End of Watch

Never has a film been more aptly named. I was checking my watch and begging for it to end.

Brian Taylor (Jake Gyllenhaal, Donnie Darko) and Mike Zavala (Michael Pena, My Son, My Son, What Have Ye Done) are LAPD's finest thugs. They run riot, breaking the rules and, as they boast, killing loads of people! That's about as much plot as you need. If you watch the trailer, in fact, you'll see the entire film.

Frankly, I was disgusted by this film. This was a cynical piece of advertisement for police brutality. The message of the film seems to be, "We would just kill everyone who broke the law, if it weren't for the damn paper work!" And it portrayed two thugs in Taylor and Zavala, who are supposed to look "cool" while basically advocating psychopathy. There was even a scene where Zavala takes off his badge and gun to fist fight a gangster, while Taylor looks on, films the fight and laughs manically. And we're supposed to watch this and say "God, wouldn't it be cool if police were actually like that." No. No it wouldn't. So, that's the major message you're supposed to take away.

Awk well, at least it looks good, right? Well, no. I think there's a lot to be said for found footage films and for hand held cameras. This film wanted to use the motif, but clearly decided one or two cameras weren't enough and so went through the totally useless plot of Taylor needing to film everything, while occasionally just using auxiliary camera. It's totally pointless and ridiculous, and probably entirely for advertising purposes, as it features heavily in the trailer.

Then there was the dialogue. I've heard it praised, from the point of view of Taylor and Zavala, but did these people who spoke so highly of it hear the other characters. There was one gangster in the film who I'm sure must never have learned a single line of his script, and was told, no bother, if you can't think of what to say, just punctuate your language with any old swear word you please. CONSTANT swearing. I'm sorry, no one speaks like that. Not realistic at all. Some may say, hang on, the cops talk like people, right. Just talking about life and family and such, and that's realistic, isn't it? Yup, it was. I'll give you that. It made me hate the characters even more because they were racist, homophobic and sexist, and I wouldn't want to spend a second in any of their company, but I'm sure some people speak like that.

I'm sorry, but this film genuinely made me angry. It was horrible. I wont say this often, but do not go and see this film. You're just encouraging this type of disgusting, lazy and cynical film making. Normally I would want other people's opinions on films, and welcome people to tell me I'm wrong, but PLEASE, do not fund this horror of cinema by paying money to see it.

Gambit

A tale of three performances.

Harry Deane (Colin Firth, Love Actually) wants to get one over on his foul-mouthed, soul-destroying boss Lionel Shabandar (Alan Rickman, Die Hard) and to retire early - as the Coen Brothers write. Deane intends to con the billionaire using his love of fine art, a crafty forger and the grand-daughter of a historical figure (Cameron Diaz, There's Something About Mary). Turns out, it's not as simple as all that. Hilarity ensues.

And boy, do I mean it. One of the funniest new films I've seen a while. The film goes through phases of smiles and chuckles and then you end up almost on the sticky floors of the cinema, laughing like hell. Colin Firth's fantastic physical acting and Alan Rickman's fantastic voice just knocked me down. The two of them make a great pair, and the Coen's seem to have written the parts with them in mind.

If you want a good fun cinema going experience, this is for you. Not get many like this, very few and far between.

Argo

One film this year I've managed to go into without any prior knowledge. I had no idea what to expect, and the first ten minutes had me very interested.

Ben Affleck directs as we start off with a thirty second tour of the history of Iranian politics and then move on to 1979 where we see the beginning of the Iranian Hostage Crisis. Sparking a revolution in Tehran the US Embassy is taken over and the 52 workers therein became hostages. But six escaped and as the action kicks off when they find themselves holed up in the house of the Canadian diplomat. Back in America, Tony Mendez (Affleck, Dogma) decides that the only way (the ONLY way) to get the hostages (well, six of them) out is to put together a fake film that will, at the height of the international tension, be shot in Iran.
Maybe you can tell, I'm not convinced.

As I say, Iranian politics of which I know less than nothing about, seems like an interesting premise for a film. I was looking forward to learning some new things, finding out the American perspective on these events, and maybe being given something to think about. I learned three important things; a) The writers of this film love the 70's and stressed even more is the fact that b) the writers of this film love movies and finally, and what impacted on me most about this film c) the writers of this film love films from the 70's. I mean, c'mon! Such a wide range of things that could be discussed and explored surrounding this event, but no. Nothing.

This would be acceptable, if and only if, the film was about something else. I think that may have been the intent of those involved, but god did it go down in flames. This "character" drama was filled with one dimensional people that even if you knew, you wouldn't care about. You have a main man who is difficult to care about at all, 'cause he's just pretty dull. The other six have no back stories and actually rarely feature except to occasionally remind you that they exist.

Basically, it was so promising that - even though it looked quite good, was occasionally humorous and the performances weren't awful - it ended as a crushing disappointment. It was dull, and with such a broad range of large themes, it seems almost impossible to have missed every single one so spectacularly.

Also, the joke around which they titled the film was funny the first time. To hear it then repeated over one hundred times just made me think that at one point the entire script was just funny situations where that joke could be made.

Skyfall

What Nolan has done for Batman,

Mendes has done for Bond, James Bond.

Sam Mendes brings us the best Bond. The best Bond film. And one of, if not the best film you will see all year. Up front, I'm not a huge Bond fan. Until now, I've considered them little more than throw away fun. Quippy, silly, and generally nonsense. Even Daniel Craig's fairly serious debut as 007 was never going to be a classic film - despite me thoroughly enjoying it. What we have now is theme, thought, cinematography and some out of this world acting and directing.

I would love to give a synopsis of the plot, but I do feel the less you know the better in this case. Go and see it if you want to know.

There are two main comparisons I feel I'd be remiss to leave out of a review - the work of Nolan, as mentioned above, but also that of Steven Moffat and Mark Gatiss in TV's Sherlock. What I think we are seeing is, in the wake of Batman Begins and The Dark Knight, film makers with big budgets insisting on plot, character development and not treating their audience like total morons. Mendes decided on a base-line theme, a point of convergence for the film to fit around - in a very Nolan-esque manner - and in my opinion something Nolan has glossed over in his Batman Trilogy. We see the effects of age hitting Bond and M together. We see the new, technology driven generation stepping in and asking why do we need such old fashioned ideas like espionage. It provokes genuine, plot driven interest outside explosions and chases - which you care about far more with realistic characters. And are especially awesomely done, I think. Then there is the Britishness, the everyday people getting in the way, the shots on the moors, even just the lighting comes almost straight off the fantastically directed Sherlock.

I guess one thing I should do is quickly defend the opening remark about "best film of the year." I will stand by this. The Dark Knight Rises was top contender for such praise - and I'm taking nothing away from it at all. I came out of that film perfectly happy that the trilogy had a fitting and thoroughly enjoyable ending. Skyfall was just one better. It dealt with the re-building of a broken man in a far more convincing, more feelings driven way than Rises, and its final act was magnificent in a measure that was lacking in the showdown in Gotham.

Apart from being beautifully thought out and shot, the acting is top notch. Bond, himself is believable (unlike Quantum of Solace - less said about that film the better), Judi Dench played her more central role very convincingly and a range of supporting cast were all put together nicely. Now to the important casting decision - the Bond Villain. Javier Bardem does not disappoint, manically and camply brilliant in his malevolence - a kin to (again) Andrew Scott as Moriarty crossed with Heath Ledger's (othersideofBatman) Joker.

All these similarities are not to say the film is unoriginal - by no means. It's a pity it is released post these two other works, as it was in production at the same time, so it was merely due to the post-production schedule that it is being seen later in the year.

I loved it. It really was a FILM worth watching, not just a good Bond film. I don't have the time or the space to mention everything worthwhile seeing in this film. Long may it last, and Happy 50th Birthday to the old man.

Ginger and Rosa

Sally Potter brings us the story of two girls. They were born together, and grew up together. Set in 1960's Britain, the film centers around the Cuban Missile Crisis and how these two inseparable girls became young woman. Ginger, (Elle Fanning, Super 8) the poet, wants to protest, wants to stop the war and Rosa, (Alice Englert, 8)  a romantic, wants to live life and find a man she can love. Ginger has to fight her fight while her family life crumbles around her and Rosa just falls for the wrong guy. The friendship starts to split while priorities change.

I really liked this film. It had something that you don't see often enough in films - the central concern of the main female character is not to meet a man. Ginger is our heroine. She's not totally disinterested in men, we see her with a couple at different times, but that wasn't in any way important to the plot. We have a young woman with thoughts, ideas, a future, and an incredible sense of autonomy.

One thing annoyed me about this film - it was a change. I don't feel comfortable having to make special mention of the fact that a film isn't subscribing to gender roles, but the truth is, a well-rounded female character is hard to find in modern movies. At this point, it's probably relevant to say I've found my tip for a nomination, if not a winner of this years BAFTA for Leading Actress. Elle Fanning was fantastic in her role, and I wouldn't be surprised if there's a wee supporting nomination for her mother Christina Hendricks.

On a broader level, we have a strong plot, some great characters, and interesting writing. The directing is iffy, really. Nothing too wrong with it, it's just forgettable.

What I will say is, go see it. No doubt be in my top ten of the year.

On The Road

"The only ones for me are the mad ones.

The ones that are mad to live, mad to talk, mad to be saved, desirous of everything

at the same time, the ones you never yawn or say a common place thing, but burn,

burn, burn like fabulous yellow roman candles exploding like spiders across the stars."

Okaaaay, these immortal lines don't fully feature in the film, but I love them too much not to add them in.

Walter Salles finally brings to the screen Kerouac's modern classic (by the way, I'm a fan of the book.) Sal Paradise (Sam Riley, Control) is the voice of the piece, an up-and-coming writer blinded from reason by "it" and the man who personifies "it", Dean Moriarty (Garret Hedlund, Tron: Legacy). This isn't a road story, and it ain't no bromance - it's about addiction, and about youth and about something totally, positively undefinable that can confront you at any time. So, Sal chases after Dean and Dean chases from girls to drugs to music to a normal life - being bored by one after another.

Now, the film. I think it will entirely depend on the angle you enter it from. I read the book, loved the book, was excited for the film. From this, I took away an average experience. There were elements of the film I loved, parts that were done about as perfectly as they could have been - I found myself really enjoy the music scenes, the dancing and all the ecstasy that came from the writing in the book. A role, very well cast was Carlo Marx (Tom Sturridge, The Boat that Rocked) - played the poet's part perfectly. 

Downsides, well, I'm really sorry to say Kristen Stewart. Basically, I thought she might pull a performance out of the bag, but no. She was literally just Kristen Stewart, throughout, she had no character.

There is an utter lack of story line, which may be more of a problem for someone who didn't read the book - as I just enjoyed the company of the characters I had read about. 

I didn't care much either. I don't like to say this, but I didn't much care about anyone or any thing and it's been a while since I read the book so I don't remember how I felt at the time, but when it got to the emotional scenes - most of the time - I. Didn't. Care.

So this film, it's not the best I've seen, not the best in the last week even, but when it was good, it was great. It was probably as good a version of this story as you're going to get. If you enjoyed the book, go into it with an open mind and you may well enjoy it.

Taken 2

Liam Neeson (a.k.a. Brian Mills) security officer, ex-husband, father, and giant is back on the scene again, not quite in real time. Not quite, in fact, in real... anything. Mr Luc Besson gives us another story of action, torture, running and car chases - but this time with a twist. This one is a 12A.

In Taken we have Mill's daughter (Maggie Grace, Lockout) stolen away by drug and human traffickers, and so it's up to him, in 72 hours, to search for her kidnappers, find them, and kill them. Also, rescue her. So, we're a couple years down the line at the start of the new film and for a nice break from his ex-wife's second divorce, her and Brian's daughter are taken to Istanbul for a holiday. As Brian and his ex-wife start to hit it off again, in come the fathers, brothers and uncles of EVERYONE killed in the first film. They want Mills, and they want him to suffer.

Now, the first one wasn't a classic. It was funny, silly and action-y. First problem for number two, lost the action. It definitely wasn't taken to any sort of new level. The fight sequences are cringing at the hits before you have the chance to - it's like a film laughing at its own jokes. I understand it was cut to get its low rating but it is no film for a twelve year old - never mind younger.

Then again, I am glad of one thing. This film, I like to think, understood the success of the original and then made a move to do the same thing again. The rating was a minor hiccup compared to the comedy gold of Liam Nesson hiding behind walls only to jump out (all 8ft. of himself) on top of the bad guys.

It is totally silly, it's lost the action appeal of the former, but if you're a fan of the first, go for it - no doubt you'll enjoy it.

In case you can't tell - I just love Liam Neeson.