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Archive for the thriller Category

No Country For Old Men * * * * *

Posted in Crime, thriller, Western with tags 2007 on May 17, 2012 by Mark Walker

Directors: Joel & Ethan Coen.
Screenplay: Ethan & Joel Coen.
Starring: Josh Brolin, Javier Bardem, Tommy Lee Jones, Woody Harrelson, Kelly Macdonald, Garret Dillahunt, Tess Harper, Barry Corbin, Stephen Root, Rodger Boyce, Ana Reeder, Beth Grant, Gene Jones.

Ever since their dark debut “Blood Simple” in 1984, Joel & Ethan Coen have commanded an audience’s attention. They followed that up with the wacky and kinetic comedy “Raising Arizona” in 1987, proving early on, that they were comfortable in any genre. That hasn’t changed over the years but what it does do, is leave you with feelings of anticipation whenever they deliver another film. You just never know what light or dark delights they are going to deliver. This film is the darkest delight they have delivered so far.

While hunting in the Texas desert, a young mid-west cowboy (Josh Brolin) comes across a botched drug deal and decides to snatch a satchel of cash. Unknowingly, there are bigger things at work here and his foolish decision attracts the attention of a relentless hitman (Javier Bardem) who has been sent to recover the money. As bodies begin to pile in their wake, a local Sheriff (Tommy Lee Jones) has the duty of hunting them down.

To foreshorten the opening lines of this film and give an insight from the disillusioned protagonist Sheriff Ed Tom Bell, we are told “… the crime you see now, it’s hard to even take its measure. It’s not that I’m afraid of it. I always knew you had to be willing to die to even do this job. But, I don’t want to push my chips forward and go out and meet something I don’t understand. A man would have to put his soul at hazard. He’d have to say, “O.K., I’ll be part of this world.”” Sheriff Bell is at a loss to explain human behaviour and the evil actions of people that he has pursued throughout his career in law enforcement. He is the weary heart and soul of this movie and a character that Tommy Lee Jones can do in his sleep. He serves as one part of three characters whose lives explosively intersect. The others include; Llewelyn Moss (Josh Brolin) a foolish young man who doesn’t quite grasp the enormity of his actions, which in turn, attract the attention of very disturbed and dangerous killer Anton Chigurh (Javier Bardem) – who makes decisions on the flip of a coin and wields a hydrolic cattle gun as a weapon. Cleverly, the Coens have them sharing very little (if any) screen time and Jones’ Sherrif always two steps behind the aftermath of destructive events.
As always, the Coens are at the top of their game and have a good grasp on this adaptation of Cormac McCarthy’s novel. They capture his recurrent themes; isolation, the passing of time and changing epoch’s. In “The Road” McCarthy explored a post-apocalyptic change. In this, it’s the end of the western way of life and despite life-experienced characters, a lack of understanding in the reasons for it’s happening. Throughout their films they have delivered consistent moments of suspense. Here though, the Coens outdo themselves with regular scenes of unbearable tension (done without the use of music). The actors are all up to the task and despite Lee Jones and the Oscar winning Bardem receiving most of the plaudits, Brolin also delivers an absolutely solid, low-key performance. No Coen brothers review would be complete without mentioning the sublime talents of their regular cinematographer Roger Deakins. Yet again, his stark and beautiful camerawork compliments the barren landscapes that these characters roam. As always, his and the Coens’ vision complete one another. One of the brothers’ finest films and thoroughly deserving of its best picture and director(s) Oscar awards.

If you’re aware of the Coen brothers’ canon (and most filmgoers are) then combine “Fargo” and “Blood Simple” and this is what you get… only better. A very gripping and powerful neo-western.

Mark Walker

35 Comments »

The Son Of No One *

Posted in Crime, thriller with tags 2011 on May 10, 2012 by Mark Walker

Director: Dito Montiel.
Screenplay: Dito Montiel.
Starring: Channing Tatum, Al Pacino, Ray Liotta, Katie Holmes, Juliette Binoche, Tracy Morgan, James Ransone, Jake Cherry, Brian Gilbert, Ursula Parker.

Writer/director Dito Montiel made a great debut in 2006 with the autobiographical “A Guide To Recognising Your Saints“. He made good use of working class, New York locations and assembled an impressive cast. He does the same with this but the end result is far less satisfying.

Jonathan White (Channing Tatum) is a rookie cop who seemingly has the world on his shoulders. He is assigned to the same Precinct of his late father in the same district where he grew up as two unsolved murders from his childhood resurface. These murders may or may not involve him and/or retired Detective Charles Stanford (Al Pacino). Anonymous letters begin to appear from a person who claims to know the identity of the killer and Precinct Captain Marion Mathers (Ray Liotta) wants the case cleared up before it threatens the lives and careers of some possible corrupt cops.

Montiel approaches this with a real gritty realism and the film starts very positively. Name, after recognisable name, appear on the opening credits and the talented cast of excellent performers lead you to believe that this might be something quite special. This belief actually lasts for the first half hour or so, as Montiel builds the layers of his story and employs the use of flashbacks to do so. However, it reaches a point where you realise the film has no sense of urgency and that you’re none the wiser as to what the hell is going on. This is not because the story is complicated but because the actions and behaviour of most the characters are frankly, baffling. If Montiel had a coherent story to begin with, then he certainly doesn’t know how to tell it. It, quite simply, doesn’t make sense and the plot holes are insulting. I’d be revealing too much to go into detail but the denouement itself is absolutely ludicrous and you can’t help but feel sorry for the actors. Even they have a look of bewilderment. I often wonder what great actors see in a script and whether any of them even read this one? I can only assume that some of this film was lost on the cutting-room floor and that in script form it actually made sense because if it didn’t, I think everyone involved (including Pacino) should take a sabbatical.

90 mins of unintelligible, inarticulate pap. After this and stinkers like “88 Minutes” and “Righteous Kill” it would seem that Al is losing his touch in recognising a good crime thriller. In fairness though, this might just come down to a bad case of editorial yips.

Mark Walker

9 Comments »

Tinker, Tailor, Soldier, Spy * * * *

Posted in Mystery, thriller with tags 2011 on May 8, 2012 by Mark Walker

Director: Tomas Alfredson.
Screenplay: Peter Straughan, Bridget O’Connor.
Starring: Gary Oldman, Colin Firth, Tom Hardy, Mark Strong, John Hurt, Benedict Cumberbatch, Ciaran Hinds, Toby Jones, David Dencik, Stephen Graham, Konstantin Khabensky, Svetlana Khodchenkova, Simon McBurney, Kathy Burke.

After the success of his Swedish horror film “Let the Right One In“, director Tomas Alfredson tackles the novel of John le Carre which first aired as a British TV miniseries in 1979 starring Alec Guinness. It’s a tough project to take on, when all eyes are on you but Alfredson’s abilities are perfectly suited to the material.

After a botched mission, the head of MI6, British Intelligence spymaster, known as Control (John Hurt) is sacked from the agency along with his number-one man, George Smiley (Gary Oldman). Soon after their sacking, information is revealed that a Soviet mole has infiltrated the Secret service and worked his way up to the highest echelon. Smiley is then approached to take on a new assignment: spy on the spies and find out who the mole could be.

The first thing to grab your attention about this film is its style. It captures London in the 1970’s to the minutest detail and cinematographer Hoyte Van Hoytema deserves every credit for his striking work here. To compliment the lush imagery is a perfectly pitched score by Alberto Iglesias and within minutes the game, that is espionage, is set. Alfredson is a director that obviously likes to work at a certain pace. That pace may be excruciatingly slow for some people but it can also be highly effective. In this case, it’s the latter. This film ruminates long and hard on it’s characters and their subtleties. However, it is so convoluted and dialogue driven that the slightest lapse in concentration will leave the film incomprehensible. I don’t profess to have understood it entirely but I kept up to speed enough to be left satisfied with the outcome. My review of this may be posted a little early though, as this is a film that definitely requires at least two sittings. For that reason, I have settled on my current rating but that will only ever get higher if I ever get around to that second viewing. A couple of criticisms I had was a lack of any real action. Don’t get me wrong, I wasn’t expecting Jason Bourne to make a appearance but it threatened a few exciting set-pieces and then didn’t deliver. The other was the identity of the double-agent; it became clear earlier than it should have which lessened the impact of the final revelation. These are small gripes though as the suspense and intrigue were engrossing and more than competently handled by the director and his eclectic cast of quality British actors – I happen to be an admirer of every one of them. It’s Oldman though, in the lead role, that is the real standout. He’s very reserved and it’s a performance that may disappoint fans of his intense roles like Drexl from “True Romance” or Stansfield from “Leon” but he holds a presence that hints of something darker to his character. At first, it was a performance that I didn’t really see what all the fuss – and Oscar nomination – was about. That was, until the film draws to close and you realise that Oldman has had you captivated for over two hours. The story itself is difficult to speak of as I’d be entering into spoiler territory, not to mention my review would be in danger of becoming very long-winded. Rest assured though, this is a thoroughly involving and accomplished mystery.

An enthralling and masterfully constructed spy thriller that is handled with such a deftness of skill that it doesn’t allow you to switch off for a second.

Mark Walker

23 Comments »

Heat * * * * *

Posted in Crime, Drama, thriller with tags 1995 on April 26, 2012 by Mark Walker

Director: Michael Mann.
Screenplay: Michael Mann.
Starring: Robert DeNiro, Al Pacino, Tom Sizemore, Val Kilmer, Jon Voight, Kevin Gage, Diane Venora, Amy Brenneman, Ashley Judd, Mykelti Williamson, Wes Studi, Ted Levine, Danny Trejo, Dennis Haysbert, William Fichtner, Natalie Portman, Tom Noonan, Hank Azaria, Henry Rollins, Tone Loc, Jeremy Piven, Xander Berkeley, Martin Ferrero, Bud Cort.

When this was released in 1995, most people believed it to be an original idea. It wasn’t. It was actually a more fleshed out and elborate version of Michael Mann’s 80’s TV movie “L.A. Takedown“. He obviously didn’t have the budget or the actors, to realise his vision at this time, so with a second chance, Mann grabs it with both hands and both of the best actors in the business.

Professional and precise thief Neil McCauley (Robert DeNiro) lives by a strict code and doesn’t take chances. He has a tight-knit crew that takedown big jobs for big money but he ends up drawing the attention of determined and obsessive robbery/homicide cop Vincent Hanna (Al Pacino). The two of them have more in common than one might think and as their worlds draw closer, they are led to an inevitable confrontation.

At it’s core, “Heat” can be viewed as an old fashioned cops-and-robbers tale but it’s done with such vastness and great attention to detail that it rises above most, if not all, of the genre. It not only focuses on the the lives of the two main characters – at opposite ends of the moral scale – but it pays attention to the city and environment in which they operate. What almost overshadowed the storyline, was the anticipation of seeing DeNiro and Pacino share the screen for the first time (They were both in “The Godfather part II” but never had any scenes together). Comparisons between their acting styles will obviously be made and without focusing too much on their different approaches, I found DeNiro’s more subtle, calculating delivery far more convincing than Pacino’s tendency to overact with random, explosive outbursts, bellowing at everyone he meets. There, I said it. However, the film is far more than just these two great actors. It’s a multi-layered character study and the supporting roles, particularly Sizemore and Kilmer (in a role originally intended for Keanu Reeves) are given a substantial amount of work and the female parts of Venora, Brenneman and Judd play a massive part in shaping the leads also. We are given a glimpse into their home lives and the struggle they all face in maintaining a ‘normal’ life – when it goes against their nature. The actors are all given roles to work with, allowing us to identify and care about them. It’s because of this, that when the action is delivered, it’s edge of your seat stuff. There are three great ‘Getaway’ scenes from movies that I found particularly powerful; Kathryn Bigelow’s “Point Break” had Keanu Reeves and Patrick Swayze (on foot) running through suburban houses and backyards; The opening of Nicolas Winding Refn’s “Drive” had Ryan Gosling (in a car) careening and speeding through a darkened urban jungle and this… the major characters (with weapons) shooting it out through a busy congested Los Angeles street. As much as this isn’t just about the two leads, it’s not just about the action either. It’s more about the city itself and it’s inhabitants. The refined dialogue allows these inhabitants to come alive and Mann’s meticulous, hypnotic direction and ethereal choice of music breathes life into the city as well.

An exciting and methodical piece of work from a highly accomplished cast and director. A near masterpiece of modern cinema.

Mark Walker

28 Comments »

Haywire * * * 1/2

Posted in Action, thriller with tags 2011 on April 17, 2012 by Mark Walker

Director: Steven Soderbergh.
Screenplay: Lem Dobbs.
Starring: Gina Carano, Ewan McGregor, Michael Fassbender, Channing Tatum, Bill Paxton, Antonio Banderas, Michael Douglas, Mathieu Kassovitz, Michael Angarano, Anthony Brandon Wong.

With a first-rate cast at his disposal, director Steven Soderbergh, decides to have them play second-fiddle to his unknown lead, Gina Carano – a real, mixed martial arts fighter – who has never acted before. Soderbergh himself is also on new ground with his first foray in the action genre. And the results, I hear you say? The results, happen to be rather impressive. Soderbergh’s gamble pays off.

Mallory Kane (Gina Carano) is a no-nonsense, highly trained, black ops soldier who gets double-crossed during a government security mission. Assassins from across the globe target her every move and are out for the kill but Mallory turns the tables, in her bid for the truth and her survival.

Double-dealing’s, back-stabbing and espionage across international locations have been done many times before – most recently in the Bourne series. This may leave you feeling that your time is being wasted but it’s to Soderbergh’s credit that he still finds some mileage in it. That’s thanks in large, to his independent approach. The film is well shot throughout, with a minimal music score and excellently choreographed action set-pieces. The fisticuffs themselves are even delivered with the sound toned down, making them all the more realistic and Carano’s fighting abilities are very apparent and impressive. Her acting chops may leave a little to be desired but at the end of the day, she’s there to throw her weight around and that’s exactly what she does. The very fine supporting cast also pitch in and Soderbergh manages to get them sharing scenes with one another. It’s always a pet-hate of mine to see an excellently assembled cast that don’t share any screen time. This fulfils on that front. He also knows not to overstay his welcome and with a running time of approx 90mins, this doesn’t waste any time in getting down to the nitty-gritty.

The story is old-hat and the film has come into some mixed reviews but with an eclectic supporting cast of first-rate actors and a heroine (without the use of CGI) that can genuinely bust a few heads, what more do you want from an action film that pretends to be nothing other than just that. Good quick fun.

Mark Walker

13 Comments »

The Woman In Black * * 1/2

Posted in Horror, Mystery, thriller with tags 2012 on March 15, 2012 by Mark Walker

Director: James Watkins.
Screenplay: Jane Goldman.
Starring: Daniel Radcliffe, Ciaran Hinds, Janet McTeer, Shaun Dooley, Roger Allam, Sophie Stuckey, Ailsa Khazanova, Liz White, David Burke, Daniel Cerqueira.

Now that Harry Potter has waved his last wand, actor Daniel Radcliffe has to go and work for a living. Somehow, he has to convince that he can shake off the confines of his, boy wizard, signature role. On this evidence, he just might still earn enough to pay the rent.

Arthur Kipps (Radcliffe) is a recently widowed, young solicitor that’s sent to a Yorkshire village to clear up the affairs of a recently deceased woman who lived in a remote house. When he arrives he finds that the house holds a dark history and the frightened villagers won’t dare go near it.

I have said it, time and time again… Good horrors are very hard to come by. When this was released, it seemed the horror genre was, wisely, going back to it’s origins. Not least, in that it was produced by ‘Hammer’ studios. It takes the story back to early 20th century, Victorian times, with the basic, tried and tested, haunted house and lurking evil spectre. It also seizes the opportunity to cram in all the obligatory conventions of a horror; the creaking empty rocking chair, the porcelain dolls, mechanical toys that operate on their own and ghostly faces appearing in upstairs windows. Things, do indeed, go bump in the night. The house is vast and spooky; the land is barren and desolate and the locals have a fear and trepidation of newcomers. Director James Watkins and cinematographer Tim Maurice-Jones undoubtedly assemble the perfect creepy atmosphere and the look of the film is sublime. Where it falters though, is in it’s pace. A good ghost story should, rightly, take it time and build on it’s premise – which this does – but it shouldn’t be laboured to the point that you have lost interest before the spectre is properly revealed. This took forever to get going and when it finally did, it was all over. The second half of the film is rushed and the Arthur Kipps character’s transition from solicitor to hands-on ghostbuster happens a little too quickly and easily. As far as Radcliffe is concerned, he still looks a little too young to convince as an adult but with his five o’clock stubble and pallid complexion, he and us, soon settle into the role. He doesn’t really have a lot to do though, other than wander around looking perturbed. Which he does competently.

Yet another horror that fails to live up to the anticipation. The whole is not the sum of it’s parts and it spends too much time trying to force a reaction, rather than earning one.

Mark Walker

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Memento * * * * *

Posted in Film-Noir, Mystery, thriller with tags 2000 on March 14, 2012 by Mark Walker

Director: Christopher Nolan.
Screenplay: Christopher Nolan.
Starring: Guy Pearce, Carrie-Anne Moss, Joe Pantoliano, Mark Boone Jr., Stephen Tobolowsky, Harriet Sansom Harris, Jorja Fox, Callum Keith Rennie, Larry Holden.

Before his foray into the adventures of the Caped Crusader with “Batman Begins“, “The Dark Knight” and “The Dark Knight Rises” or even his mind-bending Science fiction actioner “Inception“, director Christopher Nolan delivered this independent, teasingly constructed, psychological thriller in 2000. It was based on an original idea by his brother Jonathan and was only his second feature – after his debut “Following” in 1998. It also marked the emergence of a brilliant directorial talent.

Leonard Shelby (Guy Pearce) is a man who suffers from short term amnesia. He can’t make new memories. The last memory he has, is of his wife… dying. Leonard knows one thing; his wife was murdered. He doesn’t know by whom though and sets out to find her killer, with his condition causing an obvious problem. So as not to forget any information he comes across, it has to be taken, either in photograph or tattooed to his body. Every waking day he has, is a fresh start and a fresh investigation with people manipulating him along the way. Or is he manipulating his own mind…?

With the arrival of Quentin Tarantino in the early 90’s and his films “Reservoir Dogs” and “Pulp Fiction“, it became cool again, to deliver films in different time frames and to manipulate the chronology of the narrative. Tarantino was by no means the first, but he influenced a new generation of filmmakers. There was an abundance of low-budget crime thrillers that attempted to emulate his success. It wasn’t until Christopher Nolan delivered this though, that even Tarantino had been surpassed.
According to Nolan, the best place to start his story, is at the end. Who am I to question that? Who am I to question one the finest independant films to come across in years? He does indeed start at the end of the film, working his way back to the beginning and taking you through one of the most jaw dropping and confusing films I’ve ever seen… and I’ve seen a lot. Straight away, we know how this story plays out but the skill is in finding out why.
Not only is the narrative manipulated but the most impressive thing about this, is how we participate in the main characters frame of mind. He is us, as we try to decipher an elaborate murder mystery, in reverse order. If your not carefully listening or observing, this will leave you miles behind. Rarely does a film demand such unconditional attention and still have you scratching your head. It’s not only the accomplished direction or the vice-like script that’s impresses though. Guy Pearce’s central performance is also marvellous. He displays the perfect amount of vacantness, unsure of himself and others, with glimmers of paranoia and despair. Without a performance to capture this characters bewilderment, it wouldn’t have worked as well as it does.

The tag-line for this was… “Some memories are best forgotten”. The same can’t be said for this film. It won’t allow you to forget it. An absolutely gripping and perplexing modern noir from Nolan and one of the finest and most orginal films for a very long time.

Included in My Top Ten films.

Mark Walker

8 Comments »

Rise Of The Planet Of The Apes * * * *

Posted in Action, Science Fiction, thriller with tags 2011 on February 8, 2012 by Mark Walker

Director: Rupert Wyatt.
Screenplay: Rick Jaffa, Amanda Silver.
Starring: James Franco, Andy Serkis, John Lithgow, Freida Pinto, Brian Cox, Tom Felton, David Oyelowo, Tyler Labine, Jamie Harris, David Hewlett, Ty Olsson.

In 2008 director Rupert Wyatt made his debut with British film “The Escapist”. It was a tense and excellently constructed prison drama that was seen by few. Thankfully, someone from across the pond took notice though and gave him a chance on a larger scale. He delivers big-time.

Will Rodman (James Franco) researching a cure for Alzheimer’s takes home a baby chimpanzee after its mother – supposedly a failed experiment – is destroyed. Caesar (Andy Serkis), the chimp, exhibits near-human intelligence, and comes to question his kind’s place on a human planet. After attacking a neighbour, Caesar is impounded and it’s here that he meets other apes and foments rebellion.

This is old school entertainment, in classic B-movie style. It has the hero with a heart and the stereotypical corporate villain. I don’t normally go in for big laden special effects films of this kind but it’s hard to resist when they’re this much fun. Andy Serkis seems to be the actor in the forefront of motion capture these days. His credentials including, “The Lord of the Rings”, “King Kong”, “The Adventures of Tintin” and the forthcoming “The Hobbit”. This, being no less effective. In fact, it may well be his finest yet. He delivers a subtle and soulful performance. As mentioned, the near flawless special effects play a big part in this and are, quick frankly, outstanding.
The biggest disappointment though, is the ending. It’s an obvious set-up for a sequel which leaves an unsatisfying conclusion and the feeling that you’ve just been teased.

As pure unadulterated entertainment this is second to none. One of the most fun-filled films of the year and my personal favourite from the apes franchise.

Mark Walker

3 Comments »

Contagion * * * 1/2

Posted in Drama, thriller with tags 2011 on February 3, 2012 by Mark Walker

Director: Steven Soderbergh.
Screenplay: Scott Z. Burns.
Starring: Matt Damon, Kate Winslet, Marion Cotillard, Jude Law, Laurence Fishburne, Gwyneth Paltrow, Bryan Cranston, John Hawkes, Elliott Gould, Jennifer Ehle, Larry Clarke.

Director Steven Soderbergh is no stranger to switching a theme or two. If you look through the films he has delivered over the years – “Sex, Lies and Videotape”, “Solaris”, “Erin Brockovich”, “Traffic”, “Out of Sight” and “Che” to name a few – you’ll find it difficult to pigeonhole him to any particular genre. This is yet another change of direction from him.

As an unknown and deadly virus spreads across the world, a man (Matt Damon) struggles to cope with it’s tragic impact on his family and the death of his wife (Gwyneth Paltrow), while a World Health Organisation doctor (Marion Cotillard) seeks to find its source and the Centers For Disease Control And Prevention (Laurence Fishburne and Kate Winslet) fight to contain the epidemic and make a vaccine. Meanwhile, a blogger (Jude Law) claims he knows the true cure…

Surprisingly, there are very few of these types of films anymore. The premise is always a winner as it can genuinely strike fear into people but for one reason or another they never seem to reach the screen as much as they should. In 1995 director Wolfgang Petersen released the similarly themed “Outbreak” that dealt with an epidemic of deadly proportions. That film had a Gung-ho approach but the cruciality it had is exactly what this film lacks. Where Soderbergh falters is trying to squeeze in too much detail and not enough drama. His detail is impressively meticulous though which adds a frightening sense of realism but there’s also a feeling of distance from the characters. Despite this, it strangely still manages to hold your attention and even on occasion, your breath. There is some fine acting on show from a first class ensemble – particularly Damon – but with all that’s going on, the investment in the characters just isn’t there, leaving the impressive cast slightly wasted. The premise is a gripping one though and it’s horror in it’s most frightening and realistic form.

A bold attempt by Soderbergh and as a commentary on the fragility of our society it’s a winner, but as entertainment it’s lacks a sense of urgency.

Mark Walker

2 Comments »

Hanna * 1/2

Posted in Action, thriller with tags 2011 on February 3, 2012 by Mark Walker

Director: Joe Wright.
Screenplay: Seth Lochhead, David Farr.
Starring: Saoirse Ronan, Eric Bana, Cate Blanchett, Tom Hollander, Olivia Williams, Jason Flemyng, Jessica Barden.

When “Atonement” was released in 2007, I was pleasantly surprised by how solid a film it was, considering it’s not normally something I’d be drawn to. After that, director Joe Wright went up in my estimation. As did a young Oscar nominated Saiorse Ronan from that film. Much to my delight, they both collaborated again on this espionage thriller. That being said, ‘thriller’ is not exactly the word I would choose for this and it’s certainly nowhere near the standard of their earlier production.

Hanna (Saiorse Ronan) is a young girl who, for most of her life, has been living in the wilderness away from society and being conditioned to be a crack assassin by her father (Eric Bana). When decided that she wants to leave her cloistered life, she finds herself on the run from the CIA in the stern form of Marissa (Cate Blanchett), the very person who knows who or what Hanna really is.

When I first saw the trailer and some of the critical praise this film was recieving I couldn’t wait to see it. That anticipation was maybe the reason I was so disappointed in the delivery though. Everything seemed distant, far-fetched and unreal and not quite what I think was intended – If it was intended, it didn’t work. It started to become a childs eye-view of the world and more specifically, a teenage girls eye-view. This was not what I was expecting at all. I was expecting action, thrills and suspense. I was expecting the film that we were told it would be. Not some dull coming-of-age tale masquerading as an espionage film. It has a couple of impressive action set-pieces but that’s it. The themes have been explored thousands of times before and this brings nothing new to the table. I also struggled to connect to the characters and their unnecessary accents. There were plot holes aplenty and some characters even left without an explanation as to what happened to them. The level of inconsistencies are lazy and quite frankly, insulting. On the plus side, ‘The Chemical Brothers’ soundtrack is fast paced and kinetic and has a vibrancy the film lacks. The performances were also good (despite the dodgy accents). Ronan and Bana are always reliable and Tom Hollander pitches in a creepy role. Blanchett is an actress I have always admired and here her acting is great, but there’s just one problem… It looks like she has stepped onto the wrong set. Her emotional responses are baffling and don’t seem to fit what’s happening onscreen. Very talented actors with wasted efforts. Three times it took me to finally finish watching this. Not because it was convoluted or demanded a level of attention but because it was tedious and uneventful. The only reason I attempted it three times is because I thought I must be missing something. Surely, it couldn’t be as bad as what I was witnessing. Sadly, it was. I’m astonished at the praise this has recieved. It’s an absolute turkey with the only redeeming qualities being a glimmer of originality and very commited performances.

Director Joe Wright still has a lot to learn. After the equally bad “The Soloist” and now this, it’s starting to look like the solid “Atonement” was a fluke. Dull as dishwater.

Mark Walker

4 Comments »

Red State * 1/2

Posted in Action, Horror, thriller with tags 2011 on February 2, 2012 by Mark Walker

Director: Kevin Smith.
Screenplay: Kevin Smith.
Starring: Michael Parks, Melissa Leo, John Goodman, Kevin Pollak, Michael Angarano, Nicholas Braun, Ronnie Connell, Kaylee DeFer, Stephen Root, James Parks, Kyle Gallner, Gary Sievers, Damien Young.

After the critical panning of his Bruce Willis starring “Cop Out“, writer/director Kevin Smith had to prove that he still had something to offer. On this evidence he doesn’t and maybe this film would be better with the title “Cop Out” instead.

Pastor Abin Cooper (Michael Parks) is a fundamentalist preacher who kidnaps and executes “sexual deviants” and three teenage boys find themselves lured to him in search of group sex from a woman on the Internet. Things go a bit too far though, which attracts the attention of veteran ATF agent Joe Kennan (John Goodman) who lays a siege on Cooper’s heavily armed church.

It’s redneck country and Smith doesn’t fuck about. He delves straight into the extreme religious mindset (probably the same religious fanatics who criticised his film “Dogma“) and he chooses to address it in the torture porn fashion. Gone are his eccentric characters, sharp snappy dialogue and obvious ability for comedy. In their place are detestable characters, mundane monologues and brutal violence. All done with shaky handheld camerawork. It’s not smart and it’s not clever. I have to admit it left a very bad taste very quickly and I couldn’t quite work out the point. Was it to prove his naysayers wrong by changing genres? Or was it a personal attack on his critics? Who knows? Who cares? I’m really not into this disasteful type of filmmaking. Yes, it may be an attack on his critics but Smith is far more intelligent than having to resort to this type of material. I’m a longtime admirer of John Goodman, Michael Parks and Melissa Leo but what the fuck? Did anyone think to inform them of the script before they commited themselves to this? Every one of the characters meant absolutely nothing me but I think I was supposed to care. This is raw, visceral, self ejucalatory nonsense. I hate the very small mindset of the people Smith depicts, but that doesn’t mean I want to spend an hour an a half watching that trash, regardless of them getting their heads blown off or not. And to top it all, just when you think it might all make sense, you get a “single note trumpet blast through an iPod” as an explanation for a major plot development? Give me a break! If it sounds ridiculous that’s because it is.

The very last words uttered at the end of this movie are… “Shut the fuck up!”. I wish those had been the words heeded by the director before embarking on this major shit heap.

Mark Walker

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Shallow Grave

Posted in Crime, thriller with tags 1994 on February 2, 2012 by Mark Walker

Director: Danny Boyle.
Screenplay: John Hodge.
Starring: Ewan McGregor, Christopher Eccleston, Kerry Fox, Keith Allen, Ken Stott, Colin McCredie, Peter Mullan, Gary Lewis, Tony Curran, John Hodge.

“I’m not frightened. I’m a little terrified maybe”

Before moving on to work with such lucrative film stars as Leonardo DiCaprio in The Beach or reaching the Oscar winning heights of Slumdog Millionaire, director Danny Boyle cut his teeth on this low-budget Scottish crime thriller – which still remains one of his finest films to this day. Continue reading →

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Source Code * * * *

Posted in Mystery, Science Fiction, thriller with tags 2011 on February 2, 2012 by Mark Walker

Director: Duncan Jones.
Screenplay: Ben Ripley.
Starring: Jake Gyllenhaal, Michelle Monaghan, Vera Farmiga, Jeffrey Wright, Brent Skagford, Cas Anvar, Michael Arden, Craig Thomas, Russell Peters.
Voice of: Scott Bakula.

Director Duncan Jones’ debut “Moon” has been one of the best science fiction films of recent times, causing obvious excitement and anticipation for his next project. Well… this is that project, and although it doesn’t quite match the quality of “Moon“, it cements Jones’ position as a great new talent.

US military helicopter pilot Colter Stevens (Jake Gyllenhaal) is drafted as a test subject for a scientific process which can project his consciousness into the past (and another person’s body) for a limited time. Suspicious of his handler Captain Goodwin (Vera Farmiga) and the programme’s director (Jeffrey Wright), Stevens repeatedly lives through the last eight minutes of the life of a passenger on a commuter train which has just been destroyed by a terrorist bomb until he can find the person responsible.

There’s nothing quite like getting down to business and that’s exactly what Duncan Jones does here. Within minutes we are thrust into the action and spiralling plot and admirers of the television series “Quantum Leap” will no doubt realise that they are on familiar ground. In keeping with similiar themes from his previous film, Jones explores the isolation of Gyllenhaal’s character, which results in paranoia and distrust for those around him. Questions are also posed as to his identity and mortality, much in the same way of Sam Rockwell’s character in “Moon“. Two very different films sharing common themes. Jones is the type to include a few in-jokes in his films also. There’s a Chesney Hawkes ringtone being a reminder of Rockwell’s alarm clock in “Moon” and the voice of Gyllenhaal’s father provided by a certain Scott Bakula from “Quantum Leap”. Not to mention an uncanny likeness to (Jones’ father) David Bowie’s 1969 song “Space Oddity”. It’s a story that shares similarities with many before it… “12 Monkeys” and “Groundhog Day” being a notable couple. However, Jones makes his own impression on this common premise and is helped with great performances by his actors. The only problem was the questionable ending. It had it all wrapped up at one point before deciding on a crowd pleasing Hollywood number that let’s down an otherwise excellent film.

Intriguing and thought provoking. Keeping you hooked and interested from the get go. Science Fiction has a great future if Duncan Jones stays involved.

Mark Walker

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The Lincoln Lawyer * * *

Posted in Drama, thriller with tags 2001 on February 2, 2012 by Mark Walker

Director: Brad Furman.
Screenplay: John Romano.
Starring: Matthew McConaughey, Marisa Tomei, Ryan Phillippe, Josh Lucas, William H. Macy, John Leguizamo, Michael Pena, Bob Gunton, Frances Fisher, Bryan Cranston, Trace Adkins, Shea Whigham, Michael Pare.

Court room drama’s and legal jargon can be surprisingly gripping entertainment, which makes me wonder why there isn’t more of them. Unfortunately, we’ve been fed a staple of John Grisham stories throughout the years which I find empty and do very little for me. But it was John Grisham adaptation “A Time to Kill” years ago that Matthew McConaughey was actually any good in a film. Until now.

L.A. criminal lawyer Mick Haller (McConaughey), who works out of his chauffeured Lincoln Continental car, takes on an unusually high-profile case defending Louis Roulet (Ryan Phillippe), the scion of a wealthy family who’s accused of beating and raping a prostitute. There’s clearly more to it than meets the eye though, and it may tie into a case Haller tried some years ago.

Slick, fast and cool. This starts with an energy that Grisham adaptations lack and it’s good to see McConaughey drop those abysmal rom-coms and tackle a role more suited to his style. However, with such a strong opening and fast pace, it soon gets bogged down around the midway point and struggles to recover. McConaughey goes from confident and fast talking to angst ridden and desperate rather quickly. It’s a sudden change that doesn’t suit but McConaughey shows impressive range nonetheless. And just when he gets back to his old self, the denoument then feels rushed. His once strained relationship with his ex-wife becomes unrealistic and the whole affair is wrapped up rather quickly, leaving what was a very strong and potentially great film falling flat.

A good legal thriller that moves at a brisk pace with several twists and turns. It starts to eventually trip over itself and doesn’t fulfill it’s early promise but it just about manages to get by on McConaughey’s charisma.

Mark Walker

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Killshot * *

Posted in Crime, Drama, thriller with tags 2008 on February 2, 2012 by Mark Walker

Director: John Madden.
Screenplay: Hossein Amini.
Starring: Mickey Rourke, Joseph Gordon-Levitt, Thomas Jane, Diane Lane, Rosario Dawson, Lois Smith, Don McManus, Hal Holbrook.

Novelist Elmore Leonard’s writing is always sharp with snappy dialogue and well drawn characters. His stories are so descriptive that he’s practically already written the script, making his books easy to adapt to the screen. This was one that had all the ingredients for being another successful transfer from page to screen, but for the fact that it’s mediocre and lifeless.

Wayne Colson (Thomas Jane) and his estranged wife Carmen (Diane Lane) are placed in the Federal Witness Protection program after witnessing an extortion scheme go wrong. Under the protection of the F.B.I isnt enough though, when experienced hit-man Armand “Blackbird” Degas (Mickey Rourke) and psychopathic young upstart killer Richie Nix (Joseph Gordon-Levitt) are determined to track them down.

Notable successful adaptations of Leonard’s novels have been Steven Soderbergh’s “Out of Sight”, Barry Sonnenfeld’s “Get Shorty” and Quentin Tarantino’s “Jackie Brown” but this actually achieves something that none of them managed to do and something thats not easy to do either… making Elmore Leonard’s writing seem dull. This is devoid of any excitement at all. They have taken any form of suspense out and made a slow, lethargic excuse for a thriller. Rourke (as usual) is great in his brooding role and Gordon-Levitt adds some edge to the film as his pyschotic sidekick – roles that were originally intended for Robert DeNiro and Quentin Tarantino – but “Shakespeare in Love” director John Madden gets it all wrong. His treatment is flat, but I’m assuming that the fact the screenplay went through uncredited rewrites and the film itself was held back from release due to extensive cuts (Johnny Knoxville playing a crazy sheriff being a major one) that the whole troubled production has not been kind to its director. It all shows in the end result.

If it wasn’t for Rourke and Gordon-Levitt, this would be a complete waste of time. A wasted opportunity and an example of how a good story can be muddled in the wrong hands.

Mark Walker

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Edge Of Darkness * * *

Posted in Crime, Drama, Mystery, thriller with tags 2010 on February 2, 2012 by Mark Walker

Director: Martin Campbell.
Screenplay: William Monahan, Andrew Bovell.
Starring: Mel Gibson, Ray Winstone, Danny Huston, Bojana Novakovic, Shawn Roberts, David Aaron Baker, Jay O. Sanders, Damian Young, Denis O’Hare, Caterina Scorsone.

Having concentrated more on his directorial duties with “The Passion of the Christ” and “Apocalypto”, Mel Gibson had seemingly abandoned acting. This is his first acting vehicle since 2002’s “Signs” and straight away he’s back to doing what he does best; playing unhinged loose cannons.

When the daughter of veteran Boston detective Thomas Craven (Mel Gibson) is killed in front of him, police assume he was the target. But Craven begins to suspect it’s to do with the shady businessman Jack Bennett (Danny Huston) she was working for and begins to start digging to uncover the truth.

The advertising campaign for this film is quite misleading. This is no slam-bam actioner like they would have you believe, but if you are familiar with the 1980’s BBC television mini-series on which it’s based, then you’ll have a better idea of what to expect. This is a slow burning conspiracy thriller that’s very deliberately paced and certainly in no rush to tell it’s story. It’s mainly dialogue driven with Mel not giving too much away while teetering on the brink. Then all of a sudden there are graphic bursts of violence and action that have you jumping out of your seat. These moments are highly effective and realistic but unfortunately too few. The performances are good, Gibson can do this stuff in his sleep, the sleazy Danny Huston can do likewise, as can Ray Winstone playing yet another hard man. The problem is, they talk a good game. Sitting around bumping their gums when they should be bumping some heads and leave a few unexplained plot strands along the way.

A decent conspiracy thriller with highly effective and unexpected bursts of action. Unfortunately, the action is just a bit too sporadic for it to completely grip.

Mark Walker

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American Perfekt * *

Posted in Crime, thriller with tags 1997 on February 2, 2012 by Mark Walker

Director: Paul Chart.
Screenplay: Paul Chart.
Starring: Robert Forster, Fairuza Balk, Amanda Plummer, David Thewlis, Paul Sorvino, Joanna Gleason, Geoffrey Lewis, Chris Sarandon, Jay Patterson, Judson Mills.

This was one of those crime thrillers that came along in the wake of Quentin Tarantino’s emergence and tried to emulate his style for ‘cool’ violence. The only thing this has in common with Q.T. though, is Pulp Fiction’s Amanda Plummer and Jackie Brown’s Robert Forster in the cast. The rest pales in comparison and frankly, I don’t see much of a resemblance.

A young woman (Fairuza Balk) travelling through the desert on her way to meet her sister (Amanda Plummer) crosses paths with a psychotic physician (Robert Forster) who decides his actions on the flip of a coin.

When I seen this years ago, I was thoroughly entertained and thought it was a highly original and exciting film. On second viewing, it doesn’t quite stand up to scrutiny. The originality I thought it once had is basically taken from novelist Luke Reinhart’s “The Dice Man”. What is an intriguing premise is played out with such a lack of urgency that it becomes very tedious, very quickly. It picks up when Fairuza Balk arrives in town though and Forster’s psycho pychologist begins to reveal himself. However, he’s still a little tepid and despite a decent performance, he’s not nearly menacing enough. There are a few things worthy of admiration but it’s the pacing that’s all wrong, letting down a decent cast and missing an opportunity for genuine thrills.

A half baked psychological thriller that aims high but ultimately falls hard from it’s intended target.

Mark Walker

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Blitz * 1/2

Posted in thriller with tags 2011 on February 2, 2012 by Mark Walker

Director: Elliot Lester.
Screenplay: Nathan Parker.
Starring: Jason Statham, Paddy Considine, Aidan Gillen, David Morrissey, Luke Evans, Zawe Ashton, Ned Dennehy, Mark Rylance, Nicky Heston.

Jason Statham, or ‘The Stath’ (as he’s now known in the action world) kicks some arse in his hometown ‘Landan’ and to use a parlance from our Cockney friends, he’s not “‘avin’ a fackin’ bubble” either. He’s deadly serious and intent on dishing out some rough justice.

Detective Sergeant Tom Brant (Statham) is a no nonsense cop, under investigation for alleged police corruption. Still, when a serial cop killer (Aidan Gillen) starts kicking around ‘daan the Old Kent Road’ bumping off the ‘bobby’s on the beat’, Brant is the only guy hard enough to track him down.

Statham has went down a treat in America and has become a new action hero for them, but personally, I’m not into all that. Let’s face it, his films are aimed more at teenage boys. As usual, he does his thang of looking tough, talking tough and staying as far away from a razor as possible. Paddy Considine gets a brief moment where his class shines through but it’s hard not to feel sorry for him when he’s reduced to such material. Why hasn’t Considine been snapped up by the American market? He’s one of the finest British actors around at present and the biggest surprise for me, is why he’s even involved. It manages a marginal interest in seeing what is essentially “Dirty Harry” playing out in London. Nice use of locations also and a gritty urban feel, but sadly that’s about all.
Statham’s hard man routine is wearing a bit thin these days. Considering he used to be an Olympic diver and a model he talks a bit too big for his britches. He carry’s it well though and his films are what they are really. Let’s put it this way, you hardly need your noodle when watching one of them.

Watch the aforementioned Clint Eastwood/Don Siegel classic instead. It’s much more rewarding.

Mark Walker

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The Next Three Days * * * 1/2

Posted in Crime, thriller with tags 2010 on February 1, 2012 by Mark Walker

Director: Paul Haggis.
Screenplay: Paul Haggis.
Starring: Russell Crowe, Elizabeth Banks, Brian Dennehy, Liam Neeson, Lennie James, Olivia Wilde, Ty Simpkins, Daniel Stern, Helen Carey, Kevin Corrigan, RZA, Jason Beghe, Aisha Hines.

Having cut his teeth on Television shows (“ThirtySomething”, “L.A. Law” and “Due South” among others) and writing screenplays for Clint Eastwood (“Flags of Our Fathers”, “Letters from Iwo Jima”, “Million Dollar Baby”) as well as a Bond film (“Casino Royale”), Paul Haggis has only really directed a handful of films. Quite a surprise, considering he’s been around for a while but also quite consistant in his directorial duties.

Out of the blue, businesswoman Lara Brennan (Elizabeth Banks) is arrested and convicted of murder, her teacher husband John (Russell Crowe) the only one who believes her innocence. When appeals are exhausted, Lara becomes suicidal, and as their son is suffering, John decides to break her out.

This film reminded me of the type of material director Ron Howard would be drawn to. In some ways it even starts out how he would have made it; underwritten characters; emotional family upheavel; the every man’s fight to keep his family together. Something along the lines of Howard’s earlier film “Ransom”. That film happened to be one of Howard’s better forays but he has made some crap and the beginning of this film shaped up like the usual Howard Hollywood hokum. However, Haggis is in charge and with the normally reliable Russell Crowe onscreen, as well as some nice short appearances by the likes of Brian Dennehy, Daniel Stern and Liam Neeson, this film trancends it’s uncertain material into a gripping fast-paced thriller. Credulity is in question on several occasions and the lack of drive in the beggining threatens to sink the whole affair but it takes a dramatic turn for the better in the second half, having more in common with 1993’s “The Fugitive” and almost as exciting. It’s not often we get a jail-break film from the outside perspective and with Crowe’s subtle show of strength and dynamic central performance, we get a story that just about manages to suspend disbelief by taking you to the edge of your seat.

It may be a slight step down from Paul Haggis’ earlier films “Crash” and “In the Valley of Elah” but despite this, it shows that he’s a capable director of suspense and thrills. Two thirds of a fine film.

Mark Walker

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Sunshine * * * *

Posted in Science Fiction, thriller with tags 2007 on February 1, 2012 by Mark Walker

Director: Danny Boyle.
Screenplay: Alex Garland.
Starring: Cillian Murphy, Chris Evans, Rose Byrne, Michelle Yeoh, Hiroyuki Sanada, Cliff Curtis, Troy Garity, Benedict Wong, Mark Strong.

Ingredients for a top of the range sci-fi =

1 dollop of “Solaris”.
Half oz of “Event Horizon”.
1lb of “Mission to Mars”.
A generous helping of “Alien”.
And a sprinkle of “The Shining”.

Give them to visionary director Danny Boyle to shake them up and… Voila.

In the not-too-distant future, the sun is about to die. A crew is sent to re-ignite it with a nuclear bomb; when they fail, a new team sets out to finish the job. But they find that flying to the least hospitable place in the solar system and staying sane and alive is no simple matter.

Boyle is Britain’s very own Ang Lee in his ability to continually switch between genres. This is his attempt at Science Fiction and it’s a damn good one at that. His use of atmosphere is the most striking thing about this, with eerie and highly effective sound effects and an excellent music score by Underworld adding to the overall sense of foreboding and creepiness. Using a multi-cultural cast also works in it’s favour in the way that you don’t know who will perish at any given moment, very much like Ridley Scott’s “Alien”. As mentioned above – and by most other viewers – it has a lot in common with several films of this genre and the denoument unfortunately turns more toward the “Event Horizon” side of horror. It doesn’t entirely work and feels a little tacked on, as if Boyle and writer Alex Garland ran out of ideas. However, this is still an impressively handled and often powerful outing for Boyle.

A very underrated addition to the science fiction genre and one of Danny Boyle’s finest films. His collaborations with writer Alex Garland has produced consistantly good results.

Mark Walker