KICK ASS REVIEW

KICK ASS
Director: Matthew Vaughn
Cast: Aaron Johnson, Nicholas Cage, Christopher Mintz-Plasse
Screenplay: Matthew Vaughn &Jane Goldman
Running time: 117 min
Rating: MA
****/*****

IT KICK'S ASS!

Superheros, caped crusaders, masked avengers, latex wearing super studs. Why is it that these paragons of righteous humanity only exist in our dreams? The main point of Kick Ass is to show us that superheroes don’t exist in our modern world for a very good reason. Kick Ass is a parody of the insanely popular comic book adaptations that have been bombarding our theatres since the release of Spiderman back in 2001. The satirical elements of the film seem to be lost on a large number of critics who have branded the film with all kinds of damaging labels; ‘exploitative’, ‘gratuitously violent’, and ‘politically incorrect’ to name but a few. Of course Kick Ass is all of these things. But the film has a different motive for being so than your normal run of the mill action pick.

Kick Ass tells the story of Dave Lizewski, an avid comic book fan who wonders why no-one has ever thought of becoming a superhero? The constantly unnoticed and downtrodden Dave decides to do what others only dream of and create a crime fighting alter ego Kick Ass. Dave soon realises that being a superhero is harder than he thought, especially after only narrowly escaping with his life on many occasions. Dave’s problems escalate when Mafia kingpin Frank D’Amico thinks Kick Ass is behind a slew of recent drug busts that is actually the work of real vigilantes Big Daddy and Hit Girl.

Unlike most comic book adaptations Kick Ass does not glorify violence. The graphic nature of the fight scenes serve to humanize the actions. They do not appear heroic, just a big bloody mess. The film also explores the consequences of violence. Every time our hero engages in a battle he is beaten to a bloody pulp and only narrowly escapes with his life.

Most of the flack received by the film centre’s around the character of eleven year old, foul mouthed vigilante Hit Girl. Why exactly is it that this character has received condemnation from family groups worldwide, especially since the MA 15+ film has never been marketed as anything less than strictly adult entertainment? Sure Hit Girl is like a pint sized Rambo, but is she any more disturbing than the mass murdering, psychopathic child in Orphan? The sociopathic, serial killer played by Macaulay Culkin in The Good Soon? A callous, bloodthirsty Kirsten Dunst in Interview with the Vampire? There are countless other examples of child exploitation, but Kick Ass seems to be the film taking the beating. The fact that director Matthew Vaughn is making the point that Hit Girl is a product of our increasingly violent culture seems to be lost on most naysayers. He makes the statement that superhero films glorify violence so much that in our society it is perfectly within the realms of possibility for an eleven year old to wish for guns and knives for her birthday.

Kick Ass is a rollicking good farce and anyone who attempts to view it as a straight up action film is going to have trouble. It successfully pokes fun at many generic superhero conventions; the death of a parent, the arrival of a superpower (which in Dave’s case is a slightly heightened ability to take pain due to nerve damage sustained in a fight), the superhero costume ( a green scuba suit which Dave attempts to wear underneath his clothes at all times), the training regime, the nerd boy who likes popular girl, the showdown and the inevitable sequel setup.

The cast is exceptional. Nicholas Cage gives his best performance in years as Big Daddy, Chloe Moretz almost steals the film as Hit Girl, Christopher Mintz- Plasse brings the laughs as Red Mist and Mark Strong delivers another exceptional villain. The film’s star Aaron Johnson continues to show his versatility as an actor, possessing the humility to make Dave pathetic enough that the audience just can’t help but root for him.

Kick Ass is a unique film that deserves to find a large audience. Here’s hoping that audiences will get past the controversy and be able to view the film for the delightful romp that it is. FOUR OUT OF FIVE STARS

PERCY JACKSON AND THE OLYMPIANS: THE LIGHTENING THIEF REVIEW

PERCY JACKSON AND THE OLYMPIANS: THE LIGHTENING THEIF
Director: Chris Columbus
Cast: Logan Lerman, Brandon T Jackson, Alexandra Daddario
Screenplay: Craig Titley
Running time: 118 min
Rating: M
***/*****

IT'S A SHAME SOMEONE COULDN'T HAVE STOLEN CHRIS COLUMBUS!

Despite comparisons to another fantastical franchise featuring an adolescent boy with magic powers, Percy Jackson is not the next Harry Potter. It is instead a rather mediocre yet entertaining entry into the genre that has the potential to achieve far greater things than what has been elicited out of this initial outing.

Following the theft of his precious thunderbolt Zeus wages war on Poseidon, convinced that the culprit is Poseidon's half human half immortal son Percy. Raised as a normal teenager Percy must channel his dormant powers and find the real thief before a war of the gods destroys the world.

Everything about Percy Jackson is quite hit and miss. The screenplay by Craig Titley lacks the emotional subtext that makes Harry Potter resonate with all ages. Instead rather bad dialogue and scant character development abound, with hastily introduced sub plots wrapping up as unsatisfyingly as they are introduced.

Based on the novel by Rick Riordan it is a shame that Chris Columbus could not have delivered a better thought out product as the premise is rather good. The Gods of Olympus have not featured prominently in a mainstream film for decades, and the concept that their half human offspring must train as warriors to save the world is practically every fantasy enthusiasts wet dream. Unfortunately Columbus fails to capitalise on the rather ingenious premise instead meandering about not quite sure on what aspect of the film he should be focusing on

Luckily for the film, Logan Lerman in the title role goes along way in smoothing over the movies flaws. Lerman has long been a child star to watch and as he develops into a young man his performances, particularly last years My One And Only, grow in depth and stature. Doing well with the bad dialogue he is given it is hoped that Lerman follows a Dicaprio type career path and not get caught up in a string of dead end franchises like many other teen stars that have gone before him. The supporting cast does not fair so well. Indie darling Catherine Keener is practically nodding of in her role as Percy's long suffering mother and whilst Brandon T Jackson gets in a few witty one liners as Percy's sidekick Grover, he appears awkward in any scene that requires a more "serious" tone. It is hard to ascertain anything about Alexandra Daddario's performance as Percy's love interest and fellow immortal as you are too distracted by the fact that she appears to be trying to pop her eyes out of the sockets in every scene , the same can be said or Pierce Brosnan in the sense that his half human half horse physique elicits the giggles so profoundly that it is almost impossible to concentrate on what is coming out of his mouth.

On the plus side a few solid action sequences and interesting cameos manage to briefly lift the quality of the rather hodge podge fair. One has to wonder if Columbus rushed the filming of Percy Jackson in order to beat Clash of the Titans to the screens as it often comes across as hastily thrown together and not entirely thought out. If this is a case it is a shame because potential peaks through the crevices of the film, potential that will hopefully be capitalised on should Percy Jackson be granted a second outing.

Despite the criticism Percy Jackson is a bit of mindless fun, which perhaps would not have been such a disappointment if the fine calibre of artists assembled had not been involved. Still more enjoyable than a lot of pop corn movies flooding the marketplace, here's hoping that Columbus can create some real magic in the sequel. THREE OUT OF FIVE STARS.

SHUTTER ISLAND REVIEW

SHUTTER ISLAND
Director: Martin Scorsese
Cast: Leonardo Dicaprio, Mark Ruffalo, Ben Kingsley
Screenplay: Laeta Kalogridis
Running time: 138 min
Rating: MA
*****/*****

YOU WON'T WANT TO CLOSE THE SHUTTERS ON THIS ONE!

The dream team of Scorsese and Dicaprio deliver their most thrilling and original effort yet in the form of the physcological mindfield that is Shutter Island.

US Marshal Teddy Daniels is called to a remote island to investigate the disappearance of a murderess from an institute for the criminally insane. Upon arrival Daniels soon begins to realise that nothing is as it seems, nobody can be trusted and danger lurks around every corner.

Like Shutter Island the location, Shutter Island as a film is a rich tapestry of intrigue in which the viewer never feels safe in it's presence. Also like the island itself you never quite know what to expect from the film or even how to define it. As the story unfolds the genre you think you are watching is constantly evolving. Is it gritty film noir, closed circled crime fiction, cop drama or sensationalised pulp? Nobody knows genre better than Martin Scorsese and this very gift enables him to mess with the viewers expectations as he presents us with convention and then turns it upside down.

When it comes to suspense Shutter Island by far surpasses all other cinematic offerings of the past decade. From the opening scene to the rolling of the credits the viewer is bombarded with a plethora of plot twists, red herrings and interconnected sub plots as the narrative grows deeper and more intense. To discuss said narrative would merely spoil the experience for the viewer as the total unpredictability of the films plot is one of it's finest assets.

Dicaprio once again turns in an awards worthy turn as the films damaged protagonist Teddy Daniels. Few actors can emote so much in such a subtle manner without chewing the scenery. The pain expressed in Dicaprio's eyes will haunt you for long after the lights come up. Daniels narrative is complex but Dicaprio handles the progression of his character like the pro that he is. It is hoped that Dicaprio doesn't follow in his directors footsteps in being relegated to always being the bridesmaid for the coveted Oscar. Fingers crossed that Shutter Island remains in voters minds for the 2011 awards ceremony as Dicaprio's performance is one of the best of this or any year. Mark Ruffalo lends excellent support as Daniels partner Chuck Aule. It's definitely Ruffalo's best performance to date and one hopes that he will be offered more roles of substance after this outing. Rounding out the supporting class is the suitably intriguing Ben Kingsly as the resident head physcologist, a scene stealing Ted Levine as a suspicious warden and Michelle Williams as Daniels deceased wife. Brief cameos by Jackie Earle Haley as a patient and Patricia Clarkson as a mystery woman are masterclass acting at it's finest and enrich the quality of the picture.

Cinematographer Robert Richardson does a superb job of making Shutter Island the foreboding and maze of fear that it appears to be. All other departments also seem to come up trumps with the epic musical score of the picture in need of a notable mention.

Shutter Island is one of the most original, unsettling and thought provoking film experiences you are ever likely to get. The intricacy of the plot plays out like clockwork, showcasing film making at it's finest. One of the must sees of the year and definately worthy of being considered a modern classic, here's hoping the Dicaprio/Scorsese partnerships continues for years to come. FIVE OUT OF FIVE STARS

UP IN THE AIR REVIEW

UP IN THE AIR
Director: Jason Reitman
Cast: George Clooney, Vera Farmiga, Anna Kendrick
Screenplay: Jason Reitman, Sheldon Turner
Running time: 109 min
Rating: M
**1/2/*****

UP IN THE AIR CRASHES TO EARTH

Clooney's latest obligatory awards contender is a rather bland look at the life of a rather uninteresting individual that consistently fails to deliver emotionally despite exploring the "big issues" of life.

Up In The Air tells the story of Ryan Bingham, a corporate downsizing expert who delights in his jet setting lifestyle of travelling around the country firing hapless individuals whose companies could not muster the courage to do the job themselves. Ryan's dream of reaching ten million frequent flyer miles is threatened however by the arrival of ambitious young gun Natalie who has come up with a plan to fire individuals via video conference in order to cut back on company costs. A further threat to Binghams lone wolf existence arrives in the form of his dream woman Alex, a fellow frequent flyer with a similar fetish for elite status. Bingham begins to re-examine his choices in order to ascertain what he really wants out of life.

Bingham is given no back story, he just is the way he is- a selfish human being who has chosen a very solitary existence so that he can be held accountable to no-one. In a job that requires Bingham to bring constant suffering to others he appears unaffected and seems to relish each trip so that he can fulfill his rather empty goal of achieving ten million frequent flyer miles. With the arrival of Natalie on the scene it is hard to ascertain whether Bingham objects to her new "downsizing" technique because he finds it particularly cruel and impersonal or because it will put an end to his cherished existence. His character is not very well rounded and you find yourself unaffected by Bingham's suffering after certain events in the film, after all what has this man done to deserve any sought of happiness? It is as though we are supposed to overlook the fact that Bingham is essentially a selfish bastard because it's George Clooney, after all someone as suave and handsome as Clooney can't be all bad right? Wrong!

Aspects of this film just don't add up. Natalie is supposed to be one of the main catalysts for change in Bingham's perspective on life but it is difficult to ascertain how exactly she achieves this. To think that this rather insufferable, stuffed-shirt could even make a dent in Binghams considerable armour with some rather naive ramblings about life and love is just implausible, especially since Natalie's life doesn't seem any the better for it. Her character is also somewhat of a mess, one minute she is berating Bingham with a speech on the importance of love, relationships and human interaction and the next minute she is launching into a full throttle campaign to enable her company to fire people in the most humiliating way imaginable.

That leaves his love interest Alex. Alex is basically the female version of Bingham, so the fact that he would begin to question his lifestyle after meeting someone who fits into it perfectly is quite peculiar to say the least . His sudden misgivings feel somewhat false and out of the blue.

Like writer/director's Jason Reitman's previous film Juno you are left wondering what exactly the message of the movie is supposed to be? Life is better with people? Nope, considering the characters who do have loved ones in their lives are either miserable, jilted or looking for an escape. It's never to late to change? Nope, considering Bingham consistantly fails to do so. It doesn't pay to lead a selfish life? Nope, considering Bingham appeared to be far happier when he was self absorbed and unaccountable. So it must be.....life can suck? Oh!

The whole film just seems to fall flat, even the scenes where dozens of workers are getting laid off feel emotionally barren. Was it the intention of the film maker to leave us feeling dead inside like Bingham appears to be.

All three lead actors are receiving Oscar buzz for their performances and whilst they are not bad they certainly don't standout as particuarly unique or noteworthy turns. George Clooney is playing George Clooney, nothing different from any other performance he is given over the course of his career. Anna Kendrick is essentially playing Jessica from Twilight with a college degree and Vera Farmiga is good but not great. It is indicative of the lackluster year of films in 2009 that these performances and this movie in general is considered at all awards worthy.


It is hard to take anything but a mild case of depression away from this film, or perhaps the fact that it sucks to get fired. Duh! For Clooney enthusiasts and persons in secure employment only. TWO AND A HALF OUT OF FIVE

IT'S COMPLICATED REVIEW

IT'S COMPLICATED
Director: Nancy Meyers
Cast: Meryl Streep, Alec Baldwin, Steve Martin
Screenplay: Nancy Meyers
Running time: 120 min
Rating: M
***1/2/*****

MENOPAUSAL ROMANCE HAS NEVER LOOKED

LIKE SO MUCH FUN

It's a shame that middle age romcoms don't appear in the marketplace more often as they consistently prove to be more intelligent, thoughtful and of a much finer caliber than the horrendous run of the mill offerings featuring egomaniacal twenty-something starlets looking for an easy hit, a big paycheck and an excuse to strut around their overly aerobicised buts in skimpy outfits.

It's Complicated tells the story of Jane Adler (Streep) who after a drunken night out unintentionally rekindles the romance with her now married ex-husband Jake (Baldwin). Jane is confused about the nature of her feelings, not to mention being both horrified and a little elated at the fact that she is now the other woman. Further complications arise when, much to Jake's chagrin, Jane developes a crush on her architect Adam (Martin). Jane must figure out her emotions before she loses both men altogether.

Director Nancy Meyers last foray into the menopausal romance genre is the modern classic Something's Got To Give and whilst It's Complicated doesn't quite reach the same heights it is nevertheless irrefutably enjoyable. Meyers is something of a pioneer of the middle aged romcom, having had a hand in some of the finest films the genre has to offer (Father of the Bride, Private Benjamin, Baby Boom). Her films are consistently more layered than the usual boy meets girl, boy loses girl, boy gets girl back romcom shtick, often exploring issues effecting a demographic that are harshly rejected by most of mainstream Hollywood.

From sagging body parts to empty nesting, the effects of divorce and impotance, the menopausal romance genre explores what happens after the happy ending. As such these films have a much more emotional subtext to them because they manage to hit nerves that vapid romantic comedies can't help but miss. It's Complicated is a unique mixture of soaring comedic highs and surprisingly poignant interludes. One moment you are doubled over with laughter as Steve Martin inadvertantly receives a rather unflattering close up of Alec Baldwins wang and then you're bought sharply back to reality with Jake and Jane having a rather touching discussion about the their failed marriage. It's Complicated is also unique in the fact that right up until the end you are not quite sure who Jane will end up with and can't even make up your own mind about the situation. Both Jake and Adam seem to fulfill different needs in Jane and it's a credit to Streep's chemistry with her two leading men that you actually wish she could be with them both.

Meyers once again surrounds herself with a dream cast of Hollywood royalty, and with good reason. Streep is as flawless as always and an excellent choice for a romcom protagonist, especially considering she is one of the only actresses in Hollywood who can command universal good will from womankind. Her relatability and likability in the role is one of the main contributors of It's Complicated success. Equally likable is the utterly hilarious Alec Baldwin who can elicit the giggles with the arch of an eyebrow. Baldwin is a natural born comedian who is so successful at walking the fine line between subtlety and slapstick that he manages to rival comedy legend Steve Martin in the laughs department. Martin does well with the chances for comedy he is given (pot hasn't seemed this funny since Jeff Spicoli) but he inhabits a more mature and grounded persona than in previous outings (cough..pink panther). Rounding out the cast is The Office star John Krasinski as Streep's future son in law Harley. Although the part is small Krasinski nevertheless delivers the goods.

It's Complicated is not the most exciting or unique film experience you will have this year but it's sure to be one of the most charming, and there is nothing complicated about that. THREE AND A HALF STARS

DID YOU HEAR ABOUT THE MORGANS? REVIEW

DID YOU HEAR ABOUT THE MORGANS
Director: Marc Lawrence
Cast: Sarah Jessica Parker, Hugh Grant, Sam Elliott
Screenplay: Marc Lawrence
Running Time: 103 min
Rating: PG
**/*****

THE ONLY THING YOU NEED TO HEAR ABOUT IS HOW

BORING THIS IS!

Not quite code Gigli but still bad even by romcom standards, Did you hear about the Morgans? is unfunny, unimaginative and an unfortunate waste of time.

The Morgans are a recently separated couple who agree to meet for dinner to discuss the future of their relationship. On the way home they happen to witness a murder by a notorious hitman and narrowly escape becoming his next victims. As the killer remains on the lose the Morgans are forced into the witness relocation program, where they must adjust their big city attitudes to fit in with the values of small town Wyoming.

The film marks the third collaboration between Hugh Grant and director Marc Lawrence, a partnership which keeps producing worse and worse product. After the ho hum Two Weeks Notice and the absolute snooze fest that was Music and Lyrics you'd think the pair would come up with something a little more interesting to work on. Alas this film is just the same old shtick devoid of the charm that made the before mentioned titles remotely watchable.

The predictability of the story is not the problem with the picture, after all if a romcom isn't predictable then it's not a romcom. The main faults lay within the poorly written characters and an hour and a half of situational comedy that falls shockingly flat. The film feels drawn out and incredibly slow. As it meanders along aimlessly we are bombarded with a plethora of fish out of water gags that are never funny to begin with and are only made worse but the either fatally dull or embarrassingly stereotypical characters involved in them.

An audience can forgive a romcom for almost anything if the chemistry between the two leads is sizzling. Take The Proposal and The Ugly Truth as more recent examples of this; bad films, big box office! Unfortunately Sarah Jessica Parker and Hugh Grant just don't have "it". You don't really care about what happens to their relationship, quite damaging considering this is the basis of the film. Their performances are lackluster and the fact that they are playing their usual screen persona's is only worsened by the poor script. Added for some extra comic relief but not quite making it are the pairs unamusing assistants played by the usually brilliant Elisabeth Moss and newcomer Jesse Liebman. Rounding out the cast is Queen of the thankless supporting role Mary Steenburgan and Mr. Mustache Sam Elliott as the two law enforcement officers assigned to protect the Morgans. Unfortunately the pair fail to rise above their type A southern stereotypes .

Chances are if you've seen the trailer for this you really don't need to see the movie, as all of the best parts of the film are in it. Did you hear about the Morgans makes for some harmless viewing but if your time is precious perhaps wait for DVD. TWO STARS OUT OF FIVE

THE LOVELY BONES REVIEW

THE LOVELY BONES
Director: Peter Jackson
Cast: Saoirse Ronan, Stanley Tucci, Mark Wahlberg
Screenplay: Peter Jackson, Fran Walsh, Philippa Boyens
Running time: 135 min
Rating: M
****/*****

THERE MAY BE A FEW BONES TO PICK, BUT THERE IS STILL A LOT

OF LOVELY EVIDENT

Peter Jackson's adaptation of Alice Sebold's best selling novel is deeply flawed. It is also deeply haunting, deeply moving and one of the most unforgettable film experiences of this or any other year.

Fourteen year old Susie Salmon watches over her family from the afterlife as they attempt to piece their lives back together after her brutal murder. But even in death Susie is still haunted by what has happened and becomes consumed with bringing the perpetrator to justice.

The subject matter is tough to say the least, but Jackson handles the material beautifully. Young Susie's rape and murder is never gratuitous, in fact very little of the crime is actually seen as Jackson opts to employ the use of haunting symbolism rather than brutal realism to imply what has happened. In turn Jackson's powerful imagery hits more disturbingly close to home than one could possibly imagine.

Jackson is the master of imagery and the film is glorious to look at. For a movie with such a dark subject matter, it may be surprising to learn that The Lovely Bones is steeped in vibrant colour. Both in life and death Jackson creates visually interesting worlds for Susie to inhabit, both in an authentic recreation of 70's suburbia in both look and feel and a heavenly universe rife with symbolism and magnificent imagery. This being so the scenes featuring Susie in the afterlife, whilst visually stunning, serve to derail the pace of the film.

The Lovely Bones gets off to an excellent start. We are introduced to Susie and grow instantly attached. She is smart, witty and endearingly naive, everything a likable heroin should be which makes the knowledge of her impending doom even harder to digest. The film is a unique mixture of light and dark moments. Jackson lolls us into a false sense of comfort after we view a comical encounter with Susie and her Grandmother about the joy of first kisses, we are then brought sharply back to reality with Susie's narration reminding us that she will soon meet her demise at the hands of the terrifyingly creepy Mr Harvey, the quiet but psychologically disturbed neighbour from across the road.

The film starts of light but soon turns into a tense, gritty thriller as the quest to discover what has happened to Susie begins. The scenes of Susie in the afterlife tend to derail the growing momentum of the investigation, as do some poorly executed sub plots. Susie's infatuation with Ray, a boy from school with which she has had but a few encounters, feels rather off note as she seems to spend more time moping for him in the afterlife than for her family. Susie's otherworldly contact with outcast Ruth also turns out to be highly frustrating as it builds expectation but accomplishes nothing in the way of bringing Susie's murderer to justice.

One of the biggest faults in The Lovely Bones is poor character development, with Susie's parents suffering most. Their relationship seems false and their initial reaction to her death feels rather hastily passed over. The disintegration of their marriage barely registers in the film and we never really get a grip on who they are as characters, making it almost impossible to understand many of their actions, in particular Abigail's. The usually brilliant Rachel Weisz appears to be a blank canvas and doesn't seem to be fully present within her role. Mark Wahlberg fares a little better as the father obsessed with finding Susie's killer, but the holes within his character and thus performance are glaringly apparent. Whilst Rose McIver turns in a solid performance as Susie's younger sister Lindsay, the murder of her sibling appears to have no emotional effect on her character at all. Susan Sarandan in the role of Susie's unconventional, alcoholic Grandmother does well with the little she is given as some brief but pointless comic relief but Michael Imperioli fails to rise above his stereotypical, one note homicide detective.

The two lead characters however manage to escape the fate of the supporting cast. Susie is possibly the most well rounded character in the film and Saoirse Ronan is brilliant in the role. One of the most talented actresses working today her work deserves to be recognised by the Academy as she manages to outshine the majority of performances we've seen this year. The real show stealer however is masterclass character actor Stanley Tucci as the deranged serial killer Mr Harvey. Tucci's performance is so sinister and disturbing that it will haunt you for some time to come. It would be an absolute crime for Tucci to miss out on at least an Oscar nomination for his work as really he deserves to win.

Despite it's faults The Lovely Bones still makes for one of the most original and compelling film experiences of the year. Completely haunting in every way, it is a great film that could or should have been magnificent. FOUR OUT OF FIVE STARS