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Mirror Mirror * *

Posted in Family, Fantasy with tags 2012 on August 6, 2012 by Mark Walker

Director: Tarsem Singh.
Screenplay: Jason Keller, Marc Klein.
Starring: Julia Roberts, Lily Collins, Armie Hammer, Nathan Lane, Michael Lerner, Jordan Prentice, Mark Povinelli, Joe Gnoffo, Danny Woodburn, Martin Klebba, Sebastian Saraceno, Ronald Lee Clark, Mare Winningham, Sean Bean.

Former music video director Tarsem Singh has steadily built a reputation for himself in creating feature films with high visual flair. For anyone that’s seen “The Cell” or “The Fall” then you’ll know exactly what I’m talking about. This film follows a similar visual path but is so ponderous in the script department that it’s sleep inducing.

In a stolen kingdom, Snow White (Lily Collins) lives with her wicked stepmother (Julia Roberts) but when she attracts the attention of a handsome young prince (Armie Hammer), her stepmother banishes her. In the forest, she finds the company of seven dwarves who rally together to help Snow White reclaim the throne.

Tarsem approaches the old fairy-tale of “Snow White” in an impressive and innovative way by adding a bit of feminism into the mix. It’s a welcome female spin on the fairy-tale structure by having no heroic prince and making Snow White less of a damsel in distress and focusing more on her strengths. It’s a good idea but sadly, that is where the new and improved story ends. The delivery is so painstakingly slow and dull that any positives are soon forgotten about and there’s absolutely nothing else in the script that’s noteworthy. This is a real shame as on the surface of it all, Tarsem has put the work in and his creative visual approach is as apparent as ever. However, with a story lacking in any form of excitement or wonder the superb visuals get bogged in a very tedious affair. It also doesn’t help that the main focus is not on Snow White but on the evil Queen. Now this might have sounded good on paper but to deliver the goods on-screen, you need an actress that has gravitas and one with unquestionable ability. That actress is most certainly not Julia Roberts. She is given a juicy dual role and one that she could really have shown her range but, quite frankly, she blows it. Admittedly, I’ve never been a fan of her. I did like her in her Oscar winning role in “Erin Brockovich” but I struggle to think of any other memorable performance. This is proof again, that Roberts is highly overrated. Armie Hammer, on the other hand, adds a good bit of comic relief as the bumbling prince and Lily Collins makes an admirable Snow White; the least said about the dormant caterpillars that rest on her brow, the better though. Two words spring to mind – tweezers and pluck.
Overall, a very disappointing modern take on an old classic and no matter how good it’s dressed up, it’s ultimately hollow underneath it’s elaborate accoutrements.

Rich in detail but poor in delivery. In this version, Snow White might not eat the poisoned apple and slip into a coma but the audience certainly do.

Mark Walker

21 Comments »

MOVIE CONFESSIONS

Posted in Uncategorized with tags 2012 on July 28, 2012 by Mark Walker

In solidarity with my fellow film bloggers I thought I better confess my film sins on the excellent blogathon created by Nostra at MyFilmViews. More details can be found here. As a lot of people were getting involved, I felt I should share also. So here goes…

1: Which classic movie don’t you like/can’t enjoy and why?

It has been said before but I’ve got to go with “Easy Rider“.

Really couldn’t get into it. It was directed by a hippie for hippies. I can see the appeal for people living through this time but despite experimenting with drugs myself, I still couldn’t get it. I could relate to the hallucinogenic experiences but quite frankly the film itself was dull. Oh… and I’m not a biker.

2: Which ten classic movies haven’t you seen yet?

I’ve seen plenty of stuff throughout my 34 years so had to actually trundle through the IMDb to see which ones cropped up. Here they are..

Sunset Boulevard.
Modern Times.
M.
The Great Dictator.
Singin’ In The Rain.
Bicycle Thieves.
The Seventh Seal.
The 400 Blows.
The Sound Of Music.
La Dolce Vita.

3: Have you ever sneaked into another movie at the cinema?

I haven’t sneaked into ‘another’ movie at the cinema but I have sneaked into the cinema altogether. I walked straight past the kiosk on a quiet evening and checked every door till I found a film that was just starting. That film was Roman Polanski’s “The Ghost“. Good film, but then again, sometimes things are better when they’re free. 😉

4: Which actor/actress do you think is overrated?

I’ve got to go with “The Duke” – John Wayne.

Man, that guy and his drawl just doesn’t cut it for me. I find him wooden and can’t quite get why people like him so much. He’s practically the same in every film he’s done. I recently compared him in his Oscar winning role in “True Grit” to that of Jeff Bridges’ portrayal of the same character. Bridges blows his ten gallon hat off and no mistake.

5: From which big director have you never seen any movie (and why)?

Again, I’m another that hasn’t seen any Ingmar Bergman. It’s not through want of trying but I’ve just never found any of his film’s readily available. I suppose if I try harder I could maybe manage it. “The Seventh Seal” has been on my watchlist for years.

6: Which movie do you love, but is generally hated?

“Twin Peaks: Fire Walk With Me” was a real gem for me.

I’m a big fan of David Lynch and the TV series before it. It was criticised for being incoherent and possibly self-indulgent but I absolutely loved it. It’s such an eerie and ethereal treat and a perfect final doze for fans of the series.

7: Have you ever been “one of those annoying people” at the cinema?

Unfortunately, yes.

When I was about 16 I went to see “Trainspotting” with a group of friends. The problem was, I had already seen it and being intoxicated with the alcohol of choice in my city (a strong tonic wine called “Buckfast”) I proceeded to shout out the lines before the characters uttered them. Needless to say, I’m thoroughly embarrassed about this now and the cinema employees seen it fit to eject me from the theatre. Good on them!

8: Did you ever watch a movie, which you knew in advance would be bad, just because of a specific actor/actress was in it? Which one and why?

Got to go with Will Ferrell here.

I am astonished at how people laugh at this guy. I like to think of myself as having a good sense of humour but I throw away better lines on a daily basis than the ones Ferrell has made a career out of. The one that stands out is “Anchorman“, it has such bottom of the barrel humour and I have questioned my abilities to understand him. I just don’t get him. He seems as if he’s making it up as he goes along… and it shows. I know the film has a fervent cult following but quite frankly, I think it’s garbage.

9: Did you ever not watch a specific movie because it had subtitles?

I love foreign cinema. I find it far more substantial and maybe that’s because I’m reading as well as watching. At least two film’s in my personal top ten are subtitled but in all honesty, I’ve got two young kids who run me dry every day, so when it comes to watching a film in the evening I tend to put off anything that will demand from me. I’ve been demanded of, all day.

10: Are there any movies in your collection that you have had for more than five years and never watched?

I’m thoroughly looking forward to eventually getting to all these film’s. I wouldn’t have bought them otherwise but I’ve just not found the time.

“Munich” – Steven Spielberg.
“Bad Education” – Pedro Almodovar.
“Downfall” – Oliver Hirschbiegel.
“Lust Caution” – Ang Lee.
“Precious” – Lee Daniels.

11: Which are the worst movies in your collection and why do you still own them?

“Dune” (simply because I collect everything David Lunch has done. It’s bad but it has it’s place in my collection)

“Nine” (I’m a big fan of Daniel Day-Lewis and I’ll give anything a try that he’s in but on this occasion it was a mistake. I have the intention of making this film “4 1/2” – once I break the disc in two.

Any others, I discarded a long time ago.

12: Do you have any confessions about your movie watching setup at home?

I know a lot of people who find this lunacy from a person that enjoys movies so much but I occasionally watch films on my iPhone. I stick a couple of headphones in and off I go. The screen may be small but I still find I can become embroiled. It’s not ideal but it’s convenient at times.

13: Any other confessions you want to make?

There probably is, as I’ve been a very naughty monkey in my time.

I use my film viewing and writing as a catharsis for my indiscretions but I’m exhausted after answering everything so truthfully. Feel free to spark my memory in any way though.

Mark Walker

34 Comments »

The Hunter * * * 1/2

Posted in Drama, Mystery with tags 2012 on July 27, 2012 by Mark Walker

Director: Daniel Nettheim.
Screenplay: Wain Fimeri, Alice Addison.
Starring: Willem Dafoe, Sam Neill, Frances O’Connor, Morgana Davies, Finn Woodlock, Sullivan Stapleton, Callan Mulvey, Jacek Koman.

Willem Dafoe is one of those actors that despite possessing a recognisable name in cinema still isn’t afraid to take on projects that are in danger of being unrecognised. He’s worked with some of my favourite director’s in David Lynch, Lars von Trier and Wes Anderson and yet always finds the time to be involved in lesser known works. This is another example of that.

A biotech corporation hires hunter Martin David (Willem Dafoe) to track down the, believed to be extinct, Tasmanian tiger. He finds board with a single mother (Frances O’Connor) and her two children who’s father has disappeared in the hills, hunting the same animal. As David delves further into the hunt, he realises that all is not as it seems and his employers, the locals and a tracker (Sam Neill) have other plans for him.

The premise of this film about the hunt for the last known Tasmanian tiger is intriguing enough but it grips even more because of the finely tuned, low-key atmosphere; the indulgence in some beautiful sweeping landscapes and a lead actor that has character written all over his rugged face. From the opening alone, it’s apparent that this film is in no rush and seemingly revels in it’s methodical approach. Now, that’s not normally a problem for me. In fact, I welcome it but when the film hints at a further depth without fully providing it then I begin to feel disappointment creeping in. There are themes of man’s relationship with nature and environmental issues going on underneath it all somewhere but the deeper you dig, you realise it’s not that profound. Yet, on the surface it would have you believe it is. That’s not to say that there’s not plenty to admire here. There is; it has a decent – if underdeveloped -conspiracy thriller element and it’s more than competently shot with beautiful cinematography and another solid performance from Dafoe to add to his growing canon. Most of the weight is on his shoulders and he carries it well but despite a very good performance, I wasn’t entirely convinced about his characters actions. On the one hand, he was very kind and concerned and the other, uncaring and cold. I think the fault with this lies with the script. His character isn’t fleshed out enough leaving him enigmatic. Maybe this was intentional but I just took his character to be muddled, giving off mixed messages and never fully allowing me to identify with him. The rest of the characters came off even less developed which would leave you to believe that this air of mystery amongst them was part of it all. If so, it just didn’t work for me.

It shares similar themes to “The Grey” before it, in terms of man versus nature and even in it’s attempts at a philosophical approach. I enjoyed it but I expected a little more profundity.

Mark Walker

18 Comments »

My Dad & The Dude

Posted in Uncategorized with tags 2012 on July 11, 2012 by Mark Walker

As most of you know, my blog mainly consists of Film Reviews but recently I’ve been throwing in something a little different. Some will be familiar with my “Let’s Have A Sit Down” running feature. If not, the episodes can be found here… #1, #2 & #3. This is another change of direction for me but will most certainly not become a feature. You’ll understand why, in a moment.

This is still a movie related post but is the result of another hobby of mine… painting.

Some of you may find this a bit morbid but this painting was done using the remains of my late father. He died two years ago and after getting him cremated, I decided at that point that I would commit them to a painting that he would have liked. It’s took me all this time to work up the courage to do this and for that reason, plain and simply, this will not be a regular feature.

And the result… ? The result was The Dude from both of our favourite film “The Big Lebowski“. I shared lots of great movie experiences with my dad but probably none more so than the cult Coens classic. The reason this film resonated with us is because my dad actually looked and acted quite a lot like The Dude himself.

So here is the 5 stages of the Oil painting that I done for (and including) my late dad Gerry Walker.

Stage 1…

Stage 2…

Stage 3…

Stage 4…

Stage 5…

Mark Walker

36 Comments »

Chronicle * * * *

Posted in Action, Adventure, Science Fiction with tags 2012 on June 26, 2012 by Mark Walker

Director: Josh Trank.
Screenplay: Max Landis.
Starring: Dane DeHaan, Alex Russell, Michael B. Jordan, Michael Kelly, Ashley Hinshaw, Bo Petersen, Anna Wood, Rudi Malcolm, Luke Tyler.

Shaky-cam, found footage film’s have now become the rung on the ladder for budding filmmakers. Hardly a year goes by now, without at least one popping up on our screens. “The Blair Witch Project“, “Cloverfield” and the very successful “Paranormal Activity” are the most notable. This one though, is the most impressive.

Three teenage friends, Andrew (Dane DeHaan), Matt (Alex Russell) and Steve (Michael B. Jordan) find a hole in the ground, in the middle of the woods. They go down and find a strange illuminated entity. When they emerge, they find that they have telekinetic powers and capabilities. As their great powers grow though, things start to get drastically out of hand.

I’m not a massive fan of superhero movies and quite frankly, I’m a bit tired of seeing them everywhere I look. This film could probably fall into that category but what this has in it’s favour, is a fresh delivery and a real sense of originality.
First off though, I wasn’t entirely convinced by the premise. I found it hard to believe that an awkward, hormone-raging teenager would actually decide to record everything he does on a video camera. To say the least, it stretched credulity. However, the filmmakers are wisely aware of this. They don’t pretend to just pass it off. What they do, is admit to it regularly throughout the early stages of the film. There are constant, self-conscious reminders of people unhappy with it and as result the protagonist takes a bit of a regular beating – but then you would probably do the same if someone had a camera stuck in your face all the time – so the self-conscious aspect pays off enough to keep your disbelief suspended. It even attempts to toss in some philosophical theories that tie-in nicely with the story. This may come across as a bit too ambitious for some but writer Max Landis and director Josh Trank are not arrogant in their delivery. They don’t explain in detail, leaving it wisely up to the intelligence of the audience to notice the references themselves. It’s a clever piece of subtlety that raises this film above the normal standard. One particular mention is of Plato’s allegory of “The Cave” which is entirely fitting for the unravelling of the story. It also explores the different nature in individuals and manages to incorporate a deep sense of ethics. Altruism and Hubris play a big part in the unravelling of the characters and with the level of intelligence and philosophical undercurrent, this is a welcome modern take on the superhero genre.
As the story progresses, the standard shaky-cam approach is gradually abandoned in favour of a
more ambitious style. In keeping with the plot, more inventive and convincing ways are delivered, freeing it from the shackles of it’s particular sub-genre.

A highly creative and ambitious endeavour that has set a benchmark for film’s of this type. It’ll be interesting to see if this style of filmmaking can actually be bettered after this.

Mark Walker

32 Comments »

LET’S HAVE A SIT DOWN #3

Posted in Uncategorized with tags 2012 on June 22, 2012 by Mark Walker

Episode #3 of Let’s Have A Sit Down is upon us. In this scenario we have two of the big hitters of Hollywood going head-to-head – an off-kilter Tom Cruise and a menacing George Clooney. Again, using completely authentic dialogue from the characters they have played, we have the Cruiser and the Cloonmeister involved in a little unspecified criminal activity.

(Warning: if you are sensitive of ear and easily offended then don’t read on as this conversation will contain some profanities.)

Clooney: OK, rambler… Let’s get rambling.

Cruise: And to what do I owe this pleasure?

Clooney: You… are just dumber than a bag of hammers.

Cruise: I assume I need no introduction…

Clooney: Are you… Wheezy Joe?

Cruise: I’m… a master of the muffin…

Clooney: Well… I’m a Dapper Dan man.

Cruise: Fucking bullshit. I will not apologize for who I am. I will not apologize for what I need. I will not apologize for what I want.

Clooney: I detect, like me, you’re endowed with the gift of gab.

Cruise: A little oversimplified… But yes, something like that.

Clooney: Plant yourself in that chair.

Cruise: Look, fuckstick, I’m incredibly busy. So why don’t you get the hell out of here before I snap your dick off and jam it into your ass…

Clooney: I said “plant yourself.” Plants don’t talk.

Cruise: Let me ask you something: are you out of your fucking mind?

Clooney: I’m not gonna shoot you unless I have to. And if I have to I’ll feel really bad about it. Now sit down.

Cruise: Are you saying my life is in danger?

Clooney: Who the fuck do you work for, you fucker?

Cruise: I am out here for you. You don’t know what it’s like to be ME out here for YOU. It is an up-at-dawn, pride-swallowing siege that I will never fully tell you about, ok?

Clooney: Well, your best better get a hell of a lot fucking better, or you are gonna feel a hell of a lot fucking worse.

Cruise: We live in a cynical world. A cynical world. And we work in a business of tough competitors…

Clooney: There’s no play here. There’s no angle. There’s no champagne room. I’m not a miracle worker, I’m a janitor. The math on this is simple. The smaller the mess the easier it is for me to clean up.

Cruise: Yeah… a nutless monkey could do your job.

Clooney: Well, that is a matter of opinion and I do not give a fuck about yours.

Cruise: In this big game that we play, life, it’s not what you hope for, it’s not what you deserve, it’s what you take.

Clooney: You know you’re on the path to truth when you smell shit, isn’t that what they say?

Clooney: … you’ve achieved nothing. Jesus Christ was dead and alive again by 33. You better get crackin’.

Cruise: My father wrote about this in his book. Chapter 1… Page 1… Paragraph 1: What is the answer to 99 out of 100 questions?… Money.

Clooney: Thirteen million…

Cruise: Show me the money.

Clooney: You’d be surprised about what you can get, if you ask for it the right way.

Cruise: Why don’t you cut the cute act… and tell me what it is you’re looking for?

Clooney: … your… being robbed…

Cruise: … Oh, wait! I got a better idea. Instead of a hundred million, how about I send you a hobo’s dick cheese?

Clooney: Do I look like I’m negotiating?

Clooney: If you try to run, I’ve got six little friends and they can all run faster than you can.

Cruise: I think maybe the money’s what’s throwing you off here today.

Cruise: I’m finished, I’m fucked. Twenty-four hours ago, man, I was hot! Now… I’m a cautionary tale. You see this jacket I’m wearing, you like it? Because I don’t really need it. Because I’m cloaked in failure… I ate two slices of bad pizza, went to bed and grew a conscience.

Clooney: Rule number one: No noise, no questions. You make a noise…
[holds up gun]
Mr. 44 makes a noise. You ask a question, Mr. 44 answers it.

Cruise: or you can grow a conscience in the next five mintutes and see where that takes you.

Clooney: You know anything about gunshot wounds?… Specifically, the worst thing about a gunshot wound, provided you survive the bullet, is something called sepsis… That’s right. Say a bullet tears into your gut. It creates a cavity in the dead tissue. That cavity fills up with bile, and bacteria, and you’re fucked.

Cruise: You know, … there’s one thing I learned in all my years. Sometimes you just gotta say, “What the fuck, make your move.”

Clooney: … what’s wrong with you? Is it me? Is this my fault? Do think that this is what I am? I am a professional fucking thief. I don’t kill people that I don’t have to… What YOU are doing – what YOU are doing – what YOU are fucking doing, is not how it’s done. Do you understand? Say “yes, … I understand.” Say “yes, … I fucking understand”

Cruise: … from now on my fist is going to be so far up your shithole that every time you have a thought, it’s gonna have to tiptoe past my wedding ring…

Clooney: You little fuck. Do you get hit a lot?

Cruise: Stop acting like a fucking retard.

Cruise: … I’m more afraid of bein’ nothing than I am of being hurt.

Clooney: I’ll tell you what I am – I’m the damn paterfamilias…

Cruise: … spare me the psychbabble father bullshit.

Clooney: So what are you… ? A faithless preacher? Or a mean motherfuckin’ servant of God?

Cruise: … we gotta make the best of it. Improvise. Adapt to the environment. Darwin, shit happens. I Ching, whatever man. We gotta roll with it.

Cruise: They’ll tell you I’m mentally unstable and violent and dangerous and it will all sound very convincing.

Clooney: “Low profile.” Do you know what the words “low profile” mean?

Cruise: … We’re in this together. Fates intertwined. Cosmic Coincidence.

Clooney: You know, it’s too bad we are so much alike, otherwise we would have gotten along perfectly.

Cruise: I’m not trying to make history here.

Clooney: You know, you really are a negative person.

Cruise: I will miss our conversations.

Clooney: I know that I have put you through hell, and I know that I have been one rough pecker. But from here on out, you are… in my cool book.

Clooney: Keep the money. You’ll need it.

Cruise: You don’t have to. I’m through.

Clooney: Damn! We’re in a tight spot.

Cruise: Take comfort in knowing you never had a choice.

Cruise: Now, I want you to take a step back… and literally fuck your own face.

Clooney: Well, it doesn’t matter now, because you’ve got about two fucking seconds to live.

21 Comments »

LET’S HAVE A SIT DOWN #2

Posted in Uncategorized with tags 2012 on June 18, 2012 by Mark Walker

After the positive feedback on my experimental “Let’s Have A Sit Down #1“, I’ve drafted up another to fuel some popular consumption. This time, I’ve attempted to construct more of a topical conversation and again, using only dialogue spoken from characters that the actors have played. In this episode, we have two actors that have never shared the screen together. So without further ado, here is the legendary and iconic Jack Nicholson and Samuel L. Jackson sharing a beverage and discussing women, violence and religion.

(Warning: if you are sensitive of ear and easily offended then don’t read on as this conversation will contain some profanities, as well as, racial and sexual dialogue.)

Nicholson: God, I’d give anything for a drink. I’d give my god-damned soul for just a glass of beer.

Jackson: Mind if I have some of your tasty beverage…?

Jackson: Mmmmm. Goddamn… This is some serious gourmet shit…

Nicholson: Heineken? Why it’s the finest beer in the world! President Kennedy used to drink it.

Jackson: … the cornerstone of any nutritious breakfast…

Nicholson: Here’s the first of the day…
[He starts flapping one arm like a chicken]
Neh, Neh, Neh! Fuh, Fuh, Fuh! Indians.

Jackson: oh man, I’ve seen some crazy ass shit in my time.

Nicholson: Is that crazy enough for ya? Want me to take a shit on the floor?

Jackson: Oh, man, I will never forgive your ass for this shit. This is some fucked-up repugnant shit.

Nicholson: Here’s something to remember when you’re older… – never pass up a bathroom, never waste a hard-on, and never trust a fart.

Jackson: Whoa! Y’all take a chill. You got to cool that shit off. And that’s the double truth, Ruth.

Nicholson: You can’t handle the truth.

Jackson: What the fuck happened to you, man? Shit, your ass used to be beautiful.

Nicholson: They was giving me ten thousand watts a day… and I’m hot to trot. The next woman takes me on’s gonna light up like a pinball machine and pay off in silver dollars.

Jackson: Hey, that’s Kool and the Gang.

Nicholson: Men are such cocksuckers aren’t they? You don’t have to answer that. It’s true. They’re scared. Their dicks get limp when confronted by a woman of obvious power and what do they do about it? Call them witches, burn them, torture them, until every woman is afraid. Afraid of herself… afraid of men… and all for what? Fear of losing their hard-on.

Jackson: You know me. It’s my duty to please that booty.

Nicholson: Well… there’s more things in this life than you can possibly imagine. I knew a whore once in Wilmington. She had a glass eye… used to take it out and wink people off for a dollar.

Jackson: The last time I got blown, candy bars cost a nickel.

Nicholson: I see men running around trying to put their dicks into everything, trying to make something happen… but it’s WOMEN who are the source… the only power. Nature, birth, rebirth. Cliche? Cliche… sure… but true.

Jackson: I’m always frank and earnest with women. Uh, in New York I’m Frank, and Chicago I’m Ernest.

Nicholson: just your average horny little devil.

Jackson: I eat the pussy, I eat the butt, I eat every motherfuckin’ thang.

Nicholson: All work and no play makes Jack a dull boy.

Jackson: My ass may be dumb, but I ain’t no dumbass.

Nicholson: You’re dumber than you think I think you are.

Jackson: English, motherfucker, do you speak it?

Jackson: I’m sorry, did I break your concentration? I didn’t mean to do that. Please, continue, you were saying something about… What’s the matter? Oh, you were finished. Well, allow me to retort…

Nicholson: Never, never, interrupt me, okay? Not if there’s a fire, not even if you hear the sound of a thud from my home and one week later there’s a smell coming from there that can only be a decaying human body and you have to hold a hanky to your face because the stench is so thick that you think you’re going to faint… Or, if it’s election night, and you’re excited and you wanna celebrate because some fudgepacker that you date has been elected the first queer president of the United States and he’s going to have you down to Camp David, and you want someone to share the moment with… Not for ANY reason. Do you get me, sweetheart?

Jackson: Man, you best backoff. I’m getting a little pissed here.

Nicholson: You didn’t let me finish my sentence… I’m not gonna hurt ya. I’m just going to bash your brains in. Gonna bash ’em right the fuck in!

Jackson: Well, I’m a mushroom-cloud-layin’ motherfucker, motherfucker! Every time my fingers touch brain, I’m Superfly T.N.T., I’m the Guns of the Navarone.

Nicholson: Take caution in your tone… I’m a fair guy, but this fucking heat is making me absolutely crazy.

Jackson: Say… again. Say… again, I dare you, I double dare you motherfucker… one more Goddamn time.

Nicholson: … Calm down, or you’ll shoot in your pants.

Jackson: Normally, … your ass… would be dead as fucking fried chicken, but you happen to pull this shit while I’m in a transitional period so I don’t wanna kill you, I wanna help you… Besides, I’ve already been through too much shit this morning…

Jackson: God put you in my path and I aim to cure you of your wicked ways.

Nicholson: You ever dance with the devil in the pale moonlight?

Jackson: The path of the righteous man is beset on all sides by the inequities of the selfish and the tyranny of evil men. Blessed is he who, in the name of charity and good will, shepherds the weak through the valley of darkness, for he is truly his brother’s keeper and the finder of lost children. And I will strike down upon thee with great vengeance and furious anger those who would attempt to poison and destroy My brothers. And you will know My name is the Lord when I lay My vengeance upon thee.

Nicholson: People who talk in metaphors oughta shampoo my crotch.

Jackson: Whether or not what we experienced was an According to Hoyle miracle is insignificant. What is significant is that I felt the touch of God. God got involved.

Nicholson: Where do they teach you to talk like this? In some Panama City “Sailor wanna hump-hump” bar, or is it getaway day and your last shot at his whiskey? Sell crazy someplace else, we’re all stocked up here.

Jackson: If my answers frighten you then you should cease asking scary questions.

Nicholson: Y’know… you got a helluva knack for killin’ a conversation.

Jackson: Look, I hate to be the kinda nigga does a nigga a favor, then, BAM!, hits a nigga up for a favor in return. But I’m afraid I gots to be that kinda nigga.

Nicholson: What do you wanna discuss now? My favorite colour?

Jackson: My name’s Pitt. And your ass ain’t talkin’ your way out of this shit.

Nicholson: …why can’t we all just get along?

37 Comments »

Headhunters * * * * 1/2

Posted in thriller with tags 2012 on June 9, 2012 by Mark Walker

Director: Morten Tyldum
Screenplay: Lars Gudmstead, Ulf Ryberg.
Starring: Aksel Hennie, Nikolaj Coster-Waldau, Synnove Macody Lund, Eivind Sander, Julie Olgaard, Kyrre Haugen Sydness, Reidar Sorenson, Nils Jorgen Kaalstad, Joachim Rafaelsen, Mats Mogeland.

Do you ever tire of hearing that a Hollywood remake is in the pipeline, when the ink has hardly dried on the original script? Like “The Girl With The Dragon Tattoo“, “Cell 211” and “Let The Right One In” before it, this is another that has had the green light for an English language version. It’s easy to see why there would be interest in this as it’s an exceptionally good thriller. I just don’t see why it’s necessary to have it redone.

Roger Brown (Aksel Hennie) is a high-flying businessman who works as a headhunter. He scouts potential applicants for executive jobs. While interviewing them, he learns very useful information that leads him to his second source of income: a sideline in executing valuable art robberies. His extravagant and expensive lifestyle can’t be funded by his headhunting job alone. One particular interviewee is Clas Greve (Nicolaj Coster-Waldau). He has all the credentials for a post that Brown needs to fill but he also has just inherited a piece of art that will cure all of Brown’s financial woes – if he can just get his hands on it. As it turns out though, this art theft is not as simple as his previous ones and Greve is not as buttoned up as he makes out.

As this film opens we are introduced to unlikely leading actor Aksel Hennie who has an appearance that resembles the love child of Christopher Walken and Steve Buscemi. He’s not your average leading man and his character is not that appealing either. He’s a self-centred weasel of a man that seems to lack any morals but you know that things are, not entirely, going to go to plan for this scheming, double-crossing thief and that’s exactly what captures your attention and provides the hook in this adaptation of Norwegian writer Jo Nesbo’s novel. Director Morten Tyldum is wise enough to play his cards when he needs them and wrings out the suspense, masterfully, at every turn. He mounts the tension slowly before staging one gripping scene after another. The unpredictability of the spiralling plot delivers genuine excitement, helped immeasurably by natural characters and performers. Hennie in particular, is absolutely brilliant and will no doubt become a household name after this (apparently he already is, in his native Norway). Kudos to screenwriters Lars Gudmstead and Ulf Ryberg. It’s their tight, deliberately paced and unpredictable script that keeps you guessing and shows a good level of intelligence. Admittedly, I haven’t read the novel but if I were author Jo Nesbo – whose next page to screen transfer will be “The Snowman“, directed by Martin Scorsese – I’d be very proud of the job that has been done here.

When the headhunter becomes the headhunted, this film grips like a vice and refuses to let go. I’ve seen quite a few film’s from Scandinavia over recent years and have been very impressed with the high standard they are delivering. This is no exception and a thriller that will definitely compete with the best of the year.

Mark Walker

26 Comments »

LET’S HAVE A SIT DOWN! #1

Posted in Uncategorized with tags 2012 on June 7, 2012 by Mark Walker

I’m going to try a little experiment which may become a regular feature on my blog if it is successful enough and I can continue to amass the material. The aim is to bring two actors together in conversation using only dialogue from characters that they have played.

The two actors I’ve chosen to get this little experiment going have actually already shared the screen together. We were first treated to this with the coffee shop scene in Heat. That’s right, it’s the legendary Robert DeNiro and Al Pacino engaging in a little fighting talk…

(Warning: if you are sensitive of ear and easily offended then don’t read on as this conversation will contain quite a lot of profanities.)

DeNiro: You talkin’ to me? You talkin’ to me? You talkin’ to me? Then who the hell else are you talking… you talking to me? Well I’m the only one here. Who the fuck do you think you’re talking to?…

Pacino: You know what? Fuck you! How about that?

DeNiro: It’s not necessary to lay a foul tongue on me my friend. I could get upset. Things could get out of hand. Then in self defense, I could do something to you that you would not like, right here.

Pacino: Oh what a big man you are! Hey, let me buy you a pack of gum. I’ll show you how to chew it.

DeNiro: I fuck you right where you breathe, because I don’t give two shits about you or nobody else.

Pacino: You wanna fuck with me? Okay. You wanna play rough? Okay. Say hello to my little friend!

DeNiro: … if you make one more move on me, you motherfucker, I’ll fuckin’ cut your fuckin’ balls off and shove ’em up your fuckin’ ass. I’ll fuckin’ bury you! I’m gonna stick ice picks in your eyes and send ’em to your family so they can eat them for dessert!

Pacino: Why don’t you try stickin’ your head up your ass? See if it fits.

DeNiro: You wanna play games? All right, I’ll play your fucking games.

Pacino: Who the fuck are you?… What, you think you like me? You ain’t like me motherfucker, you a punk. I’ve been with made people, connected people. Who’ve you been with? Chain snatching, jive-ass, maricon motherfuckers. Why don’t you get out of here and go snatch a purse.

DeNiro: I ain’t no white trash piece of shit. I’m better than you… I can out-learn you. I can out-read you. I can out-think you. And I can out-philosophize you. And I’m gonna outlast you. You think a couple whacks to my guts is gonna get me down? It’s gonna take a hell of a lot more than that… to prove you’re better than me!

Pacino: You think you’re big time? You gonna fuckin’ die – big time.

DeNiro: What is the fuckin’ matter with you? What – what is the fuckin matter with you? What are you, stupid or what?

Pacino: …All I have in this world is my balls and my word and I don’t break them for no one. Do you understand?

DeNiro: I can feel the juices rushing back to my balls as we speak.

Pacino: Whoo-aah.

51 Comments »

Prometheus * * *

Posted in Action, Science Fiction, thriller with tags 2012 on June 3, 2012 by Mark Walker

Director: Ridley Scott.
Screenplay: Jon Spaihts, Damon Lindelof.
Starring: Noomi Rapace, Michael Fassbender, Logan Marshall-Green, Charlize Theron, Idris Elba, Guy Pearce, Rafe Spall, Sean Harris, Kate Dickie, Benedict Wong, Emun Elliott, Patrick Wilson.

It has been over three decades since director Ridley Scott made “Alien” in 1979. When news broke of his intention to revisit the genre of science fiction, the anticipation was huge. Originally, this was intended to be a prequel to his earlier film but on second thought, Scott decided to make it into an original film in it’s own right. For one, there’s no doubt that this IS a prequel and I can’t see why he’d proclaim it to be otherwise. For another, he should have decided on a different project altogether, as this doesn’t quite muster the thrills or atmosphere that viewers will, no doubt, expect.

In the Isle of Skye, Scotland, in the year 2089, scientists Elizabeth Shaw (Noomi Rapace) and Charlie Holloway (Logan Marshall-Green) discover an ancient star-chart. It points to the possibility of other life forms in the universe. A crew is assembled aboard the ship ‘Prometheus’ and land upon LV-223, to further investigate. There is optimism amongst the crew that they will find the answers to the origins of humankind but what they get in return, is not entirely what they expected.

I tried to go into this avoiding the hype, the trailers and most critical opinions. I also tried to avoid comparing it to “Alien“. I didn’t want my expectations raised too high and for the most part, they weren’t. But whether, your expectations are high or not, there’s still no avoiding a lazy and abysmally written script.
As expected, Ridley Scott has crafted a fantastically visual spectacle. The opening scene alone, of sweeping landscapes and crashing waterfalls is one of wonderment and draws you right in. Scott sets his stall up well and with a patient hand, he introduces us to his not too distant future. As we know from another of Scott’s classic science fiction films, “Blade Runner“, he’s no stranger to exploring existential themes. He does so again here but only just touches upon them. He seems more in favour of delivering eye-candy than inviting us to ponder and it soon becomes apparent that this film is all about the look.
There is an eclectic mix of characters and upon their introduction, shades of the franchise are apparent – It’s basically the same formula all over again. The performances are good though and Noomi Rapace, in her first leading role, is commanding. The always reliable Michael Fassbender, once again, immerses himself and probably stands out as the highlight of the movie. Theron, however, is criminally underused and given very little to work with. As much as the actors deliver what they can with the material at their disposal, the characters are hollow and there isn’t really a particular one that takes centre stage or one that you’re able to identify with. Most of them, are actually just fodder for forthcoming mayhem. The major problem with them though, is that some of their motives are unexplained, leaving an obscurity to the film that I don’t think was intentional. On the surface, this has it all but it’s what’s underneath that counts and Scott has ultimately decided on a script that is far from satisfactory. Plot strands are lazily passed off, in favour of moving the story along to the next B-movie moment. There are some shocks and jumps but the lack of intelligence only grows stronger as the film heads towards it’s inevitable climax. As I sat with my other half in the darkened auditorium and the end credits began to role, she said one word that could strongly reflect most people’s opinions… “Bullshit”.

I find it hard to be as overly critical, as it’s visually ambitious and it’s conception is brilliantly realised but there’s no escaping the hollowness of it all. I’d love to rate this film higher but for anyone who appreciates my opinion, I’d be doing you a disservice. This is a classic casualty of it’s own hype.

Mark Walker

47 Comments »

The Innkeepers * * *

Posted in Horror with tags 2012 on May 24, 2012 by Mark Walker

Director: Ti West
Screenplay: Ti West
Starring: Sara Paxton, Pat Healy, Kelly McGillis, Alison Bartlett, Lena Dunham, George Riddle, Brenda Cooney.

Is it just a matter of getting older or are horror films no longer able to capture the imagination anymore? A lot of recent one’s have wisely went back to the premise of ghostly spectres haunting old houses and unsuspecting newcomers arriving to get the bejesus scared out of them. “The Woman In Black” is one, that tried and failed. This latest, from director Ti West, has a little more savvy and actually works reasonably well.

‘The Yankee Pedlar Inn’ is an old hotel that is plagued with stories of Madeline O’Malley; a ghostly woman that has roamed the hallways. On it’s last weekend before closing, two college dropout employees Claire (Sara Paxton) and Luke (Pat Healy) decide to use a video camera and try to capture some evidence of the reported events. One of the last guests to check in is former actress Leanne Rease-Jones (Kelly McGillis), now specialising in the occult, who shares her knowledge of the hotel as things become increasingly sinister.

For a start, this has a bit of an independent feel to it. The characters are likeable and although some performances are stretched, it benefits from the actors being relatively unknown. Despite it’s indie feel though, it’s shot with complete confidence. As any good ghost story should, it builds slowly and allows the audience to identify with the characters. It also has the perfect setting; a vast, empty, haunted space – that is actually shot in the real Yankee Pedlar Inn – and makes great use of this location. It also helps to inject a bit of humour and two thirds of the movie has it’s tongue stuck firmly in it’s cheek without compromising the overall intention; scares. When the final act kicks into gear and the ghost is finally revealed, it’s get’s very interesting and some genuine jumpy moments occur. However, the major problem that plagues this, is that it sets itself up for a big reveal and then doesn’t deliver. For a film that prides itself in it’s slow build-up and attention to detail, the resolution seems rushed, unexplored and unexplained.

It’s a competent effort that benefits from great production design and an eager director but it would have been so much better, if a little more care had been put into the script.

Mark Walker

21 Comments »

This Must Be The Place * * * *

Posted in Drama with tags 2012 on April 27, 2012 by Mark Walker

Director: Paolo Sorrentino.
Screenplay: Paolo Sorrentino, Umberto Contarello.
Starring: Sean Penn, Frances McDormand, Judd Hirsch, Shea Wigham, Kerry Condon, Eve Hewson, Joyce Van Patten, Olwen Fouere, Liron Livo, Grant Goodman, Simon Delaney, David Byrne, Harry Dean Stanton.

The joy in watching American road-movies tends to be the unexpected and vast array of colourful characters. This English language debut by Italian director Paolo Sorrentino is no exception. It has all the hallmarks of the sub-genre and also benefits from a commanding and touching performance from it’s lead.

Cheyenne (Sean Penn) was once a 80’s glam rocker whose life and career came to a halt when two fans committed suicide after listening to his lyrics. He feels a deep sense of responsibility and guilt for the boys’ deaths and struggles to get on with his own life. Years after the event, he hides away in Dublin with his understanding wife (Frances McDormand) but when news comes that his father has recently died, he heads back to America. It’s here he finds a purpose and reawakening in himself, in hunting down an old Nazi war criminal that his late father had committed his life to finding.

You just need to take one look at Sean Penn – with his straggly black wig and eye make-up – and you’d be forgiven for expecting this film for being some form of a comedy or parody of Glam Rock. It’s not. What it is, is an off-kilter little that drama that possesses some real moments of beauty. It probably comes under the umbrella of an art-house road-movie and despite Penn’s appearance, he delivers a heartfelt portrayal of a distant, childlike man, suffering from boredom and an unrelieved depression. It’s, once again, a reminder of the unique abilities that Penn has as an actor and ranks as one of his best and bravest performances. It’s also the catalyst for a lot of this film’s believability. Although his character very rarely cracks a smile, this still elicits some genuine laughs with odd behaviour from an eclectic collection of very off-beat characters. As well as “Talking Heads” frontman David Byrne providing the songs and receiving a welcome and effective cameo appearance into the bargain. Harry Dean Stanton popping in late on, doesn’t hamper it in any way either. Essentially, the film is about the journey though. Not just the physical, but the psychological and emotional ones as well and cinematographer Luca Bigazzi adds several welcome scenes of surreal beauty on the travels. However, it takes a sharp right-turn with the Nazi sub-plot that doesn’t entirely convince and threatens to undo the whole film. It feels a bit disjointed with what came before but as this film plays with conventions, it still seems strangely acceptable.

A poignant and odd little drama about self discovery. It will not appeal to everyone but if you open your mind and your heart, it might just surprise you.

Mark Walker

9 Comments »

The Hunger Games * * * 1/2

Posted in Action, Adventure, Science Fiction with tags 2012 on April 9, 2012 by Mark Walker

Director: Gary Ross.
Screenplay: Gary Ross, Suzanne Collins, Billy Ray.
Starring: Jennifer Lawrence, Josh Hutcherson, Liam Hemsworth, Woody Harrelson, Elizabeth Banks, Stanley Tucci, Donald Sutherland, Wes Bentley, Lenny Kravitz, Toby Jones, Amandla Stenberg, Alexander Ludwig, Isabelle Fuhrman, Jacqueline Emerson, Paula Malcomson, Dayo Okeniyi, Jack Quaid, Leven Rambin, Willow Shields.

Gary Ross has been involved in films for quite some time now. He received an Oscar nomination for his screenwriting duties on the Tom Hanks movie “Big” in 1988 but this is only the third time he has directed a film, following “Seabiscuit” and his very impressive debut “Pleasantville“.

“Capitol” is a wealthy city in a post-apocalyptic North America (now called “Panem”). It rules over the rest of the impoverished nation. In order to be perceived as generous, they hold an annual gladiatorial tournament called “The Hunger Games“, where the country’s youngest inhabitants are randomly selected to fight to the death. Only one can remain alive and receive their riches. After her young sister is selected to compete, Katniss Everdeen (Jennifer Lawrence), a defiant and accomplished survivor volunteer’s to take her place.

If you’ve seen the Japanese film “Battle Royale” or the Sci-Fi/Actioner “The Running Man” then you’ll be on familiar ground with this one. It’s basically the same premise. Considering the subject matter, director Gary Ross does well to tone down the violence on this one though, making the story more accessible to a relatively younger audience. After all, it was based on a best selling teen-novel by Suzanne Collins – who also co-writes the screenplay here. It’s starts very strongly in it’s introduction to a bleak futuristic America. The wealthy are all greed infused with bad tastes and flamboyant styles while the poor have to feed off the land and strive for whatever scraps they can (No change there then). Ross captures the divide admirably though and takes his time in building up The Hunger Games’ rules. It’s all about the entertainment for the well-off and it’s broadcast across the nation as an immersive reality TV show, meaning sponsors, trainers and promotors are all involved. Amongst the highlights of these are a shaggy Woody Harrelson as Haymitch Abernathy, mentor to the contestants and a ruthless Wes Bentley as Seneca Crane, the gamemaker who oversees the action – sometimes manipulating it – by order of Donald Sutherland’s dubious paterfamilias President Snow. The real anchor though, is Jennifer Lawrence. Yes, there may be similarities with her Oscar nominated performance from “Winter’s Bone” but that’s no bad thing. The film relies heavily on her and she’s more than able to carry it. It does, however, go on too long and becomes a tad formulaic in it’s finale. The obvious set-up for part two doesn’t appeal either but other than that, this is a decent film.

Don’t let the fact that Suzanne Collins’ books were aimed at teenagers, put you off. This film manages to work on a level that will appeal to many.

Mark Walker

8 Comments »

Carnage * * * *

Posted in Comedy, Drama with tags 2012 on March 27, 2012 by Mark Walker

Director: Roman Polanski.
Screenplay: Yasmina Reza, Roman Polanski.
Starring: Kate Winslet, Christoph Waltz, John C. Reilly, Jodie Foster, Elvis Polanski, Eliot Berger.

“God Of Carnage” by Yasmina Reza was originally a stage play that featured on Broadway, with such talented performers as James Gandolfini, Jeff Daniels, Marcia Gay Harden and Hope Davis. Supposedly, it was quite a powerful piece, so Roman Polanski always had his work cut out in adapting it for the screen.

Alan and Nancy Cowan (Christoph Waltz and Kate Winslet) pay a visit to Michael and Penelope Longstreet (John C. Reilly and Jodie Foster) to discuss an upsetting schoolyard incident in which the first couple’s son has beat up the other’s. These four intelligent adults, hope they can resolve their differences with a positive approach and teach their children about responsibility, instead of resorting to physical or verbal abuse. However, things don’t quite work out that way.

Having not seen or read the play, my experience of this is based solely on Polanski’s version. He has been criticised for not capturing the claustrophobia of the play but I have to say that the film really worked for me. There is obvious tensions between the characters and with nowhere for them to go but to sit around a cramped apartment, talking through their differences, the tension builds admirably. Granted, it wasn’t as intense as I was expecting but what it did have (that I wasn’t expecting) was a lot of humour. This is mainly down to four joyful performances. Throughout their (intended) cordial meeting, each character displays their viewpoints. In the beginning, they’re subtle but as tempers begin to fray, they get more vicious with their barrage of abuse towards one another. The conduct of their behaviour often reflects their chosen professions. Foster is an aspiring writer, choosing her words carefully; Waltz is a high profile attorney who jumps on her every word; Winslet the frustrated housewife and Reilly, a low-key salesman finding himself the go-between during the escalating discomfort. Each one of the four actors put in fine performances but Reilly and Waltz are the particular standouts. Polanski himself, doesn’t have to do much but allow his actors to take charge of their roles. And that they do.
Capturing claustrophobic situations and heightened tensions between his characters is a notable gift that Polanski has shown throughout his films. The most notable comparison (also based on a stage play) is “Death And The Maiden“. So, that being said, it’s surprising that he was criticised for a lack of it here. If you go into this expecting humour then you won’t be disappointed and it’s always a bonus that the actual playwright contributes with the screenplay also.

A finely tuned chamber piece that delivers a real sense of uncomfortable cordiality. The characters are identifiable and the actors deliver with aplomb.

Mark Walker

11 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

5 Comments »

Hugo * * * 1/2

Posted in Drama, Family, Fantasy with tags 2012 on February 5, 2012 by Mark Walker

Director: Martin Scorsese.
Screenplay: John Logan.
Starring: Asa Butterfield, Chloe Moretz, Ben Kingsley, Sacha Baron Cohen, Ray Winstone, Emily Mortimer, Jude Law, Christopher Lee, Helen McCrory, Michael Stuhlbarg.

“My friends, I address you all tonight as you truly are; wizards, mermaids, travelers, adventurers, magicians… Come and dream with me.” These are the words of magician/director George Méliès (Ben Kingsley) and also the very words of director Martin Scorsese in his love letter to all things cinema.

Paris, 1931. Young Hugo (Asa Butterfield) maintains the clocks of a great railway station while avoiding a guard (Sacha Baron Cohen) intent on sending him to an orphanage. Aided by Isabelle (Chloe Grace Moretz), Hugo gets an automaton left by his late father (Jude Law) working. It draws a picture, which prompts the children to delve into the mystery of an unhappy shopkeeper (Kingsley), at this very station, and his intriguing history.

Cinema is to be enjoyed and is the biggest, modern medium for means of escape. Granted, Scorsese allows us to escape here but doesn’t really escape to anywhere noteworthy. The whole film looks absolutely magnificent (thanks to Robert Richardson’s sublime cinematography) and Scorsese’s use of 3D is the best I have seen yet. He doesn’t rely on action set-pieces to get it across but concentrates more on the basics; snow falling, steam drifting and passers-by in order to fully immerce us in the grand scheme of things. It works a treat and looks wonderful but ultimately remains just a visual spectacle, instead of the adventure in which it proclaims to be. In fact, the biggest moment of entertainment comes from his use of archival footage of the great Harold Lloyd and his classic clock tower stunt from “Safety Last!” in 1923. There’s no doubt that Scorsese is a film buff and feels the need to remind us of the craftwork and illusionary beauty of some forgotten pioneers of cinema but he doesn’t quite achieve anything worth noting in telling his own tale. The use of 3D is magnificent (and sometimes distorting) but even that will eventually be bettered in time. Fine performances are included, young Asa Butterfield is commanding throughout but some, like Emily Mortimer, Ray Winstone and Christopher Lee, are wasted in thankless roles. In fact, the film has everything going for it but somehow, strangely, seems uneventful. As a visual spectacle it’s outstanding but also somehow laboured and tedious.

Maybe my expectations were too high going into this. Scorsese’s Oscar nomination for best director is well deserved but I found myself waiting for something to happen and… it never did. What it does do, is allow you to appreciate the craftsmanship and wonderment of cinema, and being Scorsese’s obvious intention, it at least achieves that.

Mark Walker