Evil Dead

Psycho, The Wicker Man, The Taking of Pelham 123 et al. The list of rubbish / pointless remakes is long and now continues to grow thanks to this reboot (yawn) of the Evil Dead franchise. Not much point comparing this to the original, suffice to say we have a cabin in the middle of nowhere, some teenagers who make dumb decisions and a whole lot of gore. It's a bit of a shame really as the film has a cracking start and is genuinely unnerving for a while. Before long however director Fede Alvarez throws subtlety into the misty woods and it becomes one long blood fest. Electric knife, crowbar, nail gun, chainsaw...you name it and no doubt at some point you'll find it used in this film. The main problem is though is that there's no real difference between something with such a historic flag bearing title as this and any standard torture-porn from the last ten years. Some humour amongst the carnage would have helped. This made a coin at the box office mind so maybe all you need these days is a decent marketing team and not much else? Rating: 5/10.

Oblivion

The Cruise is back, this time as (what else?) one of the last human beings on earth thanks to some alien naughtiness some sixty years previous. Cruise is Jack Harper, a repairman, who along with team mate Vika (Andrea Riseborough), maintain the huge power stations that have been developed on the nearly destroyed planet and which now help to support human life on a far away space station. It's all a bit more complex than that (the screenplay by director Joseph Kosinski, Karl Gajdusek and Michael Arndt is full of smart ideas), but the slow burning plot is best discovered as fresh as possible. Kosinski has stated that the film is an affectionate nod to the science fiction films that permeated 1970's cinema and you can't deny he hasn't failed to hit his target. However, as with a lot of those films, the sumptuous visuals can't distract from the fact that when it's all said and done what you're left with is nothing more than an existential muddle. On his day Cruise can really put in a performance, but he seems to have been stuck in the same style of acting for a while now and this is no different. On the plus side (despite the good natured skimping of ideas from other films) this still has a fresh feel to it in these days of franchise film after franchise film. Be warned though, the films signature phrase ("Are you an effective team?"), which was clearly meant to cross over into the cultural zeitgeist just gets more annoying the more times you hear it. Oh yeah, and Tom does some running. Rating: 7/10.

The Call

This film stars Halle Berry. Wait, come back! The lesser-spotted Brad Anderson returns to the directors chair with a surprisingly enjoyable kidnapping yarn involving Berry's 911 operator as she tries to locate the snatched from a car park Abigail Breslin before jittery psycho Michael Eklund can....well...best see for yourself. It's a straightforward premise which was originally planned as a TV series and whilst there are plenty of cracks on show (some of acting of the minor characters is woeful) this makes the most of it's small budget and has a number of genuine edge of the seat moments. A mis-step at the end aside this is solid most of the way through and the brief running time means things move along at a nimble pace. On the negative side a couple of moments of nasty violence aren't really called for and having the teenage Breslin unnecessarily spend the last third of the film in her bra is a bit queasy. Overall though Anderson's old school direction keeps the package together, though you may want to knock off a mark for Berry's shocking barnet. Rating: 8/10.

The Place Beyond The Pines

Derek Cianfrance reteams with his Blue Valentine star Ryan Gosling for this drama of father and son relationships told via the medium of bank robberies, police corruption and suspiciously convenient plotting. Gosling stars as a motorcycle stuntman who begins a side line in pilfering in order to help raise money to help his ex-lover raise their young son. Soon Gosling crosses paths with young cop Bradley Cooper and the film shoots (literally) off into an unexpected tangent. This has an old style feel to it and Cianfrance has learnt the lessons from Valentine with a much needed injection of pace on the editing front and some great one take shot scenes. Most credit should go to Sean Bobbitt though for his sumptuous cinematography which is nicely complimented by Mike Patton’s simple though haunting score. Though basically a film of two halves character concentration wise, the storyline is more of a triptych which needs belief to be suspended on a routine basis and the overall package is a bit too melodramatic. Overall a good film for the non-blockbuster crowd to enjoy. Ray Liotta does some snarling. Rating: 7/10.

You're Next

This has been on the shelf for a couple of years and, though it has its faults, it’s surprising it’s taken so long for a mainstream release as Adam Wingard’s film is perfect Friday night fodder. A wealthy couple invite their children and significant others to their secluded holiday home for a weekend and before long they find themselves under attack from a gang of masked assailants. The opening 20 minutes of the film are creepily effective but, as with most horror films, this loses its edge once the reveal has occurred. If you like your grue though you’re well served as there’s plenty of close ups of smashed skulls, cut throats and the search for this year’s winner of best use of a blender in a film award ends here. On the downside the comic moments fall very flat, most of the scares / deaths are telegraphed and the killers go from efficient practitioners of their art to bumbling buffoons. However, this still falls on the right side of the line as it doesn’t take itself too seriously and Sharni Vinson is good as the spunky Aussie heroine who (of course) just happens to be an expert in survival due to her upbringing in a camp in the outback. Rating: 7/10.

Trance

Despite being a disjointed rush job due to his involvement with the Olympics, Danny Boyle’s latest film has enough up its sleeve to warrant the attention, though personal enjoyment will probably rest on whether you think this disappears up its own fundament or not. This psychological thriller has James McAvoy as an art auctioneer who helps steal a painting but in doing do takes a blow to the head which renders him with amnesia and no idea where the stolen art has actually ended up. Miffed boss Vincent Cassell hires hypnotist Rosario Dawson to lever the info from him. The screenplay is twisty enough, though Boyle’s direction veers towards the garish at times. Also, if you want a film where a major plot revelation is revealed when a female shaves her, er, lady bits (no, really) then this is for you. For those looking for closure I can confirm that Dawson pouts around (again), Cassel does a lot of leering (again) and McAvoy gets beaten up (again and again). Rating: 6/10.

Dark Skies

Scott Stewart was the man behind Priest and Legion. Do I need to type any more than that? OK so the first half of Dark Skies isn’t too bad as a young family (Josh Hamilton and Keri Russell are the parents) start to experience strange phenomena in their house before more sinister and physical ailments manifest themselves. The structure of the film is disjointed throughout and this adds to a nice level of unease. However, it appears this was more luck than judgement from Stewart as, though the slow build up is well handled, the execution of the second half of the film is completely fumbled with the denouement too confusing to elicit any real scares. Things aren’t helped by the naming of the aliens as “The Greys” either. Could have been a decent little scarer, but overall it just comes across as a below par episode of The X-Files. Rating: 5/10.

Kick Ass 2

You’ll have read that Jim Carry put distance between himself and this due to his concerns over its violent content. More likely he disowned it for a more prosaic reason; it’s cack. The dangers of “sign for one, you’ve signed for two” contracts are laid bare as Aaron Johnston puts in a charisma free performance and director Jeff Wadlow’s painfully unfunny script is just made up of swear words and as many different references he can bung in to the female groin. This mainly concentrates on Hit Girl and her attempts to lead a normal life, but any dramatic leanings are quickly lost amongst silly violence, scatological humour and terrible special effects. Oh yeah and don’t forget a comedy (non)-rape scene. Oh my sides. Wait for this to come out on DVD / Blu-Ray. Then don’t watch it. Rating: 2/10.

Compliance

Much like The Imposter, Compliance is a film that will have you struggling to comprehend mankind’s lack of nous and brainpower. Based on a true story, Craig Zobel’s film tells of a situation where a manager of a fast food restaurant was duped into believing she was speaking to a police officer on the telephone and subsequently went on to treat one of her employees in a manner which you have you shouting in disbelief at the screen the more preposterous things get. However, unlike Bart Layton’s excellent quasi-documentary this is shown as a straight dramatisation. Therefore, despite the end of the film stating that the events depicted happened on over 70 other occasions, this is badly lacking context. The absence of analysis as to why people will respond to ludicrous orders to people in authority means the film plays a frustratingly straight bat throughout and feels uncomfortably exploitative in parts. However, there was no need for the audience at Sundance to catcall this and walk out. Though Zobel’s film isn’t great, is it his fault some people are so gullible they will act in such an injudicious way? Plus, if this film highlights the dangers of such prank calls, isn’t that a good thing? Rating: 6/10.

The Mortal Instruments: City of Bones

Time for the latest film adaptation from a series of fantasy novels, in this case Cassandra Clare’s The Mortal Instruments (nope, me neither). All the standards are present and correct. There are strange symbols, angels, demons, assorted monsters, special effects, romance, death and a bland male lead (a robotic Jamie Campbell Bowyer). It’s silly in parts (Johann Sebastian Bach was a demon hunter. Who knew?), but it does have its charms and Lily Collins as the main female protagonist puts in the required effort. In fact the first 30 minutes suggest something a bit more than the usual genre entry, but things start to fall off very quickly following a love scene so cheesy that even teenage girls will be reaching for the sick bucket and the last third of the film tries to shoe-horn in so much plot that the whole thing becomes as incomprehensible as its confusing title. The special effects are decent throughout (a “frozen” collection of demons is highly impressive), but director Harald Zwart can’t keep a handle on everything that’s going on, which probably explains a confused looking Jonathan Rhys Meyers at the films denouement and some odd stuff in the script concerning incest. Still at least it doesn’t appear to be taking itself too seriously and it doesn’t whimper around like much of the Twilight series did. Alex Pettyfer turned down the male lead of the film so the producers solved that problem by casting his lookalike in Campbell Bowyer. What next? Red Hot Chilli Pepper’s drummer Chad Smith as Ron Burgundy? Rating: 6/10.

Jack The Giant Slayer

This lost Legendary Pictures a load of dosh and had more scripters than director Bryan Singer has had questions about Keyser Soze. However, it’s breezy fun and is head and shoulders above other recent contemporary films based on fairy tales (Snow White And The Huntsman I’m looking at you). The mixed up tone smacks of studio interference, but Nicholas Hoult and Eleanor Tomlinson are good enough leads and the special effects hit the required mark. Not many twists plot wise mind and the rest of the (largely) British cast only have to chew the required scenery. Actually features very few giants (which appear to have wandered in off Andre Ovredal’s The Troll Hunter) being slayed by a boy called Jack. No refunds I’m afraid, but this is arguably Singer’s most enjoyable picture since you know what in 1995. Rating: 7/10.

G.I.Joe: Retaliation

I saw an interview where G. I. Joe: Retaliation star Channing Tatum said that the studio had learnt from the mistakes of the previous film (humorously re-titled CGI Joe by the critics). That man, he lies. Jon Chu’s film is all effects and not much more. At least Dwayne Johnson looks to put in a performance in whatever film he’s in, but everyone else is lost amongst the wafer thin plot and unmemorable characters. Bruce Willis pops up in a tired cameo and London gets destroyed again. These films are starting to make G. I. Jane look good. Chu’s last few films have included a couple of the Step Up’s so I assume the studio didn’t have much of a budget left for a director once they’d started to total up the possible costs of the f/x. I would say teenage boys need only apply, but this is so vapid it might register with tweens only. This was actually banned in Pakistan due to the perceived negative light the government there felt its country was portrayed in. The citizens of Islamabad don’t know how lucky they are. Rating: 3/10.

Welcome To The Punch

Despite some impressive cinematography, particularly in the opening chase sequence, there’s little in Eran Creevy’s film to stop it feeling like a leftover production from the slew of 1990’s British gangster films. Creevy’s last film was the impressive Shifty, but this is join the dots stuff as a copper (James McAvoy) and crim (Mark Strong) play cat and mouse amongst the streets of London. It has a strong British cast (Morrissey, Mullan, Flemyng), but the acting only reaches The Bill standards throughout. That isn’t a massive negative per se, but it does give the impression that this would have worked better as a series on the BBC. On the plus side, a shootout in a front room provides a contender for the worst directed scene of the year. Remember the parody of NYPD Blue in Father Ted and you’ll be there. Rating: 5/10.

Arbitrage

Simply put (well, not really), the definition of the financial term arbitrage involves taking advantage of differences in different prices on different financial markets. As written it should be risk free. In reality, a bit of bad luck could mean a swift fall from grace. So that’s the title (not very well) explained and though the businessman in Nicholas Jarecki’s film is starting to feel the heat following some unwise financial decisions this aspect of the production is actually a metaphor for some unwise decisions in the man’s personal life. These include such things as having an affair, involuntary manslaughter and fleeing the scene of an accident. Hmm, who is this chap? He doesn’t seem like much of a good egg! His name is Robert Miller and thanks to a cracking performance from Richard Gere, it’s somewhat amazing that come the end of the film you almost feel sympathy for him. This is in effect a character study telling the story of the fall from grace of a man who has it all but still wants even more. In other hands you’d have little sympathy for Miller, but Jarecki’s smart script has enough moments of ambiguity on the morality front you begin to question just who the real villains of the piece are. Don’t be fooled into thinking this is a slow burning drama mind as the plot has plenty of thriller elements. This is the classic screenplay of just when the main character thinks he has got all bases covered along comes another problem to solve. On the acting front Susan Sarandon (as Millers’ wife) and Brit Marling (as their daughter) have minimal screen time to make an impact, though Tim Roth (digging out the American accent) has some fun as the world weary (though sly) cop on Millers tail. This is Jarecki’s first feature length non-documentary film and it’s an accomplished debut. Roll on his next production I say (mooted to be a detective story set in a future where fuel is running out).

The OC Film Sting Final Verdict

A film that virtually nobody will go to watch in the cinema (that title and a bland poster hardly helping its cause), but for those that do venture in this is a nice little thriller / drama hybrid.  Rating: 7/10.

The Paperboy

Despite being marketed as a good ‘ole Southern thriller, there’s little to raise the pulse in Lee Daniels’ follow up to Precious. This is more of a drama akin to William Friedkin’s Killer Joe, though this is less of a noir than that was and despite some similarly unpleasant moments, has a touch of the absurd which raises some titters. The problem is whether you think the guffaws contained in Daniels’ film are intentional or not. Plot wise the film concerns reporter Ward Jensen (Matthew McConaughey) and his return to his hometown where, with the aid of a few others (including Zac Efron as his younger brother), he investigates the case of Hillary Van Wetter (John Cusak) and whether he can be exonerated of his supposed crime and removed from death row. Local suspicion and bureaucracy abound, though Jensen sees a way though the blockades by using Charlotte Bless (Nicole Kidman), a sex bomb who has initiated a relationship with Van Wetter via some old fashioned letter writing. There’s two ways to review this film really. On the one hand its clear Daniels has attempted to make something as lurid as possible and you can only say he’s succeeded on that front. However, that aside, the film still has to be a successful mixture of its constituent elements for it to be an enjoyable package. Though it scores on the visual and atmospheric front (it’s one of those films which is so sweaty, dirty and grimy you actually feel like you want to take a shower after watching it) it’s so full of horrible characters it’s hard to engage in the actual story as you don’t really care what happens to them. The acting is mainly good though with McConaughey (has he given up rom-coms for good? Hurrah!) continuing his recent run of morally ambiguous characters and Efron is believable as the cocky kid who falls hard for Charlotte. On that front it’s understandable why virtually every man in the film is betwixt ed by Kidman as she gives a cracking performance as the sultry and slutty Charlotte, using sex to get pretty much whatever she wants. At least she cancels out Cusack’s shockingly bad spaced out performance. So, quite a hard film to like, but good acting and some smart plot revelations at the end move this into the watch once (but once only) territory.

The OC Film Sting Final Verdict

Worth catching for Kidman and some decent cinematography, though the slow pace and general tone of unpleasantness will be too much for some. Rating: 6/10.

Oz the Great and Powerful

After the bloated excess of Spider-Man 3, Sam Raimi got his mojo back with the fun Drag Me To Hell. It’s a surprise then that it’s taken him four years to pick up the megaphone again, but now he’s back with Oz the Great and Powerful. Based on L. Frank Baum’s Oz novels and with more than a passing nod to The Wizard of Oz (this is basically a prequel of that film), Raimi’s film follows Oscar Diggs (James Franco), a ropey magician in a travelling circus who is sucked into a tornado and soon finds himself in the Land of Oz. He bumps into witch Theodora (Mila Kunis) who mistakes him for a wizard who has arrived to destroy the King of Oz killing Wicked Witch (Rachel Weisz). Oscar loves the attention until he realises he really will have to face down the evil witch, with his mediocre magic skills as his only weapons. There’s also some love interest with a third witch (Michelle Williams) thrown in for good measure. So let’s talk about this film first in respect of its elder sibling. Despite being constrained by legalities the references come thick and fast, with them ranging from cute and clever to unsubtle and cringe worthy. Though the most obvious homage to MGM’s much loved 1939 production comes at the very beginning with a black and white colour scheme, scratchy sound and hilarious aspect ratio. It’s a nice touch, though it’s a shame that many cinema chains had to give notice to patrons buying tickets that this was what would happen before the film became “normal”. Honestly, people today etc. etc. In addition if you’re a Raimi fan you can also spent time trying to spot the usual array of cameos from his family and friends (though I couldn’t spy the 1973 Oldsmobile this time out). Going back to the look of the film the Land of Oz is nicely realised with a mixture of physical sets and CGI, complemented by a vivid colour scheme (though that, of course, is partially ruined if you’re watching the 3D version of this). Does the film have any more to offer though apart from great visuals? Interestingly screenwriter Mitchel Kapner and a number of the producers have been quoted as saying that one of the main drivers was to release a Disney film that had a strong male protagonist (as opposed to the studios usual slant towards the female side of things). In that case the film would clearly need a strong lead in the top role. In that sense, the choice of Franco looks a bit odd as he’s hardly been Mr Personality in his film career so far. Though he has been seriously bland in the past, here, especially in the film’s opening half, he’s great fun. Sure it’s hamming, but it’s great to see him come alive in a role and clearly actually enjoying himself for once. Perhaps (as he wasn’t first choice for the part) he knew he had a break and determined to give it a real go. Regardless of what you think isn’t it better someone new in such a role as opposed to Johnny Depp churning out the same old performance? This is mainly fun, though there are flaws. The film loses its legs at the halfway point as the wonderment of Oz starts to wear off and all you’re left with is a standard plot that doesn’t have any twists up its sleeve. Plus the chemistry between Franco and Williams is non-existent, not helped by the latter’s dull turn. As a mild warning, though Raimi (predictably) was ordered to tone his final cut down, it still has enough scenes that could cause youngsters some nightmares. This won’t be everyone’s cup of tea, but in a world that’s dominated by DC and Marvel re-hashing the same old thing, it’s nice to watch something a bit different.

The OC Film Sting Final Verdict

Franco comes alive for once and this is a visual treat from start to finish. Peer closer between the garish colours though and you won’t find much else. Rating: 7/10.

Stoker

First of all, this isn’t an existentialist film by Quentin Dupieux following an implement used to tend fires. It’s actually the first English language film from Park-Chan wook. Wook’s films have a similar aesthetic and he doesn’t stray far from the template that has seen him to success with his Asian films, that of the psychological thriller mixed with an air of overall weirdness. Stoker is certainly no exception to the rule. Wentworth Miller’s (yep, that dude from Prison Break) script tells the tale of India Stoker (Mia Wasikowska), an 18 year old who has recently lost her father in a traffic accident, and her relationship with her recently arrived from travelling abroad Uncle Charlie (Matthew Goode). Charlie offers support to India and her mother (Nicole Kidman), but before long it appears Charlie may not be the saint he’s portrayed as (especially when people start going missing). If you know your films I expect you’re already shouting “Shadow Of A Doubt” and you won’t be far wrong. The references are many (Miller himself stating that his screenplay is a jumping off point from that film), but to be fair to him his story is more centred on Charlie’s attempts to lure India into his disturbed lifestyle as opposed to her exposing him for what he is. The comparisons to Hitchcock have been numerous, but they don't stack up. This moves at a glacial pace that Hitch would never have been happy with and it completely lacks any sense of black humour that imbued even his darkest films. Personally (the rightly revered Old Boy aside) I don’t find wook too engaging a director. Miller’s dark narrative is a perfect match for what a Park-Chan wook production is, but it’s too hollow and cold to really engage the audience in the plight of the characters. However, wook is no slouch in the shock department and the scenes of sudden violence will jolt you from your seat and the inference of what Charlie did to his younger brother is a seriously warped idea from Miller, nicely and subtlety executed on screen by wook. Though rough around the edges as a debut screenplay this is a nice effort from Miller. It’ll be interesting to see if this will be his style (i.e. minimal dialogue) going forwards or if he’ll go behind the camera himself one day. As for wook, this won’t be a breakout hit for him in the West, but it’ll satisfy his followers. On the acting front Wasikowska and Kidman are quite bland (possibly as a result of wook only being able to use an interpreter), though Goode is great as the good looking charmer with an evil glint in his eye.

The OC Film Sting Final Verdict

I think if you’re a fan of wook already, then this is going to be up your (blood soaked) street. However, casuals will probably want to take a point off the score. Rating: 7/10.

Side Effects

It seems prior to the release of every Steven Soderbergh film of the last few years the press have reported that this will be the director’s last presentation as he’s retiring and hanging up his megaphone for good. After the cinematic abomination that was Haywire there would have been some celebrations if Soderbergh had quit there and then for good. However, he got some of his reputation back with Magic Mike and now he impresses with the sharp Side Effects. To say too much would be to give the twists in the story away but, to use the opening third of the film as a starting point, shortly following a failed suicide attempt Emily (Rooney Mara) is released from hospital into the care of psychiatrist Jonathan Banks (Jude Law) with the proviso that she attends sessions with him on a regular basis. With the sessions not having their desired effect Jonathan contacts Emily’s old psychiatrist Victoria Siebert (Catherine Zeta-Jones) who recommends that Jonathan prescribe a new anti-depressant drug called Ablixa. However, some serious side effects later means that Jonathan’s career is in the medical bin. I’ll stop there so as to not ruin what happens next, but this is a clever script, containing a Psycho-esque plot twist and a revelation towards the middle that suddenly turns the film on its head and shifts the film onto a completely different track. Though I hinted that this is a return to better form for Soderbergh, its Scott Burn’s script that does all the work here as Soderbergh does little with the camera. However, he sews the scenes of the storyline neatly together and gets good performances from all involved, though his recent style of making everything look as aesthetically natural as possible is starting to make things look like they’ve been done on the cheap. The aim is obviously to give the film a natural feel to complement a (relatively) everyday story, but the end result is looking like production values have been sacrificed and the film loses some of its visual gloss because of it. That aside though, this is a thinking person’s film and a great tonic for anyone with the blockbuster blues. It seems a review can’t go by without me making comparisons to Alfred Hitchcock, but this has many bearings of much of his output from the 1940’s and 1950’s, with a good dollop of Henri-Georges Clouzot thrown in.

The OC Film Sting Final Verdict

Not a storyline that will have people rushing for the cinema, but this is Soderbergh’s best in a while. Rating: 7/10.