Alpha and Omega – 2*

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Posted: 21/10/2010

Pixar is just not doing other animators any favours, especially in the 3D stakes. So, for a new non-Pixar film to stand out, it has to have something extra special and memorable about it. Crest Animation’s Alpha and Omega is sadly going to be remembered by this critic as a ‘Timotei ad for wolves with great hair’ because the 3D and the story lack body and bite – even with all the greatest will and intention to plug a smaller studio production.
We’re introduced to an amicable enough bunch of canine characters that in all honesty, and with a bit of clever marketing, considering the emphasise placed on hair dos, could be sold as dolls at Christmas, complete with their own mini bottles of shampoo (you heard it here first). However, even with voices lent by Hayden Panettiere, Justin Long, Danny Glover, Dennis Hooper and Christina Ricci, Alpha wolf Kate and Omega wolf Humphrey still fail to rise to the top of the pack of animated offerings out there, and merely offer a pleasing diversion from reality for one hour plus, rather than any longer, more poignant attachment like Woody and co., or Sulley and team do. These wolves may even go off radar by the time the festive season arrives, consigned to the DVD list, and up against better Pixar titles. This is not to say there isn’t room for more emotive animated characters to capture our hearts and imaginations, it’s just that Kate and Humphrey just don’t fully engage us.

In our humble opinion – and it has nothing to do with the quality of the animation, one main reason for this could be the lack of adventure that Pixar makes sure it gets absolutely right: If we don’t go the distance with our furry friends, we can’t possibly be expected to empathise with their plight and their end jubilation. Apart from hitchhiking their way home and meeting two of the funniest characters in the film, a golf-loving turkey and his sarcastic associate, one minute our wayward pair are lost, far from home, the next Kate and Humphrey are swiftly projected back to face the growing pressure between the two packs, without any hairs out of place. Yes, there is a bear incident in the meantime, but not much else to allow us (or our leads) to truly bond.

Admittedly, Humphrey and friends teach us the true meaning of friendship, if the jokes and antics are a little clichéd and stoke feelings of déjà vu, from Ice Age to The Jungle Book. Like every animation rightfully teaches us, everyone can get along with a little compromise and understanding, and Alpha and Omega is no different and is therefore difficult to knock for all its good-intended morality. But it does lack originality. That said a notable and quirky moment is Garth’s inability to howl at the moon, causing the birds to quite literally fall from the sky and this, combined with a toe-tapping soundtrack, in addition to the hair fashion statements, will getting the film talked about.

Can Alpha and Omega stand on its own four feet in the 3D market? At least it doesn’t have Toy Story 3D to contend with, come September. The most troubling thing about this animation and others like it, is the film-makers’ almost dismissive and misguided belief that throw a bunch of A Lister stars’ voices at it, and it will somehow work its magic at the box office. From experience, it doesn’t. It’s the story that just seems to lack meat on its bones to tempt even the hungriest of animation fans out of their cozy dens to see it.

2/5 stars

By L G-K

The Social Network – 5*

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Posted: 11/10/2010

With all the hype about social media and the news that it’s the fastest growth sector in the jobs market, you’d be forgiven for wondering how a film about the founders of Facebook could possibly hold your interest for longer than 30 minutes, let alone two hours. The thought had crossed our minds and our Facebook entries and Tweets, to be honest. However, the high calibre of scriptwriting and character establishment is apparent from the word go with the film’s opening scene that portrays one founder, IT egghead Mark Zuckerberg, as a complete social pariah who, thanks to the splendid casting of Jesse Eisenberg in the role (Cera, eat your heart out), is astoundingly gripping and priceless.

It does take a couple of seconds at the start to latch onto this rapid-fire exchange between Zuckerberg and the woman who broke his heart and spawned the internet revenge offensive and subsequent networking site, Erica Albright (Rooney Mara). But during the course of this oral onslaught you witness the genius relationship play that is to come. And that’s the brilliance of Aaron Sorkin’s script and David Fincher’s direction that prevents the status quo from plunging into TV courtroom banality.

The story is all about prospering off the hype that the Internet can fuel, and this film is no exception. There is a lot of furore surrounding it, but with just cause. The ping-pong rapport is nigh perfect that is distracts you from pinpointing exactly when things between Zuckerberg and his best friend and CFO Eduardo Saverin (played by new ‘Spider-Man’ Andrew Garfield) go sour. In fact, almost like all good salespeople it keeps the banter flowing, real and energised to pull the wool over your eyes and sweep you up in each moment, without allowing you a second to process all that is being said. But it still manages to deliver the witty quips, particularly from Eisenberg as Zuckerberg. To stand still would be this film’s demise, and the film-makers rightfully recognised this.

With such a dialogue-heavy plot, it’s hard to imagine that the film would have time for any action sequences, or offer any impressive visual effects. Not so. One prime example is the moment Harvard twins Cameron Winklevoss and Tyler Winklevoss discover their computer talent Zuckerberg has allegedly stolen the crux of their social networking idea, whilst cutting through the waves in their simulated rowing boat. It’s an exhilarating and heart-stopping moment of truth that brings a sinking feeling to the pit of the stomach – not that we particularly like any of the characters at that moment, including Zuckerberg, but we empathise with their feelings. It’s also a credit to the stellar special effects that this film achieves, when you realise that one actor is at the helm of both sportsmen, exceptionally played by Armie Hammer.

Singer-actor Justin Timberlake wowed critics as Frankie Ballenbacher in Alpha Dog and as Ronnie in Black Snake Moan, and will do the same again as arrogant Napster founder Sean Parker, here. Timberlake demonstrates what he can do and achieve with the right writing force behind him, playing to his strengths and emotions as Parker in a supporting role to Eisenberg. Parker and Zuckerberg completely compliment each other in this story – one socially inept; the other too socially extravagant, with the catalyst being level-headed Saverin in bringing sense and the lawsuits to the table. The power play is some of the most dynamic and best seen in recent cinema, particularly with such a young cast, as delusions of control pass from pillar to post and back again in this mega-bucks game.

Although Facebook usage wavers at times, there is never a dull moment in The Social Network as it’s less about the site and its origins, and more about the multi-faceted personalities of the players and the effects of greed on them as they struggle with being part of something bigger than they can handle or envisage. It’s a highly current and interpersonal triumph, thanks to some exquisite acting that shouldn’t require a poke, or the setting up of an event to get friends to watch it. Just join and spread the word because this Oscar-tipped offering is bound to inspire and capture the imagination. Zuckerberg may have only liked the ‘bits he liked’ from the film (according to Eisenberg recently in London), but all publicity is good publicity and will set tongues wagging as to what is and isn’t fictional in this outstanding contemporary Faustian tale.

5/5 stars

By Lisa Giles-Keddie

Despicable Me – 4*

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Posted: 11/10/2010

Not another 3D animation, we hear you cry? Well, it’s not Pixar for one, which instantly (some might say, quite fairly) has most doubting how good it will be, after the likes of Toy Story 3D and Up that set the bar way up high. But what’s interesting about this not being a Pixar product is the knowledge that there is some healthy competition cultivating out there that, in this case, justifies a damn good write-up. Despicable Me is the first film from Illumination Entertainment, a new unit set up by Universal Films to focus on family films, and as debuts go, this is a delightfully entertaining one with some good 3D elements to it – just check out the fairground ride scene, for instance. Cynically, it does strike you as yet another indulgence and rush to enter into the 3D realm, but if this outfit had not jumped on the bandwagon, it may not have made quite an entrance at the box office, or had as a fair chance of competing with Pixar.

Despicable Me starts off on a good note with all the right ingredients (cute characters, dastardly villains, unlikely heroes and some cool gadgets), plus it’s packed with some brilliant adult/parental observations – especially those moments when our little ones hand us a questionable piece of kids’ literature to read at bedtime that has you scratching your head as to the futility of it all, as you wonder just what the author was smoking at the time? This film also harks back to – some might say plagiarises – some popular kids classics, like the The Addams Family and Annie.

Its central character Gru bears an uncanny resemblance to Uncle Fester, complete with his Munster-styled house and gadgets, as well as a balding Daddy Warbucks in Annie. The three little girls that Gru adopts are exactly like the bunch of feisty and self-sufficient Annie orphans, full of imagination but lacking any love or encouragement. Heck, the plot even has it’s own Miss Hannigan in the buxom form of Miss Hattie! But what this story does is brings these elements that charmed us the first time around bang up to date with a dollop of humour and calamities that combined with the 3D, engages all, whilst sparking feelings of nostalgia for the rest of us. Despicable Me boasts a fantastic voice cast, too, including Steve Carell, Jason Segel, Russell Brand, Julie Andrews and Kristen Wiig.

The story follows criminal mastermind Gru (Carrell) and his babbling little yellow helpers, the loopy Minions, who are losing face in villainous circles. Hence, they plan the ultimate heist: to steal the moon. As all grand plans fray at the seams, so does this one with the arrival of a shiny new villain on the scene called Vector (Segel) who seems to have better gadgets and tonnes more money than Gru could hope for – the reasons for which are apparent, and adults will gleefully love the Lehman Brothers collapse references in the story. Gru needs only one gadget to carry out the task, but young Vector is holding it to ransom in his pad. As a result of Vector’s sweet tooth for cookies, peddled by three cute, but highly astute orphan girls, Gru decides to take them in and use them for his own wicked means. You’ve guessed it: Gru begrudgingly grows to love them.

Like all family-based offerings Despicable Me is no different in firing out one moral after another through the good deeds of its characters and their actions, but not to nauseating effect that it detracts from your enjoyment. Without sounding sickly, Gru gets what he is lacking from the girls, and vice versa, and both get a family along the way on a whacky journey that will capture any stone-cold heart. It’s predictable but touching stuff, all wrapped up in colourfully imaginative sequences. Oh, and as well as the Minions being set for a Christmas shelf near you, listen out for the words ‘light bulb’ in weeks to come, too, as we guarantee both young and old will be saying it, even in company brainstorms.

Despicable Me is a solid and exciting entry into contemporary 3D animation with some unforgettable and larger-than-life characters, set in a relatively average plot with ideas swiped from many a story before. What it lacks in inventiveness, it certainly makes up for in spirit and enthusiasm, and is certainly good, all-round family entertainment that more importantly stands its ground against the might of Pixar.

4/5 stars

By L G-K

Wall Street: Money Never Sleeps – 3*

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Posted: 04/10/2010

Wall Street, watch out: The Gekko is back, wiser, craggier-looking and more lethal, but with a soft spot that will always be his Achilles Heel. Wall Street creator Oliver Stone brings his anti-hero back to life and it’s thrilling to see the old dog sniffing around the green stuff again, whilst having an attack of the conscience and becoming more humane. That’s not to say the return of the 80s gambler, played by Michael Douglas, has lost his edge and isn’t up to his old tricks after prison – thankfully, far from it. He looks more determined than ever, with his stint in the can allowing him to home his ultimate revenge on his foes.

In fact Gekko is the single, most memorable and most exciting thing about this sequel. Apart from the lengthy boardroom wrangling and rapid-fire money jardon flying around that’s only of any real interest in its drawn-out form to those in the business or the know, try as hard as Stone might, the only scenes that really come alive are the ones with Douglas in them. The rest seem like ‘tension mounters’ for the latter, until ‘Gekko the villain’ creeps back on stage. Indeed the irony is this idol worshipping is part of the story, too, so the other characters must feel like Gekko ‘fluffers’, hanging on to his every move and waiting for their time to shine in his authority.

Nevertheless there are some solid performances from the likes of Shia LaBeouf, Josh Brolin and Carey Mulligan, but these are actually necessary to keep the stakes high and match the might of Douglas in one of his defining roles. LaBeouf plays young, smart and hungry very well as Gekko’s son-in-law-to-be and banking genius Jake Moore, but his puppy dog enthusiasm and wide-eyed surprise at being duped twice over starts to wear a little thin. Thank goodness for Brolin’s rogue banker character, Bretton James, who brings Jake down a peg or two, although James needed to be far nastier and more of a match for rival Gekko, to be honest, someone to really despised in villainous terms. This is sorely missing and could have magnified the on-screen electricity between the two old enemies, which we only get a taste of for a brief moment at a charity ball scene.

Mulligan playing Gekko’s estranged daughter results in the film’s more intriguing plotlines as Gekko uses her then realises he needs her to survive – and not for money’s sake. We actually get to see another side to Gekko that makes him a more rounded character, even if he still manages to keep us guessing as to his next move. That said the ending could be accused of being clichéd and slightly lazy. Tying up loose ends doesn’t always make for the most thrilling finale in such a film, even if it does go to appease us and put the world to rights.

Stone does what he does best and delivers a well-crafted and slick tale that adequately highlights the thrilling peaks and troughs of the global money market since the 80s, with the digital highway speeding money transfer and corruption along on its merry way. He has created a contemporary representation that does not seem too alien to reintroduce Gekko into. However, money may never sleep, but you would be forgiven for letting off a snore or two at some of the American-centric corporate scenarios, however valuable they might be in moving the narrative forward. Yes, greed is still bad – point taken. But Stone trying to introduce guilt about not thinking greener into the equation, using a ‘corporate banking selfishness’ storyline is both laughable and will fall on deaf ears. This film is about indulgence in the high life, which is the main reason to go and see it in the first place.

3/5 stars

By L G-K

Life As We Know It – 3*

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Posted: 04/10/2010

Not to be confused with the 2005 teen angst series full of hormonally-charged monologues, this is a new comedy from Green Lantern writer/producer Greg Berlanti who cut his directing teeth back on little known romcom, The Broken Hearts Club: A Romance Comedy, over ten years ago. Berlanti has since had ample practice lifting relationships off the page and onto the screen, even the trickiest ones, after the successful TV series Brothers and Sisters. He now takes his expertise to the big screen for his first feature film, starring Katherine Heigl and Josh Duhamel in the leads, and it’s a generous, witty and observant affair, if a tad predictable, as any romcom commonly is.

To be fair, the genre is probably one of the most entrenched to try and vary, as we want the ‘rom’ and the ‘com’ and as near a happy ending as possible. What needs to work well is how we get from point A to B. Life As We Know It brings a very real and sobering situation that many child-rearing adults will instantly relate to and tries not to trivialise the serious of it, but approach it with some thought, humour and a little wisdom.

This film does suffer from smug ‘Nancy Meyers domestic bliss’ syndrome, as the recently deceased parents have the ‘home to die for’ (pardon the pun) to help their chosen guardians bring up their darling daughter in. Plus Heigl as Holly Berenson, a successful businesswoman who finds she’s holding the baby is reminiscent of Streep’s equally priggish Jane Adler character in Meyers’s It’s Complicated, running the idyllic, small-town patisserie. How aptly ‘mumsy’, perhaps? Jealous? You bet. But Life As… doesn’t falter on portraying what all romcoms do: depict the relationship ideal, allowing for a bit of frivolous escapism, whilst prompting us to identify with regular issues along the way.

Berlanti hits romcom casting gold with Heigl who simply reverts back to type in a role that we enjoy seeing her play, over and over again: the obsessive, neurotic professional desperate for a break. Knocked Up instantly springs to mind, to be honest, what with a child in need of care, but because the writing is a little less slapstick than Apatow’s offering, Heigl gets to take and be taken more seriously as Holly, whilst layering on the sarcasm and quips in her deliciously naughty but sexy gal-next-door way. In fact Heigl has reached that stage in romcom, where she can confidently be the primary comedy protagonist, which make her screen portrayals all the more convincing and aspiring.

Rising screen heartthrob and ‘Mr Fergie’ Duhamel plays insufferable jock/TV sports producer Eric Messer who is also Holly’s long-term nemesis and the Desperate Housewives-styled neighbourbood’s babe magnet. Duhamel seems very comfortable supporting Heigl, but ups her game by injecting childlike rebellion into the part with amusing results, whilst causing considerable drool, both on and off the screen, with a couple of well-placed stretches and underwear-lounging shots. Surprise, surprise, Holly and Eric find ways to cope with being around each other under one roof, and loathing turns to love along the way, sweeping both off their feet. It’s the ultimate modern-day fairy tale where both parties are expected to ‘save’ each other, rather than just Prince Charming.

Another entertaining factor of this romcom is the fun observational moments that might be lost on those not regularly exposed to littleuns and include dropping the baby, changing the baby, watching the first steps taken by the baby, and trying to decipher the universal mystery that is kids TV with the baby – all spot on.

Berlanti tries to avoid making his characters two-dimensional, balancing the rough with the smooth with little gems of surprise delight through a relatively smart script. As a first foray into mainstream feature film-making, he doesn’t fare too badly, helped by the Heigl/Duhamel appeal, whilst taking a leaf out of the feel-good Meyers romcom production manual and in doing so, targeting a wider audience.

3/5 stars

By L G-K

A Town Called Panic – 4*

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Posted: 04/10/2010

Are you familiar with the eccentric Cravendale milk ads and the cows getting moo-ing mad over their ‘stolen’ milk? A Town Called Panic is a feature-length version, based on the Belgian animated cult TV series of the same name. The film is quite simply animated lunacy run wild from directors Vincent Patar and Stéphane Aubier and it’s an absolute tonic in a cinema world obsessed with 3D. This film is equally as entertaining – if not more so – because it possesses qualities that the latter often lack: sheer imagination, without lots of fancy studio tools to hand, plus some memorable voiceovers.

Admittedly, this animation is an acquired taste and its plastic toy characters of Cowboy, Indian and Horse have to grab your attention straightaway for you to be able to go along for the insane ride. If this doesn’t happen, you will be left perplexed at what all the fuss is about. The fact is the stop-motion animated style that isn’t technically perfect by any accounts is exactly what’s needed to create the feeling of ‘panic’ and continual unrest to the narrative. However, even though the pace is frenetic, the film-makers do not lose sight of attention to detail. There is still the opportunity to marvel at what’s packed into every single moment in the film. It’s a real labour of love that pays off.

The countryside world of our three protagonists is abruptly disrupted, after an online error made by Cowboy and Indian who try to get Horse something original for his birthday. Chaos ensues, but not without many tearful giggles at the utter idiocy of the situation, made all the more hilarious by the inane yells from neighbouring farmer Steven and his cries of ‘Hey, Cheval!’ that are annoyingly catchy, to say the least. It’s like being in a state of wonderment at what could possibly happen next that keeps you on your toes.

There are some strange underwater creatures that come in the dead of night to steal from our three friends, as well as mad scientists operating a large penguin-shaped transporter that seem to be trying to make the perfect snowball for one childish purpose only. In fact, it’s the sidetracking elements of the tale that tickle you the most in this sensationally silly story and supply the added thrills. It also demonstrates that slapstick comedy done in a thoughtful and immensely creative fashion is certainly not dead in the water.

A Town Called Panic is fresh, absurd and hearty good fun that will entertain the whole family. Whether it is a ‘made-for-TV film’ is debatable. That said it’s not in the same league as Aardman’s Wallace and Grommit, and at times feels like a self-indulgent experiment in making feature film for its creators, rather than producing characters that can be truly loved and shared. But it is in its own potty world, though, and one that for 75 minutes can be thoroughly relished, if you get onboard from the offset.

4/5 stars

By L G-K

Made In Dagenham – 3*

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Posted: 01/10/2010

A film made in 2010 about the fight for equality in the workplace ought to appear a little dated and serve only as a reminder as to how far women have come. There is still a along way to go on this topic, but that’s a separate discussion altogether. What is concerning is the true story that Made In Dagenham is based on is not part of the public knowledge – until now. Directed by Calendar Girls’ Nigel Cole, it’s a story that instantly grabs your attention and makes you gun for it before it starts. It also helps that as a ‘Ford child’ growing up, you also have some understanding of the might of this corporation and its effect on your personal life. In 1968 Ford Dagenham’s 187 female sewing machinists walked out in protest, after being reclassified as ‘unskilled’ and paid less than the plant’s male workers. The outcome rocked the Cabinet and the unions and led to the Equal Pay Act of 1970. It’s of political significance and hence requires a certain sensitivity from Cole to bring it to our attention in a fun but sympathetic manner.

That said Made In Dagenham is really about the power of community and its struggle with local change outside of its control. Even though the strikers brought about a better standard of living, which is this film’s euphoria, the afterthought that you are left with is the knowledge that there are now vast swathes of barren industrial land in the area and the community is virtually no more. The poignant socio-political messages that this film flippantly deals with are almost sidelined in Cole’s determination to keep things light and comical, which isn’t a criticism as such. This is, after all, meant to be a dramedy along the lines of Calendar Girls, where a group finds itself in something bigger than it first anticipated.

Sally Hawkins as Rita O’Grady, leader of the strikers, and her band of merry ladies certainly bring an optimistic, feel-good and breezy factor to the screen. They are highly charming to watch as they dabble in ‘men’s stuff’ like striking, whilst babbling away like a bunch of excitable schoolgirls on a project. Hawkins is aptly cast as the shy and timid O’Grady who is frustrated with many elements in her life, leading her to find an inner strength and become the unlikely leader to rally the headstrong girls. Cole certainly gets the sisterhood spirit right as the girls bond and respect Rita. In fact this film should not be seen as a working class triumph because Rosamund Pike plays the Ford boss’s downtrodden, middle-class housewife, Lisa Hopkins, who encourages the cause because as a graduate she feels undervalued and trapped in her marriage. The scene where Rita comes to the Hopkins’ home is significant as Lisa ignores her husband and lends Rita her dress for her meeting with the government minister. It is an empowering moment that unites all women.

Surprisingly as an Essex boy himself, Cole hasn’t got his cast to quite clinch the ‘Essex whine’ in their accents – just watch the end credits that feature the real women involved. Dagenham used to be Essex. Most of the film dialect is mockney, or worse, with some accents veering away from the ‘sarf east’ entirely. At one point very early on in the film, Bob Hoskins’ character, union rep Albert jumps on the piano and starts singing ‘My Old Man’ in an unforgivable cliché that sends shudders down the spine. It’s not to say that the area did not attract many from the East End, but there ought to be some distinction. The Essex sarcasm doesn’t quite translate either. It’s a unique brand that gives the fabled county its cheeky charm and confidence. Cole does get it right with a couple of his characters, namely Rita’s hubby Eddie, played by Epping lad Daniel Mays, but it’s inconsistent with all, which is a shame for anyone in the know watching.

The laughs also come from another dimension entirely, as Miranda Richardson brilliantly brings to life the vitality of First Secretary of State at the time Barbara Castle, a fearsome redhead that Michael Foot once described as ‘the best socialist minister we’ve ever had’. Richardson is delightful, playful and as condescending to the men politicians and even Harold Wilson as they are with her. Although her job is to control the unions and appease the sly Ford management rep Robert Tooley (Richard Schiff with his The West Wing pedigree is perfectly cast), Castle sees the long-term benefits of meeting with the striking machinists in furthering all women’s working rights for the future. The end scenes are highly emotional and bring a lump to the throat because of their significance, intertwined with real newsreel footage.

This is undoubtedly a touching and moving story with a strong British heart pumping right through it. It needed to be told for its historical importance. Cole does well to bring it to our attention in a heart-warming and lively way with a stellar cast onboard. However, the film doesn’t quite capture the Essex soul and impact on the region, which is a shame. It’s like experiencing an appetizing frothy latte, only to find a lot of air and not much coffee kick to back it up. It brings a smile to the face for as long as it lasts.

3/5 stars

By L G-K

Takers – 3*

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Posted: 30/09/2010

Do we really need yet another heist movie, another cops-and-robbers tale showing burnt-out officers of the law pursuing a bunch of flashy crooks having the time of their lives? Well, when there’s a bit of self-indulgent exhibitionism thrown into the bargain, there’s always room for one more. This is the attraction of Ocean’s Eleven and the like because there’s nothing more thrilling than seeing life lived on the edge and to the max – plus we love it when a plan comes together then rapidly backfires.

Takers, directed by John Luessenhop (Lockdown), offers nothing new the genre but will be remembered for its colossal cockiness, the opportunity to blow up a real helicopter, and a damned good excuse to assemble an impressive and stylish cast of upcoming actors (as well as some more established ones). It’s also enjoyable and memorable, mainly due to the characters’ carefree and flamboyant attitude, the latter of which it has bucket loads: from the neat threads worn and the vehicles paraded, to the slow-mo shoot-outs.

The ‘golden oldie’ this time is Matt Dillon, who appears as LAPD Detective Jack Welles. Welles is the stereotypical cop nursing a broken marriage and a departmental grudge, but ever loyal to the cause – like a bloodhound on the scent. Dillon, like his character, is a seasoned cop player after Crash and more than convincing in this type of role as a likeable leader and occasional social pariah. The newer players that form the film’s swaggering crew, headed up by man-of-the-moment Idris Elba, read like a guest list to a swanky underground gig: Paul Walker, Hayden Christensen, Michael Ealy and Chris Brown. In fact Walker’s smooth operator character John Rahway is remarkably like Brad Pitt’s Rusty in Ocean’s, both street-smart and the pretty face, so the parallels are instantly registered.

For a film with so many on/off-screen egos, all characters manage to share and illuminate the screen at some point. Elba as ringleader Gordon Betts needsno help in owning the frame and portrays an interesting relationship subplot with fellow Brit Marianne Jean-Baptiste as his drug-addled sister Naomi. But it is the debut acting appearance of rapper Tip ‘T.I’ Harris as the unpredictable Ghost who matches his fellow acting adversaries for presence and pose, keeping us guessing as to his next move and loving every minute of it.

Christensen also toughens and tats up for this role as A.J, the brains of the crew, whilst hoping to shed his boyish screen image, but embracing the nerd once more. That said he still feels less convincing as his character than the others, which is ironic, really, given that he has one of the lengthier and bloodier confrontations in the film. In Brown’s case, there is an adrenaline-inducing foot chase that the singer/actor actually does, jumping from storey to storey, and that he’ll be remembered for. These sequences, as well as the explosive final job are two of the most memorable set pieces that rival anything seen in past offerings. There is also an underdeveloped subplot that involves Russian Mafia and seems almost inconsequential, expect as a set-up for the end Roosevelt Hotel gun battle.

Luessenhop is quoted as saying he hopes that his film will be remembered for its characters and their relationships. He’s right. It will, but it does feel like an Ocean’s film set in LA, but with bigger balls attached to a hotter cast. Takers is nothing remarkable. It’s just one of the better heists to date that is bound to get box-office attention.

3/5 stars

By L G-K

Buried – 4*

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Posted: 29/09/2010

There’s been a lot of discussion about Buried, or ‘nit-picking’ to be exact about a whole manner of alleged plot slip-ups. This actually implies that when critics can’t think of anything really wrong with a film, you’re onto a winner. Indeed no-one will dispute that 94-minutes worth of utterly gripping and terrifying drama, all shot in one location in a wooden box is nothing short of sheer brilliance. Rodrigo Cortés’ thriller is a master class in storytelling using minimal cinematic tools and relying purely on a strong script (by Chris Sparling) and even stronger acting and shooting talent. The result is a virtual real-time claustrophobic puzzle that places you in the box with its prisoner, with no means of explanation or escape, unless the protagonist finds it out for the both of you in time.

Ryan Reynolds plays the sole character, truck driver and family man Paul Conroy who we discover has been working in Iraq for a private company, before finding himself in his current predicament. The heavy breathing in the dark at the start, before any dialogue is spoken, gets the hairs standing on end, as the situation dawns on all. When Conroy begins panicking and using a lighter’s flame to illuminate and make sense of his surroundings, whilst eating up valuable oxygen, you want to scream at him to snub it out and pull himself together – but how would any of us fare in all that inky blackness?

The story is so effective that you can almost feel the tension rise in your own throat. It’s mental anguish watching as you desperately hope for some sort of aboveground reference as to where you are hidden. You don’t get it, which is the film’s noteworthy accomplishment. And then the phone goes off. This is plot boob number 1: Not only is the phone model not available when this film is allegedly set (early Noughties), but Conroy somehow manages to get a half decent signal under all that compact earth – do let me know his service provider, please.

Back to Reynolds, though, who demonstrates a remarkable new string to his acting bow that you very easily forget it’s the wisecracking Canadian actor famed for his dry wit entombed inside this wooden container. That said as Conroy, the Reynolds sarcasm is never far from the surface (pardon the pun), as he desperately points out the farce of telephone answering machines and corporate bureaucracy. This provides the film’s lighter relief moments – of which there are few, so grab them whilst you can – that simultaneously demonstrate the extraordinary human will to survive, triggering not only the hope that Conroy will live (and we will get out of the box, too), but we will get all the answers.

The fact is we are not altogether clear, whether we really like Conroy as a person from what transpires from the phone calls, but we do sympathise with his plight. And he has a ‘friend’ visit, which is boob number 2, it appears, because a) the box miraculously grows to accommodate said visitor and Conroy’s fire-throwing skills, and b) this particular tricky customer is not indigenous to the desert location. Some might argue, who cares? This moment in the plot scares the hell out of you, anyway. The ending is equally nail-biting, too…

Try this box for size for a unique suspense and terror trap that hasn’t been witnessed since the likes of Hitchcock and his single-shot filming style. Comparing Cortés to this cinematic legend may seem a little premature, but the former marks an exciting entry to mainstream cinema, as well as providing a suffocating assault on the senses with Buried.

4/5 stars

By L G-K