julian-mumford Reviews

Hunt for the Wilderpeople (2016)

Hugely enjoyable comedy adventure with serious undertones

[8/10 · 17 April 2016]

Kiwi director Taika Waititi of "Boy" and "What We Do In the Shadows" fame will shortly be stepping into the big leagues directing the next "Thor" movie.

In the meantime he has conjured up another slice of real Kiwi life on a budget that would probably fail to cover the catering bill for his new movie. Waititi translates Kiwi writer Barry Crump's book into a screenplay full of Kiwiana, irony and humour.

We meet Ricky Baker (Julian Dennison) as the local police (Oscar Kightley) and "enthusiastic" Child Care worker "Paula" (Rachel House), attempt to rehouse the young Maori lad with his new adoptive foster parents. "Aunt Bella" (Rima Te Wiata), child loving and with a heart of gold together with husband "Hec" (Sam Neill), a loner bushman with little desire to house a young delinquent.

Ricky's long list of offences are mentioned, including "smashing stuff and throwing rocks" but Paula is very determined, oft repeating her personal motto, "no child left behind".

The opening scene sets the tone perfectly, as Ricky carefully surveys his new accommodation and quietly returns to the police car.

Despite finding his new basic rural surroundings somewhat bewildering, including a gloriously bloody wild pig hunt, Ricky starts to become part of the family as he is showered by Aunt Bella's practical love and understanding.

Following an event, Ricky and Hec strike out on their own into the New Zealand bush as a national man hunt for the pair commences. Can they get on, will Hec's heart eventually melt, if indeed he can find it? This is a comedy drama with emphasis on the humour with incompetent hunters, crazy bushmen (Rhys Darby) and comical situations. However framed with underlying sadness and a serious story under pinning the whole endeavour. The tone is reminiscent of director Waititi's' "Boy" and manages to stay consistent throughout. Waititi even allowing himself a brief cameo, to great comedic effect.

There are plenty of belly laughs for those that understand and know New Zealand well. Neill essaying your everyday "she'll be right" Kiwi bloke, whilst providing a much needed straight man to all the shenanigans.

Some scenes are pushed too far, with Paula's quest going to ridiculous length's for the sake of comedy and Darby overbalancing his scenes with his usual shtick. Somehow with the solid anchor of Dennison's fresh performance and Neill's experience, the ship manages to stay the right way up.

The New Zealand bush is shown in all it's glory with the addition of a great choral track to accompany the shots of the overhead tree canopy.

Overall a much more approachable and enjoyable film than "Shadows" which will play especially well with Kiwi's and Australians but does have broader appeal.

Summary

Hugely enjoyable comedy adventure with serious undertones and represents a real return to form for Waititi. It's also good to see Sam Neill on the big screen again, opposite a great new young talent.

The Way Way Back (2013)

A gentle film with a promising start and ending on a flourish

[6/10 · 28 April 2014]

With a title that will confuse many, this film has it's work cut out from the get go.

Shy fourteen year old "Duncan" (Liam James) accompanies his divorced mum "Pam" (Toni Collette), her new boyfriend "Trent" and his teenage daughter "Steph" (Zoe Levin) on a summer holiday to Trent's beach house in Massachusetts.

Sitting at the very back of the old station-wagon, hence the title, Duncan knows this is not going to go well and he will not be disappointed. On the trip Trent asks if he was to rate himself 1 to 10 where would he stand, Duncan is confused. Trent handily supplies a three, so plenty of scope for improvement, therein ending the questionable motivational speech.

The situation does not improve at the beach, the girls go do catty teenage girl stuff in a rigidly hierarchical group and Duncan is paired off with the nerdy son of the local lush "Betty" (Alison Janney). Betty means well, at least she does once she has a glass in her hand.

We also get to meet Trent's local party friends "Kip" (Rob Corddry) and "Joan" (Amanda Peet) and before long everyone is having a swimming time, literally and figuratively. Everyone apart from Duncan who feels and acts like the proverbial third leg. Stumbling across a local water-park employee "Owen" (Sam Rockwell) playing "Pacman", the two form a bond which enables Duncan to work casually at the water-park and fill his days.

This is a classic coming of age story and James fits the bill very well, acting just like a shy fourteen year old, all elbows, bad dancing and hopeless "chit chat" with Betty's pretty daughter.

With a cast this good, you would expect the acting to be of a high standard, Carrell playing against type makes an unlike-able character, thoroughly unlike-able. Janney does "well intended but over bearing" well enough but the stand out as usual is Collett. Generating bonhomie, real and faux one moment, leading to a quiet realisation, awkwardness and alienation the next.

The subtext of older people making compromises due to sheer practicality comes to the fore, is it ever worth settling for less, if it impacts those you love? Those who occasionally play board games on a rainy day will also enjoy one particular key scene. Has there ever been a time when, "Let's check the rules on the lid of the box", ended well.

Rockwell usually watchable, remains so here but is saddled with an unlikely character, although the mentor/father relationship with Duncan does work reasonably well. The fact the "pool gang" help shape Duncan into the person he will become, rings true but the film sags badly in the middle section, almost grinding to a halt at one point. There are some questionable scenes and character quirk diversions, which distracts from the central theme.

Dual director's Jim Rash and Nat Faxon, are also seen in the movie. Rash as "Lewis", the slightly odd towel and bathing hut attendant. Lewis is always about to leave for better things but like everyone else, seems stuck in time and familiarity. Faxon as lecherous pool slide attendant "Roddy", stop/ starting the line to indulge his skimpy bathing costume passion, a trick he dubiously teaches Duncan

Summary

A coming of age tale that at 103 minutes achieves what it sets out to do in the allotted time.

A gentle film with a promising start and ending on a flourish. By no means the best example of the genre but due to the strength of the cast, the film just about makes it home from the beach.

Prisoners (2013)

An excellent thriller with a solid human drama centre

[8/10 · 28 April 2014]

Two average suburban American families, meet up to celebrate Thanksgiving together, everything is normal, safe and secure.

Both families take great care to ensure their younger daughters are accompanied between households. Whilst out, they briefly climb and play on an RV that is parked in the street, they come back inside the house.

Later they decide to out again, same ritual but this time they do not come back, the older children did not accompany them, everything is not normal, nothing will ever be safe and secure again.

The parents of "Anna", god fearing and practical survivalist "Keller Dover" (Hugh Jackman) and his wife "Grace" (Maria Bello), look in all the usual places. The respective parents of "Kyla", "Franklin" (Terrence Howard) and "Nancy" (Viola Davis) also come up short, the young girls have disappeared, the police are called.

Detective Loki (Jake Gyllenhaal) has seen it all before, he is sympathetic, diligent and above all, realistic. The Police get a lucky break, the RV is spotted locally and before long the driver is in custody.

Alex Jones (Paul Dano) is everyone's idea of someone that could abduct young children, with Jeffrey Dahmer style glasses, strange ways, hushed voice and the mental age of a ten year old. Soon he is a prime suspect, but following questioning the police are obliged to let him go.

The film centres around how far you would go, to find out what you need to know. If the information is important enough, what might you do to find your loved ones? To use the well known quote from Nietzsche, "Whoever fights monsters should see to it that in the process, he does not become a monster".

When the children disappear, the initial casual concern escalates and is believably portrayed, making every parents nightmare real. The film asks some difficult questions, with no easy answers. Hugh Jackman plays a character we have not seen from him before. Whilst on occasion the acting is visible, perhaps due to how we normally perceive him. However, this is most definitely no Wolverine in civvies. All the central characters are good, notably Gyllenhaal and Jackman who are given the most to do.

Davis and Bello as the grieving mothers are equally strong, as their known world starts to collapse around them. Both cope in different ways, driving a wedge into their relationships with their partners.

However, Dano is the actor to watch. With so few words of dialogue, he still manages to convey a character who is at once, terrified, an object of pity, suspicion and yet still very obviously human.

The film is filmed in a gritty down to earth, suburban grey and rain soaked style. Like the "Killing" TV series or "Seven", without the horror element. These are real people, in ordinary locations and everyday clothes. The abnormality of the crime screaming from behind white picket fences.

There is much portentous music and on occasion we are being told what to feel but overall, this is classy, intelligent work. Guessing who did what, when and why is what these movies are all about and this does not disappoint.

Some have drawn parallels with the War on Terror, this reviewer did not draw that conclusion, although it could be easily found. On this occasion, maybe a "cigar is just a cigar", what you see is what you get.

By necessity the film is adult in content, however the violence is not gratuitous and whilst certain undercurrents exist, there is nothing obvious to make viewing uncomfortable. The ending deserves a mention, knowing when to fade to black is an art. Canadian director Denis Villeneuve in his largest project to date, has chosen well.

Summary

Anchored with strong performances, an excellent thriller with a solid human drama centre.

A long film at 153 minutes but they disappear quickly, with the audience desperate to know what happens next.

Recommended

Thor: The Dark World (2013)

A different, better and more confident film than the original

[8/10 · 24 April 2014]

Fresh from his "New York" gig (The Avengers), we have the second solo instalment for the man god with the Hammer, "Thor" (Chris Hemsworth).

Back on his home world Asgar, his brother "Loki" (Tom Hiddleston) is languishing in a cool "Apple style" prison, whilst Thor and his merry band mop up the last few elements of unruliness. This will ensure the nine realms live happily ever after, under the benign rule of "Odin" (Anthony Hopkins) and his much loved wife Frigga (Rene Russo).

Meanwhile in an ancient flashback we get acquainted with Aether, a very dark power the Dark Elve warriors "Kursed", led by Malekith (Christopher Eccleston) are keen to get their hands on. They are frustrated in this endeavour by the armies of Asgard, led by "Bor", Odin's father from many thousands of years ago.

Back on Earth, Astrophysicist "Jane" (Natalie Portman) is led by her intern "Darcy" (Kat Dennings), equipped with her own PA, to an abandoned warehouse where objects appear to act oddly, disappearing to another dimension when dropped from a staircase.

Separating from the group, Jane is suddenly teleported to another realm as you do and becomes possessed by the ancient super weapon Aether, an easy mistake to make whilst out taking a stroll.

Concerned for Jane's safety, after being alerted to her plight by Fandral (Idris Elba), Thor brings Jane to Asgard. It is obvious her presence in Asgard is dangerous, as it lures the Kursed like a moth to the light, or darkness to the Aether. Following events, Thor is obliged to trust Loki and Fandral to find a way to leave Asgard against his fathers wishes, leading to an attempt to trick Melkith and destroy the Aether.

Can Loki be trusted, is the fate of the world's safe, will the foretold alignment of all nine realms lead to a cataclysmic event, all good comic book questions to answer.

The film is an obvious upgrade from the original film with a budget to match, Hemsworth and Hiddleston play their parts with consummate ease and obvious glee. Hemsworth retaining his almost Shakespearean style of delivery, which remains a source of amusement to the audience but is largely accepted by the earth bound characters. Both lead actors star wattage is much higher than before and clearly are enjoying every scene and one-liner. It is now difficult to imagine either part being played by other actors.

As before, the film seemingly represents a hybrid of earlier movies, stealing like a hyperactive magpie from new Star Wars and Lord of the Rings. Occasionally the slim story and movie Macguffin (Aether) is exposed and the film skirts close to Game of Thrones (GOT) without the sex and gore. All huge throne rooms, fabulous cities and dark portentous events hanging over proceedings. Director Alan Taylor, previously directed 6 GOT episodes which may explain the similarities.

However, if you treat the film as pure entertainment, as you should, there is much fun to be had. Buoyed by the lead actors having a blast and not taking themselves too seriously. However Hopkins looks somewhat uncomfortable, perhaps not getting the "do not take this too seriously memo" and Rene Russo gets little to do. However gate keeper Elba, obviously a much bigger star than before, gets his role beefed up accordingly.

Back on earth, Stellan Skarsgard as a scientist helping Jane, gets ready for his "Nymphomaniac" Lars Von Triers directed role, by spending much of the time in a state of undress or in an institution, presumably the pay was good. Portman, understandably performing heroine in distress duties most of the time still manages to be attractive, strong and vulnerable as required. We also get a brief cameo from Chris O'Dowd as Jane's prospective boyfriend post Thor, good luck with that endeavour.

There is plenty of humour to puncture the preposterousness of a man/god with a big hammer smashing stuff up, which is almost a pre-requisite in our post-modern, self referential movie world.

Watch out for two post credit sequences, a neat cameo and of course Stan Lee, all now well established Marvel studio trademarks.

Summary

A different, better and more confident film than the original and continues to expand the Thor universe in an interesting way.

Hemsworth and Hiddleston are on fine form, if you like comic book superhero films with state of the art effects and enjoyable characters, this will do very nicely.

The Grand Budapest Hotel (2014)

Overall a whole lot of fun

[8/10 · 18 April 2014]

Director Wes Anderson makes films on his terms, it is unlikely he gets many "notes" from the studio making suggestions and changes. If they were watching closely, they would probably just shut production down.

How Anderson manages to get these projects financially across the line and with the "A-List" talent on-board is not our concern. The films exist and it is up to the audience to decide if this is a good or bad thing.

Anderson's films are an acquired taste and "The Grand Budapest Hotel" is no exception.

We enter a highly stylized world where the story, loosely inspired by Stefan Zweig is largely told in flashback.

We first meet the "Older writer" (Tom Wilkinson) who has written the book on "The Grand Budapest Hotel", he recounts his recollections in-between distractions provided by his grandson.

We then move to Young(er) Writer (Jude Law) and Mr Moustafa (F Murray Abraham) quietly eating lunch in the now severely down at heel 1960's set hotel, as the 1932 story then unfolds in extended flashbacks. Resembling Russian Babushka dolls in complexity, it feels easier to watch than explain in a review.

The Grand Budapest hotel exists in a fictional European country, the hotel is luxurious and the clientèle are beautiful, wealthy and if female, usually regularly serviced, in every sense of the word by the fastidious concierge "Gustave H" (Ralph Fiennes). Most notably Madame D (Tilda Swinton) who simply cannot live without Gustave and senses impending doom.

The hotel is run at the whim and command of Gustave, who also has an easy way with providing favours and receiving them in return. The new "Lobby Boy" aka "Zero" (Tony Revolori) requires training and this provides an opportunity for the audience to experience Gustave's quirks, mannerisms and mode d'emploi.

Over time and under his close supervision, the "Lobby Boy" becomes an integral part of the hotel service team, at once visible when required and invisible when not. The world is good until bad news is received and Gustave and Zero are required to take a train ride to attend a will reading led by the executor "Deputy Kovacs" (Jeff Goldblum).

Gustave has known that war is likely in the region and the pair are stopped by Inspector Henckels (Edward Norton) part of the "ZZ" security forces. These troops allude to a Nazi like oppression but this frames the story rather than becomes an integral part. On this occasion Gustave's connections allows them safe passage but we will meet this inspector again later.

Once the will is read, this provides the movies "Macguffin" to allow the rather bizarre plot to unfold as a rare and very valuable "Boy with Apple" renaissance painting, is acquired, hidden, lost, searched for etc.

The story involves prison lags (Harvey Keitel), evil henchmen (Willem Dafoe), a frustrated son Dmitri (Adrien Brody), the Society of Crossed Keys (Bill Murray) and Gustaves replacements (Owen Wilson and Jason Schwatzman). Gustave spouts poetry at every turn, usually (thankfully) interrupted, as his choice of time and place leaves something to be desired.

We also get time, just, to squeeze in a romance between "Zero" and local artisan patisserie baker (Saoirise Ronan), someone who becomes integral to the plot as it progresses.

The film is highly stylized in the usual Anderson manner, real yet unreal and with characters acting with poker faces throughout, however crazy and comedic the situations. Digging colossal tunnels with tiny spoons and hammers, with no attempt at realism. With the usual mixture of detailed sets, deliberately shoddy effects on occasion (hand drawn cable cars) and occasional macabre details this is known territory for fans of the directors movies. There is also a fair dollop of "F" Bomb's, occasionally in unexpected places. Whether the occasional violent dip and language adds to the film is debatable.

Fienne's excels in his role "Take your hands off my Lobby Boy" is a T-Shirt slogan waiting to happen. All the cast acquit themselves well, some in almost cameos yet clearly keen to work for Anderson for salary scale (otherwise the film would not get made). Wilkinson, F Murray Abraham add gravitas, Defoe is as usual bonkers and the young lovers add a sweet centre to the story.

Overall a whole lot of fun, at turns inventive, well acted, daft, touching and just plain silly, so a perfect Wes Anderson movie then.

Summary

Think "Amelie" or Anderson's own "Moonrise Kingdon" but without any happy endings and with darker situations.

The film may represent a Marmite movie event, you will love it or hate it. For those that stick around and enjoy this form of intellectual silliness, there is much to enjoy here.

The Wolverine (2013)

Not a bad film but not a great one either

[6/10 · 18 April 2014]

As the comic book cinematic universes continue to expand it is difficult to keep up. Whether a film is a sequel, prequel, reboot, parallel story or a hybrid of what has come before, is almost mind boggling.

As the most successful character of the X-Men series, it always made financial sense for the man with the steel claws as "Logan" or "Wolverine" (Hugh Jackman), to keep coming back for more.

This time we are transported back to just before the atomic bomb is dropped in Nagasaki 1945. Japanese officer "Yashida" (Ken Yamamura) instead of committing ritual suicide (Sepukku) along with his colleagues, opens all of the American prisoners cell doors, giving them a doomed opportunity to escape.

Deciding he is worth saving, Logan persuades his captor to dive into a pit and then shields him from the conflagration, using his indestructible body.

Fast forward to the present day and we find a troubled Logan waking post nightmare in bed with "Jean Grey" (Famke Janssen), all is not what it seems and suddenly we find the bedraggled Logan in the Yukon. With echoes of "Jean Valjean" from "Les Miz" still haunting Jackman in this mode of dress, you will be pleased to hear singing is not on the menu.

Logan is an angry man and soon finds an opportunity for a bar room fight, when local hunters treat their prey with no respect. Before he can do his thing, he meets "Yukio" (Rila Fukushima) a young red headed Japanese woman brandishing a Samuari sword known as the "Seperator" for obvious reasons.

Before you can say, neatly choreographed fight scene in local ale house, we are whisked off to Japan. The man he saved many years ago, "Yashida" wants to say goodbye. Of course there is an ulterior motive involving robbing Wolverine of his regenerative powers to save the older man thus allowing Logan to finally become mortal.

The plot thickens when the beautiful daughter "Mariko" (Tao Okamoto) appears on the scene and clearly needs Logans help, all is not well in the state of Denmark, or in this case, Tokyo.

The film attempts to broaden and deepen the role but does overall feel like a nod to current movie demographics, setting itself in Asia. The story as it unfolds, is unnecessarily complicated and towards the conclusion, teeters dangerously towards "Transformers" type territory with unintentional comedic moments.

The CGI especially towards the denouement is a bit ropey and what with Yakuza, lots of disposable henchmen dressed in black and sets that look, just like sets, the strive for realism takes a hit.

Jackman is as solid as ever, muscles popping and rippling like Mr Universe with Swiss army knives for hands. The supporting cast are just that, supporting and add little to the story or characterisations. At least this time we get Wolverine centre stage throughout the film with only minimal extra mutants popping up.

The prologue is perhaps the most interesting segment of the film but like X-Men before, some might question the use of this thematic element as a backdrop in a mainstream comic book film.

Summary

Not a bad film but not a great one either. Wolverine is still searching for that one good solo film he surely deserves.

Solid entertainment but overall aiming high yet falling somewhat short of director James Mangold's Japanese based vision for Wolverine.

Philomena (2013)

Ultimately going some way to restoring our faith in the human condition

[9/10 · 17 April 2014]

"Philomena" (Judi Dench) is an older lady, naive in some ways yet aware of the ways of the world in others. Searching for her son taken from her decades before, she eventually teams up with world weary cynical journalist Martin Sixsmith (Steve Coogan).

Sixsmith is at a loose end after becoming involved in the wrong end of a scandal, becoming something of a scapegoat and pariah at the same time. His attitude to everything and everyone, arguably hastening his professional demise.

Philomena was foolish enough to "succumb to the ways of the flesh" as a young girl, leaving her "with child". This was a time when possible accommodation was kindly provided by the Catholic church staffed by caring nuns, irony very much intended.

In return for this generosity the girls, now shunned by all good society, would be put to work seven days a week on laundry duties without pay whilst living in basic dormitories under almost penal conditions. When the babies arrived, maternity care was basic and suffering undiminished using drugs, the pain merely a reflection of the earlier sin committed. If baby or mother died then this would be gods will, both then buried unceremoniously within the institutions grounds.

As if this was not sufficient suffering, the offspring were on occasion sold to rich Americans, without the mothers consent or knowledge. The institutions were known as Magdalene Laundries (or asylums) and existing in Ireland unbelievably until 1996, catering for the loosely defined "fallen women".

The institutions originally formed to help Prostitutes find alternative work, over the years became an easy referral for any girl deemed to have acted inappropriately, including rape. At which point effectively she would disappear, on occasion for decades. Destined to be treated almost as a prisoner, invariably subjected to both physical, mental and sexual abuse, all the while under the auspices of the Catholic Church. This regretfully is fact and well documented, indeed recently formally apologised for by the Irish government in 2013.

Back to the story, Philomena is searching for her lost son detailed in "aged movie stock" recollections within the film. Sixsmith becomes involved and following information received, widens their search to America. As the Nun's attest, if only those helpful documents providing further information had not been destroyed in "the fire".

Sixsmith and Philomena are complete opposites and the delight is witnessing their road trip and differing attitudes to people and situations. Both in a way suited to the modern world, yet so different. One assuming a basic good in people and the other, not so much.

Whether they find her son is largely not the focus of the story and despite the above commentary the story is not designed as a searing indictment of the system. Watch Peter Mullan's "The Magdalene Sisters" for that. This however plays as a drama with many touching and comedic moments to enjoy.

Dench of course is as good as ever, likely to garner an Oscar nomination at least. Coogan continues to surprise with a nuanced performance which unequivocally shows he really can act. This is most definitely not Alan Partridge in a suit.

Stephen Frears direction is direct and sympathetic, neither skirting over facts nor bluntly hammering them home. The direction benefits from a skillful screenplay from Coogan, adding yet another talent to his growing resume.

There is much to enjoy here and the film is more uplifting than downbeat. The story looks for and discovers rays of sunshine in this dark tale and whatever the outcome, leaves audiences with not only something to think about but a sense that maybe real goodness can conquer all. Beliefs and how decisions reverberate through the decades, forgiveness and hate, all wrapped within a palatable story that most can relate to.

Of course, if you are of Irish descent and have a Catholic upbringing then your view may differ and the hill may just be too hard to climb up or down. As Philomena says "I have tied myself up in knots deciding which is the bigger sin, having a baby or lying about the fact".

Summary

Like Philomena, this is a film that manages to find the goodness in dark places and will leave you outraged yet smiling and uplifted within the short running time.

A highly recommended drama, intertwined with a mismatched road buddy movie that generates comedy from believable interactions, ultimately going some way to restoring our faith in the human condition.

Elysium (I) (2013)

A disappointing film from a director many had high hopes for

[6/10 · 17 April 2014]

In 2154 Earth has all been used up, resources are scarce and those people that remain, scratch out a hard-scrabble existence in a apocalyptic type world. All the while they gaze enviously at "Elysium", the utopia built in space above their heads.

Eylsium is the flip-side of Earth, everything is plentiful, order reigns and the rich get to live out their fantasies. They also have access to medical treatment, able to cure any illness after a quick scan in a tanning bed type device.

Back on Earth, "Max" (Matt Damon) is a low level assembly line worker, tasked with helping to create robot policemen or peace keepers. Following an industrial accident, his options shrink further and his long standing desire to move to Elysium becomes a necessity. How he achieves this and the help he receives, is the subject of the story line. Ultimately he becomes an enhanced warrior, "Robocop" lite without the police badge.

As can be imagined, the queue of people wanting to escape to this rotating dream in the sky, is long and varied. Meanwhile Elysium's ambitious Defence secretary "Delacourt" (Jodie Foster) main task is to try to ensure that dream is not shattered by untidy, dirty immigrants destroying the idyllic setting. Instead of "boat people" think "shuttle people". Delacourt is zealous in this task, taking steps outside of her remit, angering the more liberal president President Patel (Faran Tahir).

Of course no story like this would be complete without a greedy corporate arms conglomerate. On this occasion run by John Carlyle (William Fitchner) in his Bugatti Veyron badged shuttle craft. Carlyle worries more about contracts and performance targets than employees getting irradiated, after all there are plenty more to replace Max in this much sought after position.

Added to the mix is a rather bizarre bounty hunter "Kruger" (Sharlto Copley) who completes the "wet work" that is occasionally required when the Elysium President is too squeamish to deal with issues. Complete with his default South African accent, Copley cuts a swath and delights in gruesome deaths as he completes Delacourt's bidding.

Director Neill Blomkamp, famous for his relatively low budget but innovative and impressive "District 9", has a much starrier cast and a bigger budget to play with this time round. His earlier breakout film had obvious parallels with apartheid, this film tackles even larger themes, rich and poor and entitlement to health care.

Where District 9 had humour and a clear sense of right and wrong, this story is more confused. Effectively attempting to explore the complex area of immigration via a big budget sc-fi film is a risk and on this occasion, one he has not pulled off.

The plot is simple yet manages to be confusing, the motivations of the characters, especially Copleys "Kruger" is difficult to understand. His character takes centre stage and turns the action into yet another "mano et mano" slugfest, something this story was never about.

Damon is as effective as ever but he appears exposed in his exoskeleteon on occasion. With Foster getting little screen time, we are left with a poor mish mash of ideas, which do not come together in a cohesive whole. Unfortunately, blame must lie with Director and writer Blomkamp and represents an opportunity missed. Lets hope he is more on track with his next venture, "Chappie".

The effects are good without being state of the art but the story continually gets in the way. If the director wished to explore these themes, a much more thoughtful less action packed film would have proved more suitable. The film is also quite gratuitously violent, whereas in District 9 this was played for laughs, here much of the gore appears sadistic and unnecessary.

Summary

A disappointing film from a director many had high hopes for, following his excellent calling card "District 9".

Certainly watchable and on occasion interesting but more for what the film might have been,rather than what is actually on the screen.

American Hustle (2013)

A good film, although difficult to categorise

[8/10 · 12 April 2014]

The film starts with someone's hair, so very carefully styled yet built on delicate foundations. A metaphor perhaps for a character that is balanced if all is where it should be, not so much if something falls out of place.

Irving Rosenfled (Christian Bale) is a small time conman in 1978, when he meets Sydney Prosse (Amy Adams), with her cut glass English accent and "high society" connections, he instinctively knows they can be of use to each other.

Irving is married to Rosalyn (Jennifer Lawrence) who represents everything Sydney is not. Rosalyn is not the sharpest knife in the drawer but has a habit of stumbling on philosophical nuggets purely by chance. The couple have a young adopted child that binds Irving to the massively dysfunctional family, whilst indulging his obvious attraction to Sydney without too much pause for guilt.

The pair commence a lucrative scam whereby they promise loans using Sydney's connections on receipt of a fee, the loans are not be real but the fee is and remains in their pocket.

All is good, despite the mixed up relationship situation, until the pair sting the wrong guy. Enter FBI low level agent Richie DiMaso (Bradley Cooper), who uses the leverage he now possesses to trawl for a bigger fish, a much larger and more dangerous catch.

Carmine Polito (Jeremy Renner) is the basically good New Jersey mayor who falls within the web spun rather naively by DiMarco. This is a time when bribes, favours and the like was the way of doing things. To get the wheels of development turning, a little "grease" is often required. Carmine knows this and works the system not so much for his own advantage but for the community as a whole. As the web expands and catches bigger well connected targets, the scams involving a "sheik" start to snowball dangerously out of control.

Jennifer Lawrence yet again proves her ability to play characters that confound audience expectations. Shining particularly brightly when miming "Live and Let Die" whilst cleaning the house in her yellow kitchen gloves. Bale is almost unrecognisable in both physical appearance and behaviour, his billionaire superhero left determinedly in the bat cave. Bradley Cooper adds another solid turn to his growing resume, at turns all knowing and yet wading ever deeper into a whirlpool he cannot possibly control.

Adams is solid, both smart, tough and vulnerable and initially accepting her role in this Shakespearean tragedy, before taking action to get what she wants. Renner as Carmine is especially good as the one decent man in the piece, albeit the one person unknowingly taking the biggest risk. The film builds to a crescendo where you really cannot fathom how the story will be tied into anything resembling a conclusion.

The fact that there is some satisfaction when the lights go up, is a testament to the writing, an ending that could so easily have gone another way, if the usual movie screenplay writers had their way.

Summary

A good film, although difficult to categorise, a comedy, a character study or a tragedy is difficult to say, between these three stools the films falls, not always completely successfully.

Certainly director David O. Russell does not make it easy for the audience, some of who may get frustrated at attempting to decide what exactly they are watching.

Despicable Me 2 (2013)

Great family fun

[7/10 · 11 April 2014]

Just like the space dolls on "Toy Story", in the Despicable Me films, the supposed supporting players, "Minions", are now running the asylum.

Gru (Voice - Steve Carrell) is now officially retired from devising dastardly plots to steal the moon and so forth. He now lives peacefully at home looking after his cute as a button animated kids Margo, Edith and Agnes, life is good and world domination now seems but a distant dream.

Enter stage left Lucy Wilde (Voice - Kirsten Wiig) from the AVL (Anti Villain League) tasked with finding out what occurred in the Arctic Circle where a Mutagen PX-41 was stolen using a giant magnet, as you do.

Re-activating a villain to catch a villain is an old trick but Gru is not that interested, he enjoys his life as a devoted father, the kids, the minions, all is good.

Meanwhile Dr Nefario (Voice - Russell Brand), Gru's devoted crazy boffin type, decides to leave Gru's employment, he "missed being evil" and leaves in quite spectacular style, as long as you have time to wait.

Eventually Gru bows to the inevitable and partners with the under cover Wilde, in a shopping mall Bakery "Bake my day", enabling them to stake out a possible uber villain, El Macho (Voice - Benjamin Bratt).

As you can imagine the plot descends into chaos from here and nothing runs smoothly. To detail the plot would be an exercise in pointless surrealism, so safe to say this is used as a framework on which to hang some great visual and voice gags whilst providing a convenient stage for the star of the show, the Minions.

Poor old Gru, upstaged in his own film by the very characters that should be his underlings, never mind, the audience gets the benefit.

From vacuuming French maid minions, to YMCA outfitted groups, followed by an almost surreal song, sung in a made up language "frenchstyle", it is obvious the writers were given free rein with their favourite characters. At times it feels like the writers and animators were fuelled by more than diet coke but overall this works a treat.

There are real laughs and you may never be able to say the word "banana" or "bottom" without thinking of a yellow minion in the future. This is inspired, daft fun.

There is a downside in that the story, however silly, does get to play second fiddle to the Minions ever increasing screen-time and arguably the film does lose it's heart somewhat. This will be of no concern to the ankle-biters but apart from good laughs, this misses the under the cover adult depth, so beloved of Pixar movies.

With world wide box office of $918m, second only to Iron Man 3 in 2013, expect to see more despicable behaviour on the big screen sometime soon.

Summary

Great family fun, pushing the minions to centre stage provides great laughs, occasionally to the detriment of the movie as a whole but most will not care. When the supporting cast are this cute, funny and adorable, redundant super-villains are the least of our worries

The Lego Movie (2014)

A no brainer must see

[9/10 · 11 April 2014]

If you search on YouTube for Death Star, Eddie Izzard and Lego, as you do. You will find a Izzard voiced skit that some smart Alec has painstakingly animated frame by frame using Lego toys. The words are funny already but combined with the visuals, this is a match made in heaven.

If someone can pull this off in their bedroom, imagine what you could do with full brand licensing in your pocket, A-List acting talent, millions of studio dollars and ability to rummage in the back catalogue of popular super hero and sci-fi pop culture.

Of course placing all these elements together could still foreshadow a disaster. No matter you have Morgan Freeman voicing a Gandalf style self aware wizard and a post Christopher Nolan styled Lego Batman, this is still animated Lego with a lick of CGI wizardry.

Fox studios need not have worried, the film has been a massive hit not only for the younger audience but the film has that most elusive element, crossover appeal, guaranteed to generate big box office returns.

Following a prelude with "Vitruvius" (Morgan Freeman - Voice), attempting to protect a super weapon "Kragle" from Lord Business (Will Ferrell - Voice), we are introduced to Emmett Joe Brickowski (Will Arnett - Voice). Emmett is an ordinary construction worker with no special skills, he gets on OK with his crew but remains largely anonymous.

Following the completion of a "most catchy tune ever" montage, our nascent hero spots his dream girl "Wildstyle"(Elizabeth Banks - Voice), apparently even Lego figure have desires to attend to. Literally falling for the girl, Emmett finds "the piece of resistance" leading to his anointment as a "Master Builder" and brings him to the attention of "Good/Bad Cop" (Liam Neeson - Voice) the trusty lieutenant of "Lord Business".

Can Emmett save the world, is the plot an excuse to have huge amounts of self aware fun with many action set pieces and great throwaway jokes, certainly we answer affirmative to the latter.

Clealy the film makers have been given carte blanche to utilise many sacred brand names, Batman, Wonder-woman, Star Wars, Green Lantern to name just a few and they make the most of the opportunity.

As Batman states in in his post ironic Christian Bale style drawl "I only build in Black and sometimes, very, very dark grey" This works on many levels, the kids will love the action, the bright colours and the ability to re-enact the movie post credit scrawl, once parents have been bankrupted buying all the toys.

To be fair, it would have been easy for the filmmakers just to make a movie length Lego promo with blatant product tie-ins but the film has been constructed with care, love, a lot of thought and attention to detail. The end is certainly not where you expect to find yourself when the film starts and again is a risk that pays huge dividends, revealing the film has a beating sentimental heart.

Difficult to criticise as there is not much to dislike, the whole energy of the film is quite infectious occasionally the spell is broken and you realise you are watching animated Lego, but as someone once said, everything looks better in Lego Hugely enjoyable caper movie made entirely of Lego with clever use of words, cameos and situations, both breaking out of the confines of the genre yet satisfying those who just want a fun film for the kids to watch.

Summary

A no brainer must see and with a sequel already in the works, one could say without doubt that "everything is awesome"

Mud (2012)

Like an updated Tom Sawyer novel about nothing and everything

[8/10 · 11 April 2014]

14 year old Ellis (Tye Sheridan) lives with his mum Mary Lee (Sarah Paulsen) and father "Senior" (Ray Mckinnon) by the River in Arkansas. Their ramshackle boat house providing easy access to scratch a living selling fish from the mighty Mississippi.

Ellis is free to roam the bye waters in his boat with his friend "Neckbone" (Jacob Lofland) who lives with his uncle Galen (Michael Shannon). Galen keeps himself in beer by diving for oysters in the murky depths, when not loving the ladies to his favourite tunes or playing the guitar.

This is a tough, real life day to day type of existence, well away from the American lives you normally see on the big screen. It is a change to see people that are struggling, yet largely content and portrayed as loving their kids, caring about them as best they can and not turning to violence at a moments notice.

Stumbling across a boat stuck high up in the trees on a deserted island, the boys believe they have found their perfect hideout. After a while they realise they are not the first to find the boat. Notwithstanding all the possible avenues the story could take, horror or something sinister with the older man interacting with younger boys, the story takes none of the conventional routes.

Meeting "Mud" (McConaughey) we meet a perfectly formed complex character, conversing in the usual but even more pronounced southern drawl. Armed with a pistol and a strong independent survival instinct, he starts to rely or manipulate, dependant on your viewpoint, the boys to his main aim. Retaining or retrieving the love of his life "Juniper" (Reece Witherspoon), his sole reason for being is to ensure her safety away from the forces of evil, that he perceives continue to follow her.

To give too much away would spoil the film but fair to say, the story meanders and forks in the same way the Mississippi, ever present in the background, continues to do. The delicate friendships and loyalties that are built and called into question, are all beautifully and believably portrayed.

Tye Sheridan is strong yet vulnerable, experiencing the pitfalls of young love and the upheavals of his home-life require him to trust someone, whether he makes the right choices remain to be seen. McConaughey is well cast and acquits himself well, with a thoughtful layered performance that goes well beyond the stereotypes you might expect. There is a sense of loss through the movie but it is never clear what has been left behind, the ending in particular is sensitively handled. Witherspoon does not get much screen-time but makes the most of the scenes she has, portraying a character one step up from trailer trash. However she remains a constant contradiction of smarts and foolishness wrapped within a superficially simple yet complicated persona.

Matthew McConaughey has recently rescued himself from recent Rom Com hell with a string of good performances in films that actually matter, his recent collaboration with Scorsese in "Wolf of Wall Street" is a good example. It is good to see his career resurrection and start to get noticed again for his obvious acting ability. Director and writer Jeff Nichol has coaxed excellent performances especially from his young cast, whilst placing them in a believable world of which most audiences have no previous experience Complaints, the character played by Sam Shephard feels more like a plot convenience than reality and arguably Sheridan makes it hard for his co-star to shine when his performance is so strong and front and centre.

Summary

A hugely enjoyable film that perhaps defies comparisons and convention. With a story that has time to grow and confound, there are many pleasures to be had.

Like an updated Tom Sawyer novel about nothing and everything, this comes highly recommended.

About Time (I) (2013)

Not a Curtis classic perhaps but likely to improve your evening

[7/10 · 11 April 2014]

If you could rewind time and go back to correct your mistakes, making everything perfect next time around, would you? This is the basic conceit behind the latest British love story/comedy from "Love Actually" & "Notting Hill" director Richard Curtis. With that pedigree, most audiences will know what to expect, although the high end "nobody actually works" has been toned down somewhat.

At the age of 21 "Tim" (Domhnall Gleeson), rather socially inept and certainly challenged in the girlfriend stakes, learns he has an inheritance. Instead of losing his father (Bill Nighy) and gaining a crusty old painting, he gets to keep the old man and know the secret only the male line possess, the ability to time travel.

Following the usual stages of disbelief and hiding in wardrobes, he eventually lands at acceptance. Rather than money, he utilises this new tool for love, by trying to woo the girl of his dreams "Mary" (Rachel McAdams). The trick is used sparingly to start but over time becomes a regular feature of his life.

The film is peppered with the usual Curtis trademarks, good music, great cast, offbeat locations and a slight story but benefits from gentle performances from a quality cast.

There are touching moments, especially for those perhaps deeper into their own life arc and no film with Bill Nighy in the cast list can ever be totally dismissed.

Domnhall and McAdams do good work, initial misgivings about the chemistry between the leads, gives way to something wholly believable as the pair grow into the roles together. Lindsay Duncan as long suffering mother and Tom Hollander as "Harry" both get a nod for fulfilling support duties well.

The film is arguably longer than it needs to be, there is one later storyline that might easily have been excised to prevent the film overstaying it's welcome.

A perfect date night movie, with precious little to offend and should leave a smile on the face and maybe just a thought or two about seizing and enjoying every moment. Not deep stuff perhaps but arguably none the worse for a film aiming at pleasant and hitting the target.

Summary

Enjoyable, light, undemanding yet wholly enjoyable entertainment with a warm heart stitched firmly to the sleeve, perhaps eking a sneaky tear for those in the mood.

Not a Curtis classic perhaps but likely to improve your evening and if not, like "Tim" you can rewind and try again until your mood is just right.

Now You See Me (I) (2013)

Fun on a very superficial level

[6/10 · 11 April 2014]

Most people love illusionists and magicians, arguably making something of a comeback in the entertainment mainstream thanks in part to people like UK based Dynamo.

Director Louis Leterrier has crafted a thriller come caper movie that wants to be the "The Prestige" but set in modern times.

We meet the four performers, street card sharp J Daniel Atlas (Jesse Eisenberg), mentalist Merritt McKinney (Woody Harelson), not adverse to uncovering secrets and erasing them for a suitable fee. Jack Wilder (Dave Franco) robbing people blind whilst performing his magic tricks and finally Henley Reeves (Isla Fisher), an escapologist with a penchant for the macabre.

This eclectic band are pulled together as a group following the receipt of the mysterious Taro card requesting them to meet at a certain time and place. Unbeknown to this merry band, they are being played but by whom and why? We then jump forward in time and the group are performing sell out shows on a huge stage at Las Vegas as the "Four Horseman". The act is all about illusion and after showing their appreciation to their benefactor Arthur Tressler (Michael Caine), the grand finale showcases a multi million dollar fake bank heist. The group then distribute the "proceeds" to a highly receptive and appreciative audience.

Following the realisation this may not be an illusion but a bank robbery hiding in plain sight, the FBI are called in. Dylan Rhodes (Mark Ruffalo), who looks like he slept in his clothes, gets to meet his classic mismatch partner in the form of Interpol agent Alma Vargas (Melanie Laurent).

The couple then attempt to track and unscramble what is real and what is not. They are aided and not so much abetted, by another shadowy character Thaddeus Bradley (Morgan Freeman). An ex-magician for hire who now earns a crust unmasking magicians tricks by explaining how they are performed, which seems a real killjoy way of earning a living.

The set up is good and the cast list has great depth of experience to call upon. However, despite this fertile ground many opportunities are wasted. Freeman and Caine get very little to do, Ruffalo and Laurent have zero screen chemistry with the former giving every appearance of needing to phone his agent to ask why he is involved at all The four horseman actors acquit themselves well enough but the whole enterprise is let down by a very weak and implausible story which does not hang together or stand up to scrutiny. A bit like the art of illusion itself, distract the audience with lots of shiny glitter and movie stars and maybe they will not notice the plot makes no sense.

I suspect when all the reveals are complete many will ask, really was that it? The film did well at the box office so we may see another go round, lets hope the next time they pull the rabbit from the hat, it's clutching a better script.

Summary

Fun on a very superficial level but overall with so much talent available and an exciting premise, this is disappointing and could have been so much more.

As the tag-line says "The closer you think you are, the less you'll actually see", which is very apt for the film.

White House Down (2013)

Weak acting, plotting and bordering on unintentional comedy

[4/10 · 11 April 2014]

Just like buses, we have no films about the White House being attacked and then suddenly there are two being developed in parallel.

Unlike the earlier lesser budgeted "Olympus Down", this is the Roland Emmerich version, with money to burn, corn to pop and with no qualms in blowing stuff up real good.

Cale (Channing Tatum) is a ex-military type, now part of the security detail for the Speaker of the House (Richard Jenkins). Life is easy, despite separation from his partner, the somewhat strained relationship with his daughter Emily (Joey King) and the need to draw his pistol on a squirrel.

Like most teenagers Joey is sullen, sulks a lot and dislikes everyone, like forever. Unusually and rather improbably, she does like politics, especially Obama lookalike President Sawyer (Jamie Foxx). Dad will become a hero once more, if he can only score tour passes for the White House.

Cale manages to combine the trip with a quick interview with old flame/buddy Finnerty (Maggie Gyllenhaall), in a doomed attempt to move onto the Presidential security detail. Following what must be worst interview of the year, it is obvious that he should enjoy his time in the White House, he may not be back any time soon.

Meanwhile, bad guy's in overalls alert. Instead of improving the audio in the White House cinema room, the right-wing influenced baddies have some sub-woofer bass of their own to add. It's no spoiler but whenever anyone leaves for work and says, "I will be home late but you know that I love you", either they are devoted husband or a potential terrorist. Walker head of White House security (James Wood) proving this theory rather neatly here.

President Walker is negotiating nothing less than peace in the Middle East, so has plenty of time for getting the Marine 1 choppers to do the "thing", swooping low through down-town Washington DC on his way home, solely for his enjoyment.

Of course the road to Middle East peace is fraught with dangers, encountering terrorists in the Oval office being but one. Luckily when the chips are down Cale is there to help Sawyer save the world and the American way.

The film starts as a updated version of Die Hard in the White House, including white shirts, lift shafts and so forth, before descending half way through into almost parody. Instead of a thriller the film borders on outright comedy, whether this is intentional by all concerned is debatable.

Later with the presidential limo careering around the gardens, President brandishing a rocket launcher out the window, someone says "you don't see that everyday". No you do not, not in any half decent movie anyway. There are too many scenes in a short review to poke fun at but certainly the final sequence, bearing in mind all that has happened before, is so incredulous one must question the term "Writer" before James Vanderbilt's name in IMDb.

Tatum is OK in a square jawed, wooden type of way. Gyllenhall tries hard with a frankly implausible role and James Wood does his best but knows he is beaten. Jimmie Nelson as mad hacker Tyler just rehashes other screen-roles and achieves little. Central Bad guy duty falls to Jason Clark who does at least seem willing to make a half hearted attempt. However, Joey King is perhaps the only actor to come out with any credit, acting under duress she does evoke a sliver of emotion, something all other actors fail to generate.

We must however reserve some separate criticism for Foxx, with a role that must surely represent one of the worst of his career. Clearly not knowing whether to play the character straight or as a buffoon, settling for somewhere between. Not presidential in anyway and without a shred of real feeling in any scenes he attempts. Harrison Ford would have kicked his butt, straight off Air Force One. Arguably a good drinking game would be "who is not sworn in as President" by the end of the movie.

This is the worse kind of lazy movie making, throwing a huge budget at the screen with no thought on what you are attempting to achieve. Disappointing on every conceivable level, apart from maybe set creations, which are impressive. The film also attempts to tastelessly mix in contemporary world politics and the sacrifices made by those in the armed forces, with dubious results.

Poor box office barely covering production costs before marketing, proved that not even the causal movie goer was fooled. This may prove a low water mark for director Emmerich, those trusting him with millions of dollars for two Independence Day sequels (ID Forever I and II), obviously have nerves of steel.

Summary

If you really must watch a film about an attack on the White House, then Watch "Olympus Down" which at least is adequate.

Weak acting, plotting and bordering on unintentional comedy this fails to deliver. Unless you are a hardcore Tatum fan or studying movie making and require a lesson in "how not to make a big budget film", spend your movie watching dollar elsewhere.

Monsters University (2013)

Great fun for young and old alike

[8/10 · 11 April 2014]

Monsters Inc. was a huge hit for the newly created Pixar studio and here they dip into the back catalogue to provide a prequel, the film explains how Mike (Billy Crystal) and Sullivan (John Goodman) met.

The best buddies of the earlier film were not always the closest of friends, in fact at Monsters University they disliked each other. The University prepares young Monsters to move into their chosen profession, with the very best going on to be "Scarers".

The film is a rite of passage tale, mixing Monsters from the wrong side of tracks, lonely monsters, popular monsters all mashed together in the crucible of young life that University represents. Not so much what you learn, but what you experience.

The path to greatness is of course strewn with many pitfalls and obstacles to overcome. We get old friends and enemies appearing, which adds depth to the later film and characterisations. The background for Randy's (Buscemi) hatred for the pair is detailed, despite being Mike's original room-mate. We also get to meet a new central character, Dean Hardscrabble (Mirren), which must be the best character name of 2013.

Mike and Sullivan are not part of the "in" crowd, represented here by stereotypical "Jock", Johnny (Nathan Fillion) head of the "Roar Omega Roar" fraternity. After various incidents, one including livestock but not what you think, they are left with a challenge that could spell the end of their fledgling scarer careers. Especially tough on Sullivan who comes from a long line of distinguished scarers.

Creating a new fraternity "Oozma Kappa" to enable them to enter the University Scare games, the group is populated by a rag tag bunch of misfit monsters. The fraternity members, "Squishy" and his mum, Art, Don, Terri and Terry get some great lines, they are all initially a bit hopeless and probably represent a little bit of all of us. The challenge Mike has been set makes winning the games the only option for him and hopefully will provide the motivation slacker Sullivan needs.

As you would expect, the animation, characterisation and voice acting is first rate and as usual Mirren is a welcome addition to the cast, her voice and characterisation is hard to miss. The story unfolds in unexpected ways and unlike Despicable Me 2 released at a similar time, takes time to add depth and meaning to the chases, laughs and general silliness. The script also makes time for a moment or two of quiet reflection, not long but enough to add some meaning to the enterprise.

There are some hard knocks for the characters and life lessons hard won, which shows that Pixar has not taken the easy route on the screenplay, these are characters people care about and they are not short changed here.

Arguably, despite this being a notch above standard CGI fare, we do need to see something new from Pixar, this is another buddy movie, however well disguised and sources from older material. There is a slight danger that Pixar is turning into the very money machine it once so despised. Sure everyone expects there to be merchandising etc but we also expect to see inventiveness and the company taking risks with the material. The planned "Finding Nemo 2" however successful, is unlikely to break new ground.

Summary

Yet another solid entry into the Pixar canon of films, this lovingly creates the back-story for these much treasured characters. University is the perfect place to explore who you are and what you believe in and this translates well into the intelligently written script.

Great fun for young and old alike, all we need now from Pixar is some original stories and characters and all will be well with the world

The Hobbit: The Desolation of Smaug (2013)

Highly enjoyable thrilling romp through Middle Earth

[9/10 · 11 April 2014]

Peter Jackson continues his pursuit of bringing Middle Earth to the screen in as much detail as possible, with this the difficult middle film of the Hobbit trilogy.

The first Hobbit film received a solid if not spectacular critical reception, with some complaints about the long set up and just "too much singing". Box office of $1 billion plus, suggested critics had been too harsh.

This film has no need for lengthy exposition so we are straight into the action as the group continue their quest towards the Lonely mountain and a confrontation with a fire breathing talking dragon with a penchant for shiny treasure.

All the regular cast members are present and correct, the production values and costumes are as usual top notch. with special effects arguably the best in the world courtesy of Weta workshops, we are in safe hands here.

Having dispensed with big feasts and washing up malarkey, this time Bilbo (Freeman) gets to meet giant spiders, Elves, Lake dwellers, many, many Orc's and of course the titular Smaug guarding the treasure trove.

The dwarfs are again acted by well known faces, including Thorin (Richard Armitrage), Balin (Ken Stott) and Kilin (Aidan Turner) all made dwarf size through a combination of effects and simple perspective and camera tricks. Ian Mckellen of course takes on the Gandalf role and Orlando Bloom gets to do his hero, swashbuckling thing, dispensing Orcs, like he has never been away. Which of course is odd, as he has not reached the point where the LOTR Fellowship is even a consideration.

It is well known that Tolkien stinted on female characters, so Jackson and writers Walsh and Boyle neatly side step this omission by creating a feisty female Elf Tauriel (Evangeline Lilley), who is more than a match for Legolas. We even get a glimpse of romance and sexual tension with a possible, elf, dwarf love triangle in the offing.

Martin Freeman again anchors the enterprise with a comic yet human performance, it is difficult to imagine anyone playing this better. There are numerous action sequences including a thrilling barrel ride down a cascading river chased by despicable Orc's, with South Island NZ doubling beautifully for Middle Earth yet again.

Following the assistance of smuggler Girion (Luke Evans) we also get Stephen Fry as the leader of Lake town which seems an odd choice and arguably this sequence is weaker for this addition.

Overall a real return to form for director Jackson and the team, which places the series on firm ground for the final film. This is a rollicking adventure with thrills, spills, action, adventure and elements of humour whenever the going gets tough.

True, there are still many references to doom-laden scenarios that may mean little to non-Tolkien aficionado's but no matter, on whatever level you wish to approach the material, this is a resounding success.

Summary

Highly enjoyable thrilling romp through Middle Earth in company of the characters we have come to care about. This strips back some of the unnecessary fripperies and delivers on the original promise.

Highly recommended

Note** After watching both Hobbit 1 & 2 in 3D this will be the last time in that format. For this reviewer live action in 3D especially HFR, appears to expose the falseness of scenes. In future we will stay with 2D unless the whole film is CGI, where the true 3D benefits can be seen (i.e. Toy Story 3) - IMHO

Pacific Rim (2013)

WWF smack down with Sea Monsters and Robots

[6/10 · 5 December 2013]

Director Guillermo Del Toro is a big fan of robots or more correctly Jaegers, colossal metal beings controlled by two pilots within the machine itself, locked in a "neural bridge".

The Jaeger program was created in response to the arrival of Kaiju, gigantic sea monsters popping out of fissures in the ocean at regular intervals. Kaiju are bad, very bad, Godzilla on super steroids with added attitude, they will ruin everyone's day unless they can be stopped.

Earth is not doing so well, Kaiju are winning more often than not and the Jaeger program is losing favour and political backing, with crews being killed and robots destroyed.

Humanity decides that building walls to keep the invaders out is better option, which seems odd bearing in mind the ease with which walls seem to get breached.

No matter, we get to meet Raleigh Beckett (Charlie Haufman), a washed up ex-pilot who lost his older brother in battle, despite their celebrity status during the good old days, when the war was going humanity's way.

Of course, following the requisite "Earth needs you" speech from the commanding officer (Idris Elba), we are back in business. This time with rookie pilot Mako Mori (Kikuchi), whose only qualification appears to be appealing to particular demographic and loyal Asian fan base. Local dialogue, with English subtitles indicates the contribution overseas box office now represents. We also have a nod to China, Russia and Australia to cover all the bases, no pun intended.

Various obstacles are thrown in the new teams path, before they are allowed to go into battle and there are very few surprises worked into the formulaic screenplay. Throw in a couple of scientists attempting to mind meld with the Kaiju and a barely bothering to act Ron Perlman as a bizarre collector of Kaiju parts and you realise the train marked reality left some time ago.

So with only Elba troubling the "A-List" star wattage meter and with a story cobbled together from a thousand fevered Manga and Anime dreams, the special effects needed to be top notch.

Here the film does not disappoint, making "Transformers" look like the toys they really are and with a scale that is simply breathtaking. Building size robots dragging cargo ships to use as clubs to beat the oversized lizards into submission.

Subtle, the film is not.

Is it fun, to a point yes. If the subject matter interests you, then there is plenty of spectacle here and the CGI is state of the art. Dialogue is risible, apart from one line which is likely to bring more giggles than any patriotic response.

Add an extra star if you are under 30, have enjoyed alcohol and are watching with friends.

Summary

Provided you are looking for a movie where giant robots and sea monsters engage in WWF smackdown bouts, there is much to enjoy.

If you are looking for depth, story and believable human interaction, then move swiftly along.

Captain Phillips (2013)

Highly recommended thriller

[10/10 · 2 December 2013]

Pirates named "Blackbeard", big men with beards and cutlasses cutting a swath as they board galleons, stealing gold doubloons and anything else shiny to hand.

Long gone, consigned to the history books? Change the protagonist to a thin desperate Somalian man named "Muse", with a motley crew of young men in high speed skiffs, armed with AK-47's and a penchant for hostage treasure and we are bang up to date.

Instead of three masted treasure laden galleons, the rather more prosaic merchant cargo ship is the target, if the vessel is American flagged, all the better for the ransom demand.

Captain Richard Phillips (Tom Hanks) is an ordinary man, attempting to make ends meet at home and worrying how his kids will find their way in the world. His day job is commanding the American flagged MV Maersk Alabama. Effectively a delivery truck on the high sea's, moving goods from here to there.

In this case, that journey traverses arguably the most dangerous sea in the world, not weather related but with the inherent risk of boarding by pirates operating out of Somalia, "run" by lawless warlords.

Captain Phillips checks the ship, kicks the tyres and sets off, safe in the knowledge that the risks are low and the maritime emergency team is ready to protect and assist if required. The crew are less enthusiastic, he calmly reminds them they signed up for the trip, if they want out, he can sign papers when they arrive at Mombasa.

Captain Phillips is a decent man, looks after his crew, does not want trouble and tries to always act in a professional manner. Once Pirates are encountered he takes initial steps that may be enough to repel the boarders.

Once the later scenes unfold, "Muse" (Barkhad Abdi) proclaims "I'm the captain now". Using the moniker of "Irish" to describe the demoted captain, they search for the ships crew who have been well drilled for just such an eventuality.

The film plays out as a cat and mouse game with high stakes, with Phillips presented with situations he cannot rationalise in the usual way. He wants to help, negotiate and find a way that "Muse's" repeated mantra "everything will be OK", will actually come to pass.

When offered the safe contents of $30,000 the new captain declares, "Do I look like a beggar?" A decent man is out of his depth in such circumstances and Director Greengrass puts his leading man through the ringer, taking his nail bitten audience along for the ride. Both protagonists are completely believable, there is sympathy on both sides with a screenplay that does not pander to either predicament or attempt to preach in anyway.

Phillips is just doing his job, as are the pirates in their own way, each with their own bosses and performance expectations. Nobody is likely to win and real world sentiments are perfectly judged by both director and screenwriter.

As always, Hanks anchors the film with a superb every-man performance but is comfortably matched by the first time performer Abdi, who in physical appearance and acting ability, personifies who you might expect in such a situation.

The later scenes are intense, with closing situations that stretch naturalistic acting ability to the limit. There is nothing to dislike here if the subject matter interests you and it should, as here is a metaphor for the wider world and the harsh new realities we all face.

It is clear from early on, that "everything will really not be all OK"

Summary

Highly recommended thriller, based on the true story of the first American cargo ship taken by pirates in two hundred years.

Intense, completely believable and with pitch perfect performances from all involved. Coupled with an intelligent director and screenplay, this represents one of the best films of 2013.

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The Hunger Games: Catching Fire (2013)

If the final two films are as good as this, bring them on

[9/10 · 2 December 2013]

Katniss Everdeen (Jennifer Lawrence) is enjoying her freedom back in district 12. As much as one can enjoy living in a dystopian totalitarian state, faking your love for someone, whilst your real affection lies elsewhere.

Before you can shout "teen love triangle" alert, the film and the books on which they are sympathetically based, are intelligent and redolent with deeper meanings and subtexts.

Notwithstanding these heady ambitions, both books and films can be voraciously read and watched with ease, allowing adults both young and older, to consume the material on whatever level they choose.

Katniss and Peeta (Josh Hutcherson) have challenged the Capitol and won. President Snow (Donald Sutherland) cannot allow this embodiment of resistance to stand. Unless their undying love during the victory tour through the districts, is sufficient to continue to distract the huddled masses.

If not, an example must be made. The hope keeping the masses content must now be extinguished. What Everdeen as the Mockingjay represents, cannot be allowed to flourish, lest others believe resistance is possible.

Forced to continue their PR blitz just as the populace are seeking a resistance figurehead, this will only further seal their fate in the eyes of president Snow.

"Peacekeepers" move in to conduct a brutal repression of the populace, with heavy and hardly coincidental Nazi undertones. The game makers then under the guidance of new games-maker Plutarch Heavensbee (Phillip Seymour Hoffman) hatch a brilliant plan. This will not only satisfy the bored idle residents of the Capitol, demonstrate to districts that hope has been snuffed out and make an example of the girl on fire.

It will be no surprise to the audience that the games arena features in the story again but for those who have not read the books expecting a retread of the first film, will get more than they bargained for.

The film ends on a perfect set up for the final instalments, stopping at just the point you would expect, leaving audiences wanting more.

This film is darker, grittier and deals with even more disturbing themes than before, the film does not hold back, yet manages to portray the harsh realities just off screen.

Stanley Tucci reprises his role as the odious sleaze-ball "Caeser Flickerman", dripping with insincerity and filling the screen with dental work sufficient to power the city by itself. Donald Sutherland, enjoying every moment, making each quiet scene count as he realises his omnipotent power still remains insufficient, to quash the uprisings threatening the status quo.

Liam Hemsworth as "Gale", the real love interest, gets to be all square jawed, wooden and patient. Woody Harrelson as the haunted ex games winner "Haymitch", does drunk very well but also gets a few meaningful scenes this time out. Elizabeth Banks continues to bring the Quality Street bedecked bubble head "Effie Trinket", just this side of believable. Lenny Kravitz again belies his rock-star background, with another quiet performance, as dress designer "Cinna". Phillips Seymour Hoffman is curiously subdued and clearly skipped both wardrobe and the hairdressing trailer.

Hutcherson as Peeta is a definite acting upgrade from before and acquits himself reasonably well but will always struggle as indeed does everyone, against the acting juggernaut that is Oscar winning, Jennifer Lawrence. She runs, fights, shoots arrows, looks gorgeous, is a tom boy one minute, love interest the next and and yet manages to find suitable expressions to fit all of these perfectly. The closing scenes, in particular shows the easy range she possesses, conveying three distinct emotions with nothing more than her face and eyes in a quiet but portentous sequence.

Again the violence is handled sensitively, with pitch perfect tone and remains much less exploitative than the average CSI woman in peril storyline. Director Francis Lawrence (no relation) with his cinematographer Jo Willems, desaturates the scenes in the districts, heightening the colour in the capitol to emphasise the differences between them. The film is in good hands and all being well, will be directed by the same team for the closing films shot back to back.

One could write volumes on what the books mean, what messages they send and the warnings from history and for the future they signpost. However, one can enjoy the films for what they are, a rollicking good story, with action aplenty and with fine acting talent on board. Only slowed down for the occasional "lovey dovey" stuff, which will pay dividends later in the story.

The Hunger Games : Catching fire is well named, this where the franchise will transcend normal box office returns and sets up for the final book, split into two films. Expect massive returns, with the odds most definitely in the studios favour.

Incidentally, the Latin "Panem et circenses" translates to "Bread and circuses" to describe entertainment used to distract public attention from more important matters. With the government providing ample food and entertainment, the citizens would give up their political rights.

Summary A well made exciting thriller which is about so much more than youngsters attempting to murder each other to entertain the bored masses. If the final two films are as good as this, bring them on.

Highly recommended, go watch it http://julesmoviereviews.blogspot.co.nz/

World War Z (2013)

Everyone loves to hate Zombies...

[7/10 · 1 November 2013]

Zombies, everyone loves to hate them and Brad Pitt and director Marc Foster have moved them front and centre, from niche market into the Multiplex.

Instead of shuffling, small groups of the undead, this story imagines a Zombie pandemic with zombies running at breakneck speeds and swarming like ants around a jar of honey.

Commencing with arguably the most effective sequence, we meet every man Gerry (Pitt), playing eye spy with his wife Karin (Mireille Enos) and two young kids, in his safe suburban Volvo on the traffic blocked streets of Philadelphia.

After losing a car wing mirror, it quickly becomes evident that Gerry and family have a lot more to lose if they do not move quickly. Once bitten the victim becomes part of the horde within twelve seconds, not long for those you previously loved to get far enough away, as they become your next prey.

The early sequence where Gerry attempts to protect his and another family within an apartment block is very effective and ramps up the tension as they all struggle to survive. The depiction of the inevitable break down in law and order, rapidly moving into "every man for himself", is both highly believable and highlights the thin veneer of civility we all accept and rely upon in our daily life.

Of course Pitt is not just a normal Joe, in a previous life he moved through the hot spots of the world as a UN investigator and remains a key resource, worthy of saving to help the greater good, assuming of course he agrees to join the forces fighting back.

The film is not so much about killing zombies, although the largely bloodless body count is high, the story instead focusing upon finding a cure to prevent a further spread of the disease. This is made clear as Gerry is tasked with assisting a young top virologist Dr Fassbach (Gabel) as he is sent to what is estimated to be "ground zero" to investigate.

The film moves around the world, with a notable second act set in Jerusalem before reaching a climax in, rather bizarrely Cardiff, Wales UK. Rather than a welcome in the hill sides, just zombies, lots of zombies in white coats.

The film is loosely based upon the book from Max Brooks and the film production was beset by rumours of cost overruns, re-shoots and "creative differences". In the Internet age, these terms are liberally attached to most big productions and despite initial reservations, the film has been successful with an ending leaving room for more, if audiences desire a re-match.

The film deliberately shy's away from any outright gore, hard core horror fans should look elsewhere but this allows a much broader audience to enjoy a highly enjoyable thriller, that just happens to have Zombies as the main protagonist. There are "jump" scares a plenty but nothing your average 13 year old will not have seen before.

Pitt plays the family man called to action with ease, equally at home with an axe in his had for making kindling or neutralising zombies as the situation demands. Enos (from the "The Killing" fame) makes a sympathetic "stay at home mom, whilst husband is killing zombie hordes" but arguably does not get enough to do. However, a note to self to always be careful when calling your partner during a zombie pandemic, as timing can be crucial.

The effects and make up are state of the art, as you would expect on a production of this size. The final chapter works well but does appear to be spliced onto the action earlier, as if from a different film all together. This represents a much quieter and intimate man versus zombie, which could be due to the mentioned re-shoot, it does not harm the film but is a noticeable change of pace and setting.

Summary

Zombies lite, suitable for most family viewings with a good story, action sequences and effects.

Highly enjoyable thriller with mild horror sequences that confounded pre-release critics, who clearly forgot the power of Zombie films to get up and keep going, even after being left for dead by their early reviews.

Blue Jasmine (2013)

An excellent character piece from Woody Allen, not usually a recommendation as such

[9/10 · 26 October 2013]

Woody Allen makes movies on a regular basis, usually on a tight budget with a stellar cast and apart from his devoted followers, not troubling box office return ratings too much.

His latest certainly follows the usual template apart from the final criteria, with $50m and rising worldwide, this clearly is a movie that even non Woody fans can enjoy.

Kath Blanchett is "Jasmine", a wealthy New York socialite married to "Hal" (Alec Baldwin), a handy metaphor for everything wrong with financial titans making fortunes with other peoples money. The flip-side is losing their money when it all goes wrong and you get exposed as a common crook in a $3,000 suit.

"Jasmine" had it all, the apartment, foreign holidays, flash cars and jewellery and as obligatory, a husband running multiple affairs right under her nose. Whether knowingly or not "Jasmine" is in serious denial, not wanting to know where the money comes from, as long as it keeps flowing and turning a blind eye to Hal's affairs as long as he is vaguely discreet.

When this fragile materialistic world comes crashing to the floor, "Jasmine" retreats in every sense to her estranged sisters cluttered, thoroughly blue collar based apartment in San Francisco. "Ginger" (Sally Hawkins) is a much more practical girl, very much living a real life, supporting herself and children with a job at the supermarket.

Ginger is not lucky in love and attracts "the wrong sort" according to "Jasmine", someone not clearly well qualified to judge.

The film is really about a woman losing her mind incrementally, which justifies the closing scenes as perfectly plausible, explainable and answers perhaps the question of how someone arrives in that place.

Blanchett inhabits this role completely, you can believe her actions, reactions and motivations absolutely, seemingly not acting at all, she is simply superb and makes the film. Blanchett is helped by Sally Hawkins in a much lower key but equally important role, displaying her usual talent for playing down to earth characters you can root for.

Baldwin plays these parts as well anyone, just the right side of oily as he manages to finesse money out of those who can least afford it. Bobby Canavale makes a good job of making a stereotype seem lovable enough for the audience to understand why "Ginger" is prepared to accept him and her lot in life.

Notwithstanding the help from the cast, this is Blanchett's film, whether popping Xanax pills like candy to make it through the day or declaring "it's just what I do", when her first class air travel cost is questioned.

There are flaws, arguably the role Peter Sarsgaard (Dwight) is pitched to the far right of believable, does he really need to be that politically connected as well. The corner stone building block removed in the latter part of the film, is rather random and so comprehensive, that it does stretch plausibility somewhat.

Notwithstanding those minor issues, this is a story about a woman living in a real but unknowingly false world. Moving from Mt Olympus to where the "little people" live, requires an adjustment that is potentially just too far for her fragile mind to traverse. Someone that ultimately needs more help than is on offer and starts to fall through the cracks, that in the modern word become more evident and arguably wider by the day.

Summary An excellent character piece from Woody Allen, not usually a recommendation as such but in this case, well worth a viewing.

Gravity (2013)

Thoughtful, breathtaking, ground breaking and a thrilling adventure ride.

[9/10 · 8 October 2013]

Like "Avatar" this is a movie unlike anything you may have see before.

Following an extensive tracking shot in space, we meet Ryan Stone (Sandra Bullock). Dr Stone is a medical engineer completing repairs, on a mechanical arm attached to the space shuttle, in orbit hundreds of miles above the earth.

Jet packing around like a middle aged Buzz Lightyear is Matt Kowalski (George Clooney). Whilst defiantly attempting to break the space walk record, Matt still finds time to trash talk and listen to music whilst floating free above the earth.

We get to hear mission control and all is well until suddenly, not so much any more. Debris from a ricocheting satellite is heading the astronauts way and it's travelling fast.

Houston we most definitely have a problem, events then start to escalate fast with some spectacular destruction. If the debris does not get you on the first pass, it will be back after a ninety minute orbit, perfect movie suspense material.

We then follow the only two characters we really get to meet, as they struggle against adversity and an unforgiving environment as they attempt to survive.

After a while you realise you are witnessing two actors to all intents and purposes acting within a zero gravity setting, even though you know that cannot be true. Once you accept this as the reality you are presented with, it is easy to jump aboard the roller-coaster ride the film then becomes.

Despite being action packed and edge of the seat tense, all within a relatively short running time of 91 minutes, director Alfonso Cuaron finds time to innovate with some classic scenes. Dr Stone slowly rotating in a foetal position, tears floating away in zero gravity and globules of fire suspended in mid air, a few notable examples.

The director makes good use of sound or lack thereof and on occasion, includes vertigo inducing, claustrophobic sequences that may have you staring at the floor in relief, as characters spin out of control into the infinite void of space.

The story is simple but largely effective, how far would you go to survive when every natural element is attempting to kill you.

The effects are unlike anything you may have seen before, the acting from Bullock is first rate, she may never have been better. It is good to see her back on the big screen and in such trim form.

Negatives, Clooney does his usual shtick and is more casual than you might imagine the character would be. One also wonders why Stone is up there wielding a spanner in space, with the emotional baggage she is carrying.

Ultimately whatever the ending, this is a life affirming film and most defiantly not science fiction, with alien monsters notably absent.

How the film was achieved can be found elsewhere but within the acting constraints imposed, Cuaron has extracted an impressive performance from Bullock, who may yet trouble Oscar when the time comes around again.

One of the years best and likely to prove a big box office hit if the early reception is anything to go, this may also be the closest most audiences get to experiencing real space in their life time.

Summary

Thoughtful, breathtaking, ground breaking and a thrilling adventure ride.

Like it or hate it, you will not have seen anything like it before, this comes highly recommended especially on a big screen

Rush (I) (2013)

Excellent, go watch it

[9/10 · 8 October 2013]

Audiences love to watch two sports people at the top of their game battling out man to man, do or die on the sports field or track. If the two combatants have gone past friendly rivalry to mortal enemies or each representing the others nemesis, then so much the better for TV ratings.

Formula 1 (F1) in 1976, when do or die could be taken quite literally. Driver safety was a low priority, cars were raw, everyone was learning and there was still room for a hard drinking, eccentric, drug dabbling, womanising, playboy with talent to make his mark.

Enter stage left, James Hunt (Chris Hemsworth) with an upper class English accent, skill to burn and a complete distaste for playing by the rules, working hard and respecting any form of authority.

Contrast this larger than life character with Niki Lauda (Daniel Bruhl), an Austrian with an abrupt manner, almost no diplomatic skills and personifying everything Hunt was not.

The two rivals fight small time battles in Formula 3 before Lauda buys his way into the fledgling "March" team as the second driver. Promptly overseeing the rebuild of his car, Lauda's real skill lay in setting up the car to be faster and better before he even started the race.

Meanwhile Hunt eventually stumbles into F1 under the "Hesketh" team, all champagne and aristocratic privilege, completely at odds with the more corporate F1 scene.

The pair race and the trackside enmity starts to build as the drivers jockey for position on and off the track, they eventually move to their respective premier race teams of Ferrari (Lauda) and McLaren (Hunt). The two drivers acting as polar opposites in their approach to their chosen vocation, lifestyles and attitudes.

As most viewers with a passing interest in Motorsport will know, there is a serious accident followed by an astonishing recovery and then a climactic 1976 world champion clinching race in Japan.

Director Ron Howard is a highly professional film maker and it shows here, the film is as meticulously tooled as the cars on display. The period setting is excellent, the on track speed is arguably the most exciting race footage ever shown. The sound and sensation of raw power waiting to be unleashed, the use of close ups and engine components, all add to perception of speed and nerve tingling raw danger. Tyres shimmying and scrabbling for grip on the tarmac on the start grid, drivers desperate to win or die trying.

The film is helped by a solid turn from Hemsworth, clearly having a blast portraying someone doing just that, having the time of his life. Bruhl gets the more difficult role and nails a portrayal that could have been unsympathetic in the wrong hands. The actor managing to find and show the intrinsic humanity and professionalism that lay below a rough, uncompromising exterior.

Hunt died in 1993 aged only 45 of a heart attack, ending a colourful, eccentric and unconventional life. In retrospect a world away from the current professional, in bed early, hit the gym and then eat well sportsmen and women, who tend to dominate the professional sports world. Out of place then and probably unemployable if transplanted to 2013.

There is little to fault here, however the female characters do not get much to do. Olivia Wilde as James Hunt's "on a whim" first wife Suzy Miller, married apparently to settle him down. That's a fail right there. Miller is all big hats and tantrums, presumably not realising that marrying a womanizing, hard drinking F1 driver might have some ups and downs. Alexandra Maria Lara as Marlene Lauda, gets to look worried, long suffering and downcast but with not much else to work with.

Overall as good as it gets, taking great subject matter, adding some touching scenes, state of the art (but not seen) effects and teasing out some great performances, what more could you want.

Summary

Accessible, sexy, dangerous and with lashings of 1970's glamour, there is much to enjoy with solid acting and superb racing sequences anyone can enjoy.

Excellent, go watch it.

Warm Bodies (2013)

A love story wrapped up in a zombie flick, a perfect date movie perhaps

[7/10 · 25 September 2013]

Zombies, shuffling living dead with decomposing bodies and dead eyes, craving human brains to sustain them.

But what if you were a Zombie and were conflicted about it, going through the motions, the shuffling, mumbling and munching but maybe with a trace of humanity left, could you be saved? Turning the traditional Zombie flick on it's head, this has "R" (Nicholas Hoult) finding his inner human when confronted with a pretty vivacious victim, wanting to protect her rather than chow down on the usual grey matter.

Making a Zombie/Human love story has significant risks but largely the film pulls it off. This is mainly down to good casting with Hoult and Teresa Palmer as "Julie" making for a good couple, notwithstanding the obvious obstacles in the path of true love.

Following the usual zombie apocalypse, "R" lives in a deserted airliner complete with vinyl based music system, as it sounds purer, who knew that zombies had such audiophile good taste. When the surviving humans venture outside their protective wall for food and medical supplies, they are at risk. Capturing or saving "Julie", after a reasonably scary opening sequence, the film makes fun of the genre, as "R" teaches his new girlfriend how to mumble and shuffle. Less is more, is the approach in case you are ever faced with that situation.

The shocks are reasonably scary, the gore is largely off screen or implied, in keeping with the PG certificate, which overall is a good choice for this light and frothy tale.

Of course no zombie film can exist without the military turning up with assorted weaponry, this time complicated by the leader of the group "Grigio" (John Malkovich) being the father of "Julie". Understandably this father/daughter dynamic changes the story somewhat.

There is also a pecking order of zombies with "Bonies", which are provided by CGI, the lowest of the low and irredeemable. This provides a handy disposable enemy, should events turnaround later.

Julies friend "Nora" (Tipton) adds to the fun, when the pair decide to makeover "R" to make him more presentable, or even "hot". If only the internet was available to enable them to update their Facebook page, "Bummer".

There are faults, the dialogue is occasionally clunky, Malkovich gets very little to do and "R" manages to recover his vocabulary remarkably quickly. The post apocalyptic world is presented believably, albeit on a budget and the effects are more than adequate. The story, once it makes the turn, gets wrapped up rather quickly and neatly, not outstaying its welcome at a short 98 minutes.

There might have been a better story for a third act, drawing parallels with certain administrations whereby the authorities are actually the bad guys using the threat of "zombies" to control the masses. Zombie threat inconveniently disappears but they have no wish to give up power but this is not that film.

Instead the story is about love or connection and the power of redemption it can bring. Although the film does add a touch of irony when the "real world" is seen, with everyone in their own private world with their mobile phones.

Summary

Good fun with a few scares, essentially a love story wrapped up in a zombie flick, a perfect date movie perhaps?