2013 - A Retrospect

My first post for a while! Been busy busy rehearsing a new play (all welcome to attend!) but thought with only a few hours until we hit the climax of what's been an up and down 2013 I would have a look back at my top 10 picks from the world of film over the past 12 months!

Here goes! (Not in order of preference)

Django Unchained

Way back at the start of 2013 we were treated to Quentin Tarantino's latest - this time an out and out homage to the genre that has influenced all of his movies - the Western. The story of Django (Jamie Foxx), a freed slave, attempting to rescue his enslaved wife with the help of bounty hunter Dr. King Schultz (the Oscar-winning Christoph Waltz - we salute you, sir) from the malicious plantation owner Calvin Candie (Leonardo DiCaprio). Filled with the traditional Tarantino viloence, an Oscar-winning script, and a rousing sountrack, Django Unchained will undoubtedly be looked back on as a classic.



Lincoln

Oscar number 3 for Daniel Day-Lewis was served up for his portrayal of one of America's most popular presidents. Dealing with Lincoln's campaign for the abolishing of slavery, Spielberg's film is a beautifully scripted and sublime example of film-making, with beautiful cinematography, as well as being a masterclass in acting with Tommy Lee Jones and Sally Field proving equally competent next to Day-Lewis, who is without doubt, a genius.  



Cloud Atlas

Completely insane and spanning centuries, the Wachowski's (The Matrix Trilogy) adaptation of David Mitchell's (no, not the one from Peep Show) novel is both visually spellbinding and soul-searching. Exploring the lives of various characters loosely linked throughout the years, the film is a delight and features its actors taking on multiple parts. Jim Broadbent, Tom Hanks, Halle Berry, Ben Whishaw and Hugh Grant, to name a few, take us on a journey throughout the years that will stay with you for a long time. Completely bizarre at times, but that;s what makes the film such a delight.

Philomena

Oscar number 2 may well be on its way for Dame Judi for Philomena, the story of an Irish woman, now in her dotage, attempting to track down the son that was taken away from her when she was under the charge of nuns in one of Ireland's Magdelene Asylums (Peter Mullan's excellent The Magdelene Sisters is also worth checking out). Based entirely on a true story, Philomena is aided by journalist Martin Sixsmith (Steve Coogan). Coogan, who also wrote the script, is brilliant as Sixsmith and shows a hitherto unseen dramatic side to his acting. Witty, moving, and incredibly powerful - a triumph.

Blue Jasmine

Giving Dame Judi a run for her Oscar money will be the ethereal Cate Blanchett, also in line for her second Oscar. Woody Allen's film shows a return to form the genius that has brought us a film a year for the past 40 years. The story of a New York socialite, Blue Jasmine, tells us of Jasmine (Blanchett), who must deal with the fallout out when her stock market fixing husband commits suicide. Forced to head east to San Francisco to stay with her blue-collar sister (the amazing Sally Hawkins), the at time neurotic Jasmine must try to forge a new life for herself whilst dealing with the consequences of her past. A true masterclass from Blanchett - if she doesn't get an Oscar, I'll wear odd socks for a week!

Rush

Pulse-racing, sexy, and blooming electrifying, Ron Howard's film tells us of the famous rivalry between Formula One legends James Hunt and Niki Lauda. Though set in the world of Formula One, the film is not merely for petrol heads but instead deals with the competitiveness of these two larger than life characters - the playboy Hunt (Chris Hemsworth) and the fiercely dedicated Lauda (Daniel Bruhl). The film is excitement from the offset and its set-pieces on the race track really are exceptional. Daniel Bruhl excels as Lauda, particularly in the scenes following the famous crash which left him with severe burns all over his body and his sensational return to the track weeks later.

Captain Phillips

The true story of Captain Richard Phillips whose container ship was boarded by Somali pirates in 2009 and was subsequently taken hostage. Paul Greengrass' (United 93, The Bourne Supremacy) film is an emotionally-fraught and tense thriller with Tom Hanks at the helm. Hanks is sure for an Oscar nod and very deserved of a win. Some of his scenes are truly heartbreaking and shows us what an incredible dramatic actor he is. Sharp editing, cinematography and a great supporting cast, you may finish the film feeling emotionally violated but by God it's worth it.

Le Weekend

Any film that's set in Paris already has me there but a film set in Paris with Jim Broadbent, Lindsay Duncan and Jeff Goldblum in has me banging on the door to get in. Broadbent and Duncan play a couple, both academics nearing retirement, revisiting where they had their honeymoon in an attempt to rekindle some of the old magic - naturally things start to unravel. Goldblum pops up as an old university chum of Broadbent's who's now gone on to considerably more success since they parted ways at Cambridge. A witty and moving film, with a beautiful Parisian backdrop, this is a film about love and never being too old to find it again.

Gravity

When all the critics began to unanimously praise Alfonso Cuaron's film, I went into the cinema thinking this may be as good as they say - and by crikey, how right I was. With Cuaron's 2006 film Children of Men standing high in my list of favourites, I knew I'd be in safe hands. Gravity is his first film since then and you can see instantly how he's been spending the past 7 years perfecting what is quite simply a masterpiece. The story of two astronauts played by Sandra Bullock and George Clooney being cut adrift in space after their station is hit by debris, the film is a claustrophobic and frankly, terrifying foray into mans' struggle for survival in perhaps the scariest and most unknown environments. The first film that has made me believe in 3D you will struggle to find a film more visually and technologically adept. Coupled with the human element at the heart of the story you will emerge from this film speechless, and for me - that's rare.

The Hobbit - The Desolation of Smaug

I'm a Tolkien nerd so obviously the second film in Peter Jackson's trilogy was going to feature on this list. The first film took a lot of guff last year, many people complaining it took to long to set the story up. Well if that's the way you felt then rest assured the second film plows straight into the action, seeing our protagonists continue on their quest to retake the kingdom of Erebor from the villainous dragon, Smaug. The film moves up a gear this time and has a much more serious tone to it, feeling more akin to The Lord of the Rings films than its predecessor did. Martin Freeman is hilarious at the titular hobbit, Ian McKellen is forever wondrous as Gandalf and Benedict Cumberbatch is perfect for the dragon, Smaug. An appearance from Stephen Fry as well as the Master of Lake Town - what more do you want, people? Truly eye-popping effects, a lyrical score all tied up in a nice little cliff-hanger leaving us open-mouthed and wanting a time machine to see ho
w it all ties up in December 2014.

See you next year.

Oh, if you did fancy a bit of Liverpool theatre next week - we'd be glad to have you!

The Wolverine - Claws for Celebration

X-Men - my favourite of the Marvel franchise. Therefore I was a bit underwhelmed back in 2009 when we were served up X Men: Origins - Wolverine. Ok, the film was alright I suppose, yet even Hugh Jackman himself admits it wasn't great. I was thus very excited to hear that this new outing for Logan was head and shoulders above its predecessor.

Whereas Origins was a prequel, The Wolverine focuses its action after the events of The Last Stand. Still coming to terms with the death of Jean Grey, Logan is wandering from place to place drinking and living like an outcast. He is forced back into action though when he receives a summons to Japan to visit a dying man; somebody he had helped years before. Pressed into service to protect the man's granddaughter Logan must face a new threat when a dangerous mutant comes after his most sacred ability - his power to heal and evade death. Working without the aid of the X-Men, Logan must now act alone in a journey that takes him across Japan facing many threats along the way. What this gives us is a rip-roaring adventure that can stand proud in the X-Men cannon.

Hugh Jackman's preparation for the film is clearly evident. Gaining a pound a week over 24 weeks through a 6000 calorie per day diet of steak, chicken and rice, Jackman has stated that this is the best physical shape he has been in for any of his outings as Wolverine. He would even dehydrate himself thirty-six hours prior to filming a shirtless scene in order to emphasize his muscle definition. Wolverine has never been in stronger shape. The film is obviously all about Wolverine, with Jackman dominating the movie. Some good support comes, however, from Rila Fukushima as the clairvoyant Yukio and Famke Janssen reprises her role as Jean Grey, albeit it as a figure from Logan's subconscious.

The film also looks brilliant. The Japan setting makes for some breathtaking cinematography and provide the backdrop for some excellent set-pieces. The fight on top of the speeding bullet train is particularly impressive. One criticism? The film is just over two hours long, which is about twenty minutes too long. There were a couple of places where long stretches of dialogue could have been scratched. As it stands the movie occasionally sagged in places, making us more relieved when the action finally returned.

Without any spoilers, the most exciting part of the whole film however comes from a scene mid-way through the end credits. I won't spoil anything but it sets up events for next year's merging of all previous films in X-Men: Days of Future Past - and that will be truly spectacular.

The World's End - Ro-bottoms Up!

Shaun of the Dead, 2004 cult comedy from Messrs. Pegg, Frost, and Wright. A love letter to classic zombie flicks the film was an instant hit. Fast forward three years and 2007 saw the collaborative trio reunite for their homage to the cop flick, Hot Fuzz. Now, another six years on we are brought The World's End. Absolutely adoring Shaun of the Dead, and having a fair amount of affection for Hot Fuzz, I was therefore giddy as a cured diabetic in a sweet shop when I toddled along to The World's End last week.

The film tells of five friends returning to their home town after twenty years to complete the famous 'golden mile' - twelve pubs across a one mile stretch through the heart of the town, culminating in a pint at the legendary 'World's End'. Headed up by Gary (Pegg), it soon becomes apparent that all but him have moved on with their livest, Gary still wearing the same clothes and driving the same car he had when he was seventeen. Cue old tensions and grievances bubbling to the surface - not to mention the fact that the entire town has been taken over by homicidal robots 'replacing' their human hosts.

The structure of the film reminds me a bit of From Dusk Til Dawn. That begins as a movie about a family being taken hostage, then suddenly merges into a vampire flick. Similarly, The World's End begins very much as a straight comedy about five old friends on a pub crawl. It is quite a way into the film before the first robot appears, launching the film into more of a sci-fi territory. Whether this is detrimental to the film or not I'm not sure. Perhaps they should have stuck with either one or the other. Personally I felt the film was stronger before the robots appeared. When they did, it felt a bit too similar to Shaun of the Dead, battling 'possessed' humans while at the same time trying to reach a pub at the same time - zombies/robots, The Winchester/The World's End - it just felt all a bit unoriginal. Despite this, it still manages to pack a comedic punch with some genuinely laugh out loud moments.

Where the film shines though is in the cast. After the success of Shaun of the Dead, Hot Fuzz managed to pull in some pretty big names (including cameos from Peter Jackson and Cate Blanchett). The World's End is no different, being a feast of British actors. Aside from Simon Pegg and Nick Frost, the main quintet is completed by Eddie Marsan (Sherlock Holmes, Tyrannosaur), Paddy Considine (Hot Fuzz, Dead Man's Shoes) and Bilbo Baggins himself, Martin Freeman. Rosamund Pike also rears her head as Freeman's sister and one-time conquest of Pegg. Bill Nighy provides his vocal talents while perhaps the biggest casting coup comes in the shape of 007 himself. Having nabbed Timothy Dalton for Hot Fuzz, Pierce Brosnan this time makes an appearance as the boys former teacher (interestingly reuniting him with his Die Another Day conquest Pike). The make or break of the film though comes down to Pegg and Frost. What is interesting here is that the roles have been inverted. In the first of the 'Cornetto' trilogy Pegg was the 'sensible' one and Frost the 'idiot'. This time however, Pegg is the reckless one and Frost the straight man. The chemistry between the two worked so well in the first films that I don't know why they changed it this time round. The characters don't have any banter, and Frost spends most of the time hating Pegg. There is a glimmer of hope towards the end however, in a very moving scene between the two that brings some pathos and depth to the film.

The film's poster (above) invites you to get annihilated. While on one hand you do submit to the foolery of the film, there being some genuine moments of hilarity, one cannot help exiting the cinema feeling somewhat nostalgic for Shaun of the Dead and Hot Fuzz. The film culminates the 'Cornetto' trilogy and can stand proud amongst its two predecessors, yet just falling short of matching their greatness.

Monsters University - Scaring with Honours

In 2001 a twelve year old Jack Murray entered the cinema ready to be entranced by Monsters Inc., Pixar's latest animated work of splendour. Twelve years on and a twenty-four year old Jack Murray expects the same levels of entrancement from its highly anticipated sequel, Monsters University. Reuniting the same team behind the original, the film brings back on board Billy Crystal (Mike Wazowski), John Goodman (James P. 'Sulley' Sullivan) and Steve Buscemi (Randall Boggs). However, in a first for Pixar sequels this takes the story of Mike and Sulley back, making it a prequel. The story focuses on their first meeting at Monsters University, both on a quest to become the best scarer Monstropolis has ever seen.

Unlike the best of friends we witness in the first film, Mike and Sulley begin their student career as anything but. Mike has worked long and hard to gain his university place; he's read all the theory - he just isn't necessarily very scary. Sulley, on the other hand, has gained his university place through family reputation and his ability to roar like nobody else. What results is a battle of the scares between the two, determined to out-do each other inside and outside the classroom. However, when they come across the formidable Dean Hardscrabble (Helen Mirren), the head of the university, Mike and Sulley find they must work together if their places at Monsters University are to remain secure. With the help of some very un-scary monsters, Mike and Sulley have to put aside their personal differences and work together to triumph in the University's scaring contest which provides us with many the comic moment!

Billy Crystal and John Goodman are just as perfect for their roles as they were in the first film, as is Steve Buscemi as the scheming Randall. Helen Mirren is equally terrifying and brilliant in her role as the winged and scaled Dean Hardscrabble, by far the scariest monster in the film. Excellent support also comes from Alfred Molina (The Da Vinci Code, Raiders of the Lost Ark) and as usual John Ratzenberger gets his usual Pixar cameo, reprising his role as the Yeti (also giving a nod to his famous role as Cliff Clavin from Cheers).

The film is a work of animating triumph and looks amazingly colourful and vibrant. The soundtrack is bouncy and true to the Pixar tradition. My one and only gripe with the film (and it is the same gripe I had with Pixar's last film, Brave) is it lacked that certain emotional pull that Pixar films are renowned for. Think of Sulley's relationship with Boo in the first film, Jessie's abandonment in Toy Story 2, or Wall-E's relationship with Eva - all of these, which are but three examples of many, pull at the heart strings of even the most cynical of us. While there was some pathos towards the end of the movie when Mike and Sulley think all their efforts have been fruitless, it still doesn't make our heart strings zing zing zing. This, I know, is a small point, yet is such an important ingredient we have come to expect from Pixar's films.

All in all though, a twelve year wait to be reunited with Mike and Sulley may have been a bit too long but it was certainly worth the wait. Having been truly scared with The Conjuring last week it was nice to be scared in a different way - after all the motto of Monsters Inc. is 'We scare because we care' - and so do we.

The Conjuring - Fancy a House Spirit?

When I reviewed the not-so-scary Dark Skies back in April, I mentioned that the two minute trailer for the upcoming The Conjuring was terror personified. Thus, with trepidation and waterproof underwear I entered the cinema this week to see the latest in James Wan's (Insidious) horror cannon. Not one to be jumpy at films of this ilk, simply from the trailer, I knew that this film may be something different. And yikes, was I proved right.

The film chronicles the work of real-life paranormal investigators Ed and Lorraine Warren and their involvement with the Perron family in the early 1970's. Helmed by Ron Livingston (Band of Brothers) and Lili Taylor (Ransom), the Perrons, along with their five daughters, move into an old farmhouse in a secluded part of Rhode Island. Soon, the family starts to realize that all is not right in the house and they are not alone. When the strange happenings in the house start to become more aggressive to the young girls, Carolyn (Taylor) calls upon the help of the Warrens in a hope to drive out whatever is terrorizing her family. Upon the arrival of the Warrens, it soon becomes apparent that there lurks a malevolence that reveals the truly horrifying past of the seemingly idyllic home that the Perrons have moved into. What follows is a truly disturbing effort to drive out the supernatural force that seems intent on causing the utmost damage.

To the cliche hunters amongst you, this must sound like all too familiar territory in the horror ouevre. And so it was to me. Yes, the cliches are still there - the creaking doors, the rocking chair rocking with nobody in it - even a doll with an unsettling smile. Yet what Wan does is include them as a homage to classics of the horror genre. The film is not littered with these cliches - they are only there to build the suspense for when the truly horrifying events unfold. The word homage feels very apt here as what Wan has done has consciously set out to produce a movie that is not a rip off but a tribute to classic horror films of the seventies. From the basic title page (seen above) reminiscent of The Shining, through to its 70's setting and attention to detail from costume, hairstyle and even down to furniture, the film feels unlike the formulaic 'horrors' that are spewed out today. Instead we come away having watched something highly original and truly frightening that can hold its head up high amongst its contemporaries.

The film also boasts an impressive cast. Wan once again teams up with Patrick Wilson (soon to be teamed with again in Insidious: Chapter 2) as one half of the Warrens. Vera Farmiga brings subtlety and poise as his clairvoyant wife Lorraine. Ron Livingston doesn't set the screen alight but does his job as the helpless dad watching the women in his life suffer. Lili Taylor gives the star performance however, as the mother who gradually deteriorates and suffers most at the hands of the evil force. Taylor studied The Exorcist closely which is a big influence on the film - and you can tell. She gives a truly terrifying and physical performance towards the end of the film that makes the movie powerfully visceral.

So, will you be hiding under the duvet with a torch after seeing the film? Simply, yes. I'm not one to be easily scared but I too felt uneasy emerging back into the daylight after the darkness of the auditorium - and even more uneasy when I switched the lights out that night.

The Big Day - Virgin Media Shorts

Hello film fans all!

No review this time but if you could check out this short film which I've just filmed a role for that would be brilliant. It's part of the Virgin Media Shorts competition and was made by the company I frequently collaborate with in the theatre, PurpleCoat Productions. Once you've viewed the video if you could hit the 'share' button beneath the video on the Twitter tab and that will cast a vote that will hopefully see us triumph in the competition! Thank you film-lovers!

http://www.virginmediashorts.co.uk/film/5085/the-big-day#.UexchdI3uSq

Jack

Man of Steel - The Krypton Factor

The year was 2006 and fans were eagerly anticipating Bryan Singer's foray into the Superman franchise. Having abandoned X-Men 3 in favour of doing it, this only served to make the wounds fester even deeper when the film turned out to be a flop of monumental proportions. Having seen what Christopher Nolan and his team did to re-energize the Batman franchise, Nolan is at the producer's helm attempting to do the same for Clark Kent and co. With Watchmen and 300's Zack Snyder in the director's chair, save perhaps the second installment of Peter Jackson's Hobbit trilogy this has to be the most anticipated movie of 2013. So with Batman, Spider-man and now Superman all having gone through a rebirth in the film world recently, how does this stack up? Pretty darn well, actually.

Much like Nolan's 2005 Batman Begins, Man of Steel is very much a genesis story. The film begins on Kryton with Russell Crowe's Jor-El embroiled in a battle with Michael Shannon's maniacal General Zod, who has staged a coup on the rapidly imploding Krypton. In an attempt to save his son as well as the Krypton race Jor-El dispatches his son Kal to a safe and inhabitable planet; Earth. Once on Earth, Kal is rescued and taken in by the Kents (Kevin Costner and Diane Lane) and is henceforth to be known as Clark Kent. Forced to grow up hiding his superhuman abilities Clark must eventually confront his true heritage when Shannon's evil Zod shows up on Earth determined to destroy him and establish a new Krypton under his rule. What this makes for is a highly interesting and delicately crafted narrative that is also buffeted by some truly amazing special FX sequences. The depiction of Krypton and Jor-El's confrontation with Zod is particularly impressive.

In terms of cast, does Henry Cavill measure up to his famous predecessor Christopher Reeve (forget Brandon Routh and Dean Cain)? In short, spectacularly so. Visually, he is the epitome of Clark Kent/Superman and in some shots even looks like a carbon copy of the late, great Reeves. Cavill's immense training regime in preparation for the role also has to be commended, sporting a physique that puts Christian Bale to shame in the Batman franchise. Aside from being the necessary hulk of meat though, Cavill gives a wonderfully subtle performance as we see the character emerge from shy loner to the saviour of mankind. Amy Adams, forever wonderful, is also perfectly suited to the dogged seeker of truth, Lois Lane. Kevin Costner and Diane Lane, although not in a great deal of the film, excel as Clark's adoptive parents. The two most interesting performances however come from Russell Crowe and Michael Shannon. Ever a fan of Shannon since HBO's fantastic Boardwalk Empire, Shannon is perfect for the evil and deranged General Zod. Perhaps a bit 'hammy' on occasion, this only serves to highlight the complete psychotic nature of the character. Russell Crowe, on the other hand gives a wonderfully understated performance as Jor-El. The beginning of the film shows he still as the ability to 'kick ass' that we witnessed in Gladiator, yet the film also displays his ability to give a great dramatic performance, as the father willing to make the ultimate sacrifice in protection of his child.

So, all in all is this latest rebirth of one of our favourite superheroes been a success? It would have to be a resounding yes. Unlike the recent Spider-man reboot for example, unlike Andrew Garfield as Peter Parker, Cavill is a highly believable candidate for the role. With Christopher Nolan and writer David S. Goyer, not to mention the master of the epic soundtrack Hans Zimmer, you can see that the goal of the film was to very much emulate the formula and structure of the Dark Knight trilogy. And why not? Despite not quite measuring up to Nolan's incredible trilogy, what the film does is give us a Superman for a new generation and I wait with almost baited breath for the next installments in the franchise.

Despicable Me 2 - One in a Minion!

Three years ago, Gru (Steve Carrell) and his lovable minions burst onto our screens and a new hero was born; or should that be anti-hero? Changed for the better after the events of the first film, Gru is living the suburban life, playing dad to the girls who changed him from arch villain to hero. However, despite his new suburban lifestyle, Gru longs for the adventure that being a villain brought him. Even his boffin science assistant Dr. Nerfario (Russell Brand) can no longer stand a life without crime and starts to long for crime pastures new. All Gru's yearning for adventure though is about to be rewarded when Lucy (Kristen Wiig), and agent from the Anti-Villain League turns up and tells Gru they need his help and expertise to capture a powerful new villain that has stolen a powerful biological serum that can change whomever is injected into crazed, ravenous monsters.

What follows is a rioutous adventure as Gru, Lucy, and of course the Minions attempt to track down the criminal whom they know to be hiding out in a large shopping mall. Setting themselves up as the proprietors of a cupcake shop Gru and Lucy make the perfect partnership. Could there even be the possibility of romance for our hero?

The film boasts an impressive supporting cast, Russell Brand making his return as Dr. Nefario. Steve Coogan is also flying the British flag as head of the Anti-Villain League, Silas Ramsbottom. Kristen Wiig provided a voice in the first film but here gets a substantially bigger role as the yang to Gru's ying. Benjamin Bratt also provides great vocal talent as the mysterious Eduardo/El Macho. Has Gru finally met his match?

As well as being a worthy sequel to the first film, in terms of animation, this new incarnation goes to even greater heights providing some new feats of technical brilliance, especially with the Minions. Which brings me on to the stars of the film; the Minions themselves. Not present throughout the entirety of the first film nobody suspected that they would emerge as the characters everyone would remember. Which is why they are out in force in this film. Their popularity has been such that it has been announced they are to receive their very own spin-off movie. All hail whoever made that decision! Forget hamsters - we all want a pet minion.

If you liked the first film then you will love the second. Not just for the kids - the film appeals to all ages. I must confess I think the adults laughed harder than the kids in the screening I went to. With a Despicable Me 3 certainly almost guaranteed, check this one out and start to get excited for what will be the true great of this franchise - The Minion Movie!

The Great Gatsby - Divine Decadence!

'Divine decadence, darling!' Liza Minelli's catchphrase to describe the decadent and hedonistic lifestyle present in Oscar-winning Cabaret and easily a phrase one could associate with Baz Lurhmann's latest cinematic foray. Now, Baz Lurhmann is one of cinema's most intriguing directors working today. From his first film, made in his native Australia, Strictly Ballroom, through to Romeo + Juliet, Moulin Rouge and Australia, Lurhmann's work is famed for dividing the audience. Nobody thinks Moulin Rouge is just OK, for instance; they either completely adore it (which I do), or they vehemently loathe it. It is for this reason (love him as I do) that I was a bit unnerved when I heard Mr. Luhrmann's latest venture was to be an adaptation of the classic American novel by F. Scott Fitzgerald. However, my fears were soon quashed when I emerged from the cinema having just witnessed a visually stunning and faithful adaptation of a truly great piece of fiction.

The film is told from the perspective of Nick Carraway (Tobey Maguire), a would-be writer though working in New York's Wall Street. Taking a small cottage upstate he soon learns of the existence of Jay Gatsby, owner of the grand mansion adjacent to his cottage. Intrigued by the apparently eccentric and rarely-seen Gatsby, Carraway gradually becomes friend and confidant to the man, in the meantime being dragged deeper and deeper into Gatsby's world.

Enter Gatsby, played to perfection by Leonardo Di Caprio. Reuniting with Baz Lurhmann after their collaboration on Romeo + Juliet (the film that put Di Caprio on the map), the film is clear evidence of how much Di Caprio has matured to become one of the go-to actors of his generation. Django Unchained showed us he can do ruthless and the villainous, but the character of Gatsby allows us to see he can play a more fragile and psychologically flawed character with great conviction and prowess. This is perhaps best shown off in the interplay between his and Maguire's characters (interestingly both Di Caprio and Maguire have been friends since boyhood, which makes the chemistry between the pair seem effortless).

Despite Di Caprio acting everybody else off the screen it is wonderful to see Tobey Maguire back on screen. Not having been present on the big screen for a while the character of Nick Carraway is perfectly played out by him. The external narrator both inside and outside of the action (as Carraway himself describes it) Maguire brings him to life with great humility. Carey Mulligan is also ethereal as ever, giving her embodiment of Gatsby's unattainable love, Daisy Buchanan, a sense of coquettishness as well as a genuine sense of being torn betwixt what is deemed right by society and what is deemed right by her heart.

As well as a feast of leading and supporting talent from its actors, as with any Lurhamann production, scale is everything. The film, from its very opening is a feast for the eyes, the ears, and any other senses we care to employ. The grand parties and the way in which the frenzy and hedonism of the roaring '20s is brought to life is a genuine feat of splendour. As is its soundtrack. Not content with using music confined to the period, Lurhmann employs contemporary music to create a fusion of the '20s glamour with a modern-day feel. With original music from Craig Armstrong, Lurhmann brings out the big guns with inclusions of Florence and the Machine, Lana Del Rey and Beyonce, to name but three! What this gives us is an exciting and fast paced sense of the glamour and the true decadence of the parties depicted in the story.

Now, that is all a lot of praise I must confess. Yet despite being fabulous as it is, it doesn't quite hit perfection. Some of the supporting cast (Isla Fisher, for example) can't quite keep pace with the big guns in the film. Another downside is length. Only a short book, the film approaches nearly two and a half hours, which makes the film feel slightly laboured towards its climax. Knock half an hour off for the DVD and all will be rectified. What Gatsby is though ultimately, is a wonderful piece of escapism. Lurhmann takes us back to a by-gone age of glamour, wealth and over-indulgence that for its two and half hours takes us away from the cares of a stressful 21st century and into a story of great depth, fun, and excitement.

Populaire - My 'Type' of Film

Readers of MurrayOnFilm will be aware of what a sucker I am when it comes to world cinema; especially French language films. I was therefore my usual chipper self when I toddled along to see the newly released Populaire. Directed by Regis Roinsard, the film has marketed itself on a cross between The Artist and the hit American 50s-set TV show Mad Men. Throw in a hint of Rocky and Bridget Jones's Diary (stick with me here) and what you have is a charmingly witty and sweet French comedy oozing with style and sophistication.

Set in the late 1950s, the film tells of Rose, a small-town girl determined to become a secretary and escape the shackles of her small village. Finding employment with businessman Louis Echard, it soon transpires Rose is an awful secretary. Yet it does allow her to utilise her greatest skill; Rose can type, and type fast! Seeing Rose's potential Louis enters into the regional speed typing competition. What follows is the blossoming relationship between the two characters, filled with witty banter and exciting montage sequences showing Rose's training and efforts in the typing contests.

Deborah Francois (The Page Turner), aside from being the future Mrs. Murray (dream on, boy!) excels as Rose, the initially naive small-town girl trying to make it big, yet proving more than a match for her slick and charming employer. Romain Duris (Heartbreaker) is also on form as Echard, the slick and charismatic businessman who spots and hones Rose's talent. A complex character with his own hang-ups, Duris gives us a nuanced performance and has great chemistry with his female counterpart. It is also wonderful to see the excellent and charming Berenice Bejo in a supporting role, making her first screen appearance since the triumphs of The Artist.

The main stars of the film though have to be the production team. The action taking place in 1958 and 1959, the team have ensured that each shot looks like the cover from a vintage edition of Vogue. The film drips with style and glamour, from the costumes right down to the decor. This is where the film owes its debt to the magnificent Mad Men, also set with the same era. Even Romain Duris' character is channeling John Hamm's Don Draper, slick and a consistent chain smoker! Quirky like The Artist, with the typing contests being fleshed out with the same excitement and intensity as some of our greatest sporting movies, with even a nod to Hitchcock's masterpiece Vertigo, the film is a triumph of style and substance and forever solidifies my love of not just French cinema, but cinema in its entirety.

Star Trek Into Darkness - Set Phasers to Fun!

*Note - this review contains spoilers.

J. J. Abrams seems to be coming more and more ubiquitous in the world of film. After having re-booted the Mission Impossible franchise he then moved on to Star Trek, and is the new guy at the helm for the newly announced Star Wars trilogy. If you need a re-boot, Abrams is your man. After 2009's Star Trek went down such a treat, there has been much hype surrounding its eagerly anticipated sequel. Having established an alternate timeline in the first movie Abrams now has carte blanche as he is no longer constricted by the story lines of the original series. What we thus have is the crew of the U.S.S Enterprise boldly going where no script writer has gone before; or do we?

This time round the crew of the Enterprise must rally together when a Starfleet agent goes rogue and begins a one-man assault on Kirk and his crew. Assigned with the task of tracking down the agent they know as John Harrison, the crew of the Enterprise are led to question their mission when they learn the true identity of their target. John Harrison is actually Khan - a genetically engineered super-soldier awoken from cryo-sleep after three hundred years, determined to have vengeance against his creators. This is where we have the old meeting the new. In the original film franchise, Star Trek II: The Wrath of Khan, is widely considered as the best of the film series, and fans are very protective. What we have here is Abrams opening Pandora's box and meddling with things that perhaps shouldn't be meddled with. Despite this, thanks to the casting of the wondrous Benedict Cumberbatch, he manages to pull it off! There were mixed feelings amongst die-hard fans about Khan being resurrected, him being such an iconic figure, yet Cumberbatch is evil personified, half Hannibal Lecter, half Severus Snape. What this allows is a Khan for a new generation. Cumberbatch brings his own take to the character and claims him for his own, making him a ferocious, hyper-intelligent embodiment of cunning that perhaps makes him the toughest opponent yet faced by Kirk and his cohort.

So, how do the rest of the cast fare? Well, Chris Pine is no William Shatner. His Kirk is a booze and woman loving 'jack the lad' yet always managing to find his conscience at the requisite time. Zachary Quinto, as in the first movie shines as Spock, almost looking like a digitally-rendered youth of his predecessor Leonard Nimoy. Like his portrayal of the evil Sylar in Heroes, Quinto plays the cool, logical Spock with great deopth and complexity of character. Simon Pegg is once again hilarious as engineer Scotty, and Zoe Saldana (amazing in Avatar) and newcomer Alice Eve (daughter of Trevor) make up the eye-candy, which is sadly all their characters are there for. Karl Urban (Eomer, The Lord of the Rings), sadly seems somewhat pushed to the sidelines in this adventure as Dr. 'Bones' McCoy, which is a shame. Better luck next time Karl!

Outside of the acting talent, the film is a visual wonder and fest for the senses. Colour, sound, and amazing special effects abound, making this perhaps the most exciting installment from Abrams to date. Perhaps not as tight in terms of plot as its predecessor, yet with a much more frightening villain, the film is a successful sequel and with a third film in the works, as well as Abrams work on the new Star Wars franchise, if space really is the final frontier, then Mr. Abrams is surely to become master of the universe.

Dead Man Down - Revenge Is Sweet

Venturing into the auditorium the other night I didn't know a thing about Dead Man Down, save it starring Colin Farrell and Noomi Rapace (never a bad thing). Not expecting greatness, I was therefore pleasantly surprised when I emerged two hours later having experienced a well-crafted and taut example of a revenge thriller.

The film follows Victor, played by Farrell, a member of a powerful gang headed by no-nonsense gangster Terence Howard. The film opens with Howard's character Alphonse in the midst of receiving powerful threats to the lives of him and his gang members, seemingly from an anonymous source. What we (the audience) knows that Alphonse does not, is that the threats are coming from within the gang. Victor is a man on a mission as he seeks to right a wrong done against his family several years previously. Enter Noomi Rapace's Beatrice, who like Victor, is seeking revenge for a crime committed against her - and she wants Victor's help. So follows a suspenseful thriller that has a lot going for it. The relationship between Victor and Beatrice is perhaps the most interesting element of the film. Both with their own personal demons they slowly begin to develop a relationship that gives depth to an otherwise run of the mill gang flick.

Colin Farrell, like Jason Statham, or dare I say it, Danny Dyer (shudders), as always plays Colin Farrell - the brooding alpha male who kicks ass, and gets his leg over along the way. It's a shame really because in the hands of a much better and nuanced actor, the complex character of Victor could have been explored with much greater depth. Noomi Rapace, whom first stole my heart in The Girl With the Dragoon Tattoo saga, once again proves why Hollywood is investing their time in her. She has a presence that demands attention and becomes more in this film than the stock damsel in distress, standing out as a multi-dimensional character of her own. Terence Howard is also on top form, giving us a chilling performance as the increasingly paranoid gang leader Alphonse. It's also nice to see Dominic Cooper doing well across the pond and even nicer to see a cameo from Armand Assante, playing a ruthless New York crime lord.

Dead Man Down isn't going to set the world alight. What it is though is an above average thriller with an intelligent and developed plot. My only two qualms are these. Firstly, at just over two hours the pace begins to wane slightly in the middle and we feel as if we could have reached the film's climax twenty years earlier. Secondly, Farrell's character Victor is seemingly Hungarian and we are supposed to believe he deliberately worked to Americanize his accent. The fact that Farrell's American can't help reveal the fact that he's Irish makes this supposed four year eradication of any trace of an Hungarian accent completely absurd!

If you're stuck for something to watch when all you see in your cinema listings is Iron Man or Star Trek then give Dead Man Down a watch - dodgy accents aside!

I'm So Excited (Los Amantes Pasajeros) - Carry on Flying!

Pedro Almodovar, Spanish film-maker and the genius behind films such as Volver and The Skin I Live In, takes to the air for his new film, the comedy I'm So Excited. The film focuses on the passengers and crew on a flight from Spain to Mexico. Finding out halfway through the flight that there is an engine fault forcing an emergency landing, the plane's trio of highly camp stewards must step up and keep the passengers' minds off the possibility of imminent death. Armed with booze, drugs, and a repertoire Liza herself would be proud of, the stewards do their best to remain professional, whilst trying to deal with problems of their own.

The action (for the majority) takes place solely on the plane and feels very much like a play - a diverse range of characters and a storyline that would have audiences in a theatre rolling in the aisles. Javier Camara steals the show as chief steward Joserra. A penchant for tequila as well as chief pilot Alex, Joserra has his work cut out trying to attend to his own demons whilst trying to keep everyone else calm. Cecilia Roth is also perfect as the ruthless and beautiful Norma, whose made a lifelong career in the sex industry exploiting her famous clientele. It is also nice to see cameos from Antionio Banderas and Penelope Cruz. Frequent collaborators with Almodovar, the pair play a small yet intrinsic part at the beginning of the story.

Yes, the film is hilarious, camp, and absolute filth but Almodovar doesn't give us a one dimensional film. There are also moments of pathos and real drama as we learn a bit about the lives of the passengers on board, all with their own personal demons. Balanced with the hilarity, this helps zip the film along at a fair pace - all towards its conclusion which is done with great subtly and suspense as we, along with those aboard the plane, wonder if they'll touch down safely.

The film has received mixed reviews thus far. I think we all expect Citizen Kane every time we get an Almodovar film - after all the man is a genius. We have to treat this as for what it is though - a light-hearted comedy that sets out to make us laugh - and we do. The film is hilarious, moving and has some genuinely laugh out loud moments. My only gripe was that our trip of stewards didn't give us more cabaret. I tell you, when I go on holiday this year, if the cabin crew don't break into a song and dance routine, I'll be one unhappy chappy!

Iron Man 3 - Stark-struck

Filthy rich, hot girlfriend and seethingly arrogant - surely attributes to turn us green all over with envy? However, this is Tony Stark, aka Iron Man which perhaps makes him the contender for coolest guy on the planet. And now he's back!

Like DC's counterpart, Bruce Wayne, Marvel's Tony Stark is the self-crafted superhero who conveniently happens to be a multi-zillionaire! This comes in quite handy as like it's predecessors, this film has some serious tech going on. Having vanquished Jeff Bridges in the first film, Mickey Rourke in the second, and taking on the God Loki and his army in Avengers Assemble, Iron Man 3 sees Downey Jr. back as Stark. Suffering from anxiety following on from the events in New York in Avengers Assemble, Stark must quickly learn to deal with them when a dangerous new terrorist known as The Mandarin begins a campaign of terror on American soil. As if a psychotic terrorist wasn't enough, Tony also has to deal with the appearance of a mysterious business man known as Aldrich Killian who begins to show an unhealthy interest in his assistant-now girlfriend, Pepper!

I have to say that this is perhaps my favourite film out of the trilogy (treating Avengers as a separate entity). The action is bigger, more outrageous and with some genuine feats of brilliance. Robert Downey Jr. is brilliant as always, pitching his performance between the nerdy clown who just likes to tinker in his garage all day and the guy who has to step up and save the day. Gwyneth Paltrow gets a bit more to do this time as well which, as an Oscar winner, I'm sure she appreciates. She even gets a go in the suit - although she pays for it later, having to spend the last quarter of the movie in just a sports bra. Guy Pearce as ever is great. Like his character in last year's Lawless, his character is completely loathsome and he manages to pull it off! Extra praise has to go to the wondrous Sir Ben Kingsley, however. Having seen Sexy Beast, we all know he can seriously play psycho - and in this he does it to a frightening degree - and without giving anything away, takes the character of The Mandarin in a direction one would not expect.


Praise must also be given to the new captain of the ship. After director of the first two films Jon Favreau stepped down to role of executive producer (Favreau also appears in the films as Tony's bodyguard Happy),  Kiss Kiss Bang Bang director is the new guy at the helm. No stranger to pulling off a big action flick, the Lethal Weapon writer, in only his second directorial venture, gives us everything we want from your superhero flick - action, gadgets, the occasional scantily-clad body, lots of explosions, and brilliant set-pieces. I shall be certainly intrigued for Shane Black's next feature!

I have an Oscar, you know!

What we have by the end of Iron Man 3 is a pretty successful conclusion to the Iron Man arc. As to whether he will once again be saving the world with the Avengers again is still not certain, yet if it's not to be then I think we can be fairly satisfied with how Tony Stark's narrative is played out. Filled with the requisite action, lots of humour (which adds depth to a superhero film that others do not have), and stunning special effects, I think Iron Man, if he is to go out, has gone out with a bang. Yes, it's cheesy and often resembles a modern-day Flash Gordon with better CGI, Iron Man has been with us for five years now. Here's to five more! (By the bye, as with all Marvel flicks - watch to the end of the credits!)