The Way, Way Back (2013, Dirs. Nat Faxon, Jim Rash, USA) (Cert: 12a/PG-13) ***

 

Starring: Liam James, Sam Rockwell, Steve Carell

 

Duncan (James) an introverted 14-year-old is spending the summer at holiday home of Trent (Carell), the boyfriend of Duncan's mother (Toni Collette) and also joined by Trent's daughter (Zoe Levin). At first sad about how the summer's panning out, Duncan befriends Owen (Rockwell), a fun-loving adult works and lives at the local water park, Wizz Water, where Duncan gets a summer job whilst nursing a crush on Susanna (Annasophia Robb), the sullen girl next door.

 

Nat Faxon and Jim Rash both direct and wrote this slice of coming-of-age dramedy and also grab supporting roles as two water park employees. Faxon and Rash's most notable collaboration as writers was 2011's superb Alexander Payne film, The Descendants. The Way, Way Back doesn't really touch onThe Desccendants in terms of quality (possibly because of Alexander Payne's astounding skill as a director, which is missing here) and feels almost more like a successor to Little Miss Sunshine (2006), sharing a similar aesthetic, a moody male teen and of course the combination of actors Steve Carell and Toni Collette. Both Collette and Carell give strong performances with Collette playing the role of the slightly downtrodden middle-aged mother that she's made her raison-d'être but Carell playing against type as her obnoxious and, at times, downright vile boyfriend.

 

Liam James is the lead and plays the part of the adolescent, of low self-esteem brilliantly and utterly convincingly whilst Sam Rockwell brings his usual energy and panache to as the charismatic Owen. When he enters proceedings the film kicks off, but up until then the film lacks momentum and seems to be going through the motions. As these kind of films go, The Way, Way Back isn't ground-breaking and it would've benefitted from this seemingly life-changing summer to have been more fun, or perhaps pushed the romantic element a little further as it is rather downplayed. Entertaining and enjoyable, The Way, Way Back probably just needed an Alexander Payne to bring more heart to the proceedings.

 

Next time, world-famous pop group, One Direction team up with documentary filmmaker Morgan Spurlock to bring us a look into the group's world tour in, One Direction - This Is Us.

 

 

Jurassic Park (IMAX 3D re-release) (1993/2013, Dir. Steven Spielberg, USA) (Cert: PG/PG-13) ****

 

Starring: Sam Neill, Laura Dern, Richard Attenborough

 

On a remote island off of the coast of Costa Rica, John Hammond (Attenborough) has been behind the development of Jurassic Park, a theme park and nature reserve with a difference; using DNA extracted from a mosquito encased in fossilised amber, the scientists at the park are able to artificially create dinosaurs that live in enclosures around the park. Hammond manages to get archeologist, Alan Grant (Neill) to visit the unopened park with his girlfriend, Ellie Sattler (Dern) in hopes of getting an endorsement, but a computer virus causes the beasts to roam free and cause chaos.

 

Re-released on the 20th anniversary year of when it first wowed audiences, Jurassic Park still has the ability to fascinate, however despite its fame it isn't one of Steven Spielberg's strongest films. That being said, we are dealing with one of the most accomplished film directors in history and a man who has an unrivalled skill when it comes to spectacle. The brief CGI shots of the dinosaurs, groundbreaking in their day, still hold up even if the movements are a little jarring to modern eyes and the animatronics are still breath-taking as is the stunning sound design. The film mostly falls down with the writing.

 

 Michael Crichton wrote the story and its premise closely mirrors that of a previous story of his, Westworld (a film from 1973, which Crichton also directed) and the dialogue at time falls a little flat. Meanwhile, the acting's of good stature, even if Richard Attenborough (who, as a director, had beaten Spielberg to the Best Film Oscar in 1982, when Gandhi (1981) beat E.T (1982) comes and goes with his fake Scottish accent. But the film mostly lives and works in its technological feats,  which are extremely impressive. The IMAX gives the dinosaurs the scale they deserve, even if the 3D is superfluous. There's simply no better way to hear that infamous T. Rex roar.

 

Next time, Liam James plays Duncan, an introverted teenager on a vacation at the beach with his mother (Toni Collette) and step-father (Steve Carrell) where he learns how to fit in and pursues a relationship with Anna-Sophia Robb in The Way, Way Back.

 

 

 

 

 

 

 

 

 

 

 

 

You're Next (2011, Dir. Adam Wingard, USA) (Cert: 18/R) ***

 

 

Starring: Sharni Vinson, AJ Bowen, Nicholas Tucci

 

The Davison family have gathered for an anniversary dinner, having not been together for a few years, also bringing their own set of loved ones. As they settle down to dinner, a family argument is interrupted by a murder and so begins a night of bloody terror.

 

Having been produced in 2011 and languishing without a release for two years, You're Next has finally made it into the wider public forum and delivers some mixed results. Primarily marketed as a horror film, You're Next fails to break any new ground within the horror genre, having elements comparable to cult horror films from Stagefright (1988) to The Toolbox Murders (1977)the acting and reacting to the situation leaves a lot to be desired and although the film does have a good way with giving the audience an occasional jolt, it often falls foul to shaky-cam overload.

 

However, underneath that, there's a play towards comedy that becomes more pronounced and clearly intended as the film goes on. You're Next may not make for too strong of a horror film (in fact, it makes for a pretty weak one) but when it decides to trade in gasps and screams for laughs, it pays off, largely turning the entire premise on its head and making the film akin to Home Alone (1990) recreated  as an 80's slasher. Go into You're Next expecting to be scared and you'll be disappointed. Go into it expecting a good laugh and you'll get a lot more enjoyment out of it.

 

Next time, we take a trip back twenty years as Sam Neill and Laura Dern visit a theme park with recreated dinosaurs in an IMAX 3D re-release of Jurassic Park.

Lovelace (2013, Dirs. Rob Epstein, Jeffrey Friedman, USA) (Cert: 18/R) ***

 

Starring: Amanda Seyfried, Peter Sarsgard, Sharon Stone

 

In the early 1970's, at the height of the Sexual Revolution, a film known as Deep Throat went beyond the obscurity of pornography and became a genuine mainstream hit, making a household name of its star, Linda Lovelace (Seyfried). However, beneath the surface, Lovelace lived a life of fear, abuse and violence under her controlling husband Chuck Traynor (Sarsgard).

 

The story of Linda Lovelace is a fascinating one that says just as much about the times and the environment in which she lived as it does about the woman herself. A starlet in porn with a very brief career (she only had major appearances in two films) who later became a vocal feminist and anti-pornography campaigner. Lovelace mostly deals with those couple of years of her life in the porn industry and handles them well, but the film's lack of insight into her earlier and especially her later life, mean that the film feels rather unfinished.

 

On a technical level, the film mostly does a good job capturing the period. There's archived footage of people of the era (the TV presents us with Walter Kronkite, Johnny Carson and Richard Nixon) although the music is a little dubious, occasionally delving into sons which sound far too modern stylistically, although this is only a minor problem. Seyfried suits the era perfectly on a visual level as well; stills shown in the film make her look eerily like a young Susan Sarandon at times and makes for a great performance, especially opposite her onscreen parents played by Sharon Stone and Robert Patrick. Peter Sarsard also does well, but falters slightly with the more emotional scenes.

 

Far from a film that glorifies pornography, Lovelace presents a dark and harrowing tale of exploitation which, even though some elements are only suspected to have genuinely occurred, there's at least some basis in fact, only for the reality to be supposedly worse still than what is shown here. The later years of Lovelace's life would be worthwhile as a film in their own right, but with the focused shifted so specifically in this film on the Deep Throat era, it works well enough even if it doesn't explore the subject's life as a whole as much as it should.

 

Next time, a family get-together becomes a fight for survival from masked killers in You're Next.

 

 

 

 

 

 

 

 

 

 

 

 

Pain & Gain (2013, Dir. Michael Bay, USA) (Cert: 15/R) ***

 

 

Starring: Mark Wahlberg, Dwayne Johnson, Anthony Mackie

 

Personal trainer Dan Lugo (Wahlberg) wants a big piece of the American Dream, inspired by a seminar from motivational speaker Johnny Wu (Ken Jeong) enlisting two of his bodybuilding buddies, Paul (Johnson) an ex-con, recovering addict and devout christian, and Adrian (Mackie) a steroid user. The trio kidnap a wealthy client of Lugo's (Tony Shaloub) but find that simple plans aren't always easy ones.

 

Michael Bay is one of the biggest directors in Hollywood. Having taken on the Transformers film franchise since 2007, Bay's work also includes Armageddon (1998) and Pearl Harbour (2001). His films are big blockbusters filled with explosions and action set-pieces that make millions (and even breaking the rare billion dollar box office mark). However despite his aptitude at making a profit, Bay's reputation as film-maker is that of an extremely superficial film-maker with no skill in the more subtle elements of making movies. Pain & Gain is a crime movie with a comedic slant, about seemingly dim-witted criminals who don't know what they're doing. The plot reads like a Coen brothers film, such as The Big Lebowski (1998) or Fargo (1996), films which enjoy a much higher level of critical appreciation.

 

Ultimately, Pain & Gain does benefit from a fairly intelligent and entertaining script. The film switches between characters in narration, which allows for a little insight, although some of the characterisations seem still a little sketchy in the finer details This is particularly clear in Daniel Lugo, who seems to be somewhere between a ruthlessly ambitious murderer and a largely unlucky dope, who believes that the Godfather trilogy is about success (it isn't). Dwayne Johnson pulls off the likeable villain role much better and often provides one the best performances alongside a rather underused Ed Harris as a detective. However, Michael Bay's problems as a director are still evident here. The extremely frenetic editing can almost make your head spin, even during the quieter moments and women are largely shown to be either figures comic relief or simply bodies to be ogled at (or, in the case of Keili Lefkovitz' Krisztina, both). With a more measured and gentler approach, Pain & Gain could've been a great film, as it stands, it's perhaps betterthan what a lot of people might expect of Michael Bay, but it's really just not much more than okay.

 

Next time, the life of Linda Lovelace and the dark side of the production of the legendary porno film, Deep Throat is explored as Amanda Seyfried in Lovelace.

 

 

 

 

 

We're The Millers (2013, Dir. Rawson Marshall Thurber, USA) (Cert: 15/R) ***

 

 

Starring: Jason Sudekis, Jennifer Aniston, Will Poulter

 

Small-time drug dealer, David (Sudekis) loses his stash of drugs, leading to his boss (Ed Helms) giving David an assignment to pick up a "smidge" (actually a rather large amount) of marijuana from Mexico. Realising that families are far less likely to get searched on the Mexican-US border than lone individuals, he goes south of the border with Rose (Aniston) a stripper, David's nice but extremely naive and awkward neighbour Kenny (Poulter) and tough street kid, Casey (Emma Roberts) all posing as a family, the Millers.

 

We're The Millers knows the marks that it should hit and does with little surprise or defiance from what's expected of a mainstream adult comedy of its kind. That isn't to slate the entire film. Actually, the film hits the right notes a few times comedically and with a couple of very laughable moments. But there was an obvious reason to cast Jennifer Aniston as a stripper and it wasn't based on a character arc. Along the way, the story trundles through various stock gags with few surprises. Most of the performances are decent and the characters are likeable (although Ed Helms's role as a super-rich drug baron seems so over-the-top when he turns up that it clashes with the tone of the rest of the film). As road movies go, it's also enjoyable but lacks variety and ultimately, it's a film that just comes and goes causing little upset or extreme enjoyment. All in all, pretty average.

 

Next time, Mark Wahlberg  Dwayne "The Rock" Johnson and Anthony Mackie play three musclebound criminals who find themselves in over their heads in Michael Bay's latest film, Pain & Gain.

 

 

 

 

The Mortal Instruments: City Of Bones (2013, Dir. Harald Zwart, Germany/USA/Canada) (Cert: 12a/PG-13) **

Starring: Lily Collins, Jamie Campbell Bower, Robert Sheehan

 

Seemingly for no reason at all, Clary Fray (Collins) begins seeing the same enigmatic symbol everywhere she goes and even draws it compulsively. The mystery only grows more bizarre when she witnesses a killing in the middle of a night-club, but no-one else notices. Clary soon discovers that she is a "shadowhunter" and teams up with a group of shadowhunters in order to find her abducted mother (Lena Headey).

 

You would have to be living under a rock not to notice the torrent of teen fantasy novel adaptations that have been put up on the silver screen in the last several years and whilst a few have been rather good (last year's The Hunger Games being a rare stellar example) most have been generic and rather poorly written, following the same tropes and ideas to appeal to the fanbase of mostly adolescent girls. The Mortal Instruments: City Of Bones does not represent this fantasy subgenre at its best.

 

Originality is not City Of Bones' strong point, containing elements that will be familiar to anyone who's ever even heard of Harry Potter, Twilight or Star Wars to name three franchises that are instantly called to mind with the story elements in this film and in some cases, it's not always the best plot elements that you're reminded of, such as the love interest, Jace, who much like  Twilight's Edward reminds you that what a seemingly large number of women find very attractive, comes across to other people as rather creepy. To the film's credit, the romance angle is given some rather rich development and even given a gay angle, but this is pretty much dismissed almost instantly.

 

The acting levels in the film vary, but Lily Collins at least proves a suitable lead and supporting cast spans various different folklore creatures, making formvariety, but again, this isn't fully explored. The film also has a handle on some strong imagery and the ability to even cause a few jump scares once in a while, showing that the people behind the film have skill and craft, but it's largely the meager source material that's at fault. Based on a book that is the first of six parts, it's altogether possible that this will not be the last installment; hopefully the others will improve.

 

Next time, Jason Sudekis plays a drug dealer posing as a family man hoping to get a large stash of marijuana over the Mexican-US border in comedy, We're The Millers.

 

 

 

 

 

 

Elysium (2013, Dir. Neill Blomkamp, USA) (Cert: 15/R) ****

 

 

Starring: Matt Damon, Jodie Foster, Sharlto Copley

 

By 2154, a space station known as Elysium orbits the Earth. Its human inhabitants enjoy a utopian existence free from violence, crime and disease. However, down on Earth, pollution and poverty run rampant. After being given a terminal amount of radiation poisoning, Max De Costa (Damon) has five days to reach Elysium for a cure, having to take on work for a local gang in order to travel past the patrols guarding Elysium. However, Max finds himself the target of a ruthless assassin known as Kruger (Copley) and an Elysian senator (Foster) intent on taking over Elysium.

 

In 2009, South African film-maker, Neill Blomkamp broke through into the mainstream with his politicised sci-fi action film, District 9. Now, with Elysium, Blomkamp returns to similar stylistic territory, but invigorates it with enough energy and originality to make it an engaging watch. Whilst District 9 dealt with prejudice (and a not-too-veiled allusion to South Africa's former policies of Apartheid) , Elysium deals with economic disparity. Not an uncommon subject matter for science-fiction (as a major theme it dates back at least as far as 1927 with Metropolis), the real-world parallels are also still rather clear, both in terms of South African politics and in the wider world, especially given the current financial climate.

 

The film also has bares comparisons, deliberate or not, with THX-1138 (1971), Avatar (2009) the body horror of director David Cronenberg and perhaps most clearly with Blade Runner (1982); Max's desperate, and often violent, quest to sustain his quickly diminishing life, mirroring that of Rutger Hauer's Roy Batty in Ridley Scott's classic. Matt Damon captures the panic of such a predicament ably, whilst Sharlto Copley (a former producer turned actor who also broke through with District 9) hams it up as a killer playing his South African accent so thick, you could spread it on toast. Jodie Foster also gives a lively performance, but seems stuck somewhere between American and French with no clear nationality in either direction (perhaps intentionally). The film is so loud and noisy that it does throw itself into the ridiculous constantly. But it's also delivered with enough intelligence and panache that you can go with the madness and end up pretty impressed by the whole thing.

 

Next time, Lily Collins plays a young girl who discovers a secret realm where half-angels battle demons in The Mortal Instruments: City Of Bones.

Call Girl (2012, Dir. Mikael Marcimain, Sweden/Finland/Norway/Ireland) (Cert: 18/TBC) ***

 

Starring: Sofia Karemyr, Simon J. Berger, Josefin Asplund

 

In the 1970's, Sweden had earned itself a reputation of a progressive utopia. In the final days of the Sexual Revolution, Sweden's permissive sexual and social policies were admired throughout the world by liberals. Within this environment, troubled teen Iris (Karemyr) and her friend Sonja (Asplund) become prostitutes for a notorious pimp (Pernilla August). John (Berger), an investigator looks into the well-known prostitution ring and discovers prostitutes, even underage prostitutes, have clients even within the ruling government as his and Iris' lives collide.

 

Call Girl is a look into the darker side of the Sexual Revolution and the notoriously progressive culture of Sweden. An intriguing subject matter, Call Girl is filled with good performances and a very effective sense of menace, but is let down by its own ponderous and over-long runtime. The film has a strong handle on style, presenting the world of Sweden's political elite as corrupt and greatly decadent, whilst the film also displays scenes of rather uncomfortable sleaze, helped along by a thumping synth-pop soundtrack. The occasional aesthetic nods towards exploitation cinema, also give the film an interesting flavour, even if the film largely makes a point firmly against exploitation. The plot being so expansive and filled with convolutions, the characterisations get lost in the flow except for that of Pernilla August's Dagmar Glans. Part affable mother-figure, part-heartless monster. Given the film's subject matter this is uncomfortable viewing and it's also too lengthy, with the film possibly benefitting ifnitnwas some thirty minutes shorter, but for good or ill, it will make an impact on viewers.

 

Next time, Matt Damon and Jodie Foster star in the dystopian sci-fi action film, Elysium; from Neill Blomkamp, director of District Nine (2009).

SNEAK PREVIEW: About Time (2013, Dir. Richard Curtis, UK) (Cert: 12a/R) ***

 

 

Starring: Domhnall Gleeson, Rachel McAdams, Bill Nighy

 

Now that he's 21, Tim (Gleeson) learns a family secret from his eccentric father (Nighy) that all the men in the family have the ability to travel through time, or at least back into their own past. Whilst out on a date, Tim meets Mary (McAdams) and is instantly smitten. Using his newfound abilities to bring them together, Tim eventually learns that time-travelling has its consequences.

 

Since emerging onto the scene in the 1980's, writer (and later director) Richard Curtis has forged his own trademark style, specialising in romantic comedies that focus on very British setting and characters, whether it be in Four Weddings And A Funeral (1994), Notting Hill (2001) or Love Actually (2003). About Time is more fantastical, given its about time travel. But, there's still no mistaking it for anything but the work of Richard Curtis. Curtis's usual reparatory cast is mostly absent, but Domhnall Gleeson's befuddled shuffling brings Hugh Grant somewhat to mind. Rachel McAdams follows the likes of Andie McDowall and Julia Roberts as the American love interest (okay, McAdams is Canadian, but she plays an American) and in the supporting cast we also have Lydia Wilson as the usual Curtis kooky girl and the lone Curtis regular in the cast, Bill Nighy, at his absolute Bill Nighy-ist.

 

The other obvious comparison that comes with this film is Groundhog Day (1993) given that both films use the idea of revisiting the past and using it to correct faux-pas in courtship, but About Time is fresh enough in its own right not to be completely written off as a clone. Curtis may be playing it fairly safe here but he knows what he's good at and he's sticking to his guns. All the performances are likeable even if they have been mulled over before and the film is undeniably sweet, even if it borders on the saccharine (such as one montage which plays out almost like a music video, complete with close-ups of some performing buskers). As an experiment, it doesn't really stand up because it still sticks much too close to the old formula but regardless it is funny, charming and ultimately forgivable for not straying too far from the well-trodden path.

 

Next time, a drama about the sexual underworld of 1970's Sweden, Sofia Karemyr stars in Call Girl.

Blackfish (2013, Dir. Gabriela Cowperthwaite, USA) (Cert: 15/PG-13) ***

 

 

Starring: Tilikum, Samantha Berg, John Jett

 

On the 24th of February 2010, veteran whale trainer, Dawn Brancheau was killed during a show at SeaWorld Orlando by Orca, Tilikum. This is far from an isolated case and this documentary explores the history of keeping whales out of the wild and the devastating and dangerous consequences for both themselves and for humans.

 

SeaWorld declined any of its representatives to be interviewed for Blackfish and the reasons seem obvious as to why. Whilst a documentary about a contemporary problem, Blackfish is far from the most objective documentary, throwing around constant arguments against keeping whales in what are basically theme parks. The arguments are compelling and not without plentiful evidence, but I would've liked a more neutral position even if I doubt anyone except SeaWorld's most die-hard supporters would go back to one of their parks without giving it a second thought first.

 

The film in of itself does follow through on being interesting despite the overt preachiness, showing a fascinating insight on whales and providing a strong personal touch as we learn the backstories of most of the interview subjects (many of whom are former animal trainers at SeaWorld). The film also packs a great impact and has already had consequences in the wider film industry (Pixar's upcoming Finding Nemo sequel, Finding Dory, has just undergone a plot overhaul because, of Blackfish) but more sensitive viewers may want to be aware that the film features a large amount of genuine footage of attacks, some fatal, on both humans and whales. Given that the sequences of whales attacking humans is mostly confined to one specific period of a few minutes within the film, the content can be very distressing.

 

Blackfish isn't interested in neutrality, and the film is let down by an often televisual look and feel, but for those who happen to agree with the film-makers, Blackfish will be informative and provocative viewing.

 

Next time, a special pre-release Sneak Preview of the upcoming time-travel rom-com starring Doomhall Gleeson and Rachel McAdams, About Time.

 

 

Planes (3D) (British-English Dub) (2013, Dir. Klay Hill, USA) (Cert: U/PG) ***

 

 

Starring: Dane Cook, Stacey Keach, Brad Garrett

 

Dusty Crophopper (Cook) is a crop-dusting plane who is tired of his life spraying fertiliser and instead dreams of being a racing plane. Reluctantly, an old military plane, Skipper (Keach) decides to teach Dusty how to race and Dusty eventually earns an unlikely spot on the international Wings Around The World Rally.

 

Planes is a cousin to the films Cars (2006) and Cars 2 (2011). Films that still boast financial success but have been far less popular with the public. With Disney Toons now continuing with this series, it is running serious risk of running some if its stellar reputation into the ground. Planes is not a disaster of a film, but much like its relatives in the Cars films, it is definitely amongst the more flawed films, associated with Pixar. The film largely feels throwaway and plays far too close to the kids demographic. These may be "children's films" but the best films that appeal to younger audiences always have mum, dad and the older siblings in mind too when it comes to entertaining.

 

The humour seems overly-reliant on puns (an aircraft carrier known as the USS Flysenhower being particularly painful) and never really puts in an effort. The one part of the film that always allows for some enjoyment is Carlos Alazraqui as the flamboyant Mexican plane, El Chupacabra, complete with luchador mask and cape but John Cleese, playing the ultra-British plane, Bulldog, seems to be mostly sleepwalking through his performance because he is capable of so much more as an actor. Planes, borrowing the designs from Pixar, still looks great, even if the 3D is a completely pointless exercise. The film also manages some pleasant surprises along the way, including a surprisingly violent and gritty dogfight (odd, given that this is an otherwise juvenile product) but the lustre is starting to wear off. The British-accented voiceovers in the UK version are pretty much unnecessary and bring back memories of Shark Tale (2004). A sequel, Planes: Fire And Rescue seems to be in the works and I, for one, hope for an improvement.

 

Next time, a look into the controversial and dangerous results of keeping a Killer Whale in captivity in documentary, Blackfish.

 

 

2 Guns (2013, Dir. Baltasar Kormákur, USA) (Cert: 15/R) ***

Starring: Denzel Washington, Mark Wahlberg, Paula Patton

Down in Mexico, just across from the Mexican border, a gangster by the name of Papi Greco (Edward James Olmos) runs a drug cartel that frequently crosses the border into the US. Two American members of the cartel, Bobby (Washington) and Stig (Wahlberg) commit a bank robbery in Texas, however Bobby is secretly an agent reporting on the cartel for the DEA and the robbery is a set-up to catch Stig, who is really working for the US Navy unbeknownst to Bobby. When Stig takes off with the money to report back to the Navy, the cartel give chase as do the crooked Navy officials,forcing Bobby and Stig to work together.

2 Guns really seems to have a problem with simplicity. Whilst we have two protagonists in Denzel Washington and Mark Wahlberg, the whole tale unfolds various sides to the conflict. Whilst this is supposed to keep the audience on its toes, it really does nothing more than muddy-up and tie-down what should be a pretty solid set-up. Elsewhere, however, the film does the deed of putting together an entertaining action film. Wahlberg and Washington may not seem like a natural but the two have a great chemistry and make for a strong duo. The villains however are less entertaining, with Edward James Olmos not really getting much of a chance to really shine with the material, but Bill Paxton's clearly having the time of his life playing an extremely Texan and corrupt baddie from the CIA; every time he's on screen is just joyous. A lighter touch would've benefitted the film a bit and there's a real issue with the film trying to constantly blindside the audience with another twist, but it's an entertaining noisy action film and the idea of a 2 Guns 2 doesn't seem too bad.

Next time, the world of Pixar's Cars (2006 - 2011) takes to the skies as Dane Cook plays underdog racing plane, Dusty Crophopper in Planes.

Kick-Ass 2 (2013, Dir. Jeff Wadlow, USA/UK) (Cert: 15/R) ***

Starring: Aaron Taylor-Johnson, Chloë Grace Moretz, Christopher Mintz-Plasse

Dave Lizewski (Taylor-Johnson) and Mindy MacReady (Moretz) are world-famous, although know one would notice if they walked down the street, because they're both the secret identities of the self-made superheroes, Kick-Ass and Hit Girl, respectively. Having inspired other members of the public to serve as superhero vigilantes for justice, Kick-Ass is invited to join a group of masked crusaders whilst Mindy at the advice of her step-father (Morris Chestnut) puts a stop to her heroism in order to live a normal life as she enters high school. However, Chris D'amico (Mintz-Plasse), formerly superhero Red Mist, is looking to avenge the death of his father at the hands of Kick-Ass and takes on a new name, becoming the first self-made super-villain.

Having been a huge hit back in 2010, Kick Ass, a film based on the Mark Millar and John Romita Jr. comic, is now back with the unimaginatively titled, Kick-Ass 2. The original film's director, Matthew Vaughan, has stepped away from the director's chair (though he still has a producer credit) and in his place sits Mark Wadlow, who also wrote the film's screenplay. However, despite the change in who's directing the picture, Kick-Ass 2 is often just much of the same as the inaugural Kick-Ass. 

This has its weaknesses in that it doesn't really bring anything really fresh to the material, but the overall concept is still strong enough to carry the film along. There are, however, still a few alterations and the film's biggest shift in gear is dealing with Hit Girl, a character more nuanced and entertaining than the at-times rather bland Kick Ass as she deals with adolescence and cliques in high-school (given it's about how an extraordinary girl copes with the strict conformity of high-school, this could be a warm-up for Chloë Moretz's upcoming titular role in Carrie) and whilst this character arc is intriguing and Moretz's performance strong, some parts do falter, such as the introduction of a taser-like weapon hat induces bouts of vomiting and diarrhoea; a plot device you feel should be beneath the writers. The other character arc, that of Kick-Ass's, also works nicely and with some decent support especially from an all-too-seldom-seen Donald Faison (who seemingly disappeared after Scrubs) although Jim Carrey feels under-utilised and hangs very much in the shadow of Nicolas Cage's role in the first Kick-Ass.

The action scenes are initially exciting and at times very inventive, but also have a tendency to become too frantic and chaotic, whilst there's some surprisingly crude blue-screen. Kick-Ass 2 is not the perfect sequel, and there's a feeling a better film could've been made, but fans of the first film will at least be entertained by a still rather decent sequel.

Next time, Mark Wahlberg plays a Special Forces agent and Denzel Washington works for the DEA and both are being hunted down for money when a a drug cartel bust goes awry in 2 Guns.

Cherchez Hortense (Looking For Hortense) (2012, Dir. Pascal Bonitzer, France) (Cert: 12a/TBC) ***

Starring: Jean-Pierre Bacri, Kristin Scott-Thomas, Isabelle Carré

Living in Paris, Damien Hauer (Bacri) spends his day fulfilling various roles. He teaches people about the unique outlook on life that the Chinese have, he spends some time with his hard to reach father (Claude Rich) and his friends, one of whom, Lobatch, (Jackie Berroyer) is suicidally depressed. With his marriage to his theatre director wife (Scott-Thomas) falling apart, Damien takes a vested interest in a casual acquaintance, Aurore (Carré), as well as an immigration case, but a revelation about Aurore's life makes for an extraordinary coincidence in Damien's.

A French-language romantic comedy, Looking For Hortense is pleasing enough, but you can't shake the feeling that something's been lost in translation. The life of our main character, Damien, being so complex, the film touches on numerous themes. Immigration, depression, suicide, homosexuality and infidelity all play there pars in this film and are all fairly well-balanced. The film works fairly well as a piece of drama, but the comedic aspect seems either underplayed or perhaps easier to appreciate from a French perspective, some plot-points (such as when Damien is arrested for refusing to show his ID) seeming very intrinsic to life in France. Most of the broader material comes towards the end of the film, but whilst the film is short on belly laughs, it's interesting and charming even if it lacks universality.

Next time, Chloë Grace Moretz and Aaron Taylor-Johnson put on their custom costumes once more to fight crime as vigilante superheroes in Kick-Ass 2.

Foxfire(:Confessions Of A Girl Gang) (2012, Dir. Laurent Cantet, France/Canada) (Cert: 15/TBC) ***

Starring: Raven Adamson, Katie Coseni, Madeline Bisson

In a small town in mid-1950's upstate New York, a group of middle-school girls watch out for each other; "Legs" (Adamson) an idealist from a broken home, her friend Maddie (Coseni) tomboy Goldie (Claire Mazerolle) and new recruit, Rita (Bisson). The four form a gang known as Foxfire, vandalising property and and attacking those who are abusive or those they see as holding up a chauvinistic society. As the gang grows in notoriety (and Legs serves time in a juvenile detention centre), Foxfire become more politicised, gains in members and starts committing bigger and more dangerous acts.

Not the first time that Kate Oates's 1993 novel, Foxfire: Confessions Of A Girl Gang has been adapted to screen, (there was a film adaptation in 1996) this version of the story has both great strengths and great weaknesses. Centred around a group of young female radicals, Foxfire provides an interesting and oddly appropriate comparison between the infighting that often corrupts political idealism and the squabbling and manipulation that comes with female adolescence. The performances are all strong and the characters are mostly well defined, although a couple of the gang's later additions aren't given quite as much of a chance to shine. A film which bares some comparison with Foxfire is Ridley Scott's Thelma And Louise (1991). An admirable film in its own right, but both films suffer from the idea that being pro-woman is to be anti-man. In both films, most men are portrayed as either selfish, sleazy screw-ups, potential rapists or both with the one token positive influence (Thelma And Louise had Harvey Keitel as a sympathetic cop, Foxfire has an eccentric former Priest and committed socialist as a sort of mentor figure).

The film does work very well on a visual level, evoking the 1950's in an effective manner, even if it is sometimes a little forced and the human story at the heart of it  makes for some really compelling material for a good share of the film. Sadly the film's length (nearly two-and-a-half hours) does it a disservice, devoting too much time to some of the smaller episodes and details that make up the plot. A rather extensive edit of the film would've probably made this film one of the best of the year; but as it is, it's serviceable with a few moments of glory.

Next time, a French rom-com starring Kristin Scott-Thomas in Looking For Hortense.

RED 2 (2013, Dir. Dean Parisot, USA/France/Canada) (Cert: 12a/PG-13) ***

Starring: Bruce Willis, Mary-Louise Parker, John Malkovich

On just a normal day put shopping, retired agent Frank Moses (Willis) and his girlfriend Sarah Moss (Parker) are contacted by their reclusive and eccentric assassin friend, Marvin (Malkovich) who informs them that a document implicating Moses in a fictional operation known as Nightshade years ago connected with a genuine portable nuclear bomb. As a result, Frank, Sarah and Marvin have to track down the bomb's imprisoned inventor, Doctor Edward Bailey (Anthony Hopkins) with their friend, MI6 agent Victoria Winslow (Helen Mirren) sent to track them down, aided by Korean hitman, Han Cho-Bai (Byung-hun Lee).

The sequel to 2010's action movie, RED (an acronym for Retired and Extremely Dangerous), RED 2 has a lot of the ingredients for a satisfyingly raucous explosions and car-chases romp even with its maturing cast. Still, it never truly comes together. A large part of this problem is how much time is given to set up the plot, despite it not being particularly complex. By the time the action starts, you already feel worn down be the sheer exposition and dialogue on display. That isn't to say the action set-pieces are disappointing. Byung-yun Lee provides some particularly dynamic fight sequences, even if he's noticeably a lot younger than his co-stars and the noise and chaos does mean that by the end of the film, you still feel like you've seen an action film, but it takes far too long to start. There's also a problem with complacency with some of the actors clearly coasting through and never truly being dynamic, although Anthony Hopkins still makes for an enjoyable performance and sadly not enough is seen of David Thewlis in a minor supporting role. The lone exception is Mary-Louise Parker as the civillian-turned-action.-hero who puts in a noticeably more charismatic and enthusiastic performance. 

Noticeably different on an aesthetic level to the first RED film, RED 2 still feels like a retread of old territory even with the new additions of Thewlis, Lee and Catherine Zeta-Jones as an old flame of Bruce Willis's and the towering Neal McDonough as  a pretty unmemorable villain. There's a feeling that the entire film could be a lot more of a zany caper and would probably benefit from it. As it is, it's pretty straight-forward but fairly entertaining action fare. 

Next time, 50s-set drama about a group of female radical feminists, Raven Adamson  appears in Foxfire.

Percy Jackson: Sea Of Monsters (3D) (2013, Dir. Thor Freudenthal, USA) (Cert: PG/PG) **

Starring: Logan Lerman, Alexandra Daddario, Douglas Smith

When protecting a group of fellow half-bloods (people who are the offspring of humans and gods), Thalia (Paloma Kwaiatkowski), daughter of Zeus is mortally wounded by a strange beast. As she died, Zeus used his powers to absorb her into a tree; her energy creating an invisible sheild around half-blood settlement, Camp Half-blood. Seven years later, the shield is damaged by a mysterious poison arrow hitting the tree and Percy Jackson (Lerman), half-blood son of Perseus is sent to solve the mystery with his friend Annabeth (Daddario) the skilled but arrogant Clarisse (Leven Rambin) and Tyson (Smith) Percy's half-brother who, by virtue of being half-god (through Poseidon) and half-nymph, is a cyclops

The sequel to Percy Jackson: The Lightning Thief (2010) (and a film adaptation of a series of books by Rick Riordan, Percy Jackson: Sea Of Monsters is partly inspired by the myth of Jason And The Argonaughts, but despite a promising premise, this film falls flat, moreso than the already fairly disappointing Lightning Thief. There are a couple of improvements, mostly that he film's use of ancient Greek mythology isn't entirely constrained by setting to the US, (although The Bermuda Triangle still isn't very exotic by these standards) and the film's characters are largely unlikeable. Percy Jackson seems decent enough, but as heroes go, he's pretty bland and Logan Lerman has enough talent to pull off more complex roles (such as in last year's The Perks Of Being A Wallflower) and Alexandr Daddario's subplot about her dislike of Tyson the cyclops, whilst given some reasoning towards the end, comes across as horrifically nasty, judging by appearance and even at one point coercing him to sue a spray to make him appear more normal (put this towards a context of real-life prejudice's and the subtext becomes really disturbing). Clarisse is the only really agreeable character, even if its just because her snarky asides match my own gripes with the story.

Visually, the film fares a little better. Tis time around, we're given a new adversary in Kronos; seemingly equal-parts Sauron from Lord Of The Rings, Satan (with elements of the portrayal of Chernabog in Fantasia (1940)) and the MCP from TRON (1982). His intriguing form of motion and the scenes detailing his backstory are the film's definite highlight. The film was not originally made for 3D but this was adjusted in post-production and it shows. The 3D is all but unnecessary and the already dark and murky cinematography is rendered frustratingly muddied all the more by the significant light-loss with Reflex 3D glasses. At the film's end (after we've stumbled through a brief  re-enactment to the finale of Raiders Of The Lost Ark (1981)) seems to imply there's more of this to come. The series does show potential at a conceptual level, but there needs to be a lot more effort put in if there are to be later instalments.

Next time, Bruce Willis plays Frank Moses and teams up with his old secret service buddies (and an insane Anthony Hopkins) to foil a bomb plot in RED 2.

SNEAK PREVIEW: The Lone Ranger (2013, Dir. Gore Verbinski, USA) (Cert: 12a/PG-13) ***

Starring: Armie Hammer, Johnny Depp, William Fitchtner

Following his studies at law school, John Reid (Hammer) returns to his small hometown of Colby, Texas which is on the verge of being along the emerging trans-national railway. John starts aiding his brother Dan (James Badge Dale), a ranger, in the apprehension of escaped criminal, Butch Cavendish (Fitchtner) but an ambush leaves John the only surviving ranger in the area (having only recently been bestowed the honour) after being revived by a strange Comanche known as Tonto (Depp, Joseph E. Foy) John becomes convinced by Tonto that he is invincible in battle and with his Comanche ally at hand, John Reid becomes The Lone Ranger.

With director Gore Verbinski and producer Jerry Bruckheimer having pretty much single-handedly revived the believed-to-be-dead pirate swashbuckler movie with the Pirates Of The Caribbean trilogy (2003 - 2005),the duo now take on a revival of the legendary Lone Ranger. Financially, it doesn't seem to have worked but the film is not the creative failure its disappointing box office performance suggests. The opening and closing twenty minutes of the film are exactly what you want with The Lone Ranger. Rip-roaring straight-ahead action, goodies against baddies and the William Tell Overture blasting away. However, these forty minutes aside in a two-and-a-half hour film, the mood drops considerably. We have a great deal of emphasis on the Ranger's origins, a major expansion (and over-complication) of the villainous plot and also too much focus on the lives of Dan Reid's wife (Ruth Wilson) and son (Bryant Prince). The film ultimately seems like more of an homage to Sergio Leone than The Lone Ranger with various shots (and one plot point) borrowed wholesale from The Good, The Bad And The Ugly (1966) and a very Morricone-esque score from Hans Zimmer (featuring some string arrangements that are extremely close to those in Harmonica's leitmotif in Once Upon A Time In The West (1968).

Hammer and Depp make for a good duo, especially Depp who, naturally, makes for a memorable presence, enthusing Tonto not only with an enjoyable degree of comedy but giving him a dignity and dimension that was missing from the admittedly loveable Captain Jack Sparrow, although whenever Helena Bonham-Carter appears you can't help but feel you've stumbled into a Tim Burton film. This incarnation of Ranger and Tonto may not be up there with Butch and Sundance of Blondie and Tuco as a great western duo, but they play their part well.

I grow tired of darker introspections on our classic heroes. The Dark Knight trilogy (2005 - 2012) might have reinvigorated the superhero film, but I feel weary for more straight-forward action adventure films such as Raiders Of The Lost Ark (1981) or Superman (1978). However, whilst The Lone Ranger is a flawed but film it is very entertaining nonetheless and it's a shame that it's been as financially unfortunate as it has. 

Next time, the return of young demigod, Percy Jackson on a search for The Golden Fleece in Percy Jackson & The Sea Of Monsters.

Alan Partridge: Alpha Papa (2013, Dir. Declan Lowney, UK) (Cert: 15/TBC) ****

Starring; Steve Coogan, Colm Meaney, Tim Key

Alan Partridge (Coogan) hosts his own programme on the digital radio station, North Norfolk Digital (formerly Radio Norwich) with Sidekick Simon (Key). With North Norfolk Digital being sold off to a media group looking to rebrand the station as Shape, a choice needs to be made on what DJ to drop. Either Partridge, or long-time night-time presenter, Pat Farrell (Meany). When Alan catches wind of this, he convinces the new management to show Pat the door. Later that night, Pat comes back brandishing a shotgun having gone into a complete breakdown. With the station now the scene of a hostage situation, Alan is called upon as a negotiator giving him the fame that he  craves.

After years of speculation, Steve Coogan and Armando Ianucci's (mostly) TV-based character of Alan Partridge is finally up on screen in Alan Partridge: Alpha Papa. Those familiar with the TV series Knowing Me, Knowing You with Alan Partridge and particularly I'm Alan Partridge might find a film adventure for Alan a little strange, given that the character works better in the smaller scale traditionally associated with TV, given much if the humour derives from the mundane conflicts that make up Alan's life and quest for celebrity. However, as odd as the idea and plot seems for Partridge, it works extraordinarily well. The humour's pitch-perfect, helped by how amazingly well-rounded the character of Alan Partridge is and Coogan's confidence in the role, which he's played on-and-off for around twenty years. The film's strengths are also supported by other familiar faces such as Felicity Montagu as Alan's meek and long-suffering PA, Lynn and Simon Greenall as Alan's unhinged Geordie accomplice, Michael. The film is pretty light on dramatic material. There's a love interest (played by Monica Dolan) who's occasionally given some attention and Colm Meaney (perhaps best remembered by Star Trek fans for his lengthy stint as Miles O'Brien in The Next Generation and Deep Space Nine) seemingly having the time of his life playing a somewhat sympathetic antagonist. End to end, the film not only delivers a lot of laughs but very loud ones and is a must-see, especially for fans of the Partridge.

Next time: Armie Hammer dons the black mask with Johnny Depp in tow for Gore Verbinski's film adaptation of The Lone Ranger.

Kokuriko-Zaka Kara (From Up On Poppy Hill) (English-language dub) (2011, dir. Gorō Miyazaki, Japan) (Cert: U/PG) ****

Starring: Sarah Bolger, Anton Yelchin, Christina Hendricks

High-schooler Umi Matsuzaki (Bolger) looks after her home  and boarders whilst her mother (Jamie-Lee Curtis) is working in America. Umi's father, a sailor, died when his ship was destroyed in the Korean War and every day, Umi raises flags that spell out his name. One day at school, she comes across the idealistic Shun Kazama (Yelchin) and offers to help him on the school's newsletter and to fix up the school's club-house, which is in danger of being torn down with Japan looking to totally modernise itself in the run up to the 1964 Tokyo Olympics. As the two become closer, Umi and Shun come upon revelations about their families, that put their personal relationship in a compromising position.

The latest film from Studio Ghibli and from director Gorō Miyazaki, From Up On Poppy Hill is a moving, charming and entertaining drama. Many might expect that being the son of the legendary Hayao Miyazaki, Gorō's work would have his father's own touch of fantastical whimsy. Whilst this isn't without some evidence (the fantasy elements were around in the younger Miyazaki's film, Tales Of Earthsea (2006)), From Up On Poppy Hill is far more of a realistic film, though ti also covers Hayao Miyazaki's trademarks of young female protagonist, the need for preservation and a strong anti-war slant. A period film, the score bounces with styles from the early 60's (as well as the occasional use of genuine Japanese pop from the era) although the aesthetics seem a little too faithful to Hayao Miyazaki's work. Alongside this, as the story unfolds, some of the plot points can be a little...uncomfortable. This aside, the all-star cast make for engaging performances and as unoriginal as the film's visual style is, the designs and colouring are definitely up to Ghibli standard. From Up On Poppy Hill is not on a par with the likes of My Neighbour Totoro (1988) or Spirited Away in terms of quality and the style is notably very different to those films, but From Up On Poppy Hill is still often very stirring and strong.

Next time: Steve Coogan stars as Alan Partridge; North Norfolk's favourite digital radio DJ in the mid-morning time -slot as he's thrown into the centre of a hostage situation in Alan Partridge: Alpha Pappa.

The Conjuring (2013, Dir. James Wan, USA) (Cert: 15/R) ***

Starring: Patrick Wilson, Vera Farmiga, Ron Livingston

Married couple Ed (Wilson) and Lorraine (Farmiga) Warren are experts in the field of detecting possessions and hauntings, aided by Lorraine's ability to sense the paranormal. In 1971, the Perron family settled into their new home, only to experience various supernatural disturbances. The Warrens investigate, uncovering a dark and demonic past.

Claiming to be based on a true story, The Conjuring is a haunted house film from James Wan, the director of Saw (2005). The Conjuring plays mostly towards the expected conventions of the haunted house film and treads a path through pretty much everything you'd expect; odd noises and occurrences, strange whispers and plenty of scares designed to jolt you out of your seat. The film definitely owes a debt to The Amityville Horror (1979 and Poltergeist (1982) to the point where certain elements, and even scenes, from those films are heavily alluded to here. The film's best asset is how it plays with structure, with he more sedate scenes of the Warrens' home life and time giving lectures on their field being well (if unevenly) handled. There are countless films like The Conjuring and plenty of them are just plain better than The Conjuring. However, the film's use of tension and shock tactics is impressive and whilst the film lurches a little too much towards the unintentionally comic (especially in the last act) it's a perfectly serviceable horror film

Only God Forgives (2013, Dir. Nicholas Winding Refn, Denmark/France/Thailand/USA/Sweden) (Cert: 18/R) ***

Starring: Ryan Gosling, Vithaya Pansringarm, Kristen Scott-Thomas

American brothers Julian (Gosling) and Billy (Tom Burke) live in Thailand, involved in the local kick-boxing circuit and the underworld. Billy's debauched tastes in sex get the better if him when he kills a sixteen-year-old prostitute (Aratchaporn Sataed) and is himself killed by the prostitute's father (Kovit Wattanakul) as a result. Now, Julian is left to face a powerful criminal kingpin (Pansringarm) who allowed Nilly's killing and who is in cahoots with a crooked police force.

In 2011, Drive made internationally renowned names of Danish director, Nicholas Winding Refn and his American star, Ryan Gosling. Now they're back together in another gritty crime thriller, moving from Drive's setting of Los Angeles getaway driving into the world of organised crime in Thailand. Despite the change in setting, Only God Forgives keeps with a lot of Drive's conventions. Ryan Gosling still plays the same stoic and largely silent and possibly psychopathic protagonist in Julian, although Kirsten Scott-Thomas steals the show as someone who could've been the mother from hell, if hell could've put up with her and the rather...intense...relationship that's she's implied to have with her sons. The film is also extremely stylised with much of the scenery set against the night and with strong use of black and red. Refn's fondness for stylisation does often overwhelm the production and with the frequent use of long scenes with no dialogue, often using slow motion, it certainly not too harsh to call Refn out on being pretentious. The film is also shockingly violent and gives a very downbeat perspective of life in suburban Thailand. However, the visuals are sumptuous and Refn's work, whilst over self-indulgent is at least technically accomplished and intriguing to look at. Fans of Drive might want to consider giving this a watch, but many people will either love or hate this film and could probably justify either opinion quite easily.

The Smurfs 2 (3D) (2013, Dir. Raja Gosnell, USA) (Cert: U/PG) **

Starring: Neil Patrick Harris, Katy Perry, Hank Azaria

In the village populated by the small and blue creatures known as the Smurfs, plans are set to celebrate the birthday of the only female smurf, Smurfette (Perry), who was created by the evil wizard Gargamel (Azaria) to trap the smurfs, only for Smurfette to become a 'true' smurf and their friend. However, it's a surprise party and whilst the party is being kept secret, Smurfette believes she's being rejected and runs away to Paris with two of Gargamel's other creations, Vexy (Christina Ricci) and Hackus (J.B. Smooth) in a plot to bring Smurfette back to Gargamel. Concerned for Smurfette, a group of smurfs take off for Paris to track her down.

A sequel to the 2011 film the, The Smurfs, based on a creation by Belgian cartoonist, Peyo, The Smurfs 2 takes the action to Paris calling to mind The Rugrats 2 (2001) another animated sequel to a film adaptation of a kids favourite, that transplanted the action to Paris. However, here the cultural cliches are rather down-played, focusing more on the story which relies in no small part on the aidience's familiarity with the first recent Smurfs film (as opposed to the several animated films of the Smurfs that have been drifting around for decades). There are some notable cast changes as some smurfs in the foreground in the 2011 film (such as Alan Cumming's Gutsy Smurf) are pushed into the background whilst other smurfs that were in the background in 2011 (particularly, Jon Oliver's Vanity Smurf) are now in the foreground. Neil Patrick Harris as our human lead also gets a new actor to work with, alongside a returning Jayma Mays (a woman so perky and extremely doe-eyed she looks a perfect fit to interact in a semi-cartoonised world.), with fiery Sophia Vegara being replaced by a surprisingly more jovial, Brendon Gleeson.

A big problem is that whilst the 2011 film did have some genuinely sweet and engrossing moments despite being profoundly flawed, The Smurfs 2 is far too haphazard to really provoke any reaction. It deals with some intriguingly lofty ideas (I'm disappointed that the film isn't titled, The Smurfs 2: Smurfette's Existential Crisis)  but us crowded by rather lacklustre jokes and little emotional resonance, coupled with a great number of issues on a logical front (and you're dealing with tiny blue creatures crossing dimensions, so imagine how big those logical gaps are). Hank Azaria provides a pleasing villain, largely because he's always an entertaining presence in comic roles, even if you'll occasionally hear him play a little too close vocally towards Moe from The Simpsons, whilst his feline sidekick, Azrael, is the stand-out character. But it says a great deal when your best character is a semi-anthropomorphised cat. Push it in with occasionally gratuitous CGI imagery and you get a film that isn't offensively poor, but doesn't make the best of what assets it has.