The NeverEnding Story (1985)

In 1985, Wolfgang Petersen gave life to Michael Ende’s children’s novel The NeverEnding Story in a wildly adventurous piece of cinema that tells the tale of Bastian, a troubled young boy who dives into a mysterious fantasy land through the pages of a magical library book. After shocking and inspiring kids all over the world and grossing a huge $100 million, lovers of cinema are sure to label this crazy movie as a classic must-see for children then and now.

And so this explains the Square Chapel’s great decision to air the film this past weekend, serving as the second movie the arts centre has broadcasted this summer in a great new cinema project for the public. Sitting down to watch a film at the Square Chapel instead of to watch a theatre performance made an exciting change, and knowing that I was to be watching The NeverEnding Story - a movie I remembered I loved as a child - was nostalgic and fun.

However The NeverEnding Story is not quite the same when you’re 15 years older and looking at it from a critical point of view… Of course, with progressive leaps and bounds in modern technology presenting us with outstanding 3D and even 4D graphics, and lifelike animation bringing in some of the highest cinematic profits we see today, it is hard to not laugh and cringe at the expectedly unrealistic and inefficient special effects of this oldie. Not only do the strange characters like the dumb-rock-man-thing and giant-flying-dog-dragon’s mouths not move in time to their words (words so haphazardly written by Petersen and his screenwriter Weigl), but there are ridiculously cartoon lightning bolts, fluorescent fire and conspicuous superimposed green-screen backdrops aplenty.

Perhaps this minor problem can be easily ignored given the era of the movie – after all, films of this time were all riveted in terrible CGI that went unnoticed, for instance, the disastrous visual effects of 1982’s Poltergeist was nominated for an Academy Award! – but the questionable plot and surprisingly frightening characters don’t make a modern audience forgive so quickly.

Barrett Oliver’s Bastian is played as he is written – a lonely weirdo who mourns his Mother’s death, however this portrayal brings about absolutely no feelings of endearment or sorrow, as he is so heavily overshadowed by co-star Noah Hathaway, playing a young hero inside of the magical book, Atreyu. Atreyu has no volume level lower than ‘REALLY LOUD YELLING’ and his determination to save the fictional land of Fantasia from The Great Nothing is hardly inspiring.

As for the other characters, the Childlike Empress (Tami Stronach) – whose appearance is built up until the very end – is so creepy and so oddly eloquent, making for an un-relatable and unlikeable character. However it is the giant-flying-dog-dragon (I still don’t really know what it is) with his sinister laugh and his disturbing words (yes it can talk) that adds quite an unnecessary element of eeriness and almost sexual undertones.

All of this aside… I had to remind myself that, yes, although I was here to analyse the film as a 20 year old, what could I remember taking from the film as a young child? The answers are fun, adventure and imagination. Kids don’t care about logic (luckily, because this film has none) and kids don’t notice awkward scripts and terrible direction, but what they do care about is how long they can watch a film for without getting bored. 

In truth, The NeverEnding Story doesn’t make you bored at all. Some aspects do make you ponder, and some will definitely give you shivers - and not the good kind - yet the overcrowded, non-stop nonsense is somewhat entertaining. There is excitement from start to finish thanks to brilliant suspense (will he make it/won’t he make it), lots of shouting and jumping, lots of swooping and flying, lots of funny looking people and, unforgettably, a giant-flying-dog-dragon. 

Insidious: Chapter 3

Director: Leigh Whannell
Screenplay: Leigh Whannell
Starring: Stefanie Scott, Lin Shaye, Dermot Mulroney
Genre: Horror, Drama
Rating: 15

Although it seems a little too daring to attempt to create another horror movie series as successful as the terrifying Saw films - which grossed over half a billion dollars worldwide – the mastermind producer-writer team behind the revolutionary franchise (Leigh Whannell, James Wan) here push forward with their second chain of horror films: Insidious, and the third instalment – Insidious: Chapter 3. Daring it may be, disappointing it is not, as this film makes for a fantastic horror that gets your heart racing and your body trembling.

The movie serves as a prequel to the Lambert haunting from the first two, telling the story of Quinn (Stefanie Scott), a bright, sparky teenager who tries to reach out to her late mother with help from psychic Elise (Lin Shaye) but instead attracts a demon spirit whom attaches itself to her soul, with the aim to take her to join it in the darkness of The Further. Whilst the tale of Shaye’s character is established in the earlier films, Whannell here lets the well-esteemed actress take her rightful spotlight, by allowing her more screen-time and presenting her to have a much more important role. Shaye tackles this with brilliance, showcasing a surprising range of emotions for the usually vapid horror movie heroin – whether these be feelings of terror and haunt, grief and loss or strength and resilience, Shaye does them well.

The helplessly bedbound Quinn is played astoundingly with a vulnerability that helps the audience to empathise with her terror, but also with a powerful integrity that manages to defy any silly damsel-in-distress stereotypes that women often face in the horror industry. In fact, Insidious: Chapter 3’s strength comes mainly from its two female leads and how skilfully these actresses attack their roles, written so complimentarily by Whannell.

Whannell is exceptional not only with his haunting script, but also with his directing debut. His scare-factor timing and eerie pacing are so efficiently done, teaming well with silent, creeping camera shots and a jolting score from Joseph Bishara to create a film with so much mounting suspense that it is hardly watchable at times. Typical of any horror movie, there are twists, turns and bumps in the dark aplenty, however what is not typical of any horror movie is a story so profound, and characters so likeable, that the audience feel like they are really involved in this tale. This, of course, makes the scary moments (there are many) all the more terrifying.

Insidious: Chapter 3 may be one of the best horror films I have seen in a long while. This story is so real that it sticks with you and will still make you shudder as you lay down to sleep that night, which is what scary movies were set out to do. Perhaps, then, Whannell and Pan’s attempt to create the next best horror series is not as farfetched as we once thought. Watch this space.

Far From The Madding Crowd (2015)

Director: Thomas Vinterberg

Writers: Thomas Hardy (novel), David Nicholls(screenplay)

Starring: Carey Mulligan, Matthias Schoenaerts, Michael Sheen 
Genre: Drama, Romance

Rating: 12

With Thomas Hardy’s 1874 novel at its base, Vinterberg’s take on the earthy classic Far From The Madding Crowd makes for a turbulent, passionate and authentic film, that is undoubtedly watchable and riveted with talent, however perhaps not as iconic as Hardy’s original piece.

Carey Mulligan is Bathsheba Everdeen, a brashly sovereign woman torn between the admiration of three very different men – the sturdy shepherd Gabriel Oak (Matthias Schonaerts), the wealthy farmer William Boldwood (Michael Sheen) and the dangerously charming Sergeant Troy (Tom Sturridge), proving herself “too independent” for their affections, only to then fall for the rakish Sergeant in a flurry of lust and appetite.

Hardy’s literature is beautifully tackled by screenplay writer David Nicholls, providing a script that is resilient and endearing at once. Of course, a script of such dignity could only be carried to the end by a cast as skilled as this. Mulligan’s Bathsheba – a heroin and unexpected inheritor of her late uncle’s farm - is lively, headstrong and intelligent without being too brazen, bringing the much-loved character to life with sweetness, purity and integrity as she proudly takes on a heavy role of the farm’s Mistress. Sheen’s performance as the perturbed and “jilted” Mr Boldwood is remarkable as he demonstrates exactly why he is so respected in the business, presenting us with a character of such depth and intense emotion – the scenes with him are captivating. Similarly, Schonaert’s Gabriel is quietly fascinating and earnest, which really emphasises the recklessly brutishness of the Sergeant, so dexterously portrayed by the young Sturridge.

Of course, it wouldn’t be a period drama without astonishing scenery - so effectively captured by cinematographer Charlotte Bruus Christensen in a presentation of swooping shots and daring camera angles which really showcase the beauty and peacefulness of Victorian England. A magnificently traditional score from Craig Armstrong accompanies this splendour, making the picture easily a modern classic.

This film is certainly not for everybody – but what film is? Despite the tempestuous plot and enchanting performances, there are some slightly dullish moments, which altogether compose a movie of yes, great exhilaration, but also a good amount of respite to allow for a little nap whilst watching on a Sunday evening. Extremely well made and well presented, Vinterberg’s adaptation of Far From The Madding Crowd is surely to still be enjoyed and remembered in many years to come.

Insurgent (2015)

Directed by: Robert Schwentke
Starring: Shailene Woodley, Theo James, Kate Winslet
Written by: Veronica Roth (book), Brian Duffield (screenplay), Akiva Goldsman (screenplay)

Genre: Sci-Fi, Drama, Romance
Rating: 12A

The sadly lukewarm take-off for the first instalment of the Divergent series - based on the books by Veronica Roth – back in April last year didn’t really get the ball rolling for the expectedly huge franchise. However, the second of the trilogy Insurgent is guaranteed to take audiences by pleasant surprise.

The Divergent story follows Tris Prior (Shailene Woodley), a teenager living in a dystopian city divided into five factions based on virtues of the human personality. However, Tris and boyfriend Four (Theo James) don’t fit into just one faction, but in fact all five, making them an apparent threat to the peace of the city, and a wanted prize for ruthless leader of the Erudite faction, Jeanine (Kate Winslet). Together, Tris and Four go on the run, seeking refuge in the faction of Amity, planning a way to take down Jeanine and end the system once and for all - but Jeanine will do all in her power to prevent this from happening.

Unlike Divergent, Insurgent is the hot box-office smash that is finally going to turn Tris’ story into the worldwide phenomenon it was written as. From the minute the opening credits begin to roll, there is not one moment where the audience will be unentertained or checking their watch. Although a little cliché, cheesy and over-complicated in parts, one thing this movie is not is boring nor predictable. Even a rather unadventurous and basic script from Duffield and Goldsman can be overlooked, as with source material as original as Roth’s, there are so many twists, turns and didn’t-see-it-coming moments that you remain completely engaged regardless.

Woodley soars as the fiery Tris, attacking the character with resilience and fiest but also a depth and vulnerability which is what makes her so likeable as the lead role. The chemistry between her and Theo James’ Four is endearing, especially as the romance here serves as more of a side story than the head of the tale – which is a refreshing change. Additionally, a smaller yet just as riveting performance from the charming Miles Teller won’t go unnoticed – his ability to play an evil character yet still come out indisputably likeable is a talent.

Although not quite brilliant enough to succeed as the new Harry Potter or Lord Of The Rings franchise, the Divergent series will no doubt be a hit across the globe. With an outstanding cast, a captivating plot, clever graphics and crafty direction from Schwentke and his team – Insurgent is a very enjoyable watch, a rush of excitement and a scary thrill for adults, teenagers and kids worldwide.

(review of 2014's Divergent - http://mycinemajourney.blogspot.co.uk/2014/06/divergent-2014.html)

Fifty Shades Of Grey (2015)

Starring: Dakota Johnson, Jamie Dornan, Jennifer Ehle

Directed by: Sam Taylor Johnson 
Written by: E.L James (novel) Kelly Marcel (screenplay) 
Genre: Drama, Romance 
Rating: 18

Having not jumped on the Fifty Shades Of Grey hype when the Twilight fanfiction turned multi-million dollar book franchise (E. L James) first emerged, people often query where my hatred of the series comes from. After learning what this phenomenon was about, I questioned how a story that was basically just about sex could take the world (albeit, mainly middle-aged women) by storm. “It’s porn for people in denial!” I’d tell my Mom, after swearing I’d disown her if she read the books. However, as I became more educated in feminist culture, my disgust with the franchise developed into a strong disagreement based mainly on the unhealthy concept of one man’s obsessive and creepy control over his female lover.

Since 2012, women all over the world have been swooning and drooling over Christian Grey (Jamie Dornan), the sexy billionaire who seduces the timid Anastasia Steele (Dakota Johnson), then introduces her to “his world” of bondage and S&M sex, asking her to sign a legal contract accepting to become his “submissive”. The film follows the pair as they try negotiate the terms of their relationship – if you can call sexual slavery a relationship – and that is pretty much all it is about.

This story was not intended to be as violating as it comes across. I understand that Fifty Shades Of Grey is a guilty pleasure for women and men who wish to indulge in something that is - apparently - the perfect balance of romance and pornography… but there is something very off-putting and offensive to watch - for me and surely others – about the way Mr Grey exercises his power over Anastasia. Whether this be in the bedroom or not, what I saw was a controlling boyfriend who wants full possession over his girlfriend, demanding she follow all of his rules and admit she is “his”. To me, this is not sexy or passionate, nor adorable or loving in any sense. It’s weird, unhealthy and undesirable, so this apparently “romantic” film became extremely uncomfortable to watch at times.

I tried to see past my disagreement with the storyline in general and focus on what was at hand. By no means do I want to watch a movie all about sex (I could just watch porn?) but this is a film about sex, so I expected to see sex and I expected to enjoy it. However, I was disappointed. You wouldn’t want to watch this film with your parents that’s for sure, but given the hype and the 18 rating, I wanted a bit more for my money. It was so boring. Johnson and Dornan depict a shallow chemistry and scenes (sex scenes included) simply drag. The best part was watching Johnson portray a hilariously drunk Ana as a character with spark and humour, however this was the first and last showing of that. Sadly, she fell back into the vapid female she was written as.

As far as sex films go (this was my first) I can’t say I am impressed. Similarly, as far as romance films go, if this is romance then there’s something seriously up. I tried to like this movie, but with its questionable storyline told in the dullest of ways, Fifty Shades Of Grey is arguably one of the most disappointing films to come out of cinema.

The Theory Of Everything (2015)

Directed by: James Marsh
Starring: Eddie Redmayne, Felicity Jones, Tom Prior
Written by: Anthony McCarten (screenplay), Jane Wilde Hawking (book)
Genre: Drama, biography, romance
Rated: 12A

What James Marsh delivers us with The Theory Of Everything, is a charmingly profound and earnest biopic of arguably, the most intelligent man on the planet – the brilliant physicist and bestselling author Stephen Hawking. Eddie Redmayne is at the forefront of this story with Felicity Jones at his side as Hawking’s first wife, Jane Wilde. Together, the two bring an incredibly endearing and heart-breaking tale to life, with flawless performances and an unbeatable chemistry, following Hawking’s struggle with the development of motor-neuron disease and Jane’s struggle with watching the man she loves turn into a less able version of himself, with a robotic voice and a life in a wheelchair.

Interestingly, The Theory Of Everything tells Hawking’s story from the perspective of Jane, with an honest script from Anthony McCarten based on Jane’s book Travelling To Infinity: My Life With Stephen. Although Redmayne is unbelievably believable as Hawking (if he doesn’t get an Oscar nomination I quit), it is Jones’ performance as Jane that really gives us an insight into the difficult yet brilliant relationship Hawking and Wilde had together. The real trauma we see here is not how Hawking coped with his disease, but it is how Jane coped with Hawking’s disease, over 30 years of marriage and the deliverance of three children along the way.

Redmayne presents Stephen with candour and a quiet eccentricity, introducing us to the man behind the science – a person of humour, honesty and most noticeably, strength. His performance is undeniably faultless, not once do you feel like Redmayne hadn’t pushed himself to both his mental and physical limits. Similarly, Jones tackles Jane’s resilient yet soft nature with grit and sincerity, delivering truly poignant scenes either with Redmayne or on her own. Although she is already a well-esteemed actress, her portrayal here is sure to make her a household name.

In ways, it is nice to get to know a side of Stephen that isn’t all about his scientific achievements, however these achievements are what made Stephen the legend he is today. If Marsh had drawn more emphasis on just how excellent his famous discoveries were, he would have made The Theory Of Everything exceedingly perfect, rather than just perfect. For those who are not all that ‘clued up’ on Hawking and his theories, this film falls short in teaching us, which is a shame - albeit a small one.

This movie tells the remarkable story of Stephen Hawking and Jane Wilde with dignity and heart, creating an outstanding biopic that shall live as a classic in years to come. An ordinary telling of two extraordinary lives, The Theory Of Everything is an almost impeccable, moving drama that is alleviated by strong performances, simplistic direction and inspirational messages that are bound to stick with audiences forever – “while there is life, there is hope”.

Unbroken (2014)

Directed by: Angelina Jolie
Starring: Jack O’Connell, Takamasa Ishihara, Domhnall Gleeson
Written by: Ethan and Joel Coen (screenplay), Laura Hillenbrand (book)
Genre: Drama, biography, sport

Angelina Jolie’s second film working behind the camera tells the traumatic and truthful tale of Louie Zamperini (Jack O’Connell), an Olympic US athlete turned World War 2 hero after a bomber jet crashes into the Pacific ocean leaving officer Louie and two more survivors (Domhnall Gleeson, Finn Wittrock) stranded at sea for 47 days, until they become rescued, captured and tortured by the Japanese as slaves at a POW camp.

Despite the heavy 137 minute length, at no point during Unbroken does your attention drift. From the word go, this wartime feature is incredibly captivating, and this is due to a range of successful decisions made by Jolie herself. The casting in this movie could not be more brilliant, with rising star O’Connell demonstrating absolutely unbelievable talent that will not go unrecognised. It’s hard to imagine another actor in this role as he takes you on an emotional journey that so effectively captures the raw nature of human spirit. Additionally, acting from Takamasa Ishihara as Watanabe “the bird”, a Japanese sergeant with a particular hatred for Louie, is terrifying and realistically chilling. Smaller roles from Garrett Hedlund and Domhnall Gleeson are also unforgettable. Think what you want about Unbroken, but one thing that cannot be knocked is the extremely skilled cast whom carry this movie until the very end.

However, Unbroken soars in other areas too. The Oscar-winning Coen brothers deliver a gritty script with the capacity to help the audience really feel the pain that Louie felt, and beautiful cinematography from Roger Deakins makes the movie easy on the eye.

Of course, any wartime movie is going to be ridden with clichés and overdramatized scenes. Although Jolie definitely emphasises this with her slightly try-hard directing, these faults are not unbearable in any sense and can definitely be overlooked, if not unnoticed. Perhaps once again it is O’Connell’s entrancing performance that distracts the audience from anything other than the strength of Louie’s character, and the real traumas of World War 2.

Unbroken is a beautiful homage to the late Louie Zamperini and is a film that I would encourage people of all ages to see. With its poignant message and educational story which I am sure many people are unaware of (me included), it is a movie bound to teach, inspire and encourage, something I think is very important for cinema.

Say When (2014)

Starring: Keira Knightley, Sam Rockwell, Chloe Grace Moretz
Directed by: Lynn Shelton
Written by: Andrea Seigel
Genre: Comedy, drama, romance
Rating: 15

Although consistently brilliant and always captivating, Keira Knightley has been stuck in a rut of tight corsets and pursed lips for years now. Don’t get me wrong, she excels, but here, in a different light as 28 year-old ‘floater’ Megan, Knightley embodies a much more relaxed and relatable role, proving that she is a hell of a lot more than the elegant and regal character we have grown to associate her with.

After settling for a high school boyfriend and avoiding important job decisions whilst her best friends move on with life and grow up, Megan faces a ‘quarter-life crisis’, and so moves in with troubled but cute teenager Annika (Moretz) and her hot lawyer Dad (Rockwell), just for a week to get her head together. The plot is a little questionable if not implausible, but for the most part, this film is earnest and pretty fun, mixing quirky wit with sentiment to create the right balance of comedy drama.

Knightley is gawky and clumsy here, however it is a refreshing change as she reverts back to her Bend It Like Beckham days, tackling the role of the cool, chilled tomboy extremely well. The chemistry between her and rising star Moretz is unbeatable and very sweet to watch, but it is the down-to-earth scenes with Rockwell that really shine. He is wonderfully endearing, delivering both elements of loveable Dad humour and sexy love interest in a way that allows the audience to see him honestly in both lights.

Perhaps Shelton’s kooky flick is a little dull in parts, and taking a nap half way through wouldn’t exactly mess up your understanding of this predictable tale, but it is harmless fun and will no doubt make you smile. With very watchable performances from an outstanding cast, and a unique script that induces many giggles, Say When is one of those movies guaranteed to make you feel all lovely and nice - perfect for a lazy afternoon with a mug of tea.

The Equalizer (2014)

Starring: Denzel Washington, Marton Csokas, Chloe Moretz
Director: Antoine Fuqua
Written by: Richard Wenk
Genre: Action, thriller, violence, drama
Rated: 15

If there is one thing that all avid movie watchers believe, it is that films are not just here to entertain us, but they are here to teach us something, here to help us feel. Antoine Fuqua’s The Equalizer – although mostly entertaining – somehow fails miserably in doing this. Despite the non-stop action, odd funny quips and expectedly kickass acting from Denzel, The Equalizer is empty and senseless, leaving the audience asking endless questions – and not the good kind.

Denzel is Robert, a typically lonely widower working in a hardware store, spending his dull evenings reading books in the local café (clearly a feeble attempt to add an inch of depth to this shallow tale). It is here he meets Teri (Chloe Moretz), a young girl working as an escort for a group of highly dangerous Russian men. After she suffers a beating, Robert decides to revert back to his past (which is never explained) and do something about it with swift, savvy planning and lots and lots of blood.

Washington doesn’t showcase his best skills here, however you can’t help but love the guy – his minor faults can be overlooked, as the main flaws here lie with a cliché script and empty characters that you feel like you never really get to know or love. Performances from Moretz and Melissa Leo are unsurprisingly endearing and captivating, which makes their lack of screen time extremely underserved and a real shame. Fuqua’s fancy camera work and daring angles are like that of a child with a brand new toy, which makes it all a bit too fast-paced - especially for a film which already takes much too long to get going and much too long to end.

For a quick action fix, The Equalizer ticks all of the boxes. The audience may find themselves on the edge of their seat, unable to look at the screen, and yes – it is highly exhilarating and undoubtedly enjoyable - but that is it. Within an hour, you’ve forgotten what the film was even about. There is no way this movie is going to stay with us for very long, but for an unnecessarily long two and a half hours, The Equalizer is perhaps not the worst movie you could choose to see.

Hector And The Search For Happiness (2014)

Directed by: Peter Chelsom
Starring: Simon Pegg, Rosamund Pike, Toni Collette
Written by: François Lelord (novel), Maria Von Heland, Peter Chelsom
Genre: Comedy, drama, adventure
Rating: 15

As brilliantly funny Simon Pegg is, his performances in comedies like Shaun Of The Dead and Hot Fuzz are silly and hard to take seriously. So with each release of one of his films, it is hard to remain unbiased and put any thoughts of dubiousness to the back of one’s mind. Hector And The Search For Happiness (based on François Lelord’s critically acclaimed novel) therefore came as a pleasant surprise. This film is a typical Pegg hit - silly in parts, and undoubtedly funny, but the difference between this and his other comedies, is that it is meaningful and has the audience leaving the cinema feeling enlightened, with a desire to seize the day and live your life to the brim.

Pegg is Hector, a very ordinary, very comfortable and very bored London-based psychiatrist, who spends his days doodling whilst pretending to listen to his dreary patients, and spends his nights living a tidy, normal life with gorgeous girlfriend Clara (Rosamund Pike). After endless days of the same old routine, Hector comes to realise that he is a “fraud”, how can he tell his patients to be happy when he doesn’t even know what happiness is himself? So he goes on an exotic journey to countries China, Africa and America, in a quest to discover what happiness is - and most importantly, how to be it.

Pegg was the perfect choice for Hector – it is hard to imagine anybody else playing this part as well as he did, being the well-balanced mix of hilarious, earnest and astonishingly likeable, which drives the movie to the very end. However, it is his encounters with each unique character on the journey which help Hector - and we as the audience - feel like a happy epiphany has been reached.

I’d be lying if I said this movie was perfect. The only criticism the film faces is its manic direction and heavy editing – although done artistically, it is a little unnecessary for a movie with a message as simple and profound as this. After all, isn’t the meaning behind a story the whole reason we started watching films in the first place? To feel something? Well, Hector And The Search For Happiness certainly does make you feel something - whether that be your own desire to find happiness, or perhaps the well-needed realisation that you already have enough reasons to be happy for.

Transformers: Age Of Extinction (2014)

Starring: Mark Wahlberg, Stanley Tucci, Nicola Peltz

Directed by: Michael Bay
Written by: Ehren Kruger
Genre: Action, Sci-Fi, Adventure
Rated: PG

If there’s one thing you can expect from a Michael Bay film, it is mayhem – or as often put “Bayhem”. Knock him all you want, but it is undeniable that some of Bay’s worst films have given us some of the best, most heart-racing action sequences seen on screen (i.e. Bad Boys II). So, with the release of the 4^th instalment of the Transformers series, audiences are expecting to take perhaps at least a little excitement and adrenaline from Age Of Extinction – albeit, if nothing else.

However, prepare for utmost disappointment. It seems that Bay is not even good at what he’s good at anymore, because this film is incredibly boring, terribly sluggish, frustratingly samey and just downright awful.

Wahlberg is Cade, an inventor who stumbles across a hidden Transformer after the battle of Autobots and Deceptions levelled Chicago, causing the Transformers to be seen as a ‘threat’ to all humankind. Cade, his daughter Tessa (Peltz) and her boyfriend Shane (Reynor) join alliances with this robot, who turns out to be Optimus – leader of the Transformers – and promise to help defeat the mysterious bounty hunter who seeks to rid of Optimus and his robotic army, much to the despair of the government and their operations.

Stanley Tucci may be the only element of success in this tedious 166 minute nightmare, as Joshua Joyce, leader of the KSI – a company in the midst of creating man-made Transformers to be used for military use. Tucci’s acting is watchable beyond belief, the scenes with him are the best (…of a bad bunch) however the only disappointment here is that a man of such talent would choose a film with this level of disastrousness.

There is nothing in this movie that could offer the smallest level of entertainment to anybody. Even the excessive fighting and banging around couldn’t make the most excitable 11 year old boy bat an eyelid, and there most certainly isn’t any worthy drama or sentiment that could tug at your heart strings. The only thing Age Of Extinction succeeds in doing is forcing you to put your head in your hands and cringe.

Whether it be the dire acting, embarrassing attempts at comedy or unrealistic CGI action sequences, it is hard to tell exactly what makes this film nosedive so much. It could also be the issue that the only female role is an objectified damsel-in-distress figure. Maybe it’s the dreadful plot and script offered by Kruger, or perhaps it’s the amateur direction and odd camera angles once again provided by Bay. In truth, the one singular thing wrong with Transfomers: Age Of Extinction is everything. 

Maleficent (2014)

Director: Robert Stromberg

Starring: Angelina Jolie, Elle Fanning, Sharlto Copley

Screenwriter: Linda Woolverton

Genre: Fantasy, Drama

Rating: PG

If anyone is to be cast as the human version of a Disney character, Angelina Jolie’s face and demure certainly fits the criteria. With angular features and an alluring air about her, as the villain Maleficent in this somewhat gothic adaptation of Disney’s 1959 animation Sleeping Beauty, she truly is breath-taking.

Yet Jolie is not the only beauty in Maleficent. Direction and creativity from visual effects extraordinaire Stromberg (Alice In Wonderland) and wicked costumes from Anna Biedrzycka-Sheppard team together with fairy-tale backdrops and settings and a comical, cartoon-like cast, producing a movie that is visually captivating and extraordinarily enchanting all at once.

However, as stunning as this film may be, beauty on the outside is not everything, and whilst the message behind the movie is important, the deliverance of this moral from screen to audience is not done as well as it could be.

In truth, Maleficent is really boring. It looks good, and the characters are played brilliantly, but something is missing and it’s still hard to put a finger on what that thing is. Jolie is true to her title, becoming magnificently powerful as the good fairy-turned-evil-villain, after her hardship drives her to seek revenge. Fanning (Aurora/Sleeping Beauty) is adorable and honest, and the three little fairies summoned to look after her are hilarious and heart-warming, so it is not the acting performances that have let this movie down.

Although Woolverton provides a very believable and typically Disney-esque script to keep this modern adaptation traditional, perhaps it simply is the actual story that is just so dull. Disney have tried to reach out at an older audience, attempting to turn a children’s classic into a darker, more enticing movie - but this doesn’t exactly work.

Sleeping Beauty should - and will - forever remain a story for kids, and truthfully, there really is no doubt that the kids will enjoy this take on the tale. However Maleficent wasn’t made for them. Disney have sadly not accomplished what they sought to achieve, because for anyone over the age of 10, Maleficent is so sleep-inducing, you almost believe it was you that pricked your finger on the spinning wheel and fell into a coma.

***

Bad Neighbours (2014)

Directed by: Nick Stoller
Written by: Andrew Cohen, Brendan O’Brien
Starring: Seth Rogen, Rose Byrne, Zac Efron, Dave Franco
Genre: Comedy
Rated: 15

With Seth Rogen’s highly-regarded acting resume boasting comedic gems like Knocked Up and Superbad, it’s obvious that by putting him at the forefront of any new film, it’s going to sell. So before Stoller has even started to create storyboards, Rogen has raked in a vast audience and guaranteed a huge opening weekend.

Then, Stoller takes Zac Efron, the sweet Disney-star turned sexy Hollywood hunk, and he throws him in the works as well. At the signing of a contract, BAM – Bad Neighbours is a potential box-office hit.

Well, this is one film that doesn’t collapse under the pressure of high expectations. In fact, quite the opposite - this film exceeds them. It is laugh-out-loud hilarious, outrageously entertaining and very sweet at its heart.

Rogen and Bridesmaid’s Rose Byrne are new parents Mac and Kelly, whose idyllic life on a peaceful estate is ruined when a college Fraternity – lead by shirtless stoner Teddy (Efron) - move in next door. Following their quest to keep the quiet and Teddy’s quest to party 24/7, a competitive battle between the neighbours erupts.

Rogen and Byrne have outstanding chemistry – together they are extremely likeable and achieve the most laughs throughout. It is refreshing, if not scarily eye-opening, to see Rogen progress from playing the irresponsible, drug-smoking adult and take on the role of a mature parent, however he does it very convincingly. You find yourself rooting for the couple, and also kind of hoping your family life will turn out like theirs – caring and settled however still with the ability to let loose and have fun.

Efron is savvy and quick-witted, showing a more rebellious and more likeable side of him that was absent in his previous films. His performance here lets go of High School Musical’s Troy Bolton, allowing us to finally take him seriously as a real and talented actor.

The younger Franco (Dave) lives up to his brothers standards, proving to be funny and smart as Teddy’s sidekick Pete. Smaller roles from Christopher Mintz-Plasse and Craig Roberts are also played exceptionally well, all the more contributing to the earnest hilariousness and honesty that this film so wonderfully captures.
Although a bit messy and thrown together on Nick Stoller’s part, Bad Neighbours is a very entertaining watch. It has everything a comedy needs – a cast that knit together like they’ve known each other years, a bit of eye-candy, a cute baby, wild parties, and of course, a script that fuels an endless uproar of laughter.

****

Divergent (2014)

Starring: Shailene Woodley, Theo James, Kate Winslet

Genre: Drama, sci-fi, thriller, romance

Director: Neil Burger

Writer: Veronica Roth (book), Evan Daugherty & Vanessa Taylor (screenplay)

Rated: 12A

It’s nobody’s fault, but the plot for the first instalment of the new young-adult franchise Divergent sounds remarkably like The Hunger Games – a young girl in a dystopian world, trying to discover who she is and what she stands for.

However, as many parallels you can draw between the two, these two franchises very much succeed on their own, and Veronica Roth’s Divergent book-turned-movie series is guaranteed to be a box office hit.
The story follows Shailene Woodley as Beatrice, a sixteen year old whose time has come to choose her future. Although similar to what teenagers go through nowadays, this decision doesn’t involve what GCSEs or A Levels to take, or what university to go to – it involves identifying your personality and changing your entire life accordingly.
This dystopian world 150 years into the future is empty and mysterious after a war ravaged the land. Chicago is its only city, guarded by high fences and walls to protect from whatever lies on the outside. But it is the inside that is most frightening.
The city is split into five controlling factions to keep the peace – Abnegation: the selfless; Erudite: the intelligent; Dauntless: the brave; Amity: the peaceful; and Candor: the honest. On one day a year, every teenager who has come of age must take a hallucinogenic test to discover their own mind and help them decide who they want to be. Individuals can either stay within the faction they were brought up in, decide based on their test results, or choose for themselves - but once they have chosen, there is no going back.
Of course, Beatrice is not like the others. She is a Divergent, meaning she fits into every category. Divergents have the ability to exercise their own independent mind and act upon human nature – making them a threat to society as they cannot be controlled like everybody else. With her test results kept a secret from the faction leaders – most importantly the threatening Erudite leader Jeanine (Kate Winslet) - Beatrice chooses Dauntless, an energetic and daring faction she has admired since childhood.

Under the watchful eye of two unforgiving instructors Four (Theo James) and Eric (Jai Courtney), Beatrice (now renamed Tris) and the new Dauntless initiates undergo unisex training to ensure they really are cut out for this faction, and if they fail, they will be factionless – homeless beggars who fit nowhere. It is because of this and the relentless government that Tris is now pressured to become a successful Dauntless, and even more pressured to hide her dangerous secret.

It’s no doubt that Divergent is going to be popular amongst young-adults and those who enjoyed any of the recent blockbuster franchises, however I think it reaches out to an even wider audience than it may seem. Shailene Woodley is remarkable and extremely endearing– she didn’t get nominated for that Oscar for nothing. The chemistry between her and Theo James is rare, and very realistic. Their romance acts more as a back story, so the main plot doesn’t become forgotten, which is good because the main plot is so fantastic.

Although there’s not one dull moment in Divergent, by the end it does kind of feel like a warm-up for the next set of films. This isn’t necessarily a bad thing, I just hope that the first movie does rake in enough money to guarantee the second instalment. It would be a shame to see something with so much potential go to waste.
For a surprisingly enjoyable cinematic experience, go and see Divergent immediately. Especially if you like a bit of eye-candy, because Theo James is unbelievable to look at. Shoot me if it’s too unprofessional to say that.

***

Non-Stop (2014)

Starring: Liam Neeson, Julianne Moore, Michelle Dockrey

Genre: Action/Thriller
Directed by: Jaume Collet-Sera
Written by: John Richardson, Christopher Roach
Rated: 12A

When Neeson was announced at the forefront of 2008’s smash-hit blockbuster Taken, as divorced ex-CIA agent Bryan in an attempt to rescue his kidnapped daughter, the world was confused. How can this middle-aged actor, famous mostly for his sincere role in Holocaust drama Schindler’s List (1993) tackle such a demanding action role like this one? Yet, Neeson blew everybody away, and Taken became the most surprising worldwide phenomenon of the noughties.

Since we discovered Neeson is actually one of the best action stars in the industry, he is consistently in demand for similar roles. Non-Stop therefore shows us a side of Neeson that we have all seen countlessly before.  Despite the samey character – a troubled man of authority with his own personal demons getting in the way of his work – this film is actually alright. It was inevitable that the release of Non-Stop was going to get people talking - half of them with excitement, and the other half with dubiousness. I’ll admit, I was a dubious one, but Non-Stop fulfils its purpose, proving to be highly thrilling and will definitely have you on the edge of your seat.

Air Marshall/alcoholic Bill Marks (Neeson) is aboard a flight to London when he starts receiving texts from an anonymous passenger demanding $150 million to be paid into a numbered account, or every twenty minutes, a passenger’s life will suffer the consequences. True to the title, from here on, the suspense is non-stop. Neeson drags suspects down aisles, waves his gun around, searches innocent travellers, fighting anyone who stands in his way, to simply find out who is behind this terrifying blackmailing - and after a good twenty minutes, the suspense becomes a little unwatchable.

With films like this, it is hard to mistake your anticipation and endless questioning for genuine enjoyment, and it is only after much deliberation do you see beneath the intense façade to discover a plot that lacks logicality and girth.  It’s true that throughout the film the audience are biting their nails and watching through cracks in between their fingers, but once we find out who is the bad guy behind it all, you may find yourself asking whether the unbearable stress was even worth it.
Neeson is whatever. There’s nothing new to see but he does the job and pulls it off relatively well. Julianne Moore is ridiculously under-cast as Jen, an aloof woman who kind of acts as Bryan’s sidekick throughout. Downton Abbey’s Michelle Dockery is Nancy, the air-hostess, and there’s no faulting her performance – it is her dreary character that deserves some stick. The same goes for 12 Years A Slave star, the up and coming Lupita Nyong’o, who doesn’t have the chance to show her talented abilities as air hostess Gwen, which is a shame.
Collet-Serra undeniably brings us a thriller oozing with sophistication and tension. His camera shots and action sequences are spot on, and Non-Stop truly does entertain for the most part, it is just a bit of a waste given how unrealistic and typical the storyline really is. If you’re the kind to look into the finer details and criticise anything short of perfection, then stay clear away from the movie theatre for this one, however if you’re easily pleased and love a cheap thrill, then Non-Stop won’t disappoint. 

***

Last Vegas (2013)

Director: Jon Turteltaub 
Writer: Dan Fogelman 
Starring: Robert De Niro, Michael Douglas, Morgan Freeman, Kevin Kline 
Rating: 12A 
Genre: Comedy

As the Christmas break comes to a close, and the remainders of “holiday cheer” begin to fade, Last Vegas is the feel-good comedy guaranteed to brighten up this dark and dismal January and leave audiences dancing out of the cinema with a new lease on life.
Robert De Niro, Morgan Freeman, Kevin Kline and Michael Douglas play four fiery pensioners, reuniting their childhood gang “The Flatbush Four” for “the first bachelor party that could be covered by Medicaid” – Billy (Douglas) is getting married to a woman half his age, and to celebrate, these old guys are hitting the party capital of the world – Las Vegas.
If you liked The Hangover, you will love Last Vegas. Although particularly entertaining (and relatable?) for perhaps the older audience, this film will melt the hearts and tickle the tummies of everyone and anyone (albeit, older the guidance age of 12), with its hilarious script, charming characters and endearing plot.
It would be stupid to deny the fact that the famously gifted all-star cast of Last Vegas is the one of the central reasons the movie soars so greatly. Freeman is side-splittingly funny as old-timer Archie – a spunky fella determined to have a good time - and Kline is quick as the droll Sam, with Viagra in his pocket and “permission” from his wife (men – don’t be getting any ideas). De Niro is typically fantastic as Paddy – a miserable yet wisecracking widower with heavy grudges and a reluctance to relive his partying days, and Douglas does what he does best as cool, smooth-talking Billy - the richest, most successful member of the group, with his dyed hair, orange skin and swagger in his walk. These four actors couldn’t fault any less – their chemistry is unbeatable and together they work to create a loveable and entertaining gang that carries Last Vegas to the very end.
Turteltaub and Fogelman bring magic to screens, sending their characters off on an adventure that allows them to teach each other and the audience extremely valuable life lessons. The laughs, the cries, the fights and the truces – every emotion and action comes together to produce not just a great movie, but something else astonishing and unforgettable – the message that “you are only as old as you feel”.
With this idea in mind, anybody who sees Last Vegas is therefore left with a lust for life and a readiness for whatever it may throw it them - and that in itself, is what movies were made to do.

****

Pain & Gain (2013)

Director: Michael Bay
Starring: Mark Wahlberg, Dwayne Johnson, Anthony Mackie, Ed Harris
Genre: Comedy, Crime, Action
Rating: 15

From the second Mark Wahlberg uttered the first few pointless opening lines, including the cringe-worthy “I believe in fitness”, I knew I was going to dislike this movie. Funnily enough, by the same closing line “I believe in fitness”, a lot had changed. Not only did I now hate the movie, I had also lost a small but precious part of my soul and approximately 500 brain cells. This film was all pain and absolutely zero gain.

Mark Wahlberg, Dwayne “The Rock” Johnson and Anthony Mackie are three rather stupid bodybuilders in Florida, who try to kidnap and murder a rich customer from their regular gym in an attempt to steal his finances and make themselves richer. You can kind of see what Michael Bay was trying to achieve here, by bringing a (shockingly) true story to life and simultaneously hoping to create a comedy that mocks all cliché films about the American dream and being the best that you can be, however, this idea fails to translate. What is instead created is a shambles of a film that makes the audience both cringe and howl at the ridiculousness of it all. Witty and charming is what they were going for, but messy and embarrassing is more like it. I found myself frequently covering my eyes – whether that be to protect myself from the graphic and unnecessary amounts of gore and violence, or the stupidity and desperation for laughs.

There are few good things in Pain & Gain, including moments of rare and genuine talent from Anthony Mackie, and an Ed Harris role (albeit, a disappointingly small one). Perhaps even the barbeque scene (you won’t believe your eyes) gathered a few real laughs… however if The Rock’s acting career wasn’t already down the toilet, then it most definitely is now. As for Wahlberg? Maybe he should reconsider showing his face in public ever again. Harsh, yes, but fans of Ted know he can do comedy, and avid watchers of The Fighter know that he can also act. This movie has taken a good five years from his career, which is an honest shame. You can do better than this Mark.

To put it simply, Pain & Gain is an embarrassment to cinema. Although many may find some entertainment from the terrible performances, dodgy plot and try-hard direction, most will wonder where the past two hours of their lives went. That’s just my opinion, but to quote the film: “I watch a lot of movies… I know what I’m doing.”

-346/10

The World's End (2013)

Director:  Edgar Wright

Writers: Simon Pegg, Edgar Wright

Starring: Simon Pegg, Nick Frost, Martin Freeman

Genre:  Comedy, Sci-Fi, Action

 Rating: 15

 On paper, The World’s End sounds like the most ridiculous idea for a movie that anyone could ever imagine: five middle-aged men reuniting in their old hometown of Newton Haven to complete the 12 stop pub-crawl The Golden Mile that they never finished as teens 20 years ago, only to find that the town’s residents have been replaced by ink-blooded robots – or “Blanks”. The ‘five musketeers’ reluctantly become the human races’ only chance for survival. Yes, it’s all very ridiculous, but what’s even more ridiculous is that it still works, and this of course relies on the famous and much loved comedy duo at the forefront of this silly tale – Simon Pegg and Nick Frost (Shaun Of The Dead, Hot Fuzz, Paul).

The World’s End marks the third instalment of the ‘Three Flavours Cornetto Trilogy’ (a joke only fans of the duo will understand) following the critically acclaimed Shaun Of The Dead and Hot Fuzz - tough acts to follow indeed - and manages to yet again create the perfect blend of laugh-out-loud humour, loveable characters, recite-able quotes and slapstick comedy. Simon Pegg is brilliant as the rowdy and haywire Gary King who is determined to complete the Golden Mile no matter what, despite his exasperated friends – the sensible and begrudging Andy (Nick Frost), the pathetic and kind Peter (Eddie Marsan), the pretentious and boring Oliver (Martin Freeman) and the competitive and fun-loving Steven (Paddy Considine).

All five characters are very Dad-like which makes this film a perfect watch for the blokes, however it is so hilarious that anybody over the age of 15 would enjoy it. It may be unimaginably silly, but with films like this you can’t take them too seriously – they’re just a bit of light-hearted fun - yet with Simon Pegg and Edgar Wright’s ingenious script-writing skills, there’s an underlining intelligent wit that will have the audience in stitches.

The World’s End is a film suitable for anyone with a sense of humour, and for fans of Pegg and Frost it is a 10/10 must see. Dramatically compelling, mildly thrilling and hysterically funny, this comedy sci-fi is a tremendous end to the Three Flavours Cornetto Trilogy.

9/10

World War Z (2013)

Director: Marc Forster
Rating: 15

Writers: Matthew Michael Carnahan (screenplay), Drew Goddard (screenplay), Max Brooks (novel)

Starring: Brad Pitt, Mireille Enos, Daniella Kertesz

Genre: Thriller/Action/Drama

The Zombie phenomenon is much like the zombie plague itself: once bitten, there’s no going back. With films like Shaun Of The Dead and 28 Days Later or TV shows like The Walking Dead, our generation is hooked on something that was once a kooky idea from some mad daydreamer but is now a cultural obsession that rakes in billions worldwide - the terror of the undead.

What is interesting about World War Z is that it may be the first proper zombie blockbuster that Hollywood has truly seen; with Brad Pitt at its forefront, an overactive hype surrounding its release and a billion dollar budget. It is worth mentioning that this budget for sure did not go to waste, as World War Z ticks all the boxes needed for a zombie thriller.

Marc Forster enraptures exhilarating suspense from the word go, immediately launching into the action sequence and subsequent introduction of these highly rapid, insanely ravenous and dangerously infectious creatures. From this moment on, the anticipation never really ceases and leaves the audience permanently on the edge of their seats, as we follow courageous family man and former United Nations investigator Gerry Lane (Pitt), as he becomes re-employed solely to help find the cure of this lethal zombie-creating disease - facing obvious terror and near-death experiences on his quest.

World War Z definitely seems to be more of a thriller than just a typical zombie film – which is a refreshing change. The movie plays less on the glamourized gore and grossness of the zombie itself (perhaps this is sad news for hard-core zombie fans?) and more on the traumatic impact and terror that this frightening unknown disease has on the world. You could say Max Brooks’ novel of which the film was based, tells the most accurate story of how a zombie apocalypse would pan out in reality - these zombies are fast, and what’s worse, is that there is a lot of them - and their numbers are fast increasing. It is the conquest of beating these creatures that drives the movie through to the end, with never ending intensity and heart-jolting jumps.

A dull moment is never to be found in World War Z. It is a quick, white-knuckle-turning rollercoaster ride of emotions, teaming well with a clever script and plot; in turn creating a brilliant film through something more powerful than just cheap thrills and artificial bloodshed.

The Great Gatsby (2013)

Director: Baz Luhrmann
Screenplay: Baz Luhrmann, Craig Pearce, F. Scott Fitzgerald (novel)
Starring: Leonardo DiCaprio, Tobey Maguire, Carey Mulligan, Joel Edgerton
Genre: Drama/Romance
Rated: 12A

Fitzgerald’s unforgettable Jazz Age novella following a young millionaire (Leonardo DiCaprio) fascinated with his long lost love Daisy Buchanan (Carey Mulligan) has captivated audiences since 1925; because of its perplexing sophistication, undeniable profanity and vivacious style. For these same awestruck audiences, Luhrmann’s sparkly and superficial adaptation of The Great Gatsby does nothing other than stamp all over the beloved book and tosses it onto an open flame.

Sadly, Luhrmann has turned a tale of such depth and complexity into something so frustratingly shallow, when it could have been so fantastic! - if only he had at least attempted to read the source material.

For non-readers of the book, it would be a lie to say The Great Gatsby isn’t fabulously entertaining. Since Moulin Rouge and Romeo & Juliet, it’s been clear that Luhrmann is a visionary. He puts on a show, and he does it well. It would have seemed almost stupid to consider anyone else to direct a story of such compelling brilliance – it was as if Fitzgerald wrote the book with Luhrmann in mind! Yet, the film falls short of this same virtuosity, and it is his directing here that lets us all down.

Swooping camera shots and close-ups, bouncing parties we long to be at, outstanding costumes, an abstract hip-hop soundtrack (featuring Jay-Z, Lana Del Rey and Fergie), vibrant cinematography and a non-stop buzz that underlines the entire movie – yes, it all draws you in, and at times, The Great Gatsby feels like the most thrilling movie you have ever seen. But, it is not until the end, when the meaning behind everything is revealed, and we see a glimmer of a rare, endearing hope that the film should have had from the very beginning. In a way, we may feel a bit robbed.

DiCaprio really does pull out all the stops. He’s endearing and charmingly odd as the mysterious Gatsby, but still, something just doesn’t fit. Even Robert Redford struggled to convey the complexity of Gatsby’s character in the first 1974 version of this literary bible, and he is the one with two Academy Awards (sorry Leo…)

Mulligan carries her part well, however adds an unnecessary innocence to the supposedly self-centred and shallow character of Daisy. Maybe it is she who steers the audience away from feeling the sympathy for Gatsby that perhaps Fitzgerald had hoped for. However, she is still incredibly fascinating as the 20s pin-up girl; she was born for this era.

Tobey Maguire is ever so earnest and beguiling as ex-war veteran/writer Nick Carraway, cousin to Daisy and neighbour to Gatsby. The story is written from his perspective as he recalls his time spent with Gatsby to a psychiatrist. Perhaps I’m not alone in wishing the focus had been more on his character than that of Gatsby, but The Great Carraway does not have the same ring to it.

The acting in this film really does not suffer that much - smaller roles from Joel Edgerton, Elizabeth Debicki and Isla Fisher are equally as brilliant - so it is a shame that the over-exaggerated, almost cartoon-like world that Luhrmann has created detracts attention away from the raw truth that lies beneath The Great Gatsby. However, that’s just typical of him, he loves a good show, and aren’t movies all about creating a new, magical world for us anyway?

If you’re wanting a meaningful replica of the book then stay as far from this movie as possible, but if you’re simply looking for a fun time at the cinema, then it really isn’t all that bad.

***