DubhDoo Reviews

Foals Live at the Royal Albert Hall (2013)

Now that's what I call a show

[7/10 · 3 November 2013]

Foals have had a great year. The Oxfordshire quintet scored their biggest hit yet with single 'My Number', their third album 'Holy Fire' made it to number two on the U.K. album charts (being held off the top spot by the 'Les Misérables' soundtrack), the album, in turn, was nominated for the Mercury Prize, they won Best Live Act at the Q Awards and their biggest indoor gig to date, in London's Royal Albert Hall sold out in minutes and went on to garner great reviews. With this Dave Ma directed concert film (the band's first) it's easy to see why, as the band put on a show so good you'll wish you there.

Nick Wheeler's visuals are often striking and always pop as the lightshow brightens up the expansive dome, while the sound design is impeccable. Dave Ma's direction is superb, capturing the unbreakable energy of the live performance, as Yannis Philippakis and co. thrive onstage, forming a formidable live unit where each band member is integral. Additionally, we also get a number of insightful glimpses into their behind-the-scenes behaviour, as they muck about backstage, rehearse and discuss their attitude towards making music.

Everyone in the audience looks delighted to be there, with many completely losing themselves in the music and even sitting in front of your TV, there's a good chance you will too. This is an immersive, explosive and intense concert film that will leave you wanting more and a Foals ticket.

Thor: The Dark World (2013)

Thor-rific

[8/10 · 3 November 2013]

Marvel are everywhere at the moment. In the past two-and-a-half years we've had 'Thor', 'X-Men: First Class', 'Captain America: The First Avenger', 'The Avengers', 'The Amazing Spiderman', 'Iron Man 3', 'The Wolverine' and now, 'Thor: The Dark World'. There are also four more Marvel movies to follow next year – 'Captain America: The Winter Soldier', 'The Amazing Spiderman 2', 'X-Men: Days of Future Past' and 'Guardians of the Galaxy'. This could seem like overkill, except all of the aforementioned movies already released have been good and some great. Which now brings us to Thor's third big screen outing – how does it compare to slew of Marvel movies around today? Very favourably.

Following the chaotic events that rocked New York in 'The Avengers', Thor (Chris Hemsworth) and Loki (Tom Hiddleston) are back in Asgard, with the latter being imprisoned for his crimes. The Nine Realms appear to be in order, but an ancient race is on a vengeful path – The Dark Elves, led by the villainous Malekith (Christopher Eccleston). Upon discovering a portal between Asgard and Earth, scientist Jane Foster (Natalie Portman) accidentally reawakens them and they set their sights on Thor's homeworld.

In stark contrasts to the recent DC films (except 'Green Lantern', but let's forget that ever happened), Marvel Studios' movies are unadulterated fun. 'Iron Man 3' and 'The Avengers' set the bar high for the level of sheer fun and Thor's latest continues along this path. It's also leaner than every other recent action blockbuster and all the better for it, as e.g. by the time the 30 minute climactic battle in 'Man of Steel' begins, the end credits start rolling on 'Thor: The Dark World'. Additionally, the action sequences are terrific and exhilarating, while the comedy is properly funny and occasionally hilarious. There's also an unexpected cameo from a Marvel regular that is one of the most joyous things I've seen all year. Alan Taylor uses his experience from the brilliant 'Game of Thrones' to great effect when approaching the fantasy worlds. As per usual, Tom Hiddleston is a delight to watch, lighting up the screen whenever he appears, while Hemsworth is efficient and the rest of the cast are solid. There are flaws – one or two plot strands disappear and some roles are underwritten. However, 'Thor: The Dark World' may not be a profound classic, but it is gloriously entertaining from start to finish and a very worthy addition to the ever-expanding Marvel canon.

Also, make sure to stay for the entire ends credits, as we got, not one, but two post-credit sequences, which I won't spoil, but I will say that one of them offers an excitingly weird glimpse into a future Marvel movie.

Shut Up and Play the Hits (2012)

Time to say goodbye

[8/10 · 3 November 2013]

"Hey", Steve Albini wrote, "breaking up is an idea that occurred to far too few groups". However, it's definitely an idea that occurred to LCD Soundsystem, as frontman James Murphy decided to disband the group, not long after their third album was released, despite the fact that they were now at the peak of their fame and acclaim. Nothing bad had happened – there were no bust-ups between members, drug troubles or any other music clichés – Murphy simply wanted to wave goodbye to his dance-punk creation and respect should be given to him for that. He chose to go out with a bang, by staging the group's largest gig to date on the 2nd April 2011, in New York's Madison Square Garden to a crowd of nearly 20,000. That gig is chronicled in this excellent Will Lovelace-and-David Southern-directed documentary. The live footage on display here is superb, with an Arcade Fire-featuring rendition of 'North American Scum' and the emotional climactic performance of 'New York, I Love You But You're Bringing Me Down' proving to be highlights.

However, 'Shut Up and Play the Hits' isn't strictly a concert movie, as it also features some backstage footage, an interview recorded a week before the gig and clips of Murphy rambling around New York, often with his little bulldog in tow. This may sound boring when compared to the palpable energy of the concert footage, but these intercuts are anything but. They're revealing and engaging as we are given a glimpse of Murphy leading up to the final gig and the day after it. In particular, the interview is the most interesting with Murphy offering an overview of LCD Soundsystem and refreshingly frank responses to the questions he is asked.

This film isn't just for LCD Soundsystem aficionados; it's one for anyone who enjoys music documentaries. And if you are a fan of James Murphy, I struggle to imagine any reason why you wouldn't like this. Its offstage clips are poignant, while its beautifully shot concert footage is absorbing. If this truly is the end of the group, then this is a terrific way to say farewell.

Jackass Presents: Bad Grandpa (2013)

Mildly amusing

[4/10 · 3 November 2013]

The 'Jackass' crew have been around for a while now, but they're showing no signs of hanging it up, and are now back on our cinema screens with their latest offering 'Bad Grandpa' – Johnny Knoxville's first solo 'Jackass' outing. Following in the 'Borat' mould of playing pranks on the unsuspecting public, the movie sees Knoxville disguise himself as the titular grandpa – the lecherous Irving Zisman, who embarks on a road trip with his nine-year-old grandson, Billy, played impressively by Jackson Nicoll, who often out-acts Knoxville when it comes to the comedy. The gags are mildly amusing, as the mischievous pair get up to all sorts of hijinks (one of which owes more than a bit to 'Little Miss Sunshine'), with the 'ladies night' scene and the diner sequence standing out. Additionally, the public's reactions to the pranks are often funnier than the pranks themselves.

Escape Plan (2013)

Does what it says on the tin

[6/10 · 3 November 2013]

Arnie and Sly are together at last. 'Escape Plan', the latest movie from Mikael Hăfström, is notable for being the first major on screen pairing of Schwarzenegger and Stallone, after brief cameos in 'The Expendables' series.

Here, Stallone plays Ray Breslin, a professional jailbird, who after breaking out of every prison designed by man, is sent to a prison designed especially for him to see if he can break out. Unfortunately, Breslin soon realises that this isn't a job – he has been genuinely abandoned in a prison that is "off the grid". To get out, he must team up with Schwarzenegger and come up with an escape plan.

There is action and one-liners aplenty. Curtis '50 Cent' Jackson plays the stereotypical black sidekick. Vinnie Jones plays the same person he's been playing for years. Jim Caviezel plays the ridiculous villain who paints butterflies in his downtime. And Sam Neill appears to be wondering where he is and how he got there. But even with perfunctory direction from Hăfström, 'Escape Plan' makes no pretensions about what it is and says what it does on the tin – it's a delightfully fun and thoroughly enjoyable slab of 'geri-action'.

Filth (I) (2013)

Very twisted and very good

[6/10 · 22 October 2013]

"I was disgusted and wanted to take a shower with a steel brush." That was how Matthew McConaughey said he felt after reading the script for 'Killer Joe' for the first time. 'Filth', the latest Irvine Welsh adaptation, may provoke a similar response in many viewers, because it is very dark and twisted, with a main character that is homophobic, racist, sexist, misanthropic and misogynistic, rivalling and possibly surpassing Harvey Keitel in Abel Ferrara's 'Bad Lieutenant' as the most despicable on screen cop.

The cop in question is Inspector Bruce Robertson, played magnificently by James McAvoy. After having appeared in 'Welcome to the Punch' and 'Trance' earlier this year, playing two good guys, McAvoy does the opposite, taking on the role of someone steeped in depravity and corruption. Subsequently, he delivers not only his best performance of the year with 'Filth', but also the best performance of his career. Thanks to McAvoy, I ended up sympathising and empathising with Bruce, even though I shouldn't. He is strongly supported by the always- watchable likes of Jamie Bell, Eddie Marsan and Shirley Henderson, while Jim Broadbent is delightfully delirious as the psychiatrist that Bruce regularly encounters in his visions.

The plot is loosely concerned with Bruce attempting to get a promotion, but in reality, this is more of a character piece than a straightforward, plot-driven work; in that respect it's superficially similar to Nicholas Winding Refn's 'Bronson'. What we get are series of vignettes (Bruce goes to Hamburg, Bruce goes to a Christmas party, etc.), a structure that can difficult to get right, but Baird does, as every vignette is good, while aspects of Bruce's complex character are explored. Additionally, 'Filth' contains something that you won't find in any other film this year – the sight of David Soul as a taxi driver, bursting into song, singing his hit 'Silver Lady'. 'Filth's boldness makes it not for everyone – its comedy is jet black and scathing, while it doesn't shy away from explicitness or the dark depths of McAvoy's character, as he engages in sex, drugs and well, filth, doing everything from upsetting children to playing incredibly mean pranks on his 'friends'. It's also one of the best films of recent months.

The Fifth Estate (2013)

Cumberbatch shines in a dull and only occasionally interesting account of the Wikileaks story

[4/10 · 15 October 2013]

You know what they say – you wait for a bus and then two come along at once. After causing a media frenzy in recent years, Julian Assange and his whistleblowing website WikiLeaks have found their way to the big screen this year, twice. Earlier in the year, the documentary 'WikiLeaks: We Steal Secrets' was released to highly positive reviews and a lengthy complaint from Assange himself. Now, we have Bill Condon's dramatic (and according to some, heavily fictionalised) account of the history of the now-infamous website and its founder. Similarly to aforementioned documentary, 'The Fifth Estate' has notably been objected by Assange, who wrote to lead actor Benedict Cumberbatch outlining why he shouldn't take the role or have any part in the film. Despite this, Cumberbatch didn't, instead delivering an excellent and nuanced performance that never feels like an impersonation. On the flipside, Cumberbatch is far-and-away the best thing in the film.

That's not to imply that 'The Fifth Estate' is a bad film by any means, it's just that it's regularly flat and occasionally boring. Many have compared it to David Fincher's 2010 masterpiece 'The Social Network' and the similarities do exist (the foundation of a revolutionary website involving two different people who eventually fall out over said site), but the difference is that this film lacks the spark and most importantly, the compelling dialogue of the latter. When making a film such as this centred on dialogue, it is imperative to make the talk as gripping as possible, but despite trying their best, the conversations here are only sporadically attention-grabbing. Additionally, the sequences set inside the 'cyberspace' feel out-of-place and don't work at all.

The film has good intentions and attempts to raise some interesting questions, as it successfully manages not to show favour to any side of the WikiLeaks argument, even going so as far as questioning the film itself, as we see Cumberbatch's Assange dismissing it in an interview. As well as Cumberbatch, Daniel Brühl is very good as Assange's partner Daniel Domscheit-Berg, while David Thewlis is as usual, a pleasure to watch, here playing the best on screen Guardian journalist since Paddy Considine in 'The Bourne Ultimatum'. Overall though, the film is not as good as its star – it's a plodding and unremarkable account of one of the biggest new stories in recent history.

Prisoners (2013)

A sombre and slow, but excellent piece of work

[8/10 · 15 October 2013]

Some films create a brilliant sense of atmosphere. 'Prisoners' is one of those films. From the moment it opens, we are greeted with an ice cold atmosphere that continues until the end, reflecting the chilly weather that pervades through the suburban Pennsylvania setting. Roger Deakins' stunning cinematography really helps in crafting this atmosphere, as like the film, it moves at a slow and often languorous pace, occasionally honing in on things that don't necessarily move the plot forward, but add to the mood. Coupled with the superb score by Jóhann Jóhannsson, a feeling of dread is created from the beginning, lingering over ever frame right up until the credits roll.

This dark and chilly atmosphere suits the plot of 'Prisoners' perfectly. During a Thanksgiving gathering involving two families, each one's youngest daughter mysteriously vanishes, nowhere to seen, leaving fathers Franklin Birch (Terrence Howard) and God-fearing, American survivalist Keller Dover (Hugh Jackman) deeply concerned over the fate of their kids. Loner Detective Loki (Jake Gyllenhaal) takes on the case and soon arrests Alex Jones (Paul Dano), a guy "with the IQ of 10 year- old", but struggles to find any evidence against him. However, it's not long before a furious Keller takes matters into his own hands.

Jackman has always been a good actor, despite sometimes being considered to be just a 'movie star', and with this film he gives what is very possibly his best performance to date. He's a magnetic force whenever on screen and is perfectly credible as a devastated father. Another person who is entirely credible in their role is Gyllenhaal. It may be as a result of starring in David Ayer's excellent 'End of Watch', but Gyllenhaal is terrific as Detective Loki, offering a great contrast to the fiery Jackman. He even goes so far as adding an actor's tick, as Loki frequently blinks, signalling his stress and anxiety. Jackman and Gyllenhaal are rounded off by a good supporting cast of Howard, Viola Davis, Maria Bello and Paul Dano at his creepiest.

At 153 minutes, you could argue that 'Prisoners' is overlong, but its length was one of the best things about it for me, as I became absorbed in the drama. This is a slow film with slow passages; it definitely takes its time getting places, but with such a great sense of atmosphere, length is hardly an issue. This is more than simply a 'kidnap movie' as director Denis Villeneuve attempts to make a serious point about kidnapping, questioning the value of information obtained under duress and the idea of doing things with the right intentions even if it's against the law. Similarly, the characters exist in an area of gray morality, as evidenced by the fact that I sympathized with Keller and Alex. Sure, it's not perfect – the end twist feels somewhat generic, consequently jarring with the non-generic approach to the rest of the film. Nonetheless, this is a grimly-atmospheric, well-acted and excellently structured piece of work that has something intelligent to say to say about its subject matter.

Breaking Bad (2008–2013)

Pure brilliance

[9/10 · 15 October 2013]

It is funny when you think back on 'Breaking Bad's early days and how they contrast with the way it is now. For its first two seasons, it was largely a cult show outside the U.S., featuring a fanbase that was passionate but not exactly huge. It was even dropped from UK TV due to poor ratings, never to be picked up again. However, around the time the third season premiered, its popularity began to rise, increasing with each subsequent season, thanks to word-of-mouth, reaching a pinnacle with the fifth season becoming the most-talked-about television series of 2013, as large numbers of people starting catching up with the show. This is undoubtedly due to the quality of the series – it is absolutely brilliant. The current success of it can be seen through three recent achievements – it entered The Guinness World Book of Records for being the best-reviewed TV show ever, the Writers Guild of America listed it as one of the great TV series ever written and it also walked away with the top prize at this year's Emmys (and chances are, may do next year as well).

One aspect of the series that no one can dispute is the brilliance of its cast. Thanks to Walter White, Bryan Cranston is no longer "that guy who played the dad in Malcolm in the Middle" and has deservedly won three Emmys for his role as Walt because like the show, he is fantastic, especially as he conveys his character's development from being "Mr. Chips" to "Scarface", as creator Vince Gilligan once remarked in his pitch for the series. Meanwhile, Aaron Paul is superb as Jesse, perfectly capturing a range of sides to his character, from being naive to mature to stubborn to introspective. Aside from the concept of how an ordinary man change transform into an entirely different person, at the very heart of 'Breaking Bad' is the tumultuous relationship between Walt and Jesse. It goes up and down like a roller-coaster, yet it gives the show heart even as the pair do desperate things and we, as viewers, can't helped but be deeply engaged with them, as they argue, confide, fight and of course, cook.

However, the other cast members are just as good as the two leads. As crime scene cleaner Mike Ehrmantraut, Jonathan Banks is outstanding (he should've won that Emmy) and Dean Norris is terrific with strong screen presence as Walt's DEA brother-in-law, Hank Schrader. While Anna Gunn and RJ Mitte are both great as Walt's wife and son, as they form a family relationship with Cranston that is never anything but realistic considering the situations he places them in, even if Gunn's character is not the most likable. Bob Odenkirk is a pleasure to watch as Walt and Jesse's metaphor-loving lawyer Saul Goodman, providing some comic relief, especially whenever his bodyguard Huell Babineaux (Lavell Crawford) is around. Special mention should be given to Giancarlo Esposito, who is mesmerising as Gus Fring, the owner of fast food chain, Los Pollos Hermanos.

'Breaking Bad' is one of those series where every episode leaves wanting you more, especially with a number of incredible cliffhangers that Gilligan has left viewers dangling on – without spoiling anything, the season five mid-way cliffhanger left me (and many others) desperate to find out what would happen next. It has grown progressively darker over the course of its five seasons, starting out as a black comedy before slowly (and understandably) morphing into something deeper and more serious, while still retaining moments of humour. Similarly, it has also grown increasingly good over its five seasons, being excellent at first before becoming incredible; with the recently-aired fifth season the best of the lot (some of the greatest episodes in the entire series are a few near the end). The key to this show's success is Gilligan, the very man who created it, who has written and directed a multitude of episodes and always manages to brilliantly place the characters in disastrous situations. The quality of the writing, acting and directing (with a special mention to Rian Johnson) on display here is exemplary and on a level that is rarely equalled. If you haven't seen this truly masterful series yet, then you know what you need to do and if you have seen it all, I can't imagine any reason why you wouldn't want to go back and watch it all over again. I know I will.

Breaking Bad: Felina (2013) Season 5, Episode 16

"Guess I got what I deserved"

[9/10 · 15 October 2013]

Well, here it is, after five years spent with Walter White, 'Breaking Bad' has reached its conclusion and now we all have to move on or even go back and re-watch the entire five seasons, which is something I imagine many may do. Firstly, let's get it out of the way – is the last ever episode of this brilliant show any good? Yes, absolutely; it's a very satisfying ending, giving the series a sense of closure.

The episode opens with Walt leaving Alaska and returning to Albuquerque. We briefly see the diner scene that was flash-forwarded to in the fifth season's first episode 'Live Free or Die', where Walt shaped his bacon in the style of the numbers 52, as it was his 52nd birthday. Leaving the diner, he drives out to Gretchen and Elliott's lavish home and sneaks inside. After the end of the penultimate Granite State, where Gretchen and Elliott appeared on Charlie Rose, I predicted that Walt would kill the pair, possibly with the ricin. However, he doesn't, instead urging them to take his money to give to his children and if they don't, he will have "two of the best hit men" kill them. It was a nice twist that the two 'dangerous' hit men turned out to be none other than Badger and Skinny Pete, who hadn't been in the series for a number of episodes.

Aside from that scene, there were no real surprises or outright shocks in the finale. But that's not necessarily a bad thing, as it would have much worse if we had been thrown a huge curveball of a twist that would miraculously save Walt by curing his cancer. Lydia was poisoned with the ricin, through an ingenious move by Walt. The gang of neo-Nazis were shot down by Walt's M60 we glimpsed in the flash forward in 'Blood Money', although not in the 'Scarface' style manner that some predicted. Walt killed Jack and Jesse finally got his revenge on the scarily psychopathic Todd by strangling him, and afterwards escaping from his imprisonment in what was one of the episode's most satisfying moments. Walt gave the coordinates to where Hank was buried so that he could receive a proper burial and he also got to see his children one last time, before he died at the end of the episode. You could argue that matters were wrapped up too nicely, but the tying-up of all these plot strands never felt forced.

Perhaps the highlight of the episode was the final encounter and deeply poignant scene between Walt and Jesse, who refused to kill him and exchanged a meaningful look with him, before driving off. Yet even though he saved Jesse, there was no redemption for Walt, he had gone past the point of no return. However, Walt was at his most human in some time in this episode as he gave up on trying to get back into family and now accepted all he had done. "I guess I got what I deserved", was the first line of the song Baby Blue by Badfinger, which played during the final scene, reflecting Walt's emotions as his character development had finally reached its ending. There was definite resolution to this episode – there were no loose ends dangling about and there was a sense of conclusion from the moment the episode began. This wasn't a big, explosive episode full of drama – that episode aired two weeks previous to this one and the two that have followed it were essentially the epilogue to the story. 'Felina' is not as good as 'Ozymandias', (few things are) but it is still the best ending we could hope for and the best way the series could have ended. 'Breaking Bad' will be missed, but it will also be remembered as one of the best television shows ever. And rightly so.

Rush (I) (2013)

Funny, intelligent, thrilling and moving, 'Rush' is a terrific movie, not just for F1 fans

[7/10 · 21 September 2013]

For whatever reason, the sport of Formula One is one that hasn't been served incredibly well in the movies. Aside from Asif Kapadia's 'Senna', there haven't really been any shining standouts. Thankfully, 'Rush' the latest movie from Ron Howard (reteaming with his 'Frost/Nixon' screenwriter Peter Morgan) is excellent, managing to make someone with no knowledge of the sport (i.e. this writer) compelled during the race sequences and throughout the entire championship.

The movie centres on the rivalry between two F1 racers during the 1970s – the British playboy James Hunt and the disciplined Austrian Niki Lauda, played by Chris Hemswoth and Daniel Brühl respectively – and particularly during the 1976 Championship. This chalk-and-cheese relationship is at the very heart of 'Rush', with the differences between the two painted broadly, but effective nonetheless. Hunt is a racing pop star – with a legion of screaming fans and tendency to the go to a party after race. Lauda, on the other hand, is socially-inept and rigidly determined to win the championship, consequently being unafraid to speak his mind as he calls an extremely expensive Ferrari made for him, "a s***box". Hemsworth plays Hunt in a way similar to how he played Thor but still gives a good performance, while Brühl once again proves him to be a great actor, delivering a terrific and always engaging performance as Lauda. It wouldn't be a great surprise if he picks up some major acting nominations.

The race scenes in 'Rush' are a sight to behold – Howard uses every trick going to make them exciting and he succeeds. With the shadow of death looming over each race, they are simultaneously exhilarating and terrifying, particularly Nüburgring in Germany, as Lauda and Hunt dart furiously around an incredibly dangerous track in extremely stormy weather conditions. Aiding these sequences, are Anthony Dod Mantle's excellent cinematography, some roaring sound design and Hans Zimmer's score, which sounds unlike much of his recent work, wonderfully sounding like The Edge from U2 at times and at others like Ramin Djawadi's score for 'Game of Thrones'.

'Rush' is easily one of the best movies Ron Howard has directed in recent years, (it's a vast improvement on 'The Dilemma', that's for sure) and possibly one of his best films in general. You could level numerous complaints at the film, that many of the characters are thinly- drawn or that the script isn't up to the standard of 'Frost/Nixon', but when said movie is emotionally engaging with heart-pounding races, such flaws don't even register. It may not break the mould, but 'Rush' is funny, intelligent, thrilling and moving.

West of Memphis (2012)

Shocking, tragic, infuriating and always gripping

[8/10 · 21 September 2013]

'West of Memphis', the latest documentary from Amy Berg, focuses on the story of 'the West Memphis Three' – Damien Echols, Jason Baldwin and Jesse Miskelly, three teenagers who were wrongly imprisoned in Memphis, Arkansas, in 1993, for being accused of brutally murdering three 8 eight year-old boys from the area. This documentary chronicles how they spent nearly two decades in jail before being released and also details the meticulous investigation that was carried out from the moment they were placed behind bars.

The great miscarriage of justice is the primary focus here, as Baldwin, Miskelly and Echols suffer (the latter's health began to deteriorate) in prison for a crime they were blamed for because they are considered "the type of people who would do something like that", for example, Echols listened to heavy metal and was interested in the area of Satanism so the finger was instantly pointed at him. After the blame was eventually lifted from the three, it was then directed at one of the boy's fathers as he was, like Echols, considered "the type of person who would do something like that." When the documentary reaches its conclusion, it becomes apparent how ludicrous the accusations against both parties were because they were simply scapegoats and consequently very few people in the area questioned the credibility of them being the murderers. Simultaneously, we are offered a balanced look at the topic, frequently seeing opinions from both sides of the argument.

The injustice that prevailed here was already explored in HBO's 'Paradise Lost' trilogy, but many have argued that this film presents a more compelling and thorough account of the 18 year saga. Produced by Peter Jackson (who appears throughout the documentary as one of the many famous guest stars) and Fran Walsh, the film expertly combines specially-recorded interviews, news and archive footage and forensic examinations. This combination results in a documentary that is by turns shocking, tragic, infuriating and always gripping.

In Search of a Midnight Kiss (2007)

One of the best romantic comedies of recent years

[9/10 · 16 September 2013]

'In Search of a Midnight Kiss', the third film from writer/director Alex Holdridge feels like a breath of fresh air in the romantic comedy genre. From the beginning, it becomes apparent that you've got something separate from the majority of modern movies in the genre, as Wilson (Scoot McNairy), a miserable 29-year old, plans to spend New Year's Eve alone and is caught masturbating to a Photoshopped picture of his best friend's girlfriend, by said friend Jacob (Brian McGuire). Consequently, Jacob browbeats Wilson into a posting a dating request on Craigslist and soon after, he ends up on a date with the brash and abrasive Vivian (Sara Simmonds), but remains skeptical as to whether this blind date will be successful.

There are numerous aspects of this film that make it quite singular – the black and white visuals that some have likened to 'Manhattan' or the sense of humour that Holdridge described as "perverted, dark and twisted". In my opinion though, one of the most individual things about the film is how its characters feel like real people. Much of this is down to the two highly impressive performances at the centre of it all; McNairy and Simmonds have fantastic chemistry together, holding conversations that feel entirely natural and add depth and nuance to their respective character. They anchor the drama, proving to be very likable despite their flaws and give the film its heart.

One of the best romantic comedies of recent years, 'In Search of Midnight Kiss' is bittersweet, genuinely funny and extremely charming, with excellent work from Holdridge, particularly the writing, which not only features a number of relatable characters and situations, but also excellently balances the comedic elements with the more serious.

The Mortal Instruments: City of Bones (2013)

Derivative, boring and unengaging

[3/10 · 16 September 2013]

Maybe audiences are tiring of the teen fantasy movies – earlier this year, 'Beautiful Creatures' and 'The Host' opened to poor reviews and hardly left a mark on the box office, which squashed each one's potential to spawn a franchise. 'Percy Jackson and the Sea of Monsters' was also poorly received and while not faring as bad as the others at the box office, it hasn't exactly been a runaway success. Following suit is 'The Mortal Instruments: City of Bones' which has been panned by critics and is struggling to recuperate its relatively moderate budget. All of which has recently caused the shelving of the sequel. In this first instalment Lily Collins plays Clary Fray, a young girl who encounters the mysterious Jace (Jamie Campbell-Bower) and is told that she, like him, is a Shadowhunter – a warrior entrusted to protect our world from demonic forces. In order to save her disappeared mother (Lena Headey), she joins up with Jace and his fellow Shadowhunters.

'The Mortal Instruments: City of Bones' feels very derivative. Yes, I know it is adapted from the first in a series of successful novels, but even so, the film feels very similar (in numerous ways) to the aforementioned teen fantasies, and also the 'Harry Potter' and of course, 'Twilight'. It (unintentionally) borrows elements from all them but doesn't know to do with them and ends up veering towards a parody of the genre. This became particularly apparent during the scene where Clary and Jace first kiss – they are in a beautiful greenhouse, a (cheesy) love song kicks in and the sprinklers are turned on – which almost feels like someone parodying 'Twilight'. Through into the mix a laughable twist that states that Johann Sebastian Bach was a Shadowhunter (complete with tattoos) who composed classical pieces as a means of fighting demons.

None of this would matter if the leads (Collins and Campbell-Bower) were engaging and likable, unfortunately they are not either. Collins, while not awful, is quite blank and bland as Clary. Campbell-Bower, on the other hand, is the archetypal male protagonist for this genre – he is handsome, strong, a good fighter, mysterious, broody, plays the piano and has a tragic backstory that makes Clary instantly sympathise with him; and although Robert Pattinson's Edward was similar in 'Twilight', he was good actor, making his character (at the very least) engaging, in stark contrast to Campbell-Bower who is a lifeless and unlikable figure on screen. On top of this, a number of excellent actors like Jared Harris, Lena Headey and Aidan Turner are wasted with underwritten roles and little screen time.

This is not a very good movie; it feels much longer than its 130 minutes, something which may please fans of the source material, but which I found tedious. The action sequences are remarkably unremarkable (like much else in the film), the acting is largely poor, the script is full of jargon-driven exposition and the movie itself flows awfully, in disjointed and stilted motion.

The Last of Us (2013 Video Game)

Uncompromising, horrifying, intimate, emotional and incredible

[10/10 · 16 September 2013]

I've never reviewed a video game before, but from the very moment I finished playing Naughty Dog's latest offering for the first time, I felt compelled to write about it. Putting aside a general introduction or anecdote, let's just cut to it – 'The Last of Us' is an absolute masterpiece in gaming; a game so good as to rival any great film you'll see this year or any year, for that matter.

The story is fairly standard post-apocalyptic fiction – an infection has swept across the world, turning vast chunks of the population into zombie-like beings. The remaining humans live scattered in this survival-of-the-fittest world, where the laws of society have been entirely abandoned. A grizzled man named Joel (voiced and motion- captured by Troy Baker) is tasked with transporting a young girl called Ellie (voiced and motion-captured by Ashley Johnson) across the U.S. to bring her to the friendly resistance group, The Fireflies. Its premise is basically 'The Road' meets 'Monsters' (the alien creatures being replaced with zombies) with 'The Walking Dead' thrown in for good measure. Yet, it is so much more than that.

The key ingredient to the greatness of 'The Last of Us' is its characters, specifically the duo at the heart of it; many games in the past few years have offered properly developed characters (for example, John Marston in 'Red Dead Redemption'), but Joel and Ellie are on another level altogether. They're rich, textured characters, who you never believe are anything other than human. They're never black-or- white; eg. Joel's efforts to protect Ellie are morally questioned and elements like this add dimension to them as characters. Some of their best moments come from the little things that occur as their relationship develops, such as Ellie's fascination with a series of comic books or Joel's quiet conversations with her. The more I played the game, the more I got attached to the pair, to the point where each life-or-death encounter became unbearably tense.

I have never felt as emotional playing a video game than when I played 'The Last of Us'; sure, Team Ico's masterwork 'Shadow of the Colossus' (or more specifically, its ending) elicited a considerably strong emotional response from me, but with this game I was emotionally gripped from the very start as Joel navigated through the panic of the outbreak carrying his daughter Sarah in his arms. It is the strength of that emotional connection that separates 'The Last of Us' from every other game I've played – in that way it rivals many great films and TV series, with much credit due to the fantastic work by Baker and Johnson. It is also feels quite cinematic, with its stunning visuals, excellent cutscenes and a superb score by Oscar-winner Gustavo Santaolalla, all of which help to give the game a sense of dramatic heft. The gameplay too is great, feeling smooth with a sense of physicality to the actions you carry out and also causes you to strategise in many situations as going in guns blazing isn't necessarily the best approach.

Yes, 'The Last of Us' is, technically, a 'zombie game', but in reality, it's more than that – it's a truly engrossing story that shows just how far a person will go to protect someone they love, even if those depths are deeply questionable. If you are a fan of video games or even things that are really good then you should play this game. It rivals every other film I've loved this year with its brilliant and intelligently- written script, realistic characters and raw human emotion. Uncompromising, horrifying, intimate and emotional, 'The Last of Us' is an outstanding work of brilliance.

Monsters (2010)

A brilliant and beautiful romance road movie with a sci-fi backdrop

[10/10 · 5 September 2013]

If you watch Gareth Edwards' debut feature 'Monsters', expecting a movie full of big action with giant monsters, then you'll be disappointed. Sure, it may have been marketed as a 'Cloverfield'-esque adventure, but Roger Ebert remarked in his review "it is not a casual exploitation picture" and he's wholly right. What it is, however, is something much more – a road movie with giant monsters only really lurking in the background, because the focus is really on the humans.

The humans, in this instance, are Andrew Kaulder and Sam Wynden (played by real-life couple Scoot McNairy and Whitney Able respectively). Kaulder is photo-journalist, currently working in Mexico, who is instructed to return his boss' daughter home to safety. However, that proves difficult, as six years previous NASA discovered traces of extraterrestrial life, with a space probe crashing south of the U.S. border, bringing alien spores with it. The alien creatures subsequently took over the surrounding area, which eventually became known as the 'infected zone'.

One of the most publicised things about 'Monsters' was its tiny budget of £500,000; conversely though, this is not evident on screen – it looks just as good as any film with a big budget. The cinematography (carried out by Edwards himself) benefiting from locations in Mexico and Central America is truly beautiful. On top of this, the film features a plethora of visual effects ranging from altering road signs to two full-blown alien creatures, all of which were crafted on Edwards' laptop and to his credit, fit faultlessly into the movie. Adding to the visual elements is a great score by electronic musician Jon Hopkins.

At the centre of it all however, are its two leads, whose low-key and utterly believable relationship gives the film heart and soul. Chances are if this was your regular 'monster movie', the main characters would spend their time spouting exposition in order to avoid another monster encounter, but here, Andrew and Sam spend their time developing their relationship, which gives this film more in common with Richard Linklater's masterpiece 'Before Sunrise' than say Roland Emmerich's 'Godzilla', particularly through how beautifully naturalistic the two characters' relationship is, reflecting Edwards' statement that "if you put so much effort into making the monsters seem real, why can't you put the same effort into making the people seem real?"

There may not be that many creatures on display and some may find it too slow, but for this viewer 'Monsters' is one of the best movies I've seen over the past few years. It's both great directorial debut and a stunning film, complete with excellent visual effects, terrific visuals and two fantastic lead actors who provide the movie with a gripping emotional core.

Headhunters (2011)

A cracking crime thriller

[7/10 · 5 September 2013]

Scandinavia seems to be quite prominent in the crime genre nowadays; there are numerous TV shows, such 'Borgen', 'The Bridge' and 'The Killing' and ever-popular books, the most notable example being Stieg Larsson's 'Millennium' trilogy, which was made into a series of films in his native Sweden, while the trilogy's first instalment was also made in a U.S. production. All of which brings me to 'Headhunters', a cracking thriller adapted from Jo Nesbø's novel of the same name.

Roger Brown (Aksel Hennie) is a corporate recruiter, albeit one with a Napoleon complex. His real source of income comes from his dealings as an art thief, which helps him to afford his wealthy lifestyle and ensure that his statuesque wife doesn't leave him. After discovering that one of his job prospects, Clas Greve (Nikolaj Coaster Waldau) owns one of the most valuable paintings around, Roger plans to steal it, however he is unaware of exactly who he is dealing with.

Aksel Hennie is terrific as Roger Brown; he's an unlikable and selfish chap, who utilises his smarts throughout the movie to ingeniously escape a number of crazy predicaments as the hunter becomes the hunted and Roger is truly put through the wringer. As Clas Greve, Nikolaj Coaster Waldau (ever-brilliant as Jaime Lannister in 'Game of Thrones') is essentially everything that Roger isn't – tall, suave and handsome. The Danish actor uses this to his advantage and proves to be an excellent foil to Hennie.

There are rumours of a American remake starring Mark Wahlberg, presumably as Roger Brown, however, but let's hope it doesn't happen, because it's highly unlikely that it could be a patch on 'Headhunters'. It's a thoroughly entertaining, blackly comic and intelligently-written cat-and-mouse thriller that moves at a great pace, with a couple of breathless setpieces and an excellent cast.

Elysium (I) (2013)

Solid, but disappointing

[4/10 · 29 August 2013]

'District 9' was a brilliant directorial debut and also a true sleeper hit. It didn't feature any stars (or recognisable faces), was directed by a first-timer and was set in South Africa (an unusual location for a sci-fi movie), featuring some of the ugliest aliens for some time. However, it was a box-office hit, managing to recuperate its budget over six times and garnered critical acclaim, eventually (and deservedly) scoping an Oscar nomination for Best Picture (another unusual thing for a sci-fi film). Thus, Neill Blomkamp's follow-up attracted great interest, especially since being another gritty work of science fiction and featuring Sharlto Copley, who was so great as Wikus in 'District 9'. Sadly, 'Elysium' is no 'District 9'.

The premise sounded very promising. In 2154, the Earth has become over- populated and over-polluted, with the poor residing there in slums while the wealthy have moved to an elaborate space station called Elysium in order to preserve their way of life. Max (Matt Damon) is an ex-con who is now a factory line worker; unfortunately, he becomes fatally exposed to radiation and is given five days left to live. As a result, he decides to do all in his power to get up to Elysium even if that means melding his body with a mechanical exoskeleton. As Max, the reliable Matt Damon is quite good, making the down-on-his-luck hero a likable lead. However, it is Sharlto Copley who steals the show, portraying a character that is a world away from Wikus, clearly revelling in the nastiness of Agent Kruger, who despite being a one-dimensional villain, is a magnetic presence whenever on screen. Jodie Foster, on the other hand, delivers a wooden performance with a bizarre and stilted accent.

Like 'District 9', this movie is home to some brilliant design work, the decaying Earth is beautifully ugly and the CGI robots slot seamlessly into the world. Some of the action sequences are good, especially the first one after Max puts on the exoskeleton, but the flat third act becomes focused on generic action and good-guy-punch-bad-guy. This action-heavy finale wouldn't feel sterile if it wasn't for the touches of greatness present within the first act, where everything is expertly set-up. However, 'Elysium' only has touches of greatness and that doesn't equal a great movie especially with a heavy-handed and clunky political message. That isn't to say that it is a bad film – it's not – it's alright, but nothing more.

Pacific Rim (2013)

'Pacific Rim' does what it promises with a great sense of fun

[9/10 · 11 August 2013]

At first glance, 'Pacific Rim' may seem like Guillermo Del Toro selling out – it's his first blockbuster with a budget shy of $200 million, featuring giant robot battles. However, this film is no sell-out; it is clearly a Guillermo Del Toro movie, maybe not as much as 'Pan's Labyrinth' or 'Hellboy' were, but a Guillermo Del Toro movie nonetheless. It is possibly his most personal – he said one of the reasons he made was "to reconnect with his inner eleven year old", being inspired by all the Kaiju movies he marvelled as a child.

The film opens with a narration by the protagonist, Raleigh Becket (Charlie Hunnam) chronicling how giant monsters (Kaijus) emerged from a portal in the Pacific Ocean and began to destroy cities. In response, mankind developed giant robots (called Jaegers) piloted by two people to destroy them. Now, with the threat worse then ever, Jaeger commander Stacker Pentecost (Idris Elba) calls Raleigh back into action so that they can "cancel the apocalypse".

'Pacific Rim' might not be as deep or nuanced as some of Del Toro's previous work, but as a giant monster movie it's faultless. You want giant robots hitting giant monsters? You got it. The action sequences here are some of, if not the best, the Mexican filmmaker has directed, they're easy to follow, beautifully staged, exciting and most importantly, great fun to watch. When hero Jaeger, Gypsy Danger, pummelled a Kaiju with a large ship, I couldn't help but smile. And that's one of the best things about the movie – it is pure fun from start to finish, making a nice change from the dark, brooding blockbusters that are around today. It has a light tone with some silly humour (courtesy of the zany scientist duo) and a lovely cameo from Del Toro regular Ron Perlman as Hannibal Chau (continuing the film's line of brilliantly-named characters).

Sure, you could criticise the film for having one-dimensional characters, clunky dialogue and a thin plot, but when said film is so exuberantly fun, these things don't matter one bit. I was always engaged with the characters, rooting for them as they battled the Kaiju, despite the fact that they weren't exactly original creations. This is undoubtedly helped by the fact that performances are solid all-around, particularly Idris Elba who makes the often cheesy 'call-to-arms-speech' rousing. As pure entertainment, this is one of the best films of the year so far, it's a Kaiju movie that also looks and feels like a live- action anime film. Robots vs. monsters? 'Pacific Rim' does what it says on the tin and frankly, that's enough.

Only God Forgives (2013)

"Time to meet the devil"

[9/10 · 11 August 2013]

'Only God Forgives' is not the sequel to the brilliant 'Drive'. Yes, it may feature the same lead actor, composer and of course, director, but 'Only God Forgives' is really a world away from the aforementioned, forgoing the traditional narrative structure and likable leads that film had, in favour of something much more unconventional and polarising. It has more in common with some of Refn's weirder fare such as 'Fear X' and 'Valhalla Rising', and chances are that if you are a fan of his work then you'll like his latest film, but if you're going on strength of 'Drive' then you'll be disappointed.

The film is set in Bangkok, where American expatriate Julian (Ryan Gosling) runs a Muay Thai boxing club with his brother Billy (Tom Burke) that acts as front for drug-dealing. However, when Billy rapes and kills a 16-year old girl, Lieutenant Chang (Vithaya Pansringarm) – referred to as "the Angel of Vengeance" – allows the girl's father to brutally murder Billy. Crystal (Kristin Scott Thomas), Julian's over-bearing mother, arrives in Bangkok and demands that her only remaining son take care of the killer. Despite having no desire to do so, this puts Julian on a collision course with the seemingly supernatural police chief.

Its storyline might make it sound like a tense revenge thriller, but the film is anything but. It moves at a slow and languorous pace, which adds to the nightmarish atmosphere that is so brilliantly created from the first frame. In this, the line between what is real and what is not is frequently blurred in a number of Lynchian dream (?) sequences where Julian sees the Angel of Vengeance. Larry Smith's sumptuous cinematography expertly conveys this hallucinatory feel, bathing the screen in primary colours and experimenting with lighting. A fantastic score by Cliff Martinez perfectly complements the neon-drenched visuals with its mixture of electronics and Thai instruments.

Gosling may have been quiet in 'Drive', but compared to his turn as Julian, he was a motor mouth, as he utters only 17 lines in this film. Despite the role originally being intended for Luke Evans (who dropped out to work on Peter Jackson's 'Hobbit' trilogy), Gosling makes it his own, remaining an engaging figure whenever on screen, even if he tiptoes around self-parody. Filling out another near-silent role is Pansringarm as the Angel of Vengeance, who delivers a terrific performance and is a magnetic presence every time he enters the frame. The only other substantial role is Kristin Scott Thomas' as Crystal; electrifyingly playing against type, seen no better than in a dinner scene where she calls Julian's girlfriend/ favourite prostitute, Mai (Rhatha Phongam) "a cum dumpster" and cites penis envy as the reason why he hated his brother. However, she still has complete control over him – he lights her cigarettes and kisses her on the cheek when prompted.

With 'Only God Forgives', Nicolas Winding Refn continues along his path of being one of the most interesting and singular filmmakers around today, delivering a film that is unlike anything else around today, evoking the work of Gaspar Noe and the great surrealist director Alejandro Jodorowksy (whom the film is dedicated to). Like the latter's work, this movie is filled with symbolic visual metaphors that leave the film open to interpretation but suffice to say there is definitely a religious aspect to it. "Time to meet the devil", Billy says at the beginning, a line which sets a tone for the remainder of film as Gosling's Julian embarks on a gripping descent into hell, all-the-while yearning for forgiveness for his sins. Unconventional and uncompromising, Refn and Gosling's second feature together is, understandably, not for everyone. But for this viewer, it's one of the most brutally violent, bizarre and pure brilliant films I've seen this year.

The Heat (I) (2013)

'The Heat' is not-so-hot

[5/10 · 11 August 2013]

In 2011, Paul Feig and Melissa McCarthy struck gold with 'Bridesmaids', a female-centred comedy that was a critical and commercial hit in a largely male-dominated genre (in Hollywood anyway). After appearing in 'Gilmore Girls' for a number of years and a few small films (e.g. 'The Nines'), it was the movie that made McCarthy a star, garnering her roles in big comedies like 'This Is 40', 'Identity Thief' and 'The Hangover Part III'. Now two years on after their first collaboration, McCarthy and Feig are back working together with 'The Heat'.

The story is same as any buddy cop movie (especially one from the 80s) – two chalk and cheese officials are partnered up and forced to solve a big crime, while their co-workers undermine them. The major difference here is that instead of it being two men, it is two women – FBI Agent Sarah Ashburn and Boston cop Shannon Mullins, played by Sandra Bullock and Melissa McCarthy respectively. Yet, despite the genders being different, the dynamic isn't – Bullock solidly plays the uptight Ashburn as the straight role, there to be horrified by Mullin's antics, all-the- while coming out of her shell. And of course, McCarthy is the unprofessional and aggressive half of the duo.

Is 'The Heat' as funny as 'Bridesmaids'? No, but that's not to say that it's particularly bad – the physical comedy is largely unfunny (and unsurprising), the verbal gags are more successful, but not anything hilarious. Despite the presence of two female leads, the movie carries a real sense of déjà vu, not just with the plot, but with much of the humour, running out of steam twenty minutes before the credits roll. McCarthy's jokes are hit-and-miss, particularly because she's playing the same character she's been playing since 'Bridesmaids' only with a slight Boston accent. It's somewhat disappointing considering that she is a talented actress, who can be much funnier. For me, the movie was never anything more than amusing; it's not terrible – there are much worse comedies out there, but it's not great either, instead it's passable.

Despicable Me 2 (2013)

Charming and enjoyable fun

[6/10 · 11 August 2013]

In 2010, 'Despicable Me' was a surprise hit – it was not a sequel and came from a studio who had never had a huge success in the era of Pixar; but it was an enjoyable comedy that went on to gross nearly half a billion dollars worldwide, thus making a follow-up all but inevitable.

'Despicable Me 2' finds former supervillain Gru (wonderfully voiced by Steve Carrell) in much less evil form, blissfully living with his three adopted orphans (and the minions), hosting birthday parties, sweetly dressing up as a fairy princess and making cupcakes and jellies. However, this idyllic life is interrupted by Anti-Villain League agent Lucy (Kristen Wiig) who is partnered up with Gru to take down a nefarious villain.

Despite some good gags involving Gru, the real stars of the show are the little yellow Minions. They're given significantly more screen time here than in the original, but thankfully it rarely feels like overkill, instead they're a reliable source of laughter whenever they are on screen, whether chopping through a wall, singing a lullaby in gibberish talk or saying "bottom" with a snigger. On the other hand, Kristen Wiig is given a relatively underwritten role and most of her jokes fall flat, despite some good voice acting.

One of the flaws of 'Despicable Me 2' is how unfocused it is – the big villain behind it all barely gets a look-in, while the plot is muddled and slightly unengaging, but overall, this was easily forgivable, simply due to the charming nature of the movie. It's not earth-shattering and arguably not as good as its predecessor, but this sequel is consistently enjoyable, always managing to put a smile on my face and causing viewers young and old to erupt with laughter.

Sightseers (2012)

A brutal black comedy about caravanning

[8/10 · 11 August 2013]

Ben Wheatley has proved himself to be quite the filmmaker in recent years. His directorial debut 'Down Terrace' made him a name to watch out for. He then followed it in 2011 with the astounding 'Kill List', which – despite barely making a mark on the box office – was released to rave reviews, appearing on many 'best of the year' lists. This, his third film shares a common thread with his previous two in that it is not what appears to be first. 'Down Terrace' was a gangster movie with a blackly comic side, while 'Kill List' was a hit-man film that turned out to be a dark horror. 'Sightseers' on the other hand, follows couple Chris and Tina (played by real life couple Steve Oram and Alice Lowe) who decide to embark on a caravanning holiday across the countryside' "an erotic odyssey" is what they call it. However, since Wheatley has said that it takes place in the same world as his previous two films, it's unsurprising that there is a dark twist to the plot – Chris and Tina kill people.

'Sightseers' is one of those black comedies that strike the perfect balance between the laughs and the shocks. The violence is arresting erupting in brief, but nonetheless brutal explosions. Yet, the violence is complemented with some very British humour concerning caravanning and the more mundane elements of that. It's no great surprise then that 'Sightseers' started out as a stage comedy sketch in which Oram and Lowe acted as if they were on a caravan holiday. They both deliver great performances in the film with effortless chemistry, feeling like real people, whether they're casually strolling through a museum or bashing someone's head in.

Despite being a terrific film, 'Sightseers' is most definitely not for everyone – the couple are oddly likable, but the script (written by Oram and Lowe) goes to no effort to make us sympathise with them; their actions are never anything but horrible, but while the depictions of the violence may been too much for more squeamish viewers, it's nowhere near as graphic as 'Kill List'. Similarly, it is not quite as good as Wheatley's sophomore film, but even so, it is still a cracking piece of work perfectly combining British humour with brutal violence.

World War Z (2013)

Better than expected

[7/10 · 23 June 2013]

'World War Z' hasn't had an easy road to the big screen. Work on the film began around 2006 and from then on, the production was troubled. Brad Pitt became involved early on, putting up much of his own money for it – with his production company Plan B – yet even he must have been worried when he saw how difficult the making of the film was becoming. Directors were changed and the script passed through the hands of about five scriptwriters. The budget started out somewhere around $120 – 130 million, but it continued to rise and is now reported to be over $200 million. Rumours abounded reporting tensions between Pitt and director Marc Forster. Then, the original ending was entirely scraped, so reshoots were required to somehow be weaved into the existing narrative. After all this trouble, I went into 'World War Z' expecting a mess with cracks evident on screen. However, in a pleasant surprise, it flows nicely with the new ending working seamlessly.

This film is many things, but it isn't really an adaptation of Max Brooks' 2003 novel of the same name, even though it started out as such. Brooks' acclaimed novel has a multi-narrative structure that would better lend itself to a TV show as opposed to a film. Whereas the book concerns multiple narrators, the movie solely follows ex-UN official Gerry Lane (Brad Pitt) who experiences a zombie outbreak first-hand, narrowly escaping the chaos with his family. However, his former boss asks him to travel the world to search for a possible cure for the pandemic.

Most zombie movies and TV shows (good or bad) take place after the initial outbreak, whether it be 'The Walking Dead', or Danny Boyle's brilliant '28 Days Later'. In a refreshing turn, 'World War Z' depicts the outbreak the minute it happens, and these scenes are some of the best in the film, conveying a frenzied feeling of panic. It feels what it would really be like - cars crash, people scramble in every direction, disaster everywhere. Secondly, the majority of zombie films and shows find their characters confined to a small area; for example, the shopping centre 'Dawn of the Dead'. One of the best aspects of 'World War Z' is that it shows the zombie pandemic on a global scale, with the central character travelling from the U.S. to Korea to Israel to Wales. This globe-trotting element provides the film with some thrilling setpieces, in particular the relentless scenes where thousand- strong swarms of zombies flood through the streets of Jerusalem or the initial panic in Philadelphia.

Marc Forster is a director with a mixed back record – 'Stranger than Fiction' may have been great, but he followed it up with the huge disappointment that was 'Quantum of Solace' – thankfully, 'World War Z' is significantly better than the latter. It's no masterpiece, but it's a quite good and consistently enjoyable romp. Pitt delivers a solid performance and makes Lane an engaging protagonist. The lack of gore and the presence of fast zombies may annoy fans of the book and zombie traditionalists, but I found that both worked (especially the latter) in the context of the movie. It's not the book, but 'World War Z' is still a good film, especially after all the trouble it went through.

Killer Joe (2011)

Dark, twisted and blackly comic

[8/10 · 22 June 2013]

Some directors mellow with age. They start out making controversial films, but as time goes on, they slide into 'nicer' territory that would be regarded as more suitable for someone of their age. Not William Friedkin, whose latest film, 'Killer Joe', finds the maverick director on lurid form, causing controversy that would undoubtedly please him. This is highlighted by the fact that the film garnered the 'dreaded' NC- 17 certificate in the U.S.; although, even at the age of 77, it is unlikely that this troubled Friedkin, if anything, he embraced it. This film was marketed as "a totally twisted deep-fried Texas redneck trailer park murder story." It's a description that may sound like the work of a marketing team exaggerating the film, but in fact, it perfectly encapsulates the film. Incidentally, if that description doesn't appeal to you, then neither will 'Killer Joe', because it is twisted, and then some.

It is Friedkin's second adaptation of a Tracy Letts play ('Bug' was his first) being based on Letts' debut play of the same name (the playwright also acts the film's screenwriter).The plot concerns the Smith family, spearheaded by the father/son duo of Chris and Ansel (Emile Hirsch and Thomas Haden Church forming an unbelievably gormless unit). Chris owes money to some loan sharks who threaten to murder him if they are not paid, so he decides to kill his mother and take the insurance money. Chris hires an oily detective named Joe Cooper (Matthew McConaughey) who moonlights as a killer to carry out the murder. However, things become complicated when Joe takes Chris' simple-minded sister, Dottie (a superb Juno Temple) as a retainer for his 'services'.

With his familiarity with the country that is home to this trailer trash culture, Letts manages to get past the characters simply being caricatures. The family at the centre of 'Killer Joe' are trash and worse than that; after spending about 100 minutes in their company, you feel dirty. Matthew McConaughey remarked that after reading the script, he felt that he "was disgusted and wanted to take a shower with a steel brush". Additionally, the film also tiptoes around being misogynistic, something that is most notable in the now-infamous 'chicken leg' scene, which may cause you to never look at KFC the same way again.

Yet, 'Killer Joe' is no depressing tale about a dysfunctional white trash family, instead it is an occasionally funny black comedy. A black comedy so dark that Friedkin himself has referred to it as "a black hole comedy". Despite feeling stagey at times – it was shot in less than three weeks, in a handful of locations and its action mainly takes place in monologues – this works excellently as a piece of cinema. It may repulse you and its ending may leave you speechless, but Friedkin's latest is a solid and oddly likable film elevated by a brilliant and electrifying McConaughey, who has never been better.