Intouchables

 

Having seen it come highly recommended on an Internet forum, and having enjoyed more foreign films than I've hated,  Intouchables was a film I was determined to watch, but I wasn't quite sure what I was getting myself into.

The synopsis reads:

After he becomes a quadriplegic from a paragliding accident, an aristocrat hires a young man from the projects to be his caretaker.

From this, the audience isn't exactly imagining a particularly enjoyable film, however what unravels on-screen is perhaps one of the best films I've seen in years. Francois Cluzet plays Philippe, the quadriplegic, while Omar Sy plays his helper Driss, an unlikely pairing as both are seemingly unwilling to open up to the other or indeed try to enjoy one another's company, seeing it as more of a chore than an experience.

Sometimes, writing a positive review is harder than a negative one, because this is a film which needs to be seen to be understood. The more time they spend with each other, the more Driss learns about Philippe's life; his loves, his pet peeves, his favourite food, his preferred genre of music. The more time the two spend together, the more they start to appreciate one another, and try to improve each other's life. All the while, the audience grows to not only find happiness in what's happening on screen, but also take joy and comfort in this seemingly untouchable relationship. It would be a great injustice for me to spoil any part of the film, because it is something that needs to be taken in as one huge helping of perfection.

It's not a film that would normally light the world of cinema on fire, it's not technically special, but it's a film that stands out as offering a visual and emotional gift to the world; a world full of pain, anguish and ugly failed comedies and blockbusters. Intouchables never tries too hard, never steps out of line, and never expects you to laugh, smile or cry. It does what it sets out to do, and does it exceptionally.

It is marvelous.

9/10

Spec Ops: The Line

Spec Ops: The Line

Having not played a videogame besides CoD4 and FIFA in a long time, and hearing nothing but good things about it on the GiantBomb Cast, I decided to buy the game on the cheap, as it was anything but a sales hit on release. Published by 2k Games - the same company who published Bioshock - it's a modern war shooter set in Dubai, and heavily focuses on the moral implications, and ramifications, of Western involvement without localised Middle-Eastern settings, especially those where it seems cultural differences are misinterpreted by the Western world.

Whilst the gameplay mechanics are unremarkable and oft times it feels like the game is actively punishing you within close-quarter scenarios, each weapon feels unique, the health regeneration is favourable to the player, and the simplistic nature of the shooting itself allows the gamer to take a pick-up-and-play attitude to the game, which is certainly suitable at the beginning of the game, if not later on.

As the game's story unravels, it becomes clear that all is not as it first seemed, and that the people presumed to have been in control are instead powerless, leading to some interesting in-game choices, and a very intriguing finale. The moments leading up to this end-game point were specifically mentioned by the Giantbomb crew as being pretty much the sole reason to play the game, and you can certainly understand the reasoning behind this, considering the ramifications said scenarios could have had, if they had been included in, say, a game like Call of Duty, Grand Theft Auto or just about any other mainstream game involving shooting. I won't spell out what happens, but it is unlike anything I've ever played in my time as a videogamer.

That said, this particular moment does not really impact on the game as an overall package. It doesn't particularly have a say on the game's quality, gameplay or actual standing as an example of a shooter, so in a sense it's almost irrelevant. It's more a talking point within the gaming spectrum, and a moral pendulum.

As a standalone game (now most likely available everywhere at budget price), Spec Ops: The Line is an unremarkable but fairly enjoyable third person shooter, complete with an intriguing storyline, and unlike others within the same genre, it at least makes the player think, which in the current climate, is saying something.

7/10

Disturbia

If we're going to be blunt about it, Disturbia is a remake of Rear Window, for the MTV generation. With Shia Lebouf as the leading man, put under house arrest and developing a crush on his new neighbour, something sinister seems to be afoot in a nearby house.

For all the criticism Lebouf gets as being a one-dimensional ladykiller, as opposed to a genuinely decent actor in his own right, he does a terrific job in this instance. Having been a very watchable and appealing lead actor in Even Stevens, and extremely likeable in Transformers, it feels like he's never really been given the chance to fill out a meaty role of any real substance, always erring on the side of caution when it comes to roles.

Even if that remains the case with Disturbia, it's not a film which is in any way bad, lacking or particularly offensive. It's more that it doesn't really try to do anything new, but as remakes go, that's not exactly groundbreaking news.

7/10

[REC]3

[REC]3

As a huge fan of [REC] and an apologist for [REC]2, I did not have high hopes for the third chapter in the series. Historically, the third iterations in franchises are not exactly barnstormers, and with the storyline and location changing completely herein, it was always bound to spell disaster.

It does.

Set at a wedding, a zombie outbreak occurs, and the protagonists - the happy couple - must break free from the infected, and reunite.

Ditching the handicam style of the first two in the series was an error in itself, as it negates any real sense of danger, tension or indeed horror. With a leading couple no one really cares about, dialogue being spoken in a foreign language (a big gamble with English-speaking audiences, hence the US remake of the first film) and a heavy focus on religion, [REC]3 doesn't really do anything well. In fact, the only real positive about the film is just how stunning the lead female is. Genuinely attractive.

Even if you look past the errors in logic, and worst of all - the ending - it's just not a very good film.

At all.

3/10

Detachment

Detachment

Adrien Brody has always been a fine actor. Detachment is perhaps one of the best examples of his work.

As a suffering teacher, put under emotional strain by the fact that his father is gravely ill and requiring near-round the clock medical attention, he strikes out at those around him, seemingly without realising that his actions reflect the very nature of the problems he has to face within his own job. He shouts at nurses, who simply want to help his father, and yet struggles to see why his pupils hate their work and hate the schooling environment.

Whilst the film provides good observation on the nature of teaching, and of the knock-on effect it has on those involved with the sector, it takes a very cynical slant and is extremely blunt in its perspective, which for some could be off-putting and will certainly not appeal to many.

Even so, Brody is the star, and rightly so.

8/10

Seeing to the backlog

In recent months, my ability to actually review films with any real coherence, enjoyment or sense of polish has been somewhat stunted, for no genuine reason whatsoever. Perhaps it's simply that I'm watching more films than ever, within a confined period, that leaves me with a diminishing appreciation for films as a medium.

Whatever the reason is, have a few reviews from a couple of months ago. Some good, some less so.

                                                 

                                                            The Amazing Spiderman

With Emma Stone, Andrew Garfield and Martin Sheen on-board for this pseudo re-shoot, it seemed like a lot was expected from the film. However, it seemed like no one actually bothered to care, what with The Dark Knight Rises being released within the same month, and with no real fanfare, Spidey was left overlooked.

Whilst the film itself is an inoffensive, and fairly entertaining romp - with some great fight scenes in amongst it all - it feels like it's missing a certain edge. A certain je ne sais quoi. Something to make you care. Even with a highly emotive story arc, and a very well realised ending, it's just not a remarkable film in any sense. 

Which is a tragic shame, even for a blockbuster.

6/10

Silent House

Silent House

A remake of the Spanish 'La Casa Muda', Elizabeth Olsen attempts to distance herself from her somewhat more famous sisters, with this attempt at a psychological and claustrophobic horror piece.

Olsen plays Sarah, who moves into a 'new' house with her father, and soon finds herself with unsettling company, eventually unveiling home truths which are somewhat disturbing.

Knowing nothing about the original, Silent House is a perfectly respectable entry in the psychological horror genre, as it manages to create a sense of claustrophobia beautifully by posing the camera close to Olsen's body, more often than not with her facial expressions literally taking up half the screen. Supposedly filmed in one take, and with the sun setting all the while, the film maintains a sense of natural darkness wrapping itself around the house Sarah is slowly but surely being enveloped by. Excellent use of diegetic sound places the audience in Sarah's presence, and the sheer positioning of the camera delivers constant moments of genuine terror, as the mysterious beings in the house attempt to capture her.

Whilst the ending is somewhat paradoxical in the manner that it's explained, the scenes prior to the reveal are so well done that you can almost forgive the somewhat contradictory 'reveal', one which many will have seen coming, but which is nonetheless disturbing and also extremely close to home for many.

Olsen provides a stellar performance, especially in what is essentially a one-woman show. The camerawork is genuinely unique, and the sense of suffocation is at times overwhelming, but a fairly messy ending lets it down.

8/10

Time for some reviews, new and old...

It's been a while since I last reviewed something, and so I've decided to do a quick round-up of film reviews; a veritable selection of films old and new, the ones I can remember, that is...

The Tunnel

An Australian attempt at the lost footage film, it follows a group of Australians who enter a tunnel and find themselves being unknowingly stalked by an unidentifiable creature.

The basic ideas are all here, but what is unusual is the interspersing of interviews with those who survived from the original group. An idea not found in any of the other found footage films that spring to mind, and it provides an added layer of reflection, if nothing else.

The Tunnel is an original take on a fairly tired sub-genre, a film I would recommend even if it is somewhat limited in its execution.

7/10

Men in Black 3

 

 

Men in Black 3

This won't take long.

The first Men in Black film was a success. It was funny. It made adults - and children alike - laugh. It was a huge boost for Will Smith. The story was decent, and engrossing, and the action scenes were fun to watch, and kept you hooked.

Men in Black 3 is none of these things. A farcical storyline, which delves into the history of the J and K partnership, as well as terribly-designed villain, do nothing to support what is effectively a bare-bones, badly scripted and lazily executed cash-cow. And one particular reference to the Wall Street Crash of '29 effectively epitomises just how offensively shoddy the whole production is.

 

Avoid.

3/10

The Five-Year Engagement

The Five Year Engagement

As a preface to this review, I suspect that anyone who held the film Bridesmaids in such low regard, should probably close the tab now, as the film herein doesn't offer anything better. Amazingly the producers of that film also managed to get themselves involved with this particular farce.

When Tom (Jason Segel) proposes to his girlfriend Violet (Emily Blunt), they immediately find their wedding plans scuppered by the realisation that she must take time out in order to progress her career plans. However, as time moves on, the idea of commitment, long-distance difficulties and the appeal of a shoulder to cry on, all start to become too much in this romantic comedy.

With a lead male character like Segel (How I Met Your Mother, The Muppters, and a likeable, perky Brit in Blunt (The Devil Wears Prada, The Adjustment Bureau), it seems like a perfect premise. However, the film seemingly tries to make life as difficult for itself as is humanly possible. The nature of the film's structure, naturally, is to extend the story to a five-year length, bringing in obstacles which block the idea of a marriage taking place. At any cost, it seems.

What should be an amusing 90-minute comedy, turns into a two-hour struggle, as the writers seemingly throw all they can in the way of a barely-cohesive script, and as a result, manage to throw away any lingering hope the movie-goer has of ever enjoying what is basically an unfinished, unpolished mess.

The only redeeming feature is that Emily Blunt is involved, though even at two-hours long, there's almost too much of her in a badly written film for one sane person to handle.

3/10

When To Expect When You're Expecting

What To Expect When You're Expecting

From a barren Hollywood wasteland, left wanting and sparse by such hits as Knocked Up and The Hangover, comes a much-maligned comedy centred around the notion of couple-ship, moving in together, marriage and parenthood.

A cast featuring Elizabeth Banks, Cameron Diaz, Anna Kendrick and J-Lo is sure to appeal to many casual cinema-goers who would find something intriguing in each of those actresses, which isn't necessarily a bad thing, especially since the least familiar of those within Hollywood, Kendrick, starred in well-received hits 50/50 and Up in the Air, establishing herself as an attractive and likeable newcomer.

Whilst not necessarily the film's main problem, but something which raises more than a few eyebrows, is the male side of the cast. Chris Rock and Matthew Morisson (Glee) aside, the film doesn't really boast any household names to provide the film any sort of appeal to any on-looking (and reluctant) boyfriends. However, this is merely a drop in the ocean, compared to the film's actual problems.

The problem with this film is that it is immensely smug, doesn't really tackle any real issues, and instead tries to sugar-coat the serious issues of life, without actually passing them off in any way which even closely resembles comedy. The one breath of fresh air put in front of the audience mere moments from the end of the film, genuinely poses an actual question and puts forth the morbid and downright tragic ramifications that childbirth can trigger. Sadly, this moment is pretty much brushed over, and instantly loses any and all impact.

Which pretty much sums up the film. A shambles of a film, which does nothing but pretend to raise genuine issues, but does so in a way which nullifies its end objective, and instead makes you wonder why Hollywood bothers making these sorts of films.

3/10

Ils (Them)

Ils (Them)

There aren't many words needed for this review.

What is essentially inspiration for Eden Lake (reviewed earlier on this blog), Ils is about a Romanian couple who are tormented - physically and emotionally - within their own rural home, by a group of (seemingly) teenagers.

The film expertly employs lighting (both darks and and lights) to create intense and oppressive settings, as well as using cramped and claustrophobic environments to perfectly map the audience's viewing experience to that of the protagonist's physical endurance.

Whilst Eden Lake is a supremely more harrowing and visceral piece, Ils shows perfectly how to use minimalistic environments and techniques in order to produce a masterfully terrifying rollercoaster ride.

8/10

Into The Abyss

Into The Abyss is Werner Herzog's look at Texas' Death Row prison system, including Michael Perry, imprisoned and put to death for his alleged involvement in a mass-murder case.

The documentary follows Herzog as he attempts a Louis Theroux approach to questioning inmates about serious cases and genuinely life-ending acts they've committed (but they deny), all the time asking himself and professionals involved in the Death Row whether putting inmates to death for murder is indeed a worthy cause, or whether it's an entirely hypocritical act which goes against the philosophy and ethos of the entire criminal system.

However, whilst Into The Abyss seemed to be released to praise and positive reception, it never goes beyond the bounds of simply being 'interesting' and never quite challenges the Louis Theroux school of documentary filmmaking, a technique which involves subtle manipulation through the process of feigning ignorance and naivety towards the subject at hand. Instead, Herzog presents a rather condescending tone towards the inmates featured, and doesn't ever seem particularly interested in anything he talks about. Whether that's simply the language barrier and chosen tone of voice which affects this technique, but it never really works too well.

6/10

Religulous

Religulous

I don't need to say much about this one. Before I watched the film (which I've had lying around for a few years, actually) I thought this would be an insipid straight documentary about the origins of world-wide religion and how it's expanded through the ages.

It's nothing like that. Bill Maher is an atheist, or perhaps just an extreme Agnostic. His core belief is that Religion and Faith are hokey devices/notions which serve not credible or worthwhile purpose in today's society, nor really at any point in history.

Thus, Religulous is a 100-minute documentary based upon facets of Maher's life, explaining why he doesn't believe that any aspect of Religion bears any redeemable features whatsoever. Taking on various representatives of the religious world, he makes smarmy jibs and comedic observations, most of which are delivered with an acute tinge of Jewish brilliance that seems to encompass the stylings and mannerisms of Larry David and Richard Lewis, two fantastic observational comedians in their own right.

Whilst devout Christians (or indeed members of any religion) will take offence to effectively everything on offer in this film, for Atheists like me, it is more of a comedy than a serious documentary, and oddly enough, this was the hardest I've laughed at a film in (perhaps) years.

8/10

Behind the Mask: The Rise of Leslie Vernon, and the subversion of the Horror genre

The Rise of Leslie Vernon is an unusual horror film, perhaps one of a few of its kind. It begins with a pseudo news-report, detailing the murders committed by notorious horror film serial killers, such as Freddy Krueger, Michael Myers and Jason Vorhees, before re-aligning to a more central, modern day setting, as if to suggest that these murders were committed within a real-life universe.

This is not where the strangeness ends. The Rise of Leslie Vernon is a fly on the wall mockumentary, following serial killer (presumed dead) Leslie Vernon as he plots his latest mass killing spree, and gives first-hand insight to the documentary film crew who have given him the spotlight for an amateur film project of their own.

The rest of the film is a mixture of parody, farce and the genuinely bizarre. Whereas Scream tore the horror genre apart, and created what was essentially a horror-comedy hybrid, demonstrating the dos and don'ts of how to be a horror film character, Behind the Mask pulls it apart to an extra degree, pulling back one dimension of this spoof and instead going back in on itself. In the final third of the film, we are shown how the stereotypical characters in a horror film are meant to behave and react to certain life-threatening situations. However, by acknowledging those typical behaviour they're supposed to be replicating, they realise that they need to do the exact opposite in order to survive, given that the tired and predictable nature of the horror genre means the serial killer will know exactly how the potential victims will react, and vice versa.

It's an extremely baffling film, in that it flips the very idea of genre stereotypes on its head, and then flips it again, in an extremely obvious self-referential fashion. For what is in actual fact a rather bland film, it's an interesting glimpse into what is a very tired genre, and has been for decades, as exposed by Scream 4, a film which attempted to mock itself but instead ended up demonstrating just how out of touch even that was.

Dark Water

Dark Water

A haunting and lingering ghost story, Dark Water manages to combine grim and everyday aesthetics to continue a Ringu-esque tradition of Japanese ghost lore. Whilst the film lacks any definitive scares, its poignancy and ultimately devastating climax ensures what is an atmospheric and memorable fare.

7/10

The Breakfast Club

The Breakfast Club

In a similar vein to another 80s film I'd seen in the last few months - Porky's - The Breakfast Club is yet another film which was on that list of 'cult classics I still hadn't seen'. Whilst Porky's was an 80s version of American Pie, with actual front nudity, The Breakfast Club is a film which disguises a surprisingly in-depth microcosmic analysis of societal change in amongst a fairly jovial and extremely enjoyable fare about the misgivings and general japery of American High School.

With Emilio Estevez (son of Martin Sheen) starring alongside a young cast of relative unknowns, the film takes place exclusively during Saturday detention, inside the various High School locales. The five individuals seemingly cover the typical stereotypes which make up the typical High School experience, but as the film unfolds and the characters start to unravel their inner thoughts, it becomes clear that whilst High School is a cotton wool form of real life, it also holds within it a genuine parallel to the reality and horrors of growing up.

What was truly surprising about The Breakfast Club is that beneath the aethetically pleasing initial layer of teenage grumpiness, rebellion and fairly basic stereotypes of the teenage years, there lies a raw, depressing and revelatory fable about how divided society really is. As the characters reveal their darkest thoughts and their biggest fears about their future, the audience is exposed to the notion of the teenage perspective on life, one which appears naive on the surface, but is actually worryingly close to the bone.

Whilst the acting leaves a lot to be desired, John Hughes nails the casting with Estevez as the charismatic (albeit brooding) lead role, and although the ending is as predictable as humanly possible, the final third is still engrossing, eye-opening and genuinely fantastic.

8/10

Tyrannosaur

Having been a huge fan of Shane Meadows' gritty Dead Man's Shoes, I developed a keen interest in Paddy Considine, who plays Richard therein.

I had heard a bit of hype about this relatively unknown project that was Tyrannosaur, and after discovering that Considine was the director, I knew it had to be something special.

It is.

Adapted from his previous film short Dog Altogether, we follow the life of Joseph in a rundown English town. Joseph is a broken man, a loose-cannon who desperately needs guidance and help before he ends up killing himself. Along the way, he encounters Hannah (Olivia Colman, Peep Show/Rev), a religious charity shop worker who offers a hand of help to him.

As the film unveils itself, the audience realises that nothing is as it seems. Joseph is a man with violent tendencies but who is looking after the wellbeing of a young neighbour boy who is treated horribly by his father. Hannah's marriage is in tatters and is constantly on the receiving end of abuse of all sorts.

Tyrannosaur is a gritty insight into what makes people tick, and how appearances can be extremely deceptive. Throughout, we are treated to two exceptional performances. Colman as the helpless wife, and Eddie Marsan as the evil and twisted husband, who smiles one minute, and performs horrific acts the next.

The final third produces one particular scene is such emotional charge and devastation that the audience can barely watch, with Colman deliverying perhaps her single most incredible performance of her career. Peter Mullan (Joseph), also involved, effectively carries the audience's reaction and disbelief, though saying anymore would spoil the film.

Tyrannosaur is one of very few British films which echoes the noise of an under-represented population. A harrowing, grim, gritty affair, this is not a film you'll want to show your wife or grandmother. However, it is one of the best films you will have seen of the last few years.

9/10

The Blindside

Whilst it's normally difficult for me to produce brief and relatively uninspired film reviews, The Blindside is a film deserving of one. Somehow nominated for Best Film, and Sandra Bullock won Best Female in a Leading Role, The Blindside is the fairytale American real-life story of how a timid, academically-lacking black man made his way from the ghetto into the big time that is the NFL.

Though the exact motives for this film aren't clear, the level of patronisation throughout is appalling. What Hollywood doesn't seem to have learned in the last two decades is that by actively and aggressively showing leniency towards the supposedly inferior races, it doesn't condemn racism within films or the media, it simply highlights how obvious positive discrimination is.

In The Blindside, there are examples all over of how the middle class Republican housewives - and indeed the rest of the WASPs as a collective - perceive the so-called inferior characters within their idea of what America is. They're the slaves, the valets, their gardeners, their maids and cleaners. This viewpoint will not change until the media tells the suburban American to.

For these exact reasons, The Blindside cannot be treated as a genuine or serious film. Sure, it's based on true events, but I refuse to believe that the infuriatingly racist views portrayed in the film are necessary to essentially propel what is basically an anti-racism story into the audience's brains.

A film which is so clearly lacking in substance, in genuine moral highground, and in sincerity doesn't deserve a good score.

We Need To Talk About Kevin

Having watched Beautiful Boy last year, I was aware of the prevalence within Hollywood of approaching the Columbine-esque nature of teenage killers. Whilst America's right-wing media (normally led by Fox News) continues to blame all forms of media, including products Fox produces itself, there is still a lingering fear that no one really notices what triggers such violent - and seemingly unfounded - acts of mass murder

We Need To Talk About Kevin is am ambitious project in that it provides a slow-burner of a film, one which documents the journey and challenge that is bringing up a rebellious, bad-mannered child who doesn't want to take a safe or considered route in life.

We see various scenes from Kevin's life. As a toddler, he's unruly, as a young boy he ignores all instructions and only ever seeks to have his own way in life. For many, the first 45 minutes will be somewhat tiresome and forgettable. So I thought, myself.

However, the film really comes into its own in the second half, as we see just how truly evil, vindictive - and more worrying - how calculated Kevin really is. As him and his mother (played by Tilda Swinton) eat dinner in a swanky restaurant, he specifically tells her what she wants from the experience, and openly mocks the idea of a happy family. Kevin's only concerns in life are for himself, his ego, nis narccicism, and to make sure anyone who tries to stop this will be harmed. The one strange note however, is his love and adoration for his father, an aspect of the story which doesn't seem to be covered anywhere.

As the second half of the film builds towards the climax, there are shots interspersed of Eva (Swinton) leaving a courthouse, with the general public yelling in the background and sirens blazing. This, combined with flashbacks to Eva removing vandalism from her house, hint at a bigger image. Something that much more harrowing than the tedium that she has endured throughout her life as a mother.

Without spoiling the film's pay-off, I choose only to comment on the strengths of the film. The director, Lynne Ramsay, adopts a quite incredibly appreciation of the significance put upon audio and visuals. Whilst the audience is thrown right into the mix with the shots of sirens, of mobs of parents condemning Eva to hell for what she has brought into the world, we're also treated to the minimalistic shots of her house. A noticeably empty shell of a living. The house has no personality, no sounds of joy or children's happiness. The direct contrast between the bland whites and greys of the house from hell, and the crowded (both auditary and visually) courthouse shots present the polarising - and demonising - nature of Eva's life, brought on by what Kevin has put her (and many others) through.

We Need To Talk About Kevin is an odd film. There are no likeable characters, but we massively empathise with the Mother. Though we rarely see anything in the film's final chapter, it's what we envisage, based ont the 1 hour 40 minutes, that scares us even more. As with the horror genre, it's often what we imagine happening, rather than what actually happens, which scares the audience more.

For that reason, this is a film everyone should watch.

8/10

Midnight in Paris

The not-so surprising: Rachel McAdams is the worst thing about the film.

Surprising: Owen Wilson doesn't play Owen Wilson, and the film benefits massively from this.

The film's message is straightforward but the way it delivers it makes it more intriguing but also really insightful. Marion Cotillard is stunning (as per usual) and Alison Pill pops up with her weird head again, but there's not much else to say. This is only my second Woody Allen film, though I don't know if it's a typical Allen film, so can't really comment on that. It's a nice film, it doesn't force anything upon you and it leaves you thinking.

The film's moral is that everyone is basically looking for an escape from their busy and crappy lives. They often seek a time allegedly better than their own, but the reality is that there was no real Golden era. Hindsight paves the streets of history with Golds, as if there was any really magical era or decade or particular revolution, but the truth of the matter is that what makes anything special is how you choose to live your life.

Sure, it's corny as hell, and the film's ending shoves that down your throat, but for a Woody Allen film, it's nowhere as tongue-in-cheek as it should be.

7/10

Paranormal Activity 3

Having been a massive fan of the first Paranormal Activity film, and still enjoying the sequel, I felt it made sense to check out the third.

The original film employed minimalism to perfection, calling upon very subtle noises and anomalies to call attention to what was effectively a film shot in a bedroom over the course of a few weeks. The sequel, taken up by new producers I believe, decided to overhaul the formula and bring to the fray what every cheap horror film lover craves. Jumps. The film brought with it an intriguing back story, involving a demon (shocker) who wanted to steal the couple's son, and would let nothing get in its way of achieving this disturbing objective. Cue plenty of crashes, bangs and wallops as cinema audiences across the world screamed and shrieked their way through this over the top and frankly cheapened horror experience.

Watching the third film made me realise just how decent the first film is/was, simply because the idea of the POV style is horribly abused in this film. When using POV throughout a film, you leave the audience open to be scared at the drop of a hat, simply because anything popping out of the periphery can scare the audience. In PA3, it happens far too often, especially towards the end, and it feels horrible, tacky and cheap. The only real element of interest was the notion of the cult, which - led by Kate's grandmother - was urged to make sure that a baby boy was taken by the demon. One particular scene sees Kate's father (I think) stumble into what seems to be an assortment of cult members, who subsequently follow him in a disturbing manner. Sadly, this was the only real moment of surprise.

It becomes very repetitive and boring very quickly. Sadly, there is a fourth in the works.

6/10

The Descendants

An Oscar nominee, I felt it was worth reviewing this.

A film which, for me, never really gets going. There are often scenes where it feels like something dramatic will happen, and the film is certainly emotionally-charged enough to warrant as such, but it doesn't really threaten to leave first gear. There were times when it felt like a Coen film, with odds pieces of comedy added to particularly moving/sombre scenes, and it was quite difficult to gauge at times. Clooney is good, but the acting on the whole just isn't particularly good. Nice to see Judy Greer pop up (Kitty from Arrested Development), and the older daughter is pretty hot, but there wasn't much else to say about it.

7/10

The Last House on the Left (Remake)

Those that enjoy rape and SAW-esque violence will probably like this film, which starts off well but finishes, quite literally as a broken mess.

A couple, and their daughter, decide to spend their vacation in a creaky lake-side house in a back-alley woodland area. After the daughter is reeled in by an innocent-looking teen, she and her friend believe they've found someone to have a bit of fun with. Little do they know that they've come across a trio of murderous criminals, who'll do anything to keep themselves out of jail.

Decent visual effects, and some harrowing scenes, however there's no real sense of horror or atmosphere.

6/10

The Amityville Horror

Having heard a fair bit about this, and seen it recommended by horror films around the Internet, I decided to watch this so-called classic.

I needn't have bothered, utterly awful.

Reviews Round-up

As I've been constantly reminded to update my blog, I finally some free time (lawl) to do so. I made a list of the films I've watched (that I can remember) between my last blog update and last night, when I watched Fast Times at Ridgemont High, and Shutter. Both very different, but both enjoyable in different ways.

Turns out I've watched about 15 films in between now and then, this is the list:

The Inbetweeners Movie

The Ides of March

50/50

Friends with Kids

Shutter

Drive

Moneyball

Friends with Benefits

Fast Times at Ridgemont High

New Years Eve

Troll Hunter

In Time

The Hangover Part II

The Art Of Getting By

Final Destination 5

Episode 50

Apollo 18

I've listed those from best to worst, top to bottom. Due to the sheer number of films there, I won't be reviewing them all. However, I will note that The Inbetweeners Movie was far better than it had any right to be, featuring some decent character moments, some lovely ladies and an inoffensive story which didn't offer up too many surprises but basically served the purpose it always set out with.

The Ides of March is a solid - and powerful - political, starring George Clooney and Ryan Gosling as Democratic representatives. Featuring twists and turns, intense political intrigue, and a storyline initially reminiscent of Season Six of The West Wing, it's certainly one for fans of politics (and Ryan Gosling) to check out.

50/50 is a heatwarming tale of a healthy man struck down out of nowhere by cancer. Starring Joseph Gordon Levitt, Seth Rogen and Anna Kendrick, it's a decent film but one which never reaches any new highs or makes much of an effort to push the envelope. An odd ending too.

Shutter, it's worth mentioning, is the Japanese original, not the American remake. When a couple accidentally find themselves involved with a hit and run, spirits start appearing in their photographs, and a long-lost love returns to haunt them. Sounds by-the-numbers, but it's a film that horror film fans will love, providing solid scares, some gruesome images and a fantastic sense of foreboding throughout.

The last review is Friends with Kids, a film which had a decent cast but of which I don't think many will be familiar. Starring Adam Scott of Parks and Recreation fame, Jon Hamm, Maya Rudolph, Kristen Wiig and Megan Fox, it's similar to Away We Go (also starring Rudolph) in that it offers a look at how different styles of couple deal with growing old in relationships, and how they cope with the notions - and practicalities - of marriage and having children. There are clichés added to the mix, sure, but it's a film which I do not believe will be afford any mainstream coverage and deserves a fair amount. It's not brilliant, but the acting is solid, the characters are fun to watch, and the film's moral isn't black and white.

Films aside, I wanted to write about Six Feet Under, of which I'm about to embark on the final season, and about The Shield, which I finished two nights ago.

Six Feet Under, I believe, is one of the most underrated television dramas in history. With its meagre cast, it offers a fantastic range of storylines, wonderful acting, an outstanding soundtrack (season 1, mainly) and provides an intriguing insight into death. It's one show which many people won't ever have heard, and one which needs to be seen by everyone, regardless of religious feelings, and whatever else dictates how people choose their television shows.

The Shield is one show which a lot of people will not like, due to its mature content and what it portrays throughout the entire programme. However, looking past season 6, it is a brilliant TV show. Providing me with one of my all-time favourite TV characters in Curtis Lemansky, and an ensemble cast which manages to invoke a turbulent sense of fraught community, The Shield is essentially a masterpiece in television drama. Whilst being vastly different to Six Feet Under in content, dialogue, characters and meaning, these two shows are absolute must-watches, and I can't say that about too many programmes.