Anything For Her

Anything For Her, the latest in the wave of French Hitchcockian thrillers, continues Hitch’s MO of the innocent (wo)man on the run. Though this time, there’s not much running. The film begins with Vincent Lindon (Julien) throwing an injured person on to the back seat of his car before driving off at speed into the murky raining night. Next we go back in time to see Lisa, Julien’s wife (played by Diane Kruger), being arrested and sent down for murder. An intriguing start. Then, when all legal outlets fail, Julien decides to break her out of prison. So settle back for a roller coaster ride of nail-biting twists and tension? Well, not quite. What follows next is fairly mundane as we follow Julien in his attempts to formulate a plan for the springing of Lisa. Director/Writer Fred Cavaye has stated that the idea of the film is to show how the normal person on the street would approach such a situation, i.e. without a clue. Though Cavaye succeeds in doing this, it doesn’t make for a riveting middle section of the film. There is also the point of whether Lisa is innocent or not. Though there may be some room for ambiguity, it appears fairly clear cut if she has committed the crime or not. As we are shown this fairly early in the film it takes away a good deal of intrigue. This isn’t to say there is nothing to enjoy though, as the acting of the main cast is superb (apart from the Julien’s/Lisa’s child. Stop looking at the director for instructions kid!). Both Lindon and Kruger’s portrayal of their characters ever despairing situations, as well as their actual relationship, is very believable. It’s clear that Julien really would do Anything For Her. Also, the relationship between Julien and his parents is extremely will handled, and is shown through sparse dialogue and subtle looks rather than a sign-posted screenplay. The pace finally picks up for the films denouement, and we at last find our pulses racing as Julien finally executes his plan. Overall, you’ll be left with mixed emotions. With a strong opening and ending, the slow middle section sticks out like a chisel in a sponge cake (no, not the escape plan)

The OC Film Sting Final Verdict
More a drama than the advertised thriller, but strong acting and an unusual approach to the jailbreak genre just about holds the attention.
Rating: 6/10.

12 Rounds

Much fun can be had when watching action movies and spotting all the other action movies that said film has borrowed (stolen) ideas from. With 12 Rounds you’ll have a field day. Of course, any semblance of fun left from playing this game quickly dissipates as soon as you leave the cinema and it hits you that, once again, Hollywood’s barrel is running pretty dry these days when it comes to originality. However, if the pillaging is well handled, is there too much harm done? Anyway, that’s a debate for another time. In terms of 12 Rounds, Renny Harlin lifts (well, outrageously steals) mainly from Speed and Die Hard with a Vengeance to average effect. WWE star John Cena stars as Danny Fisher, a police officer whose girlfriend has been kidnapped by Aidan Gillen in revenge for Fisher’s supposed guilt at a personal tragedy that had earlier befallen Gillen’s character (Miles Jackson). Jackson sets Fisher 12 “rounds” which he must overcome in order to save his girlfriend. Harlin can still handle an action scene well, and the lack of CGI at times feels pleasingly old school. As for the two main protagonists, well, Cena is a wrestler, so it would be churlish to be too harsh about his wooden performance. Gillen fares slightly better as the scheming Jackson and even racks up an impressive body count for a movie villain these days. The script is full of dire-logue, but there is a half-decent knotting together of the various scenes at the end, and the brisk running time means that this charges past as quickly as a tram with no brakes (Speed 3? No, 12 Rounds you fool!)

The OC Film Sting Final Verdict
This should just about go over with the target audience, and if you disengage brain long enough you should be able to find something in all the ludicrousness to enjoy. Rating: 5/10.

Drag Me To Hell

After the bloated excess of Spiderman 3, Sam Raimi returns to his roots with this throwaway but entertaining horror. Alison Lohman star as Christine Brown, a loan officer, who, after turning down an elderly woman’s offer of an extension on her mortgage payments, finds herself the victim of a curse which in three days will Drag Her To Hell. There is also much for Christine to endure in the build up to the three days as she is haunted by nightmarish visions of the old woman, invisible forces push her around and she is stalked by the shadow of a goat. If you’re laughing at that last bit, then you’ve nailed the idea of the movie on it’s head. Comic-horror is one of the most difficult genres, but for Raimi it’s a stroll in the park. Tense scenes are quickly followed by guffaws, though on occasions it almost becomes parody. Some people may complain about the below average CGI and cheap scare tactics (LOUD MUSIC), but in this current climate of bloody horrors this movie actually feels like a breath of fresh air. Though you may still feel queasy in parts, as, even though there is no gore, there is plenty of gross. However, it will make you jump from your seat, dig your fingernails into the person sitting next to you (it’s a classic Friday night date movie if ever there was one) while also being allowed the release of a good belly laugh at the absurdness of it all (Don’t we all keep Anvil’s hanging from our garage ceilings?). Though amazingly for a horror movie involving a cat, it doesn’t employ the arbitrary “cat jumping out from cupboard” scare. This is a smart return to form for Raimi, and you can’t help but wish that he’d leave Spidey alone for a while longer and give us another full blown horror.

The OC Film Sting Final Verdict
Gorehounds and some horror veterans may not stir too much in their seats, but this is still an entertaining night out. Rating: 6/10.

Terminator Salvation

There’s going to be a new Terminator movie? (Crowd applauds). It’s going to star Christian Bale? (Crowd applauds and cheers). It’s going to be directed by McG? (Crowd boos and throws rotten fruit). Well, the good news is, while this doesn’t hit the heights of the first two instalments (not that many thought it would) it certainly won’t have you feeling for that over-ripe banana either. Though this is a continuation of the on-going humans v robots storyline, you could pretty much enjoy this film as a one off without having a deep knowledge of the back story. There are plenty of references though for Terminator connoisseurs to enjoy and the numerous screenwriters (six is the rumour) try their best to steer clear of plot holes. McG himself handles the action sequences with a solid hand, with an absorbing truck chase being the major standout moment of the film. Sadly, the epithet of absorbing can’t be labelled to Bale as John Connor. No doubt the character of Connor has some serious weight on his shoulders, but Bale comes across as bored and fed up rather than conflicted and a genuine leader of the people. He also bookends the film, going missing for large sections in the middle. The acting honours though go to excellent performances from Sam Worthington, and continuing his recent good work (that accent in Star Trek aside), Anton Yelchin (as Kyle Reese). Worthington, as Marcus Wright (a hybrid human/robot) carries the film on his shoulders for a good portion of time, coming out with flying colours. Clearly a star in the making on this form. The one big let down with the film though is the 12A (PG-13) certificate. This is meant to be a Terminator movie, with the robots as lean mean killing machines, but without one on-screen human death (that I can recall), the film completely lacks menace (one robot is even taken down by a well aimed wheel wrench!) and suffers badly as a result. Though you can’t call this a re-boot as such, it does feel like a fresh beginning and with Bale apparently signed up for two more films, it’ll be interesting to see where the franchise goes next.

The OC Film Sting Final Verdict
Some great effects and action sequences, along with Sam Worthington’s film stealing turn, mean you’ll be entertained in parts, but, despite the gloomy cinematography the film suffers from a lack of grit and a somewhat abrupt ending. Rating: 6/10.

Synecdoche, New York

When going into a Charlie Kaufman movie you know what to expect. In this one, after a fairy normal beginning, one of the characters moves into a new house. Oh yeah, the house is on fire. Then things really begin to get weird. Philip Seymour Hoffman stars as Caden Cotard, a theatre director who’s health, mental and physical, slowly begins to unravel around him as he interacts with the numerous women in his life. Eventually, Cotard plans a play which involves numerous actors playing out scenes from his increasingly bizarre life. As the film progresses, the line between Cotard’s life and the play being staged becomes blurred, leaving the viewer to pretty much make their own interpretation about what is going on. This film is definitely going to split people down the middle. You can take from it what you want, from the very big to the very little. Is this film pretentious psychobabble? Or is it an existential masterpiece? Kaufman’s life within a play (or is it the other way round?) device works to an extent, but the overall screenplay is bloated and Kaufman’s direction so plodding that the final third of the film really drags. Of course, virtually all Kaufman’s screenplays have been mind benders, but this film really misses the touch of Michel Gondry or Spike Jonze to really immerse the viewer in the madness of Cotard’s life. On leaving the cinema after seeing Kaufman’s past enjoyable work you were trying to piece together what you had just seen. Personally for me, with this one, I was too bored to care.

The OC Film Sting Final Verdict
Solid acting, intriguing idea, but let down by a drastically slow pace and overlong running time. You’ll probably want that machine from Eternal Sunshine to wipe out the memories. Rating: 3/10.

Night At The Museum 2

Though it had mixed reviews the original Night At The Museum hit big at the box office, and where Hollywood sees dollars, it invariably means sequel or franchise. So here we have Night At The Museum 2, in which Ben Stiller returns to, well, act around a wafer thin plot. However, in a film such as this the onus is on the effects, thrills and laughs, as opposed to an Oscar for best screenplay, and it delivers (just about) on all three counts. The rule of sequel is always a tricky one, and invariably involves the introduction of, usually lame, new characters. Luckily, most of the new cast provide a welcome addition. Amy Adams, as Stiller’s partner / love interest, provides sass as Amelia Earhart, Bill Hader gets some laughs as the bumbling General Custer and there’s an enjoyable uncredited cameo from Jonah Hill. But it’s Hank Azaria, as the outrageous Kahmunrah, who is the highlight. With a camp accent and lisp (apparently based on Boris Karloff, but there’s no doubt Michael Palin’s Pontius Pilate will resonate more with modern audiences), he hams his way through the film, stealing scene after scene. As for the other characters, Steve Coogan and Owen Wilson reprise their roles with mixed results (i.e. Coogan good, Wilson not so good), but both are involved in a humorous 300 homage. Robin Williams, however, seems almost a footnote. Referring back to the 300 scene, it’s here where the movie falls down slightly. The first film had plenty for the younger members of the audience to enjoy, but not so much for the adults. With the onus more on comedy than action, this film reverses that somewhat. However, it may mean some children find themselves fidgeting during the verbal scenes while they wait for the next Octopus attack. You won’t need to have seen the first movie to follow what’s going on, and even if you are briefly confused, the film starts at such a brisk pace you’ll be going along for the ride before you know it. And as a further attraction, adults can also pass the time spotting how many cast members have been in the US version of The Office. In summation, an enjoyable Night At The Cinema (see what I did there?)

The OC Film Sting Final Verdict
An overall improvement on the first film, but stretching this to a third instalment might be one trip to the museum too far. Rating: 7/10.

Cheri

Stephen Frears’ latest film, Cheri, is an adaptation of the novel by French writer Colette. I haven’t read the novel myself, so this review is based solely on what was up on the big screen. Michelle Pfeiffer starts as Lea, a retiring courtesan who begins an affair with the young son of her friend, Madame Peloux (played by Kathy Bates). When Madame Peloux arranges a marriage for said son (the eponymous Cheri, played by Rupert Friend) the relationship ends. However, for once, Lea has fallen for one of her conquests, and can only painfully watch from a distance as Cheri begins his new life without her. The acting in this film is fine, with Pfeiffer in particular getting under the skin of Lea, showing both her confidence of a lifetime courting men, but then the cold realisation that as the clock ticks by she can’t have the one person she’s fallen in love with. Kathy Bates doesn’t even need to get out of neutral, let alone first gear, in order to portray a bossy manipulative mother, and Felicity Jones adds good colour as Cheri’s put upon wife. The real problem here though is the character of Cheri himself. There’s nothing wrong with Friend’s portrayal, but Cheri is such a selfish uncaring person, with very few redeemable features, it’s hard to actually invest any real emotion as to what happens to him. Why Lea falls for him, when it seems she could still have any man, any age, is never fully explained. Nor is how she came to be friends with his equally callous mother (though I expect this is explored further in the novel). The last 30 minutes really start to drag and the shock(ish) ending will leave you with nothing more than a shrug of the shoulders. The last time Frears’ directed Pfeiffer was in Dangerous Liaisons, which, much like Pfeiffer, has stood the test of time. Cheri will pretty much be forgotten about the second you leave the cinema.

The OC Film Sting Final Verdict
Watch Dangerous Liaisons again or buy the Cheri book instead (cheaper than a cinema ticket I’m guessing). Rating: 3/10.