Easy A

Based on The Scarlett Letter, but adapted for the contemporary audiences, Easy A tells the story of Olive Penderghast, a virgin whose lie about losing her virginity to a friend sees her victimised in a high school where gossip travels fast and abstinence is (surprisingly) praised.

The initial lie is pounced upon by lowly high school students who pay Olive in order to say she'd partaken in sexual activity with them, thus improving their status within the school's hierarchy (how this works is beyond me).

With every further lie, Olive's supposed promiscuous nature worsens, and with further complications involved, she loses her best friend and finds herself unable to persuade those who paid her to tell the truth, landing her in even more trouble. As with the source material, however, she redeems herself, though explaining how would ruin the film for others.

The first thing to note is how natural Emma Stone is in this lead role. As Olive, she is incredibly confident, produces incredible wit which seems to suit her perfectly, and has all-round qualities which seem to make her the complete package. The manner in which she speaks to her teachers, fellow students and family members bring to the surface an air of total relaxation and charm, something which cannot be said about everybody of her age.

One of the few problems with the film is the slightly implausible nature of the latter events, though Lisa Kudrow's acting does well to ruin the film further. Mannerisms bring to life the Phoebe of Friends fame, and her character, whilst providing a catalyst, really doesn't feel right for the film. Maybe she just doesn't sit well with me as an actor.

Differences aside, Easy A is a refreshing take on the teen movie genre, with enough intertextuality and contemporary touches to give the film an edge over any rivals. Emma Stone shines through as an ultra-sexy, ultra-sharp lead who really delivers her best performance to date, and with a catchy soundtrack to boot, the film really does deserve any and all praise it receives.

8/10

The Increasingly Poor Decisions of Todd Margaret

Reuniting David Cross and Will Arnett of Arrested Development fan, The Increasingly Poor Decisions of Todd Margaret is yet another tale of 'lost in translation' badly executed. Cross plays Todd Margaret, a hapless salesman from a generic American insurance company, who is mistakenly shipped abroad in the hope that he can mastermind the mass sales of a dangerously toxic energy drink within the UK, with Arnett playing his narrow-minded higher-up.

Whilst the combination of the two actors produces a fantastic duo in Arrested Development, it fails horribly here. Both actors essentially reprise their roles herein, except that both roles are more extreme versions. Margaret is hopelessly weak, ignorant and naive, whilst Brent Wilts is aggressively, uncompromising and selfish.

The real issue with the programme is its archaic approach to comedy. Whilst the 'American in England' idea has been done before (in Friends for example), the over-reliance of ignorance to 'foreign' culture to make gags work is extremely basic and crude in every sense. The initial jokes involve a mix-up over the use of the words 'fanny' and 'fag', whilst Margaret later wears a BNP shirt, believing it to be a statement of English pride. In a later episode, Margaret and Wilts, desperate for media coverage, storm the London Remembrance Day Memorial. Not only is this highly offensive on moral grounds, it's also done with little class throughout, and yet somehow it cleared the writing stage, and was allowed to be aired.

Farcical elements aside, there is nothing going for Todd Margaret. The dialogue is bland, the characters lack depth and the basic premise is far too simple by today's standards. Add to that the stereotypical blunders, and a script which is not in the slightest bit amusing, and you have a huge mess. 'Increasingly poor decisions' indeed...

I'm Still Here Review

I'm Still Here

Following the announcement that he was to leave Hollywood, and instead launch a career in hip hop, Joaquin Phoenix - star of Gladiator and Walk The Line - decided to coax the mass media into detailing the varying stages of professional and psychological decline.

Entering a period wherein he grew out a scruffy beard and messy bundle of hair, Phoenix looked to P Diddy in a bid to launch a farcical and unrealistic career in hip hop, a far cry from the acting career for which he was so well-remembered.

What follows is a film which at times is hard to watch. Not purely because it portrays a man who seems to have thrown away a majestic career in Hollywood, or because one scene depicts him being shat on by an annoyed friend, but because at times you genuinely feel for Joaquin. A man who previously came across as being incredibly intelligent, modest and extremely likeable is suddenly reduced to a mess of a human being. Delusional in his own 'ability' to rap, seemingly withdrawn and determined to let his life flow down the drain because he feels he was typecast as being a rigid and inflexible personality within Hollywood.

The most famous section of the film is that of his interview with Talk Show legend David Letterman in 2008, whereby Phoenix seems to be absent mentally and unwilling to cooperate in responding in any personable manner. This infamous encounter brought mass attention to the previously rumoured film project, directed by Phoenix's brother-in-law, Casey Affleck. The Internet subsequently questioned Phoenix's state of mind and their mindset was understandable.

Though later revealed - in another Letterman interview no less - to be a hoax, the film does well to explore the often devastating effects of a mental breakdown, especially within a closely-observed industry like Hollywood. With the likes of Britney Spears showing the rest how it's done, I'm Still Here delivers another case study of delusion, misdirection and a general sense of overwhelming hype and expectation. Whilst there is more than a lingering doubt throughout the film as to whether it is indeed all an act, the low-key nature of Phoenix's character in real life makes it somewhat more believable as a showcase. However, the lack of closure, and of any real moral credence, leaves the film feeling a tad undone.

7/10