The Conjuring

2013, 15, Directed by James Wan

Starring: Lili Taylor, Ron Livingston, Vera Farmiga, Patrick Wilson 
 

James Wan has most certainly made his mark through deliverance of well-honed, if a little preposterous, yet damn effective horrors. Look past the six sequels, and Saw (2004) remains a top-rate twist-ridden gem; the opening 45 minutes of 2010’s Insidious, many would argue, is a masterwork of the tensest proportions. What better way to introduce his latest attempt to terrify than The Conjuring - an out-and-out spook fest, that isn’t without its gimmicks, but refreshingly toes the ghost story line and remains en route right up until its closing shot: the innocent family; the old-fashioned new house; the creepy basement; the music box. All present and correct, and completely outdone by the daddy of ‘em all; the creepy doll - it’s the Perron’s (headed by Lili Taylor and Ron Livingston, trailed by their five dainty daughters and dog) who are being terrorised by unseen haunts pretty much from the get-go. Enter left Ed and Lorraine Warren (Patrick Wilson and Vera Farmiga), supernatural investigators who agree to check out the place when approached by a haggard Mrs. Perron after attending one of their lectures. Perhaps racking up the tension somewhat is the shared knowledge that The Warren’s are real-life investigators – famously embroiled in the notorious horror of Amityville - who have only very recently agreed to share their experiences (so we're told.)

 In a chiller featuring all the expected hi-jinks, it’s somewhat refreshing to be led through the narrative by characters that feel genuinely real, with Taylor’s Carolyn Perron a real beacon of fear (it doesn’t take a lot for her to suspect something’s not quite right – finally, a horror victim with brains), not to mention a particularly bad investigation experienced in the past by The Warrens that threatens to endanger the present.

 A fantastically effective opening and final moment - unnervingly isolated from the remainder of the film - bookend something largely run-of-the-mill, but not without its standout moments to elevate it above standard fare; just dare someone to clap in your vicinity afterwards. It's disappointing then that when The Conjuring reaches its final third, chills dissipate in place of jumps, dampening the patchwork crafted before it. With September's release of Insidious: Part 2 to come before James Wan parts ways with the horror genre for the time being in favour of Fast & Furious escapades, this is a fine way to leave his salivating audience wanting more.

Especially now there's a good chance he'll be remembered as the guy who caused grown men to dispose of any dolls lying around the house.

 3/5

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Contagion

2011, 12, Directed by Steven Soderbergh
Starring: Matt Damon, Laurence Fishburne, Kate Winslet, Jude Law

Steven Soderbergh must have the best casting agent in Hollywood; a few Ocean's films and the upcoming Haywire provides proof of the credible casts his films contain. Unsurprisingly, Contagion is no different. Not only this, but the skilled helmer is so content with his efforts that he has no trouble killing one off before the film’s barely begun. Gwyneth Paltrow is the unfortunate would-be heroine who, after returning home from a business trip to husband Matt Damon with suspicious flu-like symptoms, dies (in a scene so shrouded in domesticity that you will be left feeling numb). And so it is, a global pandemic is under way as the unseen contagious and very deadly virus infects anybody within reach, and we bear witness to certain strands of action: Damon attempting to deal with the sudden loss of loved ones; Laurence Fishburne and Kate Winslet as scientists attempting to contain the inescapable virus; Jude Law, a goofy blogger (yep, you read that right) attempting to stir up a conspiracy. It's full-on stuff from the outset.

In terms of dread, Soderbergh nails it, whether this be through the use of captionsto locate and inform us as to how many inhabitants are at risk, crucially using population figures, or the camera shots that linger on door handles and drinking glasses for just the right amount of time in order to highlight the presence of something you cannot see. Yes, a true sense of danger is present in such a way that most horror films aim for, and usually fail. Which is where the A-list cast aid what could have been a generic B-movie outing. All of the aforementioned, not to mention Marion Cotillard, John Hawkes and Jennifer Ehle - add to the worry that any of the characters these actors portray could die at any moment. In other words, all bets are bloody off. It has to be said however that the plot strands flit just a bit too frequently, and in some cases investment proves tough - whilst in others, more exploration is required leaving a particular character’s climax invariably rushed (thoughts go out to you, Marion).

All in all though, Contagion is better than it had any right to be. Cliff Martinez's thrilling, pulsating score tracks the palpable fear that the virus is inevitably going to engulf you, ensuring that once the film has ended, a simple action like, say, coughing will be a much more different experience than normal...

 3.5/5

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Crazy, Stupid, Love

2011, 15, Directed by Glenn Ficarra, John Requa
Starring: Steve Carell, Ryan Gosling, Julianne Moore, Emma Stone

Crazy, Stupid, Love displays that rare instance where comedy and drama are merged in a large scale to pure success. The film follows Steve Carell’s Cal, a middle-aged married average Joe, whose world is rocked by wife Julianne Moore’s announcement that she wants a divorce. Over to the brilliantly-named womanizer Jacob then (Ryan Gosling, on charismatic form) to take Cal under his wing and restore him as a bachelor to be reckoned with. Cue sharp chat-up lines, delivered whilst wearing the sharpest suits – Carell really evolves as the film endures, Cal becoming a truly dependable protagonist.

The first 5 minutes of Crazy, Stupid, Love sets the tone for what is to come in a fitting manner, the realistic dramatic main course offered with a side-ordering of comedy. The way in which the comedic moments are almost underpinned by drama is the secret to this film’s success. However, unlike an Alexander Payne film, convention manifests as the film endures, but it is to the credit of the filmmakers – and the scarily top-notch supporting cast (Emma Stone, Marisa Tomei, etc.) – that this doesn’t hinder events. In fact, a left-field out-of-place plot twist provides the cherry on top purely for the way in which it defies convention with its occurrence, yet would leave the film lacking that extra punch if absent.

Okay, so the ultimate product may be verging on unbelievable, which drags a film that heavily relied on upholding realism downwards - but surely it becomes irrelevant if by the end credits you have a smile fixed onto your face, or dare I say it, tears rolling down your cheeks? The most unforeseen charming film to shout about for a long while, Crazy, Stupid, Love is what it says on the tin: it’s a crazy concept with stupid moments… but you’ll love it.

4/5

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Cars 2

2011, U, Directed by John Lasseter and Brad Lewis
Starring: Larry the Cable Guy, Owen Wilson, Michael Caine, Emily Mortimer

Although back in 2006 Cars didn’t break any Pixar records, it sure has endured as something of a merchandising storm – so much so that the presence of the beloved characters (something that Pixar are unrivalled in creating) combined with head honcho John Lasseter’s personal involvement led to the animation studio’s second sequel. Instead of retreading a formula however, the engine is revved and the stakes are upped. Not only are we based in Radiator Springs, the rediscovered lost town from the first film, but on a full-speed trip around the world where three-time Piston Cup champion Lightning McQueen is battling to win the World Grand Prix. What seems like a straightforward contest soon uncovers itself through tag-along Mater who embroils himself in a covert spy operation, led by Finn McMissile (Caine). Whilst the first film didn’t set critics eyes ablaze upon its first visit, it still remains a brave decision to make this so different – what Cars ironically lacked in fast set-pieces was more than compensated for in character. The gear stick is completely shifted here; and this is where Cars 2 is in danger of rolling backwards down the hill it has so far cruised up.

Where the first one was said to have stalled, this one races ahead and is in fear of leaving audiences trailing behind. Focus is now on Mater, the goofy but loveable tow-truck friend of McQueen and the credible voice work ensures Mater doesn’t frustrate, but endears (note how Larry the Cable Guy takes lead credit here from Owen Wilson). The true joy of Cars 2 is not what appears on the surface but the surrounding detail. Pixar are well-known dab hands at planting things within the frame that take a few watches to manifest themselves. Combine this with the adventurous quality at play and you have a Pixar sequel that doesn’t sustain the greatness of its predecessor (like Toy Story 3 effortlessly managed to do) but provides enough charm to convince as a rollicking fun ride. Reserve your parking space now (admit it, you smiled).

3/5

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Cars

U, 2006, Directed by John Lasseter and Joe Ranft

Starring: Owen Wilson, Larry the Cable Guy, Paul Newman, Bonnie Hunt

After reaching such stratospheric success not only critically, but commercially with the Toy Story’s and Finding Nemo - amongst others - an increasing amount of pressure is layered onto whatever Pixar decide to do next. Back in 2006, John Lasseter – the main man behind the creation of Woody and Buzz – introduced the world to a universe that doesn't feature toys, monsters or superhero families – but cars. In doing so, he unveiled probably Pixar’s most underrated outing to date. The plot follows racing car Lightning McQueen (a character now possibly in every young boy’s toy collection) who is en route to California to race a tie-breaking match for the yearned after Piston Cup. However, a turn of events leads him away from the interstate and towards Radiator Springs, an abandoned town that is home to a quirky set of car-acters; these include slow, southern-drawled Mater, the most loyal tow truck the big screen has seen, as well as grouchy Doc Hudson (voiced by Paul Newman in what was to be one of his last roles).

Granted, Cars lacks the immediate spark that previous Pixar efforts effortlessly emanate, but it would be unfair to judge what Lasseter deems his most personal film on previous successes. This is one hell of a slow-burner, with the script containing more than a full tanks worth of adult-aimed witticisms than first remembered. With the emphasis usually on characterisation (and pitch perfect voice casting), Pixar here raise the bar visually, evidenced no more than in the opening race sequence. The attention to detail is overwhelming and creates such a well realised universe that it is impossible not to be charmed by the entire thing. It really is up there with the ocean in Finding Nemo or the barren landscape of Wall●E. Although the film runs out of gas towards the end, there are enough lovely moments to keep you smiling and caring about the outcome. It comes as a surprise the extent to which Cars engrosses you; although this animated team makes no secret about wanting the audience to be snivelling into a tissue come the credits, you are caught off guard a few times here (a scene towards the film’s close beautifully pits in true Pixar fashion the importance and power of friendship) as a lump in your throat emerges. Strangely, Cars improves on re-watch – and only then will you agree with me that this film deserves more recognition. Not as obviously amazing as any of its predecessors, this is still top stuff.

4/5 

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Crazy Heart

2010, 15, Directed by Scott Cooper

Starring: Jeff Bridges, Maggie Gyllenhaal, Robert Duvall, Colin Farrell

  

“Funny how fallin’ feels like flyin’ “, sings aged country star Bad Blake in Scott Cooper’s warm must-see Crazy Heart. Welcome to Jeff Bridges’ The Wrestler, in which he does not portray – but embodies – the loveable screw-up of a protagonist who lives off past glories purely due to his inability to stop drinking and driving those closest to him away. Bridges, performing to what can be described as the most deserved Oscar-winning standard there has been for a while, is Bad Blake. And don’t you doubt it. Support in the form of a terrific Maggie Gyllenhaal as the reporter who endears herself to Blake, and a cool, ever-versatile, if a little random Colin Farrell adds to the venture. The T. Bone Burnett written classics layer an authentic feeling to the equation also. If Cooper and Bridges are fallin’, they must certainly be soaring.

4/5

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