American Hustle

15, 2014, Directed by David O. Russell
Starring: Christian Bale, Amy Adams, Bradley Cooper, Jennifer Lawrence

  

American Hustle's tone is set from the opening caption, citing the events of the film as 'mostly true'. David O. Russell's 70s-set caper - which is, yes indeed, loosely based on the FBI ABSCAM operation which saw a pair of con artists forced to set up a sting corruption in order to frame several politicians - is the follow-up to his adorned Silver Linings Playbook (2012), recasting both Bradley Cooper and Jennifer Lawrence in roles secondary to The Fighter's (2010) lead talent, Christian Bale and Amy Adams. With the zaniness amped up, here they play the con artiste counterparts Irving Rosenfeield (complete with hilariously terrible toupee) and Syndey Prosser (complete with hilariously terrible English accent), with Lawrence impressing (who'd have thought it...) as the former's erratic wife, and Cooper slipping into the shoes of undercover agent Richie DiMaso - damn near stealing the film from under everybody's wigs..

Throughout, however, O. Russell distractingly conveys the feel of a picture attempting to capture Scorsese movie magic, instead lacking the required punch that pushes that filmmaker's features towards modern classic status. The whole aesthetically-charged setting of the decade is realised well, with each actor throwing themselves into their assigned role with aplomb. Bale and Adams both impress, dealing with quite a script that captures screwball wit well - most brilliantly utilised by Cooper, his scenes with comedian Louis C.K. reigning most supreme in the membrane. As is the norm ever since her role as Ree Dolly in Winter's Bone, no review would be complete without talk going the way of Lawrence, proving as firecracker Rosalyn that comedy still remains no biggy.

With every character untrustworthy up to their eyeballs, it doesn't prove teeth-sinking material, one questioning whether you would gladly decide to spend time in their company for a rewatch once the screen fades to black. The hard irony O. Russell befalls is that American Hustle would probably benefit from such a rewatch, it's sprawling tangential editing not as slick as all involved believe it to be. But with many a laugh-inducing moment, and a neatly played cameo (that adds to the earlier Scorsese theory), American Hustle is perhaps a bit too ahead of the curve for it's own well-being, but still exists on a scale above most films released this January.

3.5/5

 

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The World's End

2013, 15, Directed by Edgar Wright

Starring: Simon Pegg, Nick Frost, Paddy Considine, Eddie Marsan, Martin Freeman, Rosamund Pike

Teased for what feels like an age, the final slice of Edgar Wright's genre-juggling 'Three Flavours: Cornetto' trilogy (kick-started with the near-decade old Shaun of the Dead, followed four years later by the somehow superior Hot Fuzz) arrived this summer amongst a wave of superhero sequels and animated minions. All it takes is a few short scenes to settle into the company of Simon Pegg, Nick Frost and the remainder of the ensemble before realising the territory is identical to those previous yarns, allowing the viewer to approach the entire thing as comfortably as a catch-up down the local with your pals. The World's End is almost identical in tone to the films that have launched the careers of all three to heights they'd have never expected sat on that Spaced apartment circa '99: both zombie horror of the 60s and buddy cop actioners of the 70s have come before, with attention now fixed upon 80's sci-fi. The plot sees Gary King (a never better Pegg, on dickhead form) beg his former teenage beer-guzzlers to reunite in their old sleepy town of Newton Haven. Why? Well, to neck a pint in each of the 11 pubs that make up 'the golden mile,' beginning with 'The First Post' and culminating at 'The World's End'. The more boozed up the gang get, the more awry things becomes - largely thanks to the strange beings that seem to have occupied the sleepy town's residents.

The screenplay, as you'd imagine, is filled with dialogue placed to destroy you with laughter, and each amassed cast member (Paddy Considine, Eddie Marsan, Martin Freeman) ensures their character could stagger about on their own two legs in their personal sitcom.  But this is Pegg's moment. In an at-first alienating switcheroo with the former catalogue of Frost, everybody knows a Gary King (read: annoying 'mate' you'd like to punch in the jaw but can't help but greet with laughter.) The quickfire montages - long since a trademark that sets these comedies apart - take tongue-in-cheek form here, becoming neat visual gags (4 pints and a tap water), repeated but never repetitive, wittily-choreographed sequences that would've made Chaplin chortle, the aesthetically-pleasing 90s soundtrack: these are five ordinary guys doing something ordinary, but it's the talent, not the budget around them, that makes the whole thing extraordinary. 

Between this and Alan Partridge: Alpha Papa, the magic of British comedy shines oh-so brightly.

 4/5

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The Secret Life of Walter Mitty

12, 2013, Directed by Ben Stiller
Starring: Ben Stiller, Kristen Wiig, Shirley MacLaine, Sean Penn

 

       

Not a remake of the 1940's Danny Kaye classic, but a re-imagining of the short story that inspired it, The Secret Life of Walter Mitty bounced from hand-to-hand before settling in Ben Stiller's mitts. An actor/director not known to take the understated approach (he struck a pose in Zoolander and shot a war flick in Tropic Thunder), here he does just that both behind and in front of the camera; astounding for a film that features an outlandish sequence involving the central character daydreaming himself as a Benjamin Button figure, cradled in the arms of his 'young' love.

Stiller juggles most of the elements carefully, introducing characters to root for (the voice of Patton Oswalt's eHarmony customer rep pre-empts his later appearance) and others to boo at (step forward Adam Scott, clearly having a chuckle playing cocky company man Ted Hendricks) whilst providing genuine awe. Setting off around the world to find a missing negative taken by Sean Penn's mysterious photographer, Mitty - aloof daydreamer of elaborately heroic scenarios (segued into seamlessly) - begins an adventure of his very own. Tone-juggling, genre-shifting and with a finale that'll leave your heart warmer than a summer's day, this film could be Ben Stiller signalling to us all how he his career path is headed in an unexpected direction, and one tinted with intrigue.

4/5

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Saving Mr. Banks

2013, 12, Directed by John Lee Hancock
Starring: Emma Thompson, Tom Hanks, Bradley Whitford, Colin Farrell

 

One of the most frustrating factors in biopics are usually the wasted opportunity to explore the most interesting of characters. 2013 was the year of Diana, remember. Conversely, there are those that present us with a blurred real-life figure who is shifted sharply into focus by an enthralling piece of cinema (George Clooney's Confessions of a Dangerous Mind springs to memory.)

It's something of an alarm to realise that somebody whose life hasn't been placed under microscope and in front of camera is one whose very influence still shapes cinema today - Walt Disney; a powerhouse historical figure, who audiences would gladly delve into a film of... But be sure, Saving Mr. Banks is not it.

Instead, John Lee Hancock (The Blind Side) opts to show us the fortunately screen-friendly story of the legendary Mary Poppins' journey from the English page of P.L. Travers to the Hollywood studio of the moustachioed mouse-creating maestro. Uppity tea-sipping author Travers is played by Emma Thompson, an actress so adept at doing pretty much anything and achieving the desired response - here, she frustrates at her refusal to give up her novel to a bunch of savages who she's convinced would rip the pages to pieces and destroy the character she so lovingly crafted. Sitting in on - and recording every word of - the read-throughs with producer Don DeGradi (Bradley Whitford) and composing Sherman brother duo (B.J. Novak and Jason Schwartzman), these scenes shine with an air of irrationality, and will glisten with your giggle (ironic, considering their later assurance of hatred for Travers.) Thompson takes the irrefutably tough-to-like and difficult to encrypt author, and turns her near-stereotypically fuddity into a comedic flourish.

Yet this is very much a film of two halves. Providing context behind the creation of Mary Poppins ('never ever just Mary,' she scolds at one stage) and her longing to preserve the beloved character from becoming just another pretty woman who sings, are childhood flashbacks. Travers grew up on a ranch in Australia, where her father Mr. Banks (Colin Farrell) fed her fairytales and fantasies, whilst swigging bottles of alcohol and destroying his family on the sly. There's hints to quite a tragic upbringing, and moments in the film's present that correlate with specifics of the past, yet whenever we flit back to that ranch, the film loses the very magic ole' Walt would have ensured was there. They seriously endanger the fluidity of Saving Mr. Banks, despite some pleasant performances from Farrell and child actor Annie Rose Buckley.

Much like a Beatles fan gets joy from hearing original recordings of classic tracks, Mary Poppins fans can revel in seeing the creation of now-familial tunes. With much to love on the surface - genuine laughs, and a charmingly sweet appearance from Paul Giamatti as Travers' driver - and the closest the film allows her to have as a friend - the structure is toppled by the tedious reversion to backstory. Omitting these would have done the film some saving.

3.5/5

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World War Z

2013, 15, Directed by Marc Forster

Starring: Brad Pitt, Meirelle Enos, James Badge Dale, Matthew Fox

The cinema incarnation of the zombie has seen radical changes since George A. Romero’s ground-breaking Night of the Living Dead crawled it's way onto screen. With every new zombie film comes the sniffy critics, microscopically analysing all elements - with the agility of the killing machines as much the focal point as the political subtext they inevitably must convey (not to mention what the characters brandish them - something TV show The Walking Dead deals with whilst pressing tongue firmly in cheek.) World War Z, based on the 2006 novel by Max Brooks (son of Blazing Saddles director, Mel,) takes an interesting stance on the genre; the film – after a heart-pumping opening montage sequence - begins in Philadelphia, introducing us to the Lane’s, comprised of Gerry (Brad Pitt,) Karin (The Killing’s Meirelle Enos) and their two children. Within ten minutes, hell is breaking loose, cities are being overrun, and it is the double helping of Marc Forster’s snappy direction and Roger Barton and Matt Chesse’s quick-fired editing that will leave you questioning the image you’re sure you’ve just witnessed…this causes an unsettling air to descend upon the film, the slots falling into place for what is to come.

...It's unfortunate then that World War Z dips in a second act which sees Pitt’s former UN employee reluctantly agree to scale the world in hope of finding the source of the outbreak. Lazily structured, Forster relies upon striking imagery and standout set-pieces to ensure the film remains watchable – with not enough made upon the novel’s commentary on overpopulation. You may have heard about the whole thing somehow ending up in Cardiff, yet these are the scenes where the tension of the opening segment is thankfully restored in an extended set-piece captured so annoyingly well that taking a few ‘hold-your-breath’ lessons wouldn’t have gone amiss. Save for these solid moments, World War Z remains largely unremarkable, falling short of the promise conveyed in act one.

3/5

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Arbitrage

2013, 15, Directed by Nicholas Jarecki  
Starring: Richard Gere, Susan Sarandon, Tim Roth, Brit Marling
 

Nicholas Jarecki’s audacious debut Arbitrage (the practice of taking advantage of a price difference between two or more markets - no, I had no idea what it meant either) stars Richard Gere as hedge fund business magnate Robert Miller, a ruthless chancer who makes one error too many in the midst of making a vital sale of his trading empire. Surrounded by wife Ellen (Susan Sarandon,) daughter Brooke (Brit Marling,) and a savvy detective sniffing around his dealings (a smarmy Tim Roth,) Gere impressively juggles Miller’s descent with a much-missed charisma akin to roles from yesteryear. It is to the actor’s credit that you sympathise with a character who, when stripped back, is a quite detestable money-obsessed crook. First-timer Jarecki (who not only directs, but writes an accessibly bold script) has dealt a well-created character, translating him to screen with relative success. However, Arbitrage – as beautiful as it looks (props to cinematographer Yorick La Saux) – remains hollow behind the eyes, the film reverting to the ways of its protagonist by providing an ambiguity over its final moments that dishonours most of the material that has come before it.

 

   3/5   

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The Hunger Games: Catching Fire

2013, 12, Directed by Francis Lawrence
Starring: Jennifer Lawrence, Josh Hutcherson, Woody Harrelson, Sam Claflin

Behind every good franchise is a sequel to remember; a second outing superior to its original, seguing comfortably into the third (or fourth, fifth et al.) instalments, cramming in more than before, but balancing the load to a manageable degree. Let’s not be misled in believing all sequels are good… hell, more fail than achieve the goal of continuing the success of its predecessor (with many not even warranting a second outing in the first instance.) But before this becomes an essay on the sequel, and how Toy Story 2 is probably the best the world has seen, let’s revert things back to the franchise in question: The Hunger Games.

Based on Suzanne Collins’ trilogy of teen lit, The Hunger Games was an unprecedented smash when it landed in 2011, translating the Battle Royale-esque plotline to screen with fervour and furthering the rise of then-rising star (now superstar) Jennifer Lawrence. In her first role since her Silver Linings Playbook Oscar win, sequel Catching Fire starts pretty much where we ended up with heroine Katniss Everdeen a winner of the Games in the eyes of Panem (alongside Josh Hutcherson’s Peeta,) an influential sign of rebellion in the eyes of the lower Districts and a problem that must be dealt with in the eyes of President Snow (Donald Sutherland.) From the intrusive opening shot of Everdeen, we’re squarely behind her every move from start to an equally as intrusive closing shot. From her secret hunting rendezvous’ with childhood would-be sweetheart Gale (Liam Hemsworth) to her victory tour induced makeover courtesy of affluent ‘team’ leader Effie Trinkett (Elizabeth Banks,) Lawrence carries near every moment of this entire film.

Gary Ross’ predecessor provided a mere glimpse into the world of Panem and the inhabitants of the impoverished District 12, but its Francis Lawrence’s privilege to provide his audience with an expansive viewpoint of this snapshot of Panem, a place rocked by Everdeen and the two fingers she so openly raised to President Snow and the Capitol at its climax. It’s the unwilling acceptance of the fact that openly embracing her actions will more than likely end with a bullet to the head (shown with striking effect in a brilliantly-edited scene where the two victors visit the District inhabited by the devastated family of Rue, the young companion of Katniss’ in the Games.) Missteps present themselves through the the odd line that may cause the eye to roll – pretty much exclusive to the love triangle between Katniss, Peeta and Gale – and save for a few scenes, Katniss’ mother and sister – the safety of whom she’s so desperate to preserve – barely feature.

Yet the secret to this adaptation is a well-juggled structure, with many of the book’s plot points featured but with convenience to the running time; Lawrence is the viewpoint of the audience – her shock is our shock, her emotion is our emotion. Not only this, but an eclectic off-beat cast clearly having the most fun they’ve had (scene-stealer Banks, Stanley Tucci as flamboyant TV host Ceasar Flickerman, Woody Harrelson as sozzled mentor Haymitch;) such is their success that it’s almost chilling when characters like these face the facts and fleetingly show their knowledge that times in Panem are changing…

It’s when the exceptionally imagined final hour occurs (the less said the better) that Catching Fire burns (I had to) up the rulebook and establishes itself as a breathless equel to remember; thus elevating this franchise to a status head and shoulders above the rest.

4/5

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