Scream 2

1997, 18, Directed by Wes Craven

Starring: Neve Campbell, David Arquette, Courtney Cox, Liev Schreiber

The joy of the original Scream lay in the fact that it was a mock-up of the convention it was successful in being. More of the same then in Scream 2 which focuses on the tropes every sequel adheres to, including the fact that they rarely surpass the quality of the original. Although this may be true here, Wes Craven’s follow-up is by no means a disaster. In fact, it is a highly enjoyable watch that features more jumps and tense-ridden scenes (look no further than the moment where Sidney must crawl over an unconscious Ghostface killer to escape a crashed car). Beginning with an opener not quite as memorable, but as effective and tongue-in-cheek as number one, Scream 2 reunites the survivors of Woodsboro two years later as a copycat killer decides to leave victims lying around fresh after the release of Stab, the cheesy film based on the Woodsboro killings. The Scream film’s strong points are the engaging characters and with a longer running time here, there is more opportunity for interaction between these creations (most entertaining being Cox's Gale and Jamie Kennedy's Randy). There are moments which drag, however with passable performances all round, a slick script (the unsung hero, Kevin Williamson) fit with deft direction and a genuine surprise climax, it is no wonder something so grisly can be so fun. Fittingly, it doesn’t manage to surpass the first one – but hey, maybe that’s the point!

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Scream

1996, 18, Directed by Wes Craven

Starring: Neve Campbell, David Arquette, Skeet Ulrich, Courtney Cox

The slasher film is a difficult genre to nail and yet countless filmmakers take a stab at it hoping that they will provide their audience with a fresh original take that they probably do not need, but will enjoy. After a slew of horror hits dating as far back as 1972, including The Last House on the Left, The Hills Have Eyes and A Nightmare on Elm Street (all of which have been tellingly remade), Wes Craven ingeniously adapted his love of all things bloody into a fresh groundbreaking take on that same genre. The plot is simple: a killer who has watched one too many scary movies terrorises teens of Woodsboro exactly one year after the particularly gruesome death of the mother of Sidney Prescott (Neve Campbell). And so it is, Scream in it all its gruesome glory, doesn’t reinvent, more re-establishes the rule book. Amongst the slashing, there is a massive element of comedy: Jamie Kennedy’s horror-geek Randy runs through the dos and don’ts whilst watching Carpenter’s Halloween. The film verges on spoof without ever reverting to silly tactics; it is through the references to film’s past that the believability of these characters (Arquette’s hapless cop; Cox’s vivacious reporter) is reinforced and the tension raised. It is for this reason (combined with the iconic Ghostface) that Scream has emerged and will continue to be something of a modern horror classic. The film spawned three sequels, the fourth hitting cinemas last week 11 years after Scream 3.

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Hot Tub Time Machine

2010, 15, Directed by Steve Pink
Starring: John Cusack, Rob Corddry, Clark Duke, Craig Robinson

John Cusack is a crowdpleaser. Working his way through teen comedies, a few mystery dramas and disaster flicks, he manages to make something not-so-great into watchable fodder. Hot Tub Time Machine, much like his purely awesome Grosse Pointe Blank (also directed by Steve Pink) contains the theme of reflection about times gone past. Only, this is about a million times crazier. A group of disbanded friends reunite when one attempts suicide. Heading to a hotel they stayed at during a particularly memorable time of their lives, they get into the hot tub – only to be thrown back to 1986. Pink’s nostalgic offering is filled with enough raunch and chucklesome moments to direct this towards a contemporary audience, as well as long-time Cusack fans. Add Crispin Glover to proceedings as a one-armed bellboy whose 80s version still has his limb intact and you will be guaranteed a silly amount of hilarity-filled set-pieces in which you wait for the inevitable. As long as you are seeking something not in any way taxing and completely removed from reality, that will make you grin like a child (who the hell isn’t?), then have a soak in this hot tub. When all is said and done however, the feeling remains that without Cusack’s presence, this would barely be watchable.

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Source Code

2011, 12, Directed by Duncan Jones
Starring: Jake Gyllenhaal, Michelle Monaghan, Vera Farmiga, Jeffery Wright

Duncan Jones deserves recognition. Known at the time as ‘David Bowie’s son’, his 2009 debut Moon sent the science-fiction genre soaring sky-high after something of a lull. Not only that, but it was one of the most genuinely gripping and original offering of that year. Now he’s returned to earth, taking a script written by Ben Ripley and managing to acquire Sam Rockwell-standard from Mr. Jake Gyllenhaal himself. And being handed a bigger budget, cast and room to work with luckily hasn’t made Jones tone down on the confusion levels either. The plot sees Colter Stevens wake up on a train that explodes 8 minutes later. Only, Colter is part of a scheme that enables him to relive those 8 minutes time and time again so he can uncover the culprits behind the explosion. Think Groundhog Day meets Inception.

It goes without saying that Gyllenhaal – on-screen practically for the entire 94 minutes – convinces in what could have been an overtly serious role. Through his characterisation of Colter, he conveys confusion and fear of a man who knows he is about to be blown up (again) with a dash of charm and humour. These moments are most prominent when he shares the screen with Michelle Monaghan’s Christina. In short, the Kiss Kiss, Bang Bang star is a revelation. Repeatedly acting out pretty much the same scene in the same place is no mean feat, yet one that she consistently brings something new to through the charisma she exudes. She is a calming presence amidst the chaos. Knowing her inevitable fate on the doomed train aids Source Code in such a way that when Colter is adamant to discover if he can save her from an explosion that has already occurred, you understand his intentions. Vera Farmiga also delivers on a potential one-note performance as the officer who cannot tell Colter too much when he returns to the present.

With Source Code being a time-bending out-and-out science fiction offering, it is suffice to say that multiple viewings are required and will most probably enhance the experience. The film, like Moon, is gripping and original. However, unlike Jones’ debut, the climax – although hitting all the right notes – seems a tiny bit muddled for the sake of debate. This is only a minor flaw to what is a grand system. The film after all is what you make it; and I make it another boundary-pushing success for Jones. My money’s on David Bowie’s son making it a hat-trick.

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Valentine's Day

 
 

2010, 12, Directed by Garry Marshall

Starring: Ashton Kutcher, Jennifer Garner, Bradley Cooper, Julia Roberts

 Assembling a mammoth cast of stars for a film that focuses on one particular time of the year is becoming something of a necessity in Hollywood, whether it is for money or fun. Love, Actually proved this could be both. Valentine’s Day struggles to continue this notion. Aptly set over the period of one day, we are intermittently introduced to a straggle of characters and their personal 14^th February. Cue Julia Roberts here, Jessica Biel there and Jennifer Garner everywhere. Granted, the stories are easy to follow, and agreed, some of the character interaction remains somehow unexpected (a reveal near the film’s climax manages to tug at the heart strings). But the problem with Valentine’s Day is that there is an attempt to fit too much in to a running time that is already half an hour too long. With the A-list cast at his feet, Garry Marshall does his hardest to humanise these characters and their situations, but ultimately it does prove difficult to look past the fact that Ashton Kutcher, Bradley Cooper and Jessica Alba are simply playing themselves for a large pay cheque. Nowhere near as bad as everyone makes out however…

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He's Just Not That Into You

2009, 12, Directed by Ken Kwapis

Starring: Ginnifer Goodwin, Justin Long, Bradley Cooper, Jennifer Aniston

The problem with films like this stem from the fact that there are so many of them; cinema is (well, should be) innovative and yet another rom-com is going to do nothing to dispel the fact that there a Golden Age is long behind us. Every now and then, something will come along to disprove this. Make no mistake: He’s Just Not That Into You is not one of those films. But it isn’t that bad either. Ginnifer Goodwin is Gigi, an unlucky-in-love individual who has no idea what she is doing wrong when it comes to the opposite sex. It is through this confusion that we are introduced to various other examples of ‘him not liking her’, each character connected through another. Suffice to say, these include Ben Affleck who believes he does not need to marry Jennifer Aniston to prove his love for her, and Justin Long – a highlight as Alex, a part-time relationship expert who befriends Gigi. Just go along with it and you will be entertained.

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The Fighter

2010, 15, Directed by David O. Russell

Starring: Mark Wahlberg, Christian Bale, Amy Adams, Melissa Leo

You may think that a rags-to-riches tale of a boxer who doesn’t just fight for an occupation, but for life has been done before. You may even be correct. Rocky, Raging Bull, Million Dollar Baby; each film very different from the last but fundamentally similar (and all recognised by Oscar). It is a shock then that David O. Russell’s The Fighter, centering on Mark Wahlberg’s Micky Ward, is a welcome breath of fresh air. With Wahlberg, The Fighter finds its heart. He merges the perfect level of independence, whilst remaining a loyal family man; a refined individual, Ward has lived in the shadow of his brother Dicky his entire life. With Dicky, played to characterised Oscar-winning bliss by Christian Bale, the film finds its comedic, yet tragic route. A former boxing champion, the only hobby he dabbles in these days is snorting drugs. He is a mess, but underneath it all, a less independent, but loyal bloke, just like his brother. He hides behind the matriarch of the family, Melissa Leo’s Alice Ward. Loving to her offspring, vicious to intruders (which Micky’s girlfriend Charlene – a self-assured Amy Adams – soon realises), Leo delivers what could have been stereotypical, and steers it to memorable, and like Bale, award-winning status. Although O. Russell’s direction captures everything that is required, and in some cases a lot more (a pull-back sequence at the beginning of the film lingers in the memory), this is very much the performer’s film. Every cast member plays an ace here, Bale being the obvious standout (it’s impossible not to raise a smirk when he invites Sugar Ray Leonard, a cameo from the former opponent himself, for a ‘cold one’) – but his performance is complemented from the wholly understated one from Wahlberg. As the film’s heart, he provides the elements necessary for the success the film deserves, and in doing so propels the film to life.

4.5/5

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