Rec 2

In 2007 Rec sneaked quietly into the cinemas. About a week later it left just as quietly, eventually to be discovered on DVD, before the inevitable American remake (Quarantine). However, if you were one of the few lucky people like myself to see Rec in the cinema then you experienced a film that was quick, smart, at times bloody, and at other times, bloody terrifying. Writer / Directors Jaume Balagueró and Paco Plaza, begin REC 2 15 minutes following the conclusion of the first film. This time we have an official from the Ministry of Health and a Spanish SWAT team entering the apartment block to discover what is going on in there. The film is shot using the same hand-held camera perspective of the original. However, though this still works, Balagueró and Plaza drop the ball by cutting down on the tension in favour of a screenplay that is explanation heavy. It’s understandable that a sequel has to expand on the original, but in telling the back story we miss out on the claustrophobia that was the mainstay of the original experience. Frankly, it isn’t really all that scary. Or even all that gory (the famous neck bite from the original being a distant memory now) However, the film is saved by the fact that the screenplay is pretty smart, with a neat twist at the end. In addition, it will probably make you want to watch the first film over again (which is no bad thing). Though it may feel a bit diluted now, beware that there are even more explanations to come what with Balagueró and Plaza planning both a prequel and a further sequel.

The OC Film Sting Final Verdict
This misses the sweaty palmed rawness of the first film, but it’s disturbing storyline and smart finish mean further instalments will be anticipated, if not eagerly. Rating: 6/10

Prince of Persia: The Sands of Time

It’s hardly a secret that films based on video games are usually dire affairs. However, most don’t have Mike Newell directing, Jerry Bruckheimer producing and Jake Gyllenhaal starring. OK, OK I know that doesn’t mean much to some people (and after Bruckheimer's Transformers films, that’s a fair comment), but their involvement with this means we have a film that pokes it’s head above the usual parapet of computer game dross, though it still isn’t all that memorable. Based around the game of the same name, Prince of Persia: The Sands of Time has Gyllenhall as the Prince in question brooding around 6th Century Persia getting to grips with a few family problems, a beautiful princess (Gemma Arterton) and some somewhat suspect dialogue. Having said that, the plot itself is actually fair game. I could be more harsh on this, but this is clearly a film aimed at a family audience (the main plot device is called “The Dagger of Time” for goodness sake) and it does the job that is required. However, it falls apart very quickly towards the end, especially during the ridiculously CGI heavy over the top final showdown. Acting wise the cast does what is required, but little else. Overall, this is standard blockbuster fare, hitting the marks for the target audience. However, it’s likely that most people would get more enjoyment from the computer game.

The OC Film Sting Final Verdict
Loses marks for some wooden acting and over reliance on CGI, but there is still entertainment to be had. Rating: 6/10

Cop Out

What on earth has happened to Kevin Smith? It’s hard to believe that the director of Clerks would 16 years later be giving us dross like Cop Out. Clerks is still an undisputed classic, but Smith has been on a slide for a long time now and Cop Out could be the nadir. The biggest problem with the movie is that though it’s supposedly a homage to the 1980’s staple of buddy cop films, this isn’t clear from watching it. Is this really a nod to Lethal Weapon et al, or is it a parody? You could see it either way really. Bruce Willis and Tracey Morgan are the cops in question in this one, who, and tell me if you’ve heard this one before, get suspended at the start of the film due to a botched sting operation! Oh, the originality. Suffice to say, they continue with a subsequent investigation and you get the usual mixture of action and quips. There are a few funny laughs to be had, but they are few and far between. To be fair to Morgan, he does put his heart into it and doesn’t come across as annoying as in the trailer. Sean William Scott also pops up with a few laughs. Willis meanwhile flies along on autopilot. Overall though, the film just reminds you as to why these kind of movies have fallen out of favour somewhat. You can still enjoy the old ones (a lot of them through rose tinted glasses of course) but this proves this genre is moribund for the moment, not helped by the awful score. If you really go in expecting nothing you may get some enjoyment, but I’d say this is only worth watching for Kevin Pollack’s two second impersonation of De Niro. Honestly, unlike Cop Out itself, it is a cracker.

The OC Film Sting Final Verdict
Homage or not, this just isn’t funny or smart enough to refresh a cannon of films not really that popular at the moment. Rating: 3/10

The Losers

I’ve got a soft spot for films like The Losers. For all intents and purposes, B-movies, with a knowing sense of their own stupidity, which don’t take themselves too seriously and where it looks like everyone is having a blast. Sylvain White’s film is perfect Friday night film fodder. There’s nothing original here, in fact you’ll probably forget you’ve even seen this in a few years time, but what there is is enjoyable enough. With a short running time, White doesn’t worry too much about back story of the characters and speeds through the film after the initial set up. The set up being that a team of US Special Forces soldiers are betrayed whilst on a mission in Bolivia and are presumed dead. The Losers then make their back to The States to gain their revenge on the person who set them up. Making up part of the group are Jeffrey Dean Morgan, Chris Evans and Idris Elba, who all excel in their various well written parts. White handles the action scenes with a crazy mixture of slow motion and frantic editing, and we also have some nice comic book images during the opening and closing scenes. It doesn’t all work though. Even though this is based on a comic you may find it all a bit too absurd. Jason Patric as the main villain doesn’t really work either. Trying to exert menace mixed with a comic edge it’s a decent stab by Patric, but it mostly falls flat. That apart, and the fact this may seem a bit A-Team lite, I’d still think that particular upcoming summer flick may have to go some to join this in terms of it’s high entertainment value.

The OC Film Sting Final Verdict
Jokey, fast, loud and with a knowing wink to the audience. Fun stuff. Rating: 7/10

Robin Hood

Now here’s some heavy hitters. Ridley Scott as director, Brian Helgeland on (re-writing) script duties and Russell Crowe as the lead. One problem though. Is there really a clamour to see another film about Robin Hood? Scott and Helgeland perhaps sensed this early on as much like Batman Begins and Casino Royale, Robin Hood goes back to the start to give us a story concerning the origins of the Hood myth (though it appears commercial measures still dictate, as the original title of Nottingham fell by the wayside). So, was it a wise decision? Overall you would say yes, though the film isn’t quite the sum of its parts. Scott directs with (what else?) an assured hand and neatly moves the story along just at the right moments before navel gazing sets in. Though there is some dodgy editing at times suggesting that a version with more grue was also filmed and I’d expect to see that surface on DVD. Crowe is solid as Robin of Longstaff and there is strong support from the rest of the cast, including Oscar Isaac as a delightfully slimy Prince John. However, the purposely sidelined Sheriff of Nottingham is a waste of Matthew Macfayden. Cate Blanchett brings the required gravitas to Marion Loxley that the screenplay gives her but the romantic plot line between her and Crowe is below par and they rack up zero chemistry together on the screen. Of course, much has been made about Crowe’s accent. It’s definitely not that great and I can only assume the close relationship between Scott and Crowe prevented Scott from pointing out it needed brushing up somewhat. Having said that, to me, it sounded a bit Irish at the start but then seemed to disappear totally for the rest of the film. Negative points aside though, this is still enjoyable stuff which, though I’m sure Scott wouldn’t like it, comes across more like a fantasy adventure (swords, sandals, girls) than any sort of serious historical comment. The climactic battle at the end doesn’t quite hit home as it should, especially after the decent build up Scott gives it, and it’s not helped by Blanchett's and the (soon to be?) merry men arriving in a somewhat underwhelming fashion. Overall, this probably won’t live too long in the memory, and I doubt they’ll be a follow up, but Scott directs well (including some stunning sweeping camera shots of the green and pleasant land), the actors all seem to be enjoying themselves and the screenplay is nicely polished.

The OC Film Sting Final Verdict
The heavy hitters land their punches, but none of them are knock out blows. Rating: 7/10.

The Joneses

The ironic message of The Joneses is not does all the money in the world make you happy? But does all the money in the world plus all the latest gadgets in the world make you happy? Well, this is a film so of course it doesn’t you fool! The set up for The Joneses is that the eponymous family (David Duchovny, Demi Moore, Amber Heard, Ben Hollingsworth) arrive in an already loaded suburb and impress the locals with their golf clubs, watches, cars etc. However, it’s all a scam, the Joneses are actually a fake family, planted in order to boost sales of anything and everything that costs and arm and a leg. That’s not a plot spoiler by the way, as though the Joneses aren’t revealed to the audience as to who they really are until about 20 minutes into the film, this plot twist scene, which is meant to make the audience sit up in their chairs, is pretty much telegraphed from the start. Derrick Borte's dramedy just about succeeds in both areas, with some subtle laughs thrown in throughout the film before a moving key emotional scene at the end. You’ll also get a kick out of some of the gadgets on show, though whether you have the wallet of course is a different matter. One problem with the film though, apart from its somewhat credibility stretching premise, is that would all those clearly rich people actually need any encouragement to buy such treats in the first place? Plus, do people really want to watch a film about a load of people rolling in green? However, this is well acted by the four main protagonists, especially by Heard and Hollingsworth as the children of the fraudulent brew, and it’s an unusual film, if not an entirely memorable one.

The OC Film Sting Final Verdict
This is somewhat thin, but what it does has is enjoyable enough, though the ending is a bit fudged. Rating: 6/10

Furry Vengeance

Two things that struck me about Furry Vengeance. First, for a film about talking animals, instead of having a load of Hollywood’s hottest stars providing voices, the animals talk to each other via gurgles, squeaks, roars or whatever noise said animal would make. This is backed up via a few visual translation bubbles which do provide the odd titter. The second is the amount of CGI animals on show. Come on guys, has it got to the stage now that even cuddly critters are reduced to being computer generated? Obviously for some of the antics the animals get up too in a film you need some effects, but for even simple things we get badly imposed creatures sticking out like a sore thumb. Brendan Fraser takes the lead roll in this kids flick, working for a property developer looking to demolish a forest in order to put up some expensive abodes. However, furry vengeance is on the menu as the woodland animals fight back in a array of slapstick attacks. Oh yeah, and there’s poo on the agenda. Lots of it. The best I can say about this is that it should appeal to real youngsters, but apart from that its pretty dire stuff for the rest of it. Fraser loves appearing in these family films and he is fair game for the “punishment” the animals dish out. However, even he can’t save this from being a terrible mediocre effort in terms of effects, plot and dialogue. There’s the occasion laugh, but this is a way below par kids film and by the time the skunks lift their tales for the umpteenth time in the film, any originality has disappeared a long time ago….

The OC Film Sting Final Verdict
For tiny tots that like poo jokes only. Rating: 3/10.

The Disappearance Of Alice Creed

The Disappearance of Alice Creed has had a small cinema release and has been in and out of the cinemas in a flash. This is a huge shame as it’s a highly enjoyable film and, what with the below mentioned Four Lions, is solid proof that relatively small British films can more than hold their own against some of the dire Hollywood output of recent months. Writer / Director J Blakeson weaves a twisty little tale as two ex-cons kidnap a young woman and hold her to ransom. The film starts off with an ominous tone as we are shown the two kidnappers Viv and Danny (played by Eddie Marsan and Martin Compston, respectively) coldly but coolly going about their business as they fortify an apartment in which the young woman of the title (Gemma Arterton) will be held. Make no mistake, these guys are prepared and mean business. When the actually kidnapping occurs it is, well, a real mean business, as Arterton is subject to a harrowing ordeal. Fair play to Arterton here as she is really put through the wringer as Creed, though not abused, is degraded to an uncomfortable degree. It’s certainly tough to watch and Arterton exactly nails the fear someone would have in such a situation. From there the story unfolds with enough twists to keep you guessing what the dénouement may be without going too over the top (though one plot twist is pretty hard to stomach when you consider the meticulous preparation at the start of film). Blakeson directs with an assured hand, interestingly managing to tell the film from the aspect of all three leads at various points. Everyone comes out of this with a high grade, especially Blakeson and Arterton. With only three characters and minimal sets this could easily be a play. However, play or film, the three main markers that make a success (direction, script and acting) are all present and correct here and though not as taut as it could be, The Disappearance of Alice Creed is still tense and engaging from start to finish.

The OC Film Sting Final Verdict
This has more smarts than suspense, but top turns by all three leads and a clever screenplay make this small film an unexpected treat. Rating: 8/10.

Four Lions

When it was first announced that Chris Morris was making a film about suicide bombers it would have been a brave man to predict such a film would ever see the light of day. One of the enfant terrible’s of the establishment for many years now, Four Lions would seem a hot potato in anyone’s hands let alone the man who caused uproar with that episode of Brass Eye. However, for people who know Morris, you would know that he would only ever embark on such a challenge after meticulous research, and any result would be a serious comment on the subject shown through a measured satirical approach. The crux of the matter is that Morris’ film tells the story of a number of suicide bombers who happen to be clumsy, stupid and out of their depth. He’s not saying that this is what all suicide bombers are like. In fact, and I think very wisely (perhaps even Morris knew he could only push things so far) Morris tells the story in an almost restrained manner and all comments regarding religion (good, bad, hypocritical) are told through his characters and their actions as opposed to using broad strokes across the whole film. However, some serious points are made, but they’re not totally noticeable at the time as you’ll be laughing too much. The film is well acted by a cast of relative unknowns and Morris moves the film along at decent pace, only let down by a few scenes that feel like skits as opposed to part of the narrative. Morris himself doesn’t appear in the film which may disappoint some, but he does appear by voice over in a killer punchline in the end credits. Speaking of the end, by the time the jihadists make their way towards London to attack the London Marathon, its still up in the air as to which direction the film will go. I won’t spoil what happens, but although the laughs don’t dry up we are deep into black comedy territory now. This can’t be described as a return to form for Morris (arguably he’s never lost it) but for the somewhat reclusive Morris this is a return, and for that we can all thank our blessings.

The OC Film Sting Final Verdict
A triumph for Morris as he steers clear of anything too controversial, lets the audience decide for themselves, and gives us a film that is laugh out loud funny from start to finish. Rating: 8/10.

It's A Wonderful Afterlife

Gurinder Chadha’s latest film is one of the more bizarre efforts you’ll see this year. The plot, as such, sees an Indian mother (Shabana Azmi) turn into a serial killer of the people who have rejected her daughter’s hand in marriage. Oh, did I mention that this is a comedy? If you don’t find that premise particularly rib-tickling then you’re not going to get much out of this. There are a few groan worthy puns involving Indian food, but most jokes miss their mark and comments about the daughter's (Goldy Notay) weight are meant to raise laughs but just come across as cruel jibes. The standard message of the movie (it doesn’t matter what you look like, but who you are) almost becomes lost amongst the below par acting and dodgy effects. Ah yes, I haven’t mentioned the ghosts yet have I? The spirits of the people that Azmi has murdered follow her around and will only be released once she has committed suicide. The fact that one of the ghosts walks around with its guts and intestines falling out is, again, meant to be funny, but will turn stomach's more than tickle them. One bright spark in the film, although still an acquired taste for some, is the turn by Sally Hawkins as Linda. She also is the main point of the films silliest moment, a food fixated homage to Carrie which Chadha just about pulls off. Overall the whole schebang feels a bit cheap both in terms of premise and presentation. This is set in Ealing and is meant to have elements of “Ealing comedy”. However, I’d suggest Alec Guinness et all would be turning in their graves at this suggestion.

The OC Film Sting Final Verdict
It’s silliness doesn’t help, but the whole thing feels too amateur and too may jokes fall flat. Rating: 4/10

Iron Man 2

Back in 2008 Iron Man was a pleasant surprise, a block buster that was witty and enjoyable, with decent effects, action sequences and, despite a two hour running time, it never dragged. It comes as quite a surprise then that, with all the original elements intact, Iron Man 2 completely falls for the sequelitus disease. Bigger? Yes. Faster? Yes. Better? Not a chance. Though not as bad as Spiderman 3, this still suffers from being far too bloated in terms of characters and plots and its dragging its heels way before its limp ending. Robert Downey Jr reprises the title role and does a decent job as he portrays Tony Stark becoming more reckless and arrogant. In the film he also has to contend with a number of new villains, the main threat being Mickey Rourke’s Ivan Vanko. Though Rourke has fun chewing up the scenery with his slav-russian accent, he doesn’t inject much personality into proceedings. In fact, this is a problem with a lot of the film. Gwenth Paltrow as Pepper Potts is as bland as they come (and scarcely believable as the head of Stark Industries) and her banter with Downey Jr now just grates more than anything. Worst of all though is Don Cheadle spectacularly mis-cast as War Machine. It’s no secret that he was rushed into the role (see the internet for the whole Terrance Howard story) but he takes on Paltrow in an unofficial competition to see who can be the most unbelievable character in the film. At least Sam Rockwell appears at his slimy best and Garry Shandling provides a few welcome laughs as a miserable senator. Obviously it can’t be all bad, and director Jon Favreau does start the film at a decent pace, including a fantastic sequence on a face track where Ivan first encounters Stark. It doesn’t last long though, and as the film becomes, in relative terms, more and more fantasy, it becomes less believable and harder to care about what happens. I think the biggest problem between the two films as that whilst both films are obviously based on the comic, the first film, despite the comic elements, felt like it had a basis in reality due to strong characterisation. As this film ends with hundreds of “Iron Men” flying across the sky followed by the weakest climatic showdown for quite a while you can only feel the screenwriters just went for the most standard and least original finish they could think of and waited for the money to roll in regardless.

The OC Film Sting Final Verdict
More is less as the saying goes and Iron Man 2 is iron proof of this. Rating: 5/10

Centurion

It’s fair to say that Neil Marshall has a pretty mixed CV. First up was flawed but fun Dog Soldiers, then came the nerve shredding excellence of The Descent (one of the most sweaty palmed experiences of the 2000’s) before a quick and sudden fall to earth with the overblown disaster that was Doomsday. Now Marshall has slipped quietly back into the mainstream with Centurion, a film that isn’t an immediate return to form, but is solid enough to hold its own. Centurion, tells the story of the Roman Ninth legion, and an incident of some dispute where some 4,000 men of the legion entered Scotland and were never seen again. Marshall ’s take is that they came across a tribe of people known as the Picts and much blood letting did ensue. Sorry, let me say that again. Much blood letting did ensue, as Marshall gets the camera right into the heart of the action as rivers of blood flow, limbs go flying and heads are decapitated. Amid the mayhem with have a mainly British cast (Dominic West and David Morrissey the best known) whilst the German / Irish actor Michael Fassbender gets the titular role. This is acted reasonably enough, with all participant's realising a degree of ham is required, despite the film trying to be as brutal as it can. One person who doesn’t get to say much though is the near wordless performance of Olga Kurylenko. Somewhat more pointless, than wordless I’d say, and a surprising decision by Marshall to have her character so, especially when you consider his background of getting strong performances from females. As this is, in effect, as chase movie, it doesn’t outstay his welcome and there is some cracking (though cold looking!) Scottish scenery to enjoy.

The OC Film Sting Final Verdict
Hard to be too critical about this, but it's very unlikely to demand further viewings. Rating: 6/10.