Zero Dark Thirty (2013)

Director:
Kathryn BigelowWriter:
Mark BoalStarring:
Jessica Chastain, Joel Edgerton, Chris Pratt 

Genre:
Drama, History, Thriller, ActionRated:
15

Only eighteen months since the world’s most wanted terrorist was assassinated by the American army comes Zero Dark Thirty - an intense thriller centring around the stressful chase and final capture of Osama Bin Laden. Brought to screens by Oscar-winning director, Katheryn Bigelow (The Hurt Locker) and based on first-hand accounts of real life CIA agents, Zero Dark Thirty tells a compelling tale of anger, desperation and relief that intelligently deletes misconceptions and spells out the truth behind the incredible story of how justice was done when Bin Laden was killed in 2011.
When making a movie surrounding such a sensitive topic, Bigelow and screenwriter Mark Boal hit the nail hard on the head. The Hurt Locker captivated its audience because of its raw truth and tasteful storytelling of an elite army bomb squad unit in Iraq, and Zero Dark Thirty does a similar task. There is no tiptoeing around the subject – in fact, many have said that the torture scenes (including the disturbingly truthful torture of Bin Laden’s nephew – Ammar (Reda Kateb)) bring the endorsement of America’s interrogation tactics to light.
Bigelow and Boal team to create a movie that has all the panache of a Hollywood action thriller and all the integrity of a 9/11 documentary, leaving out all cliché speeches about ‘saving the world’, ‘fighting for your country’ or ‘getting revenge’. What manages to inspire the audience all the same, is a strikingly poignant performance from Jessica Chastain. The tough-talking and hard-working Maya (based on CIA agent known as “Jen”) is determined to follow a lead she believes will bring the CIA to Bin Laden in Pakistan.  Maya is resolute and resilient despite facing major setbacks from both her colleagues and the Pakistani army – becoming a number one target from members of Al Qaeda and various other parties within Pakistan.
Although slow in parts and slightly too heavy for a Saturday afternoon, Zero Dark Thirty is a successful blockbuster guaranteed to get people talking. There is always the fear that making a movie about something so important to our culture may glamorize the truth and try too hard to make big bucks, but with Bigelow and Boal, there is no fear at all. Incredibly made and beautifully told, Zero Dark Thirty is a film that members of every generation should see in order to recognise the bravery of the US in eliminating a man that caused uproar across the globe. 

The Impossible (2013)

Genre:
Drama, Thriller, Action
Starring: Naomi Watts, Ewan McGregor, Tom Holland, Samuel Joslin, Oaklee Pendergast.
Director:
Juan Antonia Bayona
Writer: Sergio G Sanchez, Maria Belon
Rating:
12A

Bayona’s The Impossible had every chance to become a samey, deliberately tear-jerky, over-dramatic disaster movie and that’s of course what I was expecting. Unlike most other movies I see and review, for The Impossible, I remained spoiler and trailer-free. I had no idea what I was about to watch and knew nothing other than that they’d decided to use one of the most tragic disasters of all time as a way to make big bucks. Sigh.
Yet, from the word go, The Impossible did the impossible and completely won over everyone in the cinema. The film centres truthfully around the traumatic happenings of Boxing Day 2004, when a Tsunami hit Thailand, killing over 200,000 people and leaving millions homeless. The Impossible explores the true story of Spanish Belon family (changed to the British Bennett’s for the film) - Maria Bennett (Naomi Watts), Henri Bennett (Ewan McGregor) and their three young sons, on their unexpected and miraculous journey to survival.
Because of its truth and alarming emotionality, The Impossible is a far cry from your typical disaster movie. Everything about this film feels real, from the sometimes unwatchable trauma to the raw human spirit and hope that drives this family to never give up.
Director Bayona and writer Sanchez team together to create a film that is everything more than extraordinary. The opening scenes - although quite stiff - tell us of what should be a blissful Christmas break, yet there is a manipulative tension as the audience wait for what they know is about to hit.
As the waves crash over the resort, we are put in the position of the desperate family and allowed to feel exactly the way they feel. Bayona’s choice to view the tsunami from the view of the victim rather than from an aerial money-shot is the precise reason why The Impossible succeeds. It is not about making an incredible film  - although it is  tremendous – but it is about telling a story, and this story, is one that sticks with you. I couldn’t stop thinking about this film for hours afterwards, and I still catch myself thinking about it now.
The incredible performances from Watts, McGregor and rising star Tom Holland (Lucas Belon/Bennett) are shockingly relatable and this is what makes The Impossible so striking. There won’t be a dry eye in the house – and that’s coming from someone who never cries at films.
Beautifully tragic, inspiring and swimming with emotion, The Impossible has rightfully gained itself the title of best disaster movie of all time.

That's My Boy (2012)

Director:

Sean Anders

Writer:

David Caspe

Starring:

Adam Sandler, Andy Samberg, Leighton Meester
Genre:
Comedy
Rating:
15

If Adam Sandler was the King of Comedy, then maybe we could excuse him of a bad film once in a while. If he was making blockbusters back-to-back, left, right and centre, then maybe we could forgive him. A terrible joke, a badly timed punch-line… it could all be overlooked if only, if only Adam Sandler didn’t return to our screens every few months, begging on his knees for our giggles and our snorts and only ever getting our sighs and our cringes.

All of this to say – That’s My Boy was an okay (ish) surprise. It would be risky to go as far as to say that Adam Sandler is finally getting closer to the King Of Comedy title (currently held by Ben Stiller in many opinions), but there were more than a few chortles from the audience during the film.
If you ignore the irritatingly raspy growl of Donny Berger (Sandler), then you can sort of get your head around the story. Donny is a burned-out, lowlife of a former reality TV star who nabbed his 15 minutes of fame for impregnating his high school teacher (now serving a 30 year sentence in a women’s prison) at 14 years old. The result of the disturbingly paedophilic, cringe-into-your-hand affair was a son, Hans Solo/Todd (Andy Samberg), who understandably cut off all contact with his incompetent, heavy-drinking, debt-facing, woman-grabbing excuse for a Father and made it on his own - now an engaged millionaire, living with his past behind him. That’s My Boy follows Donny as he is approached with the dilemma of serving a prison sentence or paying a $43,000 bill total, forcing him to get back in touch with his estranged love-child in return for a $50,000 TV endorsement. 

In utter embarrassment, the awkward and endearing Todd (suitably played by the Saturday Night Live star) decides to tell his future family (an uptight fiancé (Leighton Meester), snooty in-laws (Maegen Fay, Blake Clark) and a stern, quick-tempered Marine brother (Milo Ventimiglia)) that Donny is in fact, his “best friend”.  Donny is determined to prove himself as a Father and is eager to rebuild his relationship with his son, but it wouldn’t be a story worth telling if that were all to happen without a series of mishaps and bumps along the way.

Any film done by Adam Sandler’s film company Happy Madison ensures that you the viewer are in for a crude, gasp-worthy yet lengthy cinematic experience, filled with profanity and inappropriate humour (I’m talking incest and Granny-sex). Sandler once again steps into the role of the trash-talking, middle-aged embarrassment figure, as easy as you and I can step into our pants in a morning. Although he was slightlyamusing in parts, watching him take on a character that has the potential to be quite funny and yet ruin it with bad habits, was simply painful. Adam Sandler is nothing more than Adam Sandler to us anymore. He’s had far too many fall-backs (Anger Management aside) for us to accept him as a successful comedic actor, so now his films seem too cliché and too samey to be considered anything other than average.  The chemistry between Sandler and Samberg lacks sincerity and fails to interest, however it is a Vanilla Ice cameo and smaller roles (Will Forte, Peggy Stewart, Susan Sarandon, James Caan) that add the infinite hilarity that That’s My Boy needs.

It can be argued that the only humour depicted in the film is a result of a snappy script and way-with-the-camera, or it could be suggested that it was in fact the 80s-esque soundtrack that distracted us from all the bad parts… whatever we do say, That’s My Boy does not succeed because of an original plot or a flawless cast (although avid Sandler fans may be able to tolerate it a little more). That’s My Boy does not succeed because of a deeper hidden meaning, or even a single hilarious one-liner. That’s My Boy doesn’t succeed because of any of that stuff. That’s My Boy, simply, just doesn’t succeed. At all.

The Amazing Spider-Man (2012)

Rating:
 12ADirector:
Marc WebbScreenplay: James VanderbiltGenre: Action/Adventure/DramaStarring:
Andrew Garfield, Emma Stone, Martin Sheen, Rhys Ifans

How can one justify a remake – or retelling – of a blockbuster movie only ten years prior to the original? Surely that’s not leaving enough time for minds to be cleansed and bodies to be prepared?
Exiting the theatre, something dawned on me – no body is ever prepared enough for Andrew Garfield in spandex.
The Amazing Spider-Man has pinged us back to the beginning, with a tidier, smarter and cooler leading man to make his own spin on the newer, more epic storyline.  The plot remains faithful to the trusty comics – seeing bullied geek Peter Parker (Andrew Garfield) adopt ass-kicking, stomach lurching and ball-busting superpowers following a nasty bite of a – you guessed it – spider. 2012’s Spider-Man is a science geek, and the lead up to his transformation is well explained and more developed than before. We are not supposed to just believe that a bite from a spider can turn us into a hero - a safer, cleverer plan, because now the kids won’t be pestering for pet tarantulas anytime soon – we now understand the science behind the transformation and can therefore grow to love fellow Science geek, Gwen Stacey (Emma Stone) even more.
Redhead Stone went blonde for her role as Gwen to mark the clear contrast between new damsel in distress Gwen and old news Mary-Jane. However, unlike the original Spider-Man film, this lady is less of a girl waiting to be saved and more of an accessory in Spider-Man’s adventures against creepy, lizard villain, Dr Curt Connors (Rhys Ifans).
The special effects are debatably “special” however Marc Webb’s direction is incredible, with slick and unique camera shots and angles that really put the audience inside the film - 3D or no 3D.
The Amazing Spider-Man is not just a film about a teenager-turned-superhero that can save the world in a spin of a finger – it is a movie that can bring out the superhero in all of us. Andrew Garfield is terrifically awkward and relatable – like most teenagers – and doesn’t lose sight of himself despite his new abilities. His endearing relationship with on-and-off-screen lover Emma Stone brings the element of romance and drama to the flick and, teamed with a dry, witty script from James Vanderbilt, creates a movie for everybody.
It is inevitable that The Amazing Spider-Man will be compared with the old movies. And that’s what they feel like after this – old. True, there are similarities, but the similarities have been improved. The death of Uncle Ben (Martin Sheen), the absence of Peter’s parents, the tricks, the quips, the falls and the soars… they’re all much better, therefore making The Amazing Spider-Man a fantastically modernised, Marvel-ous  cinematic experience.

Snow White And The Huntsman (2012)

Rating: 12A
Director: Rupert Sanders Screenplay: Evan Daugherty, John Lee Hancock and Hossein Amini. Genre: Action/Adventure/Drama Starring: Kristen Stewart, Charlize Theron, Chris Hemsworth, Sam Claflin


Once upon a time, a young British commercial director Rupert Sanders grabbed a camera and made a rushed clip of what he envisioned the truth behind Snow White’s story to be. His vision was one of beauty; where light can overcome the dark and magic is something you can not only see, but something you can feel. Where empowerment and empathy make you the fairest, and where beauty only exists if you have the strength of heart to back it up. Snow White and The Huntsman is an enthralling and thought-provoking take on this timeless fairytale.  Unlike few modern attempts to re-create the classic fairytales (ie. Sleeping Beauty starring Emily Browning – a strange and haywire take on the original story), Sanders remains truthful and traditional, taking the tale back to its Grimm roots, with a faithful medieval script and plot, carefully written by a talented trio of Evan Daugherty, John Lee Hancock and Hossein Amini.

There is a fine line between cliché and tradition, and the film approaches this line very nearly, however not enough to deem Snow White and The Huntsman as boring and predictable. The dark twists and eerie turns in the movie are what actually capture the audience, keeping them on their seat, not knowing what will happen next. Those who go see Snow White with the idea that they know what they are in for should re-consider. This is not the fairytale of Snow White that we know and love. There is no singing down a wishing well in this film. Kristen Stewart is playing Snow White, for God’s sake, and she does it remarkably.
Charlize Theron is ball-busting as the raucously evil Queen Ravenna - the beautiful new wife of dashing widower King Magnus (Noah Huntley) whose daughter Snow White is considered the most stunning in the land. Ravenna, who was told “beauty is power” by her late Mother, is angered by this, and commits many solemn acts in retaliation, one of which results in the poor Snow White spending her teenage years locked in a dirty tower. Miraculously, she did this without the need to pluck her eyebrows and without sprouting any acne. Showing the first signs of gusto, Snow White breaks free, only to now become the Queen’s “Most Wanted” escaped-prisoner. Drunken widower, Huntsman (Chris Hemsworth) is ordered to bring the Queen her heart so that she can “live forever”. Armed with an axe, he trudges into the woods, however, the endearing widower’s conscience gets the better of him. The film follows their journey through the dark forest, on the travel to meet with the Duke (Vincent Regan). There, with help from charming Prince William (Sam Claflin) they will attempt to defeat the Queen together.
For his first feature, Sanders is astonishing, approaching the tale with enough to darkness to startle and enough lightness to add beauty. The recurring theme of darkness and lightness effectively conveys the true message of the film – that strength and beauty of heart is more powerful than anything else. Kristen Stewart’s gutsy yet endearing Snow White is a giant leap away from a portrayal of Bella Swan that some may argue as “weak”. Although, the two characters share similarities in selflessly fighting for the things they care about. This side of Kristen not only can convince haters of her true acting ability, but also provides a visual treat with her natural yet enigmatic beauty. The beauty of Snow White’s strong soul captures the heart of many – whether they be in the audience or in the film.
It wouldn’t be Snow White without the dwarves. For an unknown reason, there are eight of them, but whatever the number, the burly creatures (including Nick Frost, Ray Winstone and Ian McShane) provide laughs and a mild-profanity to the film. What we see unfold is an army made up of strong human traits. This ain’t no superhero movie. We can actually relate to the characters and experience their discomfort without knowing they’re going to make it out okay. The film is gritty and challenging, with the perfect balance of horror and realism. Oscar-winner Colleen Attwood’s costumes are simple enough not to distract, but thoughtful enough as to help contribute to the Medieval setting so effectively created by the visual effects team and Alice In Wonderland producer Palak Patel. Teamed with James Newton Howard’s triumphant score, the result is a special cinematic experience.
Snow White and The Huntsman sets the bar for all upcoming fairytale action flicks. It is gutsy, thrilling, haunting, energetic, imaginative, funny, heart-stopping and breath-taking, with an all-round fantastic cast and captivating visuals that will stay with you even after you leave the movie. The films that inspire are the best kind of films, and Snow White inspires even the weakest of children, convincing them that if you do something with all of your heart and strength, then you’ll all live happily ever after.

Update

HELLO HELLO :) I AM ALIVE. 

I am not dead, although it feels like it sometimes! (I'm exhausted).
I don't have the time to post a review lately due to exams and other priorities that I wish weren't priorities but unfortunately have to be :(
I haven't watched a movie in a week! That is a record, for sure, however it is not a choice and hopefully I will have a review up by Sunday night - but even that seems unlikely!
If I do manage to write one, then the movie of choice will be American Pie Reunion - I have high hopes!
Anyway I thought I'd just write this to whoever actually reads my reviews (I know there are many of you! Thanks!) and make sure y'all know the blog still exists.
Thaaaank you for reading my reviews hopefully they are of some help etc etc. Let me know if you've listened to one and watched/not watched a movie because of it!
Gracias amigos.
Bye :) 

Letters To Juliet (2010)

Rating: PG
Director: Gary Winick 
Screenplay: Jose Rivera, Tim Sullivan
Genre: Comedy/Romance/Drama
Starring: Amanda Seyfried, Vanessa Redgrave, Gael García Bernal, Christopher Egan.

Letters To Juliet speaks for itself. Though occasionally charming and sweet in parts, this chick-flick is yet another clichéd film that lacks relatability and is full of one-liners that will provide you with nothing but cringes, as it follows Seyfried’s Sophie – a wholesome, American woman - who ventures on a pre-wedding holiday to the romantic Verona with her busy, fast-talking, selfish fiancé, Victor (Bernal) – a man who keeps yelling “Incredible! Incredible!” at pasta, bread and cheese.  

It is in Verona, where Sophie discovers “Juliet’s Secretaries” – a group of women selflessly replying to other teary-eyed women’s pleas to Shakespeare’s Juliet, begging for help with love.

Being a fact-checker, eager to begin her journalism career, Sophie jumps at a chance to run a story when she finds an un-answered, yellowed letter tucked away in the wall. Dun-dun-dun. Here, is where we are - supposedly - gripped.

After finally receiving a response to her pleas, Vanessa Redgrave’s Claire and her grandson, Charlie (Egan) embark on a long journey with the annoyingly cheerful Sophie to find Claire’s long lost love, Lorenzo Bartolleni, getting to know each other along the way.

Meanwhile, fiancé Victor is swanning off sniffing parmesan and popping corks, and already neglected Sophie feels drawn to charming Brit Charlie. We didn’t see that one coming. That’s not sarcastic; at first, we really didn’t see that one coming – but maybe that’s because the limited dialogue and vapid storyline had enticed us to sleep. 

Letters To Juliet is enjoyable (or more appropriate; ‘not painful to sit through’) for the forgiving romantics, but some may not relish in the idea of watching Vanessa Redgrave stare into the eyes of hundreds of aged Italian men for an hour and forty minutes. The film is a solid block of cheese. Despite what Victor may claim, this cheese is not incredible; it’s not quite Halloumi - but it is good. Like Cheddar. Or Dunlop – sweet, with an offish taste that not many can bear.