The Runaways

The Runaways is a film based on the book by the band’s lead singer Cherie Currie and therefore it’s no surprise to find the character of Currie taking up a fair portion of screen time as we go through the history of the band from formation to break up. Unfortunately the film is hamstrung from the start as Dakota Fanning’s portrayal of Currie is pretty dull despite Currie being the leader of a female punk band and having family problems to deal with as well. However, Fanning’s performance can probably be laid at the feet of director Floria Sigismondi, as the film itself is far too tame to truly reflect the angst and anger of the band. Sigismondi is one of the more original music video directors around so it’s a surprise (and a shame) that the direction here is so bland. Kirsten Stewart fares better as the more well known Joan Jett, sporting the worlds blackest hair and giving off the required balls (so to speak). However, the highlight of the film is Michael Shannon’s performance as the bands bonkers manager Kim Fowley. As sleazy as he is hilarious, Shannon gives the film the energy it lacks as he bounces around the screen. If only Sigismondi had been able to channel some of that electricity into the rest of the film. As a history of the band, apparently the film is a fairly accurate portrayal and therefore should provide some interest for music buffs. However, the problem remains that despite a film about a pioneering female rock band, you’ll have little interest in following it up after the final credits.


The OC Film Sting Final Verdict
Worth watching for Shannon, but the big screen feels too much for the usually innovative Sigismondi. Rating: 5/10.

The Last Exorcism

There’s been plenty of hype about The Last Exorcism already in respect of its hefty box office compared to its (fairly) minimal production costs and an ending that has had people pretty miffed. The film has also drawn comparisons with The Blair Witch Project, in terms of profit ratio, the found footage premise and a viral marketing campaign. However, I wouldn’t bracket this film anywhere near Blair Witch in terms of effectiveness, but it does have a modicum of originality that pushes its head above water level. The film follows the Reverend Cotton Marcus (Patrick Fabian), who after agreeing to take part in a documentary designed to show exorcism as fake, travels to a remote farmhouse with two members of the documentary crew in order to “cure” a teenage girl called Nell (Ashley Bell) who’s father claims is possessed by the devil. To say more would be to spoil the few twists that follow. Though the film is unlikely to raise the hairs on your arms too much it is aptly marshaled by director Daniel Stamm who also coaxes a decent performance from Fabian who is believable as the Reverend trying to get the bottom of what is going on as the mayhem erupts around him, as opposed to running a mile as most mere mortals would do. Speaking of twists this is worth watching for Bell’s contortion alone, as her hyper mobility meant no body churning special effects were necessary in post production. And that ending? Well, it goes for shock value rather than cold chills (and yes, it is stolen from another film) but it doesn’t detract from the film at all and actually makes sense in the fact that, in movie folk-law anyhow, as soon as you take the man out of the city and put him in the woods, bad things are always bound to happen.

The OC Film Sting Final Verdict
Despite a poster and title that feels like you’ve seen it all before this is a smart little film. Rating: 6/10.

Going The Distance

Here’s a rom-com with all the standards intact. Boy meets girl, boy gets girl, boy loses girl, boy gets girl again….or does he? In Going The Distance, the fly in the ointment of the relationship between Erin (Drew Barrymore) and Garrett (Justin Long) is that one lives in New York whilst the other shacks up in San Francisco. Can they make it work? Though this is by the numbers, there is fair chemistry between Barrymore and Long and the problems of the long distance relationship are handled in a realistic manner. The humour is the most interesting element of this film though as it’s a lot cruder than you would expect from the usual Barrymore fluff. In that respect, the film this mostly resembles is the recent She’s Out Of My League. Whether you think this works or not will probably make or break the film for you, as there’s not much funny stuff coming from either main lead and so laughs have to be garnered from elsewhere. As is usual in these types of films it’s the supporting characters that can steal the show and whilst there isn’t any comedy gold here they still provide enough chuckles to keep the film moving along. Overall, you get the impression that director Nanette Burstein wanted the film to fall in the middle of cheese and vulgarity, but the result is a film that feels confused at times about what it really wants to be. Having said that, it’s still a lot better than some of the more recent output in this particular genre.

The OC Film Sting Final Verdict
Decent stuff from Barrymore and Long just about keep this above water level, but some may still find it too far adrift for rescue. Rating: 6/10.

Dinner For Schmucks

Many moons ago I was going through a phase of watching as many French films that the local video shop (video shop!) had to rent. One of those films was Le diner de cons, an OK, if instantly forgettable comedy in which a group of friends invite a supposed “idiot” to dinner for their own amusement. It hardly needs a Hollywood remake but, lo and behold, we now have Dinner For Schmucks. Though it is only loosely based on the original, this is still spectacularly overblown and further evidence of director Jay Roach’s waning powers. The main “idiot” in the film is played by Steve Carell and he provides virtually all of the laughs. In fact, he pretty much carries the film on his shoulders as many other characters are flatter than week old sparkling water. The exception being Jemaine Clement who’s performance as a sleazy artist doesn’t garner as many laughs as it should but it’s good to see him playing something a world away from his FOTC persona. That the film is outrageously silly doesn’t mean it’s automatically bad of course, but there are too many story lines going on at once and the final idiot’s dinner is very low on laughs. On the positive side, the film does end on a heartening note at least and Carell’s banter with Paul Rudd (who has reluctantly selected Carell as his “idiot”) does provide the film with some semblance of backbone. Overall though, this is just further proof of Hollywoods original ideas barrel running dry.

The OC Film Sting Final Verdict
Too OTT with many gags falling flat, but Carell just about stops things from being a total disaster. Rating: 5/10.