode rather than a critic mode, I think these were the right choices. Best wishes and I hope the rest of the year brings some equally fantastic cinema.



Frances Ha Review

Frances Ha Review

 

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Noah Baumbach is back with his follow up to 2010's Greenberg with Frances Ha, a remarkable comedy revolving around the life of a discontented aspiring dancer.

 

The film follows many of the same thematic traits as Noah's previous films; the life of a New Yorker, the problems one faces when trying to achieve their dreams and the awkwardness of real life relationships. This time the story is focused on 27 year old Frances, a woman trying to achieve her dreams of being a dancer in New York City. Baumbach tackles the subject in a lighthearted and whimsical manner, clearly taking inspiration from a range of different filmmakers and eras. As the narrative progresses and Frances faces problem after amusing problem, it was clear that Baumbach has been influenced by the mumblecore movement and Lena Dunham's work. The sheer awkwardness of the main character, and her seemingly fearless and blunt 'say it how it is' attitude reminded me of Dunham's Girls and Tiny Furniture, both of which are favourites of mine. It's no surprise then that I found Frances to be endearing and lovable, although many people will be turned off by her attitude and loathe her immature and care free spirit. In terms of narrative, the film plays it safe, opting for a familiar take on the New York story. The witty script and visual beauty more than make up for the slightly weak narrative, and for me Frances' dialogue alone is worth the admission fee.

 

Technically the film is a marvel, utilising black and white to give the film a Godard new wave look, it bursts with life and beauty. The hipster vibe works incredibly well in Frances Ha, the stark cinematography clashes with the realist deadpan humour, creating a mish mash of realist and modernist styles working well within the frame. The soundtrack is again fantastic, with the rock sounds of T-Rex and Bowie coupled with the cheesy funk of Hot Chocolate once again clashing in a way that feels right for the film. Performance wise, the cast are all wonderful, with the obvious standout being Greta Gerwig as Frances. The lead performance is what makes the film, in the same way that Dunham carries her own work, the same can be said for Gerwig, appearing to be improvising her lines on the spot mumblecore style. Gerwig's standout scene has to be the moment she begins an impromptu dance through the streets of New York with a roaring Bowie song playing in the background, surely the most potentially iconic scene from the film. Mickey Summer as France's best friend Sophie plays a great part too, with the chemistry between them making it appear as though the two have known each other for years.

 

Frances Ha shines above this summer's films as a beacon of hope, a sign that there are still talented and original works being created among the same old genre films. The film is worth seeing for Greta's performance alone, a hilariously awkward, yet grounded and real role that you will either love or hate. Frances Ha is a film that anyone with a taste for deadpan and witty humour or mumblecore should see, a sublime comedy and one of the best films of the year.

 

9/10



Citadel Review

Citadel Review

 

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Ciaran Foy's directorial debut is ultimately an underwhelming genre film, which attempts to raise some important questions, but merely provides a muddled plot of uneven political stance.

 

The plot of Citadel is dark, bleak and depressing. Young father Tommy sees his pregnant girlfriend attacked by a gang of hooded kids, she then ends up in a coma leaving Tommy to look after their child as he copes with his increased agoraphobia and anxiety. Tommy is a painfully weak character, to the point where it becomes irritating, his fear of the outside world appears to represent feelings of today's parents, who obsess over the safety of their offspring in this supposedly terrifying world of gangs and crime. The plot then shifts up a gear as Tommy's house is broken into by the same hooded figures that attacked his girlfriend, as he seeks help of the local priest he is told that these figures are not human but demons. It is at this point where one begins to question the motives behind this piece, is Foy deliberately making out that anyone wearing a hoody is instantly a potential killer, or is he passing comment on the demonisation of hooded youth, brought to life literally through the demons in the film. It's a muddled plot, one which is both laughably silly and frighteningly current.

 

Aside from the plot, the film is a mood piece, a film which brings forth feelings of tension, unnerve and depression. Most of this is done through the visuals, which are grimy and nightmarish, perhaps displaying a literal view of how we imagine the housing estates pictured in the film. Being a horror film, the entire picture feels like Tommy's nightmare, utilising loud distortion noises coupled with unnerving shots of hooded figures poised to attack or standing in doorways to make the film seem like a twisted reality. Holding all of these elements together is Aneurin Barnard's performance, a brilliant representation of the fear and paranoia supposedly taking place within urban estates today.

 

Ultimately, the film feels confused, it seems Foy can't make up his mind whether to demonise or comment on the demonisation of hooded youth, which makes the film frustrating to watch. As a horror film, it succeeds to an extent, but provides nothing more than a standard genre film would, albeit with noticeable use of tension building and mood, something which is missing from many contemporary horror films. It is perhaps too low budget and artsy for blockbuster horror fans, yet is too cliche and predictable for the arthouse crowd. Citadel is mediocre at best, an attempt to create something more than a standard horror affair, which fails due to its muddled plot and politics, leaving nothing more than an average picture.

 

6/10

Monsters University Review

Monsters University Review

 

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This summer pixar returned to the beloved fantasy universe of Monsters Inc, a realm populated by the bizarre yet lovable race of monsters we all know and adore. In doing so, they have created a delightful animation feature, which delivers on big laughs over sentiment and morals.

 

The film is a prequel to the original Monsters Inc, and focuses on the two main characters, Sully and Mike, as they progress through university in order to become a 'Scarer'. There is an instant sense of warmth and charm as the film opens with yet another stylised hand drawn title sequence, a sort of welcome home. From here we see the beginning of Mike's life as a student, already brimming with his dorky but determined charm. His dream is to become a scarer, a future we witnessed during the first film. He finds a competitor in the selfish jock Sully, who by the end becomes the soft and fuzzy goofball we all know him as. While the plot may not be anything new, it does satisfy, introducing some absolutely sensational new characters along the way including the rainbow loving, glitter obsessed Art, who provides a large majority of the laughs during the film. The thing that always elevates Pixar animations above the rest is focus on character and heart over action sequences or cliched stereotypes, and this aspect shines during Monsters University, which is essentially all about the characters.

 

Monsters University is undeniably funny, utilising both slapstick for the kids as well as dialogue gag's that only adults will appreciate, it covers all grounds. Being an avid party pooper, humour is something that I usually don't appreciate, however this left me crying and unable to breath at certain points, which demonstrates either the film is very funny or I have  bad taste in humour. As well as being hilarious and providing a solid plot, the film looks stunning, with Pixar's signature attention to detail providing some beautiful texture work, with fur being a rendered particularly realistically. The film's colourful and vibrant visuals are easy on the eye, and with the addition of 3D fully immerse you within the fantasy world, making it harder to face reality after the credits roll.

Speaking of reality, this is without question a film to watch in a laid back state of mind, over analysing will do you no favours here. Monsters University will entertain every demographic, with something for each generation to enjoy regardless of taste in film. As a popcorn movie, University succeeds brilliantly, as a savour to the animation industry, perhaps not. It's clear that Pixar were not aiming to reinvent the wheel, but simply ride it again, and do what they do best, provide animation that is heartfelt, funny, immersive and ultimately entertaining.

8/10



The Bling Ring Review

The Bling Ring Review

 

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Sofia Coppola's Bling Ring is a triumph in social commentary, a film bursting at the seams with intelligence, wit and self consciousness. Based on a true story the film revolves around the infamous Bling Ring, a group of wannabe celebrities living in LA who steal from the properties of the rich and famous for a year without being caught.

 

The film's opening sequence is a vision of whats to come, with a distorted Sleigh Bells track pounding over a sequence of theft, designer clothes and celebrities being chased by paparazzi, giving a great first impression. From here we meet the various characters, each displaying a significant lack of soul or purpose, and instead coming across as shallow and vain, and each with an obsession with fame. The plot is relatively thin here, with little in the way of character development or heart, instead opting for a soulless art house vibe. The film itself is an exploration of celebrity obsession, and one which favours deep commentary over heart or character development. In this regard it is similar to the recent Spring Breakers, in that both feature young characters taking drugs, partying and causing mayhem in a stylised and repetitive manner. The film really is repetitive, with scenes of the group of kids clubbing, snorting cocaine and stealing taking up the majority of the film, arguably a statement on the world in which the film depicts. Fuelling these moments of excess is a blaring soundtrack of EDM and Hip-Hop, which ties into the film excellently, particularly during one car scene (I won't spoil). By the end of the film, its clear that Coppola is providing a deep and meaningful opinion piece on how she sees the world of Hollywood and celebrity culture. In this aspect the film succeeds immensely, with Coppola's witty script and astonishing visuals shedding light on the aspirations of today's youth and providing just enough plot to make the film watchable.

 

In terms of performances, Emma Watson is a clear standout. Her character is one of the funniest in the film, and provides some great parodic humour through her airhead attitude. It is surprising to see Watson in such a different role from her usual English rose approach, and proves that she does have a brilliant talent, even if she does still overcompensate with her eyebrows and forehead occasionally. Katie Chang also provides a solid performance as the empty and emotionless ring leader Rebecca. Her disregard for anything other than being famous and meeting her idol Lindsay Lohan is both amusing and sickening, depicting what Coppola sees as a major problem within American society. Apart from the two standouts, the rest of the cast are fine, but aren't as interesting as Watson and Chang's characters, leaving them little to work with.

 

The Bling Ring is aesthetically pleasing too, Coppola injects her ability to create a mood into the film, something that Lost In Translation did perfectly, to create a disturbing dystopia of drugs, money, guns and possession that reflects today's celebrity culture. There are a couple of fantastic visual scenes within the piece, one is an extremely slow zoom shot as the group rob a glass mansion, providing one continuous, silent scene of an entire robbery. The other is a short scene in which the male character Marc is dancing in his room to 'Drop it Low' while he dresses in various designer garments, all of this is shot through the webcam on his laptop. The scene struck me in that displays the lack of direction in these kids lives, while it may seem that they are living the celebrity lifestyle, in reality they are doing nothing but pretending. Another brilliant technical aspect of the film is the soundtrack, as mentioned before its a mixture of contemporary EDM and Hip-Hop which fits the film perfectly, Azealia Banks, Sleigh Bells and Ester Dean all feature, and lyrically provide a fitting soundtrack to the drugs and excess depicted on screen.

 

This commentary on celebrity culture, obsession, fame and excess is fantastic, if at times hard to watch. It's flaws are plain to see, but at the same time fit with the soulless and shallow themes of the piece. Emma Watson's amusing performance is perhaps the saving grace of the film, giving life to an otherwise endless montage of celebrity and youth culture, and is worth the price of admission alone. If you can take a step back from films and watch them analytically, The Bling Ring will provide some great commentary to think about, on the other hand if you're looking for a standard genre film, The Bling Ring will seem like a shallow piece of trash, and you would do better to look elsewhere. Overall a brilliant entry from Sofia Coppola, who again proves her critics wrong by creating an original and well directed piece of cinema.

 

8/10

Before Midnight Review

Before Midnight Review

 

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After hearing the critical buzz surrounding this film I decided to go and see it, and having not seen either of the previous two films I didn't know what to expect. Before Midnight blew me away, and I left the cinema feeling positive about the future of cinema, which is a rare thing.

 

The film is the third entry in the 'Before' trilogy directed by Richard Linklater, a series which has been going since 1995's Before Sunrise. The films follow Jesse and Celine, played by Ethan Hawke and Julie Delpy, and their relationship from their first encounter to their middle aged and married lives. Each film is set 9 years apart from the previous, both in release date and narrative, making both the characters as well as the actors 9 years older than the previous film, providing a beautiful cohesive narrative that has aged with the actors. The third entry revolves around Jesse and Celine's married life, as they reach their middle aged years, it is a dialogue driven narrative, which provides commentaries on gender, religion, relationships and life. The thing that excites me most about these films, is the simple beauty of two people talking for 2 hours, with nothing really happening in between, managing to capture the audience completely for the entirety. Its cinema in its purest form, and gives me hope for the future of the genre. Plot wise, the film is a series of deep conversations taking place in a few different settings, the first scene is set in a car, and is a 20 minute shot with no cuts. Ethan Hawke and Julie Deply manage to realistically and engagingly have a conversation for 20 whole minutes without the need for cuts or a strict script, it is elements such as these that prove that this series is one of the greatest film trilogies of all time. As the film goes on, it becomes apparent that their relationship has problems, with the film climaxing with a 30 minute full scale argument between the two characters, captured in a small hotel room. The argument addresses notions of gender identity, feminism, and the role of gender in a relationship fantastically, and provides a mentally stimulating feast for the brain. The film ends on a touching note, and even gives a glimmer of hope for another sequel.

 

Performance wise, both characters are equally amazing, pouring their heart and soul into the characters. The fact that both actors have played these characters for almost 20 years really shows, with the two coming across as a genuine couple, and providing banter and conversation that you would expect from a real life middle aged couple. Technically, Before Midnight is astounding, with long takes that last for up to 20 minutes coupled with gorgeous Grecian settings. Its a feast for the eyes and ears, so much so that I can't find any faults with it whatsoever.

 

Its rare that a film is so perfect, and captures what cinema is about so well as Before Midnight does. Its a film that should be seen by anyone remotely interested in cinema or relationships, and proves that films do not need to have dramatic events or heavily scripted dialogue to be effective and powerful. Before Midnight is cinema perfection, and for that reason it gets a perfect score.

 

10/10

Behind the Candelabra Review

Behind The Candelabra Review

 

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Behind the Candelabra is to Liberace what My Week With Marilyn was to Monroe. It is a camp, fun and glamorous biopic that manages to accomplish what it set out to do, even if it doesn't reach perfection.

 

The plot is part melodrama, part social commentary on celebrity culture, fame and wealth. It deals with relatively well visited areas that have been covered by similar films, but makes the film no less interesting. The narrative is based around a small town country boy Scott Thorson and his relationship with the eccentric piano performer Liberace. The two meet at one of Liberace's shows and instantly form a bond which is later explored throughout the film. Typically, the relationship turns sour and the film escalates into an argument filled commentary on the frivolous nature of fame, and the decay of the celebrity. It's a well trodden path, covered by similar biopics such as the previously mentioned My Week With Marilyn, Dream girls and Coco Before Chanel. The script is well written, and the dialogue is sharp, with a streak of humour inter cut throughout the film, this makes the cliche plot easier to swallow, and provides moments of light heartedness within the sometimes grim story. By the end of the film, it all becomes quite emotional, and manages to effectively make the audience care about the self absorbed characters, which is no small feat.

 

 

However, this is without a doubt a performance driven film, similar to Lincoln or Les Miserables, it brings out the best in the actor's abilities. There are two standout performances in Behind the Candelabra, Micheal Douglas as Liberace and Matt Damon as Scott, both roles are knockout, and deserve some sort of recognition. Micheal Douglas in particular is sublime as Liberace, and provides just enough camp to effectively portray the star, rather than over play the part and lose some of the character's humanity. Damon's brilliant portrayal of a man driven insane by lust, money and fame is also brilliant, bringing out the best in an actor who is usually average at best. Technically the film is beautiful, the use of bright colours, eccentric fashion choices and a glossy sheen extenuate the films focus on fame and riches. The HBO origins of the picture may suggest a cheap, made for TV look and feel, but this is simply not the case, as the film looks and feels just as good as any other major studio production, and feels miles away from the steamy shows that HBO is known for.

 

If you're looking to see a well written, well acted film then look no further than Behind the Candelabra. While the plot may not provide any new experiences, it manages to provide character depth and by the end is touching and moving. Micheal Douglas and Matt Damon are worth the price of admission alone, and won't disappoint, even if you're not interested in Liberace. A fine piece of biographical cinema.

 

8/10