Review: American Reunion

B


American Reunion
2012, 113mins, 15 
Director (s): Jon Hurwitz, Hayden Schlossberg 
Writer (s): Jon Hurwitz, Hayden Schlossberg 
Cast includes: Jason Biggs, Seann William Scott, Tara Reid, Alyson Hannigan, Eddie Kaye Thomas, Thomas Ian Nicholas, Chris Klein, Eugene Levy 
UK Release Date: 2nd May 2012 

 In 1999 “American Pie” made quite a splash, cooking up a full throttle box –office storm and working its way (deservedly in this writer’s mind) into the annals of classic teen cinema. Its combination of memorable gross out sequences, endearing characters and fresh faced performances connected with the adolescents of the day, leading to a predictable slew of sequels. 2001’s “American Pie 2” had its moments but ultimately sank into tedium and the less said about 2003’s “American Wedding” the better. The original cast then abandoned the franchise, leaving it with no choice but to sink into the bowels of DTV hell. Now 13 years after the original slice we have “American Reunion”, bringing the original cast back together as adults, primed for one last hoorah at their high-school reunion. The film isn’t as outrageously funny as the 1999 spectacular, but it’s a vast improvement over anything we’ve seen since, once again turning the antics of this lovable group of rogues into viable big screen entertainment. It’s been

13-years since the boys tried to desperately shed their v-cards and a lot has changed. Jim (Jason Biggs) and Michelle (Alyson Hannigan) are married with a kid, but their marriage has fallen into a sexless rut. Kevin (Thomas Ian Nicholas) is very much in love with his wife, but finds his role as a stay at home husband confining. Oz (Chris Klein) is a B-list celebrity, hosting a moderately recognisable sports show, but struggling to find satisfaction alongside his dim-witted, party obsessed girlfriend (Kristina Bowden). Finch (Eddie Kaye Thomas) is well travelled but very lonely and incorrigible old Stifler (Seann William Scott) is now taking orders from the guys he used to beat up at school, trapped in an unrewarding temp position. With their High-School reunion beckoning, the guys decide to make a long weekend of the occasion, meeting up to relive the glories of old, reflect on their lives so far and to create a few new memories of their own.

 For the first time with a theatrically released “Pie” endeavour, original screenwriter Adam Herz is out of a job, “Harold and Kumar” scribes Jon Hurwitz and Hayden Schlossberg brought in to write and direct this adventure. They deliver a decent script, cultivating several genuinely amusing set-pieces, finding the same tone of anarchy and accidental bad taste that the series has come to trade on. “American Reunion” also displays a healthy dose of heart, easily the warmest entry since the original. It’s a genial picture, trading on nostalgia and the built in love these characters have earned, Schlossberg and Hurwitz realising the biggest pull “American Reunion” has is getting these guys back in a room together. It’s a funny picture, make no mistake, but the grandest pleasure to be derived from this effort is the reunion aspect.

The cast are on sharp form, many of them relishing being in a major motion picture for the first time in years. Jason Biggs once again proves that Jim is the only part he’ll ever play successfully, possibly giving the best performance of his career, at least since his initial rise to stardom with the first “Pie”. Jim is a likable lug, still brimming with innocence and good intentions, Biggs embodying the character effectively. Hannigan on the other hand has done a fair amount of prosperous TV work over the last number of years, the actress looking less invested in her role. She shares her scenes with Biggs comfortably, but unfortunately her turn lacks the energy of past entries. Eddie Kaye Thomas, Thomas Ian Nicholas and Chris Klein stumble cosily through the picture, left to work with little but a series of punch lines, leaving other franchise favourites Chris Owen (Shermanator), Jon Cho (MILF Guy #2) and Jennifer Coolidge (Stifler’s mom) with the opportunity to steal scenes in cameo appearances.

The two standouts are Eugene Levy and Seann William Scott, Schlossberg and Hurwitz taking particular interest in these damaged souls. As Jim’s widowed father, Levy is both jocose (the awkward conversations still rock the funny bone) but also subtly affecting, playing his loneliness with delicate grace. Scott is once again a tornado of ribald energy, gifting “American Reunion” it’s brightest comedic star, but also a genuinely fascinating insight into growing-up. Stifler is deeply unhappy and unfulfilled, using the reunion as an excuse to return to his alpha-male wonder days, shunning his current existence as a desk jockey “bitch” to revel in the past. Scott is both extremely entertaining but also sympathetic, quite the achievement given his character’s brutish tendencies.

At 113 minutes in length the movie is much too beefy, an entire subplot involving a nubile babysitter leading to one moment of delightful physical comedy but also a wealth of dull character interactions and broad, teenage girl based gags (jokes about Nicki Minaj albums aren’t that witty). I suppose it’s all part of the film’s thesis to indulge itself and the audience in all things “American Pie”, but this fourth official slice would have worked just as efficiently over a tighter 90 minute time frame.

“American Reunion” is unambitious but it is charming, reacquainting us nicely with characters we fell in love with over ten years ago. The cast are game, the new creative team inject just enough creative fuel to keep the formula ticking over and the charisma still pops up in about the right quantity. Imperfect, gentle but refreshingly sweet, “American Reunion” marks a tasty confection.

A Review by Daniel Kelly, 2012

Sponsored Video: "The Dictator" in cinemas May 16th

Sacha Baron Cohen is back in UK cinemas on the 16^th of May with his zaniest character yet. The “Borat” and “Bruno” creator will head up “The Dictator”, his first scripted motion picture as a leading actor and quite possibly his funniest and most absurdist endeavour to date. Cohen plays a Middle Eastern dictator who on arrival in the States has his identity scrambled, leaving him penniless, homeless and clueless on the streets of New York. The film will also feature Anna Faris (“Scary Movie”, “The House Bunny”), John C. Reilly (“Step Brothers” ,“Cyrus”) and Sir Ben Kingsley (“Ghandi”, “Shutter Island”). Like Cohen’s other notable creations “The Dictator” seeks to blend crudity, satire, social commentary and outrageous gags to entertain, enlighten and disgust audiences in equal measure.

Cohen has been very prominent on the promotional circuit this year, appearing in character at numerous events, including his now infamous confrontation with Ryan Seacrest at the 2012 Academy Awards. Fans of “Borat” and “Bruno” can also rest easy in knowing that Larry Charles (the filmmaker behind both those works) is back in the director’s chair, hoping to rack up another certifiable hit for both him and Cohen in the process. “The Dictator” is on wide release in UK cinemas from May 16^th and promises to be a remarkable treat for comedy fans everywhere! An ability to stomach controversial, political, sexual, irreverent and hysterical humour is a must though!

Check out the trailer in the video above!

http://unr.ly/Key1Yh - IMDB Page
http://unr.ly/KHCygB - The Dictator - Official Website

This is a Sponsored Post, 2012

Dan's 10 to watch for Summer 2012

Ten to watch this summer

With Marvel’s “The Avengers” opening this weekend in the States to good reviews (I really liked it) and even better box-office it appears the summer film-going season is officially upon us. Over the coming months a bevy of interesting properties are scheduled to hit UK Cinemas, the objective of this article to showcase the most intriguing of these. There are obvious picks. The return of Batman. The “Total Recall” remake. The latest Johnny Depp/Tim Burton team-up.  What about the less predictable pictures? A vulgar teddy? A failing engagement? An apocalyptic rom-com? Not the first three things that spring to mind during popcorn season.

10. Seeking a Friend for the End of the World

UK Release: Unconfirmed Summer 2012

Director: Lorene Scafaria

Keira Knightly and Steve Carell make an unlikely but attractive pair for this “end of the world romance”. With Armageddon pending the duo take a road trip, connecting over life, regrets and what will surely amount to an acceptance of their fates. The trailers are sweet, the cast strong and the presence of relative unknown Scafaria behind the camera encouraging, only because it’s rare for a filmmaker with such a limited repertoire a receive a chance of this magnitude. Hopefully it means her vision and script are of a high calibre. Quality rom-coms can perform solidly during the summer season (“(500) Days of Summer” anybody?) and so far this has the trademarks of a promising genre entry.

Johnny Depp has another hit on his hands with "Dark Shadows"

9. Dark Shadows                                          

UK Release: 11^th May 2012

Director: Tim Burton

Tim Burton and Johnny Depp in a gothic reimagining of an old TV show? Yawn. But wait! This one has a nice comic energy, excellent cast and most importantly an engaging trailer? Maybe there is hope after all. Following his stagnant retool of “Alice in Wonderland” Burton has to deliver here, and so far it looks like he might be onto a winner. He won’t be worried either way though. With megabucks Depp on the poster Box-Office kerching is all but guaranteed.

8. The Dictator

UK Release: 16^th May 2012

Director: Larry Charles

“Borat” was critically lauded, “Bruno” was a little more divisive. I personally enjoyed both films and am hopeful Sacha Baron Cohen can keep the streak going with “The Dictator”. This time he’s working from a script but the director of the aforementioned efforts, Larry Charles, is once again along for the ride. Anna Faris is a nice supporting touch, and whilst trailers have been patchy, I harbour enough goodwill for Cohen to cheer for another triumph here. The fact it aims to rework the musings of Saddam Hussein for comedic purposes also earns it brownie points. That alone is funny.

Being ginger and having a weird face. One in the same. 

7. Brave 

UK Release: 17^th August 2012

Directors: Brenda Chapman, Steve Purcell, Mark Andrews

The yearly Pixar always deserves a place, although after “Cars 2” I approach the prospect with trepidation for the very first time. “Cars 2” was truly a dire piece of work, the studio delivering a film embodying all that is wrong with commercial animation, the very failings their other movies had sidestepped for well over a decade. “Brave” is a return to original territory and looks aesthetically beautiful, taking the action to Scotland, hopefully mixing adventure and laughs effectively. I am hopeful “Cars 2” was an anomaly, but it will be fascinating to see how Pixar bounce back after their first certifiable critical misfire. So far, “Brave” indicates a return to those greener creative pastures. Also ginger heroines? Need more of them.

6. The Five Year Engagement

UK Release: 22^nd June 2012

Director: Nicolas Stoller

This film has already opened stateside, where it debuted to disappointing attendance and mixed notices. I’m still eager to check it out. Emily Blunt and Jason Segel are a terrific double act on which to hang a movie, and I appreciate the release of a comedy that takes particular fascination in the collapse of a relationship. Stoller’s previous pictures “Forgetting Sarah Marshall” and to a slightly  less extent “Get Him to the Greek” both impressed, leading me to believe the uneven reviews may be attributable to the darker and less upbeat subject of the narrative. The running time of 124 minutes is a mild concern, but on the whole enthusiasm is high for this one.

Farrell indulges his inner Arnie with"Total Recall"

5. Total Recall

UK Release: 22^nd August 2012

Director: Len Wiseman

Colin Farrell steps into Arnie’s shoes for this remake, prompting viewers to immediately recognise a more serious intent. Directed by Len Wiseman (whose filmography contains movies good, indifferent and awful) this remake makes the list largely on the back of Farrell and the stylish trailer. The promotional material has showcased good action and a nice strain of paranoia, which should suit Farrell nicely as an actor. Kate Beckinsale adds both thespian class and sex appeal, Jessica Biel on hand to instil a little extra of the latter (but regrettably none of the former). Also it has Bryan Cranston, so yeah, there’s stuff to get excited about here. Let’s just hope it was “Live Free or Die Hard” Wiseman and not “Underworld Evolution” Wiseman who turned up on set.

4. Jeff Who Lives at Home

UK Release: 11^th May 2012

Directors: Mark and Jay Duplass

The Duplass Brothers (or rather the poster boys for mumblecore) return following their wonderful 2010 flick “Cyrus”. They again fall back to the realm of low-key family drama with “Jeff Who Lives at Home”, taking Ed Helms and Jason Segel (in the title role) along for the ride as a pair of brothers on a spiritual quest of sorts. Reviews have been sharp, most feeling that it lives up to the standards set by previous Duplass works. That alone is enough for me.

One of these people has a big dick. Clue: It isn't the guy on the left.

3. Prometheus

UK Release Date: 1^st June 2012

Director: Ridley Scott

The much anticipated “Alien” prequel that apparently has little to do with “Alien” has been on the cinematic radar for months. With original visionary Ridley Scott back in the chair things looked up, and then came the onslaught of amazing viral marketing and eerie trailers. Nobody is 100% sure what to expect (we know the attachment to “Alien” only occurs late on) and an apparent PG-13 rating dilutes the appeal slightly, but the seeming calibre of the product is enough to compensate for that stuff. In fact one of the grandest assets the picture boasts is its mysterious status.  No matter if it’s the best blockbuster of the year or underwhelming in the vain of Scott’s most recent output (“Robin Hood”, “Body of Lies”) it’ll be a key talking point for sure.

Hey bear. I'm Mark Wahlberg. I Like your fur. Say hi to your mother for me.

2. Ted

UK Release Date: 3^rd August 2012

Director: Seth McFarlane

Marky Mark. Mila Kunis. A talking teddy-bear. A hard R-rating. Family Guy creator Seth McFarlane. If that doesn’t sound like the oddest cinematic stew of the summer then you’ve got fucked up taste buds. Wahlberg plays a man who as a child wished his teddy to life, now in adulthood living with the consequences. The general idea seems to revolve around him leaving the bear behind emotionally in order to maintain a relationship with a sweeter than thou Mila Kunis. Oh, and the bear does drugs, bangs hookers and swears like a trooper. The narrative will probably be standard, but this fare can only be judged on its laugh quota, and based on the hysterical trailer that’s going to be high. The most likely sleeper hit of the summer.

#1 most anticipated film in a heartbeat. 

        1.  The Dark Knight Rises

UK Release Date: 25^th July 2012

Director: Christopher Nolan

Not an original choice but a thoroughly justified one. Seven years ago Nolan reinvented the Batman legacy wonderfully with “Batman Begins”. Four years ago he knocked out a stellar sequel in “The Dark Knight”. Two years ago he ditched the DC hero for a bit to focus on a passion project, the result “Inception”, one of the most distinctive and imaginative thrillers of recent years.  Now he’s rounding out his Gotham trilogy, bringing things full circle with Tom Hardy stepping into the villainous gap left by Heath Ledger. The little footage released so far looks phenomenal. The only weak point is that Nolan is overdue a banana skin moment. However based on the evidence supplied so far, this isn’t going to be it. “The Avengers” may have rocked, but if Nolan scores again here, it’s his Batman films that will be the benchmark of superhero flicks/crime sagas/blockbusters in general. Excited is an understatement.

Also notable:

Rock Of Ages – Tom Cruise, Russell Brand, Alec Baldwin and Catherine Zeta Jones bring the musical to the big screen. Oddball casting for sure, but under the direction of Adam Shankman (behind 2007’s infectious “Hairspray”) there is a genuine chance this could work.

The Amazing Spider-Man – The cast are solid (Andrew Garfield, Rhys Ifans and Emma Stone), the action looks competent and the tone a nice mix of light and dark. However the general feeling of needlessness that hangs over the project is a dampener; after all it’s only ten years since Sam Raimi tackled the early trials of Peter Parker in 2002’s “Spider-Man”.  Could be cool, but seems likely it’ll be the least memorable of this summer’s major comic adaptations.

Neighbourhood Watch – Jonah Hill, Ben Stiller, Vince Vaughn and Richard Ayoade are on paper a funny bunch, in practise they’ve all had mixed successes. This big budget (yet bizarrely R-rated) farce sees them depict a local neighbourhood watch pitted against an alien menace. Stiller and Vaughn haven’t had much luck in recent  months (“The Dilemma” and “Little Fockers” are two misjudgements that immediately spring to mind) but on their day they can still bring the giggles. Jonah Hill on the other hand will still be reeling from the deserved acceptance of “21 Jump Street” and his Oscar nomination for “Moneyball”. Richard Ayoade will hopefully be keen to impress with his first major American feature role. The trailer has its moments and a script by Seth Rogen and Evan Goldberg (previously collaborated on “Superbad” and “The Green Hornet”) is encouraging based on their past form. Not a sure thing, but hopefully at least a moderately enjoyable diversion in the making.

"The Amazing Spider-Man". Looks watchable. But is it necessary? 

Definitely to be avoided:

LOL – Miley Cyrus. Social networking. Abercrombie style douchebags. Fucking slap me now. Trailer looks totally brutal. Reviews from the States are damning. Avoid like the plague.

Ice Age: Continental Drift – The first “Ice Age” was a pleasant surprise ten years ago, but the series has gotten very soggy recently. The third instalment in 2009 was an unquestionable bust, this latest offering looking to mark scant improvement. I appreciate at this point that the franchise simply represents a moneymaking locomotive for Fox, but it is one vehicle I’m now happy to disembark.

Abraham Lincoln: Vampire Hunter – With a better filmmaker behind the daft title I wouldn’t be so pessimistic, but Russian director Timur Bekmambetov has only disappointed us so far. His “Nightwatch” trilogy was goofy nonsense and 2008’s “Wanted” picked up critical recognition it barely warranted. Coupled with the lack of star power and a mechanically overproduced trailer, the dearth of talent behind the project seemingly dooms it to certain failure. Also a good bet to be one of the summer’s high profile box-office flops.

Follow me: @DKsMum on twitter

An article by Daniel Kelly, 2012

Movie Review: Wrath of the Titans

D+

Wrath of the Titans
2012, 99mins, 12
Director: Jonathan Liebesman
Writer (s): Dan Mazeau, David Johnson, Greg Berlanti
Cast includes: Sam Worthington, Liam Neeson, Ralph Fiennes, Edgar Ramirez, Toby Kebbell, Rosamund Pike
UK Release Date: 30th March 2012

2010’s “Clash of the Titans” didn’t find much critical love, its combination of monster smashing action and subpar 3D leaving film fans cold. However the picture quietly trucked its way to $493 million worldwide, leaving Warner eager to construct a sequel. That follow-up is now upon us in the form of “Wrath of the Titans”, boasting a new director and an updated writing staff, hoping some fresh creative blood will allow this portion of Greek adventuring to leave a warmer mark. A noble aim indeed, but one made almost impossible by the hiring of Jonathan Liebesman, a director last seen guiding the diabolical “Battle: Los Angeles” to screens. “Wrath of the Titans” is a marginal improvement over his previous work (how could it not?), but it still reeks in parts of Liebesman’s apparent determination to shoot action in the style of videogame cut-scenes. Some of the thespian input has been improved for this sequel, but most other facets are inferior to even the modest standards set by the previous 2010 endeavour.

Perseus (Sam Worthington) has retired from his monster slaying past, dedicating his life to raising his son Helius (John Bell) in a small fishing community. However it isn’t long before the demigod hero is visited by Zeus (Liam Neeson), instructing Perseus to ready himself for the fall of the once great gods and to prepare for the rise of the infamous Titans, a selection of beasts being spurred on by the malevolent Hades (Ralph Fiennes) and Zeus’ other treacherous son Ares (Edgar Ramirez). Initially reluctant to join the battle, Perseus is soon forced to act when Zeus is captured, pairing himself with Queen Andromeda (a miscast Rosamund Pike) and ignoble demigod Agenor (Toby Kebbell). The group make passage to the underworld where Zeus is being held, hoping to rescue the once great deity and prevent the rising of a monster more fearsome than any other.

“Wrath of the Titans” starts slowly and builds virtually no momentum until the climax, Liebesman executing one competent sequence in a maze, the rest a mire of CGI tedium and repetitive action. For a film with so much spectacle and bombast, it’s phenomenal to observe how boring “Wrath of the Titans” can be, the film lacking energy or even a viable hook upon which viewers can begin to engage with the material. It’s hollow and mirthless, Liebesman failing to concoct anything original or memorable, the director simply happy to fire his talented cast into a plethora of broadly pitched and soulless monster encounters. 2010’s “Clash of the Titans” admittedly didn’t add anything new to the genre either, but at least that picture’s set-pieces had a pulse. This time around even the money shots are DOA.

There’s an attempt to create a more rounded batch of characters here, it rarely works, but the effort is appreciated. Worthington’s Perseus is completely indebted to the actor’s physicality, Liebesman utilizing the Australian like an action figure, pummelling him through a selection of grandiose challenges, failing miserably to manipulate the character’s newfound stance as a protective father. More screen time is afforded to Neeson and Fiennes on this occasion, and it is here that “Wrath of the Titans” manages something of worth, creating an interesting emotional dynamic between the uneasy siblings. Added to the mix is Edgar Ramirez’s Ares, a dejected son looking for vengeance. It’s an obvious arc which the actor struggles to do much with. Rounding out the principal participants are Toby Kebbell (lively comic relief) and a humiliated Rosamund Pike. For most her of scenes the actress looks like she’d prefer to be anywhere else as opposed to occupying silly costumes within Liebesman’s ditzy universe.

The editing is more acceptable from Liebesman here than it was in “Battle Los Angeles”, the action is certainly dull but at least it maintains a degree of coherency. Still this mild improvement doesn’t change the fact that “Wrath of the Titans” is a plodding blockbuster courtesy of a genuinely terrible filmmaker. Liebesman continues to show no real aptitude for enjoyable Hollywood cinema or indeed a basic understanding of storytelling, leaving this as yet another miss in his chaotic and unimpressive CV. His next gig is an apparent reboot of “Teenage Mutant Ninja Turtles” under the careful eye of producer Michael Bay. God help us all.

A Review by Daniel Kelly, 2012

Movie Review: The Hunger Games

C

The Hunger Games
2012, 142mins, 12
Director: Gary Ross
Writer (s): Gary Ross, Billy Ray, Suzanne Collins
Cast includes: Jennifer Lawrence, Josh Hutcherson, Woody Harrelson, Elizabeth Banks, Alexander Ludwig, Stanley Tucci, Toby Jones, Donald Sutherland
UK Release Date: 23rd March 2012

Based on a series of bestselling books by Suzanne Collins, “The Hunger Games” is a certified box-office goldmine for Lionsgate. Having never read the immensely popular source material, I approached the project looking to view it purely on cinematic terms, hoping for a crunching, biting and excitable dose of “Battle Royale” style satire. In reality the picture is a disappointing and regularly wearisome endeavour, sporadically inspired but paced incredibly poorly. Director Gary Ross takes the gig seriously, rounding together a band of reliable actors and showing a willingness to push family friendly cinema to its very boundaries, but these things are not enough to alleviate the boredom which too often slips into the loosely cobbled together narrative. “The Hunger Games” is at times imposing, but such moments are outweighed by overexposure to unnecessary characters and an unwillingness to focus fully on the potentially thrilling survivalist element at the story’s core.

In the futuristic and ashen world of Panem the country is divided into 12 districts, each year two teenagers selected from the respective regions to compete in a fight to the death known as The Hunger Games. In order to prevent her young sister from enduring the experience, Katniss (Jennifer Lawrence, marvellous as always) volunteers to compete; she and reluctant Peeta (Josh Hutcherson) selected to represent the deprived District 12. On arrival at Panem’s lavish Capitol, the pair are introduced to their drunken mentor Haymitch (Woody Harrelson, doing the best he can with a nothing part), forced immediately into a harsh and relentless training regime. When the games finally arrive both Peeta and Katniss have identified their respective strengths; placed inside the wooded arena to do battle with the fearsome likes of Cato (Alexander Ludwig), a skilful and merciless competitor from District 1. As the days roll by and the other warriors begin to fade, Katniss demonstrates tremendous courage and honour, the whole of Panem eventually backing her. Her relationship with Peeta also unravels in a strange fashion, the pair growing closer and more intimate as the gory olympics continue around them.

With character names like Katniss, Peeta, Cato and Seneca, it’s easy to detect “The Hunger Games” attempting to join a great tradition of fantasy epics, looking to bridge the gap opened up by the departure of a certain boy wizard last summer. Despite its gruesome central conceit the books have clearly hit a chord with teenage readers, meaning that “The Hunger Games” has every chance of becoming the next big franchise of our time. That doesn’t prevent this opening chapter from committing several notable errors, namely in the realms of plot structure and pacing, the picture a sprawled out and hugely overcooked affair. Ross lets the thing ramble on for a hefty 142 minutes, only occasionally giving audiences something to get amped about. Whilst there’s very little blood on display the film does offer up a refreshingly visceral edge, Ross using scream laden sound design and chaotic cuts to help sell the ferocity of the action. It’s messy and scrappy but also oddly apt, the springy camera movements and reliance on tight close-ups helping to place audience members at the centre of the carnage. It’s both a clever and effective way of rendering the picture edgy but also appropriate for younger patrons, ensuring that the story still packs some nastiness whilst also retaining its unquestionable financial value.

The screenplay is weak, too much time squandered on the set-up and secondary characters, resulting in a baggy and tedious journey to the actual games. Katniss is the only professionally formed entity in the picture and much of that is attributed to Lawrence’s excellent performance, easily the movie’s greatest asset. The former Oscar nominee combines genuine athleticism and a steely vulnerability, convincing as a morally sound but potentially deadly competitor. She’s the only reason the picture ever actually works, the film’s singular instance of genuine tension arising from a situation in which she attempts to escape a trap by using some deadly insects. Hutcherson is fine, but never totally sells his romantic affections for Lawrence, that facet of the tale wrapped up unconvincingly. Otherwise it’s a case of capable thespians trapped in one dimensional parts, Woody Harrelson, Stanley Tucci, Elizabeth Banks and Donald Sutherland just a few of the big players overlooked here. “The Hunger Games” feebly attempts to flesh these personalities out, but never succeeds; a misjudged beefing up of the runtime the only tangible result. The costumes and make-up choices several of the adult actors have to tolerate are also unfortunate, their contributions handicapped (particularly in the case of an unrecognisable Banks) by the campy and overly flamboyant wardrobe selections made for them.

The film splits itself almost completely in half, using the first 50% for backstory and training montages, the second portion to detail the vicious games themselves. The latter is definitely the more engrossing segment, Ross getting up close and personal with proceedings, envisioning a believable and visually dense environment for his protagonists to duke it out in. However even in the heat of battle “The Hunger Games” suffers some editorial fatigue, Ross can’t help but throw too many subsidiary enemies and potential allies into the plot, letting several sequences of aimless hiking run on for much too long. As a whole “The Hunger Games” should be at least 25 minutes shorter than it is, a more clinical and considerably less precious edit required to morph this behemoth into the slick actioner it often strives to be.

The musical score is unmemorable and the film’s attempts at social commentary half-hearted, Ross only ever referencing the idea of inequality between the districts through garish costumes and brief, largely unexplored exchanges of dialogue. “The Hunger Games” isn’t a complete waste of time, but it is underwhelming, my frustration only compounded because amidst the missteps the movie actually does some small things quite well. If further sequels are to be made, retaining Lawrence should be key, but drafting in a new selection of writers and a keener director (or at least forcing Ross to show more control in the edit) would be advisable. “The Hunger Games” may deliver everything fans want, but for the uninitiated it’s not a particularly involving experience.

A Review by Daniel Kelly, 2012

Movie Review: 21 Jump Street

B

21 Jump Street
2012, 113mins, 15
Director (s): Phil Lord, Chris Miller
Writer (s): Michael Bacall, Jonah Hill
Cast includes: Channing Tatum, Jonah Hill, Brie Larson, Rob Riggle, Dave Franco, Ice Cube
UK Release Date: 16th March 2012

Revamping TV programs of yore hasn’t proven particularly successful in the last few years, modern big screen adaptations of “The Dukes of Hazzard” and even 2010’s playful reimagining of “The A-Team” having failed to conjure much critical love. These days the 80s procedural “21 Jump Street” is remembered more for being an early pit stop in Johnny Depp’s career, although the show was admittedly popular during its four year run. However Jonah Hill and writer Michael Bacall (recently behind “Project X”) clearly felt the cops in high-school concept had mileage in the current cinematic climate, retuning the formula to allow for the former and everyone’s’ favourite set of abdominal muscles (sorry Mr. Lautner) Channing Tatum to lark around in a teenage wasteland. On paper it sounds dodgy, yet in practise “21 Jump Street” provides a consistently good time. The leads share a fun chemistry, the jokes are generally amusing and with directors Phil Lord and Chris Miller at the helm (“Cloudy with a Chance of Meatballs”) there’s just enough weirdness to make the venture distinctive.

Schmidt (Jonah Hill) and Jenko (Channing Tatum) were polar opposites at high school, a dateless loser and arrogant jock respectively. However upon joining the police academy they form a firm friendship, their differences providing appeal and solidity to the other. After a drug bust goes hideously wrong, the incompetent officers are reassigned to a project on 21 Jump Street, overseen by the frightening Captain Dickson (Ice Cube, clearly having a blast). Schmidt and Jenko are to be sent back to school on an undercover mission, attempting to nab the supplier of a new synthetic drug wreaking havoc within the institution. On return they find the social hierarchy of things drastically altered, Schmidt falling in with the cool kids, namely spunky drama student Molly (Brie Larson), whilst Jenko finds solace in the company of the nerdy types he used to abuse. As Schmidt becomes more enamoured with his new found stature, his relationship with Jenko begins to falter, risking their entire investigation as a consequence.

“21 Jump Street” starts slowly, finding its footing once the protagonists reach the schoolyard setting. Hill and Bacall’s screenplay offers some interesting perspectives on modern youth culture, insights that contrast pretty sharply from the latter’s work on “Project X”. Is it now cool to care about your future? Is drama now hipper than organised sports? Is recognising environmental plight considered rad? “21 Jump Street” enjoys batting about ideas such as these, unearthing little nuggets of hilarious truth along the way. Of course there’s goofier, dirtier and broader material on show too, but the movie’s real charm is in its distorting of stereotypes and preconceived notions. There are a lot of laughs to be had, some more markedly intelligent than others, but generally the film boasts an astute and slightly offbeat sense of humour.

Hill and Tatum are an unlikely team in theory, but in execution they combine effectively. Tatum is a particularly pleasant surprise, the usually one dimensional beefcake supplying a jolt of sharp comic energy, relishing his part as the fool. The dramatic beats between them are predictable (their trajectory as pals hitting the usual rough patches) but both actors carry it off with vigour and charisma. The supporting cast is loaded with talented individuals (Ellie Kemper, Dave Franco and Chris Parnell to name a few) but none are really given enough time to leave a concrete stamp upon the picture, the majority of the heavy lifting left to Hill, Tatum and a strikingly fierce Ice Cube.

Lord and Miller do a grand job of meshing action with comedy, gifting audiences a hysterically explosion deficient car chase and a manic bullet riddled finale to help bump up the product’s sense of spectacle. Also much like they did with their previous directorial endeavour, the filmmakers lace “21 Jump Street” with some truly bizarre touches, including a very creatively delivered explanation of how the drug in question affects those who ingest it. It’s these little treats that push “21 Jump Street” into the realm of pleasing oddness, helping to alleviate some of the familiarity forced on proceedings by the standard narrative. However even some of the less innovative moments are handled with care and dignity, two particular scenes involving prom invites ringing with sincerity. Lord and Miller may wrap the picture in an extravagantly geeky fashion, but the contents are skilfully put together and provide at least intermittent instances of emotional resonance.

The supplier’s identity (it’s what the investigative portion of the story teases) is lame, but the climax at least features some credible action and a very memorable cameo. “21 Jump Street” is a lightweight and gratifying way to spend 109 minutes, a very silly picture with some welcome spikes in craziness to help it strike a unique chord. There are better flicks currently in release, but with blockbuster season looming large, this could be the last chance to score some high quality, low-key popcorn fodder before the summer slog begins.

A Review by Daniel Kelly, 2012

Movie Review: Contraband

B-

Contraband
2012, 109mins, 15
Director: Baltasar Kormakur
Writer: Tim Bevan
Cast includes: Mark Wahlberg, Kate Beckinsale, Giovanni Ribisi, J.K Simmons, Caleb Landry Jones, Ben Foster
UK Release Date: 16th March 2012


Mark Wahlberg’s career as a leading man has been an inconsistent affair. The actor tends to operate better as part of an ensemble, diverse choices such as “Boogie Nights”, “The Departed” and “The Fighter” proving that Wahlberg is at his best with other strong actors alongside him. As a solo headliner Wahlberg has steered himself into some fairly dank creative corners, 2001’s patchy “Planet of the Apes” redux and his hilariously misjudged performance in “The Happening” remaining the nadirs of his time as a screen actor. With “Contraband” Wahlberg is very much the chief thespian presence, but unlike with the aforementioned clunkers he provides a decent performance, bolstering a lacklustre script with his believable acting chops and steely persona. Directed competently by Baltasar Kormakur, “Contraband” is a run of the mill thriller, but one that packs enough kinetic action and human intrigue to muster a passing grade.

A smuggler turned family man, Chris Farraday (Mark Wahlberg) is forced to reconsider a return to the illegal profession after his brother in law Andy (Caleb Landry Jones) finds himself on the wrong end of psychotic gangster Briggs (Giovanni Ribisi). Andy owes Briggs a major debt, too sizeable for him to fulfil on his own terms, begging for Chris’s help to ensure his future safety. Chris agrees to help smuggle merchandise from Panama in order to even things out, recruiting friends both new and old to get the job done. However with time ticking on, Briggs begins to take a sociopathic interest in Chris’s wife (Kate Beckinsale) and kids, placing the former smuggling ace under a considerable amount of pressure.

Kormakur keeps “Contraband” moving at an appreciatively pacey clip, the film rarely stopping to catch a breath. The screenplay has a variety of deficiencies, but the filmmaker appears aware of this, papering over the thin plotting with capable action direction and an above average degree of care for his protagonists. None of the acting in “Contraband” is revelatory, but Wahlberg fills out the leading role adequately, leaving Ben Foster, J.K Simmons (a scene-stealer as the captain of a cargo barge) and a manic Giovanni Ribisi to endow the picture with a little added colour. It’s a nice range of acting styles, which combined with Kormakur’s appropriately spicy genre direction allows “Contraband” to overshoot its limitations on the page.

The standout sequence occurs about halfway through, the principals forced to take part in an assault on an armoured car. It’s during this portion that Kormakur really leaves a mark, favouring a fairly hyperactive but relatively comprehensible shooting style, the director often electing close-ups to accentuate the frenzied nature of the situation. For an action flick featuring some pretty loopy storytelling devices, “Contraband” is actually shot with a refreshingly realist perspective, the camera happy to get in and dirty amongst the rabble. Whilst he can’t boast quite the same affinity for emotion, Kormakur’s flair is oddly reminiscent of Paul Greengrass, albeit possibly somewhat stiller and less adventurous.

The film ends on silly note, but the ending packs more heart than one might expect, even if much of that is dependent on a dozy Kate Beckinsale. “Contraband” is undemanding but it does boast some sharp directorial moments and represents Mark Wahlberg closer to his best rather than worst. As a DVD rental it’s worth checking out.

A Review by Daniel Kelly, 2012

Movie Review: Project X

C

Project X
2012, 88mins, 18
Director: Nima Nourizadeh
Writer (s): Matt Drake, Michael Bacall
Cast includes: Thomas Mann, Miles Teller, Dax Flame, Oliver Cooper
UK Release Date: 2nd March 2012

The marketing materials for “Project X” have made it abundantly clear that the picture is a creation from the Todd Phillips wheelhouse, the name behind sizeable and deserved smashes such as “Old School” and “The Hangover”, along with duds like 2006’s disastrous retooling of “School for Scoundrels”. Whilst the erratic filmmaker doesn’t officially take directorial control of “Project X” (that honour falls to newcomer Nima Nourizadeh), his fingerprints are all over the venture, everything from the ramped up visual mania, lowbrow crudity and lashings of chauvinism suggesting Phillips may have supplied more creative input than the credits suggest. The picture deserves brownie points for finding a new way of deploying the found footage gimmick (it beats the now conventional spook story template extolled by the success of “Paranormal Activity”) and also offers a bundle of halfway decent laughs. However too much of “Project X” requires you to be onside with its primal teenage heroes, one of whom is possibly the most repugnant teen to grace cinema screens ever. Readers should be aware that I recently watched “We Need to Talk About Kevin”.

Thomas (Thomas Mann) is about to turn 17 and to celebrate his parents are leaving him to his own devices for the weekend. Left with $40 for pizza and a plethora of severe warnings, Thomas and his bullish buddy Costa (Oliver Cooper, getting far too into his douchebag role) decide to throw a party, recruiting chubby JB (Jonathan Daniel Brown) and weirdo Dax (Dax Flame) to help them document the madness on camera. Thomas is initially reluctant to have a big bash, but Costa eventually breaks him down, the party descending into an orgy of alcohol, casual sex, vandalism and canine abuse. It provides the loser hosts with a fleeting sense of glory, however when things spiral out of hand thanks to irritated neighbours, inadequate security measures and a pissed off drug dealer events take a turn for the worst.

“Project X” is technically solid, Nourizadeh making surprisingly good use of the found footage aesthetic. The camera is kinetic without being overzealous, helping to sell the fanatical party mood the movie so obviously hinges on. In this day and age cameras have become a constant in the arena of nightlife; parties and nightclubs possibly some of the most keenly observed urban environments around. It’s refreshing to see some creative types make good on this fact, Nourizadeh revelling in the anarchy which such drunken get-togethers concoct. Of course “Project X” has a frustrating habit of picking the leeriest and creepiest shots it can, the ratio of male to female nudity being predictably one-sided. The film’s stance on the fairer sex is positively retarded, offering viewers a rash of scantily clad bitches and sluts, clawing at the end for some sort of gender equality through the limp addition of a steelier love interest for Thomas. It’s a problematic facet of the production but one that comes as no surprise, even the genuinely good works associated with Phillips (I’m thinking “The Hangover”) have suffered from this medieval and vaguely diseased perspective.

The screenplay is stuffed with ideas, throwing out enough humour so that something has to eventually stick. Granted more gags miss than hit, but the ferocity with which “Project X” tosses out jokes keeps the laugh rate competent. There’s not much funny about midgets punching people in the crotch, but by the same token 12-year old bouncers make for a mountain of amusing material. Despite his character’s ridiculous immoral coda, Cooper does at least showcase some semblance of comedic timing, the majority of the stinging one liners gifted to him. They generally rotate around cruel topics, but at least Cooper manages to sell them with sufficient venom. That’s genuinely the only good thing I can say about an otherwise vile performance though, the actor never attempting to spike the personality with any redeeming features, meaning that his forced redemption at the end is ridiculously ineffective.

The other actors range from so-so to wet-blankets, Thomas Mann struggling to convert the lead into anything other than a one dimensional bumbling nerd. No amount of visual energy and MTV style photography can mask the lack of characterization in “Project X”, the protagonists likely to leave viewers cold for a variety of reasons. The soundtrack whilst jammed with modern hits, feels suitable within the confines of the picture, the inclusion of fun tracks by the likes of D-12 and Kid Cudi adding to the whirlwind atmosphere. “Project X” also deserves props for supplying an obvious warning about organising a party through social media. We’ve all been there, but the film showcases the potentially horrible consequences rather wonderfully.

The final act is berserk, flamethrowers, police intervention and lawyers all entering into the fracas. Unfortunately the filmmakers decide to slather on a copout ending with a hollow final message, relaying to the youth of today that destroying your parents’ belongings, treating the girl of your dreams like shit and forgoing your future are all acceptable manoeuvres in the hunt for substance addled highs. It’s a sour note to end a sporadically entertaining picture on. “Project X” is a curious work but one I would advise all interested parties approach with caution.


A Review by Daniel Kelly, 2012