American Hustle

American Hustle

"Some of this actually happened" says the annoyingly ambiguous opening credits.

Fitting, as the "this" that follows is a thoroughly entertaining, equally ambiguous mess of Interesting characters lost amidst several Scorsese-aping narrative arcs.

1970s New York. Bronx businessman Irving Rosenfeld (A rotund Christian Bale) and Sydney (Amy Adams) fall in love amidst an uncontrollable web of small time cons and extortion.

As the cons spiral out of control the pair struggle to deal with the complications that come with living multiple lives (amongst them is Jennifer Lawrence's Rosalyn, Irving's wife). Irving and Sydney are offered a clean slate by eager FBI agent Richie (Bradley Cooper) if they take down a corrupt New Jersey Mayor (Jeremy Renner).

An incredible cast. And they have their work cut out with a frenetic narrative as confused as the faux-Scorsese pop soundtrack which accompanies the action.

Like the jazz of Duke Ellington in the opening scenes, American Hustle swings from a post watergate politics exposé, to a Led Zep and Bowie sounded DeNiro mob flick back to a Blondie, Wings and Elton John Boogie Nights-esque love story.

"I'm so confused right now" says Richie as he discovers Sydney's second life. He's not the only one, as mid-way through the film descends into comic-farce, the character's motive's so clouded we have no idea of their stance as each scene begins.

A disjointed narrative usually means a mass audience switch off slash snooze-fest. Instead coupled with the strength of the performances this confusion lends an irrepressible energy to the action, and you can't help being swept up in it all.

Bale is brilliant as charismatic comb-over king Irving. Adams plays little-girl-lost Sydney with the perfect blend of fragility and sexual confidence, intentionally surrendering her fake English accent as her mask starts to slip.

Cooper does well as the the cocksure, out of his depth agent, and Renner brings a sheepish naivety to Mayor Carmine. Brilliant supporting roles for Michael Peña and comedian Louis C.K, and even a cameo from Robert DeNiro further enhance its casting credentials.

It's astounding that amongst this sea of talent Jennifer Lawrence is able to stand out as Irving's troubled wife Rosalyn. Either emitting infantile rage or manipulating the men as the films femme fatale, Lawrence cements her status as Hollywood's most exciting young actress.

While unfortunately not as slick as the great modern crime films of Scorsese, De Palma et al, American Hustle's strength lies in its creation of fascinating characters, something of a rarity at the cinema these days.

Owen Lewis 

Gravity

              Gravity Review 

3D. It's a tricky one.

For an age old technology that I first encountered in the form of childhood ruining travesty Jaws 3-D, you can understand my scepticism when James Cameron confidently declared "All entertainment will soon be in 3D". 

He was of course marketing his 3D epic Avatar at the time, a film that convinced many that Cameron might be right. 

Then followed a plethora of films trying to cash in the new fad. The Amazing Spider-Man, Underworld: Awakening, Saw 3D and my personal craptastic fave Piranha 3D are a few of the films made worse by the technology. Much worse. 

We're talking fuzzy objects flying out at you, blurry action sequences and cinematography ruined by awful depth of field issues, leaving everything looking out of focus just so an axe or gun looks a little bit closer to us. 

Here's Sir Dimention the 3rd himself James Cameron explaining why: 

"It's to make money. Pushing 3D conversions on directors who are not comfortable with it. It's one thing to shoot in 3D and another to convert it". 

In summary, talented directors like Cameron can use it properly as an effective cinematic technique, where as most 3D films are merely converted in post production to make the distributors more money. 

Ground control to Alfonso Cuarón (couldn't resist). 

Gravity's director clearly knows how to use a camera, as his films are absolutely stunning, primarily due to his partnership with cinematographer Emmanuel Lubezki. 

From the fantastical subterranean scenery in Pans Labyrinth to dystopian London in Children of Men, Cuarón and Lubezki have dropped many a jaw, and Gravity is no exception.  

This film is absolutely beautiful, and all the better for being in 3D. 

It gets straight into the action with the breathtaking destruction of a space shuttle caused by rogue satellite debris (dam those pesky spying Russians!). What follows is a dazzling display of computer generated action sequences. 

Not since Jurassic Park have I been so awestruck by a films use of CGI. From the glowing terra-forma backdrop to the realistic weightless floating, Cuarón has done an oscar worthy job on the 80% of the film that was created in post production. There's not a blurry 3D gimmick I sight as fire, water and even tears float towards the audience and settle perfectly on the fourth wall. 

Gravity doesn't just look great. Cuarón has created the most memorable Sci-Fi soundscape since Ridley Scott's Alien. 

Heartbeats, heavy breathing, space muffled sound effects, all set against a minimalistic soundtrack make for an incredibly powerful audible experience amplifying the tension tenfold. 

Uniquely, from start to finish, Gravity's story is told in real time. We get 90 minutes of pure action, which doesn't leave much time for character development. Clooney's Matt is the arrogant but wise veteran to Sandra Bullock's nervous rookie Ryan, the lead role. 

Both performances are competent considering many won't be paying too much attention, distracted by the feast for the senses on show. 

Owen Lewis 

Captain Phillips

Captain Phillips

Hanks as Richard Phillips in Captain Phillips

"Arrogant"    

"Bragged he wasn't afraid pirates"    

"Had a death wish"

"Showed a complete disregard for the safety of his crew" 

"Nothing like the "hero" shown in the film"

So say the crew members of The Maersk Alabama, the container ship hijacked by Somalian Pirates in March 2009, the subject of Captain Phillips.

Somebody should remind them that this is Hollywood. Home of the exaggerated, romanticised and sometimes completely fabricated plot line.

However this terrific tale of tension and suspense is not your normal Hollywood blockbuster.

Irrespective of the real Richard Phillip's actions, this is a performance made for Tom Hanks, Hollywood's go to man for likeable Everyman in distress, and unsurprisingly Hanks turns in a stellar central performance.

As the plot begins to develop, you would be forgiven in thinking you have seen this all before.

Captain Phillips could have easily been directed by Ron Howard or Robert Zemeckis. The Howard-Zemmeckis-Hanks triumvirate would have made for an easy and lucrative triumph-over-adversity watch (see Castaway, Forest Gump and Apollo 13).

But Bang! Bourne trilogy's Paul Greengrass swoops in, famed for his frantic editing and MEGA close up actions sequences. There's plenty of that here, but we also get Greengrass's more interesting penchant for political messages, mainly through the films presentation of the captors.

They first appear as your stereotypical shouting, crazy, Khat-chewing Somalian pirates that the media wants us to fear.

But so strong are the performances of the native Somalian actors (Especially Barkhad Abdi's lead captor Muse), and so brave the directing that during key sequences we are reminded that these are not the mindless terrorists that normally make up the Hollywood's bad guys.

These are desperately poor citizens of a country where half it's 6 million population are starving, where food distribution is controlled by armed gangs, where boys as young as 10 are forced into piracy. They are just trying to make money to feed their family and this is the only way they can.

There is no "Hollywood" ending either. As Phillips is left a shuddering, whimpering mess unable to come to terms with the ordeal he has just experienced. But he will be fine. He goes back to America to get on with his life.

The final frame before the credits reminds us that the lead captor will spend the rest of his life in a US prison, and it is HE the audience will feel lingering anguish for, not the American "hero".

Owen Lewis

The Hobbit: An Unexpected Journey

The Hobbit: An Unexpected Journey

Peter Jackson proves he is still the master of epic story telling in the first installment of his trilogy of Lord of the Rings prequels. 

Buried amongst the middle-earth shattering action sequences, extravagant aerial shots and astounding CGI we find the story of homesick hobbit Bilbo (Martin Freemen). 

Bilbo reluctantly joins Gandalf (Ian McKellen) and a troupe of Dwarves lead by Thorin (Richard Armitage) on a quest to reclaim their ancient Kingdom from gold-hoarding dragon Smaug. 

This quest seems almost as impossible as making a trilogy of three hour films from a 330 page book. However, complete with characters and back stories loosely imported from Tolkien's vast appendices, Jackson manages to immerse us once again into his beautiful, believable world. 

The story moves at a brisk pace as the gang encounter trolls, goblins, stone giants and a few familiar faces, all whilst being hunted by Azog the brutish Orc with an ancient score to settle. 

Jackson again plumps for a Brit-heavy ensemble cast, and they don't disappoint. It's easy to see why he delayed filming for Freeman. His casting is a master-stroke, mirroring his on-screen persona by seeming endearingly out of place as the action swirls around him. 

You feel so comfortable in the company of Bilbo and co that you overlook the flabby attempts to link to LOTR and hammy over-acting from Armitage. And so what if the Orc villain was fabricated for padding? Who cares! Look over there! Its a helicopter shot of them running and doesn't it look fantastic! 

New Zealand will always be photogenic so the plaudits must go to Jackson's Wellington effects house Weta Digital who have executed the visuals to eye popping perfection. 

As forerunners in creating otherworldly creatures with cinematic gravitas equal to their fleshy co-stars, Weta didn't falter when it came to realising the books most memorable chapter. 

Everyone's favourite Tolkein creation returns when Bilbo falls through a crevice into Gollum's lonesome dwelling. Andy Serkis reprises his role as the vocal and physical essence while Weta do the rest. The enthralling riddle exchange between the two is comfortably the best scene of the film. 

Bilbo may have stolen his ring, but the beloved schizophrenic scamp steals the film.  

Bring on part two! 

Owen Lewis

Irreversible (30/11/10)

Irreversible

While you may marvel at its original style and narrative structure, Irreversible is an incredibly uncomfortable watch. From the opening scene it was clear that Gaspar Noe is not going to hold back on disturbing images. A man is brutally murdered, his head visibly framed as it caves under repeated strikes from a fire extinguisher. The motive becomes clear as the plot reveals itself backwards in an arc not dissimilar from Memento, unearthing the savage rape of Alex (Monica Bellucci) and the events prior to this first (or last) act of carnage. Shot with jerky camera and copious strobe lighting, everything about this film is a successful attempt to induce nausea and misery. Bellucci's astounding performance only adds to the horror, and partakes in the most realistic rape sequence ever put on film. While respect is due to the films power, this is not a film I want to see again.

Owen Lewis     

Bruno (10/12/10)

Brüno

With the global success of Borat, it was clear that mocumentary satirist Sacha Baron Cohen needed a change of guise for another attack on prejudice. Enter homosexual "fashionista" Brüno, and his quest to become "the biggest Austrian superstar since Hitler". Once more Cohen bounces bravely through a flurry of evocative set pieces and interviews, leaving embarrassed and angry American's in his wake. 

As with Borat, the nagging doubts regarding each scene's authenticity is an inevitable distraction, while the countless lewd jokes grow tiresome. Though the character is not as charming as his Kazakhstani cousin, the fact remains that Cohen is a master of his trade. His comic timing and characterisation make each scene a rip-roaring success, as he manipulates his targets for side-splitting results. With disturbingly pushy parents and a session with a gay converter among the many highlights, Brüno is a superb satire, not to be missed. 

Owen Lewis  

Nativity 2

Adorable kids sing, dance and laugh aplenty in this very british but VERY boring School of Rock take off.

Down with the kids teachers assistant Desmond (Marc Wooten) enters his class into a national choir competition against the will of his Head Teacher Aunt Mrs Bevan (Pam Ferris).

Enter straight laced Mr Peterson played by suave scot David Tennant. Tasked with replacing Martin Freeman's Middle Earth bound Mr Madden and boosting grades, he is also struggling with dad issues and the fear of the arrival of his first child.

As Desmond and a reluctant Mr Peterson strive to get to the squiffy kids to the competition in time, a rival school choir lead by Mr Shakespeare (Jason Watkins) battles the pomposity of Mr Peteson's twin brother Roderick (Tennant again).

The kids adore Desmond but parents watching may not. His Michael Jackson-esque big-kid vibe is as uncomfortable as it is unfunny.

This awkwardness pales in comparison compared to the awfully dubbed musical numbers. What should provide much needed relief from the painfully predictable narrative, the songs are so appalling that not even  a cute chubby kid breakdancing can save them.

Apart from the occasional smile caused by a foolish Mr Shakespeare and the delightful child actors, this is no place to find festive fun.

When the competition is finally over (have a guess who won) and the dad issues sorted ("I'm proud of you, son!"), you will be forgiven for thinking the lights were about to come on and you can get back to your Christmas shopping.

But as the title implies, there's a baby to be born in a stable.

As the two leads stumble clumsily around the screen for one final time, you will leave feeling more Scrooge than Santa.

Especially as the first one is only a fiver on DVD.