"Drama is life with the dull bits cut out."

This Must Be The Place - ReVIEWED

As a David Byrne fanatic, trying to curb curiosity of how exactly he would combine with an ageing goth rocker floating through life in Ireland, was a difficult task.

Fortunately the eccentrically brilliant front man did not disappoint when it came to giving a distanced Cheyenne (Sean Penn) a sounding board for his past guilt and despair.

Mascara’d to the max and seemingly disconnected from the world following his hellraising years in the musical limelight Cheyenne has made house out of the spotlight with his loyal, honest, and unassuming wife Jane (the amazingly witty Frances McDormand)

He would sweep the board in a Robert Smith lookalike contest - that or first place in a gothic scarecrow festival.

Cutting a slow, lost figure in the malls of Dublin or in his lavish mansion he drags a wheeled shopping trolley more fitting to the look of a pensioner to particularly comic effect.

His big break for redemption of a clearly chaotic past is to head across the pond where his father, who he has not uttered a word to in 30 years, has died.

Upon arrival his mission becomes apparent - to avenge his father’s humiliation at the hands of a tormenting German officer at a Nazi concentration camp during the Second World War.

Soon it transpires that this journey will give Cheyenne the chance to set his own soul free from his personal unhappiness - albeit through unusual sources that act to reintroduce him with the real world he has trained himself to forget.

The confiding in musical maestro and old friend David Byrne is stand-out powerful as their shared eccentricity bounces off each other.

Then there is the waitress with the child struggling to overcome his own humiliation of his fear of water and the old timer who invented the suitcase wheel to name other influences that expose and educate Cheyenne’s worldly naivety.

Visually, the film basks in a dreamlike surrealism, with Ireland’s backdrop set against dusky scenes from New Mexico, while as a plot it teeters on the edge of reality often swinging between the logical and the hallucinatory.

Witty, odd and emotionally powerful when it strips back the layers. 

Drive - ReVIEWED

Get in. Strap in. And hold on for the Drive in this super slick thriller. 

Hollywood may have found its latest man crush pin-up in Ryan Gosling and on this performance it’s easy to see why.  

Lauded by critics, Nicolas Winding Refn’s Drive is a masterclass in style even if the substance provokes more questions than answers. 

Playing the man with no name, the night rider, the quiet vigilante, Gosling, a toothpick hanging from his mouth and a scorpion on the back of his shiny tracksuit jacket is the best of the best.

He supplies criminals with the service of getting away from the scene, but  only for five minutes. No more, no less. 

But a seemingly passive Gosling looks like escaping his quiet underworld existence when he falls for the warmth of next-door neighbour and mother-of-one Carey Mulligan (Irene). 

Always the gentleman he stands in the shadows, keeping their relationship platonic, while her ex-con husband leaves prison and stands between them and their unaddressed bond. 

From here the film moves at such breakneck speed, you’d be mistaken for thinking the handbrake had been ripped out of the car. 

Trying to protect Mulligan, Gosling offers to get her husband out of the corner as prison protection debts need to be paid.    

Needless to say the final job of apparent salvation goes terribly wrong. 

The speeding away from the seemingly developing indie type love story with warm sun kissed tones as Gosling threatens to open up to Mulligan is sudden as some inhuman ultra violence ensues.     

The visual flair that accompanies Gosling’s seemingly cool demeanour in the face of Tarantino esque absurd deaths is confusing on the emotions. 

Once threatening to turn his life around, now the driving glove wearing protagonist is so deep inside this LA Noir landscape. 

Chaotic and timeless, the world stands void of regular societal conventions allowing him to brilliantly weave in and out of extreme brutality.  

Supported by a set of charismatic mobster cameos, Gosling is effortlessly cool in this fast paced gangster flick. 

Charming, gruesome, stylish.

Super 8 -ReVIEWED

Avid film watchers yearning for a return to sci-fi yesteryear should close their eyes, think of ET, and come back for this fantastical adventure.

Mystery master JJ Abrams and Hollywood heavyweight Steven Spielberg come together to create the classically stylised Super 8, which tells the story
of a group of kids eagerly wanting to complete their first foray into cinema, when a passing train derails releasing a seemingly malevolent presence into their town.

Seen through the senses of the budding filmmakers, the realities of a eerie evil take a back seat to a childish insight into fantastical enthusiasm.

Desperately seeking the completion of their own horror flick, behind the scenes man Joe (Joel Courtney), writer and director Charles (Riley Griffiths) and main protagonist Alice (Elle Fanning)
wait at the local train station to film the latest scene of their zombie movie.

With a train fast approaching head film honcho Joe sees it as a perfect opportunity to shoot the sequence with original “production value”.

But with their 8mm camera rolling the group witness a horrific crash, clearly tied into a creepy Area-51-type conspiracy, in a feat of computer generated glory.

And it is from there that the troubles for the few thousand strong town begin.

However the charming innocence of the group’s desire to complete their masterpiece in the face of albeit obscure, but impending doom nonetheless, gives the film a warm and fuzzy likeability despite the at times terrifying subject matter.

This attractively written and shot drama sweeps the fantasist nostalgics off their feat on a journey full of heart and imagination.

Impressive storytelling and not to be missed on the silver screen.

Julia’s Eyes (Los Ojos de Julia) - ReVIEWED

If any piece of cinema was to heighten fears of turning blind - this is it.

Julia’s Eyes (Los Ojos de Julia) is more difficult discomfort in the seat horror from the production team that yielded hit horror flick The Orphanage, including the compelling leading lady Belen Rueda.

Rueda is that good, she plays a dual role, that of Spanish twin sisters Sara and Julia, both suffering from an irreversible and degenerative optical disease.

The former of the pair bows out rather prematurely, ‘apparently’ committing suicide after a life-changing operation fails to restore her sight.

Julia drops to her knees, her head contorts, as a sudden attack of blindness brings her closer to her sister’s blind fate.

She immediately suspects foul play and begins her expedition to seek the culprit.

Classic plot lines ensue as alone in her quest, and in the face of her husband’s protestations, she is tormented by the metaphorical dark shadows.

Full of perfect dimly lit edgy sequences the audience is dragged down more dark windy alleys than one could ever imagine in an attempt to shed some light on the man from the darkness.

In truth, the first hour is perfectly thrilling but as is the case with many psychological journeys as the answers start to unravel thread by thread, the repetitive spooks start to grain a little on the senses. Quite simply, it loses it’s subtlety as the number of suspects starts to diminish, as does the realities of blindness and the perpetual human fear of darkness.

The film comes to a merely satisfactory conclusion after an almost exhausting two hour attack on the senses. 

Make no mistake about it Rueda is exemplary in yet another Spanish horror piece for her to showcase her undoubted talent.

Definitely worth a look. 

Water for Elephants - ReVIEWED

For anyone looking for a completely new non static direction in their life a travelling circus presents a viable alternative. 

It does if you are Jacob (Robert Pattinson), a student vet at the highly esteemed Cornell University during the Great Depression, receiving the earth shattering news that his parents have perished in a tragic car crash.

He is left without a penny to his name and powerless to continue his chosen academic path.

All things considered escaping away from it all to clear your head would be a wise move.

Illegitimately hitching a ride on a passing train, the suavely attired Jacob falls into his new family - the infamous Benzini Bros circus.

He inexplicably rises up the ranks after the erratic and unstable chief, August, played by Christoph Waltz, takes him under his wing to care for his ‘star performers’.

Gentle handed, a smooth Pattinson’s compassion lands him in hot water as he catches the eye of August’s wife Marlena (Reese Witherspoon), who has an extremely apparent liking for the chiselled star vet.

It is all set for fireworks as tensions rise during an economic period of severe difficulty but unfortunately the bubbling rage is left caged like one of the circus’ many animals.

August, who is supposed to be the epitome of intimidation, is slightly restrained with his ping pong like attitude shifts between psychopathic and pathetic.

One can only hope had he been let off the leash what scaremongering could have been witnessed. Yes, he has a posse, who threatens to throw any member of the travelling squad off the moving steam train at any moment, but his jealous gaze over Marlena keeps him from delivering the killer blow on many occasions.

The story promises chemistry between Pattinson and Witherspoon, but fails to deliver the kind of explosive attraction one would expect. They seem pushed together rather than unable to tear themselves away from each other.

The strongly typecast vampiric force that is RPATTZ has far more in common with the bull elephant Rosie – a charismatic and sensitive presence who perfectly represents the circus life highs and lows. 

Visually the film offers the stylish yet bleak depiction required for its context but is ultimately let down by its lack of fireworks.

A must for Mr Pattinson fans. A maybe for the rest.

Source Code - ReVIEWED

What would you do if you only had less than a minute left to live? If you’re Jake Gyllenhall, you’d probably go back and do it all again.

This sci-fi conspiracy movie may have more holes than a piece of Swiss cheese and ask more questions than logically feasible solutions embroiled in quantum-physical reason, but its driven drama is compelling.

Unlike the train track on which ex army captain Jake Gyllenhall (Colter Steven) travels on, the plot is far from linear. Its Groundhog Day esque repetition threatens to derail the story as his reason for apparent being, is relayed to him by US air-force officer Captain Colleen Goodwin (Vera Farmiga) and the creepy walking stick laden Dr Rutledge (Jeffrey Wright).

Gyllenhall has exactly eight minutes to find a dirty bomb and its creator, and reprimand both to prevent terrorist atrocities sweeping Chicago.

In a paranoid film noir style he simply can’t carry out his mission without begging the relevant question of why, and of course, refuses to ignore the beautiful woman (Michelle Monaghan) sitting opposite him on the train.

Director Duncan (Zowie Bowie) Jones’ existential crisis is a real metaphysical journey. Searching for reasoned reality in this face-paced and absurd flick would make the mind explode.

Yet within the absurdity is a genuinely thrilling blockbuster at breakneck speed.

Clever fantastical twists and turns.

Submarine - ReVIEWED

All younglings go through this tumultuous stage of life symbolised by the main subject’s image of keeping your head above water.

This debut piece by Richard Ayoade of cult British comedy fame, namely, Garth Merenghi’s Dark Place, The Mighty Boosh and most widely presented as computer nerd Moss in the IT Crowd, is as dry as it gets, peppered with geekish cool.

At its coming of age core is the big-eyed, duffel coat wearing Oliver Tate (Craig Roberts). To look at you’d think Alex Turner had ditched the mic and retreated to a remote South Wales village to revisit difficult teenage years. Watching this would-be intellectual struggle with life inside and outside his head, he is a watered down Holden Caulfield.

The deadpan arrogance, and too cool for school attitude is subtle to outsiders, as his rigid face refuses to crack a smile. Yet he still wants to belong, epitomised by his willingness to bully the school’s scapegoat fat girl, who he secretly pulled at the school disco behind the bike shed.

The object of his affections is Jordana (Yasmin Paige), a feisty and cold fellow duffel wearer. Their fledging affair is awkward like many early romances which feel their way into the dark. Their apparent intimacy is portrayed through adolescent activities. She burns his leg with a lighter and the pair frolic with sparklers and firecrackers in a largely dull and lifeless industrial town.

Like any hero wrapped in the cords of kidulthood, spinning too many plates presents stressful issues. Juggling Jordana with his parents Lloyd (Noah Taylor) and Jill (Sally Hawkins) whose relationship on the brink of death by boredom, Oliver becomes distracted by the appearance of his mother’s old flame - a mullet sporting spiritual ninja called Graham (Paddy Considine).

Oliver’s initial willingness to retreat into a “what if my life was a film” mentality is smashed by reality checks and the essence of teenage melodramatic injustice. There are countless dark references to water akin to a typically poignant Radiohead track after all.

Even if some of the stylistics are borrowed from clear Wes Anderson inspirations, the film is bookmarked into three primary sections, this is a talented and highly enjoyable journey through the eyes of a common dysfunctional teen.

Heavy on the style, light on the emotion, it embodies a self-conscious and witty Ayoade.

Expect a big future.

Howl - ReVIEWED

Howl mirrors similar traits to its literary muse - it’s ambitious and experimental.

In a small, dark and smokey San Francisco gallery in 1957, a spectacled loquacious Allen Ginsberg (James Franco) warms the chords and expertly delivers extracts from the controversial poem.

The monologue is engrossing as are the autobiographical frames made up of interviews where Franco speaks of the “best minds” of his generation, interspersed with edgy stylised cartoons depicting the developing consciousness of the Beat generation.

But the film chooses to shine the spotlight on the book’s accolades rather than the troubled reality propelled from Howl’s words, epitomised by the the courtroom scenes in which David Strathhairn (Jon Hamm) defends the book in an obscenity trial against publisher Lawrence Ferlinghetti.

Although a biographical piece of art, it is almost too much of a timeline, an impersonation - lacking in depth focus of a young and changing generation.

Lacking in cinematic conviction, it felt like a long smug art installation but in fairness the acting was decently dealt with, especially watching Don Draper playing himself, albeit in a different profession.

Watchable… just.  

The Adjustment Bureau - ReVIEWED

Universally many wonder what is God’s plan. I suspect few envisaged the deity’s helpers would be dressed like Madison Avenue disciples.

Dubbed The Bourne Identity meets Inception - George Nolfi’s The Adjustment Bureau falls short of its action thriller predecessors.

Heavier on the romance - it is more akin to a frantic love story with sharp suits.

Matt Damon (David Norris) is a young electoral candidate - a man of the people destined for office.

That is until he meets ballet dancer Elise Sellas (Emily Blunt) sparking ruptures in both of their predetermined paths.

The agents of Fate, who look like they have taken fashion tips from Don Draper, will do anything in their seemingly limitless power to keep them apart and restore order to Damon’s chosen destiny of unequivocal importance to the United States.

Given a ‘put up or else’ ultimatum, the charming Norris finds he is threatened metaphysically by the suited up shadow posse, who can pass through crisscrossing wormholes in an attempt to curb his desire.

Feistily ignoring their demands as well as those of his political PRs, he denounces both a personal and professional rigidity as nonsence in favour of an ‘inconvenient’ romance.
 
From the moment the pair meet in a chance encounter in a Manhattan bathroom and Blunt is chased by pursuing security guards for crashing a wedding - it’s obvious Damon will go for her lively charm and carefree nature.

It is she who gives him the escape order.

Taken with a pinch of salt, the film has speculative comedic value, epitomised by the bureau’s at times blase attitude to keeping Damon in check.

By no means is the adaptation of Philip K Dick’s 1954 short story a masterpiece.

But light on the action and heavy on light-heartedness, it is born from an interesting concept at heart, leaving outgoing cinema goers a few burning embers in their bellies of what might have been or what may be if we take someone’s hand and follow them through an unknown door.

Difficult to take seriously, but easy viewing on a rainy Saturday.

Predictions for 83rd Academy Awards

Actor in a Leading Role - Colin Firth in “The King’s Speech”

Actor in a Supporting Role - Christian Bale in “The Fighter”

Actress in a Leading Role - Natalie Portman in “Black Swan”

Actress in a Supporting Role - Helena Bonham Carter in “The King’s Speech”

Directing - “The Social Network” David Fincher

Best Picture - “The King’s Speech” Iain Canning, Emile Sherman and Gareth Unwin, Producers