My Top 10 Films of 2012

10) Argo

Part spy thriller, part Hollywood satire, Argo was the film that proved Ben Affleck still had so much to offer as a director and also allowed the former tabloid scapegoat to give all his detractors the birdie. Gigli suddenly feels like a long, long time ago.

9) The Artist

The year’s riskiest proposition, no doubt. But thanks to Golden Age nostalgia and Jean DuJardin’s irresistible charm, Michael Hazanavicius’ silent film made a big noise at the 84^th Academy Awards, and even went on to nab the Best Picture statuette in the process.

8) Young Adult

A protagonist doesn’t always have to be a goody two shoes – sometimes she can be an irredeemable bitch, as long as she’s an entertaining one to watch. In that retrospect, Mavis Gary may well be Charlize Theron’s greatest role and screenwriter Diablo Cody’s greatest creation, while Jason Reitman refuses to conform to standards by denying his heroine a redemptive arc. There are no lessons learnt here and Young Adult is all the more fascinating because of it.

7) 21 Jump Street

It was a toss-up between this and Ted for the position of funniest film of the year. But while Seth MacFarlane’s teddy-com is little more than a feature length Family Guy skit, 21 Jump Street earns extra brownies points for: a) turning a straight-faced 80s cop show into a riotous laugh-fest; b) revealing that comedy is a surprisingly good fit for Ken doll lookalike Channing Tatum; and c) featuring the most hysterical trip out scene ever committed to film. Throw in one of the best celebrity cameos ever and you’ve got Christmas.

6) Looper

Joseph Gordon-Levitt has been on a helluva roll recently and Rian Johnson’s sci-fi thriller is unquestionably among his best work. Yes, the plot feels like a slightly tweaked version of The Terminator, but it puts a fresh spin on the time travel genre. No, JGL looks nothing like a young Bruce Willis, but it’s all in the mannerisms, not in the dodgy make-up. More importantly, Johnson is not afraid to visit some very dark, nasty places along the way, making Looper not only the most intelligent sci-fi flick of the year, but also one of the ballsiest.

5) Headhunters

Proof that sometimes the best films are found outside of Hollywood, Headhunters hails from Scandinavia but is a very different beast to The Girl with the Dragon Tattoo. Coming off as a Norwegian version of The Fugitive, it pulls off the impressive feat of blending pitch black comedy and breathtaking suspense. It also features an intriguing protagonist in the form of Roger Brown, an insufferable little man who somehow manages to win us over by enduring all sorts of extensive torture, as he flees from flawless alpha male Nikolaj Coster-Waldau. Furthermore, it’s not every day you come across a film that has you in tears of laughter at the sight of a dog impaled on a moving forklift. Irked by that last statement? Watch the film and you’ll understand.

4) Skyfall

We knew Sam Mendes had something big planned for 007’s 50^th anniversary, but boy we were never expecting something this good. Gone was the sappy moping over Vesper Lynd and the incomprehensible choppy editing from Quantum of Solace and in were the impressively choreographed set-pieces (the London Underground chase being the stand-out) and a sharp script that expanded the Bond mythology, whilst also paying homage to everything that came before (hello, vintage Aston Martin). But perhaps what was most exciting was to see Daniel Craig finally owning the role of James Bond, much in the same way Sean Connery and Pierce Brosnan did in their respective third outings. And as for that ending… well, let’s just say it’ll be exciting to see where Craig & co. will take Bond next.

3) Shame

There is an unwritten rule in Hollywood that states if you want to be taken seriously as an actor, you’re going to have to get naked. But what Michael Fassbender does in Shame, a Manhattan-set tale about a closet sex addict, goes beyond conventional mainstream nudity. It’s a raw, exposed performance that occasionally borders on emotionally bruising, whether it is felt in the vicious exchanges with on-screen sister Carey Mulligan, or during the brutal sex scenes with a string of nameless partners. Fassbender had already impressed in previous roles, but thanks to Steve McQueen’s drama he’s now made an indelible mark on cinema. It’ll be hard to take our eyes off him (or his crotch) from now on.

2) The Imposter    

There’s no arguing that the main aim of documentaries is to inform, but what sets The Imposter apart from its peers is that it also works exceptionally well as a straightforward mystery thriller. Bart Layton’s film focuses on how charming French conman Frederic Bourdin managed to convince a Texan family he was their long lost son Nicholad Barclay, who disappeared under mysterious circumstances in the mid-nineties. Through the use of re-enacted events, retrieved home footage and a disarmingly honest first person account by Bourdin himself, Layton gives us an insider’s view to a story so twisted and chilling, it’s nigh impossible a screenwriter could ever come up with a mystery thriller that matches its unpredictability. The fact that it all happened for real makes for essential viewing.

1) The Avengers

The Dark Knight Rises was a fitting conclusion to Christopher Nolan’s grounded Batman trilogy and The Amazing Spiderman introduced the world to a superior Spidey/Peter Parker in the form of Andrew Garfield. But both films lacked the fun, humour and epic scale of The Avengers, Marvel’s ambitious pet project that saw comic book heavyweights Thor, Iron Man, Captain America and The Incredible Hulk team up against an almighty common foe.

And to think it could’ve gone all so wrong. Bringing six superheroes and four separate franchises together was a giant gamble and while there was never any doubt people were going to turn up on curiosity alone, nobody expected The Avengers would be such an overwhelming success at the box office AND with critics worldwide.

“The wait was worth it”, USA Today solemnly announced; “The Avengers have been assembled and they fit together superbly”, gushed Empire magazine; “smartly thought out and executed with verve and precision” said the Los Angeles Times of Joss Whedon’s excellent approach to the superhero team dynamic. Even top critic Roger Ebert, who has a reputation for being particularly heavy-handed with blockbusters, couldn’t help but tip his hat to the erstwhile Buffy/Serenity creator.

With $1.3 billion in the bank and a worldwide army of newly-converted fanboys, it truly feels like Marvel has not only created an unstoppable cash cow, but also given us a Star Wars for a new generation.     

The Hobbit - An Unexpected Journey

There are occasions when, despite protests from within the American film industry, Hollywood’s reputation as an opportunistic money-making machine is entirely warranted. First we get The Girl with the Dragon Tattoo erroneously remade, then Spiderman is precipitously rebooted and now The Hobbit (a 310 page children’s book by JRR Tolkien) has been split into a trilogy of three hour-long films. Squint hard enough and you might just see the dollar signs in producers’ eyes as they ramble on about creative license and “being faithful to the source material”.

Nevertheless, given that the Lord of the Rings trilogy has a vast cult following that rivals the Star Wars fan base, it seems only fair that Peter Jackson gets to have a go with his very own Phantom Menace, even if just to prove that he can do a big budget prequel properly. And he does in spades, for the The Hobbit – An Unexpected Journey is a success on many levels.

The first and most obvious stroke of genius is the casting of Martin Freeman as the titular hobbit, Bilbo Baggins. Like fellow Brit Simon Pegg, there is a charming everyman quality to Freeman, a guarantee that no matter how peculiar the premise or lavish the set-piece, he will always ground the material in familiar territory for the audience. Elijah Wood always looked anxious and even a tad stoned as Frodo Baggins in the Rings films. Freeman instead plays Bilbo as a regular chap who’s unwittingly way in over his head, and therefore comes off as a far more relatable protagonist.

Secondly, the team of screenwriters (which also include Jackson and Pan’s Labyrinth’s Guillermo Del Toro) has been very strategic in selecting what parts of the book to embellish for the big screen adaptation. For instance the White Orc, who hardly features in the original text, has been elevated to chief villain and poses a terrifying rival to head dwarf and Aragorn stand-in Thorin Oakenshield (Richard Armitage, surely onto a big break).

Admittedly, there are times where you get the impression the filmmakers try to stretch the material a little too thin. The early scene in which the company of dwarves raid Bilbo’s home may be amusing and designed to establish character but, like the diminutive guests, risks outstaying its welcome; the section involving Radagast the Brown feels jammed in and, quite frankly, nowhere as funny as it is trying to be; and while the action sequences are impressively crafted and choreographed, their lengthy duration suggests they’re also a convenient device for hitting that much coveted three-hour mark.

Having said that, there is enough action, humour and Gollum (in an extended cameo that is sure to make you feel for the little creep – Andy Serkis, take a bow) to make the time fly by, and once the film fades to black on that ominous, dragon-shaped cliffhanger, you’re likely to be left gagging for more. So Ringers rejoice, for you have something to look forward to for the next two Christmases. Just try not to think about the Hollywood producers cackling all the way to the bank whilst standing in line for your ticket.     

4/5

Seven Psychopaths

Seven Psychopaths opens with two mobsters casually sharing anecdotes on unusual methods of assassination (“I once stabbed someone in the ear with an ice pick”) with the sun-drenched Hollywood sign standing in the background. The fact that said mobsters are played by Michaels Pitt and Stuhlbarg, both of whom also happen to play mobsters in TV series Boardwalk Empire, is the first hint that we’re in for some seriously meta entertainment.

In fact, you could argue that most of Martin McDonagh’s latest effort is shamelessly self-referential. Colin Farrell plays an Irish writer called Marty who is struggling with his latest screenplay, which of course is called Seven Psychopaths. In a film almost entirely populated by larger than life male individuals, one of them tells Marty that he can’t write female characters. And during one segment that borders dangerously on self-aggrandising, Marty is referred to as “the greatest writer of his time”. The tongue is so firmly in cheek, it’s a surprise it doesn’t rip through the flesh like a bloody exit wound.  

When Seven Psychopaths is not busy flattering its director/screenwriter, it revels in poking fun at the conventions of cinema and Sam Rockwell’s unhinged schizoid is the perfect mouthpiece. Everything from articulate French films to the tried and tested Hollywood shootout is homaged before being mercilessly dissected to great comedic effect.

However, there is something missing from the bigger picture, something vital to go with all the satire and OTT characters. McDonagh’s previous film, In Bruges, managed to successfully blend drama and comedy thanks to a simple yet well written script. Seven Psychopaths on the other hand has a killer set-up – hapless protagonists steal a gangster’s beloved dog, escalating mayhem ensues – but lacks a half decent plot to live up to the premise. No amount of quips, bare breasts or Christopher Walken quirks can make up for that.

There is plenty of quotable material here. There’s even one scene involving a hooker and a suicidal Buddhist that somehow comes off as being equally hilarious and extremely moving in a zen sort of way (not making this up, seriously). Yet somehow the overall result feels like a brilliant idea for a movie that hasn’t been properly thought through. Martin McDonagh may well turn out to be the greatest writer of his time, but he’s got to stay focused.

3/5

Silver Linings Playbook

If there’s one thing we learnt from The Fighter it’s that David O. Russell excels at portraying domestic unrest, something which we find in spades in his follow-up, Siler Linings Playbook. Bradley Cooper plays a bi-polar ex-teacher struggling to come to terms with the end of his marriage, while Jennifer Lawrence is the damaged soul who might just help him move on via dance practice and morning jogs. Russell keeps things chatty and quirky throughout but the uneven focus often strains our patience, especially with a running time of 122 minutes. Nevertheless, Lawrence is a mesmerising presence and even manages to out-act Robert DeNiro in one scene. Now that’s talent.

3/5  

Argo

Picture the scene: it’s 2004, you’re hanging out with some mates, showing off your brand new Nokia N-Gage (!!) and discussing that Lindsay Lohan girl that lately seems to be in all the gossip mags. Suddenly, one of your friends jumps up and says “have you seen that new Ben Affleck film? That thing is brilliant, you should seriously check it out”. Chances are that poor soul would have been met with guffaws all around, before being mercilessly cast out of your social circle.

But it’s not 2004 anymore. It’s eight years later, Lindsey Lohan’s a mess and nobody remembers the Nokia N-Gage. Oh, and guess what? The new Ben Affleck film – the one which he also happens to direct – really is brilliant and you should seriously check it out.

Argo is a CIA story so astonishing, it’s hard to believe it actually happened. Set during the 1979 occupation of the US embassy in Tehran, the plot sees CIA agent Tony Mendez (Affleck) being tasked with “exfiltrating” six escaped embassy members from the Iranian capital. Except with the local authorities on the hunt for anyone holding an American passport, the solution Mendez comes up with is the most unconventional: with the help of some contacts in Hollywood, he poses as a Canadian producer location scouting for a fake sci-fi flick called “Argo” and has the embassy staff pretend they’re his film crew.  

Dealing with a true story that at times stretches serious credulity, you know you’re going to have issues with tone and style. Luckily, Benjamin has been paying attention in class and knows what films and directors to take inspiration from. The juxtaposition of the breezy, quasi satirical Hollywood segments and the kinetic, at times unbearably tense Tehran scenes make Argo come off as a fascinating crossbreed between Munich and Wag the Dog. Meanwhile, the choice of the source material shows Affleck is keen to follow in the footsteps of other actors/directors that have shown a keen interest for intelligent political thrillers, like George Clooney or the late Sidney Pollack.

It’s not perfect, mind. He may be maturing into one of the most intriguing directors working in Hollywood, but Affleck has yet to hone his skills as an actor. He does a passable job as the stoic protagonist, but you do get the nagging sensation that his beard is doing all the acting, while the rest of the talented supporting cast – particularly seasoned pro Alan Arkin and late bloomer Bryan Cranston – easily steal the limelight. Furthermore, there are times when the film lacks in substance, the various characters involved feeling less like characters and more like components to an intricate, although magnificently assembled structure.     

Which brings us to the final point: strip away the satire, the political heft et al and deep down Argo is a film about how, for once, the movies really did save the day thanks to their glamour and escapist appeal, which not even the sternest Iranian authorities were immune to, as the fraught finale proves. For that reason alone, Ben Affleck’s film deserves to be on any film buff’s viewing list.

4/5 

Before Sunset

If Before Sunrise is the thinking man’s romance, then Before Sunset is the romantic’s sequel. Rarely has a follow-up felt more poignant or welcome, as Jesse (Ethan Hawke) and Celine (Julie Delpy) bump into each other in Paris nine years after their first and only magical encounter. The formula may not have changed, but anyone who’s ever wondered what it would be like to run into an old flame will lap up the awkward rekindling and underlying sexual tension between the two amiable protagonists. Meanwhile, director Richard Linklater is astute enough to leave the whole ordeal open-ended, which means the upcoming Before Midnight can’t come soon enough.  

5/5

Before Sunrise

Before Sunrise proves you don’t need Channing Tatum or a doomed transatlantic liner to sell heart-tugging romance, and instead delivers a love story about two young travelers (Ethan Hawke and Julie Delpy) who cross paths and decide to hang out in Vienna for one night only. By eschewing non-diegetic music and traditional plot structure, indie darling Richard Linklater limits himself to observing his protagonists chat, bicker, fall in love and reluctantly part ways by the film’s unfortunate conclusion. Authentic, well-written and far more relatable than what’s being churned out in your average rom-com, Before Sunrise is the thinking man’s romance.

5/5      

The Adjustment Bureau

The Adjustment Bureau holds the distinction of being a Philip K. Dick adaptation that not only mixes science fiction with philosophy, but is also bold enough to flirt with religion. It’s a pity then that the story of two lovers (Matt Damon and Emily Blunt) trying to outrun the titular bureau that mysteriously wants to keep them apart, lacks the sharp script and artistic vision to make it a film as impactful as Total Recall or Minority Report. Still, the romantic notion that a single kiss can alter the destinies of two complete strangers makes TAB the rarest of SF flicks: one that you can enjoy on a first date.  

3/5

Skyfall

Don’t let all the hype fool you – Skyfall is not an easy sell. For all the critical acclaim of Casino Royale and the hefty box office earnings of Quantum of Solace, the Bond fan base has been somewhat divided ever since Daniel Craig inherited 007’s tuxedo. One half embraces the new take on her majesty’s finest agent, an approach that is defined by brutal, furiously-edited fist fights and grounded in reality to the point that Quantum’s villain was an eco-terrorist bent on monopolising water supplies and selling them to puppet governments in Latin America (yawn). The other half instead bemoans the departure of the quirky gadgets along with the improbably-named femme fatales and longs for a villain that wields satellite lasers, has a propensity for delivering evil monologues and is content with residing in an active volcano. If only there was a way to please both parties…

Enter Oscar-winning director Sam Mendes, who has pulled off the nigh-impossible task of striking the perfect balance between realism and escapism in time for Bond’s 50^th anniversary. From the moment you see 007 nonchalantly adjust his cufflinks during a scuffle aboard a moving train, you just know we are back in classic James Bond territory, where a deadpan quip or the seduction of an exotic belle is never far away. But Mendes is respectful enough not to discard completely the work that’s been done before him, as he makes the pragmatism of the previous two films work to his advantage – a major plotline in Skyfall deals with how some of the more serious errors of MI6 are perceived by the media and a tribunal of enquiry.

Another decision that is sure to have some purists up in the arms is that of stripping Bond of his super spy persona and have him reduced to an unkempt, boozing wanderer who can’t shoot straight to save his life. It’s in these segments that Craig and Mendes infuse the decades’ old spy with an amount of doubt and self-loathing never seen before and that quite possibly we’ll never see again in the franchise. Put simply, if Casino Royale was about how James Bond got his mojo, Skyfall is about him losing it… before getting it back in grand, triumphant style, of course.

Just when all the dark introspection risks outstaying its welcome, Mendes puts the film firmly back on track and we finally get to see Craig as James Bond, rather than as a versatile actor. We all know by now that Danny boy convinces as a cold-hearted hit-man, but we’ve yet to see him revel in wry putdowns and the shameless womanising, which he gets to do both in spades here. It also helps that he is up against a brilliant villain in the form of Silva, a toad-faced Javier Bardem with bleached hair who amuses and unsettles in equal measure. And for a franchise that is commonly known for its use of glamorous locations around the globe, there is something immensely refreshing about staging the film’s most gripping action sequence in the London Underground.

So are there any let-downs? Well, the third act’s parochial setting definitely sets the right mood for a chilly climax, although it does play out like an odd blend of Straw Dogs and Home Alone. Meanwhile, Albert Finney’s cuddly gamekeeper is the kind of impromptu sidekick you’d expect from the Roger Moore era Bond (although he does get to deliver literally a killer line).

Yet these inconsistencies matter little as the explosive and surprisingly gut-wrenching climax is over, and the closing scene divides audiences once again. One half will see it as a melancholic ending, the other will no doubt see it as an exciting new beginning. But there is one thing everyone is sure to agree on: nobody does it better than 007.

5/5       

On the Road

Beat writing may have given plenty of nonconformist writers a voice back in the ‘50s but, judging from On the Road the movie, one thing is sure: it was never made for the big-screen. Walter Salles should be lauded for his attempt to adapt Jack Kerouac’s freewheeling prose, but he inevitably ends up with a road movie void of plot and, ironically, direction. It is beautifully shot and Garrett Hedlund turns in a charismatic performance as Dean Moriarty, although Sam Riley’s hokey accent and Kristen Stewart’s naked but empty performance manage to further tarnish the overall quality of the picture.

2/5   

The Perks of Being a Wallflower

Drugs, homophobia, social dysfunction, emotional rejection… it feels like most of the classic teen quandaries have been ticked in The Perks of Being a Wallflower. Yet like its introverted protagonist, Steven Chbosky’s cinematic debut lacks the confidence to mingle with the harder-hitting high school dramas (Elephant, The Virgin Suicides, We Need to Talk About Kevin) and instead plays it safe by operating on the sidelines. Nevertheless, this sweet little film manages to pull off a few feats of its own, like a very touching first kiss and, in a moment of beautifully-scored nostalgia, a scene that reminds us how thrilling it was in a pre-Shazam world to track down that song we once heard on the radio.

3/5  

Looper

“I’m not going to talk to you about time travel,” says Bruce Willis to his younger self played by Joseph Gordon-Levitt during one of Looper’s many thought-provoking scenes. “If I did, we’d be sitting here all day making diagrams out of straws”. It’s a throwaway line that suggests director Rian Johnson is all too aware that, while Doc Brown had the luxury of explaining time paradoxes via a chalk board in Back to the Future Part II, Looper should not over lecture its audience and instead stick to its own, impressively crafted guns.

And guess what? It’s all the better because of it. What we have here is a surprisingly accessible SF flick that trusts the viewer is familiar with the general conventions of time travel (i.e. harming yourself in the present will inevitably harm your future self but not vice versa), but also offers a fresh spin on this often rehashed but rarely revisited genre (the most intriguing notion being some future events might just be set in stone but there are plenty of possible routes to get there). It’s the kind of film that puts Men in Black III’s half-arsed take on time travel to shame.

The set-up for Looper is a corker, for starters (pardon the rhymes). The year is 2044 and Joe (Gordon-Levitt) is a low-life hit man with the most unusual of tasks: he executes victims that are zapped back in time by the mob thirty years in the future. Despite the convoluted nature of the assignment, it’s a fairly straightforward job – show up at a specific time and place, dispose of body after execution, collect fee. Except when Joe is unexpectedly confronted with his future self (Willis), things get a little a tricky…

It’s hard going into further detail without spoiling the plot, so it’s probably best to focus on the rest of Looper’s merits. First and foremost, props should go to Johnson for showing the Hollywood big wigs that all you need to put together an impressive SF movie is $30 million, a farm, maybe a few location shots (in this case, Shanghai) and a cast low in profile but high on talent. This may be yet another future dominated by towering skylines, flying vehicles and transparent touch screen phones but the high-tech spectacle undeniably takes a back seat to the characters and especially JGL, whose uncanny resemblance to Bruce Willis is more down to the mannerisms and that cocky John McClane half grin, rather than the dodgy make-up and prosthetics.

But more importantly, Looper pulls off the incredibly tricky feat of balancing bursts of humour – courtesy of Jeff Daniels’ scene stealing pep talk and a diner squabble between the two Joes – with some seriously dark and unsettling touches. One early scene showcases how torture and time travel go horribly hand in hand, while the nature of old Joe’s plans in the present are too spoilerific to be discussed here but will no doubt spark that age-old debate that is so often held in philosophy lectures (you know, the one about baby Hitler).

The fact that the film takes the time to ponder upon such hefty themes does mean there is a significant lack of action during Looper’s third act, but rest assured, it’s well worth the break. Just sit back, take it all in and debate afterwards. Oh, and learn Mandarin.

5/5     

The Imposter

Sometimes life truly is stranger than fiction. In 1994, thirteen year old Nicholas Barclay went missing from his hometown after a game of basketball with his friends. Despite the best efforts of his family to locate him, the boy was never found. Fast forward to 1997 and the Barclays receive a phone call from the US Embassy in Spain. The local authorities seem to have found an orphaned teenager holed up in a phone box and he claims to be Nicholas.

Except it is not Nicholas Barclay, but a conniving impersonator named Frederic Bourdin, a thickly-accented Frenchman who is all too happy to narrate straight to the camera how he tricked a family into believing he was their long lost son from San Antonio, Texas.

Bart Layton’s documentary is a film that catches you entirely off guard. One could read the synopsis above and would be entirely justified to believe the reviewer in question has spoiled the ending with the kind of big reveal any other film would save for the third act. And yet within minutes of the film’s dark opening, you will soon realize that, like its protagonist, there is so much more to The Imposter.

Take Bourdin, for example: here is a man who should be so easy to hold in contempt, despise even, yet somehow comes off as a compelling raconteur, not to mention an unsettlingly charming one too. He is far from self-loathing but he doesn’t sugarcoat his story either, which as a result comes off, bizarrely, as honest and heartfelt.

The reconstructed footage will initially put off those who like their documentaries authentic and void of melodrama, but their inclusion is strategic. By having actors reenact the scenarios that were impossible to capture on camera, the real life footage packs a far more powerful punch, whether they are excerpts from Fox News or the tender clips taken by the real Nicholas Barclay before his disappearance.

The Imposter is also clearly not afraid of pushing buttons. Layton’s decision to play interviews with the lackluster Barclay clan against Bourdin’s more colourful account dares viewers to be put in the unlikely position of sympathizing more with the conman than the conned, a move which Michael Moore would never dream of pulling off in one of his features.

And then there’s the twist, the one that creeps up on you in the final act, after an hour of conflicting theories and half-spoken truths and that will have you looking up more info online once the credits start rolling. To reveal more would mean missing out on viewing and subsequently analyzing a brilliant film that sustains there is never one truth and that ultimately, some stories are too crazy even for Hollywood.   

5/5

Dredd

Imagine if Danny Boyle and Takashi Miike decided to direct a 3D action film together, the former applying a psychedelic touch to drug-induced hallucinations that play out in slow motion, while the latter depicts graphic acts of violence that range from wince-inducing to outright hilarious. That is probably the best way to sum up Dredd, Alex Garland’s take on the 2000 AD comic book character that goes to great lengths to distance itself from Danny Cannon’s ludicrous 1995 adaptation.

Judge Dredd is not an easy character to bring to the big screen. First of all you have the look: a scowling lawman decked in heavily padded riot gear who never removes his helmet, thus making it difficult for casual viewers to connect with a faceless protagonist. Secondly – and there is no way around this – Dredd is essentially a neo-noir fascist. He exists in a dystopian world where crime levels are so dire, the government keeps a lid on things by deploying ruthless agents in the field that are judge, jury and executioner all at once. If you happened to be involved in last year’s student demonstrations, you may find there is a lot to hate about such a totalitarian figure.

So how do you get around this dodgy issue? Well, for starters director Pete Travis and the studios have kept things relatively cheap. Marvel and DC are capable of bankrolling $200 million per movie, so a budget of just $45 million means the risk of Dredd not making a profit has been significantly reduced. The decision to have a CG-enhanced Johannesburg double for the sprawling Mega City One also pays off, as an LA or New York skyline would have been too overfamiliar in a fictional world. And while the decision to saddle Dredd with a sidekick may initially trigger painful memories of Rob Schneider in Cannon’s film, Olivia Thirlby proves to be the Judge’s perfect counterpoint as idealistic psychic Anderson.

The set-up, which sees Dredd and Anderson shoot their way to the top of scum-infested skyscraper in order to sentence the vile gang leader known as Ma-Ma (Lena Headey), is terrific in its simplicity, but makes for a one-note plot and one that unfortunately resembles that of another action film released this year, Gareth Evans’ The Raid. The fact that Evans’ film was a hit with critics definitely harms Dredd in the originality stakes, but luckily it has two saving graces.

The first is Karl Urban. Usually playing second fiddle to bigger name action stars in the likes of Doom and The Chronicles of Riddick, here he fills the titular character’s shoes majestically, as he pulls off a truly menacing and occasionally dry witted performance without ever showing his full face (surely he must’ve been swapping tips with Tom Hardy?). Dredd may be a neo noir fascist, but in Urban’s hands he’s a damn cool one.

The final saving grace is the highly graphic violence. All too often these days you get studios trying to tame the content of adult comic books for younger audiences, so the fact that Travis and Garland have gone for an unrestrained approach when it comes to shoot outs and brutal one on ones – all delivered to pounding industrial music – is something to be admired.

It may have its flaws, but as a re-introduction to the UK’s most successful and no doubt ballsiest comic book character, Dredd is a blood-splattered hit.

3/5     

The Bourne Legacy

There is a funny little scene at the beginning of The Bourne Legacy. A top secret CIA team headed by ominous shadow man Eric Byer (Edward Norton) is gathered around a table looking over some agent profiles, when one member suddenly comes across Jason Bourne’s file, much to Byer’s annoyance. “You must be in the wrong meeting” deadpans Byer, before moving onto a different set of case studies.

That’s one giant hint Tony Gilroy is dropping in the audience’ lap. It’s almost as if the Bourne trilogy’s screenwriter is telling us to move on from what’s come before and embrace this new reality that runs parallel to the events of Paul Greengrass’ Ultimatum, making this effectively a “sidequel”, rather than a reboot or a spin-off. Out goes Matt Damon’s amnesiac rogue agent and in comes Aaron Cross (Jeremy Renner), a diminutive superspy powered by a set of blue and green pills.

Aside from the switch in leading men, the tone and style remain the same. Globetrotting still plays a big part (although this time the action steers well clear of our familiar European shores), improbable chases take place in believable scenarios and the plot is peppered with shaky-cam close-ups of men in suits talking tactics in rooms full of monitors. Even Moby’s Extreme Ways clocks in at the end credits mark.

And yet somehow, The Bourne Legacy doesn’t really live up to its pedigree. It’s not so much a disappointing film, but a curiously ineffective one.

Part of the reason could be down to new spy on the block, Aaron Cross. While Jeremy Renner may arguably be a more gifted actor than Matt Damon, he is definitely a less charismatic one. It sure doesn’t help that Cross is virtually the same character Renner’s already played in Mission Impossible 4 and The Avengers – both released in the past 12 months – not to mention that his fixation with getting his hands on a bunch of pills will alienate anyone who isn’t a) a junkie or b) a protein-popping fitness freak.

The other con is Gilroy’s direction. Michael Clayton may have been a hit with the critics, but here the erstwhile screenwriter seems to have adopted all of Greengrass’ tips and tricks to cover up his insecurity as an action filmmaker. The end result lacks of originality. And while we’re at it, he could have given Norton something more to do, other than stand around in what is a forgettable bureaucratic role.

Having said that, Legacy does boast a couple of action sequences that are on par with the very best the original trilogy had to offer – one particular scene, in which Aaron Cross runs to the rescue of Rachel Weisz’s perennially distressed scientist in an isolated mansion, is loaded with the same suspense and kinetic energy so often conjured in the previous films.

But as of now however, this franchise is hardly Bourne again.

2/5 

Ted

“No matter how big a splash you make in this world whether you’re Corey Feldman, Frankie Muniz, Justin Bieber or a talking teddy bear, eventually, nobody gives a shit”, intones British thespian Patrick Stewart in Ted’s opening minutes. Promisingly, it is the first of many brilliant lines that Seth MacFarlane’s feature debut will have you quoting long after the end credits roll.

Despite boasting the polarizing humour found in Family Guy and American Dad, the film’s premise is nothing short of magical and heart-warming. Car salesman John Bennett (Mark Wahlberg) used to be such an unpopular outcast, even the kid who’d get beaten up by the local bullies wouldn’t socialise with him. But one Christmas, proving there is nothing more powerful than a young boy’s wish (except an Apache Helicopter with machine guns and missiles), Johnny miraculously brings his teddy bear to life and the two become the best of friends.

Fast forward to the present and John is still hanging out with Ted (voiced by Macfarlane), except the once sweet and innocent soft toy has over the years become a foul-mouthed, pot-smoking slacker, much to the indignation of John’s girlfriend, Lori (Mila Kunis). She believes it’s time John matured a bit and got his act together. John on the other hand, loves hanging out with his buddy too much to let go…

Sound like a familiar scenario? Many male viewers will relate to the whole “girlfriend or best friend?” conundrum, and it is to MacFarlane’s credit that his comedy finds the time to focus on the themes of commitment and growing up. Although it must be said that, as exemplified by his flagship TV series, there is little to disguise the fact that MacFarlane is more at home with conjuring killer quips and outlandish scenarios, rather than sticking to a solid narrative structure. But while this would be a fatal flaw in a lesser comedy, the Family Guy creator makes it work to his advantage.

The seemingly endless gag rate will appease those who were worried the trailer had revealed all the best bits (highpoints include hilarious cameos, the most surreal house party ever and a hotel room scrap that would have Matt Damon and Paul Greengrass in a standing ovation) and the actors delivering the lines are all on top form – Mark Walhberg’s rapid fire list of white trash names is particularly impressive.

But as it is to be expected, it is the titular teddy bear that will stick in mind the most. It may be the shock and novelty of hearing an adorable-looking critter spout such a colorful (read: potentially offensive depending on your gender/religion/fanboy allegiances) repertoire of insults, but Ted is simply the funniest character of the year, hands down. By the end of the film you won’t know whether you’ll want to boycott, cuddle or share a beer with him. Chances are you’ll want to do all three.    

4/5      

The Dark Knight Rises

Following up one of the most critically and commercially successful sequels of all time is no mean feat. The Dark Knight remains a crime drama with scale and pathos to spare, and holds the distinctive merit of being the first super-hero flick for adults that scored just as big at the Academy Awards as it did at the box office. The inevitable consequence is that Nolan has now set expectations so high for The Dark Knight Rises, that they are unlikely to be matched.

This is a shame, because while TDKR admittedly never lives up to its Oscar-baiting predecessor, it is certainly not due to a lack of commitment or ambition from its talented director. In fact, it may be one of the best threequels ever made.

Setting the plot eight years after Batman’s last appearance is a narrative stroke of genius. We now see a greying, frailer Bruce Wayne (Christian Bale) who spends his days as a creepy recluse (and thus making similarities to Frank Miller’s highly acclaimed The Dark Knight Returns all the more pleasing). This is no longer a masked vigilante battling thugs and psychopaths – the biggest struggle is against his forced retirement. This is just one of Nolan’s many neat touches that have managed to ground Batman in reality and made him an infinitely more relatable (and commercially reliable) character than Superman or Green Lantern.

But then again, people are not paying to see a three hour film of Bats sorting out his pension fund. So it’s not long before he is called into action by the film’s ‘big bads’: the slinky cat burglar Selina Kyle (Anne Hathaway), and the colossal masked terrorist known as Bane (Tom Hardy). Hathaway, whose look has been subjected to online abuse for a distinct lack of feline features, manages to shut all the fanboys up with a disarming performance that is true to the character from the comics and – in true Catwoman style – shamelessly steals the first half of the movie.

Bane is the tougher assignment. Tom Hardy definitely has the required presence and hulking physique to pull off the role, but his job is made harder by having to act behind a mask that covers most of his face, and is marred by a voice that makes him sound like a Jamaican Sean Connery with asthma issues. However, his brutal role in Batman’s undoing – and those familiar with the Knightfall storyline from the comics know exactly what’s coming – make him a villain who is much easier to boo and hiss at than the Joker or Two-Face.

But characters are only as good as the context into which they are inserted, and it is quite admirable how far Nolan has always been willing to push them, especially his protagonist. Not many summer blockbusters get to tread such pitch black waters, especially when so many parallels with real world issues are drawn in the process – terrorism, economic inequality and the ‘occupy movement’ being firmly referenced.

Which makes the idea of a masked superhero swooping in to rectify these wrongs and save the day all the more relishing, if you think about it. Nolan has confirmed this will be the last we’ll see of his grounded, quasi-realistic Batman, and his contribution to the comic book movie genre is indelible. Good luck with the reboot, Warner Bros.

4/5

The Amazing Spiderman

Let’s get one thing out of the way, right off the bat: the decision to reboot Spiderman merely 5 years after he last swung into the sunset is no doubt off-putting. That much everyone knows – just look up all the slander and death threats posted on the internet over the past months. There’s still a lot of love out there for Sam Raimi’s trilogy, which makes this new Spidey’s chances of scoring with worldwide audiences much harder.

But here’s the kicker: you may hate what The Amazing Spiderman represents (i.e. shameless cash-in) and yes, the first half does stick a little too close to what we saw on screen ten years ago, but cast aside your cynicism for a couple of hours and you’ll find there is a lot to love about the film.

Like what, you ask? Well for starters, it is a remarkably faithful adaptation that sticks to the tone and original setting of the comic books. Midtown High, Gwen Stacy, mechanical web shooters, a beloved villain from the classic rogues’ gallery… hardcore fans will find their boxes have all been firmly ticked.

More importantly, mainstream audiences will be pleased to see that, despite a complete cast and director reshuffle, Spiderman has lost none of the heart and charm that have always made him arguably the most beloved superhero on the planet. Marc Webb was offered the gig based on the complex emotional themes on display in (500) Days of Summer and he successfully manages to transfer the rom-com’s best qualities over to his first blockbuster. The scenes in which Peter awkwardly tries to ask Gwen out or when he first meets her authoritarian father (a scenario many teenage boys will identify with) are likely to resonate more than the ones in which he gets pounded by a giant lizard. Moreover, the scenes between a bruised Peter and his protective aunt May carry an emotional heft that you’d expect from an indie domestic drama, not a superhero blockbuster.

The Amazing Spiderman is also impeccably well cast. Martin Sheen is Uncle Ben, Dennis Leary brings the laughs as the gruff Capt. Stacy, while Emma Stone is endearing as the high school sweetheart who may well be (whisper it!) a better fit for our hero than Mary Jane. Rhys Ifans as a fundamentally good man trapped in a game of Jekyll vs Hyde is an alluring proposition, even though his reptilian alter ego is occasionally marred by half-baked CGI – but at least he’ll go down in comic book folklore as the first Welsh super villain.

And what of the star of the show? Recasting a role that many feel belongs to Tobey Maguire was always going to be a tough gig but the truth is Andrew Garfield makes a brilliant Peter Parker/Spiderman. He looks like the character from the comic books (no matter how impressive Maguire’s sculpted pecs were, Spidey was always meant to be slender), nails his wisecracks (“You’ve found my weakness… it’s small knives!!” is the kind of humour that was woefully absent from previous films) and excels during the film’s more emotional scenes.

So, the inevitable question: is it better than Raimi’s trilogy? The best answer would be “it’s different”, but if you’re really after a comparison, let’s just say it betters the now outdated 2002 version, is way better than the over bloated third installment and has all the potential for delivering a sequel as triumphant as Spiderman 2. Check out that final swing through the New York skyline in glorious 3D and try not to feel your hairs stand at the prospect of seeing Spidey again in two years’ time.   

4/5  

Chronicle

Spiderman may bang on about how with great power comes great responsibility, but Chronicle offers a far more believable portrayal of teenagers gifted with supernatural abilities. After all, why fight crime when you can use telekinesis to play pranks and chuck footballs whilst suspended in the sky? Josh Trank’s handheld debut feels less like a superhero caper and more like Elephant with super powers – every one of the protagonists feels like a real adolescent with relatable issues. And if you think things get too moody during the middle section, the final act delivers one hell of a climactic set-piece (although it does feel like someone is sweding Akira on a digital camera).

4/5   

Snow White & the Huntsman

Remember that bit in the Disney flick when Snow White leads a raid on the evil queen’s castle? If you’re a fan of the original fairy tale, this 21^st century upgrade is likely to leave you baffled. The tone is pitch black, the dwarves are barely in it, the Huntsman has been inexplicably elevated to main love interest and Kristen Stewart looks somewhat bewildered throughout as the titular heroine. Former commercials director Rupert Sanders does a decent job at handling the large scale spectacle, although in his hands Snow White & the Huntsman feels like it’s trying to emulate Sleepy Hollow and Lord of the Rings.

2/5

Prometheus

When Ridley Scott stated that Prometheus, his first venture into science fiction in thirty years, was to be set in the same world as Alien but not a direct prequel to the cult space horror flick, he was met with scoffs and rolled eyes worldwide. In the cold, cash-driven environment mainstream filmmakers operate nowadays, it wasn’t hard to believe Ridley had gone and pulled a Lucas and was about to inflict a Phantom Menace on one of sci-fi’s other beloved franchises.

Well now the film is finally upon us and as it turns out there is both good news and bad news. The good news is Scott’s vision has not been corrupted by the corporate machine. In fact, Prometheus presents enough visual flair (the frosty rock-strewn landscapes of Iceland lend an imposing backdrop to a film that is far from warm) and hefty core themes (where do we come from? Were we created? Or are we just part of a cosmic evolutionary cycle?) to ensure it could easily function as a standalone title.

The bad news is that, half hour into the film, you’ll wish Scott hadn’t steered clear of the Alien franchise to such a great extent. Despite the director’s admirable restraint, you will most likely be longing for a direct link between Prometheus and Alien within the first half hour, when instead all you get is a wink and a couple of easter eggs here and there (and perhaps a few xenomorph eggs too). It’s like getting a prequel to Gladiator in which a group of legionaries stop outside a Roman villa long enough for you to recognise it is actually Maximus’ home, but then they don’t pop in for a quick hello.

Speaking of frustrating, the crew aboard Prometheus are less characters, more thinly drawn caricatures. Logan Marshall Green is the jock, Charlize Theron the corporate bitch, Idris Elba the depndable captain and if you squint hard enough, you can see “sacrificial lamb” stamped on the rest of the crew's foreheads. Meanwhile, a gaping Ripley-shaped hole needs to be filled by a contemporary feminist icon, so it might as well be a job for Lisbeth Salander (Noomi Rapace, sporting a decent British accent that meanders into Swedish during her more emotionally intense scenes).

The only player that truly stands out from the ensemble is the ever reliable Michael Fassbender. In the past year the Irish-German actor has managed to mould sexual predators and masters of magnetism into complex and compelling characters, and he does the same here with David, an ethereal android who mimics human beings with childlike wonder and, on one occasion, ill-judged ambition.

In case the last three paragraphs have given the impression Prometheus is not worth the price of the ticket, rest assured that is most definitely not the case. What you have here is not a modern classic to rival its progenitor, but an unusual sci-fi offering that intermittently dips into unsettling body horror – Rapace stars in what will most likely be remembered as cinema’s most gruesome abortion scene. It’s moments like these where Scott almost matches the pitch black standards he set himself thirty three years ago.

3/5       

Men in Black 3

In the third chapter of the alien-bustin’ franchise, notorious intergalactic criminal Boris the Animal (Jermaine Clement) breaks out of his lunar prison and travels back to 1969 to erase his captor from history, the legendary MIB agent K (Tommy Lee Jones). In order to save his old partner, J (Will Smith) must also travel back in time, where he inadvertently teams up with a younger version of K (Josh Brolin).

When Men in Black came out back in the summer of 1997, it was like a breath of fresh air. In a season where highly anticipated follow-ups like Batman & Robin and The Lost World turned out to be major let downs, the black suits strolled out of nowhere with their smart mix of sci-fi, comedy and body horror and took over the box office like an impeccably timed alien invasion.

But that was fifteen years ago. And my oh my, how the tables have turned. So far the 21^st century box office has been dominated by superheroes and in a summer in which the Avengers have already triumphantly assembled, Spiderman gets ready to amaze and the Dark Knight is set to rise one last time, Agents J and K feel a tad irrelevant, not to mention outmatched. The men in black have been overshadowed by the men in tights.

The fact that Men in Black 3 isn’t surfing the zeitgeist could potentially do great favours to its reputation and mainstream appeal. With a sharp script and a fresh formula, this could’ve been director Barry Sonnenfeld’s opportunity to deliver a glorious return of the underdog. But the time travel premise is a tired and tested one, while those who have been following the film’s production will know that MIB3 was marred by constant rewrites on set, which is usually never a good sign for any film, especially one with a budget nearing $300 million.

And the patchy writing shows on-screen in the form of gaping plot holes. For instance, in the reality where K has been erased from time, how is J an MIB agent if K was the one who recruited him in the first place? A major twist occurring towards the end of the film is so abrupt and out of place, it practically reeks of last minute rewrite. And while we’re at it, the 3D and CGI are distinctively subpar, considering the budget cited above.

At this point you may be wondering about the central duo, whose chemistry has always been the main reason to revisit the original and the saving grace of the half-baked 2002 sequel. Jones’ brief screen time and quick exit may initially be matter of concern, but thankfully he is more than ably replaced by Josh Brolin, perfectly mimicking the Texan veteran actor and proving to be just as good a verbal sparring partner for Smith. In fact, you could argue the film's high point is the comedy dominataing the mid-section, during which we are treated to the threequel’s best scene, namely a trip to Andy Warhol’s factory (hats off to Bill Hader for pulling off a pitch perfect parody of the eccentric artist).

But that’s your lot. No amount of witty banter or jokes revolving around dated racism can hope to elevate the shoddy material on display here. Your love for the original may lure you into the cinema, but by the end credits you’ll be itching to neuralise your own memory of this turgid ordeal.

2/5