Bright Star

Jane Campion’s Bright Star tells the story of the romance between John Keats (Ben Whishaw) and Fanny Brawne (Abbie Cornish). If you already know the background to Keats you know this won’t end well, and even if you don’t, Campion puts enough markers in the film to suggest hankies will be needed at some point. The film itself is beautiful to look at and acted solidly across the board. However, it doesn’t hook you as it should and you feel like you are an outsider looking in, as opposed to being absorbed in the relationship between Keats and Brawne. On this note, Keats doesn’t come across as a poetic genius (which, to be fair, he wasn’t seen at the time) or particularly interesting. Why Brawne should fall so hard for him is a bit of a mystery. Especially as Keats’ puts his literature before their relationship on more than one occasion. There is also a third party indirectly involved, that in the shape of Charles Brown (an excellent Paul Schneider). Keats and Brown are two peas from a very different pod, but with literature as their common goal. Would this be enough though for Keats to sit back and watch Brown abuse Brawne verbally? This isn’t a bad film at all, but it goes on far too long and fails to maintain the interest in the main players.

The OC Film Sting Final Verdict
Nice to look at, but not engaging enough for us to ride the full emotional roller coaster that the protagonists endure. Rating: 5/10.

The Box

Though Richard Kelly wowed everyone back in 2001 with Donnie Darko, it was still too confusing and ambiguous for some. Instead of addressing this with Southland Tales, Kelly went even further in terms of a screen play that was a myriad of plots and ideas and went on to become one of the worst reviewed films in recent history. Lessons haven’t been learnt with The Box. Based on the Richard Matheson short story (Button Button), Kelly’s film concerns a married couple who receive a box with a button in it and are told that if they press said button they will receive a million dollars, but somewhere someone they don’t know will die. It’s a great premise for a short story and a Twlight Zone episode, but stretching it out to a two hour feature film is a mistake. Ironically, the film starts to meander at the halfway point, just going to prove that this is better suited to the shorter treatment. The first half of the film is actually quite decent with the 1970’s setting being well conveyed and a sense of dread and unease leaking off the screen. How quickly it changes though. Once Kelly begins to tell the back story behind the box (which appeared to me to be a slight knock off of The Day The Earth Stood Still) all the tension dissipates amid some terrible direction and acting. At times it’s like watching the worst parts of The Happening and Oliver Hirschbiegel's The Invasion. Of the acting, Frank Langella escapes with his reputation intact, but Cameron Diaz and James Marsden struggle badly at times, especially in the more emotive scenes. There’s obviously some existentialism gumph going on here, but you’ll be too bored to address anything like that and instead will be counting down the minutes before this well below par episode of the X-Files ends.

The OC Film Sting Final Verdict
A decent start is quickly forgotten as the film slowly meanders down confusing plot cul-de-sac's coupled with some dire acting. Rating: 3/10.

Law Abiding Citizen

There’s been quite a few sniffy reviews for Law Abiding Citizen, which is a shame, as though it is outrageously stupid, it’s also perfectly dumb Friday night entertainment. After his wife and child are murdered at the start of the film, Clyde Shelton (Gerard Butler) spends the next 10 years planning his revenge on the killer who missed his ride in the electric chair, and the legal team (headed by Jamie Foxx) that cut a deal with the killer during his trial. The way Shelton goes about his revenge is ludicrous to say the least (especially the twist ending), but something so absurd can only be taken with many pinches of salt. Butler seems to pick up on this and appears to be having a blast as he hams his way through the film. Foxx fares less well though and plays his part far too straight. There’s been talk of a Saw feel to the film, but this is somewhat wide of the mark. However, there is a brutal murder scene in a prison (which no doubt pushed this up to an 18 certificate) which is at odds with the “motive” of the film and is a bad misjudgement from director F. Gary Gray. Gray does at least move the film along at a fair pace, which is always necessary in a film of this nature. Just strap yourself, don’t stop to think, and look out for a cracking jump shock involving a item of communication.

The OC Film Sting Final Verdict
Enjoy the film, enjoy picking holes in it afterwards, enjoy never watching it again. Rating: 6/10.

Bunny and The Bull

Bunny and The Bull has shot in and out of cinemas in a flash, which is a shame as there’s more imagination here than a 100 blockbusters put together. Having said that this is such a low key effort it feels a bit out of place on the cinema screen, but I expect it to gain a cult following on DVD. In fact, that’s hardly surprising considering first time director Paul King has previously worked on Dark Place and The Mighty Boosh. For his cinematic debut King tells us the story of Stephen (Edward Hogg), a shut-in who, by a series of visions, recalls his European trip of the previous year with his friend Bunny (Simon Farnaby). The problem with flash backs is that the narrative structure can become just a series of scenes thrown together, or in this instance, sketches thrown together. This isn’t all bad though, with some of the situational comedy providing some ripe laughs. Some scenes though stutter badly, including a crass mini cameo from Boosh alumnus Julian Barratt. Where the film does score heavily though is in its inspired use of set design and animation. It’s like the characters have walked into the love child of Gilliam and Gondry. The effect is wondrous at times and adds a charm to the film that otherwise may have been lacking. King also does well in handling the relationship between the male friends which leads to a surprisingly touching dénouement. This may be a bit too off the wall for some, but by giving films like this a chance it means they’ll always be an alternative to the standard blockbuster formula.

The OC Film Sting Final Verdict
Flimsy at times, but good gags, great animation and a poignant finish all add up to a surreal and enjoyable little film. Rating: 7/10.

The White Ribbon

Michael Haneke’s films regularly have violence as their central issue. The White Ribbon is no exception, but as with most of his films to date, the violence is only swiftly shown or not shown at all. What causes violence? Haneke himself doesn’t know, and his films are always open ended on the issue and open to interpretation. The White Ribbon is the most ambiguous of all. Set in northern Germany, just before the outbreak of the World War I, the film focuses on a small village and the seemingly random acts of vandalism and violence that befall it’s inhabitants. This isn’t riveting stuff though. Black and white, slow paced, confusing. It sounds like the dream film for the jury at Cannes (it was, winning the 2009 Palme d’Or). However, this film does get under your skin, even if you don’t realise it at the time. Though beautifully shot, the village is a desperate place to live. Children are abused, the women are repressed and the rich have the poor’s livelihoods' in their hands. As violent incidents begin to occur it’s never explained who is doing them and what their motive is. There are plenty of reasons and motives that could be applied, but there are no answers given (classic Haneke). It’s too trite to say Haneke is using the village as an allegory of the whole of Germany at that time. However, it’s fair to interpret the unsettling and untrusting tone as a hint at the fascism that was to come. Haneke originally planned this as a mini series, which possibly may have worked as a better vehicle for his vision. However, it that had happened it’s unlikely to have reached such a wider audience, of which this is definitely deserving. This isn’t Haneke’s greatest film, but it’s certainly his most mature.

The OC Film Sting Final Verdict
Not the masterpiece it’s been made out to be, but this is a serious film dealing with serious issues and will certainly have you thinking back to it many days after you have left the cinema. Rating: 7/10.