Rob Lucas is a film reviewer from Benfleet, Essex and will be taking a look at the big films out each month, and the occasional interesting independent release.
He'll be reviewing them both as films and looking at them for Christian themes, spiritual talking points and the like. You can follow him on Twitter here. And other reviewers will be contributing from time to time.
Feel free to send your comments to editor@inspiremagazine.org.uk
The Artist (12A
A Celluloid Hero
It's obvious to all that The Artist is fast becoming everyone's favourite. It's only January and this could well be the film of the year for a lot of people. So is it really that good? Is the poster that we've all seen crammed top to bottom with quotes singing its praises really justified? In the end is silence golden?
The Artist is clever, and you don't realise how clever is it until the credits roll and then you get it. Don't get me wrong, you enjoy the film as it's on the screen, but the full effect of its majestic grace isn't fully seen until the end. Thinking about it, that's a good word to describe the film: majestic. There is just something about the movie that (silently) screams class, and these days we are in a barren wasteland when it comes to films having class.
What Michel Hazanavicius has tried to achieve in The Artist is to reinvent cinema, to make it into an art form once more, and in the end it succeeds. There are so many clever points and nice tricks used that I couldn't list them all, but the stand out scene for me in the “Nightmare” sequence is where you see Michel hit his stride.
The Artist is everything that's ever been good about cinema and movies from the last 100 years all rolled into one single 90 minutes of pure enjoyment and fun.
5/5
War Horse
Stephen Spielberg’s stunning film adaptation of Michael Morpurgo’s novel War Horse is a triumph of cinematic storytelling. It appears to achieve the soaring stature of an epic film with the minimum of CGI. Instead, Spielberg has relied upon his unique talent of classic movie-making to tell this moving saga of horse and humanity bound together in the waste of war.
There is a strong sense of the magnificent horse, Joey and his variety of ‘owners’ being helpless victims of tragic circumstance as he is bought, sold and commandeered on his journey through the First World War. But don’t get me wrong, this film is not all about war and loss; it is more about friendship, devotion, love and courage. And almost all of the scenes that send you scrabbling for a tissue (and you will) portray heroism, selflessness, warmth and reunion.
There are touches of humour, too – look out for the German wire-cutters scene! Some may find it a bit schmaltzy, and if you don’t like a ripping yarn that leads you to a happy ending via some sadness and tears, then War Horse is not for you. But I suspect that this is a movie for all of humanity to enjoy, and it will live long on our Sunday afternoon TV screens for many years.
Martin Collins is Design & Print Production Manager at CPO
Hugo
Scorsese saves cinema
Martin Scorsese has had a long and varied career in Hollywood, he has made some of the greatest movies ever seen, but how will his latest outing Hugo fare? This is, after all, the man who (for better or worse) made Taxi Driver.
Before Hugo even started it had several hurdles to overcome; not the least of them being that Scorsese was the creator of my film of the year last year in Shutter Island. Going in I had low hopes and high expectations, the plot (as far as I knew) was that a little boy fixes clocks in a train station. Not the most gripping of outlines. But then the film began, and so did the magic.
Magic is certainly the word to use for Hugo, the film is completely spellbinding with a throwback feel to the way it hooks and engages us. The directing speaks for itself; the opening sequence where we are shown Hugo and a small introduction to all the characters in one long take is both ambitious and imaginative.
The message of this film is a simple one: “Film is art”, and it's a good message to project in today’s climate of 3D and robots hitting each other. It's good to see an original film made using a strong imagination.
Hugo is a film without fault, it has good characters, an interesting story, is well directed and possesses a great message. It's late in the year, and an odd thing to say, but I truly think Hugo is in my top 5 films of the year, it is a true family film and is nothing short of beautiful.
5/5
Sherlock Holmes : A Game Of Shadows
A film deserving of its title
Sherlock Holmes is one of the great British icons: he is a myth, a cult figure and one of the most interesting characters ever imagined. In Sherlock Homes, Robert Downey Jr. portrayed the genius, loneliness and obsession of Holmes perfectly, so how will he fare a second time around?
It's clear to see that A Game Of Shadows is a very different movie in tone to the one made in 2009, as opposed to the last outing for Holmes it is his relationship with Watson that is most important in this; it is the evidence of the deep levels of love that he and Watson share.
For A Game OF Shadows, Ritchie has opted to take a slightly different approach to his movie. He knows we remember Sherlock Holmes and so uses that knowledge to his advantage, but as soon as the movie starts Ritchie makes it clear that all bets are off, in this film anything could happen, and it does. A Game Of Shadows has one of the strongest endings I’ve ever seen in a film. It perfectly articulates how equal Moriarty and Holmes are, and is a surprise to us all.
The interactions between Sherlock's brother Mycroft and Sherlock are great fun – the childish bickering is wonderful to see and Stephen Fry is a great choice for a foil to Robert Downey Jr. However, the strongest actor is Jared Harris as Moriarty.
All of this makes for a very enjoyable and fun film, A Game Of Shadows isn't quite as clever as Sherlock Holmes but it is an all round stronger movie. See it.
5/5
Twilight Breaking Dawn Part 1 (12A)
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A total eclipse of the moon
Twilight is even more complicated than Harry Potter to review for a Christian, because it features fictitious horror legend characters in the wolf man and vampires, but at its heart it has some of the strongest moral messages I've seen in years in a movie. So before we start my question is: is it more about looks or heart for you?
For me, Twilight has always been a franchise to support: any film that has a romantic couple who are produced as role models that don't have intercourse before marriage deserves all the praise I can give. For that one feature alone Twilight redeems itself from all its other shortcomings, and believe me there are plenty of them.
The main problem is for a 12A the film nudges far too much into graphic content. I know that isn't necessarily the film-makers fault; it's largely the censors, but still, it needs to be said. This is a Twilight given in an entirely different feel to the other four movies, but actually there is nothing at all wrong with that.
Personally, I think the direction is second to none. And the story, which in the end is nothing more than a moral teen romance, works for the time it's on the screen, and it does not shy away from more complex themes like love, hate and conflict. And it deserves credit for that.
Mind you, Kirsten Stewart still can't act.
I honestly can't think of a reason why we shouldn't all watch and enjoy Twilight both for its moral message and the cinematic achievement that it is.
4/5
The Adventures of Tin Tin (PG)
Why does Tin Tin have a gun if he's a reporter?
We might as well admit it, we were all looking forward to Tin Tin. I know it's a well kept secret, but it's true. The real question is, will this new mystery 'digimation' remind us more of Poirot or Clouseau?
Tin Tin starts with one of the most impressive introductions I've ever seen – a little reminiscent of Catch Me If You Can's opening – and from there on the film only gets stronger (from a director's standpoint). The transitions are particularly beautiful, however at times the action is so intense you struggle to take it all in, and this is where the film first falls down.
Another major one is that Tin Tin, by his very nature is a cold character. Ultra observant like all great detectives but what he isn't is compassionate. One scene in particular where Tin Tin must choose between Captain Haddock and Snowy (his dog's) life and a vital clue to treasure, he picks the clue. Tin Tin always focuses on one aim at a time, never letting anything distract him from his goal.
Spielberg has created a clever and strong movie for adults, put a childhood template on and called it a family movie, but in truth adults will take a lot more away than kids. Still a great film either way.
4/5
Leap of Faith (1992) (PG)
You've got to have faith ...
Steve Martin is a true treasure of comedy and Hollywood, however many might have missed (in my opinion) his greatest work, Leap Of Faith. A movie in which Martin plays a fraudulent faith healer who arrives at a small town, where the people need a true miracle.
Leap Of Faith forces Martin to depart from what made him familiar and famous to make a movie about true faith, miracles and morality, and is supported by a surprisingly good cast, including Liam Neeson. The movie has a sharp and witty script that is never boring and best of all it doesn’t cop out with the ending.
Leap Of Faith is a powerful, beautiful and funny film, it's Martins best work and a movie we should all find hope in. A film that will challenge everyone in one way or another. Pick it up on DVD now.
5/5
In Time (12A)
Timberlake's stealing seconds back
It's the end of the summer, but between the hallows of Harry and the dawn of Twilight, what really is out there to enjoy in the winter season? Well one option is In Time, the new sci-fi thriller starring 'N Sync himself Justin Timberlake, but the real question is will In Time make me want to stop the clocks or keep me glancing at my watch?
This is a mainstream movie that tells us to reject money and materialism – a metaphor for living each day like it's your last and using that day to help others.
We are given a clever premise for the film. In the future there is no money, instead people are born with a countdown clock on their arm (666 anyone?). On their 25th birthday the timer starts and they are given 1 full year for free, then they have to start paying for the rest – every person in this world is living on, quite literally, borrowed time.
At the centre of the film is Will (Timberlake), a man who lives hour to hour, until he is given a decade by a stranger, as a gift. However, as Will starts to spend the time, he begins to run into problems, not least of all a cop (or minute man as they are called) in Leon (played by the always perfect Cillian Murphy). When being forced to go on the run with time on his arm, and only minutes to spare, how long can Will beat the clock for?
It's a twisted tale of hope and morality. In Time is a film that isn't afraid to say what it feels, and challenges us all to imagine what would we do if we had just one day to live?
4/5
Community wins through
The Help (12A)
Jackson, Mississippi, 1963: a place of much division, both in social hierarchy and in the rigid segregation imposed on the black community. Set against the wider rumbling of the civil rights movement, The Help tells the story of Jackson's domestic servants and the white families they work for. These are women who devotedly raise children from birth through to adulthood, yet aren't even allowed to use the same bathroom as their employers.
With the encouragement of aspiring writer 'Skeeter', a graduate disenchanted with the world she's been born into, the women put their experiences on paper – shaking up the town and their own lives in the process.
Even aside from its subject matter, this is a film with a heavy weight of expectation on its shoulders. Over the past year it's seemed as though every bus and train carriage in the country has been furnished with at least one copy of Kathryn Stockett's bestselling debut novel. It's garnered a legion of devoted fans on both sides of the pond – and if we've learned anything from the year's other big adaptation, One Day, it is that devoted fans can be easily disappointed.
It's just as well, then, that The Help has been so brilliantly done. Its success is due in part to fantastic casting, with a bill full of talent, not Hollywood glamour. Emma Stone is wonderful and refreshingly un-starry as Skeeter, the plot's driving force. Meanwhile Viola Davis as Abileen embodies the strength and dignity that runs to the core of the movie, with Octavia Spencer's Minny providing a perfect contrast – fiercely passionate, wickedly comical.
In fact, while you might expect a story of such gravity to turn out bleak, the film achieves something very different – warm, knowing, and frequently laugh-out-loud funny. With Skeeter's own relationships relegated to a sideline slot, the true focus is on the role of community, both good and bad. It avoids schmaltz and instead delivers authentic sentiment with a thankfully light touch. Those Oscar rumours may well prove true.
Lauren Bravo is senior writer at digital content agency Zone
Monkenstein
Rise Of The Planet Of The Apes (12A)
The tagline for Rise is “Evolution meets revolution”, at this, as a Christian I was put off immediately, however the intriguing trailer drew me in, and on Monday last week I sat down to watch a film that is essentially about monkeys getting a clue.
Oddly it’s not so much evolution meets revolution as “ambitious scientist inevitably creates a revolution” but isn’t that always the way with these kinds of movies? Even as far back as Frankenstein it’s been the same old tale, and they all have the same warning: “some things should be left in God’s hands”.
What interests me about Rise is the central story of a man trying to cure his father of an illness (again reminiscent of many other movies) and his incapability to accept the truth. This like many films warns against the lure of knowledge and to accept that some things can’t’ be changed.
That idea even for Christians can often be difficult to understand ;that everyone must die. I’m not sure if that is the central idea in Rise, however it is one that can be clearly seen at various points.
I suppose another one of the film's voices is that if we were more tolerant to people and less cruel to animals then we would all be better off, however again it is a message that isn’t quite clear enough to hear properly. Generally speaking the film is about a father and a son, it just so happens that the son is an ape (much like Hellboy in that respect).
Steping away from Rise’s moral compass, the directing is impressive; the cast are comprised of strong talented actors, and Andy Serkis is simply breathtaking as the ape Creaser. Likewise the special effects are notable – I wonder if I didn’t know it was CGI, would I truly think they were just trained monkeys?
Rise Of The Planet Of The Apes is a well judged, intelligent, entertaining work of cinema, a film less about evolution and more about acceptance.
3/5
Bond goes west
Cowboys & Aliens (12A)
It seems to be the norm in Hollywood now, to blend two genres together, and while this isn't the first time these two have been mixed, it is the most publicised. But what does Cowboys & Aliens offer us? Will we be asking for A Few Dollars More or our money back?
The first hour of Cowboys & Aliens is solid, Jon Favereau (director of this and the Ironman series) pits his period, town and characters well, they each seem carefully thought out with something more to offer than just “bar owner” or some other generic description, and this is where the film excels, when it is dependent on its characters and acting talent to tell the story.
Then, a shocking and surprising event happens (at about the halfway mark), and we are shaken. Bizarrely at this point Jon Favereau's stamina abandons him and he undoes the event, and with it all the credibility he has made in the movie until that point. From then on, it's a standard sci-fi film and is completely without merit.
No wonder that it has such a feeling of conflict, as the CV of the five screenwriters goes like this – two of them worked on Star Trek and Transformers (first and second movies), another one was a writer for Lost and the last two's back catalogue include Children Of Men and First Snow. Now that's a real mash up for you, taking five people from two distinctively different camps and throwing them all in together.
The voice of Christians in the film is embodied by Meacham who is the local minister in the town. While he is vintage in appearance and mannerism, there is something altogether “New Age” about his teachings, especially about God's plan, however he is written out so quickly that I wonder if Favereau wanted to include him at all.
This is a movie that can be defined with another title ... The good, the bad and the ugly. It needs more cowboys less aliens, and some kind of moral to the tale.
1/5
ET gets a call back
Super 8
Considering that Super 8 is produced by Steven Spielberg, and written/directed by J.J. Abrams the film might have been better marketed, but Super 8 has appeared in cinemas almost without warning, and that’s not the only surprise about it.
I’ll start as I mean to go on, Super 8 is incredible. Everyone (without exception) should see it, the film merges several cinema classics and genres to create a perfect storm of enjoyment for any audience member.
Super 8 has a surreal calmness about it, unlike the frantic Cloverfield or the boring Battle L.A. Super 8 knows that it can take as long as it needs with it’s plot development: which gives Abrams time to increase the depth of each character. Try to imagine Super 8 as ET meets Cloverfield with some Stand By Me and The Killer Tomatoes all mixed together.
The whole film is kind of a remake of every other great film before it, but here’s the thing. It works. Super 8 is never forceful with it nods to other movies, it instead silently rings of everything, and movie buffs will love it.
Now I’m thinking about it, what I like most about Super 8 is that it’s so very, very, clever. Super 8 at no point feels like it’s buying for time or rushed, it paces itself perfectly and the directing is faultless.
Speaking of faultless, the cast, while mostly compiled of fresh faces all give stellar performances, Joel Courtney, Riley Griffiths and Ryan Lee are the strongest of these. Supporting the teens is a good selection of talent with Kyle Chandler and Ron Eldard doing their best work to date.
Super 8 is a throwback to a time when films had courage, heart and brains. Super 8 is this generation's ET.
4.8/5
A classic Marvel
Captain America
Just in case we hadn’t had it shoved down our throats enough that Marvel are going to make “The Avengers” movie next year, Captain America is here to remind us. But the question is will this film be a man of steel or just an Iron ? (see what I did there?)
I am truly grateful that we only have Hawkeye left before this whole “THE AVENGERS IS COMING! 2012!” series is finished, this idea stopped working for me in Ironman 2, when Marvel crowbarred in as many references as possible and wasted the film in the process.
This is the main drawback to Captain America; the quintessential fault that it’s just a prequel and a back story to aid “The Avengers”. Captain America falls to the same fault that Thor had: the only reason it was made is so The Avengers film will a) bring more business and b) make sense.
Watching Captain America I realized something very important about him. He wasn’t created by some freak accident like Spiderman or some random event like Batman, Captain America was chosen. And why was he chosen? Not because he was the strongest (he wasn’t), not because he was the quickest (he isn’t), Steve Rogers is a man who has a growth deficiency and several illnesses; however he still wants to fight, because he has a thirst for justice and because he is a brave man.
That in itself is a good and strong message to place in a movie especially in today’s climate, but in truth Steve Rogers was chosen because of his weakness just as much of his strengths, and in this way God chooses us, out of love.
Another comparison that can be made with life as a Christian and Captain America is that the super serum that Rogers is injected with amplifies what is already inside of you, and that is true with God to, he will take what we are good at, what is inside of us and multiply it to a number and expectations that we could never hope to dream of on our own.
Captain America is a film that is one of a positive and strong message but massive cinema downfalls, however looking at the current market; it’s a welcome edition to the roster.
3/5
Harry Potter And The Deathly Hallows Part 2 (12A)
There are no pithy one-liners to open this review, no introduction, the film deserves more respect then that.
Harry Potter has always been a controversial topic for Christians. At times the franchise has been condemned by the Christian community as nothing more then glorified witchcraft, but others within it have commended Rowling for the strong morals and even compared “The boy who lived” to Jesus himself. Even for me, being as open minded as I am about films, it’s a stretch, but really is the final performance from young Harry one to be marvelled at or damned?
I’m not going to go into the ethics of Harry Potter as a franchise in this review – that's a topic for another article – however I will comment that while it does romanticise the idea of magic and witchcraft, so does Lord Of The Rings and The Chronicles Of Narnia, both series that have been regularly complimented as being overtly Christian. So in the most blunt terms, if you think Harry Potter is evil because it has magic in it, grow up.
Firstly it is a children’s fantasy film, and so is already in the realms of “fantasy” and also, it is supposed to exploit children’s imaginations and help them grow.
The film itself uses a simple and time-honoured structure: the fundamental hero against the ultimate villain. Voldemort is a construct of pure evil, and to counteract this Harry Potter has always been the ultimate underdog, but in The Deathly Hallows something very odd happens, because in Part 1, but more so in part 2, we are shown that it isn’t just Harry on his own against this dark force but in fact everyone. All of his friends stand up for justice and truth, and in Part 2 each character is given an opportunity to shine and be counted.
For this the movie is beautiful, because it knows is audience, it knows what they want and long for, and the whole entire movie deliberately builds methodically to the one single point that we have all been anticipating for so long.
The Deathly Hallows Part 2 feels just like what it is – a personal thank you note from everyone in the series for staying with it so long and making it what the franchise is today. The Deathly Hallows Part 2 is a reward for our loyalty and interest.
From a more subjective perspective, the film creates its atmosphere perfectly, personally, I would place The Deathly Hallows in with the elite of cinema for mood. In fact the film which it most resembles is Schindler’s List, it truly is that powerful.
Harry Potter delivers is a good message that has some negative elements and troubling moments for Christians, but as a work of entertainment it is perfect, and that is all it should be. The Deathly Hallows is a film that is as emotional and epic as any I have ever seen.
5/5
Transformers 3: The Dark Of The Moon
Another explosion Mr Bay?
It's 2011, and for some reason it seems that films are taking a much more .... apocalyptic feel to them, and why would Transformers 3: The Dark Of The Moon be any different? After all it is directed by Michael Bay.
It probably won't surprise anyone to know that Transformers 3 is loud, epic and disappointing, but oddly not for the reasons you might expect.
The end of the world angle, I can cope with, but Michael Bay must have heard all the criticism of the the first two films and thought he would try and make the third instalment different.
However it's still the same old Bay, so what we are left with is a disjointed and unevenly paced film. There are long drawn out periods in which nothing happens apart from Bay desperately trying to pump the movie full of plot and character development, but inevitably he reverts back and we are showered with intensive scenes of both graphic violence and ridiculous peril, and explosions. Lots of explosions.
Transformers 3 delivers mixed messages. One of the ideas seems to be “never lose hope in people, because we are stronger than we think” but at the same time another one is “we most definitely need these extra-terrestrial refugees to save us from the unspeakable monsters from beyond”, or maybe the whole thrust of the film is that our thirst for technology will one day destroy us?
Then again, it's a Michael Bay film so the most probable outcome is: there is no message at all, did I forget to mention the explosions?
Transformers 3 isn't a total defeat, as Bay has learned something from his past mistakes. He realises that no-one really cares about the Transformers transforming any more, and the other trick Bay has learned is how to use slow motion to his advantage. Sadly, he must have gone to the Zack Snyder school of Slow Mo, as the end result looks like it's been shipped wholesale from 300.
Speaking of shipped wholesale, Shia LaBeuf. I wonder when Hollywood will realise he isn't a leading man? I like Shia as an actor, but he just doesn’t have the charisma needed to carry a film, and would Josh Duhamel, John Turturro and Tyrese Gibson please do something else with their lives? As always even in the melee of bullets and plot holes, there is always talent to be found, Patrick Dempsey and Frances McDormand are strong, but Alan Tudky with John Malkovich shine the brightest.
A film that feels like it's suffering from schizophrenia from start to finish, I would rather count prime numbers than watch another film with Optimus Prime.
1/5
Pirates Of The Caribbean: On Stranger Tides (12A)
Cap Jack Fights Back
It bewilders me how anyone still wants to see anything to do with Pirates Of The Caribbean – didn't we pay enough for our sins in the last film? Clearly not.
It's important to say from the start that On Stranger Tides one of the main characters is a Christian (he is sort of a replacement for Will Tuner). This was disorientating for me because I've always equated the Pirates franchise to feeble magic and nothing of real substance, but here as one of the main characters is a born again Christian.
Now true, he is a flimsy Christian, in as much as he possess a Bible which he uses more like a charm, as he never reads it and at no point quotes a verse. However, it is still fascinating to see someone who is supposed to be the embodiment of good and purity in the movie created as a Christian. It seems that Hollywood hasn’t totally lost its way.
The Fountain Of Youth is another talking point for Christians, as the whole point of the movie is to try to gain eternal life from this one location, when we as Christians have gained eternal life from the sacrifice that Jesus made for us. These two points are far more than any other Pirates film has given us for outreach.
For this the film is a success, however on all other fronts the movie sails between acceptable and failure. The acting is average, the plot is difficult and the action weak.
In the end Stranger Tides is a good talking point for Christians for more than one reason, however it is an average film that drags itself out for prolonged periods of time.
2/5 (for outreach reasons alone)
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X-Men: First Class (12A)
X-Men evolves ....
I'll admit it, I'm a comic book nerd. I love reading comics.
One of the things I have picked up on however is how predominately in Graphic Novels the heroes are Christians and the villains are frequently other religions or atheists. Personally I've always found this fascinating, but how does Marvel's latest X-Men First Class fair? Will this be a devil of dare? Or a perfect Storm?
When I first heard about X-Men First Class I was apprehensive to say the least, after the total failure that was Origins, I had low hopes. Something that was only worsened when I read that Matthew Vaughn, would be directing.
Vaughn is the man behind Layer Cake (which I really like) and Kick Ass (which I really despise), however what I found was a clever movie that deals with issues with humanity and not mutants.
That's what X-Men is about really, about being an outcast and different, having to face ridicule and rejection along with abuse from society and friends.
I have heard it said before that, this is a metaphor for homosexuals, however it could just as easily be applied to Christians.
One of the stronger points in First Class for us as an audience is that there are two distinctive beliefs at the core of the movie, one is Erik, who believes that mutants are the next step in evolution and should eradicate the human race; the other is Charles, (believing that mutants can live in harmony with humans) is looking for acceptance. One stands for power and dominance and one stands for peace and tolerance, as Christians we can relate to this battle, we all face that turmoil both internally and externally.
The performances by the cast are hypnotic, there isn't a weak link in the fence anywhere, even the younger members put on strong turns, James McAvoy and Michael Fassbender are excellent as the main leads. It doesn’t surprise me that Jennifer Lawrence is featured as prominently as she is, playing Raven, her talent in Winter's Bone speaks for itself. And the list of cameos is just plain cool!
What I like about First Class is that there is no wasted movement and that it retunes to what X-Men really is about, each character has to confront something about themselves personally, but ultimately the film is about accepting who you are, no matter what others think, and that is a message I will always support, because we are each unique to God, and we should be proud of that, always.
The perfect way to reboot the franchise with a smart story and strong acting, one of the best from Marvel, ever.
4/5
Attack The Block (15)
Kanye West-end
As I sat down to watch Attack The Block on its preview day, I noticed there were only six other people in the screen with me, and I knew four of them. It was clear to me that Joe Cornish had GREATLY over estimated the marketability of Nick Frost.
This is what I can't understand about Attack The Block – no matter how long I think about it, I just don't see the point in it at all from any perspective.
The film isn't funny, clever or ambitious, it doesn’t try and make any kind of statement about race, youth, or society, it doesn’t showcase the talent of the cast, it doesn’t attempt to impress the audience with strong camera work or inventive special effect, it truly is a film that says and does nothing. So what does it do then?
Attack The Block does give a very vivid and depressing review of the youth culture in London. We are handed five main characters who make up a group of hoodlums, and these are not good people. The moment we are introduced to them they mug and intimidate an innocent woman for her phone and money, and these are supposed to be our heroes with Moses (the ringleader) being the most important.
To Josh Cornish's (the director/writer) credit, he never tries to hide the fact that the group are bad people, with another main character continually putting them down and telling them they need to grow up.
It's an odd thing to watch on screen, a movie that gives us a true anti-hero to root for, but that’s just what Moses is. Unfortunately, all other characters are quickly forgotten in favour of more screen time for Moses, and this is a waste of the rest of the cast.
The rating for Attack The Block is totally irrelevant, teens will see it because they will feel like they can identify with it, and the truly upsetting thing is, they might be right. It could be argued that Attack The Block is one person's journey from urban chaos and anger to misunderstood hero, but even for me, it's a stretch to see.
A depressing reflection of the world that some people think we live in; obvious, stupid and unambitious, I would rather be catapulted into outer space than watch Attack The Block a second time. Avoid at all costs.
0/5
Thor (12A)
God of blunders
So t'is the year of superhero films. In the list to be released this year is X-Men First Class, Captain America and The Green Lantern, however first on the list of Comic films is Marvel's movie about the Norse god Thor; the question is will Thor ride the lightning or be just a God of blunder?
From a spiritual point of view, Thor delves heavily into Norse mythology as you might expect – but does it offer us anything comparable to the depths of Spiderman that could be a positive message for our children to see?
Well, the short answer is not really. The message that Thor carries with it is essentially “Don't look for trouble or start fights” – not a complicated idea to comprehend for Christians. It doesn't even dig as deep as X-Men with “don't judge others” or Spiderman's legendary “With great power comes great responsibility”. None of that, just “don't pick fights, kids” like we need a film that tells us that.
Give director Kenneth Branagh his due, the movie has style – at times it looks stunning – but most of these moments come while on alien planets and so are largely down to CGI. Still, I'm sure Branagh had a hand in it all somewhere.
Where I feel Branagh didn't have a hand was in the decision to make the film 3D, as the fight sequences are impossible to watch because of it; the camera cuts are so rapid our eyes can't focus on any one image and so it all becomes just a blur.
The highlight of the film is the acting, all of the cast are on top form with Anthony Hopkins and Natalie Portman giving performances you would expect of them now. Chris Hemsworth (playing Thor) has grown well and this is his strongest performances to date, the same can be said for the villain of the film Loki (played by Tom Hiddleston).
Truly Thor feels, at worst, like an extended teaser trailer for the upcoming Avengers movie, and at best it feels like a toned down version of 300.
Well acted tripe full of total mumbo jumbo, bring back Stark – all is forgiven!
2/5
The Source Code (12A)
Deja vu, all over again
Since the release of Inception, there have been a slew of “It's a dream! Or is it?” features; the latest to throw its hat into the “but is it?” ring is The Source Code from acclaimed Moon director, Duncan Jones.
But the real question is; will this disaster mystery be a 'Groundhog Day' or a 'Memento' to treasure?
We find repetition unbearable on screen, we find it gruelling to watch. That was the secret to Groundhog Day; it played on the fact that we knew what happened without being shown it, letting it cut out chunks of the film while in our heads they are still there. This is used to great effect on The Source Code – you have to pay close attention to notice the tiny time cuts, and this is where Duncan Jones first succeeds.
The Source Code looks perfect, his stylisation is beautiful and he pulls out a few tricks from the bag to keep us watching, particularly with slow motion, pairing it with the explosion.
Speaking of Jake Gyllenhaal, he is really the only main character to speak of in the movie; everyone else simply feels like garnish to the dish served as Gyllenhaal. It takes a certain amount of talent to be able to carry a film on your shoulders, but Gyllenhaal manages it well. There is a selection of other talent on offer, none of them over-reaching their abilities, and Jeffrey Wright is particularly underwhelming.
The only part of the film that feels like it's trying too hard is the plot. Writer Ben Ripley seems to be trying to make his film bafflingly complex when it doesn't need to be; truly The Source Code is more complicated then Deja Vu, The Terminator and Back To The Future.
I suppose a film like this lives and dies on its inevitable “twist” factor, and those in The Source Code are ones I didn't see coming and, in a market that is short of films with a good old fashioned murder mystery feel, I can forgive a few grievances.
A strong mystery disaster thriller, however, with an ironic twist; it should have ended eight minutes earlier.
Rating: 3/5
The Lincoln Lawyer (15)
Law on Order
The courtroom drama once was a mystical and rarely seen novelty, but now thanks to TV shows like Law And Order and Shark, we have became accustomed to the minutiae of trials. So what can this new courtroom thriller offer us? Will this film be Boston Legal or Ally McBeal?
Now, while it is true that we have been force-fed jury scene and legal dramas until all possible combinations have been done; I have never seen another film or TV show go in the direction of The Lincoln Lawyer. The plot is certainly an interesting one.
The Lincoln Lawyer is slightly predictable to the point where, a lawyer who has few morals tries explores his values because of a complicated case he is given. For Christians, this is an ideal film to watch with non-Christian friends as what we witness on screen is almost like an attempt at redemption by a man with a dark past, and we can all relate to that.
Working in film's favour is its main star Matthew McConaughey, who excels in producing the breadth to first appear uncaring and amora, before letting that surface layer be scraped away to show a conflicted and regretful man.
Supporting McConaughey is John Leguizamo, whose work I always enjoy, and the same goes for William H Macy. Additionally, Michael Peña, Bryan Cranston and Bob Gunton all put in short but important turns, and Ryan Phillippe very nearly steals the film.
Personally, I can't think of a movie that shows one man's journey for justice better; I would put The Lincoln Lawyer in the same category as Murder In The First, The Life Of David Gale and Primal Fear without hesitation.
Depth, class, and great acting you can relate to – The Lincoln Lawyer is guilty of all.
Rating 4/5
Suckerpunch (12A)
A dirty low blow
Suckerpunch is the latest movie from 300's director Zack Snyder. I went into the film with low expectations and they were met; barely.
I should start out by stressing how sexually suggestive Suckerpunch is in all the wrong ways, and how it's a disgrace that this is something that the BBFC have stated is acceptable for a 12-year-old (or as low as 8 if with an adult) to view, but personally I think that this is a movie that reflects the world we live in.
Suckerpunch is nothing but total CGI-induced, sexually perverted trash. It has no redeeming features from a Christian or moral or really any perspective, apart from that it looks visually impressive (but so does The Lord Of The Rings and that is a far greater film in all respects).
Zack Snyder tries painfully to give some kind of balance between plot and action but everything from the opening onward can only be classified as “gratuitous”, it's a film that displays all of the very worst parts of the world; drugs, sex, violence, escapism, rebellion, drink.
The most telling sign of this is that, the main character Babydoll (who is apparently 20) imagines the asylum she is put in as a brothel/strip club as a form of escapism from the reality she is witnessing. Most of the film is set in this location.
Suckerpunch plays itself out like it knows how awesome it is and you should be jealous – it comes across so smug that it's difficult to even watch it.
Suckerpunch is shallow and a lazy piece of work with no redeeming features at all.
Rating 0/5
Rango (PG)
Fear from Lizards outside of Las Vegas
It's almost got no media attention thanks to the avalanche that Rio has got, but could the animated western be one of this year's big surprises?
I could state the obvious about Rango, like that Johnny Depp plays the title role or that it's got an all star cast or that it's all a bit like A Bug's Life, but I'm not going to. What I am going to talk about is how clever, interesting and surreal the movie is.
But first some formalities.
Rango looks perfect, the film cannot be faulted in any way for it's presentation or direction, Gore Verbinski (who is known for directing the Pirates Of The Caribbean series) is ambitious in his imagination for Rango. Verbinski conjures every manner of breed of animal you could care for to make the “cast” as diverse as possible. Each character is unique in Rango, no two have the same sort of personality or even look the same. This in itself is an accomplishment when you compare it to other animated films.
One of the drawbacks to Rango is it might not quite engage with children properly, the film feels like it wasn’t really made for kids, but more for the adults who bring them.
The whole thing has clear nods and references to the drug-induced Fear And Loathing In Las Vegas, but simultaneously keeps in line with a classic western, much like A Few Dollars More, even including vast wide angle camera pans.
Something that is intriguing about Rango is the element referred to as “The Spirit Of The West”. This is a being who the characters believe will help them and who they even pray to. Eventually The Spirit Of The West is shown on screen as Clint Eastwood (voiced by Die Hard 4's Timothy Olyphant), however speaking in cryptic messages and only telling Rango what he needs to be rather than what he wants to hear. There's a strong case for seeing The Spirit Of The West as a metaphor for God.
Rango is an intriguing mix of madness, surreality, and intelligence. It might well miss its target audience, and instead aim for a totally different audience but why is that so wrong?
It's bold. It's different. It's beautiful. It's Rango.
Star rating: 4/5