Warrior

From the outside this looks like a film with a hard edge. Family drama, alcoholism and mixed martial arts. Now throw in director Gavin O’Connor (Pride & Glory) and you might be expecting a tough 140 minutes (yep, 140 minutes) in the cinema. Its credit to O’Connor then that his film does not beat you mercilessly into submission, but tells its story in a much softer manner than you would expect. Warriors would actually be a more apt name for the production as we follow brothers Tommy (Tom Hardy) and Brendan (Joel Edgerton) who both find themselves competing in the same fight tournament. How they got there though forms the backbone of the film and each has a very different story to tell. There is some high drama here as the back story of the two brothers and their own estranged relationship is explained between bouts and the performance of Nick Nolte as their father is heart breaking. Films such as these are two handers, where the action in the ring has to be matched by the drama outside it. Hardy and Edgerton both look the part when it comes to the fight scenes and after reading about the numerous injuries they both suffered during filming its clear the testosterone must have been flying. On the dramatic front though Edgerton wins hands down, however that’s mainly due to him having the broader written character compared to Hardy’s mumbler. One problem the film can’t escape though is its convoluted plotting, with too many plot machinations to be believable. Plus Brendan, despite taking a pummelling in virtually every fight he's in, somehow manages to storm back every time and triumph mainly due to the advice from his corner to “breath”. Hmm, I’ll have to remember that the next time I’m having a dust up with Mark Coleman. Overall though, this is a good film and it’s a shame then that this has been such a box office disaster. It’s unclear as to why, but despite good notices so far neither Hardy or Edgerton are top box office draws yet. However, come the climatic showdown though (can you guess between who?) you’ll be rooting for neither man to lose and be marvelling at the fact that the 2 hour plus running has felt only half of what it is.

The OC Film Sting Final Verdict

Clichéd scripting, but three winning performances from the leads make for some entertaining tough love. Rating: 7/10.

What's Your Number?

What’s Your Number? is one of those films where you already know exactly what’s going to happen throughout the film, and its conclusion is already known to its audience by the phrase “romcom”. It’s also one of those films that’ll have the male population running a mile. However, any blokes that do get dragged along will still be entertained as, despite there being nothing original here, there are still enough gags to go round and a winning performance from Anna Faris to enjoy. In the film Faris plays Ally, a woman who after reading an article about sexual partners decides not to sleep with anyone else unless they are the “one”. In addition, she attempts to track down her ex-notches on the bedposts in order to see how they are now and if any of them could have been said love of her life. Helping her out is Colin (Chris Evans) who, get this, is a musician in a struggling band but just also conveniently happens to be an expert in tracking people down. Only in the movies, folks. As is the wont of the modern romcom this has a few crude moments to have you squirming, but it isn’t overloaded with them and the film aims more for laughs based on verbals rather than actions. Faris is a weird actress to watch and how you feel about this film may actually depend on whether you find her cute as a button or annoying as hell. There isn’t much middle ground, really. Personally, I doff my hat to her in this as she always appears game for anything and provides plenty of charm that is missing from similar by the numbers productions. There are negatives of course, with the worse being Ally’s discussions with her girlfriends and their toe-curlingly unnatural dialogue bringing to mind the worse of Sex and The City. Evans doesn’t do much and is a bit of a personality vacuum throughout, though the target audience won’t be disappointed to see him wandering about the film in various states of undress. This is director Mark Mylod’s first feature and with a heavy background in TV he knows enough to move the story along as quick as possible, though this is probably a by-product of not having much to work with script wise. All in all, not as bad as you’d think, but certainly nothing new.

The OC Film Sting Final Verdict

Faris is the best thing here and to be fair to all involved this doesn’t claim to be anymore then it sets out to be. Rating: 6/10.

Johnny English Reborn

What’s the optimum time to watch a film? Depends on the film I guess, but for something of Johnny English Reborn’s ilk, surely it’s 4.30pm on a Friday afternoon? What better time, after a hard week of work, to disengage brain, forget about the quality of the film and just go with the flow with the weekend looming large. Sadly, even the endorphins released after surviving another week in the office can’t compensate for the fact that JEB just isn’t all that good. The problem is that (though a genius in his heyday) Rowan Atkinson’s rubber faced shtick and smarmy manner are old hat these days. This film’s predecessor suffered from the same problem, though that still had a few decent laughs and a fairly smart car chase. The laughs are pretty minimal here and I can’t recall a recent film that has as many obvious set-ups to its punch lines as this one. The only real highlight (on the humour front) is that the chair gag heavily plugged in the trailer is a lot longer (and still hilarious) in the movie. Director Oliver Parker doesn’t actually do too bad a job, but the screenplay (English attempts to track down a mole in “MI7” whilst simultaneously keeping tabs on an international assassin ring) doesn’t have anything original to say and most gags are just tired spoofing seen before. It isn’t clear either as to English’s characterisation as he’s gone from being a mildly lovable buffoon to a confusing mix of moron one minute and genius the next. Therefore any plot machinations seem too convenient in respect of what “mode” English is in at the time. Dominic West, Gillian Anderson and Rosamund Pike add some glamour to the cause, but you can’t polish a you know what. I did see West quoted at the premier in Leicester Square saying something like “This film has some of the funniest scenes I’ve ever seen”, before quickly adding, “Well, they were on set”. Indeed, dear boy.

The OC Film Sting Final Verdict

Plenty of slapstick for little ones, but apart from the occasional laugh, it’ll just be shrugging of shoulders from everyone else. Rating: 4/10.

Red State

Kevin Smith’s last film was the cinematic abomination that was Cop Out. If, after that film, he had announced that he would be making only two more films you would have been thinking that was two too many, though perhaps with a touch of regret when reflecting on how Smith’s bright start burnt out so quickly. Smith didn’t make that statement then, but he has made it now, meaning his new film Red State is his penultimate one. The good news is that, if this is the long goodbye, Red State will leave a few decent memories. Smith has always been a hands on kind of guy and here he writes, directs and edits a film that is short, smart and funny without ever threatening to become a classic, though its one-liners and subject matter could have it heading towards cult status. I’ve no doubt Smith had a hand in the marketing campaign, where this film is described as “An unlikely film from that Kevin Smith”. Ego alert there, but Smith is making a fair point as this is well off his usual directing path, no doubt recognising (or at least being made aware after reading reviews) that the usual buddy-ing banter of his last few films has worn very thin by now. Not hanging around, the film goes straight into the main story as three horny teenagers find themselves with a lot more to cope with than they anticipated when they arrange a sexual liaison with lonely caravan dweller Sarah (Melissa Leo). Instead of sordid antics, they find themselves prisoners of enthusiastic preacher Abin Cooper (Michael Parks ) and his baying flock. Cooper’s stock trade is delivering sermons on fire and brimstone, though he also has a nice sideline in murdering perceived sinners. The boys find themselves next on the block. Pretty soon ATF Agent Keenan (John Goodman) is on the case on things go a bit manic. Subtle this ain’t, as Smith attempts to give us, if not the biggest, certainly the loudest gun fight since Heat. This is ear bustlingly entertaining stuff, though it could easily be argued it’s basically just a filler for the killer dialogue that seems to have deserted Smith in recent years. What this film does have is two great performances at its core from Parks and Goodman. Parks is superb, completely convincing as the pastor and Smith gives him plenty of camera time, including the luxury of a five minute lecture not totally relevant to moving the film along. That’s a risk from Smith but Parks holds the attention enough that he gets away with it. Goodman is also highly watchable as the cynical agent morally at odds with the orders he has been given, but knows he has to play the bills somehow. Smith’s direction cuts to the chase from scene to scene, even utilising a few Greengrass-esque handheld running shots. On the downside a few supposed shock moments are massively telegraphed and a few decisions made the religious congregation don’t ring true. The ending is of interest as Smith, probably realising that gunfire can only take you so far, has a post incident Keenan telling the story of how the battle concluded to his superiors. It’s a different take from the norm, though some may find to leads to a somewhat abrupt finish. So, one film to come from Smith then and as that’s rumoured to be an ice-hockey based comedy, it’s more than likely this will be his last film that sticks in the memory and, much like the killer last line in this film, at least it’s a decent one.

The OC Film Sting Final Verdict

A welcome return to form for Smith. This is a shotgun blast of fun and thrills. Rating: 7/10.

The Skin I Live In

Pedro Almodóvar is a talented director no doubt, but so much so that he’s now allowed to refer to himself in the first person? (as he does in the opening credits of his latest film The Skin I Live In). That’s some stones, Pedro. Still, he no doubt feels he deserves it for giving us some royal entertainment over the past 25 or so years with a number of cracking features. However, I’ve always felt with Almodóvar that the decent performances he gets from his actors and the memorable story lines he comes up with gloss over his rather standard direction behind the camera. The Skin I Live In doesn’t disprove this fact. Teaming up with his old mucker Antonio Banderas for the first time in over 20 years, Almodóvar’s latest tells the story of Ledgard (Banderas), a brilliant but controversial plastic surgeon. Told partly in flashback Ledgard’s had a troubled life, but I won’t go into any further detail as the film is designed in such a way that little bits of info are dropped into the screenplay scene by scene and to know anything beforehand would dilute the mystery. What I can say though is that, even for Almodóvar, this film is completely bonkers. Things are odd enough for the first thirty minutes, but then it really start to go nuts leading up to the films astonishing mid-point twist. The slow realisation of what you’re seeing is one of the film high points of the year. Understandably, the film tails off during its second half, but it’s a sign that the abrupt finish that it has frustrates not only due to its suddenness, but also due to the fact you want to see more. You’ll have great fun explaining the story line to your work colleagues the next day though. I don’t want to say much more as this really is one to see for yourself. However, if you’re a fan of Almodóvar and are wondering if this is a change of direction from him, don’t worry as, yes, this is heavily centred around family relationships and all of his usual calling cards are present and correct. Those being (thanks to the MPAA) “ disturbing violent content including sexual assault, strong sexuality, graphic nudity, drug use and strong language”. Enjoy!

The OC Film Sting Final Verdict

Unless you’ve read the source novel (Mygale), prepare yourself for a major shock as you enjoy, in the words of the man himself, “a horror story without screams or frights”. Rating: 7/10.

Tinker, Tailor, Soldier, Spy

I’d be lying if I said I wasn’t expecting big, nay huge, things from Tinker, Tailor, Soldier, Spy. A killer British cast and Swedish director Tomas Alfredson, the man behind the superlative Let The Right One In. It seems the critics haven’t been disappointed either as they’ve been falling over themselves to lavish this with praise. However, much like the screw shaped story line, is what these reviewers saying the whole truth? Even before firing up the cameras there was always going to be one major hurdle for Alfredson and scripter Peter Straughan. How to condense John le Carré complex novel into a coherent film. Unfortunately, they haven’t quite managed it. For those not in the know the story concerns semi-retired intelligence officer George Smiley’s (Gary Oldman) attempts to track down a Soviet spy within MI6. Despite the great cast the film suffers from three main problems. Firstly, it’s far too slow. Realistic you may say, and no-one was expecting any James Bond style antics here, but scene after scene of watching Smiley plodding along does not get the pulse racing. Secondly, too many characters appear with little explanation as to who they are and what’s going on, meaning things may become confusing at times for some and it’s possible that only people with full knowledge of the novel will be able to watch all the way through without a quizzical look on their faces at some point. Finally, the ending is spectacularly limp with the reveal as to who the spy is not intriguing or surprising (even for people who don’t know the story already). One thing Alfredson does nail though is the atmosphere. Paranoia abounds throughout with the real feeling that no-one can be trusted and the characters acting as if every word they utter is being recorded. This reaches a high in the films only real moment of tension when Benedict Cumberbatch has to steal some documents from deep within the organisations archive. It’s a nerve rattling scene, but it’s over too quickly and you wish Alfredson had found the time to insert a few more edge of the cinema seat moments like it instead of yet more aerial shots of various European cities. Aesthetically this looks great as well, with the bland early 1970’s setting realised through sharp attention to detail, including a selection of brown and grey polyester clothing not seen since the heyday of door to door insurance salesmen and a constant fog of cigarette smoke bordering the films edges. On the acting front this is Oldman’s film by a long way, completely inhabiting the role of Smiley to the extent that you forget its Oldman under the make-up and glasses. He gives Smiley the cold and calm manner that le Carré has in the novel and the one time in the film where he actually raises his voice above his usual monotone is a great moment of Smiley revealing some inner emotions for a few seconds. Everyone else does their best but too many performances get lost in the mix, but nods should go out to Toby Jones as a snide rival agent, but even better is Kathy Burke in a short but memorable role as a retired employee of the service who has seen better days. To sum up, this is a feast on the eyes, but the film just goes to show that even with outrageous talent both behind and in front of the camera, some stories just cannot be told in 120 minutes.

The OC Film Sting Final Verdict

Oldman is great, visually it’s a triumph, but this a thriller without any thrills. Rating: 6/10.

Jane Eyre

Reviewing a film adaptation of a literary classic is always a bit odd, especially if the story, as in the case of Charlotte Bronte’s Jane Eyre, is a tale low on derring-do and description heavy. Director Cary Joji Fukunaga’s film is more than passable, but can’t escape the look and feel of a made for TV production and the big screen, despite a few wide shots of the countryside of the Peak District, doesn’t bring anything more to the party. The film is partly financed by the BBC and there’s auntie’s production values stamped all over this. To wit: 1) The costumes 2) Candlelight 3) Shots of fields, castles etc 4) It stars Judi Dench. It’s all present and correct, I’ll tell thee Sir! For those not in the know, this isn’t the place to get into the whole back story, but this is basically a love story (though mainly told in fleeting glances) between Eyre (Mia Wasikowska) and her employer Mr Rochester (Michael Fassbender). Wasikowska is the better of the two, virtually lifting Eyre from the page and imbuing her with a sense of purpose and feistiness that has us rooting for her all the way through. Fassbender is usually pretty good in most things, but he doesn’t quite cut the mustard here and he never convinces as a cold cad, not helped by prancing around in some (unintentionally) hilarious get-ups. This a problem for Fukunaga as there is zero chemistry between Wasikowska and Fassbender and as the plot pretty much revolves around their feelings for each other it’s a major stumbling block. The film does survive though thanks to Wasikowska’s performance and Fukunaga’s economic direction. It’s amusing to note that Fukunaga would follow up the blistering Sin Nombre with this, but he proves he can cope with this genre as well and his smooth direction doesn’t signpost anything. In fact, if you don’t know the story line at all, you’ll be taken aback by a few revelations at the end. Overall this is one for the target audience only really and enjoyment will be based on what you feel about adaptations of novels in the first place.

The OC Film Sting Final Verdict

No trees are pulled up, but this is worth catching for Wasikowska’s performance. Rating: 6/10.