The Hooligan Factory (2014, Dir. Nick Nevern, UK) (Cert: 15/TBC) ***

Starring: Jason Maza, Nick Nevern, Ray Fearon

For as long as he could remember, Danny (Billy Matthews, Maza) wanted to be a football hooligan, inspired by his extremely violent father (Ronnie Fox). Now an adult, Danny finds himself without a home and forms a bond with Dex (Nevern), a legend within the hooligan community. With the help of Dex's old firm, Danny rides his way to the top of the hooligan ladder.

A small British comedy about football hooliganism, The Hooligan Factory is the second time as director for Nick Nevern. Judging from this film, Nevern may not be amongst Britain's best and brightest of a new generation of filmmakers but does show ability. The thing is the ultimate result is...uneven.

The Hooligan Factory is clearly trying to style itself, comedically, as a Scorsese film of the terraces. There's some clear alluding to Goodfellas (1990) (although in an odd move, the film parodies Goodfellas directly twice rather than going for a more natural single parody or a film-long one) but the editing and pace owes something to Scorsese as well. Hooligan Factory has some definite energy and intensity, especially in the early going and there are some truly funny moments and good performances.

However, there are problems. For all that the film does make some amusing jokes towards the hooligan culture and how it has changed, there's a deep thread of humour throughout that seems to show a fixation of women getting physically harmed. Once would not attract much notice, It probably still wouldn't be funny, but it wouldn't attract much notice a d whilst attacking the film as misogynist may be a bit extreme, it's attitude does come off as a little disturbing. Again, this may have been a Scorsese influence, showing not particularly nice people but not being didactic about their flaws, but it comes off as very misguided.

The Hooligan Factory just simply lacks direction. It lampoons the laddish, violent and often unpleasant world of the subject matter and yet seems to relish at times in the kind of humour that is equally tasteless and hateful whilst the narrative also gets confused. There's no real sense of how long the events of the story take place over and an opening scene seems to serve little purpose other than to say, "Hey, look! We got Danny Dyer!". I defend this film by saying that beneath it all, there's a very intelligent movie. It's a shame it's being blocked by a meat-headed thug with a warped sense of humour. 

22 Jump Street (2014, Dirs. Phil Lord, Chris Miller, USA) (Cert: 15/R) ***

Starring: Jonah Hill, Channing Tatum, Ice Cube

After foiling a drugs ring running out of a local high school, young cops Schmidt (Hill) and Jenko (Tatum) are given another, extremely similar, case involving busting up a drugs ring, this time running out of a local college, where the two officers must pose as students.

A film adaptation of a late 80's cop show, 21 Jump Street was one of the surprise hits of 2012 and so naturally, the time has come for a sequel. Indeed the notion and concept of the sequel holds up 22 Jump Street and makes for its best and funniest moments (including a pretty impressive closing credits sequence). But as for the rest of the film...what you get is often more of the same and when changes do occur, some work for the better, some work for the worse.

The worst thing about the film is how it treats its characters, especially with Channing Tatum's Jenko. In the first film, Jenko felt more rounded and more realistic. In this film, his athleticism is given more emphasis and so is his stupidity, taking him too far into caricature. Meanwhile, our main villain is completely bland and lacks any real character beyond being a stock generic action movie baddie.

For directors Phil Lord and Chris Miller, the Jump Street movies do represent something of a departure. Raunchy live-action teen comedies do sit incongruously alongside their more family friendly animated fare such as Cloudy With A Chance Of Meatballs (2009) The Lego Movie (2014), at least at first glance. Their animated work is better by and large, but 22 Jump Street does have that sense of unbridled comedic energy, chasing joke after joke and on occasion 22 Jump Street also goes for some very strange experimental jokes, clearly borne of an animation mindset. Whilst some do have a habit of getting in the way of the plot's momentum, the ambition is at least to be lauded.

As hackneyed as it could've been, the film's best jokes are when it pokes fun at the conventions of story-telling. Leaning on the fourth wall to acknowledge the film being a sequel, for example. In fact, the film's best section is in fact an imaginative lampooning of the whole sequel concept over the end credits. The thing is, in animation I lookmat Lord and Miller's work and I see filmmakers whonhave real humour and intelligence beneath the visual level. It's still present to an extent with 22 Jump Street but, whilst it's not a bad movie, it feels less rounded than better fare they've provided in animation.

Fading Gigolo (2013, Dir. John Tuturro, USA) (Cert: 15/R) ***

Starring: John Tuturro, Woody Allen, Vanessa Paradis

With his rare book store facing closure, Murray (Allen) confides in his friend Firorovante (Tuturro) that his doctor (Sharon Stone) wants to have a ménage-a-trois with her girlfriend (Sofía Vergara) and Murray suggests loaning out Fiorovante out for a fee of a thousand dollars. Developing this into a side profession, Fiorovante also gets close to Avigal (Paradis), the widow of a Rabbi in a very traditional Jewish community. 

John Tuturro has had a long career in Hollywood, primarily making a name for himself as an actor and known for his work with the likes of Spike Lee, Michael Bay and the Coen brothers. But on occasion Tuturro has been known to write and direct films and here he does all three with Fading Gigolo a decent if unremarkable and throwaway romantic comedy.

From the start you know where you are, stylistically. The New York architecture, jazz music and humour slightly above the norm in terms of sophistication place this firmly within he style of Woody Allen so it comes as little surprise that the man himself is Tuturro's co-star. It's clear that Allen's own work has had influence but Tuturro's own sense of writing and staging comedy unsurprisingly puts this film beneath the lofty reputations of Annie Hall (1977) or Manhattan (1978) but it still has charm and Woody Allen still does well, playing a similar character to his usual neurotic complainers even if he isn't using his own material. 

Tuturro comes at his role with more warmth than is seen in his usual performances, where he tends to play obnoxious types (even with a hint of Woody Allen in his titular leading role in Barton Fink (1991)) but given a nicer character, Tuturro doesn't seem as colourful as charismatic, seeming a little out of his element. Meanwhile, whilst we do learn a lot of Vanessa Paradis as the Rabbi's widow, her screentime does push out the other two central female performers, Sharon Stone and Sofía Vergara (Vergara in particular is usually only given a major defining feature when referencing her..."ample" physical attributes).

The film takes place often against a backdrop of a conservative Hasidic neighbourhood. Something you don't often see in movies and allows for some unique ideas and characters, such as Liev Schrieber as a protective member of the Shomrim (essentially, a Jewish group who protect people in their community from crime) and the film tackles some aspects of the culture in such a way that whilst interesting can be seen as being depicted in a way that could be construed as offensive, given the often outlandish light it's cast in.

There are numerous problems in Fading Gigolo. The plot is portrayed in a strange light (it almost seems that the audience should feel bad for Tuturro, who seems to have written a script based around heterosexual male fantasies) and the characters are often one-dimensional or not fully thought out but it is, ultimately, harmless, good for a laugh and most people will probably fond something to enjoy in it.

Epizoda U Zivotu Berača Željeza (An Episode In The Life Of An Iron Picker) (2013, Dir. Danis Tanovic, Bosnia and Herzegovina, France, Slovenia, Italy) (Cert: 12a/TBC) ***

Starring: Nazim Mujic, Senada Allmanovic, Sandra Mujic

Living in poverty in a small isolated town, Nazim makes his living by taking apart cars and selling the scraps. At home, his wife Senada suffers a miscarriage and is taken to see a doctor. With no insurance, Nazim is told he will have to pay for Senada's treatment but has no means for paying the large amount of money that could save her life.

In cinematic terms, Bosnia and Herzegovina's presence is often a modest one. It's rare that films from that part of the world get any kind of a showcase, but An Episode In The Life Of An Iron Picker has picked up acclaim at the Berlin Film Festival and was put forward for Best Foreign Film at the Academy Awards. Whilst the film makes for a rare depiction of Bosnia and Herzegovina in film, it doesn't make up for the lack of exposure with extravagance. In fact, this film is very stripped back and simple.

Director Danis Tanovic goes very much for realism in the film. Our characters, their lives and their surroundings are far from glamorous. Much of the action is captured on the move with just a simple set up and the small cast simply shares the names of the actors playing the parts. It's jarringly realistic with emotions being almost completely downplayed and quiet, though clearly speaking volumes about their environment.

As our main character, Nazim has an axe to grind. He lives a life of little financial means, the medical and political bureaucracy standing in his way and is dealing with other issues, such as the violent war-related death of his brother but all his angst is represented quietly. Even Senada, his wife, is rarely shown in agony as it's traditionally portrayed in cinema. Instead, she seems almost tired and apathetic, almost losing the will to live (understandable, given the circumstances).

It's an acquired taste, and the film's heavy reliance on elements of Bosnian society and history mean that the themes and ideas of that the film presents probably won't have the smae impact as it will on Bosnians or those with a knowledge of the area. The film is also very short (75 minutes in all) but even so, the film's main plot ends about fifteen minutes before the credits with a separate story about the small town losing electricity having to be resolved. It fits the plot thematically, but it's unusual. At the end of the day, An Episode In The Life Of An Iron Picker will certainly not be everyone's cup of tea. But those susceptible to its barebones approach will probably find it a rewarding watch.

Edge Of Tomorrow (3D) (2014, Dir. Doug Liman, USA/Australia) (Cert: 12a/PG-13) ***

Starring: Tom Cruise, Emily Blunt, Brendan Gleeson

Though he's been passing himself off as an officer working for the military in a non-fighting capacity, William Cage (Cruise) is apprehended as a deserter and sent to fight in what is believed to be the battle that will ensure mankind's liberation from an alien invasion. The humans find themselves grossly outmatched however and Cage (who has been given next to no training) is killed. He then wakes up the day before the battle and is killed again, with this pattern coming in a continuous loop. With the help of a war heroine (Blunt) who experiences the same phenomenon, Cage uses his new "power" to try and end the alien invasion.

Even though it's an adaptation of Hiroshi Sakurazaka's novel and manga All You Need Is Kill, a lot of people will find this film all too comparable with Source Code (2011), both being science-fiction films set around the idea of a protagonist having to relive (even after "death") the same event until a solution is found. So throughout the comparisons to the two and the derivative nature of the piece hangs over it. However, whilst the film lacks in innovation, it's a dynamic and enjoyable film thanks in no small part to Tom Cruise.

Cruise's character of William Cage is not a radical departure from Cage's usual line. We've been used to see Cruise play the selfish jerk with a slowly unwrapped selflessness and/or heroism from Rain Man (1988), through to War Of The Worlds (2005). It's his raison d'être. But the charisma and humour he brings to the performance make him great to watch and do actually bring an intriguingly light side to the proceedings, with almost as much of a debt seemingly owed to Groundhog Day (1992) as it is to Source Code. After all, if you have character who is bumped off many, many times over the course of the movie if you don't sprinkle some comedy into it, it runs the risk of being very depressing very quickly.

Emily Blunt plays Cruise's accomplice. A hard-talking war veteran and a role that Blunt pulls off pretty effectively even if the shots of her finishing off some exercises by basically slithering her lower body to the ground every time she supposedly meets Cage for the first time get tiresomely lingering. There isn't much in the way of a real supporting cast and this hurts the film by depriving it of more colour. Brendan Gleeson plays a stubborn general who has a couple of sequences here and there, Nick Curry plays a scientist who largely serves to espouse scientific detail and there are various grunts as part of the invasion, but this is certainly no ensemble piece.

Whilst the aesthetics are at times pleasing, they can be frustrating. In particular the dull grey metallic view of this future really clashes when 3D is involved, given the dimming effect of the glasses making for a film where actually seeing what's going on is a little more effort than the norm. If you think you'll enjoy this, you're probably okay to trust your instincts but you're probably best off watching it in 2D format unless your 3D screens have very good lighting.

Jimmy's Hall (2014, Dir. Ken Loach, UK/Ireland/France) (Cert: 12a/TBC) ***

Starring: Barry Ward, Jim Norton, Simone Kirby

Having spent ten years living in New York City, Jimmy Gralton (Ward) returns to his small rural hometown in Country Leitrim, Ireland. Soon after arriving he is convinced to help bring back a town hall he helped build before being effectively forced out for his left-wing political views. Jimmy and some of the locals bring back the club for dancing and education, only to once again draw the disapproving attention of the conservative and heavily religious authorities of the town.

Only weeks after Hayao Miyazaki's supposedly last film The Wind Rises (2013) has reached the UK, we now have Jimmy's Hall, which is believed to be the last theatrical feature by Ken Loach who, much like Miyazaki, is a veteran director beloved by many and known for the often left-of-centre views espoused by his films. To that end, Jimmy's Hall is no exception.

 A telling of the true story of Irish communist James Gralton, Jimmy's Hall lacks the gritty social realism of Kes (1969), Loach's best-known film but this is a man whose work has noticeably changed after forty-five years. The Irish backdrop of the film is a rural idyll of green rolling hills and the film's soft approach really hurts the film in its opening. The film's beginnings trudge on and an early flashback sequence is executed in such a way as to make you unsure where the flashback and where the current story intersect.

But in a perhaps symbolic way, it is when the titular hall is built that the story, like a good share of the local community, comes together. Of course a lot of this is through the energy that is finally released. Loach is all too capable of being tough with his films. Far from being just a sweet story of pastoral postcard Ireland, the film shows a girl being brutally whipped (as in with a literal horse whip) by her father and gunshots being fired with seemingly little care towards women and children. Unrest underscores the film as it depicts an Ireland torn by mass migration, political, religious and social reform as well a war of independence and a resulting civil war. Yet the film could easily be read as analogous to current issues in the world, especially the current discord between the American political left and the religious conservatives.

Whilst some of this energy is the result of Loach's skill as a film-maker, a certain amount can also be attributed to the central performances. Playing Jimmy Gralton is Barry Ward. An actor from a largely theatrical background, which aids to give his grandstanding some weight. Jim Norton plays Father Sheridan, the local priest. A performance filled with indignation and entertaining throughout.

I've heard criticism of the film, attacking it for being too one-sided in Jimmy's favour, painting him as a saint and his opponents as one-dimensional villains and whilst I agree that the film's treatment of James Gralton is a very eulogistic one, the film does make some pains to show certain sympathies with the religious opposition, even if it is only paid any kind of attention towards the very end of the film.

I suppose it's fair to say that Jimmy's Hall is uneven. Slow and lulling to start and a film that does slightly overstay its welcome, but in between that is a film of energy and life that is resolutely admirable and is, even given the subject matter that it deals with and the way it is dealt with, entertaining.

My Top Five Films of 2014 (so far...)

5. The Grand Budapest Hotel

I really like Wes Anderson movies. They're not to everyone's taste, with their extreme quirkiness and obvious stylisation (and, to be honest, I'm not such a fan of The Life Aquatic With Steve Zissou (2003)) but they're fun yet heartfelt and I loved that this colourful comic caper was such a big surprise hit.

I've seen it twice now (both at the start and at the end of its theatrical run) and the fun remained when I revisited it. A heady mixture of kooky designs, brilliantly zippy timing and performances by both Anderson regulars (Bill Murray, Jason Schwartzman, Owen Wilson...) and some stand-outs for first-timers like F. Murray Abraham and Ralph Fiennes, who shows a largely untapped well of comedic potential. Good for a giggle.

4. Calvary

A dark comedy about a priest in a small eccentric community in Ireland, yes, it all sounds a bit Father Ted. But this is a different beast (and, okay, it's more a drama than a comedy). I'm really excited about what's happening right now in the Irish film industry and this is a great example of the quality of work being produced. Brendan Gleeson gives a warmly understated performance as a priest who discovers that he will only have a week before he is murdered by a mysterious figure he speaks to in confession. 

Alongside this are performances from other major names in Irish acting including Aiden Gillen, Dylan Moran, Chris O'Dowd and Brendan Gleeson's own son, Domhnall as an imprisoned serial killer. the audacity  that the picture sometimes indulges in (like its very tough opening few lines of dialogue) may not be to everyone's taste, but I think this is a wonderful gem of a movie.

3. The Lego Movie

Everyone has seen it, many have seen it repeatedly and yes, it's a feature-length advert for Lego, but it's the funniest and most inventive film of the year.  Taking the old story of the everyman becoming a saviour and hitting it with quick fire gags and seemingly endless new visual vistas there is not one moment of this film that is not extremely entertaining and will make you relive your childhood all over again. Yes, everything is indeed awesome.

2. The Story Of Yonosuke

An obscure Japanese film that got a very small UK release this year, I saw this film purely by chance at a one-off screening as part of an annual season of contemporary Japanese cinema and was pleasantly surprised by it. The story of working class Nagasaki teenager coming to study in Tokyo in 1987 and his developing relationship with a sweet rich girl, the film exhibits a skill between amiable comedy and sweet drama as we follow Yonosuke's journey (often through reminisces of his friends years later) amidst a story that is both detailed yet intimate. If you can find this film, check it out. It's a great film that's slipped through the cracks.

1. 12 Years A Slave

There is one thing I disagree with many people with in terms of 12 Years A Slave. I doubt that this is a fully accurate portrayal of slavery because the reality of things was probably far more barbaric and cruel and given this film's already tough subject and execution that says something of what's being dealt with. I started this post talking about how Wes Anderson has a specific directorial style and the same is true of Steve McQueen. His love of long, lingering Leone-esque shots and beautiful cinematography bring a fully immersive world into view and helps anchor a real sucker punch to the gut that few movies deliver. I defy anyone not to be a little stirred by this movie, its content, or what it says about the human spirit.

I've only seen this movie once so far, but as I left the screening I overheard a rather deep discussion a few rows back. It was about the holocaust, but it was a discussion obviously inspired by this movie and, personally, I think a movie that can stir up public debate and discussion is a film of rare and special importance.