Never Let Me Go

There is something irresistibly fresh in the tragic beauty of "Never Let Me Go". It is not often you see a film blend seemingly contradictory genres together and yet this film succeeds admirably. Science fiction and drama are mixed with period detail to create a wonderful and hauntingly subdued film. Possibly not to everyones taste as evidenced by its poor box office in America, it is nonetheless a very worthy cinematic experience. The film paints an alternate dystopian history, and yet for all its subtle sci-fi musings, the film is primarily concerned with romance. Kathy H (a heartbreaking Carey Mulligan) grows up in a boarding school with life long friends Tommy (Andrew Garfield) and Ruth (Keira Knightly). Throughout the years she finds her feelings for Tommy grow while the seemingly jealous and calculating Ruth becomes romantically involved with him first. As the young adults progress we see how their restrictive fate mixed with Kathys eternal unrequited love for Tommy affects their lives. There is a strong sense of tragedy running through the film. The films chief existential questions weigh heavy on our heroine. What does it mean to love? What does it mean to have a soul? The film is not a cheery watch, and yet if you work for for it, its low key charms will soon reveal themselves and linger inside long after the credits have rolled. Director Romanek, known more for his flashy music videos, here uses an effective and simple technique, filtering his rain drenched England through a system of grey and blue hues. Make no mistake, that while the film may sound uneventful and dull, it offers plenty of tantalising questions for the audience to answer. The cast are all uniformly brilliant handling the trio of characters superbly. While some of their actions, especially the initially nefarious Ruth, may seem hard to condone, they are nonetheless understandable. Of course sci-fi as a genre is based on asking big questions and this is no exception. With writer Alex Garland (working from the original novel by Kazuo Ishiguro) it is no surprise that the results are as thought provoking as they are. And yet the film has so much heart running throughout, making its weepy third act all the more effective. The film earns your emotional attachment to it. This is grand intelligent film making on an emotional and engaging level. It's poor showing in the states hopefully might not be the same over here, but it is a very tough and strange film to market. Not many people may initially think they want to see a film like this, but it is more than worth it. Films like this rarely come along and must be treasured when they do, otherwise Hollywood runs the risk of making every science fiction film stuffed with explosions and over sized robots. In a genre chocked full of predictable and stupid trappings, this breathes fresh life into it.

Verdict: 8/10

A haunting and frequently devastating oddity. It blends several genres together, to create an original yet understated thought provoking experience. This deserves to be mentioned with some of the greats come the years end, and its ignoring this awards season is criminal. A very special film.

"Never Let Me Go" Trailer

Blue Valentine

A script 12 years in the writing. A constantly starting and halting production. An original release date of 2008. A lead actor almost dropping out of filming. For any other film, such reportings might be cause for concern. After all, if a film has this much going against it, then surely it can't be worth it unless it is something special. And if there is a word to describe "Blue Valentine" it is, at the very least special. A fragile and often uncomfortable look into the fickleness of love and relationships. It is a film, that if all its encompassing factors had not been so specifically in place, it is quite possible we would not be left with the mini masterpiece we have here. Having directed one little seen feature over a decade ago, director Derek Cianfrance set his resources into getting this picture made. Quite obviously a labour of love for everybody involved, it was honed and crafted over the years, adding vital slices of real life experience into its script. If the film is one thing, it is honest. It is a frank look at the breakdown of a relationship when sometimes for nothing or everything, love one day, just leaves us. After searching endlessly for his leads, he found Ryan Gosling and Michelle Williams, so perfect for their roles. After Heath Ledgers untimely death, Cianfrance, out of respect for Williams and their daughter, halted production. A lesser director might have recast the part, but Cianfrance knew just how vital Williams was to her role. A change of location in the script, some delays in its release and a run in with the MPAA and it is quite lucky that the film is even here at all, much less the work of beauty that it is.

Working as a far more tragic and bleak version of "(500) Days of Summer", the film charts the breakdown of a marriage over the course of one weekend, while cutting back to the original sparks of love first igniting between the pair many years earlier. This could be seen as stylish and gimmicky for the sake of it, yet through this, the director highlights some important contrasts in character outlook and perspective. The overall question of 'where does love go?' is not an easy one, but by bringing us back to those early, happier days, we can gauge the various reasons and choices that have led our two protagonists to this point. Not that it is quite as simple as that, Cianfrance never points the finger at either members, rather acutely observing the destruction unfold. Life sometimes gets in the way it seems. As 'Dean', Gosling gives an exuberant performance. A man simply committed to his wife and daughter, and not much else, through his perpetual childishness we see reasons for Cindys gradual despising and original blossoming love for him. As 'Cindy', Williams, delivers an astonishingly subtle performance. Her coming to terms with what is happening juxtaposed with Goslings 'die hard romantic-fight til the death' is profound. Their studying of the characters for years in the productions many starting and stoppings, must have led to a deep understanding on the actors behalf. The fact that before filming began, both Gosling and Williams lived together as a family, adds to the unbearable realness of it all.

Cianfrance shot with little or no rehearsal and insisted on capturing most of the scenes on the first take. The acting is as raw and gritty as the script calls for. Cianfrances camera puts the audience in the middle of it. To say the film is uncomfortable is an understatement. At any given time it feels the viewer is eavesdropping on a couples demise. If the film was initially slapped with an NC-17 on its American release, it is not down to the frank nature of the sex scenes, but rather the feelings of realness it injects. The filmmakers have pondered that perhaps it was too real and that is what led to their downfall. Had the film received the rating it was initially stamped with, it would have been the death knell for it. It would not have received nearly the same audience it deserves and if anything, the only thing the film is truly explicit in, is emotion. While harvesting some all too real truths about both members of the opposite sex, the film also provides some illuminations on the first awakenings of love. Gosling playing ukulele while Williams tap dances is just one hauntingly beautiful soon to be classic scene in a film full of them. The film is tough and painful but only as it should be. As a result, it would not be described as a fun or entertaining evenings watch. But caught in the right mood however, with no distractions, then the film will soon take over. It might be easy to play the blame game with both characters, but like reality, it is not as simple as that. Everybody and nobody is to blame. Life is life. In all its mysterious glory, who can predict why things happen the way they do? Of course, by that rationale, who could have predicted how searingly beautiful "Blue Valentine" would ever go on to be, or that it would even exist at all.

Verdict: 88%

A stunningly observed dissection of love and relationships. It may not be fun and easy, but it is important and forces you to ask substantial questions about your life. The actors transform into a space where that on screen is reality, and we have walked in on something painful, real, true and most importantly, beautiful.

"Blue Valentine" Trailer

Scott Pilgrim Vs. The World

'Geek Chic', 'Hipster Cool' and 'Style Over Substance'. There were times during this film, especially near the start, when I feared that all of these things were threatening to drown it out. The film walks a very fine line in almost letting its ADD visuals and 'oh so cool and hip' sensibilities from overtaking everything. As it stands however, I can safely say, that "Scott Pilgrim" is easily one of the best films of the year and quite unlike almost any other film I have seen. Edgar Wright must have had serious confidence in the comic the film is originally based on. I mean, there are moments when the film is going absolutely bonkers on screen. How he was let away by Universal with such authorship over the film is astonishing. When that first fight happens, it will make or break it for most people. Before now, the film was coasting along nicely, obviously existing in its own universe, but nothing too outlandish has happened. But when the action kicks in, it is incredibly jolting. Wright has faith in his audience and his source material, and God knows he has the talent, because there is absolutely no other Director out there today that could pull off a film like this. It is the result of a computer game and indie/rock music mashed together; it is youth and vitality put up on screen; it makes your own humdrum life exciting and fantastical, because you can relate to Scott's outlook so easily. Everyone daydreams and adds in their own 'movie like' features into their own life all the time. Everyone has their life soundtracked by their own favourite bands. Everyone lets their favourite TV Shows influence their outlook on everything far easier than even their own family. Everyone wishes they could stand up and fight for what they believe in no matter what. Put simply, we all live our life in our head, as does the title character of the film. No doubt our life is not nearly as exciting as we aspire it to be, much like the eponymous character. But that wouldn't exactly make for the awe inducing cinema on display here would it?

Scott Pilgrim is a regular 22 year old slacker. He plays bass in a band, loves video games and falls in love easily. Too easily it would seem. Initially going out with 17 year old high school student Knives Chau, his head turns when he meets Ramona Flowers, the girl of his dreams. However, in order to win her heart, he must first defeat all of her 7 evil exes in 7 fights to the death. Michael Cera has many of his critics. While initially being acclaimed for his comic timing and his predilection for awkward and uncomfortable comedy moments on the now classic ''Arrested Development'' TV Show, he was then accused by many as coasting by on those sensibilities for too long. He was a one trick pony they said. Perhaps those are too hard on Cera, as no one seems to be more aware of this trait, than himself. Earlier this year he proved he can do more than 'nice and nerdy' with ''Youth In Revolt'' and now with this, he proves himself to be quite an adept actor and not only in the physical department. With the fact that Wright turned Simon Pegg into an action star in "Hot Fuzz", it will not surprise anybody that Cera convincingly kicks plenty of ass throughout 'Pilgrim'. However, what is surprising is that he is no longer playing Cera, or a shade of him anymore. Yes, Pilgrim is a dork and a dweeb; he puts his foot in his mouth and sometimes stammers uncomfortably and shyly over sentences, but Pilgrim is a different character altogether than anything we have seen from Cera. At turns fickle, moany, and arguably unsympathetic, he is in many regards, the most real part that Cera has portrayed. It is down to his talent that we stay on Pilgrims side throughout and he doesn't become irritating for the audience. He is also lovable, winningly goofy and relatable. Cera is ably supported by a fantastic supporting cast. Winstead carefully sidesteps being just a dream girl to shows layers beneath that 'too good to be true' caricature that Pilgrim paints of her. Chris Evans and Brandon Routh both hilariously convince as just 2 of those previous and very egotistical exes Pilgrim has to contend with. Mae Whitman turns up too, reuniting her with her ''Arrested Development'' co-star Cera. Kieran Culkin impresses as Scotts gay room mate Wallace, and is hilariously sardonic towards the lovelorn Scott. It is arguably all seen from Scotts perspective in his head, but the film is hardly just about him. Part of what makes the film are the supporting players whether they be part of his band 'Sex-Bob-omb', or attempting to kick his ass for the hand of the one he loves.

There is no reason given for the superhuman tendencies characters have here. Look at the film as being set in a different universe to our own, look at it as being seen through Scotts eyes, look at it as being a metaphor for coming to terms with the one you love's past. Whatever viewpoint you decide upon, nothing can quite prepare you for what Wright puts up on screen. He doesn't ease viewers into it; this is his world, like it or loathe it. When the first evil ex starts bellowing out a Bollywood style song and dance, some simply won't want to go along with the Directors sensibilities so disjointing is it. The film is after all a (deep breath) action-romance-comedy-musical. And you thought ''Shawn of the Dead''s 'rom-zom-com' was ambitious? Wrights film simply bubbles over with colour and life and fervour. It literally is far too much to take in at once. It might be easier at the start to characterise the film as a hipsters wet dream, but there is far too much imagination, wit and originality going on display here to so easily dismiss. How Wright manages to keep to movie on the rails is beyond me, but he passes with flying colours. Action scenes are fantastically staged and choreographed, with each battle getting a firm and separate distinct personality from the last. Events do not become tiring despite the fact that there are 7 epic fights to get through; Wrights pacing is impeccable. The film never once stops to take in breath or to let you digest proceedings and it is all over before you can truly take in what you have witnessed. We all knew Wright was talented before, but the staggering amount of split screens, zooms and camera tricks he throws at the audience is astonishing. All are carefully thought out, and not just of the 'see what trick will stick' variety. For a Director as visually gifted, he is also in great possession of keen writing. This is what lends ''Scott Pilgrim'' its heart and vitality; without this, the film would just be a whirlwind of colour all jumbled incoherently together.

''Scott Pilgrim Vs. The World'' could be argued as being rock music personified on film. The picture both knowingly, yet lovingly mocks its indie core audience. 'We are Sex-Bob-omb', one the characters tells his audience, 'we're here to make you think about death and make you sad and stuff'. Another rival bands song lasts only a few seconds with a screaming declaration of being 'so sad'. It laughs at itself and the audience, and the audience laughs right back. Yet music is in the films bones. Fellow Canucks 'Broken Social Scene', 'Plumtree' and 'Metric' all feature heavily, while Beck and his band performed and wrote all the Sex-Bob-omb tracks featured. The result is everything you could want from a film. It makes you fall in love with your friends, your music and those that you hold dearest all over again. It positively jumps out of the screen and grabs you, shaking you to life. A cinematic headrush of colour, humour and music, Edgar Wright yet again outdoes himself. This is a film for right now and hopefully where you are in your life and depending on your age you will get it, and admire it for everything that it is. If there is a more stunningly original vision this year, I'll burst into coins.

Verdict 85%

Edgar Wright confirms his position as one of the most exciting young film makers around, while Cera shows there is more to him than meets the eye. The cast do fantastic work and the music is all top notch. All this combined with the most humorous action you may see all year adds up to a huge cult classic in the making. Ignore the tepid Stateside response, see the film, fall in love with it and see it again.

"Scott Pilgrim Vs. The World" Trailer

Knight And Day

With "The A-Team" last week, it surprisingly found itself under heavy comparison with other similarly themed films of this year "The Losers" and "The Expendables". Quite odd seeing that all were produced and released around the same time showing that none of them can be accused of ripping off each other. Hollywood has a history of releasing similar films during the same year. You only have to look to "Deep Impact" and "Armageddon", "Antz" and "A Bugs Life", and "Dantes Peak" and "Volcano". Which brings me to "Knight And Day". While the wise-cracking, tough guy action ensembles seems to be one of the filmic trends of the year, then so too, is the action, romantic comedy. Joining "Knight And Day" this year was "The Bounty Hunter" and "Date Night". These films all offer the same things and cynically, could be looked as simply ticking off boxes for multiple demographics. Action and excitement for him and sweet romance for her. Comedy is the thing that can link these two conflicting themes together. You can't blame Hollywood for trying really, as it seems a sure thing to get both genders to the same movie, as opposed to being dragged along to "Sex & The City 2" or "Iron Man 2" by your other half depending on your sex. The result for all films in this mould have all been the same. In struggling to balance so many conflicting themes, and trying to appeal to such a broad audience something gets lost or falls behind in the final mix.

Tom Cruise plays Roy Miller, a spy on the run from his own agency and accused of going rogue. Cameron Diaz is June Havens, a sweet simple, girl next door. Through events they are brought together on the same flight. June is believed to be with Roy and as a result, the two are forced to go on the run together, getting into various scraps and scrapes all over the world, all the while harboring a 'will they, won't they' relationship. Peter Sarsgaard turns up as the agent tracking Cruise's and Paul Dano gets a fleeting part as a junior scientist genius. Despite the talents of those supporting actors, both are wasted. Focus is kept primarily on our leads and as a result, the film lacks a decent antagonist or MacGuffin. Why get actors of that caliber only to have them so wasted in their respective roles? Lucky then, that Cruise and Diaz share decent chemistry. This is the only film of the Summer relying on simple star power to sell to audiences. It does not carry the hype of other films falling back on iconic characters, or previous tried and tested material. Thank goodness then that both leads deliver. Diaz is as spunky and proficient as she has been in a while while Cruise provides the main draw to the films charm. This is as likeable and charismatic as he has been in years. He has far too many knockers in the world and despite what many think of his private life, the fact remains that he is never less than reliable and constantly delivers decent performances. Here he is affable and charming and shows just why he has managed to stay on top of his game for so long. That the film was not a huge runaway hit in the States (despite the fact it has made twice its budget back internationally) shows that his wattage might unfortunately be dipping. I myself still thinks he has what it takes to carry a major motion picture and when he is on form there are few who can match his charisma.

Director Mangold has been steadily working in wildly different genres for the past few years now. To take a look at his CV shows just how versatile he is. Results from him are never less than watchable. Here in his first major Hollywood release he proves very adept at handling the many action scenes. However there are points when the laughs just doesn't seem to blend with the large body count on screen. While remaining fairly bloodless (censorship is odd like that) Cruise still manages to mow down his fair share of agents and other interceptors after our two heroes. Another problem is the fact that while Cruise is one of the main reasons to see the film, he is absent for a large chunk of the films third act, leaving Diaz to carry the film on her own. The comedy dries up and events grow tiresome waiting for Cruise to appear again (the film paints him as an almost super-hero agent, completely incapable of getting badly injured). So while the action crackles along, Cruise shines and Diaz acts her best 'normal girl caught up in this mess' the film never rises above watchable. Shame as there was certainly talent in front and behind the camera. The final result seems wasted.

Verdict: 51%

Cruise reminds just how adept and competant he is at the action, laughs and old fashioned leading man status and Diaz shows genuine chemistry with her fellow co-star, but supporting characters are wasted, the plot soon wavers and the incredible body count is at odds with the films comedy and romance. Mangold is a talented Director but lets events get out of control and the result becomes tiresome. That final bike chase is good fun though.

"Knight And Day" Trailer

May/June Round-Up: Iron Man 2/ Sex & The City 2/ The Killer Inside Me/ The Collector

I haven't been writing for the last few months and have missed out on a few releases. So for anyone interested, here is my take on them.

Iron Man 2

The first big tent pole release of the Summer went off with a bang. Our hero Tony Stark (Robert Downey Jr.) has to face off against new enemies in the shape of a psychotic Russian 'Whiplash' (Mickey Rourke), who possesses the same power as the Iron Man suit and rival arms manufacturer Justin Hammer (Sam Rockwell), who is hell bent on acheiving the same success that Stark has. Other turmoil comes from Starks discovery that his suit is also slowly killing him, and tension between him and best bud Rhodie (Don Cheadle). If that sounds like a dark and convoluted super-hero extravaganza (a la, Spider-Man 3) then rest assured that Director Jon Favareau manages to keep proceedings as light and breezy as the first chapter. Downey remains as likeable as ever, and the new additions to the cast all deliver, especially Rockwell as Starks business rival, who is far too desperate to be like him in every way. The material could have become too convoluted for its own good, so kudos to Favreau for keeping an eye on things and easily matching the first in terms of excitement and fun which is all the series ever set out to do in the first place. Also in that Monaco sequence near the start, he delivers the action scene of the year thus far. Problems include Scarlett Johannsson getting lost in the mix, and that the film never rises above its 'fun' origins, means it never fully gives the adrenal glands the work out it should, however in a Summer full of lack lustre releases, this can stand above them all. Until Inception is released that is.

Verdict: 69%

Sex & The City 2

If, upon the original success of the show back in the late 90's, you had told its fan base that the once insightful, clever and witty formula, would dissolve into a camp, bloated and very cynical juggernaut, would any of its viewers have actually turned off? We find the 4 girls, for the second time in the series' history, not feeling fully fulfilled after becoming 'happy ever after'. A rut in marriage, the complexities of juggling a career and family, the sheer hell raising children can be and the eternal battle to stave off old age are all dealt with by our leads. Unfortunately for Jessica Parker, Cattrall, Davis and Nixon is that these so called problems all come off as whiny and selfish. These could have been dealt with far more intelligence, as to give a decent meditation on any of these subjects could provide interesting observations on life for 40 plus women. Unfortunately, the film seems to be far more concerned with fashion and Liza Minnelli singing Beyonce, than any true drama. Not for a second the realistic take on 'women' that the show once set out to be, it has become a parody of itself. Hell, there is even very little sex and practically no city, as the girls (and writers) struggling to keep things fresh, decide to take a sojourn to Abu Dhabi. This is where the franchise reaches its low point. In trying to inject fresh life into it, the film becomes ever more shallow, stupid and almost offensive to the point of ridiculousness. Contrasting and compromising the differences between West and Middle Eastern women should have been ripe fodder for some interesting and yes, witty observations on the differences. This just comes off as being naive to the extreme. If the series is meant to be fun, then where are witty exchanges that made the show famous in the first place? In fairness, the leading ladies all gamely try and inject fun into proceedings (they have been playing these characters for far too long to not be able to), but it is no where near enough. The series has become as tired as Kim Cattrall and should be put out to the pasture. The fact that it didn't make quite as much money as the first in theatres, shows that fans may be slightly in agreement, that this is surely, one trip too far.

Verdict: 25%

The Killer Inside Me

To release this film smack bang in the middle of the Summer Season is quite odd. A slow burning and occasionally sadistically shocking study of a very disturbed mind, it does not scream 'summer crowd pleaser'. To say this film is its own beast, is an understatement. It plays entirely on its own terms. In fact those of you can stomach the brutal bouts of violence, and quiet intensity, might not even like what they find come the end. Casey Affleck proves yet again, what an actor he has been the entire time, while his brother hogged the lime light and media glare. There are a few moments in his performance where it is are quite disturbing to see what a true monster lurks behind his good looks and soulful eyes. That Affleck conveys these small moments so well is a tribute to his skill. The plot is set in the 1950's and centers on young Deputy Sheriff Lou Ford. He attempts to blackmail the local town head honcho, which spirals steadily out of control. This is all a facade however, as the film really concerns itself with the psychotic inner workings of Ford himself. An unreliable narrator, we see the world through his eyes entirely, which must be remembered come the films close. A very damaged individual, all the films drama stems from his thirst for murder and intense hatred of women. He is joined by a surprisingly capable Jessica Alba. Kate Hudson also manages to escape her bland filmography and apparant lack of acting skills and they both engage as the women who attempt to love Ford, without fully knowing what he really is. The film, however will be mostly remembered for its shocking bouts of violence. Now, it must be stated that for all the headlines this film grabbed about its excessive (hardly) and shocking (very much so) violence, is that there is very little of it in the actual film. It is all simmering under the surface of Fords facade, threatening to brim over, and when it finally does, it can be very tough to watch, even for this battle hardened veteran of violent film extravaganzas. The film has also been accused of misogyny, which it is. However, the main reason for this, is that that is what Ford is and it is through him we experience everything in the film. As a result, throughout watching it, I see-sawed in between hating and being quite intrigued by what I was seeing. Director Michael Winterbottom is a master of switching genre whenever he feels and must be applauded for his ruthless adaptation of the original 1952 novel. However, as curious as the end result is and the strength of every performance, especially Afflecks, it just may seem, that you may not be willing to spend as long inside the head of a man like Ford, for the films duration. File under as one of the most curious releases of the year.

Verdict: 59%

The Collector

For whatever reasons I initially went to see this film, I could not remember come the films end. Another (yawn) excessively violent torture porn yarn, this one gets more kudos than it deserves thanks to a genuinely tense and inventive first 45 minutes. After the film descends into grand guignol and people start losing limbs left right and center, you will be become completely immune to the shocks and scares that this film initially threatened to offer. That the film has an inventive idea at its core reeks even more of a missed opportunity. Diamond thief Arkin breaks into a remote and apparently empty mansion to steal from the family he has been casing out. However, upon his arrival he discovers that something far worse has got there before him and are holding the family who live there at bay to torture and maim them. What follows is an interesting idea as our hero becomes quite conflicted in his feelings to either stay and try to save those he initially tried to rob, or to save his own skin. That the leather masked murderer also laced the house with inventive and deadly booby traps to prevent anyone from escaping adds to the tension as it becomes a warped version of 'Home Alone'. Unfortunately this is where the film decides to become a daft exercise in torture porn as tension gives way to blood red viscera that is no more shocking or scary than Macauley Culkin's antics were. The film grows ever more stupid and tiresome until it finally peters out. That it is from the writers of 'Saw's 4,5 and 6 show you all you need to know about the film. When are horror screenwriters going to remember the lost art of things hinted at, are far more terrifying than anything they could ever show us? After its rapid downhill descent you will be begging for the Collector himself to come take you away.

Verdict: 35%