CharlieGreenCG Reviews

Fifty Shades of Grey (2015)

So... what is the film actually like?

[7/10 · 11 February 2015]

It has sold over 100 million books in over 52 languages worldwide. It has become the UK's fastest ever selling book. It is the most talked about literature subject of many years. Heard of it? Yes! It is Fifty Shades of Grey!

Given this success, it was almost guaranteed to be adapted into a film at some point. So Hollywood obliged and churned out a film quickly for fans. Presented with a world-premiere at this years Berlinale film festival, we have just seen. So ... what is the film like?

For those unaware of the book's narrative, it follows the story of Anastasia Steele (Dakota Johnson), a college graduate who takes her friend's place at an interview with a young, billionaire tycoon - Christian Grey (Jamie Dornan). But, what Anastasia soon finds, is that Grey is not all he seems, as she is invited to join him in sexual encounters.

Brought back to the basics, it is essentially a story of a prince meeting a princess - just that the prince has several strange passions. 'I don't do romance, my tastes are singular' he says ... which is an merely an innuendo for over-the-top sexual endeavours, which include - but not limited to; bondage, whipping, ropes, dominance and submission.

Obviously this is the talking point of the adaptation given its nature. So, how has this been translated from the book to the screen? Mainly it is slow-motion effects, close-ups and aerial shots with heavy breathing. Not to say that this is restricted from the novel's original ideas, as there are many nude shots in its twenty- odd minute sexual scenes (in the total running time of two-hours).

The two leads of the film, Anastasia Steele and Christian Grey are also noteworthy of some mention. When first announced, names such as; Clooney, Gosling and Pattinson came to mind for the role of Grey, with Johansson and Lawrence up for the role of Ana'. Ultimately the roles went to Dakota and Jamie Dornan ...

Visually they both look the part. Dornan as Grey; the Bruce Wayne- like billionaire, who lives within the finest luxuries (yet a dark twist). And Anastasia, as the awkward college grad who seems out of her league. It starts shallow with some awkwardness, conferences and business formalities. But soon transforms into bulk sex scenes with some small intercepts between.

Helicopter rides, skyline view hotels, and kinky sex-rooms (playrooms) are all the range, as the film pushes erotic boundaries like no other. Where most dramatic romances have about one bedroom sex scene, this, by comparison has at least eight. Likewise in the comparison, Fifty Shades' is more explicit than them too.

Visually, director Sam Taylor-Johnson has shot it with style. In terms of sound it also compensates from Danny Elfman's backing, plus tunes from Beyonce, Ellie Golding and many others providing lyrical pleasure.

Raising questions such as why is the sex-weirdness so important, and what are the Fifty different Shades of Grey? Much is left on edge and - as fans of the novel will know, it ends of a cliff-hanger. Which, conveniently gets you to read the following two books (which have just been announced as upcoming films too).

The big question, should you see it? Yes, other than divulging fans of the book, it does actually contains some potential of intriguing story too - other than the erotica, come pornography headlines.

Read more at: http://www.gonewiththemovies.com/reviews/fifty-shades- of-grey-review.php

Life (I) (2015)

Inside look of Dean's short lived fame / anti-fame.

[7/10 · 8 February 2015]

James Dean, although the lead-star of only three films, concreted himself as one of the cinema's golden age legends quite quickly in the 1950's - mainly through his unconventional approach to Hollywood's rules - this is, all before his premature death quite soon later.

Portrayed by Dane Dehaan, LIFE is a satirical chronicle of Dean's rise of an unknown to his Hollywood acting debut of success and fame. Yet, the film is not directly told as a documentary of his life - but via the lens of Robert Pattinson's character, Dennis Stock, a rookie photographer for a photo-agency with aspirations of becoming known.

Set in the 1950's, director Anton Corbijn's take on Dean's life is admirably applaudable as it takes us on an inside look of Dean's short lived fame and anti-fame. The sets, the cinematography, the music and the atmosphere all cipher the 50's pose, as smoking and larger-than-life LA are the standard.

First meeting at a party in 1955, Dennis (the photographer) approaches Dean; a young, sophisticated individual wearing a melo- polo, slicked hair with thick framed glasses and asks who he is. For Dehaan, the performance, both visually and in terms of acting is undeniably suited as he resonates Dean's moody and unique approach, showing him as a person, not merely an icon.

Forming sturdy relationships with Jack Warner (Ben Kingsley), of Warner Brothers Pictures, Dean's talent is soon spotted, and through several frustrations of the individual's motives, he told to 'play the part, follow the rules' and he would be made a star.

For Robert Pattinson, his take on iconic photographer Dennis Stock is equally as impressive as he enters the world of Hollywood from the other side of the carpet (and at bottom). Spotting Dean's talent early, Stock, in the two-hour running time attempts to get photographs of Dean before fame kicks in. Deadlines, pressure and awkwardness soon mount-up, and Pattinson expertly presents it onto screen.

Shot-by-shot, we capture each of Stock's photos of James Dean - but, rather than just a photo and what point it was taken - we are inclusively taken into a perspective of why it was taken, the setting and how they were so important - and now, in retrospective of our present - why so iconic.

http://gonewiththemovies.com/reviews/life-review.php

Knight of Cups (2015)

Everything is left for interpretation...

[5/10 · 8 February 2015]

Creating films since the early 1970's, Terrance Malick has earnt his right as an auteur film-maker. Yet, it does pose the question - are his films actually any good, or do they just get carried along? Often they feel about forty-five minutes too long, seem to have no understanding of what they are actually about, yet always do very well. His latest film, Knight of Cups, seems to follow that trend.

That said, Knight of Cups is not so much a conventional type of film, but more of an experience. This particular experience follows Christian Bale's character (Rick), through the wanders of L.A, as he tries to make sense of what is occurring around him. It's philosophical, it's dazing and completely bizarre. Put into simple context, it is essentially Christian Bale wandering around and doing celebrity-type stuff, all whilst narrated with allegories, riddles and meaningful - yet forgetful, quotes. Trying to make sense of it as an audience is already complicated, let alone Bale's character trying to do it too.

Filmed like a travel advert, Malick's film-making style remains good - even if the substance doesn't.. Vistas, slow motion, calming piano tracks and narration all squeeze into the mixture as the non-linear narrative imposes its poetic words onto the screen visually (or attempts to).

No shortage of stars, Knight of Cups entices us in with the big names such as Bale, Blanchett, Portman and Poots - plus another ten- or-so cameos inbetween - but that aside, much of the film is random, misplaced nonsense that the main character is trying just as hard to understand. At several points you get to a point that you think you understand it, but soon realise you don't.

Asked at the Berlinale Press Conference of the film - Bale was asked what the film was actually about, to which he replies; 'The very nice and very interesting thing in Terence's approach was that he didn't tell us what it was about... We talked an awful lot about different things, but he really just gave me a character description and a background of who he was - then he would torpedo us in'...

Granted it looks very nice - even if at points it feels like a Lady GaGa video - yet, what Malick does confidentially with Knight of Cups is leave a lot open to interpretation and / or confusion.

http://gonewiththemovies.com/reviews/knight-of-cups-review.php

Ex Machina (2014)

Highly recommended!

[10/10 · 18 January 2015]

Having wrote the stories to some of his biggest hits, first-time director, Alex Garland, has spent a lot of time with the masterful Danny Boyle: working on such films as The Beach, 28 Days Later and Sunshine. Now, writing and directing his feature debut, Garland proves that he has been paying attention and taking tips as he tackles a complex sci-fi thriller about artificial intelligence.

Featuring Domnhall Gleeson and Oscar Isaac, the stars of the upcoming Star Wars adventure, plus talented newcomer, Alicia Vikander – who stars in three films this month; Ex_Machina is quite well profuse.

Jumping right in, we are introduced to Caleb (Gleeson), a twenty- four year old coder who wins a chance to spend a week at his CEO bosses luxury house. Travelling for many hours over his private estate via helicopter, he arrives at a remote mountain villa. Where he meets Nathan (Isaac) – a prodigy programmer, who at the young age of thirteen created the foundations of Bluebook (our equivalent to Google and Apple combined). Now, middle-aged and extremely wealthy from his companies growing success, he lives a reclusive life at his custom-built smart house, which is insulated by intelligent automated features and billionaire gadgets.

Addressing the concept that life is different at this remote location – which is more of a research facility - Nathan invites Caleb to be part of an experience during his one week stay. An experiment that he classes as the greatest discovering of mankind; to test the world's first artificial intelligence system, which is housed inside the body of a beautiful robot girl (Alicia Vikander).

Of course, the AI' concept has been tackled many of times in contemporary film - most recently in Wally Pfister's directorial- flop, Transcendence. In reality, the closest thing we have to it is Siri. Yet, Garland's vision of AI is extraordinarily superior and physiologically mesmerising to witness.

For Domnhall Gleeson, the premise of his character is similar to that of his characters once played in Frank, or About Time – one that is thrown into a portal of unknown weirdness, and often out of his depth. Over the seven days of testing, Caleb must perform the scientific 'Turing test' on Nathan's AI' system, nicknamed Ava; the idea of which is to deduce God-like theories and philosophical concepts – do robots feel a consciousness? If disguised, would you know it is a robot? Is it ethical?

It's heavy material for Garland, but no stranger to psycho- thrillers, he explores futuristic concepts as if AI's really do exist. Equally, the craft behind Ex_Machina is exceptional. A beautiful piano theme plays methodically, with often mix of silence setting the unique atmosphere. Whilst mainly set inside Nathan's enclosed premise (with no windows), the camera work is mounted aesthetically.

Now, in her third film this month, Alicia Vikander shows that she is able to tackle any form of performance with extreme clause. Whether she is a young-women coming of age during World War One (Testament of Youth), a love-interest of a criminal (Son of A Gun), or now a robot, she is outstanding. Fluxed movements, and facial expressions through seamless CGI, she steals all scenes present.

Compressed into an impressive 1 hour 48 minute running time - considering the ground it has to cover for such a serious sci-fi drama, Ex_Machina, still manages to find time for sublime humour. Taut, fascinating and simply intriguing. Alex Garland's debut film comes highly recommended.

Kingsman: The Secret Service (2014)

007 meets Kick-Ass

[10/10 · 15 January 2015]

Kingsman: The Secret Service marks the third film in a row that director Matthew Vaughn has adapted from a comic book background. His two predeceasing being Kick-Ass (2010) and X-Men: First Class (2011) - which, by all means, were pretty damn good!

Over the last few decades, both comic and superhero movies, mostly fall into the easy trap of taking themselves too seriously. Where Vaughn's vision lies, and so-far proved by his former comic adapted films is that they draw a clean balance to where drama and serious character development ends, and cartoonish humour meets, leaving a unique entertainment that stands out.

Based on the comic by Mark Millar (who also created Kick-Ass), the film sees a young – no better way to put it – chav, called Gary 'Eggsy' Unwin (Taron Egerton), taken under the wing of Harry Hart (Colin Firth), a spy for her majesty's secret service. With the aid of Michael Caine and Mark Strong, they soon come face-to-face with the villainous Richmond Valentine (Samuel L. Jackson); an ego- centric - Steve Jobs-type - billionaire madman (with a lisp), who hates the sight of blood – yet holds a vision of mass biological warfare.

Licenced to thrill, Kingsman' is almost a love-letter to the James Bond films – but not too far as a parody, like Austin Powers - but more a homage to the franchise - a 007 meets Kick-Ass, of sorts. At a point, Colin Firth's character, Harry, even mocks the thought by saying 'give me a far-fetched, theoretical plot any day…'

Fans of Bond and Kick-Ass are certain to love it, as through rollercoasters of action, comedy and espionage, comes a bucket of winks, references and nods to the world of spy movies. Just like the colourful, gadget ridden Bond films of the 1960's, Kingsman is very fun to watch, with 'wham, bam, thank-you ma'am' style of mayhem, one- liners and bonkers soundtrack crazed all over it.

The comic the film was based on was already hugely entertaining – in fact, probably the best we have read. Littered with Millar's creative quirkiness and with Vaughn's auteur film-making, has left a stylized-spectacle of ultra-violence.

Portraying the lead character of 'Eggsy', Taron Egerton (also in this month's Testament of Youth), proves to be an outstanding newcomer as he brings the character to life with an energizing vibe of a comparing ethic of chav lifestyle vs. gentleman's class.

Alongside, and tackling the mentor, come father type role, is Colin Firth, who based on previous filmography alone could easily be classed as Britain's most boring and typecast actor. Until now, the mold romantic films is broken as he picks up a gun and finds an encyclopedia of wit and enters openly new territory. It's Colin Firth like you have never seen before! – and it is bad-ass.

Squeezing in with a 15 rating (somehow), Kingsman is never short of violence and its guts and guns galore, when kneecapping; slicing off body parts and explosions become all too familiar. Given the calibre of talent involved, Kingsman' does not fall stereotype and gimmicky like other YA spy adventures like Stormbreaker, or Spy Kids, but instead, a well-deserved mash-up of espionage and true cinematic excitement.

A Most Violent Year (2014)

Bonnie and Clyde - but without the violence.

[9/10 · 15 January 2015]

It's winter of 1981, statistically the most violent year in New York City's history. Based on that time period, the film, A Most Violent Year, centres on the lives of Abel (Isaac) and Anna Morales (Chastain) as they try to expand their business and capitalise on opportunities. Yet, through the rampant violence, decay and corruption of that year, they slowly become involved as it threatens to destroy all they have built.

Rape, stealing and murder are frequent broadcasts over the overly- large car radios. Which, to the excessive-downfall of Abel - who is trying to achieve the American Dream through legitimate means - is forced into situations that are not so legal, as his oil empire is under threat by harrowing competitors. That, plus the ambitious district attorney (David Oyelowo) is sniffing around with hopes of bringing him to jail.

It's tense. But writer, director, J. C Chandor's true genius however, is that he establishes a contrasts between an anti-gangster character in an overly-gangster environment. It explores the expected thuggish behaviours, yet with minimal gunfire, car-chases and explosions. Instead of the loud violence, A Most Violent Year focuses on silent territorial wars and atmospheric dealings, which slowly drag Abel into the law enforcement radar.

Through the dark underworld of maddening violence, Oscar Isaac's humble-seeming business mogul is not presented as either a hero, or an anti-hero - just a man who is trying to protect what he has. But, whilst Isaac is not physically intimidating – his class and approach to the situations make him much bigger than his enemies. It strongly echoes tones of Michael Corleone in both theme and expressionless monologue; likewise, his distance from crime is tested as his moral compass is slips.

Courtesy of Alex Ebert, the film's orchestral score even sounds like something suited for the Corleone family. Visually, it does too, as renowned cinematographer, Bradford Young, captures the iconic palette of mono-tones, dim-lit rooms and 80's city vistas.

Jessica Chastain continues her already strong acting streak, as she plays Abel's wife. A pragmatic woman, who displays a Macbeth-esqe hold over him: controlling and manipulating his ideals into illegally inclined methods of success. It's like Bonnie and Clyde, but without the violence.

Like Scorsese does, Chandor manages to craft a gritty juxtaposition between crime and survival during an earlier set period. It's like The Godfather, French Connection and various other mafia ventures - smart over loud - and an instant classic.

The Guest (I) (2014)

Amazing!

[10/10 · 6 January 2015]

Since his departure from TV's Downton Abbey, Dan Stevens has made quite a name for himself and shown his vast abilities. Firstly, in revenge thriller A Walk Among The Tombstones alongside Liam Neeson. Now, The Guest, one of the most-underrated films of the year, but one that is easily in our top five films of 2014.

The film sees a solider called David (Dan Stevens) introduce himself to the Peterson family, claiming to be a friend of their son who recently died in action. Since his arrival - and welcome into their home - a series of deaths seem to be related to his presence.

It's a masterful combination of mystery, thriller and horror. But, perfectly balanced with humour. Think the Terminator meets The Bourne Identity and you are on the right pitch of the film. Except it is not so much the terminator is attempting to kill you, but move in with you!

Directed by Adam Wingard, (You're Next) and teamed with writer Simon Barrett, the film is a thrill-ride of suspense; dark humour and action. Presented with a Drive-esqe superb soundtrack, The Guest is retro-fitted to the stereotypical B-movie horrors of the 1980's – yet, so much cooler.

Certainly, Dan Stevens's performance is the main selling point. It's hard for characters to resist his magnetism – until you see his Ice- Cube type intimidation stare. It is absolutely mesmerizing, and our most recommended film of the year.

The Theory of Everything (2014)

Elegant.

[10/10 · 6 January 2015]

The Theory of Everything chronicles the life of Stephen Hawkings - world renowned British theoretical physicist and probably the most famous scientist in the world.

Starting in 1953, when Hawkings (Eddie Redmayne) is attending Cambridge University as a PhD candidate right through to present day, the film is an elegy not just to his incredibly successful career, but also to his triumphs in his personal life with his wife, Jane (Velocity Jones).

With its primary source based on Jane's memoir, 'Travelling to Infinity: My life with Stephen', the entirety of his and her lives are detailed in fine-tune, from the moment they meet in a party a connection was made. She was studying Medieval Spanish Poetry, and he was studying time-travel cosmology. Through the hard-ships of his life as his body failed him, Jane is not scared away, but instead stays, marries him, has a family and cares for him. Fair to say, it is as much Jane's story as it is his, from where it is shared and melodramatic.

From the beginning scenes of the film, Oscar-winning director James Marsh makes a point in showing that Stephen has a problem. Beginning subtly, but slowly deteriorating, Stephen is diagnosed with Motor Neuron Disease, or ALS. Given two years to life he is soon unable to walk, then after an emergency tracheotomy, he is unable to also talk.

Eddie Redmayne's portrayal of Hawkings is undeniably incredible, and adds much gravitas to the performance as he slowly transforms. In the later scenes, now unable to walk or talk, he is restricting to a wheelchair; hunched, hands cramped, face distorted and only able to communicate with his eyes and a computerized voice. Redmayne's resemblance to Hawking is uncanny and authentic as he dips into front-runner Oscar-bait. Upon viewing the film, the real Stephen Hawkings even admitted that it was like he was watching himself.

The science of the film, which are the fundamentals behind Christopher Nolan's Interstellar are often complex to understand; but quantum physics, black holes and relativity are all expertise subjects to Hawkings, which led to his famous accolades going world- wide from his book 'A Brief History of Time'.

Of course, the theories are quite difficult to comprehend if you are not a mastermind scientist. But that is okay, as on the screen we merely see Hawking's in front of chalkboards with long equations, big words and hypothesis' as others either proclaim his work as 'Brilliant!' or 'Rubbish!'

The Theory of Everything certainly holds a treasure chest of rich material. Too much for one film to squeeze in perhaps, with the massive subject of who is Stephen Hawkings? But Marsh's vision is poignant and precise as nothing is rushed or missed out as it condenses into the tidy two-hours running time.

Set in a similar style to Ron Howard's A Beautiful Mind, the film is elegantly crafted from the beautiful cinematography to the sensitive performances. It's masterful, triumphant, and will surely prosper in every category possible at this year's Academy Awards as one man's struggle provides the point that 'there is no limit to human endeavour'.

American Sniper (2014)

Shoot or not shoot?

[9/10 · 6 January 2015]

It's a warzone. Structures lie crumbled and derelict from explosions and gunfire. US marines creep in formation between buildings with objectives. This particular city has been evacuated, anyone still there is a likely terrorist. Above them - almost as a guardian angel – US SEAL, Chris Kyle lays with his eye through a sniper scope with his own set objective - protect the marines below.

Out of a door comes a woman and young child, visually they look innocent as if walking to the shop - but in the direction of the marines. The child is handed a grenade from his mother and runs towards them. Is he helping and returning it? Or is he aiming to kill? But he is only a young child! Suspense builds, and acting as God from afar, Kyle has to react. Shoot or not shoot?

That is how Clint Eastwood's American Sniper begins; tense, brutal and setting a high bar for the remaining two hours. Based on the best-selling autobiography by Chris Kyle, American Sniper is the true story of his life as child to the beginning of 2013. Detailing his personal life, merits in the SEALS and his long lasting legacy of US achievements, the meaning of his accolade 'the most lethal sniper in US history' is revealed. Shortly; it's an important film, about an important man, with an important purpose - which is a lot for one film to compress. But American Sniper does not wallow in the war film clichés or allow time for it to even soak in, as suspense drives the towering momentum of war onto screen.

As well as producing the film, Bradley Cooper stars as Chris Kyle. Transformed to look like his real-life counterpart, Cooper has not only bulked on the muscle and grown facial hair, but also took on the Texan accent and propels his interesting life on to screen as if paralleled. Switching from the deadly battlefields to life at home, Cooper contrasts Kyle's every emotion on screen. Whether he is on the frontline-battlefield, or at home with his family (and wife Sienna Miller - brilliant), he is committed and tested over four tours on his choice of the two. He is an enigma, and with this 160 credited kills, plus 100 probable extras, patriotism, ethics of war are physiologically weighed up on him. Expect an Oscar nod, Cooper.

Similar to The Hurt Locker - in a mix of subject, theme and quality – American Sniper introduces us to the world of warcraft, and brings the tones of Call of Duty to the screen with seemingly authentic- realism. It's intense and places a looking glass of what it is really like with first hand experiences from Kyle. Fortunately, all politics and American ideology are absent, Instead American Sniper focuses on heroism, loyalty and tragedy building to the best battle finale a film can offer.

It's pretty well crafted, cinematography is crisp, and elusive camera work at point stand out during action sequences. Yet, perhaps nit-picking – and only just forgivable given the rest of the prosperous moment- lazy film making still transpires as obvious CGI blood and bullets lay ridden, and the worst robotic-baby a film has even seen comes full on screen as it was made on a TV budget.

That aside, Eastwood, although now in his eighties continues to make decent films - Jersey Boy's aside. American Sniper is no exception and keeps us on toes and inside Kyle's head as he tells the story of pain and veteran stress that it ultimately endeavors. He has not broken any new ground, but has certainly proved that he is man for the job.

Foxcatcher (2014)

Impressive. But drags.

[7/10 · 6 January 2015]

Director Bennett Miller is no stranger to creating successful films, with Moneyball and Capote already on his filmography – both heavily nominated with Oscars. Plus having the credit of leading (the late and great) Phillip Seymour Hoffman to his best lead actor award as Truman Capote. Miller's newest film, Foxcatcher, is heading in the same direction with Oscar-bait written all over it. But is it worthy?

Foxcatcher tells the true story of the dark and fascinating relationship between an eccentric multi-millionaire and two champion wrestlers. Portrayed by Channing Tatum, Olympic gold medal winner, Mark Schultz is invited by wealthy heir, John du Pont (Steve Carrell) to help train a team of wrestlers for the 1988 Seoul Olympics at his state of the art facilities.

Schultz jumps at the opportunity, hoping to focus on his own training and to finally jump out of his older brother's shadow, Dave Schultz (Mark Ruffalo). Fuelled by paranoia and alienation, the trio is propelled into an ultimatum of tragedy.

Given the nature of the story, the film is reflectively creepy and can be rather uncomfortable viewing – but all in its favour, as it sets the atmosphere in a dark psycho palette of entertainment.

Clocking in at just over two hours, the fruitful story does not urge to ripen quickly, but rather methodically and frustratingly; pacing is slow, some silent scenes drag as the narrative progressively builds to a devastating melodrama. It's seems like a long journey.

To its advantage, and probably one of the main discussions of Foxcatcher, is that all of the lead actors physically transform for their characters. Which, as well as being impeccably mounted are performed incredibly.

Steve Carrell, who stars as John du Pont, is in fact, almost unrecognizable as he covers his face in prosthetic and artificial aging. It's a performance unlike Carrell has ever done before, given his comedic background and often silly roles. It's odd casting, but he is serious, mesmerizing and just wonderful throughout.

Likewise, Channing Tatum is also committed to the role of transformation as he adds Hulk-like biceps and triceps to his already overly-toned body. He shuffles, not walks, and adjusts his Hollywood-lovable face to a bulked and bullied jawline that looks remarkably like the real Schultz.

Overall, it is impressive work - yet drags as the Shakespearean level of story slowly takes place and develops.

God's Pocket (2014)

Will not stand as one of P.S.H's lasting films.

[6/10 · 6 January 2015]

It's staggering to see Phillip Seymour Hoffman in his last but one film. It was immense talent last too soon, and fair to say whilst in his prime too, with countless performances racking up – God's Pocket included. He had a flair for choosing quality films it seemed. Hoffman in fact liked God's Pocket so much that he also signed on as producer.

Directed by Mad Man actor, John Slattery, the film sees Jeanie's (Christina Hendricks) jackass son killed in an apparent work accident. His petty criminal step-father (P.S.H) loses the funeral money to a horse, which then leaves him with the body hours before the ceremony. What follows in a dark comedy of errors (mainly on Hoffman's part), is the characters developing over a three day setting. The film notably also stars Richard Jenkins, John Turturro, Eddie Marsden and Caleb Landrey.

Taken back to the gritty 1970's outlook, God's Pocket is very much a period drama – a dark nuance one at that. The blue collar lifestyle, costumes, cars and furnishings all blend with authentic nostalgia in true from Peter Dexter's novel, of which the film is adapted from.

Hoffman, who plays the central lead is the key for the film as he portrays an outsider in Philadelphia slum, known as God's Pocket. It was underrated upon its cinematic release, and also struck hard- times at the box-office – unfortunately this is often the case for indie films, no matter the quality. Although, even with the greatness of the film, and the fact it was one of PSH's last films, it will sadly not stand with his last filmography.

Predestination (I) (2014)

Impressive!

[10/10 · 6 January 2015]

Now, surely you are all familiar with the story of the man who walked into the bar, right? If not, the answer is often corny. Predestination is very different. Instead, a man walks into a bar to tell barman Ethan Hawke an incredible story of his life - 'When I was a little girl …' he begins.

Following is a paradox of awe and wonder as the longitude of narrative unwinds, winds, twists and does backflips in explaining itself non-linear - you may half expect it to be the brain-child of Christopher Nolan.

Soon, it becomes apparent that Ethan Hawke barman, is a time- travelling agent who is on his final mission to kill the 'fizzle bomber', a terrorists that exploded a bomb in 1975 and killed 11,000 New York citizens. The bartenders had a chance to stop him once, but failed. Now jumping through the 60's, 70's, 80's and 90's he must complete his objective.

Granted, it a complex story that does pleasure us with answers, just a slowly increasing pile of question. Yet, masterful and with an ultimatum of science-fiction behind it. As far as time-travel films go, this is not too formulaic, instead thought-provoking to the point your head hurts.

Directed by Michael and Peter Spierig (the Spierig brothers), the film advances from not having many cast; mainly just Ethan Hawke, Sarah Snook and Noah Taylor. Hawke, in now his second Spierig film (Previously on Daybreakers) is exceptional as he continues to show raw talent in pretty cool' indie films.

Sarah Snook, who also has a majority of screen time, also shines. As an Australian newcomer, Snook and Hawke, with their directing counterparts (also Australian) have crafted a surprisingly original, gritty, genre-bending film – all in a spectacular 1 hour 37 minutes running-time. Impressive.

Annie (2014)

It's a hard knock life ...

[6/10 · 18 December 2014]

Straight after the opening credits, a young, ginger-haired, pale girl called Annie is giving a presentation in class. She is congratulated and returns to her seat, up comes another young girl also called Annie (played by Quvenshane Wallis). However this time she is visually different with puffy brown hair and ethnic background. Thus, the baton is almost passed on from the predeceasing versions of Annie in this wink allowing it to do whatever it likes. And it does.

Annie is probably one of the best known musicals in history since its Broadway genesis in 1977. Since then, it has had television versions, books and two quite successful film adaptations, now this – a further remake of the musical classic. But why was it is remade yet again considering its status? Producers of the recent incarnation, Will Smith and Jay-Z, took to its defence stating that it is 'a modern re-imagination of a beloved musical' – which is reasonably fair.

If there had not been any versions of Annie beforehand, and this was its first appearance, then it would be a musical phenomenon in the likes of Frozen's success. Sadly, it is not, and will through generations of viewings always be comparable and given prejudice – which is never a good thing in the film industry – hence the awful receptions it has received so far as well as the many one-star reviews.

Similar to the original story, the central character Annie, has a fairly hard knock life (no pun intended). Nothing seems to have gone her way since she was abandoned at aged-four outside a restaurant. Since then, she has been in numerous fosters homes throughout New York – but currently in the care of Colleen Hannigan (Cameron Diaz), who treats her unfairly and instead of kisses, gets kicked (still no pun intended).

Updated to the modern era, a phone business tycoon, William Stacks (Jamie Foxx), is running for Mayor of NYC and coincidentally meets Annie, and decided he should help her out. It all seems simple enough until you add the fact it is still a musical, and at every street corner, scenario and character development there is a catchy song around the corner lingering and ready to pounce. Of which, the star-studded cast all sing aloud (reasonably well, apart from the over-the-top Diaz – cringe).

Indefinite to always live in the shadow of its former versions, Annie could still prove to be a fairly popular family-film over Christmas. But overall, it is mediocre at the very best.

Exodus: Gods and Kings (2014)

Ridley Scott's best since Gladiator.

[8/10 · 18 December 2014]

God has made a couple of movie appearances in blockbusters this year. Firstly, there was Darren Aronofsky's Noah, showing how Russell Crowe takes on the bearded wise man in God's footsteps. In between was Son of God. Now this, Ridley Scott's Exodus: Gods and Kings. A new take on the great biblical tale.

It's a well-worn story – certainly one that has been passed around for a few thousand years at least. But, fresh with Scott's auteur film-making; spectacular effects and stellar casting, it feels like something new entirely – and easily secures itself as the best biblical story to arrive on the big screens for at least thirty-odd- years.

For those who missed Sunday school, Exodus is based on the feud between Moses and Ramses as God directs Moses to lead the 600,000 enslaved Israelites out of the Egyptian empowerment.

Granted, the effects in Exodus are incredible and encompass real God-like abilities on the screen. Teamed with recent collaborating cinematographer, Dariusz Wolski, Scott supersedes any of his films made over the past ten-years and claims this as his greatest film since Oscar-winning Gladiator.

Similar to Gladiator, the lead-cast taking on the swords-and-sandals sub-genre are incredibly well performed – but often do not fit into the roles likeness. In Exodus, taking on the Eastern and African roles are Americans, British and Australians. But more specifically, Christian Bale as Moses, Joel Edgerton as Ramses and co-starring likes of Sir Ben Kingsley, Sigourney Weaver (although, she only has one line – completely underused), John Turturro, Aaron Paul and Ben Mendelson.

For 150 minutes, Exodus tells the story between Moses and Ramses. It's a tale many have heard before, in fact done masterfully by Charlton Heston in The Ten Commandments some sixty-years ago – but Exodus gives it a fresh perspective. Moses' perspective more so. One that chronicles how he beings a strong atheist and military general alongside Ramses as a brother, through to how he accepts that there is a God and leads thousands in this vision.

Throughout, and not even attempting to diverge from the detailing in the bible, the film shows Gods savagery within the ten plagues, right down to the one where he kills small children as they sleep – yes, it happens, Old Testament God was not very nice. It also shows Moses' portrayed as a freedom fighter come terrorist against Edgerton's tyrannical portrayal of Ramses, which is powerful to witness. But, positively, there are no signs of giant CGI rock creatures appearing to save the day – oh, Noah.

More hindrance than help, Exodus does not just beat around the (burning) bush, but it follows every detail. As many will know, the Red sea parts where Moses and co' cross through. This is where the film should have ended. But it didn't. It continued on for another twenty-something-minutes with freedom scenes and the Ten Commandments tablet written some years later. Which is great, but leaves the gripping epic in all its entirety to finish in such anti- climactic style.

Exodus: Gods and Kings is Ridley Scott's best film since Gladiator. Not as good mind, but still damn entertaining in biblical portions.

Dumb and Dumber To (2014)

Stupid is as stupid does.

[6/10 · 18 December 2014]

Should all films be rated on the same scale? Meaning that your comedic Dumb and Dumber To is comparable to the dramatic The Hurt Locker? If so, then it is complete and utter poo, as are all comedy films – however, if they are not on the same scale, but instead rated by type or specific genre then it is an entirely different scenario – one that makes Dumb and Dumber To, actually not that bad!

Set 20 years later than the first, Dumb and Dumber To follows on almost immediately after it left off, with not much actually happening in between. Returning to their pinnacle roles of Lloyd and Harry, Jim Carrey and Jeff Daniels back! In fact, 20 years ago, and still today, it is still strange to see in Jeff Daniels in such a film. To go on the spectrum of serious films, such as Looper to the bonkers Dumb and Dumber To is beyond us.

But do not get confused. This is designed for pure entertainment, so do not expect anything meaningful other than smiles galore, stupid humour and chipped teeth. Although, sadly not all of the film's humour is new. Most of which is about fifty percent recycled jokes from the first - which is now twenty years old - such as the Mutts Cutts van making a cameo, the mouth spray gag, and the blind kid returning.

However, when there is new humour introduced it is often disappointing. But what do you expect from the Farrelly brothers though? Look at their filmography over the past 20 years and try to convince somebody that one of them is reasonably good. It is nearly impossible. (To name a few: Dumb and Dumber, Me Myself and Irene, Shallow Hal, Hall Pass and – the shockingly awful – Movie 43).

One of the greatest underplays in the film is that Harry's new roommate is a drug-dealer, and it is in fact Bull Murray in a cameo role – but you wouldn't know it as he was never shown or given any until his name appears on the closing credits.

It's comedic, elusive and at points hilarious. But it needs to draw the line that stupid is not always funny – just pure idiocy. Fans of the original would be impressed. Whereas non-fans will surely hate it.

A Brilliant Young Mind (2014)

Beautiful.

[10/10 · 23 October 2014]

'I think I see the world differently to others' explains Nathan, played by Asa Butterfield. The distinction causing this however is that he is has been diagnosed with Autism, which passes the conclusion that he is socially awkward, shy and 'unique'.

Although considered disabled, Nathan is a maths-prodigy. A self- confessed, algebra loving whizz at that. Because of his advanced capability in the subject, Nathan joins a high-school a few years early and placed under the teaching of Raff Spall's character, Mr Hutchinson. Heading into early stages of MS, Hutchinson explains to Nathan a competition that he did in his youth and recommends he should enter it - the International Mathematics Olympiad, a world- wide competition similar to sporting, but rather than strong muscles, strong brains.

Chosen as one of the sixteen entries from the UK, he then joins a worldly-mix of other competitors in what is probably the most difficult children's test in the world.

At this point you realize how the story is going to end, along with the regular clichés. But X+Y keeps you on toes and raises the grade to unexpected.

Although X+Y is focused around maths, it doesn't matter. The subject could easily be replaced or removed and the film would hold strong by because in awe of the fundamental driven narrative. Put into cheesy maths terms X+Y is: Great casting + dramatic story + comedy - clichés = success.

Taking the on the central lead, Asa Butterfield (Ender's Game) stuns in the portrayal and authentically attaches us with emotion to his story. Co-starring as Nathan's mother, Sally Hawkins also gives a stellar performance.

Crafted with flashbacks, X+Y is very much about the destination as well as it is the journey. Comparable to A Beautiful Mind, this too is a prodigy excellence and a charming feature from Morgan Matthews.

Testament of Youth (2014)

Unseen perspective, and solid-account of the despair that war causes.

[8/10 · 23 October 2014]

Considered one of the greatest war memoirs ever written, the Testament of Youth is a true-life account of Vera Brittian's life from 1914 - 1918, and a chronicle of how the First World War affected not only her, but the nation's lives.

One of the things that determines Testament of Youth different to other bloody, explosive and bullet-ridden war tales is that it is focused on the domestic view of the ones who not only joined the war on the front-line, but also those at home and the consequent effects on loved ones, offering an unseen perspective, and solid-account of the despair that war causes.

Beginning in pre-war 1914, we are introduced to Vera Brittain, a determined and wilful individual with aspirations of not becoming just a traditional young-married women, but one who attends Oxford University and chooses her own life-choices.

Along with her brother Edward (Taron Egerton) and his two friends Victor (Colin Morgan) and Geoffrey (Jonathan Bailey), they all enjoy their youth in the rural village with their parents (Dominic West and Emily Fox). On-the-road to Oxford, she is introduced to her brothers close friend Roland (Kit Harington), and a relationship soon breaks out - but untimely, as does the war.

Quite proud to do so out of loyalty to Queen and country, her brother Edward, and friends Victor and Geoffrey with Roland all sign up to the forces to assist. (Against parental wishes to do so). Now at Oxford, yet unable to focus as this devastation is happening all around her, she joins the forces too, as a nurse - and the film develops from there.

Given a world-premiere at the 58th BFI London Film Festival, the film is squeezed out in time for the Remembrance holidays and by-all accounts award season. Based on our criticism alone, it is going to be praised and remembered at both.

Crafted by former TV-movie director, James Kent, along with the (brilliant) cast, Testament of Youth is a thoroughly engaging history drama in Downton Abbey-esqe war times and a unique approach to the war like never before.

Night Bus (2014)

It is amazing how one simple idea can be turned into something so fulfilling.

[8/10 · 23 October 2014]

It is amazing how one simple idea can be turned into something so fulfilling. Take last year's Locke and All Is Lost for example, where there are lone characters in just one setting for the entirety of the film. Night Bus is similar and snapshots London over just one bus journey in one night.

Refreshingly short at just 90 minutes, Night Bus is entirely set on a double-decker bus during one Friday night in urban (rainy) London. Populated by unknown actors - but all very capable - the characters are stereotypes of those that you would expect to see; late workers, drunks, tired, active, old and young. Plus a driver who has to put up with it all.

Capturing the intimacy of public transport and the mixed diversity of London, there is a plethora of different narratives taking place between the passengers. Relationships end, some begin and others thrive. It is just like you are a passenger on the bus too and overhearing everything.

Made over just five nights and with a micro-budget of £20,000 – Writer, director and editor; Simon Baker's feature debut is a truly charming independent film. The dialogue between the passengers is all improvised which gives it the natural chemistry and realism to keep you engage as if you are 'people watching'.

Tied with the glistening lights and rain-effect cinematography and sublime music, Night Bus is nocturnal and ellipses the essence of late-night London. Overall a cracking feature for breakthrough director Simon Baker.

Whiplash (2014)

Does not miss a beat - no pun intended

[10/10 · 23 October 2014]

In 2013, writer and director Damien Chazelle attempted to make a small, but innovative movie about a musician and his relationship with a mentor. Unfortunately the funding was denied - so he made a short film to tempt them into funding it instead. It was incredibly well received and immediately given full feature funding - and that movie is Whiplash.

Filled out with a deeper story, character study and creativity - the film follows Andrew (Miles Teller), a first-year student at a musical-based college. With aspirations of becoming a drummer who will be remembered, he is chosen to join the school band, by Mr Fletcher (JK Simmons) - a ruthless teacher that pushes students beyond limits to make them realise their potential, often to the point of stretching his humanity.

Like a boxer tapes up their bloodied fist, Andrew tapes up his fingers as he practises harder than ever before to gain Fletcher's approval. Much like the boxing films, we track Andrew on the difficult, vigorous journey to become the best.

It's a basic plot, but the reliance on the characters pays off, and incredibly shot in just nineteen days - it is overall cinema perfection.

Fletcher, portrayed by JK Simmons is close to what Pogue Colonel is in a Full Metal Jacket; raw, terrifying and bursting with energy. Starring in the lead role, Miles Teller is outstanding in the enduring journey to be the best under his dreaded-teaching.

It doesn't matter if you are a Jazz fan or not, the film is innovative enough to engage you. Overall, Whiplash does not miss a beat (no pun intended).

The Way He Looks (2014)

Love at first sight.

[9/10 · 23 October 2014]

The Way He Looks, created by Brazilian writer and director Daniel Ribero attempts to tackle the innocence of adolescence and the clichéd 'coming-of-age' story. The only difference to former films, and the irony of the title is that the central character, Leonardo (Guillherme Lobo) is blind.

Struggling to find his independence, frustrated and embarrassed by his situation, he just wants to be normal and control his own life. His best-friend, Giovanna (Test Amorim), taunted with the name 'human walking-stick' is his assistant in getting him to and from school.

That is until Gabriel (Fabio Audi), a new boy at their school joins. Everything about it was love at first sight for Leonardo and him, expect literally. Soon, as he befriends them and friendship and jealousy triangle intensifies as does the relationship between them into homosexuality.

Beautifully crafted, The Way He Looks in terms of narrative blossoms organically, not pushed but sensitive and gentle. Based on the directors own previous short-film, and with the same actors on returning, the feature is filled with more story and emotional curating it into a mesmerizing and minimalist independent gem.

Serena (I) (2014)

Disappointing adaptation:

[4/10 · 23 October 2014]

Serena has had quite a hard time so far. Filmed in 2012, it has been shelved for over a year and half due to apparent scheduling. But finally, after all that time it has come to light at this year's BFI London Film Festival for a world-premiere! But it does raise the question, is it a hidden gem that we have been long-desiring? Or is it so bad that it has was hidden on purpose? Unfortunately it appears to be the later.

Considering that is has two A-list on screen regulars; Jennifer Lawrence and Bradley Cooper, the film is surprisingly dissatisfying. Set in North Carolina in the Depression era, the film accounts the perspective of George Pemberton (Cooper) and his wood-plantation empire. That is until he meets Serena (Lawrence), when he suddenly suggests 'we should be married' - and they immediately do. In fairy- tales this is expected, but in a reality period drama it is loose and leaves no belief in their relationship. As a result, throughout the events of the film we have no attachment to them at all.

Once on board with Pemberton's wood-empire, Serena does not want to just be a trophy-wife, but instead gets hands-on involved in the dirty business end and is not afraid to throw some axes.

Form there onwards the film repeats the same formula over again: Romance, wood-chopping, politics - repeat. It is a tedious cycle with the all-so often subplots appearing that have no registration to the already flimsy story.

Also featuring; Rhys Ifans (as the bearded hit-man), Toby Jones (as Sheriff McDowell) and Sean Harris (as a wood-chopper), the film shockingly concludes with a melodrama on misplacement and seems unsure of where it is going, or what genre it even is.

If there was one positive thing to be said about Serena, it would be the six sex scenes between Cooper and Lawrence. But even then, the chemistry between them is tightly bound compared to their previous on-screen duos (Silver Linings Playbook, American Hustle).

Directed by Academy-Award winning Susanne Bier and penned by Christopher Kyle, it is hard to find who is exactly to blame. Is it the direction of the story? Either way it is a disappointing adaptation.

Mr. Turner (2014)

Elegant, aesthetic and classical - unfortunately Mr Turner is none of them.

[5/10 · 23 October 2014]

Timothy Spall has never really had a film in which he plays the lead role, but more regularly small co-starring roles. So Mr Turner - a biopic of the artist JMW Turner - gives him the opportunity to finally show us what he can do.

The film collates the personal life of Turner and his work as a professional artist. Born in the mid-19th Century, he was best known for crafting elegant landscapes during the era of portraits, which was quite unconventional and frowned upon. The film however, is not as masterful as the paintings and focuses on style rather than an engaging story, or at-all interesting concept.

Living in London, Turner travels throughout the UK for inspiration, then returns home to paint and sell the idea for profit. But the portrayal of Mr Turner (by Timothy Spall), is not admirable. Beginning in his youth and progressing into his elder years we are shown his life change before us. Sounding like Keith Richards, Turner mumbles, grunts and groans almost every sentence and most speech is implied. It's a superb performance from Spall, but too overwhelming for the screen.

Not considered that good until post-mortal, particularly due to his brash paintings and different techniques (spitting on the canvas), the film strokes on his rise, fall, criticism and rise.

In co-ordination with the eerie, over-the-top soundtrack, the theme to Mr Turner feels like it has the wrong approach, and Mike Leigh's direction is severe, making the feature seem about 45 minutes too long and in the tedious running time of 150 minutes!

Elegant, aesthetic and classical. Unfortunately Mr Turner is none of them, but instead a longitude of excess period culture. Poor show all around.

Originally posted at - http://gonewiththemovies.com/reviews/mr- turner-review.php

Gone Girl (2014)

Gone Girl constantly keeps you on edge of seat.

[10/10 · 23 October 2014]

David Fincher has a longitude of successful book-to-screen adaptations under his belt already; Fight Club and The Girl with the Dragon Tattoo to name some. His most recent, Gone Girl, based on the best- selling 2012 novel is no exception – and if anything a career best.

Gone Girl begins on the fifth anniversary of Nick and Amy Dunne. Upon which, Amy goes missing. In a sought out search, the media circus quickly converge on the investigation and as it escalates pushes Nick into the criminal spotlight and accusing him of her murder.

Readily bulked up for Batman, Ben Affleck plays writer-come-teacher, Nick - whose life gets flipped upside down after Amy's disappearance. Known as much for his direction than acting, Affleck thrives whilst presenting the likable / unlikeable public mask. Did he kill her? Is he innocent?

Rosmand Pike, the titular Gone Girl, gives a career best as Amy. She is coldly precise, yet mesmerizing throughout - dare we say it an Oscar runner? Neil Patrick Harris and Tyler Perry also co-star.

Gillian Flynn, author of the Gone Girl novel also pens the films screenplay – which fans of the book will know enthralls a complex page-turning narrative. Equivalent on screen and giving due justice, the film adaption is just as thrilling and does not loosen up, leaving no hint of what to expect from the twisty, deceptive, drama.

Given an 18 (R) rating, Fincher goes all out visually – it's aesthetically stunning and nicely dialed down from his OTT camera filters like previous features. Sound wise, Trent Reznor's sublime score perfectly reflects the mystery genre.

With its powerful balance of dark story, character driven excitement – even at 149 minutes running time you cannot help but be entertained and wanting more. Gone Girl constantly keeps you on edge of seat.

Electricity (2014)

Aesthetically challenged and solely driven by Deyn's performance, Electricity is an eye-opener to say the least.

[7/10 · 23 October 2014]

There are not many films in Hollywood that focus on disability. So upcoming indie movie, Electricity is already something quite unique.

Agyness Deyn's lead character Lily O'Connor suffers from epilepsy. Since early in her childhood it has haunted her and fellow school- children didn't let her forget and took to calling her a 'fit- tastic-spastic' – it is fair to say that it was not a nice thing to have.

Showing the severity and unpredictability of epilepsy, Lily one moment could be on a pier preparing for a date - but next, on the floor suffering. Having it her entire life, she is now as used to it as you can be and explains that she is like 'Alice falling down the rabbit hole' ... 'as the electric storms start in her head and her brain takes a tour'. But on screen we see it much differently, almost a POV, jumpy electric field. Quite like Doctor Who's Time travel, or Star Trek's Warp speed. Whichever it is, it impresses and gets the point across. Edited with many close-ups, Electricity is visually artistic and director Bryn Higgins accomplishes because of it.

After the childhood traumas, and now a middle-aged women, her smitten and quite self-fish mother passes away. As one of the next- of-kin, she gains her inheritance which is due to be spread between her siblings. However one of her brothers, Mickey, has been long- lost for many years. All she knows is a brief past and that he is somewhere in London.

Desperate to find him, and struck with recurring epileptic episodes she strives forwards with an innocent Taken-esqe style narrative (without the killings obviously). Onwards she encounters a completely unbelievable homeless woman, and eccentric characters galore.

Aesthetically challenged and solely driven by Deyn's performance, Electricity is an eye-opener to say the least.

Wild (I) (2014)

Darkness of self-redemption

[7/10 · 23 October 2014]

When The Proclaimers sang about walking 1000 miles, it was meant metaphorically. In Wild, Reese Witherspoon's character does it quite literally and walks an incredible 1,100 miles...

With its screenplay adapted by Nick Hornby, and under the direction of Jean-Marc Vallee (Dallas Buyers Club), Wild collates the account of author Cheryl Strayed's true-life, played by Witherspoon. The title of which shares two meanings. One, that she is out walking in the wild, and two, that she had quite wild behaviour. On her journey, it is not just a heavy 'monster' bag that she carries, but also her damaged past of sex, drugs and death. The hike, or the reasoning behind it, is to 'walk herself back to the woman she once was' and get her life back in the right direction.

Set in 1995 and walking from the Mexican Border to Canada (via the large wilderness) the hike should take an estimated three months. But we catch up with her at different points as the narratives travels through past and present explaining the hardships of how she got into the situation.

For Reese Witherspoon, this is her definitive role and by 1,100 miles a career best. It is far emotional, physical and sexually explicit she has ever been before. All in the name of her new image and production company (Pacific Standard), in which aims to create stronger female orientated films. With Gone Girl and Wild now on their filmography it is fair to say that they succeeding.

What we get as we are taken on this journey with Cheryl, is a darkness of self-redemption. It bares similarities to 127 Hours and Mitty' in terms of character cycle and travel - but more similarly Sean Penn's Into The Wild. At times, Wild hooks you emotionally during flashbacks, more often about her relationship with her mother, played by Laura Dern. But at other points you do not feel as connected and physically tired of taking the journey.