Edge of Tomorrow (2014) Film Review by Gareth Rhodes

Edge of Tomorrow (2014) Directed by Doug Liman. With Tom Cruise, Emily Blunt, Bill Paxton and Brendan Gleeson.

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Someone asked me how I’d describe Edge of Tomorrow, earlier today. The first thing that popped into my head was to say “It’s like a cross between Groundhog Day and Saving Private Ryan”, to which the person replied, “Oh”. I’m not sure they’ll be putting that quote on the poster any time soon, but in fairness, it goes a long way to summing up exactly what the film is.

Directed by Doug ‘The Bourne Identity’ Liman, and starring Tom Cruise, the film is a science fiction time looper, set on the eve of a D-day type battle against an invading alien force. Now, it’d be stretch to exclaim there’s anything ground-breakingly fresh going on here, but the writing team have done a fine job of infusing a great streak of humour right through the middle of the piece, which, coupled with explosive action and impressive visuals, make for a nigh on perfect Friday night popcorn muncher.

In the lead role, Cruise’s character is indistinguishable from many of his other heroic portrayals, but there’s something eminently watchable about him in this type of fare, and as always, his energy and commitment shines through. Cruise is supported well, by a talented cast, featuring a fun performance from Bill Paxton, looking and sounding for all the world like Private Hudson’s Dad.

The final sequence could have been better lit, and ultimately, the emotional response isn’t as notable as it was in say, Source Code, but nevertheless, Edge of Tomorrow is a highly accomplished ride, baring enough wit, invention and tendency towards the spectacular to make it worthy of your time. 4/5

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The Constant Gardener (2005) Film Review by Gareth Rhodes

The Constant Gardener (2005) Directed by Fernando Meirelles. With Ralph Fiennes, Rachel Wiesz, Danny Huston, Bill Nighy and Donald Sumpter. blog_20060223

Despite moving from his native land to direct thrillers starring household names, Brazilian film-maker Fernando Meirelles is perhaps still best known for City of God, his gangster epic, billed as the Brazilian ‘Goodfellas’, set in and around the slums of Rio de Janeiro. The Constant Gardener was Meirelles’ next project, and as such, has a certain expectation placed upon it.

As with City of God, the subject matter takes a look at poverty and human suffering in the world (this time Africa) albeit from a completely different angle. Starring Ralph Fiennes and Rachel Weisz, and based on a John le Carré novel, this is essentially a political thriller that while not quite as globe-hopping as your average 007 escapade, nevertheless shares a certain DNA as it unravels. In a sense, it feels like two films glued together. We learn of one of the principle character’s fate in the opening scenes, which structures the first half of the film as a join-the-dots, of sorts, setting the second half up as more of an investigative thriller.

As you might expect, Ralph Fiennes is an interesting presence in his lead role. Fiennes is an intelligent actor, which comes across in his sensitive portrayal of a man fighting to sustain balance between his outspoken wife (Weisz) and his political colleagues. As with City of God, César Charlone’s cinematography is pure poetry, starkly contrasting the difference between the cold concrete of London and the dying poverty of Northern Kenya.

This is a film with an overriding sense of sadness and injustice to it. It’s at times hard to see it as entertainment, especially when the inequality of the world is so openly laid out to see. Still, Meirelles has made another highly noteworthy film, with some striking imagery and a plot that throws in its fair share of red herrings, to hold your fascination. 4/5

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Lost in Translation (2003) Film Review by Gareth Rhodes

Lost in Translation (2003) Directed by Sofia Coppola. With Bill Murray and Scarlett Johansson.

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Most of us know the feeling of landing in a foreign country, where everything is familiar, but yet completely different at the same time. The language barrier often gets in the way of the most mundane of tasks, yet standing back from the frustration, there’s a comedy inherent to the little misunderstandings. Writer and director, Sofia Coppola, serves up the transcendent story of an unlikely relationship gaining traction, in an overcrowded city in which it feels like only two people exist.

The film is striking on many levels. Not only for the silent depth that is achieved through the characters, but also for the way in which Tokyo feels like an alternate universe to us, the viewers and the central characters of Bill Murray and Scarlett Johannson, in so much as that it prohibits them from being themselves with anyone but each other.

Murray is perfectly cast as a successful US actor in Japan on a lucrative business trip to shoot a whiskey advert. Johannson just so happens to be in town with her young, neglectful photographer husband (Geovanni Ribisi) when their paths cross. Murray’s uniquely sardonic delivery is a perfect match for Tokyo and makes for some very funny scenes. Johannson too, is a delight as Charlotte, and the as the relationship develops, there’s a real sense of the excitement and longing restrained, yet bursting to get out. It’s one of the great cinematic examples of that stomach-flippingly, tantalising feeling of being so close to love, yet so far away.

I can’t speak highly enough of how deeply connected to this film I felt. It’s funny, yet it’s subtle and thoughtful. Once the final credits roll, you really feel like you’ve been to Tokyo and back and that maybe the best place to find ourselves is a place we feel completely lost.  5/5

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Dallas Buyers Club (2013) Film Review by Gareth Rhodes

Dallas Buyers Club (2013) Directed Jean-Marc Vallée. With Matthew McConaughey, Jared Leto, Steve Zahn and Jennifer Garner.

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I’ve read and heard it said of Jean-Marc Vallée Dallas Buyers Club, that it is a film defined by its performances, above than anything else. In my opinion, that’s doing a great disservice to a film that is intelligently made, but that also has a beautifully fleshed-out screenplay by Craig Borton and Melisa Wallack.

Set in Dallas in the mid ’80’s, (don’t expect to see J.R) the film tells the ‘inspired by true events’ story of Ron Woodruff (Matthew McConaughey) a charismatic, but casually belligerent man, who upon being diagnosed with the HIV virus, is forced to confront something which drastically changes his approach to life.

First of all, in the central role, McConaughey is every bit as mesmerising as you’d expect an actor in an Academy Award winning performance to be. His commitment to the role, in losing reportedly 40lb in weight, is at first visually striking, but beyond that, it is his ability to become Ron, beyond the surface which really sets him apart. Indeed, it’s one of those truly great turns, that no matter how many superlatives you throw at it, they’ll all stick. But like any great film, this isn’t a piece of just one towering performance, for supporting McConaughey is Jared Leto in an equally eye-catching, yet utterly convincing portrayal of trans woman, Rayon. Thrown together through circumstance, and a mutual need for each other’s various life skills, the pair make for an at once hilarious, yet touching screen duo.

How many ‘true events’, fact for fact, are translated directly into the narrative is unclear, but what is crystal clear are the messages that the film attempts to convey.  In a sense, Dallas Buyers Club feels like an important film. Despite the grim situations the characters often find themselves in, the overall message is a positive one, making life affirming statements, while never completely bowing to, or over-pronouncing sentimentalism. 4.5/5 

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Hot Tub Time Machine (2010) Film Review by Gareth Rhodes

Hot Tub Time Machine (2010) Directed by Steve Pink. With John Cusack, Rob Corddry, Craig Robinson and Sebastian Stan.

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Directed by Steve Pink, Hot Tub Time Machine is a riotous comedy that is every inch as ridiculous as you might hope/fear. A bit like The Hangover meets Back to the Future, the title says it all. Four guys on a ski resort vacation together, get in a hot tub, which, unbeknownst to them, is a time machine. You won’t need much of your brain capacity for this one.

Of course, time travel affords so many possibilities in terms of story, humour, character and especially nostalgia. Given that the ’80’s is a decade looked back on through rose-tinted specs by many (mostly because of its music, movies, fashion and technology) setting the film in ’86 allows the film-makers to cram in as many colourful reminders of the era as they can.

Aside from the fun of revisiting a certain point in time, the four central actors all seem to enjoy themselves, albeit slightly more than us, at times. Of the four, which includes John Cusack, no less, Rob Corddry’s ‘Lou’ shouts loudest and sometimes most annoyingly, for attention. What’s surprising, given that the film’s premise gives it the opportunity to explore so much, is how unrelentingly crude it is. That’s not always a bad thing, but here, it often seems to tilt the film off-balance and smacks of reverting to raw tones in order to gain cheap laughs.

This isn’t a film that I was itching to tell my friends about afterwards. It’s mildly amusing, occasionally, but it there’s no real rhythm to it. The casting of Crispin Glover is a nice tribute to Back to the Future, but like so many comedies that fade in and out of view, it’s the little nods like this that stick, as opposed to anything significant about the greater whole. 2.5/5

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The Way Way Back (2013) Film Review by Gareth Rhodes

The Way Way Back (2013) Directed by Nat Faxon and Jim Rash. With Liam James, Sam Rockwell, Toni Collette, Steve Carell and Allison Janney.

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Writer/directing duo Nat Faxon and Jim Rash’s debut film, The Way Way Back, is a good hearted comedy/drama about Duncan (Liam James) a young boy on summer vacation with his Mum (Toni Collette) and her high-handed boyfriend (Steve Carell). Essentially, it’s a story about a young boy searching for an example of a father figure.

There’s something distinctly unassuming about the piece. Not only is Liam James a likeable, unshowy young performer, in his central role, he’s also supported by a fine cast giving colourful performances which enrich the story no end. Steve Carell dials back his usual comedy shtick, in a surprising, but refreshingly boo-hissy performance. It’s clever casting to put someone who we’re used to laughing and feeling at ease with, in the role of someone so selfish and mean spirited.

Bringing ying to Carell’s yang, is Sam Rockwell, the laid-back manager of ‘Water Wizz’, a run-down, but lively water park that acts as a haven of escapism and self discovery for a young boy so desperately seeking it. The antithesis of Carell’s bully, Rockwell is a pure joy in his role and offers huge relief, not only for the boy, for us the audience too.

Despite its good intentions and lively performances, it’d be a stretch to get too excited about anything landmark going on here. That said, it’s the sort of US indie film that functions perfectly, within its parameters, and part of its cosy charm is that it’s not vying for award season attention, by snatching out cheaply for our attention. Before the credits roll, The Way Way Back manages to be both touching and reassuring. 3/5

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This Is 40 (2012) Film Review by Gareth Rhodes

This Is 40 (2012) Directed by Judd Apatow. With Paul Rudd, Leslie Mann, Maud Apatow, Iris Apatow, Jason Segel and Megan Fox.

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Billed as a ‘sort of sequel to Knocked Up’, writer/director Judd Apatow takes an intriguing left turn in his career to shift focus on the characters played by Paul Rudd and Leslie Mann in his 2007 hit pregnancy comedy. The thrust of the idea is to do comedy/drama around what happens to a conventionally attractive married couple, as they approach the big 4-0.

Paul and Debbie have lives that many of us only ever see in the movies. Beautiful home, exciting business lives with A-list contacts, but somehow, they’ve lived beyond their dreams. Their two demanding kids hate each other, while their intimate times are increasingly fewer and farther between. When they do get privacy, the everyday demands of being a parent often puncture the mystery of any romance.

Sadly, This is 40 is little more than chewing gum for the eyes and ears. It’s one of those perky Hollywood comedies that never gets into its stride, relying on bright cameos and the occasional gag, above anything else. Paul Rudd and Leslie Mann do their best in their central roles, and fleetingly, they are borderline likeable, but all too often, they (and their children) are equally frustrating to be around.

So, although I like the idea of focusing on peripheral characters from another film, there isn’t enough going on here to make a serious recommendation. It’s well shot and acted and might play well as a rainy afternoon, falling in-and-out of sleep on the couch film, but little more. If this is your life, well, there’s not that much to complain about. 2.5/5

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