“That Hole Is A Gateway. And It Leads, Straight Down, To Hell. Now, Who Wants To Buy Some Drugs..?”
Juggling the role of front-man for the psychedelic rock band, Kula Shaker, alongside recently venturing into the world of cinematic endeavours, the multi-talented Crispian Mills reunites with Simon Pegg (Mission: Impossible – Fallout) after the 2012 independent horror comedy, A Fantastic Fear of Everything, with Slaughterhouse Rulez, a similarly genre bending creature feature which combines The Inbetweeners style laddish humour with a St. Trinian’s inspired backdrop which sees Finn Cole’s (Peaky Blinders) northerly Don Wallace reluctantly attend the titular upper class school, the militaristic, private education palace full with inner social class turmoil and overseen by the rather exuberant Headmaster as played by Michael Sheen (Apostle). Whilst Pegg himself can relate to starring in arguably the greatest British horror comedy of all time in the form of Shaun of the Dead, Mills’ second feature unsurprisingly fails to come anywhere close to Edgar Wright’s masterpiece, instead offering a strange concoction of Doctor Who inspired science fiction, political commentary and B-movie splatter, resulting in a ninety minute headrush of a movie which in parts is thoroughly enjoyable and laugh-out loud funny, but at other times, completely loses its’ way and slowly wanders into territory bordering on irksome, but with some of Britain’s best acting chops on show, Slaughterhouse Rulez is still amusing enough to pass the time.
With the bulk of the narrative focusing on the wretched school life entwined within the confines of the titular cathedral of knowledge, Mill’s screenplay begins in interesting fashion, introducing both Cole’s streetwise and savvy newcomer and Asa Butterfield’s (Hugo) kooky, alcohol and cigarette dependant, Willoughby Blake, as the central duo of the piece who quickly fall upon the insidious doings of a renowned fracking company who have been tasked with digging out the corpulent supply of shell gas kept under the school’s ground. Cue the nod to the Doctor Who serial “Inferno” from 1970 in which a mining disaster breeds unknown evil hostiles from beneath the surface of the earth and that’s pretty much the entire second half of Mill’s movie, just without venturing into alternative universes and apocalyptic doom. Whilst I am all for witnessing the sight of a drug-laden, hippie Nick Frost (Hot Fuzz) and violent, flesh hungry cave dwellers ripping endless hordes of cannon fodder to shreds within reason, Mills fails on a fundamental level to hold the shakey lines of genre crossing at a steady beat, resulting in a movie which not only feels way too long come the hour mark as the screenplay begins to run out of ideas good enough to hold the attention of its’ audience, but one which is neither scary or threatening, resulting in Slaughterhouse Rulez essentially being a feature length back-end episode of Torchwood with occasional slices of comedy gold and a Michael Sheen in his most camp and scenery chewing film role thus far.
Overall Score: 5/10
“I Sent You To London So You Wouldn’t Start A War In Kingston…”
With hot rumours surfacing of him taking the role of the next James Bond and the return of BBC’s hit crime drama, Luther, in the near future, it’s fair to say that Idris Elba is indeed a busy, busy man, and with a fundamental warmth and undeniable likeability, Elba’s career seems to be going from strength to strength even when the steely-eyed few still remember Elba’s superb performance as Stringer Bell in the greatest television programme of all time, The Wire. It comes with a particularly heavy heart therefore that Elba’s directorial debut, a hazy adaptation of Victor Headley’s 1992 cult novel, Yardie, is unfortunately a plodding, strangely dull and overly cliched crime drama which fails to ignite the touchpaper of Elba’s switch from in front of the camera to behind it. With dedicated performances from many newcomers within the cast, an eclectic mix of groovy musical accompaniments and an obvious love for the source material from Elba, Yardie isn’t exactly terrible, but its’ major flaws are so crushingly obvious that it’s hard to paint over the cracks in order to make the film better than it really is.
Focusing on Aml Ameen’s (Kidulthood) Dennis “D” Campbell and his rise within the criminal underworld of a poverty stricken Kingston, Jamaica, the early exposition of the movie is recalled through the age-old use of voice-over, and whilst my own personal preference for storytelling undoubtedly favours a “show me, not tell me” format, Elba’s particular narrative technique does quickly become overly cheap and relatively boring as every single movement is described when the audience is already ten steps ahead. With the movie primarily suffering from an utter lack of effective characterisation which results in the film simply being observed than truly being sucked into the drama, the overly familiar gangster set-up fails to carry any fresh ideas, even when its’ key characters on the surface are interesting but are unfortunately let down by poor writing and dialogue which is as hokey as it is sometimes undecipherable. With a groovy soundtrack and some smokey, 70’s era London cinematography, Elba’s vision for the movie is admirable but with the whole much weaker than the sum of its’ parts, Yardie is a yawn-inducing disappointment.
Overall Score: 4/10
“When I Come Back Through That Door I’m Still Gonna Be Champion Of The World…”
With boxing continuing to be the most visceral and cinematic sport to be successfully transferred onto the big screen in favour of others who have valiantly tried and failed, sometimes rather woefully in fact, that’s right Goal!, I’m looking at you, Paddy Considine’s second swing at directing after the critically acclaimed Tyrannosaur in 2011 in the form of Journeyman takes a rather well-worn format within the tradition of boxing movies whilst attempting to add a sense of genuine realism to proceedings which can be somewhat absent from the bigger, flashier Hollywood examples that audiences have been treated to in the past. Mixing together the cruel, life-changing risk of the sport seen in the likes of Bleed For This and Million Dollar Baby with an independent, Ken Loach-esque sensibility, Journeyman works best when the film pulls on the heartstrings in a way which fails to feel either saccharin sweet or cheap, and whilst the pacing and drawn-out nature of the movie does ultimately weaken the film as a whole even with a ninety minute runtime, Considine’s second feature is a solid example of character acting at its’ most dedicated.
With Considine himself taking the lead role of Matty Burton, the recently titled middleweight champion of the world, a victory secured via default after his opponent was forced to back out of the fight, a chance for redemption and a true shot at retaining the title comes in the form of Anthony Welsh’s (Black Mirror) youthful yet arrogant Andre Bryte. With the first twenty or so minutes wonderfully low-key and engaging as we our embraced in the film’s attempt to juggle the relationship between Burton’s relationship with his job and the personal life he has with the brilliant Jodie Whittaker (Doctor Who) as wife Emma and their newborn baby, the horrifying result of Burton’s fight with Bryte sets up the remaining hour in which we see Burton’s transformation from joyous, caring husband and father to the unrecognisable shell which has been put in his place. With outbursts of violence, mental incapacity and a terrifying “hide and seek” game within its’ brightest points, Journeyman does include the raw, realistic sensibility you’d expect from a British independent film, but with not enough push and a lack of real development come the crucial change half way through, Considine’s movie is a likeable but flawed second feature.
Overall Score: 6/10
“Sweetheart, You Just Can’t Change The Rules Because Someone’s Showed An Interest…”
Appearing onto the cinematic fold with his first big-screen offering after a number of independent shorts, Michael Pearce writes and directs Beast, a spine-tingling, nihilistic and paranoid psychological thriller which sees Jessie Buckley’s (Taboo) Moll break free of her critical and controlling family as she comes into contact with Johnny Flynn’s (Clouds of Sils Maria) bohemian and free-spirited Pascal within the confines of an unnamed, rural and isolated community paralysed with fear after a number of young women are found brutally raped and murdered. With the ghost of Twin Peaks springing to mind each and every time there is a narrative crossover regarding the impact of death on a close-knit community, Pearce’s movie does impressively share a tonal similarity with David Lynch’s sprawling and surrealist masterpiece, with the film holding a relentless ominous tone up until its’ final, haunting shot, and whilst Beast decides to stay strictly within the realms of linear storytelling, with its’ feet planted heavily on the ground rather than conforming to the surrealist temperaments found in most Lynch works, its’ the shadow of the uncertain which brilliantly pushes the drama and undoubtedly leaves the audience in a contemplative mood regarding what has unfolded upon them.
Shot primarily on the island of Jersey, Pearce’s movie follows Buckley’s Moll, a reclusive, distant and dissatisfied daughter who resides at her home alongside the intrusive, demanding and judgemental figure of her mother, Hilary, brilliantly played by Geraldine James (Rogue One) who demands familial perfection. After stumbling across Flynn’s Pascal, a relationship between the two begins to blossom, much to the distaste of the rest of Moll’s family, resulting in a heavy sense of alienation as Moll begins to suspect that Pascal has much more to his questionable and overly murky history than it originally seems. Although Pearce’s movie features beautiful, sweeping landscapes and that particularly familiar British independent feel around it, akin to the melancholic temperament of Calvary and the uncertain sensibility of Ben Wheatley’s Kill List, the film is not entirely cinematic throughout its’ 110 minute runtime, with dialogue set pieces heavily reminiscent of an ITV crime drama at times, but with a clear Hitchcock influence, particularly Shadow of a Doubt, acting as a thorough through line from start to finish, Pearce’s feature debut is a dark, twisted and enjoyably startling success.
Overall Score: 8/10
“I’d Like Very Much To Write About You. Your Society…”
Winning the award for most convoluted title of the year so far, Four Weddings and a Funeral director, Mike Newell, returns with The Guernsey Literary and Potato Peel Pie Society, a big screen adaptation of Mary Ann Shaffer and Annie Barrows’ 2008 novel of the same name which sees Lily James’ (Cinderella) awfully well-spoken but deliriously likeable Julie Ashton, a well-to-do and moderately successful English writer, venture over to post-war Guernsey in order to embed herself into the titular organisation as research for her next literary project. With a cinematic sensibility which reeks of similarity when it comes to moderately successful contemporary Second World War dramas including Their Finest and Churchill, Newell’s latest is a ridiculously twee and wickedly harmless romantic drama which revels in its’ overt Britishness and an unbelievably predictable and paint-by-numbers screenplay, one which seems to be primarily designed to please audiences admiring the film with a slice of cake and cup of Earl Grey on a light and breezy Sunday afternoon.
With an opening twenty minutes which introduces James’ Ashton, the audience is made privy to her recent literary successes and close separate relationships of professional and personal boundaries with both the attentive, publisher figure of Matthew Goode’s (Stoker) Sidney and the charming American soldier, Mark Reynolds, as played by Everybody Wants Some!! highlight, Glen Powell. After receiving a letter from Michiel Huisman’s (Game of Thrones) farmer type, Dawsey Adams, under the umbrella of the titular gang of Guernsey residents however, Ashton swaps war torn central London to the rural heart of post occupied Guernsey where she attempts to unravel the mystery of Jessica Brown Findlay’s (Black Mirror) missing society founder, Elizabeth McKenna whilst slowly falling for the rough and rugged winner of most attractive cinematic farmer ever in the form of Huisman’s Adams. With a supporting band of merry well versed actors including Penelope Wilton (Doctor Who) and Tom Courtenay (45 Years), Newell’s movie never alleviates from being anything other than perfectly fine, and whilst at times the predictability weakens the film’s final product, the film forever linked with one of the worst titles ever just about ticks over.
Overall Score: 6/10
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“Everyone Wants Me To Change And Now You Too…”
Aided by a successful long-term collaboration with Woody Allen and a recurring starring role within Coppola’s Godfather trilogy, Diane Keaton remains one of the most iconic actresses to cross the barrier between the 20th and 21st century, and whilst the spotlight hasn’t entirely shone on the Californian star within recent years, Hampstead offers the opportunity for Keaton to show whether or not she still has the acting pedigree she once had when working back in the day alongside a rafter of incredibly talented and inspirational filmmakers. In the opposite chair, the contemporary icon of Ireland which is Brendan Gleeson graces the big screen once again with perhaps the most impressive beard he has grown to date, portraying a character within a narrative which bases itself upon the life of Harry Hallowes, a rough sleeping Londoner who after a rafter of legal battles managed to become the owner of land worth a breezy couple of million. Directed by Joel Hopkins, Hampstead is a remarkably safe, nuts and bolts romantic drama, one which although brought me within an inch of falling into a sleep induced coma, when up against the likes of Transformers this week, is really quite harmless.
Whilst Keaton is a shadow of her former acting self, taking a plain sailing approach to a character who chops and changes her decision making whenever the narrative direction tells her to do so, Gleeson is as charming and watchable as ever, using his gruff, edgy demeanour to some form of effect, even if the character development doesn’t really offer him or the audience up much more than an on-the-face-of-it kind of approach. Aside from the film’s two leading stars, Hampstead suffers rather woefully from an excruciating array of secondary characters, with Jason Watkins and Lesley Manville being the leading lights of utter tedium, with the former’s eerie, pestering nature being a complete hindrance on any sort of likeability whilst the latter suffering from what can only be regarded as being the type of toffee-nosed, greenhouse loving, cat hating, right-wing bastard which I tend to completely disagree with from the outset. Aside from such matters, Hampstead is similar to the likes of the Moody Blues or say the last remaining rich tea in the biscuit tin, with it not really causing much damage at all but not likely to spring to the forefront of many people’s minds at any time soon.
Overall Score: 4/10
“Whatever It Cost My Cousin In Pain And Suffering Before He Died I Will Return With Full Measure…”
Although unaware of her particular line of writing beforehand, the release of My Cousin Rachel has not only expanded my understanding of English author Daphne du Maurier but more interestingly has highlighted the importance of her writing, particularly in regards to its’ impact on cinema, with the likes of full-on classics such as Don’t Look Now, Rebecca and The Birds all being based upon du Maurier’s talented scripture. Following in the footsteps of Nicolas Roeg and Alfred Hitchcock, arguably one of the most daunting double acts to take the mantle from, director Roger Michell brings to life du Maurier’s writings once more with My Cousin Rachel, a direct adaptation of the 1951 novel and a remake of the 1952 original movie which starred Olivia de Havilland and Richard Burton in the two leading roles, leading roles that this time are handed to Oscar winner Rachel Weisz and Their Finest star, Sam Claflin. With the infamy and reputation of previous successes of du Maurier’s works in the background, My Cousin Rachel understandably is nowhere near the calibre of anything from Hitchcock or Roeg, but with a stand out performance from Weisz and some gorgeous costume and set design, Michell’s movie is a solid enough attempt to transpose the ambiguous and paranoid writing of du Maurier onto the big screen.
Whilst the film’s narrative effectively reeks of uncanny uncertainty, the movie is undoubtedly bolstered by the magnetic presence of Rachel Weisz in the titular leading role, giving a superbly maligned performance which edges on the side of both troubled innocent and femme fetale depending on where exactly you believe the underlying plot is being directed by the careful hand of Roger Michell. Whilst Weisz is the undeniable guiding light of the movie, the same unfortunately cannot be said for the likes of Sam Claflin as Phillip, the incredibly annoying and wholly idiotic man-child who immaturely decides to deconstruct his entire life slowly but surely over the course of the film’s two hour runtime all-the-while the audience responds not with an inch of sorrow or remorse but instead wondering how on earth such a devious tit managed to achieve such wealth to begin with. Whether it be petulantly screaming and barking orders at his much more humane serving staff or wondering whether he is at the epicentre of a epic murderous scandal, Claflin has successfully gone and created arguably the most annoying leading character of the year so far, and when put up against the strong centrality of Weisz’s character, Claflin’s Phillip ultimately is a complete fail. Whilst the film’s key mystery is arguably too anti-climactic and the plot sometimes downgrading into lulls of utter dreariness, My Cousin Rachel passed the time nicely in a way which will see it on the BBC Two afternoon schedule sometime in your near future.
Overall Score: 6/10
“They’re Afraid They Won’t Be Able To Put Us Back In The Box When This Is Over, And It Makes Them Belligerent…”
Directed by Lone Scherfig, the creative mind behind films such as The Riot Club and the Oscar nominated drama, An Education, Their Finest, based upon the 2009 novel, Their Finest Hour and a Half by British author Lissa Evans, seemingly begins a cycle of early 20th century war biopics which are set to be released this year, with highly anticipated releases such as Churchill and Christopher Nolan’s unbelievably exciting take on Dunkirk coming to a theatre near you over the course of the next few months or so and whilst Scherfig’s latest is arguably not in the same wide-spread level of appeal as the latest Nolan release or a film depicting one of Great Britain’s most influential figures of recent history, with a cast which includes the bravura acting talents of Gemma Arterton, Eddie Marsan and Bill Nighy, the groundwork for excellence has somewhat already been established. The question remains therefore whether the finished picture matches the ability of its’ leading stars and whilst Their Finest is indeed a charming low-key drama, one which is laced with a full swing of tea-swigging Britishness, the final flurry of its’ second act doesn’t hold the interest of the first and dwindles into a movie which is wholly admirable but ultimately inconsequential.
Perhaps the biggest criticism of Their Finest is it being a film which once again is a solid example of a movie which doesn’t have enough actual meat on its’ bones to run the course of its’ two hour runtime, utilising narrative avenues which don’t exactly work in the long run, such as the inclusion of Jack Huston as Arterton’s underdeveloped partner, in order to enforce a dramatic subplot which although sets up the film’s leading romantic element, could have been cut out entirely and averted the risk of the dreaded clock-watching from its’ audience. On the contrary, the film does boast a overarching feel-good narrative which is bound to leave its’ intended audience “weeping in the aisles” as stated by Bill Nighy’s excellent portrayal of the fame-addicted presence of ageing actor Ambrose Hilliard, whilst Gemma Arterton continues the argument that whatever she is in she is always top of the class no matter if its’ fighting zombies in The Girl With All The Gifts or battling the sexist and wholly misogynistic ways of 20th century Britain in her role as Welsh writer Catrin Cole. Ultimately, Their Finest is a enjoyable fluffy drama which tells a story and tells it admirably well aside from a few notable exceptions but with a cast as reliable as the one on its’ books, it never really was going to fail.
Overall Score: 7/10
“I Had Another Family. A Mother, A Brother. I Can Still See Their Faces…”
Arriving in the season of Oscar madness, Lion, the directorial debut from Gareth Davis, is the cinematic adaptation of Saroo Brierley’s non-fiction book, “A Long Way Home”, an autobiographical account of the extraordinary tale of the Indian-born Aussie, who after being separated from his family in Central India at a young age remarkably sets upon reuniting with his long-lost siblings after a staggering 25 years, resulting in the sort of movie you’d expect to be part of the many conversations regarding the upcoming Academy Awards, particularly regarding its’ undeniably touching screenplay. Whilst Lion boasts a fundamentally humane and uplifting narrative basis, one which inevitably results in being an effective tear-jerking tale of the power of human nature, Davis’ debut falls short of being a really excellent drama and instead settles for nothing more than being a solid adaptation of an interesting tale of one man’s journey to rekindle his lost love.
With Dev Patel in the leading role, the links between Lion and Slumdog Millionaire are entirely obvious and unfortunately expected, particularly in regards to the two films’ similar narratives, albeit one being entirely fictional and the other based upon true events. Furthermore, where Danny Boyle’s movie succeeded is where Gareth Davis’s ultimately falls flat, with the riveting and sharp feel of Slumdog being entirely absent within Lion, a film which takes way too long to actually get going and one which would have benefited from actually being at least twenty minutes shorter, particularly in its’ plodding second act where the elder Saroo attempts to locate his lost family, a particular shame when regarding the strong opening portion of the movie in which we witness the younger Saroo’s efforts of survival throughout the mass maze of Central India. With captivating performances from both Nicole Kidman and young newcomer Sunny Pawar, Lion seems to transcend an extraordinary tale from page to screen with some degree of success, yet its’ moments of prolonged tedium in certain areas of the film leave you slightly underwhelmed come the closing credits.