Scream 4

Hard to believe that, with it being over ten years since the last film was released, there’s been much call for a further Scream film. So, with Hollywood’s creative barrel running dry again, Ghostface returns to fill it up with as much claret as possible. The storyline’s as simple as they come with Sidney (Neve Campbell) returning to Woodsboro during the anniversary of the original murders and, lo and behold, killing time starts up again. The first Scream film was smart and funny, the second passable the third forgettable. With this fourth instalment Wes Craven goes OTT in the self referential stakes meaning what felt fresh and original in the opening film comes across as just smug and annoying, particularly in this film’s opening sequence where the whole thing seems so pleased with itself you worry it’s going to disappear up its own backside. Once the slaying begins there are a few effective scare scenes, but nothing that will have horror veterans remotely moving in their seats. It’s interesting to note that this is actually a 15 certificate, I guess in order to increase the box office. Whilst the killings aren’t particularly gory, it’s certainly bloody (no doubt a response to the redness of other franchises that have appeared in the last ten years). On the acting front Campbell, along with Courteney Cox and David Arquette, are just there to pick up the cheque so it’s down to some of the new arrivals (Emma Roberts and Hayden Panettiere amongst them) to pick up the slack and they at least appear to want to join in the fun. Script wise there are a few new decent ideas but they are ended too quickly or aren’t expanded on and there are a couple desperately unfunny jokes that didn’t raise a single titter in the screening I was at. A couple of good things you can say about this is, despite the references to previous events, this can still pretty much be watched as a standalone, and the identity of Ghostface is well kept until the very end. The scariest things about this movie though? Cox’s face (what has she done to herself?) and the fact there could be two more films after this one….

The OC Film Sting Final Verdict

Despite a decent (if silly) twist the overriding impression is still “Haven’t we seen all this before?”. Rating: 5/10

Sucker Punch

What an odd career Zack Synder has had so far. He started off with his ace remake of Dawn Of The Dead, went a bit OTT with the unintentionally homo-erotic 300, had a decent stab at Watchmen and then surprised everyone by making a cartoon about owls. Now comes Sucker Punch. I never know whether it’s a compliment or not to a director when you can tell who has lensed the film just on the style alone (I don’t believe they would want to be pigeon-holed) but in his latest Synder appears to want to even out-Synder himself. Hugely reliant on special effects, a soundtrack that will make your ears bleed and some stupendous action scenes, this film is Mr Zack all over. What’s it about though? It’s a bit tricky to explain, but when a young girl (Emily Browning) is incorrectly sent to mental asylum she retreats to an alternative universe to help cope with her situation. In this universe, herself (and a collection of other hotties from the asylum) fight a varying number of people and beasties in order to eventually “escape” from the asylum, whilst wearing as short a skirts as possible. Sounds like serious trash, right? Well, basically it is. In effect, this is a teenage boy’s wet dream of a film. Totty in skimpy clothing firing huge guns. However, it’s had quite a number of people up in arms though with accusations of misogyny. Personally, I don’t think this is the case (though I’m not naive enough to think good looking girls in hot clothing won’t help the box office). Check out something like Gamer or The Killer Inside Me for real examples of women getting treated horrifically. In this they wear sexy clothes and get leered on a bit by men. Doesn’t the same thing happen in something like Moulin Rouge? Even without the hoo-ha, this still isn’t all that memorable a film. In fact it’s quite difficult to classify it as a film at all as it mostly resembles a computer game. However what it is (and it certainly doesn’t claim to be anything else) and what it does, it does do well, especially the varied and impressive action sequences. There isn’t much to write home on the acting front though and Browning, despite being the lead, is actually the weakest of the actresses on show. However, Oscar Isaac has some fun as the sleazy “owner” of the girls. The film’s title has confused a few people but Synder himself has said it refers to a twist at the end, hinted at the beginning (and to be fair to him it isn’t bad). Overall then? Blimey.

The OC Film Sting Final Verdict

A cerebral film that has a group of scantily glad girls taking on a load of Nazi zombies at one point? Only in the world of Zack Synder. Rating: 6/10.

Conviction

The first thing to say about Conviction is that the plot sounds like a classic TV movie outline if ever there was one. Working mother puts herself through law school in order to represent her brother who has been sent down for murder. Hmm, I wonder if you can guess what happens? However, the ho-hum attitude can be put on the back burner here as the tale is made more remarkable by the fact that it’s actually based on a true story. Tony Goldwyn’s film is an actor’s film if ever there was one. Hilary Swank as Betty Anne Waters can play this kind of part in her sleep, but it’s Sam Rockwell as her brother Kenny that takes the plaudits. Rockwell usually finds himself in fairly bonkers roles and it’s great to see his more serious range here, building on from his great work in Moon. Despite his predicament Rockwell doesn’t actually play Kenny as all that sympathetic a character and it certainly adds interest to the film which concentrates mainly on Betty’s relationship with her brother and the effect that this has on her own family. There aren’t many courtroom scenes here to get the blood pumping though Minnie Driver, as Betty’s sassy friend, provides a few welcome moments of relief during her short stints on screen. Goldwyn’s direction is fairly static, though I suppose the subject matter and rolling countryside hardly require any Bay-esque jump cuts. One thing that Goldwyn does do is that, even though you know the ending, he keeps it ambiguous for a long time as to whether Kenny is guilty or not. Though it’s doesn’t have a relative connection to the film itself, it’s still a bit surprising to note that there isn’t a mention of the unfortunate fate that befell Kenny in real life (dying due to an accident) just six months after he was released. A tragic tale, indeed.

The OC Film Sting Final Verdict

Worth catching for Rockwell’s performance and the belief that maybe sometimes anything is possible if you put your mind to it. Rating: 7/10