Enemy of the State

Tony Scott’s 1998 thriller Enemy of the State was the first film I ever bought on DVD. Though that disc has since gone walkabout, I remember going into my local Woolworths to buy a different film (an 18 Certificate whose title I can’t remember) but was told by the lady on the checkout that I didn’t look 18 and had to choose another one. Being around 14 I panicked and grabbed Enemy of the State, attracted by the picture of that guy from The Fresh Prince of Bel Air on the cover. I remember enjoying the film all those years ago and marvelling at how modern it was. Unfortunately it hasn’t aged particularly well.

Will Smith plays D.C. Lawyer Robert Dean who becomes embroiled in a conspiracy and high profile assassination following a chance meeting with an old acquaintance from college. Without knowing it, Dean takes into his possession a video tape containing footage of the murder and is tracked by rogue NSA official Thomas Roberts (Jon Voight). With nowhere else to turn, Dean tracks down a shady communications expert called Brill (Gene Hackman) with the hope that he can clear up the mess he finds himself in.

Sabrina

Sabrina is a fairytale love story set around themes of rivalry and class. Sabrina Fairchild (Audrey Hepburn) is a chauffer’s daughter, living on a large Long Island Estate. For some time she’s been in love with the rich and careless David Larrabee (William Holden) who barely notices her. After two years studying in Paris, the grownup Sabrina returns a beautiful and sophisticated woman and David falls in love. The couple’s relationship threatens to derail a big merger for the family company so David’s brother Linus (Humphrey Bogart) decides to woo the girl himself before packing her back off to Paris.

This film is one of several in my girlfriend’s DVD collection that I’ve been meaning to watch for a while. Hepburn is her favourite actress but it was Sabrina I chose over other films because of the male stars. I’ll happily watch anything Bogart and Holden are in but have to say that I was a little disappointed with this film. The stars failed to gel on screen and a little reading tells me that Bogart was unhappy for the duration of the shoot with both director Billy Wilder and his co-star Hepburn who he believed needed too many takes to get her dialogue right. There was better chemistry between Holden and Hepburn which isn’t surprising as the two began a brief affair while shooting the movie.

Breathless

I started to really get into cinema when I was at university after first watching a couple of Martin Scorsese’s early movies. I was dumbstruck by the guerrilla style of Mean Streets and easy flow and strange editing of Taxi Driver as well as the way that both movies captured a time and place which although I’d never personally experienced, felt familiar. In the near decade since then I’ve expanded my cinematic experiences and ventured down many genre avenues, finding much that to like. It’s taken me to my late twenties though to venture towards The French New Wave, a period and collection of film makers who inspired those early Scorsese pictures perhaps more than anything else.

Jean-Luc Godard’s Breathless or À bout de souffle in its native France is one of the most famous examples of the New Wave films which steamed across the Atlantic in the late 1950s and into the 60s, influencing the next generation of American directors. The influence follows a similar pattern to British rock music of the period as Godard and his compatriots François Truffaut, Éric Rohmer and others were themselves being influenced by what they saw in American cinema. It’s almost as though the French put their own spin on what they saw in Hollywood and then this was subsequently appropriated and re-Americanised by ‘movie brats’ of the 70s.

City Lights

In the late 1920s film stars, directors and producers faced a dilemma. 1927’s The Jazz Singer had opened the world’s eyes and ears to the talkies; movies with sound and the revolution had taken off quickly, brushing former silent stars aside and ushering in a new era of spoken dialogue. Arguably the biggest star of the silent era was Charlie Chaplin. His films had been hugely popular in every corner of the globe, from London and Los Angeles to Leningrad and Lahore. His universality came not only from his popular and identifiable Tramp character but because people from any country could understand the language of the film. Each film’s themes and jokes worked in any language and were loved by all.

It was because of The Tramp’s universality as a silent character that caused Chaplin to shun the talkies for a decade after they first became the norm. City Lights was his first film produced after The Jazz Singer and he stuck to his guns, despite outside influence, and kept The Tramp silent. The movie’s opening scene gently mocks the new medium at a statue unveiling. The City Mayor proudly strides to a podium to dedicate a new statue and when he speaks an amusing Donald Duck type noise is emitted from his mouth. His lady wife then takes the stand with similar, higher pitched results. To me this is Chaplin’s way of proving his point to the English speaking world. We can’t understand what the characters are saying so how would his fans in France, Russia or Brazil understand him if he spoke? With this opening scene we not only have our first laugh but also a taste of an ever maturing Chaplin, a man who isn’t afraid to express his opinions on screen.

The World's End

With the final instalment of ‘The Cornetto’ trilogy, writers Simon Pegg and Edgar Wright have bought us a film about what it means to move on and grow up. It’s an apt theme as the film itself is by far the most grown up and mature work the pair have produced so far. Pegg stars as Gary King, a man-child stuck in the past who brings together his childhood friends to attempt a re-enactment of a fateful night over twenty years ago when they tried but failed to complete the ‘Golden Mile’, a twelve stop pub crawl through their home town. Although the friends are unsure, they accompany Gary but what starts as a trip down memory lane, turns into something quite unexpected when it is revealed that the people of Newton Haven have been taken over by an unknown force.

I’m not a huge fan of Shaun of the Dead and Hot Fuzz, the other films in this loose trilogy but I found them both entertaining. I personally think that The World’s End is the best film of the three but probably isn’t the funniest. It’s a more measured, thought provoking film which strangely evokes parallels in the audience’s lives while providing entertaining moments along the way as well as the odd laugh. Pegg and Wright appear to have recognised that their audience has grown with their films and they suitably include themes which you wouldn’t find in their earlier work. The movie reminded me of Toy Story 3. That film included ideas about ageing and one’s place in the world after the fun and laughter of the first two films. This instalment is pitched in a similar way.

Dinner for Schmucks

Based on a French comedy called Le Dîner de Cons, 2010’s Dinner for Schmucks is a politically incorrect screwball comedy. Featuring likeable leads and an overstretched central idea, the film stars Paul Rudd as ambitious financial executive called Tim Conrad. After impressing his managers, Tim is invited to an exclusive dinner which he hopes will lead to a long overdue promotion. The only catch is that each guest must bring a plus one, chosen for their ability to compete for the prize of ‘biggest loser’. Tim’s in two minds about attending the insensitive dinner but when he literally runs into the sweet but simple squirrel taxidermist Barry Speck (Steve Carell) and thinks to himself, what’s the worst that could happen?

Despite being a fan of pretty much everyone in front of the camera in this movie, it passed me by until now. I remember its release but the trailers and reviews did nothing to pull me to the cinema. It’s not a film I’m gutted to have missed three years ago but I came out the other side thinking that it was an average comedy which was short on laughs and story but enjoyable nonetheless.

Six of the Best... Pixar Features

With the recent release of the, lets be honest, disappointing Monsters University, I thought it was a good time to bring you my Six of the Best… Pixar Features. Disney Pixar has been my favourite film studio for about five or six years, since it suddenly dawned on me that all of the great animation I was seeing was from the same imaginative studio. I’ll make it clear right now that this list has one major fault and that is that of fourteen feature films to date, I’ve only seen twelve. The ones I’m missing are Monsters. Inc and Cars 2. I fully expect from what I’ve read that one of those films would be in this list. I’m also pretty sure that one of them would be absent. So, just to clarify, I except that this list is perhaps not a true reflection of the studio’s output but I’ve seen the other films at least once and in some cases several times.

For a change, this list won’t just be a list of six but I’ll order them. My favourite film will be at number one (as ordering is traditionally written). So without further ado, here are my personal Six of the Best… Pixar Features.

The Edukators

The Edukators is a sociological thriller about three young anti-capitalists who get in way over their heads after a botched break-in. Peter (Stipe Erceg) and Jan (Daniel Brühl) are a pair of idealistic young wannabe revolutionaries, living in near squalor in the centre of Berlin. In the evenings they scope out large houses in the suburbs which they break into. Rather than stealing what they find inside, the pair instead moves the furniture and expensive consumer items around, messing with the minds of the rich inhabitants and leaving a note saying something along the lines of “Your days of plenty are coming to an end”. They call themselves ‘The Edukators’. With Peter in Barcelona, Jan becomes friendlier with Peter’s girlfriend Jule (Julia Jentsch) after the pair had previously been rather standoffish with each other. Jule explains how her life is being ruined by a debt owed to a rich man following a car crash and Jan decides to do something about it, bringing Jule into ‘The Edukators’ without Peter’s knowledge.

The Edukators is a fascinating thriller which bought out the old Commie in me. I was on the group’s side, finding myself nodding along to their rants about consumerism and third world debt while I sat on my leather sofa, watching my flat screen TV. The film bought out something in me which I’ve lost in recent years, my youthful anger at the world. Don’t get me wrong, I’m still angry but these days my anger is focussed at religion and stupidity rather than poverty and injustice. This movie bought that back.

Before Sunset

I can’t imagine having to wait nine years for Before Sunset to come around. Released nearly a decade after Before Sunrise, a film with a remarkable and original will they/won’t they conclusion, the film picks up the lives of Jesse (Ethan Hawke) and Céline (Julie Delpy) after their one night romance in Vienna in 1995. It should be noted before I go on that this review may well contain spoilers for Before Sunrise so if you haven’t seen that movie yet, beware. I saw Before Sunrise earlier today and the hour long wait between films felt like a lifetime to me, so engrossed in the character’s stories was I. I can’t believe that there are people who had to endure nine years of not knowing what happened after Céline and Jesse went their separate ways.

The film opens in a Parisian book shop where Jesse, now an author is answering questions about his latest book. Towards the end of the interview he notices Céline standing in the corner and instantly loses his train of thought. He manages to sneak away for a coffee with his former fling before a 7:30 pm deadline to catch a flight. It’s on the way to the café that we the audience have our hearts broken. The pair didn’t meet in Vienna six months after the end of the first film. They in fact haven’t seen each other since that magical night nine years ago.

Before Sunrise

A chance meeting aboard a train from Budapest to Paris results in a wonderfully constructed whirlwind romance for two strangers. Jesse (Ethan Hawke) is travelling alone through Europe when he begins talking to the pretty French lady across the isle from him. That woman is Céline (Julie Delpy) who is on her way back to Paris after visiting her grandmother in the Hungarian capital. They strike up a friendly conversation which continues in the dining car before Jesse’s stop in Vienna approaches. Sensing a connection he suggests that Céline disembarks with him to continue their discussion. She impulsively agrees and the duo spends the night wandering Vienna together.

Before Sunrise lacks any sort of plot but is nevertheless beautifully written and structured. I never once wished for something to happen besides the continuing conversation and discovery. The dialogue is deeply woven and superbly delivered by two actors on top form. Their connection seems so real that it’s hard to believe that the actors themselves didn’t end up together. Nothing is forced and the conversations meander naturally while at all times remaining high brow and intellectually stimulating. Occasionally there is a lull in the engagement I had with the dialogue but this still works as it’s how one would react when listening to any long conversation.

The Bling Ring

Between 2008 and 2009 a group of mostly privileged, celebrity obsessed teenagers burgled the homes of several celebrities, making off with over $3 million in jewellery, clothes, bags and other designer accessories. The group coined ‘The Bling Ring’ were the subject of a Vanity Fair article which forms the basis of this film from director Sofia Coppola. The film focuses on the acts of burglary, what the teens wanted, what they got and some of the consequences they faced when eventually discovered.

To me the premise sounded interesting. I had no prior knowledge of the robberies and hadn’t heard of the group until I began seeing trailers for the film. It looked to be a satire on obsession with fame and greed and reminded me a little of the similar but deeply flawed Spring Breakers. This film annoyed me even more than that. I should state right here that I abhor the fame hungry, greed inspired culture that some teenagers aspire to be a part of. My girlfriend occasionally (often) puts on programmes like The Hills or E! News and they make me so angry that I have to leave the room. There are few people on the planet I despise more than those who seek fame and fortune without the talent to deserve it. This film focuses on exactly those kinds of people and appears to glorify their actions.

Monsters University

Seeing Monsters University puts me in the strange situation of seeing a sequel (or prequel in this case) before the original movie. Like a lot of people I’m a huge Pixar fan but 2001’s Monsters. Inc is one of two Pixar features which I haven’t got around to seeing yet. The central characters Mike and Sully are so well known though that I didn’t think my ignorance of the first movie would hamper my enjoyment of this one. Thankfully it didn’t. Pixar managed to hamper it all by themselves.

Monsters University takes us back to our central character’s college days where they first meet on the campus of the University of the movie’s title. The ambitious and book smart Mike (Billy Crystal) initially doesn’t get along with the confident and naturally scary Sully (John Goodman) and their falling out leads to their expulsion from Scare 101. The pair discovers that their only way back onto the course is to enter and win the University’s Scare Games. To do this they must join a fraternity but the only one that will accept them is a group of no-hopers. Will they be able to shape themselves and their team into first class scarers or will their dream of turning professional be lost?

Pacific Rim

Pacific Rim states early that we always expected extra-terrestrial life to come from above, in reality it came from beneath our feet. Following the opening of a giant crevasse, deep under the Pacific Ocean, a series of monsters christened Kaiju began attacking costal cities, flattening them and killing tens of thousands. To halt the unexpected onslaught the world put aside its differences and initiated the Jaeger programme which constructed giant robots used as weapons to defend humanity from the alien invasion. The Jaegars are piloted by two individuals who have their minds interlocked, each controlling one hemisphere of the Jaegar’s brain. Slowly, we turned the tide of the battle.

When I first heard about Pacific Rim and more importantly who was directing it, I was filled with excitement. Vague but tantalising descriptions of giant monsters battling human built robots across the planet sounded like an epic idea for a blockbuster but it also sounded dangerously familiar. When I think of giant robots I think of Michael Bay and those two words aren’t the sort to get me excited about a film. Thankfully the director’s evident love of the monsters and genre and attention to detail in the huge fight scenes raise this movie above the normal smashy, smashy, what’s going on type of summer Blockbuster.

Black Sabbath

Mario Bava’s Black Sabbath (titled I tre volti della paura in his native Italian) is a trilogy of short horror films, presented as a single feature. There is nothing to tie the three films together aside from being bookended by a rather funny and tongue in cheek Boris Karloff who also appears in the middle film. Like much of Bava’s work the film’s original Italian version differs greatly from the more widely seen American release and there’s a fantastic comparison feature on DVD releases which highlights the differences in score, props, dialogue and even ordering of the film. Personally I chose the Italian version to watch.

The Italian version is a little gorier and features a lesbian subplot which is absent from the American release. Bava’s choice to package the films in one feature at first feels strange but to be honest, I don’t think any of the stories could have been successfully stretched to make a feature in their own right and it gives a chance for some terrific tales to get a release.  

The Night of the Hunter

1955’s The Night of the Hunter was the first and sadly last film to be directed by famed theatre and screen actor Charles Laughton. Though panned by audiences and critics on its theatrical release, the film has grown in statue over the years and is now widely regarded as a great work. Featuring expressionistic touches and unsettling themes, the film stands apart from the safer, noir tinted thrillers of its day. The plot features a villain so wicked that he scared me, an adult used to modern horror, nearly sixty years after he first appeared.

Robert Mitchum plays Reverend Harry Powell; a preacher turned serial killer who learns of a hidden fortune. While in prison on a minor charge, Powell shares a cell with Ben Harper (Peter Graves), a man serving a long sentence for robbery and murder. Before his arrest, Harper was able to hide his loot of $10,000, telling his children but no one else where the money was. Powell is able to track down the fatherless family and attempts to get the secret from the children while hiding his intent behind his squeaky clean, ministerial front.

Persona

Persona is the sort of film that I struggle to review. When thinking about the movie today, all I could really say was that it was a bit odd but I really liked it. I could probably end my review there. Persona is an example of a film that tests my limited film knowledge and both my powers to describe, compare and contrast. I might as well start somewhere. I’ve been reviewing films as an amateur and very occasionally professional for a little over eighteen months. I’ve been a real life human person for over twenty-seven years. Despite all those months and years, Persona is the first Ingmar Bergman film I’ve seen. There are a couple of his films which I’ve been waiting for my online DVD subscription service to send me but Persona was lent to me by a friend and broke by Bergman cherry.

The film begins with a wondrous and surrealist section of flashing images which are spliced into footage of a boy, stood alone in a room. The boy eventually turns to a book which is pretty much the only item in the brightly lit, sparsely decorated room. The boy, the book as well as the images appear at first to be a random assortment of things but eventually at least some of the images can be viewed as pointers for the story that is to follow. Others, like the often cut image of an erect penis are harder (ahem) to explain.

Deliverance

Nominated for three Academy Awards, 1972’s Deliverance is an influential thriller set along the Chattooga River in Georgia. For men from Atlanta set off into the wilderness to take a canoe trip down a portion of river which is soon to be hundreds of feet below a newly dammed lake. Their trip takes a decidedly and unexpectedly dangerous turn when some of the locals take a disliking to the party. Famous for a distressing scene of rape, the movie is much harder than I expected and must have rattled censors forty years ago. As well as the distress caused by these and other scenes, there is also great beauty to be found in the landscape and it’s captured wonderfully by Director John Boorman.

The movie features what we’d consider today to be an all-star cast with Hollywood heavyweights Jon Voight and Burt Reynolds leading the cast. Ned Beatty makes his screen debut alongside Ronny Cox, also a first time screen actor here. The acting is great throughout and the characters are well defined from the start. From the very first scene the audience is made aware of exactly who is who and what their main traits are. This helps to get the film off to a good start as well as easing the audience in.

Primer

It’s rare that one gets to see a film that cost $7,000 but that’s precisely what Primer cost to make. Primer is a high concept science fiction drama that is heavy on ideas and doesn’t pander to the mainstream. Using technical dialogue and realistic sounding science, the movie doesn’t make any attempt to open itself up to the masses or explain itself in layman’s terms. As a result, Primer is a film that is at times impossible to follow but when it’s at its best, it’s a film that opens up some and explores some fascinating ideas about causality, fate, consequence and friendship. Shane Carruth acts almost as a one man crew with credits as actor, writer, director, producer, editor and composer.

The plot focuses on the efforts of four engineers who work for a large corporation but on the side produce circuit boards which fund their own inventions. Two of the men break off and develop a strange machine for which a purpose is difficult to ascertain. After some preliminary tests they discover that a watch placed inside the machine appears to come out with much more time passing than on the outside. Wary of the concept and implications of their machine, they keep it a secret but slowly begin to experiment with its possibilities with strict instructions that causality must not be affected.

A Field in England

The latest offering from the darling of the British critical community Ben Wheatley, A Field in England is a psychological-historical drama set during the Civil War. An example of a growing trend, the film was released simultaneously in cinemas as well as on DVD, download and on TV. This multi-platform release meant that on 5^th July there was no excuse as to why anyone couldn’t see it. Personally, I watched it on the free-to-air Film 4, the film’s primary funder.

The movie blends genres and styles but features a pleasing cinematographic style which oozes confidence. The choice to film in black and white feels at first to be a misjudgement but as it progresses; the beauty of the monochrome is exposed. There are some stunning landscapes and close-ups captured which juxtapose the attractive, relaxed landscape with the anguish and torment of the characters. Those characters suffer from little development and much confusion but are lit and filmed with utmost care and professionalism.

The East

I’ve been writing little film reviews on this blog for about eighteen months now. I’ve almost always written a review within twenty-four hours or so of watching a movie but I saw The East nearly a week ago. Whether due my brief illness, boredom of writing or lack of interest in the film I can’t say, though I think all three contributed. The trailer for The East was one of the best I’ve seen in recent months. It gave little away and felt edgy and interesting. The film however doesn’t live up to the trailer. I’m a big fan of Brit Marling and thought that her writing and acting in Another Earth were superb. Here she crafts a script which is full of intrigue and expectation but fails to get to the heart of the issues that she is focussing her attention on.

I won’t go into much detail about the plot as some of the characters differ significantly from what I was expecting. All I will say is that there is a group calling themselves The East. They’re environmental terrorists (or freedom fighters depending on your perspective) who use tactics which can be best described as being ‘morally grey’ to right the wrongs done by large corporations. Brit Marling plays a member of The East but begins to question the morals of both sides as she uncovers more about The East, the corporations and herself.

McCullin

McCullin is a little seen documentary about the life of famed photojournalist Donald McCullin. Nominated for two BAFTA awards, the film charts the career of its subject from his humble beginnings in poverty ridden Finsbury Park, London in the late 1950s, through his many and varied warzone assignments and towards his later, peaceful retirement. The documentary is narrated by and features extended interviews with the man himself and gives great insight into the reasons behind his adventures as well as descriptions of often horrific events and how he composed some of his most famous photographs.

For several years Don McCullin has been my favourite photographer having stumbled upon an exhibition of his war photography at the National Media Museum in Bradford. I’ve since been to another of his exhibitions in Manchester and one of his many photographic books became my most expensive book purchase ever at the second exhibition. I’d been looking forward to seeing the film since its original release and was thrilled to find it on television late last night as part of The BBC’s Insight series.

This Is the End

I was a little worried when I first saw trailers for This is the End as the premise seemed to be remarkably similar to the forthcoming conclusion of the Three Flavours Cornetto Trilogy, The World’s End. Fortunately though, it appears that the films have very little in common. This is the End is an apocalyptic comedy film written and directed by Seth Rogen and Evan Goldberg. The pair, who have collaborated in the past with the likes of Superbad and Pineapple Express here deliver a film in which some of the funniest names in Hollywood (and Danny McBride) play versions of themselves during an apocalyptic event.

Rogen meets old friend and actor Jay Baruchel at the airport for one of Jay’s infrequent visits to Tinsletown. Hoping to catch up, Jay instead finds himself at James Franco’s house-warming party where he feels uncomfortable and out of place with fellow actors and celebrities. As he nips out for some cigarettes, Jay bares witness to what at first appears to be an earthquake but soon becomes apparent to be something much more destructive. As the end of the world turns the Hollywood Hills to ash, a few actors are left holed up in James Franco’s house with nothing but a few beers, some drugs and a milky bar to sustain them.

World War Z

World War Z or World War Z as it’s pronounced here in the UK is a zombie apocalypse movie based on the 2006 novel of the same name. It takes the traditional ideas of a zombie movie and expands them to a global scale, telling at the same time the story of a single Philadelphian family whose patriarch, ex UN investigator Gerry Lane (Brad Pitt), is tasked with travelling the globe in search of the outbreaks origin, with the hope of discovering a cure. The movie’s production has been one of the most troubled in recent years with an ambitious shooting schedule and numerous re-writes and re-shoots, even up to the end of 2012, taking the movie’s budget up to around the $200 million mark. If the busy screening, star appeal and word of mouth I’ve already encountered are anything to go by though, the movie is sure to make a very tidy profit within the next couple of weeks.

I try to avoid reviews before I write my own in case they inform my opinion but I’d heard a couple of mixed verdicts before seeing this movie. Coupled with the production troubles, I wasn’t expecting a brilliant film. I was pleasantly surprised then by World War Z (Z) as it excited, entertained and scared me from start to finish.

Dinocroc vs. Supergator

Last week, friend and fellow blogger Richard (of I Liked That Film) produced a DVD from his bag and passed it to me. He told me to watch it and said it’s rubbish. Over the last year or so, a succession of films has passed between the two of us with each attempting to increase the other’s cineliteracy. This time though, I thought he was taking the piss as the film he presented me with was called Dinocroc vs. Supergator. I was briefly told about one or two terrible scenes and like you do when you receive socks for Christmas, I smiled politely, said thank you and tucked the film into my own bag. Despite having just bought Rome Open City and Breathless the day before, it was this that found its way into my DVD player first. Perhaps it was curiosity or maybe it was similar to how you eat the vegetables before saving the steak until last but I watched it first. And it’s awful. I’ve seen some bad films before but this is up there with the worst.

The plot is very simple. An unscrupulous biotech company is developing super crops on a Hawaiian Island. Secretly they are also using the methods they’ve discovered to grow animals. For some reason a Dinocroc and Supergator escape and eat most of the scientists. Then they eat random idiots on various parts of the island before being contained and forced to fight each other by a ramshackle group of local heroes and assorted hangers on.

Six of the Best... Actors My Girfriend Wishes I Was

Last week I had a lot of fun researching for my Six of the Best... Most Beautiful Actresses feature and decided that this week I'd give their male counterparts a look in. I turned to my girlfriend who jumped at the chance to spend all week perusing Google images for sexy actors. Although I cheated and included twelve on my list, as this week's choices are all current actors, I limited her to just the usual six. From a list of what seemed like several hundred she finally managed to settle on six late last night. At least I thought she had. I woke up this morning with an email from her (we live together by the way) which asked for a last minute substitution. I shouldn't be surprised as all week I've heard shouts of "Oh, what about Fassbender?!" "Ummm.... James Franco. Oooh" and "Mark Ruffalo, MARK RUFFALO!" emanating from her direction. So after a last minute change (sorry Jared Leto) here is a list of hot actors according to my girlfriend, who obviously must have very good taste in men. Those of you who know me will be able to see the similarities between these men and myself and for anyone who hasn't seen what I look like, imagine an amalgamation of these six actors and put a beard on them.

Irreversible

While recently discussing beautiful actresses for last week’s Six of the Best feature, a friend asked if Monica Bellucci was in consideration for inclusion on the list. I had to be honest and say that although I knew the name, I didn’t know what the actress looked like and couldn’t name any of her films. I was told that she was in the film Irreversible, that it was horrible and that I should watch it. Again, like the actress, the film and its notoriety wasn’t unknown to me but I hadn’t seen it. The following discussion was filled with reasons as to why I should and shouldn’t watch it and I agreed with my friend bringing the film to work later in the week. I was warned however that under no circumstances should I watch it with my girlfriend. I was to wait until she was out or away or something, but just not in the house. Now I’ve seen the movie, I’m glad I heeded his advice.

Irreversible is a movie which wants to make you uncomfortable from the very get go. Its interesting title sequence features back to front wording which seems to slide off the screen as the ‘camera’ rotates like the hand of a clock while pulsating, barely audible noise plays over it. This infrasound has been clinically proven to create anxiety, revulsion and sorrow when played to humans and it successfully created all three in me. The plot uses a non linear narrative to tell of two men who attempt to enact revenge after a rape. Beginning at the end and finishing at the beginning, the film isn’t difficult to understand and it’s much simpler than the likes of Memento. The structure is fascinating and works really well to create at times, tension, panic, worry, and towards the end, a welcome sense of calm coupled with impending dread.

Date Night

Date Night is a film that I didn’t see at the cinema because little about it appealed to me. The premise seemed weak and having yet to discover 30 Rock, I was unaware of female lead Tina Fey. Having recently watched it when it was on television though, I was pleasantly surprised by a film which is much funnier than I had anticipated.

Phil and Claire Foster (Steve Carell and Tina Fey) are your typical middle aged, middle income family, living in suburban America. Their lives are driven by their children and slight financial difficulty which is imposed by the recent recession. Tired of their usual, hastily organised date nights, the couple decide to head into New York City with the hope of snagging a highly sort after table in a swanky Tribeca restaurant. Unable to book under their own name, Phil takes the reservations of another couple who fail to show and their mistaken identity leads them down a path of deception and danger when they discover that a gangster is out for blood.

Date Night is driven by some likeable leads, delivering highly improvised and very funny dialogue around the conceit of a story which is fairly basic but something I haven’t seen before. The movie occasionally runs out of steam and relies on silly action set pieces to reinvigorate the plot but there’s also a lot in the film which is relatable to people who are in long term relationships.

Now You See Me

For weeks, the cinema chain I pay my £14.99 to each month for unlimited movies has been teasing its clientele with the promise of a Secret Unlimited Screening. This one off, top secret screening would be open, free of charge to anyone with an Unlimited Card but the film was to be kept a secret. All we knew was that it would be a 12A Certificate movie and that it was being screened, across the country for one night only at 8:30pm, long ahead of its UK theatrical release. The brilliant marketing behind the scheme insured excitement, anticipation, discussion and a full cinema on a Monday evening for a movie which turned out to be Now You See Me. My initial reaction was one of slight disappointment as I was hoping for something like Pacific Rim which hadn’t been released anywhere else in the world for the selfish reason that a review would drive more traffic to this very page. I’d heard a couple of good things about Now You See Me from the States though so eagerly settled in for the next two hours.

Now you See Me is a heist movie in the vague style of the Oceans movies in that someone (a mastermind whose identity is unknown), draws together a group of experts in their fields to carry out heists on an epic scale. The difference here though is that the individuals chosen aren’t safe crackers, getaway drivers, contortionists or Matt Damon but are magicians. Their heists will involve magic and illusion to steal from banks and companies chosen by their puppet master. On the trail of the magicians is FBI agent Dylan Rhodes (Mark Ruffalo) who is teamed, much to his disliking, with Interpol agent Alma Dray (Melanie Laurent). Together the pair chases magicians Daniel (Jesse Eisenberg), Merritt (Woody Harrelson), Henly (Isla Fisher) & Jack (Dave Franco) across the United States from show to show, always remaining two steps behind their cunning and trickery.

Six of the Best... Most Beautiful Actresses

Seven weeks. That's all it took for this feature to get onto the topic of sexy ladies. If I'm honest, I'm surprised that I managed to hold out for as long as I did. This week's topic has been the most fun to research but the most difficult to decide on so far. Even up to a couple of minutes before I started writing there was a last minute change (sorry Oona) and I've decided to break the rules slightly because of my indecisiveness/perviness. Instead of the usual six I've chosen twelve and in a vain attempt to quantify the decision besides greediness, I've decided to feature six current and six former actresses. I brand myself on reviewing one hundred years of film so it would only be right. That's my excuse and I'm sticking to it. For fear of losing my female readers who may think (rightly) that I'm just using this feature as an excuse to look at pretty ladies, next week's list will redress the balance and feature Six of the Best... Actors my Girlfriend Wishes I Was. Her six currently also stands at twelve and there are lots of 'ooh' 'ahh' and 'yummy' noises coming from her direction whenever I bring up the topic. So make sure you come back next week for the actors but now, here are Six (Twelve) of the Best... Most Beautiful Actresses, beginning with those still working.

Man of Steel

Eight years ago, Christopher Nolan reinvented a seemingly dead superhero franchise with his Dark Knight trilogy. Here he’s acting as a producer to attempt the same with another DC comic book hero and perhaps the most famous of all, Superman. There have been Superman films in the past of course and it’s only seven years since the forgettable Superman Returns hit screens to a decent critical and lukewarm box office reception. Taking control of Man of Steel is director Zack Snyder, a man a distinct style and experience of large, special effects movies. I’ve never had much affinity for the Superman character although I enjoyed the 90s TV series. The character, coupled with a director whose films I rarely enjoy lead me to having low expectations for the latest in a long line of superhero based blockbusters. Unfortunately even my low expectations failed to be met with Man of Steel, a dull movie which lasts for an age and goes nowhere.

The film does what all superhero re-boots are doing this century and gives us the origin story. The problem with Superman’s origin story is that it’s long and complex, or at least it is in this film. Spider-Man gets bitten by a spider, develops heightened senses and web stuff then goes with it. Batman invents stuff and goes from man to superhero. Superman though has a story which involves the end of a world, a race’s battle for survival, civil war, unusual childhood development and alienation before self discovery. That’s a lot to put in one movie and of course the movie doesn’t want to just give us the origin, it wants to entertain us with a villain and large scale battle. This results in a two and a half hour film which is full of long, unnecessary exposition and long winded flash backs.

Nine

Nine is a 2009 movie adaptation of a Broadway musical of the same name which was in turn inspired by Federico Fellini’s semi-autobiographical film, 8½. Guido Contini (Daniel Day-Lewis) is a gifted film maker on the cusp of his fiftieth birthday. Struggling for ideas on the back of a series of flops, he flees to a remote health spa and turns to the women in his life for inspiration. The movie is notable for containing several fleeting performances from some of the most beautiful and talented women in Hollywood as well as Kate Hudson. Although poorly received by critics and a certified box office failure, the movie garnered four Academy Award nominations and in my opinion contains some superb cinematography as well as a couple of great performances.

The main problem with the movie for me is that it isn’t 8½. There are a few scenes, especially those featuring Day-Lewis and Penelope Cruz, which look like shot for shot recreations of Fellini’s masterpiece and these bought back happy memories of watching that movie. During a lot of the other scenes I just wished that I was watching Fellini’s film. The problem with making a movie based on such a well respected source is that you’ve got to make it pretty special to make people want to watch yours instead of the film you’re basing your work on. In the case of Nine, it just made me remember how good 8½ is.

Internal Affairs

Driven by a twisting, well fleshed out script and some very well honed performances, 1990’s Internal Affairs is a police crime-thriller about the investigations into corruption in a Los Angeles police precinct. Ambitious and well liked cop Raymond Avila (Andy Garcia) joins the department’s Internal Affairs Division where his first assignment is to investigate a former colleague (William Baldwin) who is linked to a possible evidence plant. His initial investigations hint at something more sinister going on in the department and his attention is soon diverted towards respected cop and attentive family man Dennis Peck (Richard Gere).

This movie was recently recommended to me and I can understand its appeal. The script is tight and well written and I was kept on tender hooks by the various twists and reveals. The story goes down avenues you don’t expect from the setup and the characters are wonderfully created and performed. Richard Gere’s Dennis Peck in particular turns into something I haven’t seen the actor become before. I’ve always had a bit of a problem with Gere as I’ve often found him to be too clean cut and weedy. Here he is anything but, playing a vicious, womanising, near psychopath who builds and builds in a creepy and quite way as the film progresses. Andy Garcia’s Raymond Avila is tormented by his prey and the interactions and bust ups between the two are some of the highlights of the film.

The Gold Rush

Imagine being a big fan of The Beatles who doesn’t like Hey Jude or a car enthusiast that isn’t keen on Ferraris. That’s the situation I find myself in when it comes to The Gold Rush. I’ve never met as big a Charlie Chaplin fan as myself and doubt I ever will. His 1925 film saw the beginning of his golden period, a period which lasted fifteen years before his deportation from the US and witnessed the production of some of his most successful films. Chaplin remarked in his own splendid autobiography that he wanted The Gold Rush to be the film that he was remembered for and to an extent it is. Why is it then that I don’t love his Ferrari, his Hey Jude, his Gold Rush? The Gold Rush was amongst the first Chaplin films I saw and I had high hopes for it. When I was initially discovering Chaplin’s work it was obvious that this was one of his most famous and as a result, surely one of his best. Many people would argue that it is. I was instantly disappointed though with a film that I felt was short of laughter and featuring a plot which I cared little for. The story certainly beats some of his earlier shorts and it’s better written and deeper than say his follow-up The Circus but it doesn’t really do anything for me. It feels like the plot of a short that has been stretched to breaking point and isn’t as sweet, dramatic or sophisticated as the likes of The Kid or City Lights.

Taxi Driver

When I started writing about cinema almost eighteen months ago, there was one film above all others which I was nervous to write about. A year and a half, over five hundred reviews and approximately 470,000 words later, the same film was still looming large over me. That film was Martin Scorsese’s Taxi Driver, my favourite of all time. The unease came from two perspectives. On the one hand I didn’t feel as though my writing, limited in experience and knowledge as I am, could do it justice while I was also conscious about penning a review which ran for thousands of words and which no one would have the interest or time to read. It wasn’t until earlier this week when a friend said with some surprise that he couldn’t find Taxi Driver on my A-Z that I thought that time to review it had come. So with the added expectation of an audience waiting, I sat down to watch my favourite film once again.

Within ten seconds of the film starting, a bright, broad smile shone across my face. The entire film came back to me within the first few frames and I began to think ahead to the magnificent scenes which were to follow over the coming hour and fifty minutes. My excitement grew as the quickening snare and saxophone of Bernard Hermann’s score rose to meet the opening shot of a New York taxi appearing from behind a column of steam. The movie creates an off-kilter sensation within these first few seconds and it’s a feeling which continues to ride throughout the movie. The opening titles are a deep shade of blood red and forebode the bloodshed to come. The closeness of the taxi as it brushes past the static camera also creates a sense of excitement and danger and the jumping; out of focus lights as seen from inside the taxi make the viewer try in vain to pinpoint something recognisable. The eye darts across the screen in search of an image to grasp but is left wanting. Wanting that is until Travis Bickle (Robert De Niro) walks out of the steam and into a taxi office.

A Room for Romeo Brass

A Room for Romeo Brass is a film which reminded me of several things. The strong accents adopted by the characters reminded me of my time in the East Midlands while at University and Shane Meadows’ gritty, personal, social realist style felt like a re-imagined Ken Loach. The film tells the story of two young boys who meet an older man and start hanging around him while he attempts to get one of the boy’s sisters to go out with him. It’s a simple premise but makes for an absorbing plot thanks to a well written and natural script alongside some fine performances.

The film sees the big screen debut of Paddy Considine, an actor who has since worked with Shane Meadows on several occasions and has cemented himself as one of Britain’s most exciting acting talents. Not only has Considine had mainstream success in The Bourne franchise but also directed the multi award winning Tyrannosaur in 2011. Acting alongside the talented Considine is another frequent Meadows collaborator, Andrew Shim, who plays the title role of Romeo. The movie is driven by Considine though, through the early stages of exploratory and slightly comedic development, towards the latter stages in which the character and film become much darker, Considine is a magnetic and welcome presence on the screen.

Six of the Best... Films Without Oscars

For better or for worse, the Academy Awards are at the pinnacle of film recognition in the English speaking world. Since 1927, awards have been handed out to hundreds of movies, many deserving, some less so. If you look down the list of winners you’ll find some of the best films of all time. Citizen Kane, The Godfather and Casablanca all won Oscars, though with just seven between them, perhaps not as many as you’d have expected. Each year there are films which are overlooked by the Academy and this week I’m going to be looking at Six of the Best… Films without Oscars, the films which didn’t receive a single one. In other words, this is a list of films which have one fewer Oscar than How the Grinch Stole Christmas and Pearl Harbor. So here they are; six films without Academy Awards.

Byzantium

Neil Jordan’s return to the vampire thriller feels a bit like a yo-yo. It ranges from excellent while held in the hand to incredibly dull while close to the ground but spends a lot of time somewhere in between. To take the analogy a step further, it also contains anticipation but like a yo-yo, you know where the anticipation is going to lead. The film portrays two female vampires who land in a small, run down sea-side town, two centuries after their making. Mother Clara (Gemma Arterton) works mainly as a prostitute to make ends meet while her gloomy daughter Eleanor (Saoirse Ronan) struggles to connect with her mother and is lost and lonely amongst their modern surroundings.

Byzantium is pitched somewhere between gothic thriller and family drama and doesn’t quite succeed at either. At its best it’s a poignant coming of age drama but it’s sometimes painfully slow and meanders between the modern day and early nineteen century when it might have worked better to stay in one or the other. The film is host to a wonderful performance from Saoirse Ronan which helps to elevate it above purely mundane and towards something of interest.