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Adventureland * *

Posted in Drama, Romance with tags 2009 on February 1, 2012 by Mark Walker

Director: Greg Mottola.
Screenplay: Greg Mottola.
Starring: Jesse Eisenberg, Kristen Stewart, Martin Starr, Bill Hader, Kristen Wiig, Ryan Reynolds, Margarita Levieva, Matt Bush, Jack Gilpin, Wendie Malick, Josh Pais, Mary Birdsong.

Jesse Eisenberg released two films in the same year with ‘land’ in the title. Both featured theme park’s and both also featured him trying to lose his virginity. “Zombieland” was one and “Adventureland” the other. Unfortunately for this though, I’d personally choose flesh-eating Zombies to face-sucking teenagers any day.

When James (Eisenberg) is forced to take a summer job in a ramshackle Pittsburgh theme park, he fears the worst. But the friendships he makes, the lessons he will come to learn, and especially a bumpy romance with remote fellow worker Emily (Kristen Stewart) will ultimately end up becoming memories for life.

A teenage romantic comedy with emphasis on the teenage romantics and less on the comedy. It had a few laugh out loud moments though, with some well written, humourous supporting characters. Where the laughs come from is the similiar dick joke humour from Greg Mottola’s previous film “Superbad“, but this is a more serious rite of passage tale than his earlier film. Nice use of ‘Lou Reed and The Velvet Underground’ on the soundtrack and fine performances throughout, particularly Bill Hader as the eccentric theme park manager. However, anything that this had going for it was spoiled by the teenage love story at it’s core. It was a bit dull and seemed as though it had teenagers in mind as it’s target audience.

The teens wear their angst on their sleeves and if you find yourself still stuck in this difficult time of your life then you’ll find plenty to identify with… Everyone else should avoid.

Mark Walker

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The Girl Who Kicked The Hornet’s Nest * * * *

Posted in Crime, Drama, Foreign Language, thriller with tags 2009 on January 29, 2012 by Mark Walker

Director: Daniel Alfredson.
Screenplay: Ulf Ryberg.
Starring: Michael Nyqvist, Noomi Rapace, Lena Endre, Annika Hallin, Jacob Ericksson, Sofia Ledarp, Anders Ahlbom Rosendahl, Mikael Spreitz, Georgi Staykov.

Stieg Larsson’s “Millenium trilogy” draws to a close with this third and final installment and after amassing a collective running time of nearly 7 hours, it still grips like a vice.

Outlaw hacker Lisbeth Salander (Noomi Rapace) awaits trial for attempted murder. Journalist Mikael Blomkvist (Michael Nyqvist) gathers evidence about her tragic past to help her case. A Swedish intelligence agency wants her silenced and her maniacal half-brother (Mikael Spreitz) wants her dead.

What with the mystery of the first installment and the action of the second, now we are given the talky final act. The cover-up of all the past scandals and indescretions and justice handed out in legal forms. Daniel Alfredson once again takes the directorial reins after the Second film. This time though, he’s learned his lesson about pace. It’s not as rushed, preferring instead, the slow investigative pace from the first film. Once again, the hook isn’t as good but the tension builds slowly and assuredly as we learn the eventual fate of Lisbeth. Like the second also, Lisbeth and Blomkvist’s relationship is very distant. They share very little screen time and whenever they do, it is strained and awkward. Blomkvist’s love unrequited. Lisbeth is less active this time. She is mainly bed ridden and displays very little in her communication with everyone around her. This however, proves to be just another master stroke in her battle for survival. On the surface, it seems that Noomi Rapace has less to work with, now that her strong-willed character has been seriously wounded. Nevertheless, when you watch the ever so subtle facial expressions from her, as she tries to remain stoic, you realise how much of a wonderfully reserved performance she puts in. With less dialogue, it’s probably her finest display from all three films. Although this is an altogether more solid narrative than the second, some parts feel rushed and some questions are left unanswered. Still, it’s a very fine trilogy and the characters inhabit a world – although not altogether pleasant – that’s been a gruelling yet rewarding experience.

If the Americans (or director David Fincher to be precise) can capture half of the spirit of these films with his version of the trilogy, then hopefully, mature writing and exstensive filmmaking will become the norm.

Mark Walker

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Monsters * * 1/2

Posted in Drama, Science Fiction with tags 2010 on January 29, 2012 by Mark Walker

Director: Gareth Edwards.
Screenplay: Gareth Edwards.
Starring: Scoot McNary, Whitney Able, Annalee Jefferies, Justin Hall, Victor Vejan.

Gareth Edwards deserves plaudits aplenty for this directorial debut. Not only is he the director, he’s also the writer, the cinematographer, the production designer and as if that’s not enough, he’s does the special-effects aswell. The only one that really needs honed though, is his writing.

Kaulder (Scoot McNairy) is an American photojournalist working in Central America. After a phone call, he’s compelled to pick up his boss’ daughter, Sam (Whitney Able), from hospital and see that she gets back home to America safely. Thus begins a fraught journey – and a tentative romance – as a series of mishaps force the pair to trek through ‘The Infected Zone’, a strip of land along the US border inhabited by gigantic extra-terrestrial creatures.

After being warned that this film was far from a big budget effects laden sci-fi, I went into this actually knowing what to expect. However, I still left it feeling disappointed. It’s undeniably impressive in being shot on a shoestring budget, using only one camera and a cast that consisted of only two trained actors, but overall, it’s frankly boring. It thinks it’s way more deeper than it actually is and there’s a massive essential ingredient missing from it… a story. It’s high on atmosphere and ambience but very low on excitement and thrills. I realise that Edwards shot the film as and when he could, without any pre-planned scripted scenes – which I greatly admire – but it doesn’t make for very good entertainment. The two unknown leads give fine performances but are left with a lot of staring into the beyond with slow meditative shots as they ponder their feeling for one another. The aliens or ‘creatures’ are kept to a minimum and finally when our two protaganists are treated to a touch of soft core alien porn, it helps them realise their own feelings. The title of the film is also a problem. Yes, it may well just be reffering to the American army, leaving devestation in their wake with their Gung-ho approach in eradicating the alien entities, rather than ‘monsters’ being the entities themselves. However, I still think the title is as misleading as the pace is misjudged.

An impressive low-budget shoot that definitely looks the part but despite it being hard to criticise a film that has been molded by the talents of one man, it’s still highly uneventful and painfully dull. It’ll be interesting to see what Gareth Edwards does next though, he’s certainly got the skills.

Mark Walker

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A Single Man * * * * *

Posted in Drama with tags 2009 on January 29, 2012 by Mark Walker

Director: Tom Ford.
Screenplay: Tom Ford, David Scearce.
Starring: Colin Firth, Julianne Moore, Matthew Goode, Nicholas Hoult, Ginnifer Goodwin, Ryan Simpkins, Teddy Sears, Joe Kortajarena, Paulette Lamori, Lee Pace, Adam Shapiro.

In the words of Colin Firth’s character: “If there’s going to be a world where there’s no time for sentiment, then that’s a world I don’t want to live in”. What with the subject matter and characterisation, ‘sentiment’ is exactly what’s required to fully enjoy this near masterpiece.

George Falconer (Colin Firth) is a closested homosexual English college professor now living and teaching in Los Angeles in 1962. At the height of the Cuban missile crisis George is only concerned and haunted by the death of Jim (Matthew Goode), his soulmate of 16 years, in a car crash. Over the course of a day, he fastidiously plans his own death as he cannot stop dwelling on the past and is unable to see his future despite advances from his long time friend Charley (Julianne Moore) and student Kenny (Nicholas Hoult).

Sometimes a film comes along that doesn’t grap your attention straight away. It’s only through time that the critical acclaim it recieved can be ignored no longer. This is that type of film for me. I’m also not Colin Firth’s biggest fan either. However, on both judgmental accounts, I have been very very wrong. This flawlessly detailed character study of a desperate, tormented and heart-broken man is one of the finest films and central performances of 2009. I have no idea why I consistantly allow the Oscars to sursprise me but this film recieved ONE nomination from that year. Deservedly, that one was for Colin Firth but how can the rest possibly be ignored? What about the screenplay, the cinematography and Tom Ford’s direction? I’m astonished it didn’t recieve more. Everything about this film oozes class; the 60’s setting is beautifully captured with it’s attention to detail and strikingly rich photography by Eduard Grau; the slow motion scenes with overbearing sound effects; the subtle changes of colour saturation providing an excellent technique in developing the mood and feeling of Firth’s character and a fitting soundtrack to accompany the lush imagery. Anchoring all of this artistry is Colin Firth with his stoic exterior and crumbling interior. He’s absolutely marvellous and delivers a far superior performance than his Oscar winning role in “The Kings Speech“. I’m starting to think the Academy gave him it a year later after realising that Firth really shouldn’t have lost out for this. If Jeff Bridges wasn’t so good in “Crazy Heart“, the award had Firth’s name all over it. What’s also hard to believe is that this is Tom Ford’s directorial debut. He handles the material skillfully and assuredly, delivering one of the most accomplished films in recent times and surely the only direction he can go after this, is down.

This is the film that the multi-award winning “The King’s Speech” wishes it was. It may be a bit bleak or risque for some tastes but this is sensitive, mature filmmaking of the highest order. An exuberant, unflinching masterclass from everyone involved.

Mark Walker

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The King’s Speech * *

Posted in Biography, Drama, History with tags 2010 on January 29, 2012 by Mark Walker

Director: Tom Hooper.
Screenplay: David Seidler.
Starring: Colin Firth, Geoffrey Rush, Helena Bonham Carter, Guy Pearce, Timothy Spall, Derek Jacobi, Michael Gambon, Jennifer Ehle.

Cleaning up at the Oscars (which this did) doesn’t neccessarily mean a film is a masterpiece. “Titanic” is proof enough that undeserving films can also sometimes triumph. This is not as bad as that earlier stinker but it’s certainly not as good as critics have hailed it to be either.

Prince George (Colin Firth), known as ‘Bertie’ to loved ones, has been afflicted by a debilitating stammer since his childhood. And when his brother Edward (Guy Pearce) abdicates the throne and war looms, he reluctantly turns to Australian Doctor Lionel Logue (Geoffrey Rush), a speech therapist whose unconventional methods bring faith to the new King’s voice.

Bias may be a problem in my review of this film, as I find it hard to be objective when the object of our affection is a pampered, privileged monarch who’s only concern is a speech impediment that prevents him from publicly addressing his royal subjects. Added to which, the man is also an arrogant self important prick. That being said, if taken as a depiction of human suffering through disability, it’s an admirable representation. A major jewel in it’s crown is that it’s beautifully shot with a very authentic feel for it’s 1930’s period. The performances are also flawless throughout. Firth and Rush’s lingual jousting is the highlight of the film and more than able support is given by Guy Pearce as Edward the abdicator, Bonham Carter as the future Queen mother and Timothy Spall makes for a very believable Winston Churchill – who also happened to suffer a speech impediment at one time.

One star for the fabulous performances and another star for the rich and gorgeous cinematography of this period piece, but it’s a subject matter I don’t much care for, and it’s very difficult to summon sympathy for one that probably got help to wipe one’s own arse.

Mark Walker

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Matchstick Men * * * 1/2

Posted in Crime, Drama, thriller with tags 2003 on January 29, 2012 by Mark Walker

Director: Ridley Scott.
Screenplay: Nicholas Griffin, Ted Griffin.
Starring: Nicolas Cage, Sam Rockwell, Alison Lohman, Bruce Altman, Bruce McGill, Beth Grant, Jenny O’Hara, Steve Eastin, Sheila Kelley.

It’s hard to imagine after all his war and gladitorial carnage that the playful tone of this film belongs to director Ridley Scott. It’s a nice and very welcome change of pace for him.

Roy (Nicolas Cage) and Frank (Sam Rockwell) are a mismatched duo of low-level con men, considering that one is an obsessive-compulsive and the other a louche chancer. But their dysfunctional partnership and Roy’s teetering sanity face an even bigger challenge in the shape of his 14 year-old daughter Angela (Alison Lohman).

The con artist’s profession has always looked like a great way to make a living. Well, maybe that’s just the romanticism of Hollywood but nonetheless it still makes a great way for entertainment. Watching the inside plays and set-ups, feeling as if you’re part of it and privvy to hush-hush information is always an audience winner. You can also be sure of a few narrative curve balls here and there, before finally getting the rug pulled out from right under your unsuspecting feet. This is no exception. Ridley Scott wisely plays it very low-key from the get-go, leaving the film to play out in the more than capable hands of his actors and he’s rewarded with three excellent performances. Nicolas Cage is all tic-ridden and full of phobias and nervous energy. Sam Rockwell is his usual wise-ass sidekick, lending (as always) more than able support and Alison Lohman delivers a spot on portrayal of a naive teenager fascinated by her fathers profession. It’s through these performances that we become involved in the story. They’re believable characters and despite their swindling ways, they’re likeable.

Not normally the type of film that Ridley Scott has been turning his hand to of late but it’s still a finely crafted hustle and the performances are top-notch.

Mark Walker

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Searching For Bobby Fischer * * * *

Posted in Drama with tags 1994 on January 29, 2012 by Mark Walker

Director: Steven Zaillian.
Screenplay: Steven Zaillian.
Starring: Max Pomeranc, Joe Mantegna, Ben Kingsley, Laurence Fishburne, Joan Allen, William H. Macy, David Paymer, Michael Nirenberg, Robert Stephens, Hal Scardino, Dan Hedaya, Anthony Heald, Austin Pendleton, Tony Shalhoub, Laura Linney.

Films that have their titles changed tend to be trying to market something else and normally raise alarm bells as to why the change was even neccessary. Where I come from, this is known as “Innocent Moves” (maybe because most people don’t know who Bobby Fischer is) but thankfully the film itself doesn’t suffer from this title change.

Sports writer Fred Waitzkin (Joe Mantegna) discovers that his 7 year old son Josh (Max Pomeranc) has a genius for chess, and enters him in competition, losing sight of what this does to the boy’s psyche – and his pure enjoyment of the game.

Over the years we’ve had numerous films depicting the competitive nature in people. These have mainly been through sports films like Baseball, Football and most successfully Boxing. This time however, director Steven Zaillain uses the game of Chess as his triumph of the human spirit. What makes this all the more enjoyable though, is that it’s based on a real life story and Josh Waitzkin was a genuine chess genius at a very young age. With him struggling to fulfill his own potential we are also given a running commentary on the career and odd disappearance of one time Chess champion Bobby Fischer. Zaillian handles the material sensitively and Max Pomeranc is absolutely superb as young Waitzkin. It’s a shame Pomeranc never furthered his acting career, as here he shows a maturity beyond his years and manages to be very expressive with just a glance and very few words. There’s also plenty of fine support by Joe Mantegna and Joan Allen as his loving and supportive parents and his two teachers Ben Kingsley and Laurence Fishburne are perfectly contrasted in their characters and different approaches to the game. The real star of the show though, is the game itself. Despite the often slow, ruminative appearance of a Chess game, it is in fact, a very exciting and thought provoking pastime. This excitement is perfectly captured by the late great cinematographer Conrad Hall, with close-up shots of the ebony and ivory pieces slamming onto the board. Chess has never looked so good and anyone with a great respect for the game – like myself – will find lots to enjoy here.

Despite a few melodramatic and cliched moments, this is still an emotional and heartfelt drama, helped by an impressive ensemble of actors. A confident directorial debut by screenwriter Steven Zaillian.

Mark Walker

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The Way Back * *

Posted in Adventure, Drama with tags 2010 on January 29, 2012 by Mark Walker

Director: Peter Weir.
Screenplay: Peter Weir, Keith R. Clarke.
Starring: Ed Harris, Colin Farrell, Jim Sturgess, Saoirse Ronin, Mark Strong, Gustav Skarsgard.

An epic human endeavour film was a great chance for director Peter Weir to gain back some respect after the disappointing dud “Master and Commander”. It’s a chance that Weir has passed up though, as this is just as much of a letdown as his last outing behind the camera.

In 1940, seven prisoners escape from the confines of a Russian gulag in Siberia, and set out on a gruelling, 4,500-mile trek across some of the world’s harshest terrain, with little food and few supplies. Their efforts are almost certainly doomed, yet they would rather die as free men than Stalin’s prisoners.

With “Master and Commander” Peter Weir last helmed the camera in the water. With this, he is very much on dry land but unfortunately his results are much the same. This is a real bore-fest. What we get are lots of weather beaten skin and ground beaten feet. The occasional bout of starvation is thrown in and that’s pretty much the jist of the whole film. But ultimately, we the audience, are starved of anything that resembles substance. Fortunately we get a few crumbs tossed our way with some gorgeous scenery by cinematographer Russell Boyd. There’s no doubt that this looks fantastic but it’s not enough. Not nearly enough. The film is as long and arduos as the supposed journey. The characters are interesting, most notably Colin Farrell’s thief Valka, but he leaves the film far too soon and the likes of Ed Harris and especially Saoirse Ronan have very little to do. There’s no faulting the performances, the actors do what they can with the limited material which is flimsy and seriously underwritten. In fact, it was exposed as being based on a complete lie and not the true adventure it had been labeled as. Not a good start…not a good middle and not a good end either. The only thing it had in it’s favour was the wonderful scenery, but then again, with a film that is backed by National Geographic, you expect that certain standard.

A real disapointment from director Peter Weir. I have come to expect more from him. It will appeal as a travelogue maybe, but as a form of entertainment, it has about as much appeal as looking at someone else’s holiday snaps.

Mark Walker

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Away We Go * * * 1/2

Posted in Comedy, Drama, Romance with tags 2009 on January 29, 2012 by Mark Walker

Director: Sam Mendes.
Screenplay: Dave Eggers, Vendela Vida.
Starring: John Krasinski, Maya Rudolph, Allison Janney, Maggie Gyllenhaal, Jeff Daniels, Catherine O’Hara, Melanie Lynskey, Chris Messina, Paul Schneider, Carmen Ejogo, Josh Hamilton.

Director Sam Mendes may never reach the abundant award winning heights of “American Beauty” again, but he’s proved along the road (Revolutionary and Perdition included) that he can still deliver the goods. This is a change of direction for him altogether but it’s still a fine addition to his growing catalogue of family dramas.

Burt (John Krasinski) and Verona (Maya Rudolph) are expecting their first baby. When Burt’s parents, the couple’s sole reason for moving to their current non-descript town, decide to leave the US, the couple go on a trip cross-country to find somewhere to raise their child.

When the film opens we are given a introduction to the solid relationship that the two main characters share, as while performing oral sex on his partner, Burt candidly talks about the theory of different vaginal flavours due to menopause or pregnancy. This duly recieves a slap in the face mid-performance, and thankfully for us he was talking about the latter. So then begins the journey of Burt & Verona as they mould the future of their family. John Krasinski and especially Maya Rudolph are a delight as the two endearing parents-to-be. In fact all the performances are appealing and subtly real and the whole cast pitches in. The real highlights though are the eccentric characters on our protaganists travels, mainly Alison Janney as the witty and offensive ex-colleague and Maggie Gyllenhaal as the free spirited sister. They are particular standouts in an exceptional cast. Despite mainly being a humorous road-trip, it’s peppered with some wise and wonderful scenes and has some moments of heartbreaking realism. The soundtrack is also filled with wonderful gems of music and despite it’s style, it’s missing only one thing…a Nick Drake song.

Mendes has equipt himself well once more and delivered an unusually heartwarming and quite lovely little film.

Mark Walker

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A Civil Action * * *

Posted in Drama with tags 1999 on January 29, 2012 by Mark Walker

Director: Steven Zaillian.
Screenplay: Steven Zaillian.
Starring: John Travolta, Robert Duvall, James Gandolfini, William H. Macy, Tony Shalhoub, John Lithgow, Kathleen Quinlan, Zeljko Ivanek, Dan Hedaya, Sydney Pollack, Josh Pais, Edward Herrmann, Harry Dean Stanton, Kathy Bates, Stephen Fry.

“Schindler’s List” scribe Steven Zaillian seems to craft meticulous pieces of work. It’s hard to put into words but his films seem to have substance. He doesn’t try to cut corners, which is precisely his downfall here. There’s too much weight that, despite an excellent beggining, it gets bogged down and ultimately hoisted by it’s own petard.

A group of parents, whose children have died via pollution, enlist Jan Schlichtmann (John Travolta), a hot-shot ambulance chasing lawyer to fight their case against two huge corporations. But Schlichtmann soon realises that he may have met his match in opposing lawyer, Jerome Facher (Robert Duvall), with defeat possibly spelling financial ruin for him and his firm.

This was only Zaillain’s second film behind the camera and although there’s much to admire, he still has much to learn. The problem he has, is with the pace. It was the same mistake he made later with his star studded “All the Kings Men”. He has amassed an abundance of quality actors fleshed them out with substantial characterisations, yet they don’t get a chance to shine. There is too much legal jargon going on for any of them to leap to the forefront. Duvall and Travolta duel with the viewers delight but the impressive supporting ensemble are wasted. Still, it’s a cut above a John Grisham adaptation and if you don’t mind a bit of legal mumbo jumbo and consider yourself a fan of slow talking legal drama’s, then this will certainly appeal.

Based on a true story and treads a similiar path that “Erin Brockovich” would tread a couple of years later. I’d have to say that the Steven Soderbergh/Julia Roberts film is the better of the two though.

Mark Walker

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London Boulevard * * 1/2

Posted in Crime, Drama with tags 2010 on January 29, 2012 by Mark Walker

Director: William Monahan.
Screenplay: William Monahan.
Starring: Colin Farrell, Ray Winstone, Ben Chaplin, Keira Knightley, David Thewlis, Anna Friel, Stephen Graham, Eddie Marsan, Sanjeev Bhasker.

William Monahan is better known for his screenwriting duties. Namely, the Oscar winning “The Departed”, leaving him no stranger to a gangster yarn. What is strange though, is despite being American he marks his directorial debut with a ‘Landan’ Cockney geezer gangster yarn.

Hardman Mitchell (Colin Farrell) gets out of prison and tries not to be lured back into crime by an old friend (Ben Chaplin) and a gang boss (Ray Winstone). He takes a job as bodyguard for a reclusive film star (Keira Knightley), but still finds it hard to go straight.

Even though Monahan is from across the pond, his attention to detail and setting for his British gangster flick is very impressive. Surprisingly, what disappoints – from a screenwriter – is a tight screenplay. The plot has more holes than the unfortunate victims of crime in this. Which is a real shame, as it’s boasts an excellent cast. Farrell channels a brooding intensity and his showdowns with Winstone’s gang lord are hightened with tension. The Irishman holding his own against the ‘daddy’. These brief confrontations are the highlight of the film, as the rest of the cast are given nothing to work with. David Thewlis’ stoned murderous hippie is unconvincing and the love interest with Kiera Knightley’s pampered thespian is plain dull. The one that comes out with the plaudits is Ben Chaplin as a greasy haired weasel-like accomplice. The biggest crime in this crime film though, is the misuse of Stephen Graham (“This Is England”). He’s a fabulous actor who’s sadly given a thankless character and very little screen time. On the plus side, the build up to Farrell’s character is intriguing. We are privy to is his reputation, but never really know what he’s done or what he’s capable of, until his ruthless character unravels.

It’s nothing new. I’ve seen better, by better. A reasonably decent gangster yarn but with the actors involved, it should have been something special. Check out Brian DePalma’s “Carlito’s Way” instead, it’s much more rewarding.

Mark Walker

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The Last Of The Mohicans * * * * 1/2

Posted in Action, Drama, Romance with tags 1992 on January 29, 2012 by Mark Walker

Director: Michael Mann.
Screenplay: Michael Mann, Christopher Crowe.
Starring: Daniel Day-Lewis, Madeleine Stowe, Wes Studi, Russell Means, Maurice Roeves, Steven Waddington, Eric Schweig, Jodhi May, Patrice Chereau, Terry Kinney, David Schofield, Dylan Baker, Jared Harris, Colm Meaney, Pete Postlethwaite.

Director Michael Mann’s vast canvas is normally urban with a keen eye for a sprawling cityscape. Here though, he shows his vision is just as effective when his surroundings are the sweeping forestry and mountain ranges of North America.

1757, the French and British battle for control of North America in the French and Indian war. Travelling through these lands are mohawk ‘Chingachgook’ (Russell Means), his son ‘Uncas’ (Eric Schweig) and his adopted white son ‘Hawkeye’ (Daniel Day-Lewis). They want no part of the war but when they happen to become a rescue party to ‘Cora’ (Madeleine Stowe) and ‘Alice’ (Jodhi May) daughters of Scottish Colonel Edmund Munro (Maurice Roeves) they gradually become embroiled.

During the making of this, Mann was forced by the studio to cut his +3 hour long film. Despite this, it still feels like the intended epic at just under two hours. That’s thanks to his assured pacing, the beautiful cinematography and the stirring music combining to marvellous and rousing effect. It’s a magnificent modern adaptation of James Fenimore Cooper’s classic novel brought vibrantly to the screen by Mann’s skillful direction and his ability to stage superb action set-pieces. The quietly thrilling and powerful Shakespearean finale is something to behold and one of the most tragic, yet most satisfying endings you’re ever likely to see. The acting is flawless throughout, with Day-Lewis delivering a charismatic central performance and despite having very little dialogue, Wes Studi is a standout as the native ‘Magua’, one of cinema’s greatest villains.

A sweeping epic with breathtaking cinematography, gripping action scenes and a rousing music score all coalescing for a kinetic and powerful romantic adventure. One of Mann’s finest.

Mark Walker

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Once Upon A Time In The Midlands * * *

Posted in Comedy, Drama with tags 2002 on January 29, 2012 by Mark Walker

Director: Shane Meadows.
Screenplay: Shane Meadows, Paul Fraser.
Starring: Robert Carlyle, Rhys Ifans, Shirley Henderson, Ricky Tomlinson, Kathy Burke, Finn Atkins, Andrew Shim, James Cosmo, David McKay, Vic Reeves, Bob Mortimer.

Shane Meadows is without doubt, one of the best British directors around at present. He knows his way around the working class lifestyle of Britain with a welcome and refreshing outlook that has, until his arrival, been commandeered by the likes of Ken Loach and Mike Leigh.

Waking up in a drunken haze Glaswegian crook Jimmy (Robert Carlyle) sees his ex, Shirley (Shirley Henderson), being proposed to on a daytime TV chat show. She spurns the proposal of Dek (Rhys Ifans) live on air, leading Jimmy to head back to his old town to claim back Shirley and his young daughter (Finn Atkins), that he left behind years ago.

After “TwentyFourSeven” and “A Room for Romeo Brass”, this completes Shane Meadows’ so called ‘midlands trilogy’ and with the actors involved, this has an abundance of quality. Despite this though, it’s the weakest of the trilogy. That’s not to say that there’s nothing to enjoy, there is, and its plentiful. It just seems a bit too lighthearted in comparison with Meadows’ other films. The excellent actors involved put in fine performances. Ifans and particularly Carlyle are two of the best in the business; Henderson is one of the most underated of actresses, deserving of far more attention and adding Kathy Burke and Ricky Tomlinson for some mild comic relief is always welcome. However, with this undoubted talent onscreen, it only makes it more frustrating that they aren’t pushed to the extent that they’re capable of. I suppose this is down to Meadows prefering a more humourous approach and if you’re aware of this beforehand then you might not feel as disappointed with the lack of danger that he normally applies to certain characters. His use of a spaghetti western theme throughout a ‘kitchen-sink’ family drama is a wonderful touch though.

A good little comedy/drama that certainly entertains but it lacks any real emotional punch and should have made more of the fine ensemble of actors. Meadows’ most impressive cast, yet strangely, one of his least impressive films.

Mark Walker

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The Tourist * *

Posted in Drama, Romance, thriller with tags 2010 on January 29, 2012 by Mark Walker

Director: Florian Henckel von Donnersmarck.
Screenplay: Julian Fellowes, Christopher McQuarrie, Florian Henckel von Donnersmarck.
Starring: Johnny Depp, Angelina Jolie, Paul Bettany, Steven Berkoff, Rufus Sewell, Timothy Dalton, Christian De Sica.

If an English language ‘thriller’ directed by Florian Henckel von Donnersmarck, (the same man that done the superb Academy award winning German film “The Lives of Others”) appeals to you, then just hold your horses. This is not in the same style at all. This has a more lighthearted playful approach and a far cry from the tense and dramatic style he employed in his earlier directorial debut.

Elise (Angelina Jolie), girlfriend of international fugitive Alexander Pearce, picks up tourist Frank Tupelo (Johnny Depp) on a train from Paris to Venice. The plan is to persuade the police that Frank is Pierce with a new face, but the dupe also becomes a target for a murderous Russian gangster (Steven Berkoff).

This is an old fashioned thriller in a similiar vein as we are used to seeing Cary Grant in. It’s flamboyant, it’s lavishly shot in exquisite European locations and boasts our modern day Hollywood glam in the likes of Depp and Jolie. In short, it has everything to keep the movie-going public happy. So, why doesn’t it work? Well, for one, it’s a classic case of all style and no substance. Or maybe it’s, too many cooks spoil the broth… considering it has screenwriters Julian Fellowes “Gosford Park” and Christopher McQuarrie “The Usual Suspects” involved in the writing duties as well as the numerous people attached to it at one time or another – Tom Cruise and Charlize Theron were involved, as was Lasse Hallstrom for directing. Maybe this is why the whole thing is unsure of it’s itself and can’t quite decided on it tone. It’s a shame really, as I found myself enjoying it to begin with. Depp plays it just off-kilter enough to add some humour to the proceedings. Jolie adds the right amount of mystery that’s perfectly suited to her character and the art-direction and cinematography are vibrant and wonderful to look at. As the film goes on though, it gets less humourous, more incongruous and as a result ends rather ridiculously.

Grand in it’s scale yet very light in it’s content. It didn’t know whether it wanted to be a thriller or a romantic-comedy. It attempted both but succeeded at neither.

Mark Walker

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I Love You Phillip Morris * * * *

Posted in Comedy, Drama, Romance with tags 2009 on January 29, 2012 by Mark Walker

Directors: Glenn Ficarra, John Requa.
Screenplay: Glenn Ficarra, John Requa.
Starring: Jim Carrey, Ewan McGregor, Leslie Mann, Rodrigo Santoro, Antoni Corone, Brennan Brown, Michael Mandell.

Jim Carrey’s goofy, rubber-faced, slap-stick material has been getting a bit stale recently. The best of his films have been when he has delivered a serious role; “Eternal Sunshine of the Spotless Mind” and “The Truman Show” have been notable showcases for this, but now he can also add this to his growing catalogue of fine comedic and dramatic
achievements.

Steven Russell (Jim Carrey), a southerner who marries his churchgoing sweetheart (Leslie Mann), then finally reconciles with the reality that he’s gay. In an effort to support a new, extravagant lifestyle he summons his latent gift for larceny and becomes a skilled con artist. Eventually this lands him in prison, where he falls in love with a fellow inmate named Phillip Morris (Ewan McGregor), and his real swindling takes over.

Despite Carrey and McGregor being two of the most familiar faces in film today, they still manage to give entirely believable performances as a gay couple, in a surprisingly heartfelt love story. It’s very brave and bold roles for them both. Carrey brings just enough humour and zaniness without overdoing it and McGregor adds a welcome naive and gentle innocence in their kinetic entanglement. It’s these strong, committed performances that propel this wildly inventive, modern romance. Some may be put off by the homeosexual nature of the story but they needn’t be. This is as valid and earnest as any heterosexual love affair and if anything, only serves to prove how much the actors have invested in it’s telling. It’s not too surprising that this was directed by Glenn Ficarra and John Requa, the writers of the lewd Billy Bob Thornton film “Bad Santa“, but what is astonishing is their ability to keep it all real and their impressive balance of the story. It has all the right ingredients; great characters, an interesting and exciting story, hysterically funny moments, scenes of powerful drama and two excellent lead performances. It never goes into exactly how some of Steven Russell’s swindles are achieved but it’s fun to watch all the same. His elaborate scams border on the implausible but for the fact, that this is based on true events, making it all the more impressive and enjoyable.

A fine and fresh directorial debut for the “Bad Santa” boys, helped by two of the most enjoyable performances of the year. Next up for this directing team is “Crazy, Stupid, Love” with Steve Carell and Ryan Gosling. Here’s hoping it’s half as good as this.

Mark Walker

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Sunshine Cleaning * * * *

Posted in Comedy, Drama with tags 2009 on January 29, 2012 by Mark Walker

Director: Christine Jeffs.
Screenplay: Megan Holley.
Starring: Amy Adams, Emily Blunt, Alan Arkin, Steve Zahn, Jason Spevack, Clifton Collins Jr, Mary Lynn Rasjkub, Eric Christian Olsen, Paul Dooley, Kevin Chapman, Judith Jones.

From the producers of “Little Miss Sunshine” we are told. Unfortunately, a film like this is reduced to riding on the success of another to gain any attention for itself. What a shame, as this well crafted ‘dramady’ has quality all it’s own.

In Albuquerque, N.M., struggling single mum Rose Lorkowski (Amy Adams) starts a business mopping up crime scenes. She has no experience in this highly specialized field so she recruits her stoner sister Norah (Emily Blunt) to help out and both siblings become emotionally involved in the lives and deaths of the messily deceased, while rediscovering their self-esteem and creating a bond between them that they have longed for as sisters.

I can’t say that the tag of a film being ‘produced’ by the same people actually means anything. As far as I’m aware producers don’t add anything creatively to a film. Personally I’m drawn to films that have interesting storylines or people involved that I’ve enjoyed before, and in this case, it’s Amy Adams. Having seen “Junebug” and “The Fighter” of late, I’ve been really impressed by her superb performances which have lead me onto the path of this unanticipated treat. It’s an adept comedy/drama with beautifully understated performances. The balance of dark comedy with family drama is skillfully handled by director Christine Jeffs, from an impressive debut script by Megan Holley. Minus a couple more oddballs family members, this has much in common with the previous producers film “Little Miss Sunshine”. It has the same well drawn characters (Alan Arkin’s eccentric grandpa included, only this time heroine free), the same mix of humour and pathos and the same upbeat tone in downbeat scenarios.

After steadily building a reputation for herself, this is another choice role for the marvellous Amy Adams, who is without doubt, the actress to watch these days. A wonderfully structured little film that achieves a balance in the realism of it’s characters in slightly surreal situations.
An unexpected delight.

Mark Walker

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King Of California * * * 1/2

Posted in Comedy, Drama with tags 2007 on January 28, 2012 by Mark Walker

Director: Mike Cahill.
Screenplay: Mike Cahill.
Starring: Michael Douglas, Evan Rachel Wood, Kathleen Whilhoite, Willis Burks II, Laura Kachergus, Paul Lieber.

Nepotism is rife throughout Hollywood and as much as I despise it, I think I may have to finally admit that after all these years, Michael Douglas does have some talent of his own and isn’t just a by-product of his father Kirk.

Charlie (Michael Douglas) is a free-spirited eccentric who’s just been released from a mental institution and is obsessed with locating an ancient Spanish treasure that he believes is buried right under peoples noses in California. To aide him in his crazy quest – and against her better judgement – he enlists his sixteen-year-old daughter Miranda (Evan Rachel Wood).

Douglas is a treat to watch here. I always took him to be one of the self-important Hollywood types, but here he doesn’t take himself too seriously at all and reminded me that he, has in fact, produced some wonderful comedic performances throughout his career; “War of the Roses”; “Wonderboys”; and “One Night at McCools”, to name a few. His character of Charlie can be included amongst these oddities. He’s highly intelligent but also quite dysfunctional on a basic level and Douglas perfectly captures this creative, intelligent madness. This is also helped by Evan Rachel Wood’s sensitive performance as Miranda and her almost escapist, dreamlike perspective which adds to the surreal and farout nature of her father and her feelings of a stolen childhood, due his quirky demeanor. They are both delightful performances in an unexpectedly delightful film.

It’s not groundbreaking material by any means but it is an original little caper with a real sense for the offbeat.

Mark Walker

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Junebug * * * * 1/2

Posted in Drama with tags 2005 on January 28, 2012 by Mark Walker

Director: Phil Morrison.
Screenplay: Angus MacLauchlan.
Starring: Amy Adams, Embeth Davidtz, Alessandro Nivola, Benjamin McKenzie, Frank Hoyt Taylor, Celia Weston, Scott Wilson.

Following on from this, screenwriter Angus MacLachlan wrote the Robert DeNiro/Edward Norton film “Stone”. Unfortunately, it wasn’t in the same league but we’ve yet to see what director Phil Morrison delivers after this heartfelt independant gem of a film, which remains his one and only feature so far.

On the trail of an eccentric artist in North Carolina, a recently wed Chicago gallery owner (Embeth Davidtz) gets to meet her new family. But while her pregnant sister-in-law (Amy Adams) gushes with enthusiasm, the rest of the household afford a more muted and reserved welcome.

This is a film that could easily have fallen prey to cliche but skillfully manages to avoid it and crafts a wonderfully nuanced character study and earnest portrait of family pressures. The level of uncomfortable communication between this dysfunctional family is astutely captured and subtly delivered with an array of different personalities on screen and a perfect ensemble of actors bringing them to life. Amy Adams is a particular standout, radiating positivity as the loquacious, heavily pregnant in-law and the only one who seems to have any joy in life. You can almost feel the discomfort and awkwardness from the characters and the situations but despite this, we are still shown glimpses of the bond between them in their fragile, yet solid family unit.

A wise and emotionally powerful treat that’s not short on humour or pathos, making it a near flawless piece of craftsmanship by all involved and a reminder that American cinema doesn’t always need to be bang for your buck.

Mark Walker

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The Walker * *

Posted in Drama, Mystery with tags 2007 on January 28, 2012 by Mark Walker

Director: Paul Schrader.
Screenplay: Paul Schrader.
Starring: Woody Harrelson, Lauren Bacall, Kristin Scott Thomas, Lily Tomlin, Willem Dafoe, Mary Beth Hurt, Ned Beatty, Moritz Bliebtreu, William Hope, Steven Hartley.

The last time writer/director Paul Schrader delved into the seedy world of male escorts was in 1980 with “American Gigolo”. That film gained notoriety, not for it’s quality or exemplary filmmaking but for being the first time on screen that there was full frontal male nudity in a mainstream film. Thankfully we are spared such indescretion this time, but it still doesn’t save the film.

Carter Page III (Woody Harrelson) is an escort for some of Washington, D.C.’s finest society women. He accompanies them to several high-class events whenever they are in need of male company. When the husband of one of his lady friends appears murdered, Carter gets caught up in a scandal-tinged murder mystery.

Paul Schrader is normally quite reliable but I wish I had remembered that the aforementioned “American Gigolo” was a stinker before I’d sat down to this equally poor retread and saved myself the time. And quite a bit of time that would have been. It would have amounted to 1hour 47mins, which going by the pace of this film, would have seemed as if I’d saved more. By god this film takes a long time going nowhere. Harrelson puts in a decent attempt as the gay socialite with southern drawl but ultimately he’s miscast. He maintains your interest for a short time and from the beginning the film looks very promising. However, it soon becomes very dull, very quickly, and there’s nothing Harrelson or the impressive supporting cast of fabulous actresses can do about it.

Murder mysteries normally have anticipation, suspense, and intrigue. This has neither, and going by the mis-judged tempo of the film, “The Crawler” would have been a better choice of title.

Mark Walker

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Trainspotting * * * * *

Posted in Crime, Drama with tags 1996 on January 28, 2012 by Mark Walker

Director: Danny Boyle.
Screenplay: John Hodge.
Starring: Ewan McGregor, Robert Carlyle, Ewen Bremner, Kevin McKidd, Jonny Lee Miller, Kelly MacDonald, Peter Mullan, James Cosmo, Eileen Nicholas, Shirley Henderson, Pauline Lynch, Stuart McQuarrie, Keith Allen, Kevin Allen, Dale Winton, Irvine Welsh.

Director Danny Boyle’s marvellous debut “Shallow Grave” was always going to be a hard act to follow but to attempt an adaptation of the ‘unfilmable’ Scottish novel “Trainspotting” by Irvine Welsh, seemed like lunacy. Boyle, however, captures Welsh’s book brilliantly and despite “Slumdog Millionaire” gathering him a best director Oscar, this still remains his best film.

It follows the lives of a group of friends from Edinburgh as they experience the high’s and low’s of life through heroin use. Renton (Ewan McGregor) decides to go clean and rid himself of his affliction and his low-life chums but finds that’s easier said than done. Spud (Ewen Bremner) is too needy, SickBoy (Jonny Lee Miller) is too controling, Tommy (Kevin McKidd) has just taken some bad direction and Begbie (Robert Carlyle) is just plain pychotic. Renton, however, enters into making a one off drug deal with his old pals, so as to make a new life for himself altogether.

Boyle’s film has often been criticised as glorifying drug use. Glorifying drug use? Really? People who believe this must have been watching a different film. The characters involved all behave despicably. They are responsible for thefts, fights, deaths – including the death of a baby. Get imprisoned. Contract HIV. Ruin their lives and others’, all because of their drug habit. What this film has in depth, vibrancy and fun, is the reason it could be mistaken for being pro-drug use but having these qualities is more of a testament to the filmmakers involved, in making a bleak and depressing subject matter, very entertaining. The characters are extremely well written (kudos to writer Welsh) and acted by an ensemble of excellent actors. It made a star of Ewan McGregor, who’s character, although likeable – and brilliantly played – is essentially the person responsible for the downfall of many of the other characters. Notable other performances are Ewen Bremner as “Spud”, the most endearing of the group and a character too gentle for his lifestyle. The best of the bunch though, is Robert Carlyle as the psychotic “Begbie”, who’s choice of drug isn’t heroin but violence, and he’s just as destructive with it. He’s a dangerous and highly volatile person and Carlyle perfectly captures the on-edge feeling of his terrifying unpredictability. It’s an award worthy performance that was sadly overlooked. Everything about the film reeks of class. From it’s rollicking soundtrack, to the rich, snappy dialogue, with great characters in hilarious situations and kinetic fast paced direction. This film has everything going for it and stands as one of the finest films of the 1990’s.

A relentlessly energetic experience that leaves you craving for more, much like the habit of it’s protaganists.
Pure uncut, Class A.

Included in My Top Ten films.

Mark Walker