Film Review: Sucker Punch

Published 4/04/2011 in The Mancunion

Girl Power.

4 Stars

  Frequently described as ‘Alice in Wonderland with machine guns’, director Zack Snyder’s latest offering to whatever heathen God they worship up at Warner Bros is a little more Crazy Town than Wonderland. Recently chosen to reboot the Superman franchise, Snyder follows hits 300, Watchmen and The Legend of The Guardians (that owl film) with this deliciously grungy, original, Sci-Fi fantasy.

  It begins with the institutionalization of Baby Doll (Aussie actor Emily Browning) following the death of her mother, and subsequent death of her younger sister as the result of a rape attempt at the hands of her stepfather. To stop Baby Doll from spilling the beans and halting his inheritance, she is taken to Lennox House; a dingy hospital for the ‘mentally insane’, where orderlies take cuts, and sexual abuse is high on the menu.   

  To survive both the squalid conditions, and her imminent lobotomy, Baby Doll retreats down the rabbit hole, and into her imagination, as she and the rest of the female ensemble (Jamie Chung, Abbie Cornish, Jena Malone and Vanessa Hudgens) battle to escape the asylum before Baby Doll loses her mind (literally).

  Beginning with almost disturbing intensity (and a fantasy within a fantasy) the mental hospital is transformed for almost the entirety of the film, into a Moulin Rouge-style, Mob-run whorehouse, Dr. Gorski into a dance instructor-come-brothel Madam (Carla Gugino), and the patients into exotic dancers. It is a setting that works well; theatrically highlighting the overt sexuality of the abuse suffered by these young girls. However, they’re far from helpless.

   Like all good fantasy stories, there’s a quest; items to find, and baddies to defeat, and the characters are more than ready to do both. Snyder’s signature grimy, gothic aesthetic is ever present, as the girls bend time and space to encounter demon samurai, Steampunk-zombie-soldiers, Orcs, dragons, and futuristic alien-robots; all to gather fire, a map, a key and a knife (oh and the cryptic fifth item – a mystery). But will they find the items and escape their prison in time? And will any of them survive Baby Doll’s fantastical delusions?

  The all-star female cast show us the meaning of girl power, battling hoards of monsters in and out of Baby Doll’s mind to reach their goal, in kick-ass costumes to boot. However, somewhere in the layers of fantasy, the reality of their fate is lost; it’s easy to forget that if these fetish-clad girls don’t manage to kill the dragon, or shoot the zombie, then they die for real. With minimal urgency throughout, the storyline falters.   

Verdict: As with many fantasy films, you have to take it as it is; don’t try to rationalize it, in fact don’t even think about it too much. Part anime, part superhero flick, the graphic novel-esque tone combined with a great cast and great music, make this an easy one to enjoy; watch it if you can.

Film Review: A Turtle's Tale

Originally Published 28/03/2011 in The Mancunion


I hate when you feel like you're going to sneeze and then don't.

3 Stars

  Not your typical animated film, A Turtle’s Tale (dubbed ‘turtley awesome’ by whatever marketing genius Optimum hired) focuses on the life of Sammy (Dominic Cooper); a chipper little green back hatchling, with a percent for dangerous situations; and best friend Ray (Robert Sheenan). Of course there’s a love interest as well, and the film only really gets going when Sammy bumps into lost love Shelly (Gemma Arterton). Separated at hatching, the two star-crossed lovers reunite, and embark on a quest to find the secret passage to the ice sea. Sadly, after run-ins with alligators, hawks, and an environmental research lab, they become separated, and Sammy’s priorities shift from finding adventure, to finding his missing mate.

   I hate to give a film three stars (am I saying it’s good, bad or am I just indifferent?) but unfortunately this turtle’s tale falls smack-bang on mediocre. The use of 3D in the stunningly colourful underwater seascapes is unparalleled in animation; there’re a few good songs, and most importantly of all, I actually cared about Sammy (I know that doesn’t say much for my mental health, but it’s important in the film). However, a complete lack of direction almost ruins what otherwise could plausibly be described as an ‘emotional rollercoaster’; Sammy almost dies, meets the love of his life and a new best friend in the first ten minutes; but the rest of the film fails to live up to the initially rapid pace, as any excitement generated with the search for Shelly is ruined with Sammy’s frustrating reluctance to declare his feelings, and an annoyingly rushed ending. 

  It soon becomes clear that what at first appears to be a light, adventurous romp, is in fact a vehicle for thinly-veiled environmental propaganda; as Sammy and his friends battle through oil spills, fishing nets, rubbish dumps; human involvement that is equal to (if not greater than) the dangers of the sea. Despite this serious edge, one thing that is made very clear is that Sammy’s tale was designed for children. Forget toilet humour, racy music and Shrek-esque euphemisms; in this film you won’t find a cross-dressing Ken doll, or wise-cracking, leery sidekick whose only purpose is to make accompanying adults chuckle. And it’s nice. All too often kid’s films are sauced-up in a desperate bid to snare the parental vote; and while I’m all for chucking long-suffering mum and dad a bone (or jokes about getting high on frankincense and myrrh; y’no, whatever floats your boat) it’s a welcome change.

Verdict: More ‘turtley ok’ than ‘turtley awesome’; with the best 3D since Avatar, and a decent (albeit at times vague) storyline, is you can stomach the irritatingly moral undertone then this Turtle’s Tale is worth a watch.

Film Review: Buried

Originally published 4/10/10 in The Mancunion

"Did I remember to turn the oven off?"

4 Stars

Ryan Reynolds in a box; essentially every girl's dream present, and every companies dream product right? Well, Spanish director Rodrigo Cortes obviously thought so when he cast the rom-com star as our main, well, really our only character.
 Beginning his foray into action a couple of years ago, and with flicks like Smoking Aces (2006) and X-Men Origins: Wolverine (2009) under his belt, Reynolds amps up the volume with this chilling thriller. Reynolds plays Paul Conroy; a blue-collar, family-orientated nobody who, after a rather monumental stroke of bad luck, becomes a political prisoner. The film begins with Conroy waking up in a box. Well, a coffin to be exact, and he's not alone. The kidnapper has kindly left him a few knick-knacks; a mobile phone, a lighter, and about 90 minutes of breathable air. Just what you need when you've been buried alive.
 Reynold takes the full weight of this film on his perfectly-formed shoulders; it's simple really, if his acting isn't up to scratch then the film will fail, no pressure hey? Luckily he manages to deliver. Claustrophobically, the film is shot entirely in the coffin, Cortes makes use of interesting angles to set the viewer's nerves on edge; suddenly the cinema is your coffin and you're in there with Conroy, waiting for time to tick down, and the air to run out.

Verdict: Not for the faint-hearted, this bold thriller uses psychological prowess rather than gore to a horrifying effect. Reynolds, a strong lead, shows that he has skills beyond his usual cheeky grin and all-American, boyish good looks, creating enough tension to unsettle even then most relaxed viewer.

Film Review: Streetdance 3D

Originally published 27/09/10 in The Mancunion

Britain's Got Talent's Diversity

2 Stars

 The street dance phenomenon hits the U.K. with the DVD release of Britain’s first 3D film (yes it’s really taken us this long) StreetDance 3D.

Essentially just Step Up’s slightly chavvy younger sister, this film opens on an inner-city London dance crew,  lead by ballsy northerner Carly (Nichola Burley) fighting to find a place to rehearse for the upcoming National street dance finals. After a spot of shopping centre busking and a few comical police chases, Helena (Charlotte Rampling) takes pity on our surly bunch of misfits and offers them practice space in her Ballet school. The catch? They have to include five of the school’s premiere dancers in their routine. Naturally, dance-offs, sexual tension and snarky comments ensue.

Cheesier than cheddar, the old ballet-meets-hip hop story is given a new edge on the sparkling London backdrop. Granted, it’s not quite as glamorous as the Step Up franchise, but a subtle British influence, (from Union Jack t-shirts to the music featured) adds a certain charm. Cameos by Britain’s Got Talent stars George Sampson, Diversity and Flawless (appearing as rival gang The Surge) are sure to entertain fans of the show; and 3D is used sparingly, adding just enough pop to the choreography to be worth the extra £2.50 in the cinema. A feature that is, unfortunately, lost on the DVD edition.

Verdict: While it’s not the worst flick around, this film is no Dirty Dancing either. Aimed primarily at the ‘tween’ market, the predictable storyline is more than made up for with raw energy, light-hearted fun and decent dance sequences.

Film Review: Harry Potter and the Deathly Hallows Part 1

Originally published 22/11/10 in The Mancunion and 16/11/10 on http://www.cookiefilmfilm.blogspot.com/

The end begins.

So here it is. The moment that children and adults, the world over have been waiting for: the beginning of the end. It sounds a bit dramatic, but surely if anything deserves an elaborate introduction, then it would be this; the release of the first part of J.K. Rowling’s final instalment in the story of Harry Potter. The hero of a generation.
  We open in the aftermath of Dumbledore’s death; a morose Minister of Magic talks of these ‘dark times’, while the Dursleys leave for hiding and Hermione tearfully bids goodbye to her parents. The fall of the Ministry into Voldemort’s clutches, and the explosive intrusion of Deatheaters at The Burrow send Harry, Ron and Hermione on the run; smack, bang into the middle of the ultimate war between Good and Evil, in a race against time to find and destroy the remaining Horcruxes.
  Distinctly darker, director David Yates has really taken the term ‘black magic’ to heart; for once, the 12A rating is well and truly deserved. The terror and urgency in the wizarding world is palpable, and the destruction wreaked by the Dark Lord’s minions horrifyingly reminiscent of Nazi Germany. This film is, dare I say it, scary. The drastic change in tone serves to enforce the drastic effects of the plot on the characters. Ron gains confidence in himself, his friendship with Harry, and his relationship with Hermione; Harry and Hermione strip down and sauce-up for a ‘love scene’ (don’t worry it isn’t quite how it sounds); and Draco Malfoy (Tom Felton) shows a surprising reluctance to serve Voldemort and his father.
  Our main trio’s acting has improved (thank God) and the supporting cast is star-studded and thick with talent. Favourites Jason Isaacs, Helena Bonham Carter and Alan Rickman (Lucius Malfoy, Belatrix Lestrange and Severus Snape respectively), are joined by the pirate-esque ‘snatcher’ Scabior (Nick Moran), and Ryhs Ifans in the ‘blink and you’ll miss him’ role of Xenopilius Lovegood.
  Fast-paced (despite the nagging knowledge that there’s worse to come), nothing happens organically as our three musketeers are thrust into progressively darker situations, often only barely managing to escape before encountering the next danger. Allusions to Dumbledore’s past are made, but not yet investigated, and the discovery of the ‘Deathly Hallows’ in the last portion of the film works to not only distract from the inevitable absence of a climax in the first half, but leaves the viewer with the chilling knowledge that Lord Voldemort in now in possession of the most powerful weapon in the world.

Verdict: Visually stunning and a thoroughly faithful adaptation of the book, the penultimate film is the perfect Potter fix, setting the tone for what can only be an utterly magical ending. It’ll keep you on the edge of you seats until the final battle, (Part 2 is set for release, 15th July 2011).

Film Review: Step Up 3

Originally published 9/08/10 on http://www.cookiefilmfilm.blogspot.com/

Prepare to Step Up again.

3 Stars
 
The latest instalment in the dance franchise follows Moose and his best friend Camille, as they give up dancing and head to NYU, to focus on getting a good, solid, college education. Naturally, hours after their arrival, Moose is pushed into a dance battle, and stumbles into the lap of Hip-Hop hottie, Luke Katcher. Cooler than a cucumber, this closet film-maker and all-around good guy, is also leader of the Pirates, a renegade family of poppers, lockers and break-dancers. Apparently all his crew are missing is a curly-haired student and a feisty female. The second of these arrives in the form of Luke’s new crush, Natalie (a girl suspiciously similar in attitude and style to Step Up 2s Andie). Two new recruits; what luck.

 Unfortunately, despite being the hottest dance crew in town, the Pirates have fallen behind with their mortgage payments. So while Moose struggles to balance friends, school and dancing; the Pirates battle the bank to keep a roof over their heads. Thank God for World Jam, a conveniently-timed dance battle that offers our motley band of misfits a chance to win the money, save their warehouse, and defeat rival crew, The Samurai, in the process. But will they win?

 With enough edge to appeal to both teen and adult audiences, this is a satisfying mix of adrenaline-pumping dance sequences and soft-core soap drama. Following this summer’s release of StreetDance 3D, the Americans show us that they can do it bigger and better, with bold choreography, and genuinely talented dancers. It’s un-inhibited family fun at its best. 

Verdict: If you can look past the predictable plot to director Jon Chu’s brilliant use of 3D dance scenes, then this is one that can rest securely in the guilty pleasure pile. Grab the popcorn, sit back, and prepare to Step Up. Again. 

Film Review: Date Night

Originally published 3/05/10 in Student Direct: The Mancunion and 27/05/10 on http://www.cookiefilmfilm.blogspot.com/

It's been a rough night in suburbia.

3 Stars

 Director Shawn Levy’s attempt to break away from his signature kids films (Night at the Museum, The Pink Panther) with a slightly more adult approach to comedy, sees Steve Carell and Tina Fey starring as Phil and Claire Foster; a couple, that amidst a flurry of book clubs, school runs and early nights have lost that spark.
  Scared by the news of a close friends’ divorce, and determined to remain more than just "really great roommates", they decide to inject some spice into their jaded marriage via the great American tradition of "date night", however, ditching the usual routine of potato skins at the local steakhouse, in favour of a table at an up-and-coming restaurant in the city, isn’t as easy as it seems without a reservation. So, living vicariously, they decide to take another couple’s table. The Fosters are now the Tripplehorns (are you still with me?) but little did our couple know, the Tripplehorn’s delicious crab risotto comes with a side of, wait for it, danger. Sounds cheesy? It is. A classic case of "be careful what you wish for"; they wanted excitement, and in great cinematic tradition, boy do they get more than they bargained for.
  As it happens, The Tripplehorns (the real Tripplehorns, not our nice suburban duo) are petty thieves, petty thieves that stole a flashdrive from crime boss Joe Miletto. And Joe Miletto? He’s pissed. Pissed enough to send a couple of goons to "take care of" the Tripplehorns. And so the fun begins.
  Naturally, Claire’s first reaction is to seek help from an ex client; sexy, debonair (and eternally topless) security specialist Holbrooke Grant (played by Mark Wahlberg). Holbrooke, whilst delivering an opportunity for Claire to flirt entirely too much, and too brazenly for someone in the company of their husband, manages to track down the real Tripplehorns (who on earth uses their mobile to make a reservation when they’re hiding out?).
  A night of breaking and entering, shoot-outs, car chases, renegade cops and grand theft auto ensues as the Fosters attempt to reach the Tripplehorns and persuade them to return the flash-drive. They really, REALLY just want to get home.
  Suspended disbelief is a must when watching this film, as Fey and Carell manoeuvre themselves into increasingly ridiculous and entirely unbelievable situations, trying to right the wrong they made by stealing someone else’s reservation (a fact which no one seems to be able to get over). Is this some kind of Karmic justice gone awry? An over the top warning from those in the restaurant business? No. It’s a romantic comedy (of a kind) often clichéd, and full-to-bursting with stereotypes. This film falls between genres, too crude for children and not quite crude enough to masquerade as a funny guy film (think Seth Rogen and Judd Aptow). However, the supporting cast is phenomenal and Carell's role as the loving husband is apparent; the relationship between himself and Fey, believable, and the outlandish and improbable storyline manages to provide an exciting setting for the two to confront and settle their marital issues.

Verdict: Amongst the obvious gags is some witty and genuinely funny, laugh-out-loud dialogue (not to mention extremely disturbing, but hilarious attempts at erotic dancing; I’m pretty sure students everywhere will be doing the ‘sex robot’). Steve Carell and Tina Fey play, well, Steve Carell and Tina Fey, but they work well together, their on-screen chemistry translating to a likeable couple who you really will root for, and even if you don’t, it’s worth watching just to see Steve Carell say "zip your vagina" repeatedly.

Film Review: Repo Men

Originally published 3/05/10 in Student Direct: The Mancunion and 27/05/10 on http://www.cookiefilmfilm.blogspot.com/

"For a price, any organ in your body can be replaced. But it can also be repossessed"

3 Stars

Enter the repomen, 2025s answer to debt collectors, but they won’t be taking your TV, or your mum’s favourite glass swan. No, these thuggish legalised killers want to "reclaim their property"; and yes, it’s as ominous as it sounds.  "But wait!" I hear you cry, "aren’t you talking about little-known 2008 release Repo! The Genetic Opera?" No. This one happens to be called Repo Men, but you could be forgiven for making that mistake, as they are startlingly similar. Maybe Universal Pictures figured that the cult "American Rock Opera" (based on the original stage show) didn’t appeal to a mainstream audience? Or perhaps they just thought that no one would notice. Whatever the reason, we now have two futuristic bio-tech thrillers to enjoy. Of course there are some differences,(the lack of musical numbers and Paris Hilton are probably the biggest two) and THIS film is based on a book; The Repossession Mambo by Eric Garcia.
  A creepy, surreal tale of consumerism gone mad (bad and dangerous) the story focuses on The Union; a company touting the latest genetic enhancements: artificial organs. Naturally the interest rates of these little beauties are through the roof, and if you fall behind with payments, (which is more than likely) well, quite frankly, you’re screwed. And the people screwing you over? The Union’s top repomen and ex-army badass mo-fos, Remy (Jude Law) and his best friend Jake (Forest Whitaker). These two are at the top of their game, until a technical malfunction with a defibrillator during a repo job leaves Remy with a shiny new heart and a shiny new debt to pay, (the stingy gits didn’t even give him an employee discount, how’s that for a health plan?). Suddenly work isn’t as easy as it used to be for Remy; turns out when your ticker is ticking down time till your own repossession, killing people isn’t quite as fun. So he decides to go on the run, meeting Beth, an attractive, drug addled, enhancement-addict on the way. Together they discover that the only way to clear their accounts and get off The Union’s radar for good is to destroy the central office. Oh, and to make matters that much more interesting, who have The Union sent after him? Why it’s his best buddy Jake. Naturally.
  An interesting twist on the usual renegade employee tries to take down the evil corporation, this film boasts some good leads. Levi Schreiber oozes sleaze as The Union’s slick, soulless, salesman and it’s nice to see Law out of his comfort zone, playing something other than a cheeky but loveable womanizer. Not that the director lets his sex appeal go to waste; surely only Jude Law can make home surgery erotic?
  However, a ridiculously high body count and some rather violent, albeit creative, deaths leave the viewer wandering if this is just gore for the sake of gore; the bloodshed almost managing to completely override the underlying themes of corruption, obsession, and mislaid trust in what is, effectively, a consumerist society run amuck. In truth, the premise of the film is deeply unsettling, I’m not going to pretend that it wouldn’t be cool to have eyes that change colour with every blink, or ears that you can plug headphones into, but at what cost? In the end it’s really a story of how far Remy is willing to go to save someone he loves and escape the influence of corporate America, and, despite a surprising, if not slightly disappointing ending of what is essentially the futuristic equivalent of "and then he woke up", the film manages to deliver.

Verdict: Clever, ironic commentary on the state of health care, the economy and consumerism in society? Or just an excuse to show someone’s head being bashed in with a typewriter, either way it’s worth a watch.

Film Review: Gamer

Originally published 27/09/09 on http://www.cookiefilmfilm.blogspot.com/

RPGs gone crazy.

2 Stars

 Welcome to 2034, a not too distant future where gamers have given up conventional gaming for the latest craze; mind control. The creator of this revolutionary technology, Ken Castle (Michael Hall) has moulded this profitable hi-tech phenomena to create the ultimate gaming experience.
 First there was Society, a creepy real-life versions of The Sims that allowed anybody with enough money and spare time to become anyone, and do anything. The player's perverse actions are played out live by 'actors', who, controlled by nanites in their brain, will dance, jump, rape or party on command.
 Of course, Society was only the beginning. The world is clamouring desperately for a new thrill. This is delivered in form of the latest gaming sensation: Slayers; a multi-player war game-come-reality show, (a' la Halo), where deathrow inmates battle for freedom under the control of pre-pubescent teen gaming addicts.
 Gerard Butler is on arse-kicking duty as Slayer superstar and killing machine Kable, controlled by self-diagnosed "bad-ass motherfucker", 17 year old, trustfund teen Simon (Logan Lerman). That is, until game hackers and political activists Humanz persuade Simon to "turn him loose", thus unleashing Kable on a murderous mission to escape the game, find his wife and daughter and uncover the dark truth behind Castle's twisted technology.

Verdict: This film had real promise; with a brilliant plot line and a talented cast I was expecting the next Matrix, unfortunately it fails to deliver. After a decent set up, the ending seems rushed, and following a seemingly fleeting series of nominal events and a relatively quick showdown at Castle's mansion (complete with a jazzy dance number) Kable overpowers the "foolproof" mind control technology and defeats Castle, (whilst conveniently broadcasting his deranged confession of world domination to the general public).   However, there are some redeeming qualities; a hefty body count, one or two memorable quotes and a few nicely shot game player-esque sequences make this semi-decent watch. Just don't set your hopes too high.