Not relying on generic jump scares, director Jennifer Kent provides real fear, driven by exemplary performances and a horrifying villain. Scott Gentry reviews "The Babadook".

The Babadook (15)
Directed by: Jennifer Kent.
Starring: Essie Davis, Daniel Henshall and Noah Wiseman.
Rated: 15 for containing strong supernatural threat and bloody images.
Running time: 94 minutes.
Released in UK cinemas from the 24th of October, 2014. 

In most cases, Hollywood tempts us all in with the promise of ambitious and arresting horror, yet they often seem to be wrongly luring us into a thieving trap. And, for a year filled with laughable contributions to the horror genre such as "Devil's Due" and "Deliver Us from Evil", I honestly believed that there was little hope for the worn out category. But along came "The Babadook", a low-key horror that creates the crucial themes of tension and psychological fear effortlessly, once again installing the very fear I felt when I first heard the story of "The Boogeyman". 

Seven years on from a car crash which killed her husband, Amelia (Essie Davis) is struggling to cope. Her six-year-old son Samuel (Noah Wieseman) grows restless as the days go by, insisting on his ability to create harmless (they're actually harmful!) weapons out of scrap wood, eventually causing mass mayhem.  On top of a troublesome son, Amelia’s best friend is beginning to worry about her, she is constantly showered in seemingly unwanted affection by her co-worker Robbie (Daniel Henshall), and her job in the local care home proves to be a fairly monotonous career. Just when things couldn't get any worse, a mysterious red book appears on Samuel's bookshelf. Its name is "Mister Babadook". After a frightening bedtime story, Amelia is convinced that there is nothing to fear, but her son isn't. He's seen the Babadook himself, and if the book's frightening words of warning are anything to go by, the pair may be in serious peril. 

Bedtime stories just became a whole lot creepier...
Essie Davis and Noah Wieseman
appear in a still from "The Babadook".

After many years of exposure to the horror genre, audiences now demand jump-scare driven films which contain half the care and attention that was implemented into certain horror classics. But, director Jennifer Kent has managed to direct a tense-filled classic, which sets the scene through the simple idea of less is more. This doesn’t necessarily mean that the film doesn't deliver in its ability to shock or scare, but what it does achieve, is genuine and thought provoking fear. 

One of the film’s strongest features is the choice of not explaining the villain’s intentions, and why it wants to commit these atrocities, until at least the very end of the film. In fact, the audience never discover who Mister Babadook really is, which creates a vivid and cruel sense of the unknown. After all, when we don't understand something, aren't we more afraid of it? 

Co-star Noah Wieseman provides a note-worthy
 performance in "The Babadook".

Apart from the choice of the film’s villain and style, Kent directs this piece masterfully, as if she had directed hundreds of films. As a matter of fact, this is her first feature-length production. Previously, Kent had directed a shorter version of this piece ("Monster", 2006), but reached out to the people of Kickstarter (Zach Braff’s first choice for crowd-funded films), and received enough money to create a feature-length version. Due to the good-will of horror hungry fans, Kent managed to bring her vision to the screen, and her skills behind the camera are perfect. Each shot is arranged wonderfully, presenting the viewer with strange atmospheric sections of film, which contribute to the tight-as-a-drum atmosphere. Constantly angled so the audience aren't particularly sure of the character's safety, the fright is made all the more real when Kent fiendishly decides that the audience should be treated to some eerie shots of the home in darkness, or the book itself.

But it's not just through the filmmaker's desire to deliver harrowing, yet subtle shocks that sells this piece, it's the performance of a relatively unknown actress, Essie Davis. Davis puts across the role of a desperate mother perfectly, mixing dashes of comedy and strong threat splendidly which prove her acting calibre. 

Behind you! Or not...? Essie Davis stars
in a still from "The Babadook".

Throughout various horror's we are always subjected to the male's view of the paranormal, but through the use of a female character with a particularly tragic back-story, the audience is treated to a situation that is relatable, and a welcoming story that may be a supernatural horror, but at least it has a mean bite up its sleeve. Co-star Noah Wieseman is also notably talented, as a troubled child who is multi-layered in his ability to juggle not only emotionally disturbing scenes, but pitch-black comedy, much like her co-star Davis. A natural perhaps? 

Verdict

Smart, tense and unbelievably effective due to the inclusion of horror’s latest and most imaginative ghoul to date, “The Babadook” is a low-key horror that will remain with the most desensitised of viewers for a long, long while. 

8 stars out of 10 

Written by Scott Gentry.

Film/TV Rating Key

1-2 stars out of ten = Awful.

3-4 stars out of ten = Average.

5-6 stars out of ten = Good.

7-8 stars out of ten = Excellent.

9-10 stars out of ten = Amazing.

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Cliché ridden it may be, yet David Ayer's latest directorial effort "Fury", is a bold, savage and ferocious WW2 epic. Written by Scott Gentry.

“Fury” (15)
Directed by: David Ayer.
Starring: Brad Pitt, Shia LaBeouf, Logan Lerman, Michael Peña, Jon Bernthal and Jason Isaacs.
Rated: ‘15’ for containing strong bloody violence, gore and strong language.
Running time: 134 minutes.
Released in UK cinemas from the 22nd of October, 2014. 

Originally a Submariner in the U.S Navy, David Ayer has continued to surprise audiences throughout his fourteen year writing/directing career with films of a particularly high quality, such as “Training Day” (which he wrote) and 2012’s terrific directorial effort, “End of Watch”. Other films within Ayer’s filmography haven’t been as well received as certain entries, but after his gore-ridden failure “Sabotage” (helmed by Arnold Schwarzenegger), Ayer has returned with "Fury" a monumental epic, which gruesomely depicts the veritable horror of conflict.

Set within the remaining months of the European campaign in World War Two, the tank crew of our titular M4A3E8 Sherman tank, "Fury", are tired, beaten and emotionally distraught. Our rag-tag team of hardened soldiers have been fighting since the North African offensive, passed through hell and back, and currently consist of four men: Don "Wardaddy" Collier (Pitt), Boyd Swan (LaBeouf), Trini Garcia (Peña) and Grady Travis (Bernthal).Whilst fighting in the very heart of Germany’s countryside, the crew had recently lost their assistant driver, and barely survived the deadly fire-fight which ensued. Led by their sergeant however, the group return to an army base in order to re-stock supplies, and are subsequently introduced to their newest driver, Norman Ellison (Lerman). A recently enlisted typist, Norman hasn't fought a day in his life, and it's obvious that he isn't soldier material. In spite of Norman's fear, the group set out to make a man of him yet, but as they drive onwards through Germany, they soon discover the true horror of war and its effects upon society; this leads them to embark upon their toughest mission yet, set deep within the very heart of enemy territory. 

Home without the creature-comforts...
The team of our titular tank star in a still from "Fury".

Any director would be hard-pressed to even match the superior quality of war films such as “Come and See” (1985) and “The Thin Red Line” (1998), but David Ayer accepted the challenge and has composed a masterful blockbuster which isn’t as emotionally scarring as many WW2 films have proven to be, but this is a crowd-pleasing piece which boasts explosion filled set pieces and gripping performances from its cast. 

The performances in fact are the main reason that the film manages to hold itself together, primarily due to the strikingly fragile performance of Lerman. Having appeared in various dramas throughout the last five years, Lerman continues to astonish audiences with his ability to craft sincere performances which complements the film and works well alongside his fellow actors. Pitt’s character is interesting, as Collier is a less excitable version of his character Lieutenant Aldo Raine from “Inglourious Basterds”, yet just as savage, and Ayer has written Pitt’s character as a violent SS-hating soldier, who despite his skill in violence, is thoughtful and reflects upon his actions, prompting the audience to sympathize with his emotionally and scarred character. Perhaps the most surprising performance however derives from LaBeouf, who after his recent troubles has returned with a portrayal of a Christian soldier, which has allowed him to improve upon his acting skills and return to the public eye in a favourable light, especially after his shocking performance within “Nymphomaniac”. Peña, Bernthal and Isaacs also provide worthy performances, despite their part in the film being particularly small. 

The band of unlikely brothers... Brad Pitt, Shia LaBeouf,
Logan Lerman and Michael Peña star in a still from "Fury". 

With “Fury” marking his fifth directorial feature, Ayer remains a skilled filmmaker, with the use of many ingenious camera techniques and the ability to create gripping scenes throughout the sequences within the tank itself. His writing has improved since films such as “Street Kings”, and he seems to be able to write more engaging characters which carries the film throughout its running time. Ayer seems to have one small problem however, “Fury” seems rushed in certain places, not allowing various scenes and underused characters to develop themselves, which could have proved interesting. It is evident in many scenes, and the script occasionally falters in relation to clichés, which is unfortunate, but the acting and overall camaraderie from the team keep the film on track.  

Not only does the film look wonderfully stylized and occasionally gritty, but the expert set-pieces are particularly enjoyable to watch. Perhaps it’s due to the film’s authenticity, but every detail is covered and it manages to create shocking battle sequences which may even rival “Saving Private Ryan” and its counterparts.

One to watch... Logan Lerman stars
in a still from "Fury". 

But without the stunning score from Steven Price, "Fury" wouldn't have such an emotional impact upon the audience. Now a year after his work on the multi-award winning Sci-Fi drama "Gravity", Price has developed and composed a thrilling score, which continues to surprise and confirms his distinguished abilities in creating music which  stands above many other soundtracks written this so far this year. 

Verdict

Despite the occasional cliché, Ayer has carefully crafted an inspiring war film which boldly depicts the unrelenting savageness of war, camaraderie and the breaking of innocence. Forget “Sabotage”, Ayer is back on formidable form.  

7 Stars out of 10

Written by Scott Gentry.

Film/TV Rating Key

1-2 stars out of ten = Awful.

3-4 stars out of ten = Average.

5-6 stars out of ten = Good.

7-8 stars out of ten = Excellent.

9-10 stars out of ten = Amazing.

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DVD/BluRay Review: "Grand Piano" is a tense B-Movie thriller, and despite its flaws, is thoroughly entertaining. Written by Scott Gentry.

“Grand Piano” (15)
Directed by: Eugenio Mira.
Starring: Elijah Wood, John Cusack, Kerry Bishé, Tamsin Egerton and Allen Leach.
Rated: ‘15’ for containing strong violence.
Running time: 90 minutes. 
Released on DVD/BluRay in the UK, from the 20th of October, 2014. 

Alfred Hitchcock is often referred to as the master of suspense, and here in Eugenio Mira’s (“The Birthday”) third directorial feature,  the tension is as tightly strung as the stringed instruments within his delightfully twisted film, despite the unfortunate minor faults within its plot. 

This beautifully stylised thriller focuses around a talented pianist named Tom Selznick (Wood), who after a five year hiatus from performing in public, due to stage fright, has returned to the stage for a long awaited concert in Chicago. Tom is tense to say the least, as the expectations of his audience are unbelievably high and it seems as though the rest of his career in music may rest upon this very performance. Within the packed theatre, Tom begins to play and all seems to be going perfectly well, until he discovers a message written upon his score: “Play one wrong note and you die”. Upon reading this, Tom’s tormentor reveals his demands and realises that he must uncover the anonymous intimidator’s motives, whilst avoiding a shot from a sniper rifle, which is trained upon him and his wife (within the audience) at all times. 

It’s an intriguing plot, that’s for sure, and what follows is a 90 minute thrill ride which owes various elements to Joel Schumacher’s “Phone Booth” and Alfred Hitchcock himself, along with a whole host of nifty twists and turns. Wood and his fellow cast members provide decent performances to keep the film running, but although Cusack may be delightfully horrid in his role, it seems as though he may have been pushed to the sideline and his talents are wasted to some degree. Victor Reyes’s inventive score also adds to the tension and showcases his undeniable talent for gripping scores (see “Buried” from 2010).

Verdict

It may not tie up all of the film’s individual threads towards the end of the film, and there are various pitfalls within the film’s plot, but this is B-Movie filmmaking with a distinctive edge. But, where’s the special features?

6.5 Stars out of 10

Written by Scott Gentry

Film/TV Rating Key

1-2 stars out of ten = Awful.

3-4 stars out of ten = Average.

5-6 stars out of ten = Good.

7-8 stars out of ten = Excellent.

9-10 stars out of ten = Amazing.

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Competition: Win a dazzling merchandise pack of James Marsden and Michelle Monaghan's new film, "The Best Of Me"!

To celebrate the release of "The Best Of Me", here at Utopia we're giving you, our readers, a chance to win merchandise inspired by James Marsden and Michelle Monaghan's new film, which is currently showing in UK cinemas. So, we're offering three lucky winners the chance to win one of these three awesome merchandise packs, and all you have to do is answer a question. It couldn't be easier!

To be in with a chance of winning, simply answer the following question:

"The Best Of Me" stars James Marsden, a former star of the "X-Men" trilogy (2000-2006). But who did he portray within the "X-Men" films? 

A) Scott Summers / Cyclops

B) William Stryker

C) Professor Charles Xavier

Please send all entries regarding the competition, to the email address: scottgentry830@gmail.com

Within the competition entry, you should include your:
- Answer to the question
- Name
- Address
- Phone number
- E-Mail

Good luck!

Terms and Conditions 

• Competition will close on the 2nd of November, 2014.
• Open to UK residents only. 
• Prize for the three main winners is a merchandise pack of "The Best Of Me", each. 
• The winners will be drawn at random from all the correct entries, and only they will be contacted personally. Prize must be taken as stated and cannot be deferred. There will be no cash alternatives.


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Patrick Rothfuss' "The Name of the Wind" talks a big game, but does it live up to what it promises?

by Jon Petre

Oh, it's all very mysterious, isn't it?

It's rumored that Patrick Rothfuss took eleven years to write his bestseller, The Name of the Wind. To all of the Harry Potter films, Shakespeare could've turned out twenty-five plays, and even George RR Martin could've written three and half of his Song of Ice and Fire. So, when you consider that, I'd say that for all the work that's been put into The Name of the Wind, Rothfuss has a fair amount of expectation heaped upon him.
put that in perspective, it took JK Rowling ten years to write

Here's the blurb of Name of the Wind:
"I have stolen princesses back from sleeping barrow kings. I burned down the town of Trebon. I have spent the night with Felurian and left with both my sanity and my life. I was expelled from the University at a younger age than most people are allowed in. I tread paths by moonlight that others fear to speak of by day. I have talked to Gods, loved women, and written songs that make the minstrels weep.
My name is Kvothe. You may have heard of me."

Wow--he's certainly not one to trifle with! From this we can see that this isn't the same sort of Grimdark, gritty fantasy that we've become accustomed to in the 21st century--the likes of George RR Martin and Joe Abercrombie, for example; this is more similar to Tolkien's brand of so-called "High" fantasy. The main difference is that in High Fantasy, we've got much more of an epic, historical feel to everything--clear cut heroes, ancient histories, and a pervading sense of good v. evil, whereas in more modern fantasy it's all about the gritty reality, the shades of grey in people, and a sense of moral complexity is often rife. That's not so say that one's better than the other, and I think that Rothfuss has managed to blend the two together quite nicely, while still flavoring the more traditional elements, however. But that's not to say that The Name of the Wind isn't dark.

I absolutely loved the first half of the novel. Kvothe is Edema Ruh, a race of nomadic showmen similar to real-world Romani gypsies. After his parents are killed by mysterious figures, supposedly from legend, just for "singing entirely the wrong sort of songs", Kvothe finds himself a penniless orphan in the city of Tarbean--a section which I really enjoyed. It was well thought out, tragic, and brilliantly written, and at times utterly heart-wrenching. Soon, he vows to go to the University, to become an aracanist--a sort of magician.

I won't say anymore for fear of giving too much away, but the characters and the plot keep things interesting. The novel is written from the point of view of a much older Kvothe, recounting his life story to a writer called The Chronicler, and some chapters are written as stories that the characters tell each other. The writing is solid, and talented, the premise original. We see crooked priests, wizened storytellers, snobbish nobles--the section on the streets of Tarbean is almost Dickensian, though there's no Fagin and no workhouses.

To be fair though, Pat does look like a bit of a wizard.

Kvothe makes a difference from your regular, unsure, unready orphaned-boy troupe; he's self assured, talented and handsome while still retaining a sense of vulnerability throughout. If the opening was how Rothfuss was meaning to go on, this'd be a five star review. But.

My main problem was the pacing. Once Kvothe had arrived at the University and the initial exposition of the setting is done, The Name of the Wind began to slow down. From the blurb we're already given a degree of spoilers--we know, for example, that he's going to be expelled, but because we don't know when, it's not really ruined anything for us--but I mean, come on. I was almost waiting for him to be expelled. I really wished Rothfuss had kept the same dark atmosphere that he had cultivated so carefully in Tarbean. Additionally, the world wasn't as fleshed out as I might've hoped. One of the things I love about fantasy novels is the writer's ability to conjure an entire world from thin air. But I expect them to make it deep, and make it realistic. Look at Tolkien, look at Martin; what makes their worlds work is that they've spent countless hours thinking up how and why it works. We have the histories of the noble houses of Westeros and the Elvish tongue in each of their worlds, to name prime examples. And though it'd be impossible to write such a book without at least some degree of depth, it's more clunky and less developed as I'd like. Maybe it's just me, but I feel that this should've been higher on Rothfuss' mental agenda.

But don't give up on it just yet. The Name of the Wind didn't fail to capture that same child-like wonder you'd get with Harry Potter, or the Hobbit. With the departure from traditional fantasy to grimdark in the last few years, to write a book in this way is, in itself, unorthodox, and thereby refreshing. I'd be lying if I said I didn't enjoy The Name of the Wind, and its purple but fluid writing is easy to grasp and quite hard to put down, especially if you're not as familiar with fantasy novels (is that a good thing?) as I am. If not for the yo-yo pace and the lack of genuine depth, this'd be an instant perfect, but sadly it lacked, and so it is demoted to a 4.

4/5

Robert Downey Jr and Robert Duvall provide formidable performances within David Dobkin's latest directorial effort. Scott Gentry reviews "The Judge".

"The Judge" (15)

Directed by: David Dobkin.

Starring: Robert Downey Jr, Robert Duvall, Vera Farmiga and Billy Bob Thornton.

Rated: '15' for containing strong language and moderate sex references.

Running time: 141 minutes.

Released in UK cinemas from Friday the 17th of October, 2014.

Comedy or drama? Well, David Dobkin (“Shanghai Knights”, “Wedding Crashers”) has returned to the directing chair after a three year hiatus (his last film “The Change-Up”, was formulaic to say the least) with his latest effort, which is a strange hybrid of genres, as Robert Downey Jr. takes a break from his “Iron Man” duties, and lends his charismatic playboy persona to a film which allows him to flesh out his acting skills in a more dramatic role, alongside an acting legend (Duvall, providing a delicate performance). Sadly, despite the film’s superb performances, it can’t escape crippling clichés.

Downey Jr stars as a high-flying Chicago lawyer named Hank Palmer, a man who feels no emotional remorse towards his notions of only defending guilty people, and whose cheeky style constantly lands him in arguments with fellow colleagues. During a court case however, Palmer is told that his mother has passed away and quickly exits the case, in order to return home for the funeral which is being held in Indiana. Bearing in mind he hasn’t spoken to his father (also the town’s most revered judge) Joseph (Duvall), in over twenty years, the pressure to reconnect with his family is immense. After attending the funeral, all seems well and Henry attempts to flee his hometown and return to Chicago, and never look back. Just as Henry attempts to leave however, he is forced to turn around and defend his father’s honour, when he is accused of murder and placed on trial.

In contempt of its merits, “The Judge” produces a dilemma. Just like many awards-bait feature films before it (see “Labor Day), this particular film ticks many of the boxes, yet not the pivotal ones. The film itself pulls in at an astonishing two hours and twenty one minutes, which is bizarre, as films of this style and genre generally only last for one-hundred minutes at the most. But the film’s screenwriter’s (Nick Schenk , Bill Dubuque) decision to include ridiculous amounts of clichéd content is discouraging, as the film works perfectly well without the inclusion of needless dramatic fodder (the endless confrontations between family members) and moves along at a decent pace, when focussing upon the aspects of a legal drama and lost love.

The most unfortunate factor in the failing of “The Judge” is its inclusion of a high-calibre cast, yet reducing many of the supporting cast members to parts within the film which are distinctly unchallenging. Despite being one of Hollywood’s most engaging actresses, Farmiga (“The Departed”) proves to be the film’s most disappointing cast member, who has been presented with the irritating role of an ex-love interest for Downey’s character (utterly needless) and produces a dull performance which is exceptionally frustrating. Thornton unfortunately finds himself within the same boat, as he is reduced to a scene-filling villain who is shoddily written and tedious, despite his attempt at generating a modest performance. Although “The Judge” may suffer from clumsily written supporting characters, it is saved by top notch performances from Downey and Duvall. The pair’s charisma bounces off of each other exceptionally well during the most intense of scenes, but ultimately it’s the material which causes the main problems within Dobkin’s film.

Verdict

Clichéd until the point of no return, Dobkin’s latest addition to his mediocre filmography is confidently led by its main leads, but the creditable cinematography and compelling soundtrack all seem meaningless. 

5 Stars out of 10

Written by Scott Gentry.

Film/TV Rating Key
1-2 stars out of ten = Awful.
3-4 stars out of ten = Average.
5-6 stars out of ten = Good.
7-8 stars out of ten = Excellent.
9-10 stars out of ten = Amazing.

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In his directorial debut, Yann Demange directs a 99 minute thrill ride, keeping tension as tight as a drum, with expert performances its cast. Scott Gentry reviews “'71”.

"'71" (15)

Directed by: Yann Demange.

Starring: Jack O'Connell, Richard Dormer, Sean Harris, Martin McCann, Charlie Murphey and Sam Reid.

Rated: 15 for containing very strong language, strong bloody violence and injury detail.

Running time: 99 minutes. 

Out now in UK cinemas.  

In 1971, Belfast was a war zone. The city was divided between areas containing Protestant Loyalists and Catholic Nationalists. This division caused mass rioting and the constant deterioration of the public's safety. In an attempt to control the crowds and provide safety for residents, the British Army was sent in, which often (arguably) caused more bad than good. Even as a work of fiction however, "'71" attempts to reveal the fear that would have been felt by the soldiers and the general public of that period. Disorientation, outrage, terror, they're all on the checklist, and Demange delivers it all in a hefty dosage.

To lead us through this tale of murder and revenge, we follow the story of Private Gary Hook (the rising actor of “Starred Up”, Jack O’Connell), a young British soldier who is deployed alongside his platoon into the city of Belfast in 1971. Once there, Hook and his unit are tasked with crowd-control on a busy street, but they are quickly overwhelmed by the onslaught of angry residents and rioters. Amongst the chaos, Hook is beaten by many of the locals, but eventually escapes and runs for his life. Unable to tell friend from foe in the consuming darkness, Hook makes his way across the deadly landscape, hoping to survive the night and acquire refuge at any cost. 

On a modest budget of £5 million, this outstanding low budget film creates unbelievable amounts of tension, and to a large degree it succeeds. Yes, there are striking similarities to the works of John Carpenter (perhaps “Assault on Precinct 13”?), but the film doesn’t rely on previous examples of tension-heavy films. In fact, Demange creates his own brand of tension, and places it upon each character in many situations. The film itself doesn’t focus as heavily upon The Troubles as I expected, but instead of crippling the film it improves it. Instead, by focusing upon the relationships between the characters themselves and the impact of their actions on the community, we are treated to a film which is able to branch out and explore its setting, rather than focus on a true story. 

Demange’s camerawork and the taught, tense score by David Holmes (“Hunger”), both of which are particularly good, are also worthy of mention. There are many riveting scenes included within the film and Demange’s ability to tackle difficult shots is masterful, particularly a fast-paced chase sequence between Hook and two IRA members, which places the audience directly into the perspective of our hero and creates a great deal of fear. The score is riveting and due to Holmes’ influence of perhaps John Carpenter, the entire soundtrack creates much needed tension wherever it lingers, prompting that Holmes may be one of the best composers in many years.
  
Written by the famed playwright Gregory Burke (“Black Watch”), the film’s script feels generic at certain points (the end shootout is disappointing), but due to the development of each character  the cast are given many chances to shine throughout the fast-paced drama. It’s unfortunate, but O’Connell himself is given very few lines, yet he attempts to provide a gripping performance and succeeds. The supporting cast itself is talented, with actors such as Sean Harris, Killian Scott and David Wilmot all acting particularly well. 

Verdict

For a directorial debut, Demange has crafted a remarkable film due to its technical style, ability to create tension on a grand scale and an enthralling cast. “'71” may have a disappointing ending in some respects, but the film remains a well designed thriller, with gripping dialogue and camerawork which is unmistakeably marvellous. 

7.5 Stars out of 10

Written by Scott Gentry.

Film/TV Rating Key

1-2 stars out of ten = Awful.

3-4 stars out of ten = Average.

5-6 stars out of ten = Good.

7-8 stars out of ten = Excellent.

9-10 stars out of ten = Amazing.

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DVD/BluRay Review: "Edge Of Tomorrow" is a genuine Sci-Fi treat. If you missed it once, don't miss it again. Written by Scott Gentry.

"Live, Die, Repeat: Edge of Tomorrow" (12)
Directed by: Doug Liman.
Starring: Tom Cruise, Emily Blunt, Bill Paxton, Brendan Gleeson and Jonas Armstrong.
Rated: 12 for containing moderate violence, threat and infrequent strong language. 
Running time: 113 minutes. 
Out now on DVD, Blu-Ray (3D and SteelBook editions available) and VOD in the UK.

It’s been five months since Doug Liman’s Sci-Fi extravaganza hit our silver screens, but prior to its release, I had my doubts. Could another Tom Cruise vehicle prove its worth? Fortunately, it did. Liman’s eighth directorial feature is filled with frequently hilarious dialogue, explosive action sequences and an interesting spin on the alien-invasion plot device. 

Cruise plays plays Major William Cage, a public relations officer who has never seen a day of combat, during a war between the human race and an alien nation, known as Mimics. Cage is a cowardly, yet slick character who is kept safe behind the cameras and news crews. But due to unforeseen circumstances whilst in Britain, Cage is thrust into the battle for the front line, which will eventually amount to becoming a complete suicide mission.

Upon landing on a beach within France (I believe Normandy), Cage is killed within minutes, but is inexplicably caught within a time loop that forces him to relive the cursed battle over and over again. As Cage fights within each battle however, he becomes stronger and wiser, eventually discovering that with the help of fellow officer Rita Vrataski (Emily Blunt), they might just be able to end the war for ever.

So, it’s “Groundhog Day” mixed with “Starship Troopers”. Who wouldn’t watch that? For those who doubt in the film, don’t. Quite honestly, it’s one of the most intriguing films so far this year. The cast is perfect, and Cruise provides a strange, yet honest performance whilst also contributing his humorous charisma to the role. Emily Blunt is more than capable of leading the supporting cast and delivers action-hero antics aplenty. It is indeed a glorious sight. 

The special features include superb insight into the film’s production, due to three documentaries on the film’s action sequences, weapons and the aliens themselves. A lengthy, yet informative production documentary is also included, which focusses on Liman’s abilities and struggles as a director and various segments on the scope of the film. In addition to these first-rate features, seven deleted scenes are also included, which are definitely worth watching. 

Verdict

One of the most surprising entries to 2014’s jam-packed catalogue of blockbusters, Liman’s second foray into Sci-Fi (his first was “Jumper”, in 2008) is an intelligent blockbuster with the right balance of cheeky fun and deliriously entertaining action to secure its place as one of my favourite entries into the genre, this year. 

Film = 8 stars out of 10.
DVD/BluRay Extras = 7 stars out of 10. 

Film/TV Rating Key

1-2 stars out of ten = Awful.

3-4 stars out of ten = Average.

5-6 stars out of ten = Good.

7-8 stars out of ten = Excellent.

9-10 stars out of ten = Amazing.

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“Annabelle” deserves its critical mauling and more; this shameful excuse for a film only helps to further destroy the already tarnished face of the horror genre. Written by Scott Gentry.

“Annabelle” (15)
Directed by: John R. Leonetti.
Starring: Annabelle Wallis, Ward Horton, Tony Amendola, Alfre Woodard and Eric Ladin.
Rated: ‘15’ for containing strong horror and bloody violence.
Running time: 99 minutes.
Released in UK cinemas from the 10th of October, 2014. 


I love horror films. Hold on, let me rephrase that. I love good horror films. Yes, sit me in front of “The Exorcist” or “The Shining” any day, but tinseltown has broken the last straw. For years eager horror fans have suffered under Hollywood’s appalling ability to churn out the latest jump-scare ridden horror films and generate large amounts of revenue from the films which insult our intelligence. This time, they’ve gone too far.

So, the latest horror cash-grab is a prequel (did we really need it? Of course not) to 2013’s critical and financially successful hit, “The Conjuring”, starring Patrick Wilson and Vera Farmiga. Set in the glossy world of 1970’s California, our film follows the life of a young couple named Mia (Wallis) and John (Horton), who are happily unaware of the horror which besets their world. In fact they are completely unaware of religious cults until the night their neighbours are brutally murdered by two Satanist cult members, and are subsequently attacked themselves. The couple survive and attempt to continue living their lives. However, in the months following the attack, Mia begins to wonder whether the strange doll which was bought for her by John, is linked to a series of weird occurrences within the home…

As expected, the film is plagued by tonnes of jump-scares, constant scenarios which are particularly reminiscent of better horror films (see "Rosemary's Baby"), and some of the least intriguing performances for some time. The film’s only saving grace would be Wallis’s acting talents, as she shows a particularly good ability to engage the audience, despite a clichéd script and shoddy filmmaking.

Verdict

Do yourself a favour, go out and buy (if you haven’t seen it already, and if so, I’m very proud!) “Rosemary’s Baby". It's a tense and terrifying film filled with expert performances, a delightfully devious plot and horrific imagery. Don’t give in to Hollywood, avoid “Annabelle” at all costs. 

2 Stars out of 10

Written by Scott Gentry. 

Film/TV Rating Key

1-2 stars out of ten = Awful.

3-4 stars out of ten = Average.

5-6 stars out of ten = Good.

7-8 stars out of ten = Excellent.

9-10 stars out of ten = Amazing.

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The craze for the maze! Scott Gentry reviews "The Maze Runner", the latest addition to the catalogue of young adult adaptations.

"The Maze Runner" (12A)
Directed by: Wes Ball.
Starring: Dylan O'Brien, Kaya Scodelario, Will Poulter, Thomas Brodie-Sangster and Patricia Clarkson.
Rated: ‘12A’ for containing intense scenes, threat and violence.  
Running time: 113 minutes.
Released in UK cinemas from the 10th of October, 2014.

In recent years we've had countless adaptations of various teenage novels (the "Twilight" saga, "The Hunger Games" series and the beginnings of the "Divergent" chronicles are to name but a few) but it seems to me that they are always clichéd, erroneously written and occasionally prove to be tedious affairs. "The Maze Runner" was different, if only slightly. 

Our unusual film begins within the confines of a small depressing lift, currently inhabited by our protagonist, Thomas (Dylan O’Brien). Sent hurtling up the lift shaft, he is anxious of what awaits him when he reaches the top. Suddenly the lift reaches its pinnacle, and two large doors are flung open, revealing bright sunlight. Thomas is surrounded by a faction of young and intimidating men, and quickly decides that he must escape his fate; good or bad. But when escaping on two legs doesn’t exactly work out and his mind fails (due to the complete wipe of his memory), Thomas learns that he may have to adhere to the group’s one rule: he must always stay within the confines of the glade, their home. Upon discovering that the group are stuck within the Glade, Thomas learns however, that beyond the Glade there is a maze; an ever-changing labyrinth of such large proportions that it’s impossible to escape its towering facade. Yet, during the day, the maze is mapped by a group of people named runners, fast and agile boys who constantly search the maze for a way out. They've been searching for three years, but when the new arrival begins to shine, the group decide that he may be their one chance of liberation. Nonetheless, the group are threatened, due to the fact that at night, the maze is patrolled by vicious beasts named Grievers, malignant beasts which possess a deadly sting.

A new arrival... Dylan O'Brien and Will Poulter
feature in a still from "The Maze Runner". 

Yep, it's a "Lord of the Flies"-esque survival story and to be perfectly honest, it feels like we've seen many of its elements before. Testosterone fuelled arguments and violence amongst the survivors are the key ingredients here, but it doesn’t stop “The Maze Runner” from being an enjoyable piece of science-fiction. Personally, I was formerly unaware of “The Maze Runner” book series, and this proved to be an interesting concept, but I couldn’t escape the feeling that it was somehow similar to “The Hunger Games” in its idea of children being tested beyond their expectations and abilities. But, I’m willing to let that slide. 

In fact, this is most probably one of the most satisfying young adult adaptations in recent years, superior to “Divergent” and its various rivals, but it falters in its inability to be gritty. At the rating of ‘12A’, the distributors are obviously attempting to encourage a wider audience into cinema screens and obtain a larger amount of money, but to impress the fans you need to keep the realistic aspects of the effects of violence firmly placed within the film. If not, it just feels as though the entire film is a large cash-grab for distributors, if it wasn’t already. Saying that, there are moments of violence and bloody detail which is quite bold, but due to the lack of the film’s dark nature there isn’t any satirical bite to the film, or the ability to feel for each character. Even with its interesting concept, the film’s script is undeniably weak. The dialogue unfortunately feels as though it should belong to a TV film, but the relationships between each character are strong and allows the film to bypass its feeble dialogue.

The Maze awaits... The cast feature
in a still from "The Maze Runner". 

  
In spite of the film’s lack of gritty elements or rich conversation, it is kept afloat by its young, yet talented cast. He may be relatively unknown, but O’Brien produces a strong performance amongst the high-calibre cast, leading the film throughout its highs and lows. The film also contains three of Britain’s most engaging actors currently working in film/television today. Aml Ameen, Brodie-Sangster and Poulter (a delightfully silly antagonist) are all perfect additions to the cast, once again providing skilful performances amongst the large array of cast members. 
Alongside the film’s broadly unknown cast, composer John Paesano is an unexplored certainty in relation to the film’s wonderful score. Often tense and at other times notably melancholy, Paesano’s first score is an intriguing foray into blockbuster entertainment, which is strikingly promising.

The maze is open, freedom awaits? Dylan O'Brien
features in a still from "The Maze Runner".

One of the film’s most appealing elements however, is the direction of Ball’s debut. Without having worked on previous films before, Ball is an unforeseen pleasure in the art of direction, as he seems to receive honest performances, but still manages to connect with the film’s Sci-Fi aspects, by providing expert camerawork alongside cinematographer Enrique Chediak.

Verdict

“Lord of the Flies” this isn’t, and neither is it as gritty as it aspires to be, but this is a confident, exciting and sleek debut from director Wes Ball. “The Hunger Games” has finally received some worthy competition…

6 stars out of 10

Written by Scott Gentry

Film/TV Rating Key

1-2 stars out of ten = Awful.

3-4 stars out of ten = Average.

5-6 stars out of ten = Good.

7-8 stars out of ten = Excellent.

9-10 stars out of ten = Amazing.

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A Zom-Com,actually done well: Life After Beth

by Jon Petre

Zombie movies have...let themselves go, somewhat in the last few years. With the same disturbing inability as an aging Britney Spears, or a recently installed Persian sheikh, they have been slowly but steadily gathering fat and gradually losing momentum. Sluggish, lethargic, such travesties as World War Z and the later episodes of The Walking Dead are testament enough. Now, I know that Life After Beth isn't perfect, and by no means is it a purebred Zombie horror film, but it is refreshing, and that's definitely something.


Zach (Dane DeHaan, of the latest Spiderman franchise) has just lost his girlfriend due to a freak snake
bite. The film opens in a fairly comedic way--an oddball dialogue between Zach and a shop boy talking about "black napkins"--but the tone stays quite downbeat, as you'd expect from a funeral scene. However the feel of the film is tinged throughout with humour, so it won't get you too down--the sad opening doesn't stay long, I assure you. So Zach is dealing with getting over Beth. But then she comes back. With no memory of her death Zach and her parents must work to keep her a secret from the world, who have moved on. Despite that, everything seems great between the two teens--or is it? Things begin to go wrong, and Zach is forced to ask himself--is Beth still the same person that he fell in love with?

It was genuinely funny and genuinely heartwarming. I didn't much like Dane DeHaan in Spiderman, I'm willing to admit that; but he is a talented actor nonetheless and he performed well in this piece. A great script and some great direction from Jeff Baena, who seems to have made Life After Beth as something of a pet project for himself. While by no means was the film exceptional it was still highly entertaining, with a melancholic ending but a good plot. The pacing was a little dicey, slowing down in places, but overall, not that much to complain about here.

While Dane DeHaan performed well, Aubrey Plaza stole the show. Her funny, sarcastic "And the horse you rode in on" and at times creepy attitude served us well here, as it added a certain other dimension and verisimilitude to her performance, which otherwise might've been quite simplistic, or at least less effective. She was a great choice for the role and we'll definitely be more of her in the coming months and years, I wager.

It's that...mean girls-esque quality...that ties everything together here. 
Aubrey, we salute you.

My only major qualm with the film was that it wasn't much of a romance after the first act. It became much more comedic--the zombies, and the romance seemed to take something of a backseat. Which would be fine if the film were a comedy rather than the cross-genre piece that it is. There's a fine balance that needs to be maintained with hybrid pieces like this, and though Life After Beth was by no means out of sync in that way it teetered a little toward the end and came close to toppling once or twice. Fortunately the ending managed to save us from any sort of noticeably ruin, though things could've been tightened a little like that.

Life After Beth was fresh and inviting, with a premise that I've never heard of which was engaging and entertaining. Great performances from Dane DeHaan, Aubrey Plaza, and John C. Reily, and a solid script from all. Highly watchable; you'd only notice the minute cracks if you were looking for them, and it just so happens that I was.

4/5

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