Drive

How does Ryan Gosling do it? The man is in front row to be my hero of 2011. His acting talent grows ever more intriguing and varied with each role he undertakes and he has a great eye for picking fantastic parts in great films. Blue Valentine  is quite possibly one of my favourite films this year, this week he is in two notable release (the other being Crazy Stupid Love) and with George Clooney's The Ides of March garnering serious oscar buzz for later on in the year the mans star wattage shows signs of growing ever brighter. Hands in the air, I have a serious man-crush on the guy. However here he achieves greater acclaim for making a quilted sports jacket with a gold scorpion on the back while mysteriously chewing a tooth pick look like just about the most stylish thing you may see all year. Drive is for all it's hints of loneliness and existentialism is far more concerned with smooth and pretty surfaces. Like Gosling's unnamed character, the film might have torrents of emotion running underneath, but it rarely lets them out. Unless to cave someone's head in that is. Drive might be ultimately shallow and even perhaps contrived at times in it's storytelling but when everything is handled as well as it is, it's hard not to fall in love with it's arthouse/action stylings. Dutch director Nicholas Winding Refn (him off ultra violent and questionably pretentious fare like Bronson or Valhalla Rising) deserves applause for delivering stale plot threads and characters through anything but standard means. Through every frame, the film brims with gorgeous images and subdued, yet vibrant colours. The story goes that upon Gosling and Winding Refn's first meeting, the heavily medicated director, recovering from a cold, burst into tears in a flood of inspiration at hearing REO Speedwagon on the radio. This was their 'Driver'. A lonely guy who drives around on his own all night listening to 80's pop music. True to his word, Drive is the perfect marriage of 70's/80's car chase 'heist gone wrong' thrillers, updated with a cool indie sheen. And it's all breathless, adrenaline inducing stuff.

From it's credits of retro indie beats mixed with pink font you know there is something striking in store. Gosling plays the Driver with no Name who works as a Hollywood stuntman while moonlighting as a getaway driver at night. His life is one of solitude and never getting too close to anybody. That is until new neighbour Irene (Carey Mulligan) moves in with her son and the two strike up a relationship. As the Driver begins to melt his hard exterior and get close to this new family, his violent past comes crashing back into everyones lives. Along the way, supporting characters are filled out by fantastic character actors from Breaking Bad's Bryan Cranston (his usual reliable self), Ron Perlman (having great fun), Oscar Isaac (about the only one who escaped from Sucker Punch untainted) Christina Hendricks (fans of Mad Men will not be happy with her limited screen time) and the usually typecast Albert Brooks. Brooks in particular is mesmerizing. Usually seen in childrens fare and nice guy roles, here he plays the psychotic main antagonist to fantastic effect. Interestingly, he is infused with layers making his violent actions all the more shocking and unpredictable. Surely an oscar nod can't be far off? And then there is Gosling. Given little to no lines throughout, Gosling gives a hypnotic and quietly powerful performance and one that is sure to be remembered in cult circles for years. Winding cast his film perfectly and everyone delivers in their respective parts. That is, apart from Mulligan. A usually fantastic talent, she is never less than entrancing in anything I have seen her in prior. Unfortunately here she seems distractingly miscast and is given little or nothing to do. One minor flaw in a fantastic film. Spontaneously prone to breaking out in hyper violence as it is in 80's synths, the film is certainly one of the more memorable you will see. Gorgeously shot and impeccably acted, Winding Refn has crafted one of the best of the year with scenes that will stick with you for a long time after. An art house version of an action film and one that is filled with as much quiet moments of introspection as it is in gun fights and car chases. Channeling the vibe of Bullitt and early Michael Mann, Drive is every bit as exciting and interesting as that might expect. While it's title might suggest revving auto parts; what it in fact refers to, is the driving force behind decisions and what consequences they may take.

9/10
Stylish, exciting and frequently adrenaline pulsing stuff, this takes the stale notions of what a crime movie might usually entail and turns them into a far more interesting and memorable experience. It may not be deep, but Winding Refn handles the atmosphere perfectly and delivers one of the sure to be favourites of the year.

"Drive" Trailer

30 Minutes or Less

Coming off the back of such mega successes as Ruben Fleischer had with Zombieland and Jesse Eisenberg with The Social Network, can always be tricky territory. Between Fleischers debut being the huge critical and commercial success that it was and Eisenberg's oscar nomination, it seems that all eyes are on them for what they will do next. I'm sure there might be some out there who bemoan the fact that they have turned their attention to something like 30 Minutes or Less, a film that flexes very little of it's brain muscles. However, while it may not be terribly bright, the film is terribly funny. Utilising a core group of hilarious up and comers in comedy to maximum effect, events coast by easily on the casts charms. So while some plot inconsistencies might be raised, they are quickly forgotten in a rapid quick fire assault of jokes and vulgarity. In a Summer crowded with R rated comedies (Bridesmaids, Bad Teacher, The Hangover Part II, Horrible Bosses) competition was certainly raised for 30 Minutes or Less. Thankfully, the film delivers laughs in spades and while it may not be the most memorable experience you will have in a cinema this year, it certainly packs in plenty of fun in it's sparse running time.

Eisenberg stars as Nick, an underachieving slacker/pizza delivery boy. Playing fast and loose with a very crude screenplay, it is nice to see Eisenberg ditch his usual nervy, love lorn and misplaced genius persona and give Nick an air of apathy about him. If previous Eisenberg portrayals had the problem of caring too much, then Nick cares too little - about his life, his job and his friends. He suddenly finds he cares a lot more than he thought when bumbling and incompetent local bums Dwayne (Danny McBride) and Travis (Nick Swardson) strap a bomb to his chest and order him to rob a bank for them. Sure Eisenberg still retains his usual 'Eisenberg-iness', but he casts an air of palpable panic to Nick and grounds proceedings in his drama. As the two would be criminals Mssrs. McBride and Swardson are their usual reliable selves. Swardson usually only shows up in bit parts or brief comedy sketches elsewhere, so it's nice to see he has the chops to deliver a genuine full rounded character without growing tired before things end. McBride gives another one of his 'red neck asshole' performances that where he not so pitch perfect doing it, would have grown stale long ago. Contrasting their plight with Nick and his best friend Chet's (Aziz Ansari) is nicely handled. Chet is the only one left to turn to when Nick finds himself in his predicament. As his partner and accomplice, it is great to see Ansari finally get the break out role that any followers of his will know, was a long time coming. Eisenberg and Ansari have great chemistry and in that bank robbing scene alone, we see how well they play off each other. In fact, the comedy builds steadily throughout, only heightening as events get more and more dangerous. So as things get more and more farcical, the laughs grow bigger and bigger. Fleischer delivers a funny, fast paced, thrill ride comedy and doesn't dilly dally as things are quickly wrapped up in no time. In fact at a sheer 80 minutes, it's running time is one of the reasons it all works so well. It's cast do great work with their profanity-laden parts and Fleischer proves that Zombieland  was no fluke. Sure it's not big or clever, but it sets out to deliver laughs across a high concept format and it delivers in spades. It's cast ensure that the jokes keep on coming and it's short running time is enough to distract you from any glaring plot holes or contrivances. All the film wants you do to is sit back and laugh at stupid people doing stupid things, so why should you fight it - especially when it's got a killer car chase set to this.

Verdict: 7/10

It's not going to win any awards, but Fleischer's film delivers jokes by the bucketload. Naysayers of any the cast before will find nothing revolutionary here, everyone else will be laughing too hard to notice. Short, sweet, punchy and very entertaining.

"30 Minutes or Less" Trailer

Kill List

There is a stunning sense of dread that permeates every frame of Kill List. It is unfair to call the film an outright horror - although things do get mighty horrific, building steadily to more disturbing happenings; the film rather, is it's own thing completely. It's own curious oddity. That underlying tension throughout proceedings helps subvert genre. Parts gritty drama, hit-man thriller and buddy comedy, the film is every bit as original as you might expect from such a blend. Taking such stale staples of cinema as it's starting point, Kill List then uses them to mould an increasingly bizarre, violent and disturbing tale and is one that come it's end, will leave a cold grasp on you. In fact that is perhaps where the film may get it's true power from; in letting some of it's more subtler character beats and plot developments mature in your head, you realise just what director Ben Wheatley and his cast have crafted. This is a film that makes you work for it and you will only get out what you put in. But if you're prepared to go the distance - and Kill List goes to some pretty dark places, then you will have one of the more original hard hitting films this year. Somewhat unfairly, the film has been proclaimed to almost 'instant classic' status by some reviewers; a move that while it will surely help it's box office, can only leave most somewhat underwhelmed by such a high benchmark. Not to say the film isn't good enough, rather it would seem that the film is simply too small for the masses. This is something that works best as a more cult finding. Those who discover it knowing as little as possible will be those whom the film works best on. I would even go so far to suggest not even reading this review for fear of only adding to the hype machine, but I digress......

Focusing on the minutiae of British suburban life, we open on Jay (Neil Maskell) and wife Shel (MyAnna Buring). Locked in a passionately violent marriage, the stress of bills and mortgages are taking their toll as their young son Sam (Harry Simpson) watches on helplessly. So far, so regular, until we discover Jay has the far from regular job as a hit-man. Eight months after what seems a disastrous job in Kiev, Jay reluctantly takes on another job with cohort and best mate Gal (an excellent Michael Smiley): the titular list. Of course in films, that 'one last job' is never a good idea and pretty soon, the two find themselves in increasingly murky territory as each hit on their list leads them down darker alleys. The cast are all uniformly excellent. Wheatley and the cast spent almost as much time improvising various takes as with scripted material and the result is incredibly effective. Maskell and Buring's relationship is painfully conveyed to almost too realistic effect. A couple that bicker and fight, only to make up seconds later; it is obvious to everyone but them, that they should not be together. At the heart of things however, is Jay and Gal. As the two embark on their murderous road trip, they paint a memorable couple. Killers with their own set of moral codes; they are fiercely loyal to each other. The two actors do a fine job in making the audience believe the bond between the two. Their core relationship also leads to some of the more wittier moments; never too far off it seems and perfectly breaking up all that tension and misery in between. However, as the List becomes unofficially longer, and the boys realise they are in over their heads there is only more and more unresolved questions stacking up. Who exactly is the man who hired the guys in the first place? Why do Jay's targets continually thank him before each murder? What exactly is that mysterious symbol scribbled on the back of the mirror in Jay's bathroom? All and none of these questions are answered. Mystery surrounds every corner of Wheatley's story and while he may not give a solid answer to any of them, you can rest assured that he has provided enough hints prior to let you connect the dots. It is also safe to say a second viewing will be almost as enlightening as the first, and help clear up some of the mystery. Throughout, Wheatley effortlessly builds tension. Though not much at all may be happening, there is a sea of violence just waiting to explode at any time. All this is only built on by the films atmospheric soundscapes, breathing deep unease into the images. Overall the film is an incredibly peculiar chiller. Not outright horror, drama or crime/thriller, it is hard to categorise.  Instead of this being a hurdle, the film uses this confusion to build a very original and disturbing tale, although definitely not for everybody. If you let the film work on you, by the time the lights come up you may be shocked, confused and just a little bewildered, but no less stunned. But don't listen to me, you're better off taking the film on it's own merits and finding out for yourself.

Verdict: 8/10
A frequently disturbing and odd film that effortlessly blends genres to stunning effect. Some will bemoan the lack of cohesion come it's end, but everyone else will be taken on a very uneasy and murky ride through the underside of British suburbia. Darkly comic and very unsettling, it is an experience you might not be able to shake soon after.

"Kill List" Trailer

The Town

Ben Affleck has made a startling career transformation in a mere seven years. It was 2003 in which "Gigli" was released, an International box office flop that had Affleck rendered a laughing stock. Parody was everywhere; with Affleck it was just too easy and like shooting fish in a barrel. That career low, coupled with his disastrous marriage to Jennifer Lopez almost left his career in tatters. Stunning then that in just two films, Affleck has completely turned his fortunes around. No longer do people wonder how much more talented his original writing partner Matt Damon is, or if Affleck ever even had any input into "Good Will Hunting"? Now his name is a byword for smart and intelligent adult dramas that are actually entertaining movie fodder for a Saturday night. He entertains the masses, but does not ask them to switch off their brain to do so. He respects character and plotting and does not shy away from harsh or gritty themes. All this, from that guy in "Reindeer Games".

Affleck again returns to the seedy underbelly of his hometown of Boston. In his previous film, ''Gone Baby Gone'' he presented very unsavory characters that would sell their own child for drugs or money. He depicted just how tough the streets are and how easy it is to get lost in their moral murkiness. With ''The Town'', he presents us with 'Charlestown'', a small neighbourhood in the Boston locale, which we're told houses most of the criminals responsible for the 300 or so bank robberies committed there every year. It is here that we open on Doug MacRay (Ben Affleck), as he and his team rob a bank. Affleck shows his progression as a filmaker from the off, as this expertly mounted and brilliantly planned heist, is echoed in Afflecks Directing skills. In fact each of the three or so major action scenes are all brilliantly orchestrated. Events are feverous and hectic but never do the audience lose track of what is happening on screen. Its shoot-outs in particular rank as some of the best I have seen in years. As MacRay and his team take hostage Claire, (Rebecca Hall), a young bank teller, MacRay then takes it on himself to keep tabs on her, to make sure she does not give away any details she may have witnessed about MacRay and his masked group, to Special Agent Adam Frawley (Jon Hamm). As Doug and Claires relationship begins to grow, Doug soon realises that this may not be the life for him after all. But with the screws tightening from the FBI closing in and tension within the group itself, will he actually be able to make it out of Charlestown alive?

The ensemble cast are all superb. Affleck knows talented actors and litters his film with them. Hamm continues his role to superstardom as the very cunning and calculating Special Agent. In one scene in particular he jumps from slyly charming, to steel and beady eyed malice in a heartbeat. However Affleck does not drown his film with out and out bad guys. Characters here carry shades of grey to them. So while Frawley may be the antagonist, he is not all bad. Only Postlethwaite carries any of the panto 'boo and hiss' trappings of his villainous turn. Possibly the best performance of the film belongs to Renner as Jem, Dougs best friend. Exhibiting all the intensity that got him an Oscar nomination for ''The Hurt Locker'', his role provides a lot of the tension and emotion. A pent up ball of fury that may erupt at any time, his most heart stopping and stand out moment comes when he accidentally stumbles upon Doug and Claire on a date. His is a character borne out of his tough upbringing. Violence is all he knows and is the only way he knows how to express himself. He may not exhibit the remorse Doug has for his actions, but there is still something entirely sympathetic about him. A product of a rough and rotten upbringing, his downfall began at a young age when he killed another kid because he 'didn't like the look of him'. Under Renner's skilled wing, Jem isn't just the homicidal maniacal caricature he could easily have been, but something far more more sad and layered. Tension in the group comes from him at heart feeling threatened by Halls character. He doesn't want to lose his buddy and half brother and on these streets, family is everything. So when Doug tells him how he's 'getting out', what else can Jem do but fight? He is nothing outside of Charlestown and the prospect of existing in a world outside of it is too scary. Jealousy stems from Dougs ability to at least try to leave, something Jem could never do.

And then there is Affleck the actor. While this is undoubtably the best he has been in years, it is still outmatched by his skills behind the camera. One of the biggest strengths is the films ability to still seem fresh and entertaining when the the plot and themes are anything but. Boston crime in film is so common now, it could form a sub-genre onto itself. With Afflecks previous film, ''Gone Baby Gone'', it is also joined by ''Mystic River'' and ''The Departed'' in the familial stakes. That the film also shares parallel themes with the 1995 classic ''Heat'' and ''Point Break'', shows that Affleck is hardly treading on new ground here. It is this which while is certainly a big plus, it also means the film is prevented from 'classic' status. Events here have been covered plenty of times before and the film will offer you nothing new in the way of crime thrillers. It will however, offer a very solid and exciting evenings entertainment with some of the best ensemble acting in recent memory. Affleck should be applauded for making films for adults once again, and the films strong showings in both the US and Europe show that they are more than ready for films that don't have to rely on special effects to be a commercial hit. That Affleck has also changed the publics perception of his talent is astounding in itself. Tell anyone walking out of ''Forces of Nature'', that that actor will be writing and directing some of the finest and mature films appearing in cinemas in 10 years from now and they might have been liable to laugh in your face. In fact, I might have too.

Verdict: 79%

Ben Affleck cements his new found reputation as a very talented Director, with this expertly crafted and exciting crime drama. He builds on his Directing skills while also providing a more than solid nights entertainment. Expect to see this nominated for its outstanding cast come the awards season.

''The Town'' Trailer