For A Few Movies More

To say that Lucky McKee’s The Woman isn’t a pleasant viewing experience would be something of a huge understatement. Taking a magnifying glass to middle class America and the dirty little secrets kept behind closed doors, The Woman paints a truly disturbing portrait of one aggressively dysfunctional family’s gradual unravelling. Jam-packed with vile acts and grotesque displays of violence, this is most definitely not a film for the faint of heart. However while it treads dangerously close to being slotted alongside other exploitation torture porn movies of recent years, in reality it’s a far too emotionally compelling film to be compared with such pointlessly sadistic purveyors of pain and suffering. Instead while The Woman is indeed an uncompromising horror film at heart that’s full of atrocious acts, its horror stems from the all to real cruelty human beings are capable of inflicting upon each other and their warped reasoning for doing so. A riveting viewing experience that’s only occasionally let down by evidently cheap production values, The Woman is a must see for those looking for a little more depth in their horror that the routine crop of cut and paste slasher films and zombie flicks simply can’t provide.

Shrouded in controversy before it was even released as a result of its infamous premiere screening at the Sundance film festival, The Woman is indeed a film quite literally dripping with ickiness. What makes it such an interesting journey into the heart of despair however is the fashion in which this sense of displeasure is slowly unleashed upon the audience. As the film begins we’re introduced to the Cleek family, just an ordinary American family enjoying a barbeque with neighbours in a small American town. However their laughter and small banter, as real as it may seem, is just a facade. For behind closed doors Chris Cleek (Sean Bridgers), husband and father, controls his family with a violent iron fist. Failure to do what he says is met with the fiercest of casually inflicted violence. However the twisted extent of his warped ideals becomes fully apparent when during a routine hunting expedition, Chris stumbles upon a feral woman (Pollyanna Smith) roaming some backwoods. Convinced that he has the power to humanize the savage stranger and help her adapt to the modern world, Chris promptly takes it upon himself to kidnap the woman against her will and chain her up in his cellar. What follows is a torrent of cruel abuse as Chris attempts to teach the woman various lessons through the means of both psychological and physical torture.

2011 has come and gone like a blur, leaving in its wake a trail of cinematic triumphs along with plenty of forgetful duds. We’ve already given our takes of the best and worst films released of last year (check out mine HERE and Nis’ HERE), so now it’s time to stop dwelling on the past and look forward into the future. From what I can tell, 2012 already looks to be shaping up as a promising year. As usual we’re getting a whole new batch of superhero films, sequels to big budget blockbusters as well as an assortment of inevitable remakes, however counterbalancing this studio domination are a slew of exciting smaller films that look to offer a fresh slice of originality amongst the Hollywood big hitters. So whether it’s larger than life action, unrelenting horror or subtle drama you’re looking for, it appears that this year has something exciting to offer all tastes.

I’ve had a good hard look at the upcoming releases this year has to offer and after much deliberating I’ve finally managed to comprise a list of my own most anticipated films of 2012. It’s something of an eclectic list that features a few predictable choices that I’m sure nearly every movie lover is counting down the days to see, but along with these high calibre standouts are some potentially trashy picks that will hopefully do their job in providing some mindless fun. So as always I hope you can agree with some of my selections, but either way be sure to leave any suggestions of your own in the comments section below. 2012 ahoy!

If there were ever a single genre of film that was so desperately in need of a fresh spin, a spark to reignite the alluring flame since extinguished, it would be the overly formulaic alien invasion genre. There’s only so many times we can watch as earth is taken by surprise as invaders from space who then promptly claim the planet as their own using ruthless means. So when I first heard about The Darkest Hour and saw the subsequent trailer for it, I held onto hope that this may indeed be the film we’ve been looking for. A game changer if you will. Sure the alien invasion format is familiar, however it was the aliens themselves that showed promise. Ditching the vague humanoid appearance that most movie invaders inherit, the extra terrestrials found in The Darkest Hour are instead unlike any other alien nasties I can recall seeing. Essentially floating ghostly balls of energy, these almost invisible entities pose an original threat to the human race, however this originality is unfortunately undermined by the sheer stupidity of the overall film. Make no mistake about it, energy aliens aside; The Darkest Hour is just like every other bottom of the barrel alien invasion film released over the last decade. Only worse.

The Darkest Hour shows a hint of promise during its early stages before violently taking a nosedive that sees it rapidly descend into the pits of mediocrity and beyond. The film sets its focus on Sean (Emile Hirsch) and Ben (Max Minghella), two software designers flying over to Russia to negotiate a deal that could see their innovative phone app earning them big time dollars. But low and behold, the boys fleeting dreams of money and fame quickly evaporate when they discover a greedy Russian businessman with the awesomely villainous name Skyler (Joel Kinnaman) has stolen their idea and claimed it as his own. Down but not out, our dynamic duo hit up an upscale bar and try to figure out what their next move may be. Rising from the depths of depression like a pair of despondent phoenixes, our protagonists temporarily forget their woes and even manage to chat up some lovely ladies on holidays in Moscow (Olivia Thrilby and Rachel Taylor). But wouldn’t you know it, just as things begin to look up, without warning an army of glowing energy balls descend upon earth and begin zapping the life out of everything in their path. It appears an alien invasion has been set in motion and now our unlucky lads along with their newfound lady friends and the aforementioned douchey Russian businessman have to band together to survive what appears to be, dramatic music please, Earth’s darkest hour. Yeah, that just happened.

Being a huge fan of The Muppet Show when I was kid (well, not just then — I’m still a huge fan), The Muppets was one of my most-anticipated films of the past year. For those of you not blessed with growing up circa late ’70s to mid ’80s (or not blessed with parents who gave you access), The Muppet Show was a variety show that had singing, dancing, jokes, skits, and any weird or interesting acts that attracted the attention of Muppets creator Jim Henson. Each episode had a different special (human) guest, and many times it was a well-known personality that didn’t seem like an obvious match with a show about puppets as real people (Peter Ustinov or Elton John for example). The show remains till today one of the funniest, varied, interesting and most absurd TV programs I’ve ever seen. So is The Muppets the most sensational, inspirational, celebrational, and Muppetational film to be released recently? Well, almost.

I think it’s time we got a few things straight: Yes. I plan on making this an ongoing thing – it’s much easier and equally as disappointingly unrewarding as the longer more structured film commentary I became so infamous for (and by infamous I mean notfamous which sounds a little like an Irish football club)…so we’re clear on that? Right. Next: I don’t like it, you don’t like it, but the picture of the scene board is here to stay. That is to say that until someone offers me an original, well drawn personification of my intrascopic, possibly amusing, blogger self, I will have to stick with my current branding. Third: I’m switching the posters to thumbnail size; the “small” option on WordPress is rigid and belittles my already brief paragraphs. Fourth: It is intro, Movie, Movie. Let’s get on with the movies.

Hugo is not the film you probably think it is. Marketed as a whimsical adventure aimed at a younger audience, Martin Scorsese’s Hugo is in fact a more mature outing that uses its imaginative escapades as a mere backdrop to celebrate the art of storytelling and the fascinating world of filmmaking. It’s a weird combination that works a charm for the most part, managing to simultaneously to connect with my inner child and the older, film obsessed variation of myself. But at times this formula feels a little long-winded, leaving the plot to suffer from a dwindling lack of focus. Complaints aside, Hugo is still an astounding production that borrows influences from a wide manner of external sources, all of which fit together like the film’s iconic clockwork to create a truly original piece of cinema.

Hugo focuses on the plights of the titular child (Asa Butterfield), an orphan who finds himself living alone behind the walls of a Paris train station in the 1930’s after his father perishes in an unexpected fire. Left to fend for himself, Hugo passes the time by tending to the station’s clocks, ensuring they remain in working order and running on time. But aside from these mandatory duties, Hugo’s only real desire is to discover the mystery that an old, discarded automaton he has in his possession holds. A sort of robot designed to complete a singular simple task; Hugo is convinced that the automaton will reveal a long lost message from his deceased father if only he can repair its damaged structure. However if he is to uncover this message he will need to venture out from his haven behind the station walls, meeting new friends and enemies along the way all of whom will play their part in uncovering more than just the automaton’s lost secrets.

I can’t say that I was overly excited to hear that the Sherlock Holmes series was receiving a modern day facelift when the first film was announced a couple of years back. Maybe this lack of interest came down to the fact that I have no connection to the timeless character, or maybe it was a result of the lacklustre promotional material used to market the film, but whatever the case may be, my expectations were low. So it came as a pleasant surprise that when I finally got a chance to see the film, I absolutely loved it. Not merely enjoyed or mildly liked, loved it. Guy Ritchie superbly modernized the classic material, effectively transforming it into a brilliant action comedy. The film was a financial hit and for once, I actually eagerly awaited the announcement of the inevitable sequel. Cut to present day and I appear to have been awarded my wish. Keeping the same over the top, tongue firmly in cheek vibe the original film captured, Sherlock Holmes: A Game Of Shadows is indeed a worthy sequel that takes the series in a logical and entertaining direction.

Sherlock Holmes: A Game Of Shadows picks up right where the previous film left off. Holmes is on the case of the nefarious Professor James Moriarty, a shadowy character responsible for a wide assortment of atrocious acts of barbaric violence. However with Watson due to be wed to his fiancé Mary (Kelly Reilly), it appears as though the pair’s long-term partnership is finally about to come to an end, leaving Holmes to attend to his obsessive detective work singlehandedly. Or at least that should have been the plan. However when Moriarty turns his violent intentions on the good doctor and his bride, Holmes and Watson once again find themselves teamed together and embroiled in a conspiracy so vast and confusing, it would be futile for me to even attempt to detail it here. Needless to say mysteries are solved, faces are punched and bullets fly, resulting in a good time at the movies had by all.

Filmblogging is back by popular demand!! – And by popular demand I mean to say Dean commended it as being “good filler” and “something to fill out the site”. Or how about: Filmblogging is back by popular demand!! – And by popular demand I mean Filmblogging II got a total of 5 pageviews (2 of them mine) and 0 comments. Hmmm…You know, I think I’ll stick with the first one as it is a little less revealing about my needy nature. Buuut having said that, the whole angle of this “filler” is that it is the voice of a needy blogger, so maybe the second one is more suited. If only there was some way for me to use both…muhahahahahahaha-haaaa!!!

Tower Heist is one of those films that I have absolutely no enthusiasm toward reviewing. Often I leave the cinema after watching a new release film brimming with points I can’t wait to discuss in my imminent review. While other times the film in question interested me so little and left such a faint impression on me that I almost dread having to sit down and write about it. Unfortunately for me, Tower Heist is one of those mundane films that falls well and truly in the later category.

Featuring a diverse roster comprised of both comedians who were the masters of their craft at one point of time (Ben Stiller, Eddie Murphy and Matthew Broderick) as well as a couple of well versed Oscar nominated actors (Casey Affleck and Gabourey Sidibe), Tower Heist appeared to have the perfect cast to elevate it above its basic material. Well at least that would have been the case if hack director Bret Ratner, lord of the brainless Hollywood action comedy, hadn’t been the one calling the shots. Instead what we’re ultimately left with is a shallow corpse of what could have been. A film ridden with plot holes, script inconsistencies and flat gags, Tower Heist is a disappointment on almost every level.

I never was much of a Tin Tin fan growing up. From my perspective, this beloved children’s character merely resembled a dulled down Indiana Jones. Only instead of embarking on wild adventures featuring booby-trapped temples, Tin Tin appeared to prefer the company of library books and puppy dogs. I know I know, there are plenty of Tin Tin fans out there right now probably cracking their knuckles in preparation for the torrent of abuse they’re about to leave me in the comments section. If that sounds like you, then I say relax good sir or madam, for this is where you and I become newly acquainted friends forever. For you see, judging by Steven Spielberg’s motion captured vision of Tin Tin’s bright and colourful world, it appears I had it wrong all along. As this big screen adaption of Tin Tin is a quirky adventure reminiscent of Doctor Jones’ glory days that, get your cliché radars at the ready, is fun for the whole family.

To summarize every last intricate detail of The Adventure Of Tin Tin’s pin wheeling plot would be something of a needless task. It’s one of those familiar kinds of adventure films that begin with our intrepid adventurer, in this case the titular journalist Tin Tin and his faithful canine companion Snowy, uncovering a long hidden clue that could potentially lead to a hidden treasure. Our hero, being the daring explorer thirsty for a dangerous quest he is, follows the trail of said clue only to uncover another, and another, and so forth. It’s the quintessential adventure film formula that works a charm here. But as is the way with perilous journeys, danger awaits around every corner. All manner of thugs, pirates and pickpockets stand in the way of Tin Tin’s end goal. Suffice to say, if you’ve ever been familiar with the original comic books or animated series, then you’ll feel right at home here.