Prisoners

It's Thanksgiving, and the Dovers have been invited to spend the day at the Birches. After dinner, their two young daughters Anna and Joy go to play, but later the parents and siblings realise the two young girls are missing. After they track down a suspicious RV that was parked in the area, the driver is revealed as Alex Jones, a man with the IQ of a ten year old. The evidence isn't there and Alex is released, but Keller Dover refuses to believe Alex didn't do it, and so tracks down and imprisons Alex in his former house, torturing him relentlessly until he gives up the location of the girls. However, Detective Loki is more interested in the suspicious character he witnesses at a vigil being held for the two girls...

The Black List is a list produced every year of the most exciting unproduced screenplays without any studio attachments. Previously the list has contained gems like Juno, Lars and the Real Girl, The Social Network and Up in the Air. Prisoners is another such film, ranking fourth on the Black List way back in 2009. Almost immediately after its inclusion, X-Men's Bryan Singer signed on to direct with Mark Wahlberg and Christian Bale on to star. Then, Wahlberg and Bale were forced to leave after a scheduling clash with The Fighter, and Singer departed soon after. Next up was Antoine Fuqua on to direct, then Daniel Espinosa who would have had a fan of his, Leonardo DiCaprio, star. Finally, Denis Villeneuve signed on to make his English language debut with Hugh Jackman, Jake Gyllenhaal, Terrence Howard, Viola Davis and Melissa Leo on board to star. Finally, after nearly 5 years of production turmoil, Prisoners has come to the screens, but can it deliver the heavy punch it promised to deliver back when it was on the Black List? Overwhelmingly yes, yes it can.

I'll be honest, the trailer is extremely deceptive. I was not expecting Prisoners to be the way it was, but in a way, I'm glad it didn't deliver on the trailer. Having watched Prisoners, I felt more rewarded than I probably would have done had I seen the film I was expecting to see. Confused? Don't be. Prisoners is certainly a thriller, the trailer got that right, but it goes far darker and twists and turns more than the trailer lets on. Perhaps that's a good thing, it doesn't divulge any of the films secrets (I'm not spoiling anything, it's a thriller, there are going to be secrets which are ultimately revealed). It's an extremely clever script, with multiple threads running concurrently along one plot line. It's all kept under control, and everything ultimately comes together, there's not a thread left untied and that's something that's hard to come by in today's modern cinematic efforts. However, it is able to tie everything up by extending its running time. This is a long film, and it feels like it. You realise two or three times during the film that you've been there a long time and it still  doesn't look like being over any time soon.

What makes the long running time feel even longer is the fact the film deals with some extremely dark material; kidnapping, missing children, psychopaths, torture, forced imprisonment... This is not a light hearted film. The film is bright and sunny for roughly 10 minutes, until the children go missing. After that, you know it's downhill from there, much like Mystic River, except this explores territory unseen in a film that deals with child abduction before. You get the grieving parents, of course, and the tough determined cop, but the film branches out into scenarios you wouldn't expect, scenarios which are at times extremely difficult to watch. But, it's a cracking mystery, one that leaves you guessing right until the very end and one that comes together nicely over the space of two and a half hours. There's a lot to get through, and there's a lot of time to do it. All the while, the cinematography in this film is great, there's a lot of contrast between man and nature on display as decrepit buildings and mother nature steal the frame. It all ties into the heavy theme of the film, and so relies on some top draw performances from its leads to be able to carry out this traumatic experience.

Hugh Jackman, unfortunately, seems out of place as Keller Dover, a man who's lost his daughter and is desperate to get her back by any means necessary. He doesn't fit the character very well, no matter how hard he tries. Don't get me wrong, it's not a lazy performance by any means, he just doesn't ever seem comfortable with what he's being asked to do, which leaves him unable to deliver the necessary emotion required for such a sensitive role. However, on the flip side, Jake Gyllenhaal is fantastic as Detective Loki, performing a gruff outsider role that goes against type, and he delivers in spades; this may even be on of his best performances I've ever seen, and he's had some good ones. Aside from these two, Terrence Howard and Viola Davis are unremarkable as the Birches, as is Maria Bello as Keller's wife. Paul Dano never goes full retard playing Alex Jones, and he does well in an extremely difficult role. Finally, Melissa Leo is surprisingly good as Holly Jones, seemingly a bit-part character who Leo truly makes her own in the second half of the film and makes her one of the stand outs in this film.

Overall, Prisoners is an extremely hard film to sit through, not that it's bad, it's just an extremely uncomfortable subject matter and viewing experience. The subject matter is dark and continues to get darker as the film progresses. However, this is all necessary to tell what is ultimately a very clever story which utilizes its characters and surroundings well. It hasn't received much attention, and it'll probably disappear into the ether, but you can do a lot worse than to sit down for a few hours and watch this. Like Sympathy for Mr Vengeance, it's a dark story that'll make you sit up and pay attention. It never exploits, it only ever tells a story. Good luck.

Rating: ****

Only God Forgives

Billy and Julian live in Thailand and run a boxing club. Except they don't. They run an underground drug smuggling operation. When older brother Billy rapes and kills a young Thai prostitute and surrenders to the police, it's not the police who take revenge, rather Lieutenant Chang, the "Angel of Vengeance", brings in the girl's father and allows him to beat Billy to death. As Julian goes on the hunt for the man who killed his brother, their mother Crystal turns up demanding vengeance. When Julian realises the man who killed Billy is suffering enough after losing an arm at the hands of Chang, he lets him go, but Crystal has other ideas for the people who have wronged her family...

I'm not going to lie to you, I thought Drive was spectacular, and thoroughly under-respected outside of critical and academic circles. Everyone I know loves it, then again most of my friends are the kinds of people who like obscure and over-looked films. It's one of those films people will tell you is good and that you need to watch it. Much like any other work by Nicolas Winding Refn. The Pusher trilogy, Valhalla Rising, Bronson... Art house cinema that attempts a mainstream audience yet couldn't find it until Drive. Starring Ryan Gosling. Now we comes back with Only God Forgives. Starring Ryan Gosling. Rest assured, Refn is sticking to his now most popular style and only goes deeper and darker.

Firstly, Only God Forgives is a beautiful film to watch. It's been lavishly shot with the same stylistic verve and clinical precision that Refn came to perfect in Drive, and it makes the seedy underworld of Bangkok look stunning and, frankly, attractive. Secondly, there's little to no dialogue in roughly 90% of this film, which places the emphasis on two things; the aforementioned beautiful visuals, and the physical acting performances of its leads Ryan Gosling and Vithaya Pansringarm, playing Julian and Lt. Chang respectively. Essentially, Only God Forgives is a 90 minute game of cat and mouse played out subtly and violently. That may seem like a contradiction of terms, but here they combine to create a unique beast that's captivating and essential viewing.

The story is basic, and one that's been played out in a million gangster films: Crime family searches for revenge after family member murdered whilst constantly fighting poice. Except this is different. We're in Bangkok now, the police don't work the same way, and Lieutenant Chang thinks he's God, dishing out justice with a samurai sword. Plus Ryan Gosling never speaks, he acts. And he lusts after a prostitute. It's Julian's mother Crystal who causes the trouble. It's as if Julian understands the culture he lives in and that justice has already been done before Crystal searches for a higher justice. It's subtle storytelling, done largely through Gosling and Pansringarm's acting, and an incredible performance by Kristin Scott Thomas as Crystal acting largely as the mouthpiece for the action on screen. Even the film's use of music is minimal. Everyone remembers the soundtrack of Drive as much as the film. Here though, the action is kept as real as possible, the heightened reality is dampened by the sounds of real life, with music only used to punctuate particular sequences.

However, as I mentioned before, one of the two most important things here is the acting, and the quality on display here is immense. Ryan Gosling all but revives his character of the driver in Drive by playing a character without any emotion outpouring on the surface, but clearly feels sympathy and remorse and anger under the surface. However, he is equally matched here by Vithaya Pansringarm, who plays Lieutenant Chang, or the "Angel of Vengeance". Cold, emotionless, logical, and justice delivered at his fist or at the end of his samurai sword. He's a great find by Refn to match Gosling's gritty integrity here and only goes to make this a thoroughly darker, murkier affair to sit through. However, it's Kristin Scott Thomas who steals the attention here. Wearing a blonde wig and playing a role that contrasts both to every other character in the film as well as every other character she's ever played in her career, Crystal is a unique character who acts as the touch paper that starts the fire and keeps it burning to the bitter end through her dialogue and expressive visual acting.

Overall, it would be a lie to say I'd never seen a film like this before, because I have, made by the same director and starring the same lead actor. However, this goes further and way, way darker than Drive ever dared to go. It's an unrelenting and emotionally draining 90 minutes, which sounds short, but it's really not when you're sat in front of this visceral treat. It switches between the dark, the odd, the blackly humorous and the surreal with the greatest of ease and it all makes perfect sense. It makes sense because once you enter the world of Winding Refn, you're in for the full journey. And I am loving every minute of it at the moment.

Rating: *****

The World's End

In 1990, Gary and his group of friends Peter, Steven, Oliver and Andrew attempted the Golden Mile, a 12-pub crawl around their home town of Newton Haven, but failed to reach the last three pubs. In 2013, Gary attempts to reunite the group for another attempt at the Golden Mile. However, Gary's friends have all grown up and moved on, getting real jobs and making families. They've all grown up, with the exception of Gary, who's still as untrustworthy and impulsive as ever, drives the same car from 1990, and now comes with a myriad of addiction problems as well. The friends reluctantly undertake the crawl as they take pity on Gary, but as the night goes on, they realise something isn't quite right in Newton Haven any more...

Everyone has their favourite trilogy. Most would say Star Wars (the original trilogy), some might say Back to the Future, Lord of the Rings, maybe even Iron Man if they haven't watched many other films. Personally, my favourite trilogy, or at least the first two-thirds of it, was the Blood and Ice Cream trilogy, or the Cornetto trilogy, depending on what you call it. Edgar Wright and Simon Pegg's writing, Edgar Wright's direction and Simon Pegg and Nick Frost's performances had so far made for two exceptional British films: Shaun of the Dead (2004) and Hot Fuzz (2007). Films that everyone has a copy of, films that everyone can quote endlessly and films that everyone will watch whenever they're on TV. Finally, after a 6 year wait, double the wait between films 1 and 2, film number 3 comes out: The World's End. Will it be a case of Toy Story 3, or more a case of The Godfather Part III? Thankfully, this is more cowboys than Corleones.

Shaun of the Dead billed itself as the world's first "rom-zom-com", while Hot Fuzz was a good old fashioned buddy-cop film with a rural British setting. The World's End is a strange one to define, as there are plenty of social aspects it explores, whilst also mixing in a ton of sci-fi. Social sci-fi, perhaps then? Either way, it's a great character study as the other two films were, and mixes in a lot of laughs in an extraordinary situation the characters find themselves in. It's strange to see Nick Frost in such a straight-laced role, one that would usually be reserved for Pegg, while he pays the slacker role normally reserve for Frost. I think the reversal of roles plays well in the film's favour though, and changes the formula slightly but not dramatically and separates the film from being 'just another trilogy film'. It stands up, even if there aren't as many obvious laughs here as there were in Shaun or Fuzz.

A lot of this seems like a nostalgia trip for Wright and Pegg, from the characters to the soundtrack; never in the trilogy has it felt more like there were writing an extended, final episode of Spaced than it does here. They call upon all the things they grew up with and loved music wise and socially, much as they called upon their love of buddy-cop films with Hot Fuzz. There's also the running jokes within the trilogy that are carried on, partly for nostalgia, partly out of a sense of obligation to continue them. There's the use of a former James Bond actor, this time in Pierce Brosnan, the Bill Nighy cameo, the jumping over a fence joke, the Cornetto reference, they're all in there, though a couple miss the mark more often than not, as if they had no actual place in the screenplay for them and threw them in at random. That withstanding, the writing was generally top notch, aside from the ending, which I found to be lacklustre and unbefitting to the end of a film like this one, or even a trilogy like this one. The film looks great, all visual effects were top notch and the action sequences were great, especially impressive considering how many of them there are and how long they tend to go on for each time.

The performances were OK for the most part. Simon Pegg seemed to revel in playing a different role for once, and does really well as Gary. Nick Frost does well as the sober Andrew, but does better later on the film when he is allowed to revert to his standard character performance. Paddy Considine isn't as great as he was in Hot Fuzz, but it's a different role, perhaps one that doesn't quite suit him. Martin Freeman is great, because it's a Martin Freeman-type role, only smarmier and more uptight, meaning he's allowed to bring his A-game. Eddie Marsan is a revelation, however, playing a quieter role than usual but is able to shine through more than most of the other characters because of the writing for him. Rosamund Pike plays Rosamund Pike, so there you go.

Overall, it's unfortunate that this film will be always graded against Shaun of the Dead and Hot Fuzz, because on its own, it's a nice and funny film, but compared to the other two, it's just not as good. Maybe they should have gotten this film over and done with years ago when they were still riding high from the previous two's successes. It is funny, but only sometime in a laugh out loud belly laugh kind of way, mostly it's small chuckles or polite giggles. They go very heavy on character this time with a darker story line than what they'd previously dealt with, but it's refreshing to see them deal with it as well as they do and good for them for doing something different but still in the same vein. It's a very nice, if unspectacular, end to the Blood and Ice Cream trilogy. Let's leave it at this though, shall we, boys?

Rating: ***1/2

Man of Steel

Krypton is falling. The planet's natural resources are exhausted and the end of days are nigh. After giving birth in the planet's first natural birth in centuries, Jor-El and Lara send away their son, Kal-El, to Earth to escape both the planet and General Zod, Krypton's military leader who attempts a coup before killing Jor-El and ultimately being banished to the Phantom Zone. On Earth, Kal-El, now Clark Kent after being found by Jonathan and Martha Kent, is struggling to hide who he is, accidently displaying his super-strength in times of need. As he grows older, he outcasts himself and constantly tries to hide from everyone. That is, until one day, when he crosses paths with reporter Lois Lane, who finds out about him and what he can do. However, when General Zod comes to Earth to find Kal-El, it seems everyone may soon find out who exactly he is...

Superman is not only a comic book icon, but is Warner Bros's biggest intellectual property, earning them billions upon billions of dollars over a number of years. The original Superman quadrilogy is well known, although films 2, 3 & 4 are perhaps not known for particularly good reasons. After the franchise's last reboot in 2006, which also flopped, it seemed Superman was to be the franchise which would get lost amongst the current resurgence in comic book films. However, Warner Bros had no choice but to try again or risk losing the rights. So who could they possibly give it to? They tried giving it to the person who did so well with X-Men and X-2, so this time it went to the person who had saved Warner Bros's second biggest intellectual property: Batman. Christopher Nolan was given the reigns as producer, hired Zack Snyder as director and the rest is history. So has Nolan Batmanned Superman? Or has Snyder Sucker Punched it? It's somewhere in the middle of the two, unfortunately.

Man of Steel is supposed to be a collaborative work between Nolan as producer and Snyder as director, and yet the film has ended up being an awkward and disjointed two halves of a whole. The first half of the film, with Kal-El's back story, is all Nolan with beautiful cinematography, slow story telling, subtlety and compelling dialogue. The second half of the film, with Kal-El's battle against Zod, is all Snyder, with things exploding, ham-fisted attempts at meaningful dialogue and all the subtlety of a sledgehammer. What the first half of the film promised went undelivered in the second half, and that's a real shame, because the first half I loved, even if at times the visual style made it seem like I was watching a Terence Malick film. The second half was all style and substance was an afterthought and I was greatly disappointed. I understand Superman was a big responsibility to shoulder and they wanted to convey a grand sense of scale, but it all got too much and by the end, the climax was actually a welcome relief.

Speaking of the climax, I found there were two major problems with the end of the film. Firstly, no spoilers, but there was a matter of finality in the battle between Superman and Zod which I didn't appreciate. Batman never killed The Joker, and The Joker never killed Batman. That's how it should work, especially if they want to establish a franchise. Secondly, there's a line near the end of the film... From an army official to Superman, it was something along the lines of "How do we know you won't turn against America?" Wait, what? America? Was the battle between Superman and Zod not global? Did Zod not hold the entire world to ransom, not just America? Superman just saved the world, not just America. Also, can you still not trust him?! I put it to you that that line of dialogue, in the biggest film of the year so far, may be amongst the stupidest lines of dialogue spoken this year, this decade, ever? It's a colossal fuck up and shows a complete lack of forethought and sense of audience appreciation beyond America. Well done, David Goyer.

Aside from that, it's a really good looking film and the actors performances are all spot on, especially Russell Crowe as Jor-El, a surprising casting decision that's paid off. Henry Cavill looks great as the next Superman, though I'd still argue Brandon Routh from Superman Returns looked as close to the comic book Superman as there possibly could be. I just have one more personal gripe with Man of Steel, and the comic book film genre and their audiences in general. There's a lot of CGI in this film, which is understandable given the protagonist was born on an alien planet, can fly, shoot lasers from his eyes and has super strength. It gets obvious and is used by the bucket load in Man of Steel, but it will be looked over because it's a Superman film. When Green Lantern did exactly the same thing, people hated it. See the disparity? Just because Superman is a pre-existing franchise should be no reason to love it for the same reason people hated on Green Lantern, just because no-one knew who he was. People complain there aren't any new ideas for films any more; there could be if you gave the same kind of chances a Superman film gets to other potential franchises.

Overall, I liked the first half of Man of Steel. I liked it a lot. I wasn't overly sure about the second half. I liked the scale of things, but I feel they tried to make what was already an epic film in the eyes of the fans overly epic. It just got too much, but then maybe that's a reflection of modern film audiences. Have we been spoiled so much that now film makers feel they have to go OTT to try and create the feeling of an "event film"? It's a real shame, but in reflection, perhaps Snyder was the wrong man to take the wheel. People had their doubts after Sucker Punch, but I was convinced Nolan's influence would outweigh Snyder's penchant for style over substance. Unfortunately, it was just too much, and the two just couldn't work together to create a cohesive, compelling film. There will almost inevitably be a Man of Steel 2, and maybe Snyder will turn the director's chair over to someone else... Someone with experience with large-scale superhero films... Someone with experience of the franchise... Someone with a proven track record... Someone called Christopher Nolan...

Rating: ***

Iron Man 3

After the events in New York a year previously, Tony Stark isn't the same man. He's isolated himself, holing himself away in his lab with Jarvis, building a variety of Iron Man suit variations, and suffers from anxiety attacks whenever he thinks back to New York. But he needs to pull himself together when two problems rear their ugly heads. Firstly, The Mandarin, an international terrorist, has been taking over the airwaves and promising a series of attacks on America and the President. Secondly, Aldrich Killian, a scientist who Stark spurned years previously, has re-emerged touting his new regenerative therapy called Extremis. However, Pepper Potts fears Extremis could be weaponised, and her fears are confirmed when a series of super-fighters begin making Tony's life a living hell...

Welcome to Phase Two. The Marvel Cinematic Universe has entered its second stage. Phase One was all about leading up to the assembling of The Avengers, with Iron Man playing a key role; Iron Man 1 was ground breaking and was the first film made and released under Marvel's own production studio, establishing them as a cinematic force, and Iron Man 2 being the first film to begin the long lead up to The Avengers once and for all. Now, Marvel returns to its most successful franchise so far to kick-start the next phase and to wrap up the Iron Man trilogy. However, Shane Black has replaced Jon Favreau in the director's chair, but this is a new phase, it should be all about new beginnings, right? If Iron Man 3 is anything to go by, then yes, yes it is.

Iron Man 3 was always going to be a crucial film, because it's the first Marvel effort to follow the highly successful and universally acclaimed The Avengers, so it's of no surprise they've returned to their most successful franchise to start the post-Avengers phase, and I think they've gotten things right. The most praise-worthy aspect of Iron Man 3 is that it's grounded in what reality the Marvel Cinematic Universe has to  offer. The events of The Avengers isn't something easily forgotten, and Iron Man 3 sees Tony Stark almost as a shell of his former self as he tries to deal with what happened. You get the feeling Phase 2 will, for the foreseeable future, be focused on the fallout and consequences of The Avengers (I can only presume Thor 2 will deal with much the same given the key roles of Thor and Loki in The Avengers). I like that they're considering how big an event The Avengers was, and how much it will affect the individual characters. Also, I'd like to praise the plot to Iron Man 3.

The main antagonists, The Mandarin and Aldrich Killian, work well together and combined give Tony Stark the biggest fight of his life so far. I really liked the plot twist (no spoilers), even though it's gathered some negative reactions. I appreciated how it made Iron Man 3 a reflection of modern day terrorism, and I think it makes this film one of my favourite films that Marvel has produced. However, it's not all sunshine and lollipops. The writing in Iron Man 3 is, unfortunately, awful. I like the plot structure and how things unfolded, but the execution of the events made the film extremely predictable right from the beginning. If they only could have worked a bit harder in masking its plot twists and revelations, I would have enjoyed it even more, instead of feeling triumphant that I guessed what was happening or going to happen about 30 minutes previously. That's another thing too, Iron Man 3 is long, because they cram a lot into this. Imagine how long it would have been if the Pepper Potts sex tape sub-plot was included? Or the Bullitt-esque car chase sequence? Or the other three antagonists that were to appear alongside the other two?!

All of this aside, the film's held together by its actors performances. Robert Downey Jr has perfected the suave, cool, cocky billionaire philanthropist, but here he also gets to show Stark's vulnerable side and does so with aplomb. It isn't just about watching a self-indulgent billionaire come good by building an awesome suit any more, it's about the human inside, as there's more on-screen time for Stark rather than Stark in the suit. Pepper Potts comes into her own in this film as well, as she's given a more pivotal role than previously, and Gwyneth Paltrow steps up. At first, she seems she may be lost in a bigger role, but by the end, she owns the role and maybe even the film. Guy Pierce is fantastic as Aldrich Killian, a real world villain without the over the top eccentricities of many previous superhero film bad guys. Ben Kingsley also gives a good performance as The Mandarin, a role which carries with it a lot of expectation from die hard Iron Man fans given the mythic ethos surrounding the character, and Kingsley does exactly what he needs to do with the role.

Overall, I thoroughly enjoyed Iron Man 3, I liked where they went with the characters and with the storyline, even it was highly predictable. I liked that Pepper Potts and Happy Hogan were given key roles in the film as well as Stark, and that the film felt more like a collaborative effort, rather than a focus on a single, larger than life character, even if it is someone as infinitely cool and likeable as Tony Stark. What I didn't like was the execution of the plot. It's all very predictable, as once you figure out one element of the story, it kind of leads you to figure the rest of the entire film, and while it's more thrilling than previous instalments, in no way is this ground breaking cinema. However, I am and always will be a superhero film fan, and if this is the beginning of what Marvel has lined up for Phase 2, I say bring on Thor 2 and Captain America 2 and Guardians of the Galaxy. I'll be there for all of them if they entertain me as much as Iron Man 3 did.

Rating: ****

Warm Bodies

R is a zombie who spends his days mindlessly wandering around an airport and observing the life of his other zombies, questioning who they are and why they do what they do. One day, on a hunt for fresh human brains, he encounters Julie and her group of survivors who have left their safe haven in search of supplies. After he kills and eats Julie's boyfriend's brains, he shares the boyfriend's fond memories of Julie and decides to save her through rudimentary communication and a promise not to eat her. Ass the two spend more and more time away from the other zombies on an abandoned plane, the two build a connection, but is the world ready for a human/zombie relationship? And can zombies really reclaim their humanity?

Warm Bodies is a great idea for a film: What if zombies could actually feel emotions and communicate with humans again? Basically, what if film makers actually remembered zombies used to be humans before they became brain eaters? And it's a perfect time to explore that idea, given the phenomenal worldwide success of Twilight, which focused on the relationship(s) between a human girl and a vampire and a werewolf. Plus, almost everything else has been done with the zombie genre, so why not a zombie film told from the zombie's point of view? It's a fantastic idea, and seems it like it could have cult appeal in the same vein as Kick Ass and Scott Pilgrim, so has it been executed to its full potential? I would argue, no.

The problem is a book allows you to develop scenarios and plot devices over time. A film requires you to rush towards a conclusion faster, so everything that happens in order to drive the film forward toward its final third is rushed, and that's exactly what you get here. The zombies go from unintelligible to word smiths in a relatively short space of time, seen especially in Rob Corddry's character M. He goes from mindless zombie to authoritative zombie army leader in the space of half an hour, which admittedly is a third of the film, but it's just too short a space of time for anyone other than the main character to develop those kind of skills. For R, it would have been understandable, in order to keep the film moving forwards, then maybe in a sequel (Warmer Bodies?) he could have spread his gift to the other zombies and reclaimed their humanity and rejoined the world then. Instead, they're welcomed back into the world at the end of 90 minutes and closes the door on a potential sequel, which I found to be disappointing, as otherwise I would have liked to have revisited this world again at some point.

At times, the romance between R and Julie gets a little bit schmultzy, but alas this is the world we live in now and the relationship they need to put on screen is one that appeals to a younger audience who watched Twilight in their millions and millions, but at times it was done extremely well and the development of their relationship was well timed and well executed. I liked Nicholas Hoult's performance as R, he was extremely affable and likeable throughout and was well written for, given some great lines and offers some amusing insights into the life of the zombie. Teresa Palmer's performance was uneven at best, going from wooden to over the top in love in the blink of an eye. Still a better performance than Kristen Stewart, and still a better love story than Twilight. John Malkovich is in this film not nearly enough, though the bits he is in, he delivers the same kind of strong but strange performance he's now mastered over the years. Rob Corddry is bad. That's all the needs to be said.

Aside from all the issues I have with the plot and the development of the story, the film is technically sound, with some shots extremely reminiscent of Scott Pilgrim as they appear to be in a comic book style and leap out as something different. The soundtrack is really great too, creating a really memorable mix of contemporary and nostalgic, creating exactly the right kind of mood for the action on screen. The editing is done well and the visual effects are great, if sometimes a little too gory for the kind of audience they're aiming for. Sometimes, it seems like the True Blood effects team had their way with the film instead of the Twilight effects team, and it's offputting from the action we're meant to be focusing on.

Overall, this isn't a bad film, it just didn't grab me as being anything too special, which is a shame given the subject matter. It could have had the same kind of cult appeal that Kick Ass and Scott Pilgrim have ascertained, but I feel like this one will be a forgotten film, one of those DVDs that'll be on the shelf of CEX for £2.50 within the year. I reckon there is a great film in there somewhere, it's just aimed toward the wrong audience and it loses its appeal and originality by going in the wrong direction. I may watch this again, but not if I have to pay more than £3 for it in CEX. I love that place. Probably a bit more than this film, unfortunately.

Rating: **1/2

Beasts of the Southern Wild

Academy Award Nominations: 4

·         Best Picture

·         Best Director (Benh Zeitlin)

·         Best Actress (Quvenzhane Wallis)

·         Best Adapted Screenplay (Lucy Alibar, Benh Zeitlin)

In a southern Louisiana community called the Bathub, cut off from the rest of the world by a levee, Hushpuppy and her father Wink fend for themselves, living off the earth and looking after one another whilst living in separate yet connected houses. Wink, though, is secretly ill and is struggling to look after Hushpuppy as she grows up, but he's trying his best to teach her everything she needs to fend for herself. As a fearsome storm approaches, Hushpuppy sees it as something broken in the universe that needs fixing, so she does what she can. However, when the storm passes and the Bathtub is flooded, the community will have to pull together to fix things before the flood water kills everything and they're forced to evacuate into the mainland...

There's a reason I like doing Best Picture nominee season. It makes me watch films I'd never usually watch like this one. I'd never even heard of this film until it was announced as a nominee in this and three other high profile categories. Last year, it made me watch Extremely Loud and Incredibly Close, despite the fact I hated it. In many ways, this is a very similar film to Extremely Loud, in that it tells the story of a national American tragedy from the last few years through the eyes of a child. In Extremely Loud, Oskar lost his dad in 9/11 and went on a quest to reclaim his memory. Here, Hushpuppy and Wink live through their own Katrina-style disaster and attempt to survive. Similar films, but I liked this one more. What's the difference though? A more likeable central character. I didn't want to reach into my screen and strangle the kid just to shut him or her up.

Hushpuppy is streetwise and aware of her surroundings, and actually does positive things in her desire to make the word better. Oskar was just annoying. I liked Hushpuppy as a lead character, but I didn't like the characters she was surrounded by, especially her father. Hushpuppy seems like an innocent young girl who's forced to grow up before her time because of her surroundings, but that's not made easier by her arsehole father. He's very much the Oskar of Beasts, whilst Hushpuppy would be the Sandra Bullock of the piece. The rest of the community don't even seem very helpful either, and seem more annoying than anything else, even the teacher who seems like a bullshitter of the highest degree. Maybe it's just me, but I can't connect with the Bathtub way of living, we don't have anything close to it in the UK really so it's all just lost on me.

Quvenzhane Wallis is really good as Hushpuppy, but I can't see why she's been nominated for Best Actress. I think there's a stigma attached to lead performances by child actors. The bar seems to be put far lower for child actors, so as soon as they show any kind of emotion or ferocity, they're recognised, whereas an adult female actresses would have to put in a phenomenal performance to get recognised. Don't get me wrong, she's good, but not THAT good. She carries the film without a doubt, but I've seen far better performances from other female actresses this year. If anything, Dwight Henry was better as Wink but has gone unrecognised. He was good because I hated him, which meant he played his character of an arsehole perfectly. I can't get over the fact I hated him though, big no no. Over than that, the ensemble might have played their roles as a quirky independent community well, but my lack of Bayou knowledge prevents me from saying how good they were.

The script just seems disjointed, and deliberately so in a manner that suggests they were trying to make this film as quirky as the characters it focuses on. Benh Zeitlin seems like an odd director anyway, not looking at the raw footage until after the conclusion of the shoot (which after 5 years of learning how to make films infuriates me!!) and creating a film crew out of local people from the shooting location, which would explain why the film looks so roughly shot, but again this was probably another deliberate decision. This film doesn't look like anything I've seen before and I don't like it, it just smacks of amateur film making. Clearly, all of these things were deliberate choices in order to try and achieve the look and feel of a film made within that kind of community, but I just can't agree with it. The purist in me is raging at this film and I can't get over it.

Which leads me to my conclusion. I didn't really like this film. I appreciated the story line, but I didn't like the setting of the film, the characters used to tell the story, half of the dialogue, the way the film was written, the way it was shot and the methods the director employed to make it. This isn't a film I would have watched by choice, and I won't be watching it again any time soon. I liked it more than Extremely Loud and Incredibly Close though, but that's probably the only good thing I could say about it, and even that's not much of a compliment. Other people many have liked this, and other people will like it, but I'm not one of them.

Rating: *1/2

Beasts of the Southern Wild was released on 19th October 2012 and is no longer being shown in cinemas.