iLL Manors ***

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Posted: 07/06/2012

“We are all products of our environment”, is debut writer-director Ben Drew’s (Plan B) chillingly frank poster statement. This is never a truer word said and kind of stating the obvious too. But far from falling into the gangster genre trap of having to suffer one’s lot in life, Drew does try to emphasise that we all have free will – however hard the going gets. This is what makes his film, iLL Manors, set in east London’s Forest Gate area all the more intriguing than the usual youth hardship offering.

The story starts out in much the same way as other raw, gritty and unforgiving London-based crime dramas. However, it interweaves the lives of various characters of various ages and various nationalities in a lengthy but purposeful way, along with old Super 8 film of innocence at play that is particularly heart wrenching. At the helm is big-hearted foot soldier, drug dealer Aaron (Riz Ahmed) who is a right-hand man to his hotheaded, long-time mate Ed (Ed Skrein), who he grew up with in a children’s home. Various scenarios play out that lead to one of the pair reassessing his predicament.

Nobody can deny that Drew really knows his topic, his past existence of ‘survival of the fittest’ on London’s tough estates inside out. Illustrating this with catchy music and poignant lyrics, he guides us through this mind field of hard knocks and unseen consequences that, thankfully, the majority of us have not experienced. That said Drew never allows any of his characters to be rendered completely at fault or completely helpless either. Each character is allowed time to pause and reflect before continuing down one path, which gives iLL Manors a more unique vibe than the likes of Noel Clarke’s ‘depressingly hopeless’ Adulthood and Kidulthood or Tinge Krishnan‘s Junkhearts.

Nevertheless, iLL Manors still feels emotionally cumbersome at times, lacking any of the spirit-relieving dry wit of, say, Dexter Fletcher’s Wild Bill that suggests how such a population deals with societal deprivation and being outcast and unheard. In its favour, it does presume how the London Riots sparked off and enflamed as ‘the underdog class’ feels voiceless and powerless in modern-day politics. Drew gives this his full attention within the film, but is also quick to condone such antisocial behaviour through the choices that his characters make. It’s clear that he supports the working echelons of criminal justice power – the police doing their job for once by arresting the violently abusive Russian pimps, for example, set nicely in contrast with a kid being stopped and searched for simply ‘standing on a street corner’.

Perhaps the most tragic element to the whole film that sticks with you and is expertly demonstrated is how a youth gets involved in a gang. A young boy’s disturbing rise from playground bully to gangster killer charts a short, sharp and depressing arc with shocking results. Indeed, Drew rightfully portrays all ages affected in the film, using clever time-shift editing to illustrate important points. The only true victims seem to be the women, but Drew does fall back on clichés and stereotypes here, resorting to the time-old cinematic tactic of punishing the sexually active female.

Ahmed and Skrein form an easy rapport on screen as unlikely ‘brothers in arms’, with Ahmed portraying many intriguing layers to Aaron’s personality. Aaron and Ed’s deep connection is not fully apparent at first through the bickering, but is wisely allowed the space to develop to explain how circumstance may well determine fate, but not all those involved in the gangster lifestyle think the same way either. Drew does spoil his film by employing violent shock tactics and by its eye-rolling fairy-tale ending that is there to give hope. That said it’s also his personal nod to prove that some do escape the grind.

As directorial debuts go, Drew has yet to grow but has wisely chosen a subject matter close to his heart where he can reach out simultaneously with his music and lyrics, like some latter-day poet. His direction is impressive, helped by the film’s snappy editing and changeable scenarios that all link up – some might argue, a little too conveniently. All the characters are flawed in some way but their fighting spirit does radiate true, making them all the more accessible in a love-hate way. Those from tough backgrounds will no doubt relate; those who are not will appreciate Drew’s messages, however unbelievable some of the actions presented – such as those involving a tart in a kebab shop – get. With access to such filmmaking, we can start to begin understanding Broken Britain and that is a productive thing.

3/5 stars

By @FilmGazer

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The Angels’ Share ****

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Posted: 01/06/2012

A wee heart-warming dram of Scots spirit flows beautifully through Ken Loach’s new comedy drama, The Angels’ Share, as the director surprises all by tapping into his wittier side in his latest film. However, fans should not be wary as his particular brand of socialist realism is never far from the surface, brewing in menacing form, and keeping the surreal adventures of Robbie and co very much grounded.

In fact, in semi-documentary-style, Loach opens his film with a cynical courtroom introduction to the bunch of reprobates – petty thieves, thugs and those too stupid to know any better – who will go on to entertain us for the next 101 minutes. We meet hothead Robbie (Paul Brannigan), a first-time dad-to-be who narrowly escapes prison, sticky-fingered Mo (Jasmin Riggins) and fellow community service pals Rhino (William Ruane) and the thick-as-pig-sh*te Albert (Gary Maitland) who all discover a new passion for whisky after an unsupervised visit to a local distillery organised by big-hearted mentor Harry (John Henshaw). But even though this new passion inspires Robbie to turn over a new leaf for the sake of his newborn son, it doesn’t stop his inner rogue concocting the most expensive spirit heist to make a few bob, so him and his mates can escape their hopeless, humdrum lives.

Think Trainspotting for ‘love-but-loathe-em’ companionship value, to the point that you half expect Robbie and co to utter the infamous line “it’s no natural” on a countryside visit. The strength of Loach’s characters is their self-perceived bad lot in life, pushing back against society’s views, and hence uniting them against the odds, as well as making for intriguing inter personality clashes. Trust is a major factor – both for the characters themselves and us in reaction to them – that develops at a natural pace within the narrative, with the obvious outcome of us rooting for them to see some good fortune come their way, however despicable them might be as individuals. Loach still champions the underdog, however ‘damaged’, and Angels’ Share is a uncompromising political cry but a side-splitting and seriously funny one.

In addition to an incredible first-time performance by talented Brannigan, screenwriter  Paul Laverty gives Loach’s oddballs some wonderfully sardonic lines to deliver – the best being with reference to the iconic Edinburgh Castle and Scotland’s biggest export (not whisky). There is such a natural effort to the leads’ performances that it’s hard to believe you’re not watching a reality TV episode sometimes. But Loach’s careful direction employs just the right balance of dramatic screen dynamics and tension and credibility, without losing any of his fabled realism.

(For those of us outside of Glasgow), once you’ve tuned into the accents, this bunch of foolish but disarmingly charming delinquents is one you really want to invest time in and give a second chance to – if not to prove the system wrong. With education comes (abuse of) power, and this heady, poignant mixture combined with the cast’s silky smooth delivery makes The Angels’ Share – a reference to whisky evaporation during maturation in the cask – a rich fermentation of the best of British comedy filmmaking with a greater social agenda.

4/5 stars

By @FilmGazer

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Top Cat – The Movie (3D) **

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Posted: 01/06/2012

The Top Cat theme tune is undoubtedly the most memorable aspect of Hanna-Barbera’s classic TV cartoon series, more so than the actual alley antics of con artist moggy Top Cat (TC) and his oddball pals. While it’s obviously nostalgic to see the cool character brought to life on the big screen ­in somewhat dubious ‘3D’, director Alberto Mar’s story does little to please older fans further beyond the initial thrill of seeing the gang – TC, Benny, Fancy-Fancy, Choo-Choo, Spook and Brain – reunited with Officer Dibble. Thankfully, there are plenty of animated feline personalities for the younger generation to relate to – and subsequently, pick a favourite from.

In the movie, the cats are up to their old tricks, including tormenting Officer Dibble. But after Dibble is overlooked for the new police chief role, and the dastardly, self-loving, technology-obsessed mogul Lou Strickland gets the plum job instead, TC and co find their plans temporarily derailed. TC then gets thrown into a doggy jail for allegedly stealing from orphans, leaving his pals without their natural leader and in total disarray. As tyrant Strickland tries cleaning up the city with his robotic army, with a little female feline help from TC’s love interest – and Strickland’s ex PA – Trixie, the gang goes about setting wrongs to right.

One thing fans will appreciate is the original drawn quality to the animated characters that has been recreated here. There is also the striking similarity to the original voices of the lead characters, predominantly provided by Jason Harris who gives his all to a lacklustre script by voicing TC, Griswald, Strickland, Choo Choo, Brain and Big Gus. The Spanish to English dub has paid attention to how the characters look and sound to instantly appeal – it’s just a shame some parts are out of sync. The 2012 movie lacks the spirited vitality of the original too, and TC and friends simply look out of place in a modern-day, technology-filled world of mobiles etc. Although these aspects are designed to update for and register with the new generation, it just feels totally alien for loyal fans.

However, sticking out like a sore paw from the start are the same 2D-drawn figures placed against a more traditional CG 3D background that just doesn’t mesh well – much like watching a paper finger puppet show set within its own 3D theatre. It’s made worse for the eyeballs adjusting by the layered effect of the sharper outlines of the characters against the blurrier surrounding 3D space. Admittedly, doing the animation any other way would mean a completely different looking TC. As a lot of the action is from left to right, or just static, it does raise the question of how necessary the whole 3D offering is, just for the sake of being ‘in 3D’.

Top Cat returns with a purr rather than a MEOW, sorely let down by its odd technicalities and lack of engaging script. The kids at the screening really wanted to get involved in the kitty adventure, as there are some half-decent personalities to root for – based on some excitable reactions. TC and gang may be temporarily flavour of the hour, but without much to sink their claws into in this story, could soon be resigned to the alley dustbins in favour of more viewable, modern-day animation of late.

2/5 stars

By @FilmGazer

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Prometheus (3D) ***

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Posted: 31/05/2012

Director Ridley Scott was quoted as saying that Prometheus was a film that would ‘stand on its own’, apart from the Alien series. It’s fair to say that the sweeping, opening 3D vistas and alien mutation on the IMAX screen are truly spectacular to watch, so there is a lot of genuine expectation from the start – and for the newcomer, it’s quite a show of effects prowess to be initially engulfed by.

But as the film goes on, the grand, industrial production design is almost like a sci-fi distraction to the riddles the narrative throws up. It’s comparable to an annoying rhetorical inner self, constantly questioning and re-questioning Man’s origins, with no feasible conclusions, and instead favouring falling back on the same, lame biblical and mind-bending one of the ultimate creator being a deity. Perhaps a second viewing is necessary to grasp all the ideas that fall under the ‘science verses religion’ label, complete with obvious Darwin and Christianity connotations.

It’s 2093, and the crew of the Prometheus are woken from cyrogentic sleep to begin their mission to find mankind’s creator on a rocky planet, headed by archaeologists Shaw (Noomi Rapace) and Holloway (Logan Marshall-Green). Behind the scientific purpose is a darker ulterior motive yet to be revealed that only the ship’s super efficient humanoid, David (Michael Fassbender), seems to hold the clues to. However, while exploring the site, the crew that also includes company spokeswoman Meredith Vickers (Charlize Theron) and loyal, renegade captain Janek (Idris Elba) encounter a terrifying alien secret. They must battle to save the future of the human race back on Earth.

Even keeping reveals to a fair way into the story, in all honesty, this was always going to be an Alien prequel spotting exercise, as we expect to be shocked and appalled by the first appearance of the notorious goo-dripping, acid-stripping life form. However, the scares are not so much in the traditional, surprise-tactic horror sense, rather more about ‘realistic’ visual horrors of gut-wrenching proportions – cue a nod to Alien, as well as for those with an Ophidiophobia complex that is equally terrifying and disturbingly phallic and erotic.

Ridley is more about exploring the Darwinist theories here, rather than staging epic, squelch-fest battles of latter Alien films. Fire is the biggest threat to all – much like for primitive man, and the analogy is not lost. That said there is still enough wonderment at the genetic composition of the alien species that takes on a different form in this to thrill fans – the problems lie in the lack of a decent explanation as to the true effects of the tar-like DNA matter and its engineer.

Ridley needed a contemporary Sigourney Weaver, someone who combines courage with empathy. Athletic Rapace delivers anxiety, vulnerability and grit determination simultaneously – also present in her Girl With a Dragon Tattoo portrayals. Her strong performance as Shaw in this helps keep the status quo on some meaningful track when all else gets blown into the metallic ether, or fails to amount to much else than visual awe: Included in the latter statement is Theron who knows how to play the stunning ice maiden but is allowed little else to really sink her teeth into in this, apart from one reveal that leads nowhere for her character.

Nevertheless, it’s Fassbender who ultimately steals the show as David, a Peter O’Toole lookalike in a space jumpsuit with an eerie sociopathic tendency, unconditionally serving a ‘higher being’ but keeping us guessing as to possessing any real feelings as such. This both works in the character’s favour and against, which is where lies another of the film’s flaws; could such a manmade creation indeed be capable of developing free will, aside from following his programme. Still, this is another Bishop origin pointer for Aliens fans, as well as neatly emphasising man’s ironic reliance on technology for survival.

The biggest frustration in what is a stunning, visual sci-fi feast – a must-see at the IMAX – is the plethora of possible ideas that detract from making Prometheus a tighter-scripted, latter-day blockbuster worthy of challenging the 1979 film. Its commercial slant that the earlier film sardonically defied is made more apparent by the odd quips to lighten the mood, hence defusing any whiff of mounting tension. Without the claustrophobic space of the other films, the pressure cooker effect is sorely absent in this, with the only feeling of entrapment being the lack of oxygen on the planetary surface. Still, Ridley coaxes out some memorable performances from Rapace and Fassbender, and keeps a consistent sense of man’s curiosity at the bigger evolution picture, which fuels the film’s own fire. The rest is open to interpretation.

3/5 stars

By @FilmGazer

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Snow White and The Huntsman ***

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Posted: 31/05/2012

This long-anticipated version of Snow White couldn’t be more different from the humourless and bland Mirror Mirror with a smug Julia Roberts. Bathed in Gothic shadows and sinister trickery it stars Twilight’s very own vamp princess Kristen Stewart as the snow-white skinned maiden doing battle with her evil stepmother, Queen Ravenna (Charlize Theron). But much as debut director Rupert Sanders may have thought some of the Twilight magic may rub off by casting Stewart, the most successful performances come from Theron and the ‘famous’ faces of the dwarves.

It’s a shame that Stewart seems to have little else in her acting arsenal than to continually act like she’s permanent in oral pain. In fact, any empathy we might feel for her Snow White is probably more a throwback response to her equally awkward and gurning Bella character, making us seriously question whether she is literally a one trick pony. Still, with her army of loyal fans, both Sanders and her know their target audience for this film, and she plays the same hand.

In all fairness, this Snow White has a lot to be miffed about, having been locked in a tower all her developing years, alongside other young maidens that evil and bewitching Ravenna uses to suck the soul out of like a stunning, flaxen-haired Dementor, simply as an alternative to Botox to rid her of her wrinkles. As Snow White escapes, the Queen soon learns that one suck on stepdaughter would have rid her of old age for eternity, and so recruits the Huntsman (Chris Hemsworth), a drunken, grieving widower to track her and bring her live ‘beauty treatment’ back. But to everyone’s surprise, including his, the Huntsman falls for Snow White, and hence decides to help her reclaim her rightful throne, with the help of a small army of supporters.

Colleen Atwood’s stunning design is worth witnessing alone on the big screen, opening up Sanders’ fairy tale to a wider fantasy league, such as those who enjoy LOTR, for example. It even comes complete with an exhilarating horseback charge of attack at the end that is reminiscent of The Return of the King in energy and panoramic glory. Ravenna’s mirror on the wall also oozes lethal golden beauty but is mesmerising too.

Sanders makes sure there is a seductive dichotomy of beauty and brutality throughout, with Theron encompassing this. She plays the role straight laced, being an expert in portraying thorny and unhinged beauty in a number of films. With Stewart cast as her nemesis in the looks stakes, it’s a tad hard to believe Ravenna has anything much to be jealous of. Nevertheless, both actresses are match for match in the final confrontation scene, which showers us with some of the best special effects this film as to offer, but feels short lived.

Hemsworth, still in Thor mode, plays rugged ‘brute’ naturally in his sleep, no doubt, with little else to challenge him in this. There is a nice ‘will they, won’t they’ love triangle going on between Snow White, Huntsman and Snow White’s childhood sweetheart William (Sam Claflin) – echoing the Twilight love saga perhaps? It’s disappointing that the introduction of the fun celebrity dwarves – played by Bob Hoskins, Ray Winstone, Ian McShane, Eddie Marsan, Nick Frost, Toby Jones, Brian Gleeson and Johnny Harris – is later on in the story, meaning this heady mix of talent has limited screen time, before they are recruited into Snow White’s onslaught on the castle. In fact there are characters for everyone to enjoy in this, as it’s certainly not the narrative that engages the viewer.

Sanders’ outing is a Gothic technical triumph in many ways – minus the Tim Burton quirkiness of yesteryear. His attention to detail is fully commendable as he tries to reinvent the children’s bedtime story into something more substantial and appealing to the grown-up market. His choice of cast is hit and miss, with Stewart actually being the weakest link, regardless of her box office draw. That said there is a lot of visual wonder to bask in and be inspired by, making Sanders’ next project one to watch out for.

3/5 stars

By @FilmGazer

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Men in Black III (3D) ***

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Posted: 26/05/2012

The fact that the second MiB film seems to draw a complete blank either means it was totally unforgettable tripe or someone’s been trigger happy with a Neuralyzer. Needless to say, it’s a happy predicament to be in as having watch the first film recently, to then watch the third in the series the latter nicely ties up the J and K relationship and explores a deeper bond.

In fact, mimicking the Back to the Future series – second film being duff and the third redeeming the franchise, there is also a bit of time travel involved. That’s not to say there aren’t a few soggy, bloated parts full of unnecessary banter, but it’s the charisma of Will Smith and the cantankerous, grumpy nature of Tommy Lee Jones that keeps the life source flowing. What’s more thrilling is Josh Brolin adopting the mannerisms, like for like, as a younger K. Eternally witty Emma Thompson is right at home as the eccentric Agent O, too, entertaining as always as you never know where she will take a character next.

In film number 3, Agent J (Smith) must travel in time to MiB’s early years in the 1960s to not only prevent murderous alien Boris The Animal (Jemaine Clement) from assassinating his friend Agent K (Lee Jones), but also stop Earth being destroyed in the present by an alien warship attack. The goal is to change history, but J finds out more about the younger K (Brolin) than he bargained for in trying to change history for the better.

The initial concern for any fan of the first film is just what director Barry Sonnenfeld and his new writing team could conjure up that’s at all fresh for a third outing by the mystery men in black suits. After a hilarious opening eulogy, it all starts out in much the same way with a far grumpier and lacklustre team tackling yet more devious aliens in disguise in a local Chinese restaurant then Smith supplying his humorous trademark comments to passing onlookers that raises the necessary laughs and places us back the frame. A decade has passed and the jokes and grouchy nature are still in full flow – but rather than being tiresome, it’s somehow reassuring and quite nostalgic. Thompson as the new agency boss doing her usual po-faced comedic turn punctuates the atmosphere, and helps give further clues to the characters’ past.

However, this time, the true path of destiny between agents is explored, giving MiB 3 an unexpected emotional substance among all the alien chasing, and making it less superfluous at that special moment of clarity to the point that the unstoppable Boris takes a backseat. Much of the ‘buddy’ credit goes to Brolin for taking up the K mantle so fittingly and working to compliment Smith’s sarcastic stand-up act. There is also a notable performance by Michael Stuhlbarg as future-forecasting Griffin that emphasises all the characters’ vulnerability as they venture down a life-changing path, plus a bit of grounding in historical fact that some older viewers will enjoy reliving.

Those expecting wanton alien bashing will not be disappointed as such, but be prepared for more of a sentimental time-travelling journey down memory lane with less of the Smith wise cracks – though still enough to be comically flippant and charming. In the end, everything has to grow up, and J and K with renewed understanding will probably be on the case until they’re MiB Seniors.

3/5 stars

By @FilmGazer

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2 Days in New York ****

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Posted: 19/05/2012

Julie Delpy is proving as accomplished in her writing-directing as she is in her acting, bringing a cross-cultural humour that resonates with international audiences while defiantly drawing laughs from stereotypical situations. Hers is a rudimentary form of wit, the un-PC kind that still revels in pointing out our apparent differences that result in miscommunication and ultimately comic farce.

Following on from the 2007 romantic comedy, 2 Days In Paris, a kind of wordy, intellectual dissection of a cross-cultural relationship between Marion (Delpy) and American boyfriend Jack (Adam Goldberg), her latest sequel, 2 Days In New York, sees her free-spirited photographer character back home in New York and living with new partner, talk-radio host Mingus (Chris Rock) in near idyllic bliss. Enter the arrival of the visiting family from France, an uninhibited bunch – jolly father (Delpy’s real-life father, Albert Delpy), oversexed sister Rose (Alexia Landeau) and outrageous on-off, pot-smoking boyfriend Manu (Alexandre Nahon) – who put the ‘ex’ in exhibition and test the couple’s relationship to the full.

Delpy’s style is an engaging Cinéma vérité one, allowing seemingly tense, real-life family scenarios to escalate to the point of combustion, rather than set pieces designed to coax laughter at various cues. The myriad of possibilities of what any of the characters could do next is what keeps this eccentric comedy fresh and equally volatile. In addition, Rock tones down his wise-cracking for a more subdued if bemused delivery, and is quite the tonic in this, managing to come across as the more level-headed of the bunch opposite his Gaulois counterparts. In doing so, he expertly supplies the cynical dry wit to match the nutty mayhem in a role some will be surprised to see him in.

Delpy is very much the passive-aggressive catalyst as Marion in the story, combining beauty, brains and cerebral brawn to propel the farce forward as all her players act and react within the confined space of the apartment. Although the French liberal ways seem at odds with the more reserved American ones on face value, ultimately, Delpy highlights the similarities in both cultures when the going gets rough, and it’s merely a difference of expression than purpose that is an intriguing aspect of the whole social affair.

The story also throws up some memorable tabooed subjects and presents them with a refreshingly open frankness that directly challenges our reaction while suggesting we self-reflect at the imperfections on display. There is also a sequence where Marion feels she is losing her inner soul, and where some might feel the film goes off on a bizarre and unnecessary tangent, but it does serves as a deal maker/breaker and allows Delpy to analyse where her character’s at in life.

This zany and hilarious observation of human interaction is beautifully scripted, acted and timed with expert comic precision, emphasising the subtle absurdity of – essentially – normality, and how it is perceived differently by different walks of life. Delpy has carefully crafted her film and given us intriguingly layered personalities that translate universally within a bohemian setting that could ultimately be staged anywhere.

4/5 stars

By @FilmGazer

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How I Spent My Summer Vacation ****

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Posted: 12/05/2012

Not to be confused with the 1997 teenie film of the same name, this is Mel Gibson’s new drama, How I Spent My Summer Vacation that for those in the know seems part like a film version of Rusty Young’s brilliantly gripping Marching Powder. It seems that Gibson – who needs a career/personality boost and is the co-writer on this film – has possibly taken some ideas from this novel about the real-life experiences of a drug dealer in a Bolivian jail run like a miniature city.

In terms of a Gibson revival after the rather odd and equally retrospective (if pretentious) The Beaver in 2011, this action film is far better placed to draw back audiences, and the actor draws on a lot of the personality traits of his previous, best-loved characters – including Riggs’s sideways shooting from the Lethal Weapon glory days.

Gibson is back in action-man form playing ‘Driver’, a career criminal who is chased by the US authorities over the US-Mexican border and crashes to a stop. Placed in a tough, tiered prison ‘city’ of haves and have-nots with its own rules, he learns to survive the harsh lifestyle with the help of a 9-year-old boy (Kevin Hernandez) who has been raised in the penal environment. Everything can be bought and bartered inside, and Driver soon realises a grim new ‘currency’ that is life-threatening.

It’s a carefully considered, tailored part written for controversial Gibson – you never really make your mind up about Driver either or know whether to like/trust him completely, but you know he needs to be given a chance to put injustices right: life imitating art, perhaps? Gibson is highly watchable mixture of harden cynic and melancholic, weary softie in this, and like his Riggs character, has a lot of baggage that this story never really needs to venture into to keep up the enigma that is ‘Driver’.

Bouncing off Gibson/Driver’s knee-jerk reactions is a rather commendable performance by young Hernandez who plays a wise-beyond-his-years and hardened kid with time running out, a far better role than his cringeworthingly racist turn as Rodrigo in flop comedy The Sitter last year. He reflects Gibson/Driver’s edgy attitude in mini form, and even though the outcome is fairly obvious and will result in an unlikely bonding, co-writer-director Adrian Grunberg’s film still has a lot of intriguing avenues it could head down as it combines action, humour and dramatics, all within one tough environment and never stagnant pace.

There is almost a stylised, Tarantino-esque expenditure to it as the body count rises, mixed with old-school Latino crime drama shootouts. Bottom line is all are ‘bad guys’ in this; the question is which ones perish or live to tell the tale, and that is what keeps things fresh and engaging. With a devilish sardonic humour running throughout, Summer Vacation always entertains in action or retort. It has a free will attitude that you can really get onboard with, as well as a sympathetic stance on the politics of the region, without being overtly condescending.

Love or loathe Gibson, he is hard to resist in this tantalizing tale of hard knocks, winners and losers, as he charms then reminds us of what made him a big screen star in the first place. It does promise a good night out at the cinema.

4/5 stars

By @FilmGazer

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Dark Shadows ***

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Posted: 12/05/2012

Once upon a time, the Burton-Depp partnership was such a sure thing with every project they entered into that they seemed to have the monopoly on quirky Gothic tales; we fell in love with Edward Scissorhands and were enchanted by Corpse Bride. So the chance to see the pair collaborate on a feature-film version of Dan Curtis’s much-loved TV show, Dark Shadows, seemed like ideal material. However, as has been the case since Alice in Wonderland, too much of a good thing has led to them becoming complacent and lacking any new ideas.

Burton fans will find some satisfaction in Dark Shadows as Depp does his stiff upper-class English gent take once more, but they will be disappointed in the lack of substance – however superficially easy on the brain this film is. It is a fair adaptation of the TV show that will entertain, but it was also ripe for so much more twisted fun than it offers, which is a shame with such a show-stopping cast at the fore.

Depp plays Barnabas Collins, son of a fishing merchant who is turned into a creature of the night by his spurned love, witch Angelique Bouchard (Eva Green), and rises from the ‘dead’ after a 200-year slumber. Now it’s 1970s’ America in his home town of Collinsport, and Barnabas, complete with a ferocious thirst returns to the family mansion to find his descendants living in disarray and near poverty: head of the house is Elizabeth Collins Stoddard (Michelle Pfeiffer), her moody teen daughter Carolyn Stoddard (Chloë Grace Moretz), her scoundrel brother Roger Collins (Jonny Lee Miller) and his grieving son David (Gulliver McGrath) and their odd, alcoholic psychiatrist, Dr. Julia Hoffman (Helena Bonham Carter). The only sight for sore eyes is David’s new governess Victoria (Bella Heathcote) who looks the spitting image of Barnabas’s tragic lost love Josette. Old-fashioned Barnabas must cope with modern ways and a vengedful old fiend who is ruining the family fortunes.

The tragic thing about Burton’s new offering is all the cast are literally superb in their individual role playing, each delighting any audience going to see a typical Burton parade of oddballs, and Depp does not disappoint with some hilarious observations and one-liners that question some of modern-day living’s screwed up values. Nostalgia is always a potent thing to draw on. However, the tempestuous Barnabas- Angelique show aside, all these intriguing personalities and their issues are never fully explored – as you might expect when trying to condense a TV series – or properly layered to satisfy having them all present, making the outcome seem frivolous. Like the two-dimensionality of Disney cartoons, the characters merely serve the Depp show highs and lows. It also seems like Burton is tiring of his eccentric missus, Bonham Carter, too, who gets to be erratic in this but does not get nearly enough screen-time to entertain fully.

Those expecting a crazed Noughties Beetlejuice – which the trailer suggests – of which someone like Depp would be perfect to follow in the maniacal shoes of Michael Keaton will be left sorely wanting because the Burton other-worldly imagination is missing. The only resurrecting grace is Depp’s now routine, freak pantomime performance and the bewitching Green in some wild frocks – oh, and a brief Alice Cooper appearance because he happens to spell ‘Goth’ in music world terms. You will scream with frustration at this ghoulish comedy, that’s for sure. Let’s hope Frankenweenie this year rekindles the Burton magic.

3/5 stars

By @FilmGazer

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