"Black Mass" - Review

“Black Mass” (15)

Directed by: Scott Cooper.

Starring: Johnny Depp, Dakota Johnson, Benedict Cumberbatch, Kevin Bacon, Juno Temple, Corey Stoll, Joel Edgerton and Peter Sarsgaard.

Running time: 123 minutes.

Rated: ‘15’ for containing strong bloody violence and strong language.

Released in UK cinemas from the 25^th of November, 2015. 

Marking the penultimate screening in an annual visit to the London Film Festival, Black Mass appeared to be a feature that Oscar voters would practically salivate over: a lavishly designed period drama, set against a series of tragic factual events, replete with meticulous costume design, an ensemble cast to die for and of course, a lead actor in an overly attention-seizing role. Yet, despite the not-so-ingeniously calculated release date of Black Mass (November, a cinematic period in which undeniable Oscar bait is frantically unloaded onto cinemas), Scott Cooper’s admission into the Hollywood system is guilty of many transgressions, particularly the cheap imitation of a true American classic: Goodfellas. Nevertheless, 123 minutes after a concoction of endless brutality amongst truly unscrupulous characters, my blood had run cold. Black Mass had earned the title of 2015’s most frightening film, thus far.

With material deriving from Dick Lehr and Gerard O’Neill’s source novel (Black Mass: The True Story of an Unholy Alliance between the FBI and the Irish Mob), Cooper’s film is a startlingly ferocious rendition of life within the feared and financially thriving Winter Hill Gang of South Boston, quietly led by the chilling James “Whitey” Bulger (Johnny Depp). But upon the return of recently inaugurated FBI agent named John Connolly (Joel Edgerton), a long-time friend of Bulger and his brother, a Massachusetts Senator (Benedict Cumberbatch), an alliance arises: Connolly decides to grant Whitey amnesty for his crimes and turn a blind eye to his current operations, in return for incriminating intelligence regarding the Italian Mafia – an organisation despised by them both. But when Whitey exploits Connolly’s agreement, a death toll begins to rise, leading the FBI to wonder, who is really in control?

Black Mass is in many ways, the product of an impressionable filmmaking team, who’s dedicated following of the sacred gangster sub-genre’s tropes are applaudable, yet somehow also frustrating, for Mark Mallouk and playwright Jez Butterworth’s screenplay is in actuality, a simplistic paint-by-numbers narrative which is liberated of painful mediocrity by one man: Johnny Depp. It isn’t often I admit that Depp is the greatest element of a particular film, but within Black Mass, the theatricality of Depp’s former performances is abandoned, in favour of a shockingly nuanced and career-revival turn which sent shivers down my very spine and is worthy of awards buzz. Depp’s appearance is in part, transformative, for the actor appears almost bald, accompanied by piercing blue eyes and facial prosthetics, culminating in a devilish cross between Bela Lugosi’s incarnation of Dracula, True Romance’s Vincenzo Coccotti (Christopher Walken) and Javier Bardem’s Anton Chigurh, of No Country for Old Men fame. But here, Depp’s portrayal of Whitey is concerned with believability, producing a methodically reserved performance relating to presence and speech – clearly a departure from Depp’s “larger than life” characters of yesteryear; a wicked character portrayed as a brooding introvert who despite first impressions, can be consumed by an unparalleled anger at the flick of a switch, resulting in malicious and horrifying acts, despite being a caring father and thoughtful presence in the neighbourhood, which Depp expertly handles throughout sombre and naturalistic moments, proving that he finally understands the phrase less is more, for his portrayal of Whitey is ultimately unpredictable, and captivating.

Despite being considerably overshadowed by Depp, the supporting cast attempt to rival Depp in relation to performances, particularly Joel Edgerton, who matches Depp in his extensive screen-time, but unfortunately not in regards to his acting abilities, delivering an almost comical and overly miscalculated performance, rather suited to that of a pantomime. Here, Edgerton seems completely out of place and better suited to earlier roles, such as Baz from 2010’s Animal Kingdom. Edgerton’s fellow cast members consist of a large roster of Britain’s and America’s finest on-screen talent. Yet, despite fine actors such as Cumberbatch, Juno Temple and Corey Stoll chewing on occasionally terrific dialogue, their roles are infinitesimal, to the point in which they appear for five minutes, then disappear (often killed). Adam Scott and Peter Sarsgaard are criminally underused, to the point in which Scott is only used for reaction shots (twirling an awesome moustache) and Sarsgaard portrays a coke-addled maniac, reduced to screaming and whining, whilst the many scenes belonging to the phenomenal Sienna Miller, were ultimately left upon the cutting room floor due to “narrative choices”. Once again, this is a clear example of an ensemble cast being used to create Oscar buzz, despite not suiting their roles, which is evident in relation to the poor Boston accents, in contrast to the similarly Boston-set and critically lauded film Spotlight from Thomas McCarthy, which also features fine American talent, yet is reserved in regards to accents, for fear of insulting audiences.

Verdict

Cooper’s beautifully lensed thriller may not strive to break the clichés which perpetually haunt the gangster sub-genre, yet Black Mass is an often exhilarating work of 70’s nostalgia, accentuated in its quality by a colourful yet underused supporting cast, despite this blood-soaked thriller predominantly serving as an acting showcase for the sensational Depp, in a chilling and commanding career-revival turn, whose greatest scenes are accompanied by an enthralling score from Junkie XL (as Tom Holkenborg). But as far as Bulger is concerned, Boston is his Wild West; a lawless town in which he is able to racketeer, kill and rule over in style. And for the most part, it’s thoroughly entertaining watching Depp at play, as he freakishly stares wide-eyed into the very windows of your soul. It’s just unfortunate that Black Mass is so conventional. Still, for a Depp-renaissance alone, it’s most certainly worth a viewing.

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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"Steve Jobs" - Review

"Steve Jobs" (15)

Directed by: Danny Boyle.

Starring: Michael Fassbender, Kate Winslet, Seth Rogen, Jeff Daniels, Sarah Snook and Katherine Waterston.

Running time: 122 minutes.

Rated: '15' for containing strong language.

Now showing in select UK cinemas.

Picture this: It’s the first step of your morning commute; you are sitting aboard a bus, intently studying those around you. What do you see? A multitude of increasingly powerful phones, at the hands of men, women and now more often than not, children. But how many of those are iPhone’s? The likelihood is the majority. It is undeniable, Apple have taken the world by storm. But where did the technological conqueror begin? Like many straight-forward biopics, the most remarkable of these stories derive from humble beginnings – in this case, a garage in Los Altos, California. But in Danny Boyle’s 11th feature film as director, acclaimed screenwriter Aaron Sorkin (The Social Network) is not particularly concerned with an overly remarkable life, or humble beginnings, opting instead to daringly limit himself, by entering the complex world of Steve Jobs in an unconventional manner, whilst focussing upon a naturalistic and wholly relatable story of varying motifs: friendship, loyalty, jealousy, class and power – Shakespearean?

Similar to last year’s outstanding Birdman, the energetic Steve Jobs is concerned about the events which take place backstage, as audiences are guided throughout three iconic stages within the life of Steve Jobs: the product launches of the Macintosh, NeXT computer, and the iMac. But behind those rimless eyeglasses is a tortured genius (portrayed here by Michael Fassbender), who is explored throughout a series of intense confrontations with family and close friends, concluding in a detailed character study of regret and existential drama, as he battles for supremacy.

Now the sixth film (second feature length) in a seemingly never-ending line of features regarding the tech genius, Steve Jobs arrives to the party late and unfortunately, a little underdressed. Having encountered distribution and production issues (the project was acquired by Universal Pictures, shortly after Sony Pictures placed the film in turnaround) from day one, Steve Jobs was poised to fail. In the film’s commercial run, perhaps it does, considering the film debuted (in America) to a measly $7.3 million. But the film’s strongest feature is Aaron Sorkin’s witty and kinetic screenwriting (“Musicians play their instruments. I play the orchestra.”), delivered terrifically by an almost outstanding cast and complemented by various stylistic decisions from Boyle, particularly the mise en scène, vibrant typography and camerawork.

Sorkin himself, dares not to conform to the simplistic, rise-fall-rise-again blueprint, instead opting to confine the biopic structure to the backstage areas, in which the actual drama comes to the fore. Perhaps, an ingenious play on Sorkin’s behalf. After all, the Steve Jobs we were accustomed to seeing is one manipulated by the mass media. But, what happens when the cameras are switched off and Jobs is placed out of the public’s watchful eye? The answer is Steve Jobs; a portrait of a fearless leader who, despite having been wounded emotionally, was able to recover from various financially punishing defeats, and was eventually spurred on to lovingly create a lavish piece of technology which expanded the way in which we perceive various elements within our world, and of course the way that information is consumed.

The highlight of Steve Jobs is of course the phenomenal, attention-seizing performance from Fassbender, who expertly exerts rawness of emotion in the most tense and in-depth of scenes, calmly delivering threats of anger in hushed tones, as if he was attempting to suppress an ungodly rage within him. His portrayal is both towering, menacing, and in many instances, one which expertly displays the qualities of a vicious and calculating leader, reminiscent of his critically lauded portrayal of Macbeth. But Fassbender allows Jobs’ humanity to remain, as the scenes shared between Jobs and his daughter Lisa (at various ages) are often touching, but overtake the narrative in a third act which seems desperately rushed and unfinished, almost derailing the film’s emotional payoff. However, the film only scratches the surface of Jobs’ character, intent on introducing various other characters before Jobs himself is given the material he deserves, in a story with far more engaging material to mine for.

The film itself is an obvious award’s contender, ticking all of the correct boxes (biopic of a legendary innovator, challenging lead role for an up-and-coming actor, dynamite screenwriting etc), particularly in regards to the supporting cast. The popular comedic actor and satirist Seth Rogen is also provided with some fine material here, much like his This Is the End co-star Jonah Hill, in Sorkin’s Moneyball, as he orchestrates a nuanced performance in a way audiences have not witnessed since 2011’s 50/50. Both films play upon Rogen’s instinctual vulnerability, which is put to effective use in Steve Jobs, as Rogen’s character Steve Wozniak deals with the harsh attitudes of a career within an unforgiving industry. Winslet is perhaps the weaker link within an otherwise outstanding ensemble, as she attempts to portray a Polish character (Joanna Hoffman) whose absence of a convincing accent is unnoticeable within the first act, yet gradually improves towards the film’s denouement, causing a sense of confusion, despite the undeniable improvement of her overall performance within the third act.  Meanwhile, Jeff Daniels, Sarah Snook and Katherine Waterston are criminally underused in generally undemanding roles, yet their elevation of the material is commendable.

Verdict

Steve Jobs, as a character, is akin to Apple’s revolutionary and advanced products; almost impenetrable. Yet, virtuoso performances, acerbic, witty and perspicacious dialogue, govern a film which despite skimming the surface of a technological pioneer, provides delightful visual flourishes, and an outstanding score from Daniel Pemberton (The Man from U.N.C.L.E.), whilst those who are not well-versed in Apple’s tumultuous affair with a troubled genius, are rewarded with a wealth of intriguing exposition. Unconventional and featuring a phenomenal attention-seizing performance from Fassbender, Steve Jobs is a vibrant revitalisation of a sub-genre shrouded in fatigue.

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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“Irrational Man” – A dark dose of intellectual comedy, entwined with moral complexities and fine performances.

“Irrational Man”

Directed by: Woody Allen.

Starring: Joaquin Phoenix, Emma Stone, Jamie Blackley, Parker Posey, Joe Stapleton and Nancy Carroll.

Rated: '12A' for containing infrequent strong language and moderate sex references.

Running time: 95 minutes.

Released in UK cinemas from the 11th of September, 2015.

Surprisingly, “Irrational Man” marks my first viewing of a Woody Allen film, up on the silver screen itself. During the last four years, I familiarised myself with his filmography, discovering his masterworks (from “Love and Death” to “Hannah and Her Sisters”) whilst developing an infatuation with the auteur’s unique style, subsequently convincing me of Allen’s revered talents. So, despite the negative reviews of “Irrational Man” which reared their heads from the Cannes Film Festival earlier in May of this year, I was filled with optimism. For a young cinephile like myself, the challenging intellect, regular motifs and of course the humour of his work, rendered me practically helpless when attempting to resist his next project... 

Having succumbed to a bout of depression and alcoholism caused by a series of unfortunate events, Abe Lucas (Joaquin Phoenix), a critically revered and controversial professor of Philosophy, is verging upon the edge of suicide; his joy for teaching, political activism and optimism in general, cease to exist. But before Abe can contemplate the act of suicide, the slovenly and obese professor is employed by the University of Braylin, of which he is the hot topic of discussion and intense anticipation amongst the campus.

Typically depressing and self-destructive, Abe stumbles into work, continuing to drown his sorrows (even amongst his peers and students) until he meets two women: Rita Richards, an equally depressed lecturer of Science (with whom he initiates an affair) and the charismatic and lively Jill Pollard (Emma Stone, delightful), a student who is determined to rekindle Abe’s lust for life, liberating him from his suicidal tendencies – expressed in one humorous, yet horrifying scene. But in one instant, Abe’s life changes forever. Whilst sharing a meal together, Abe and Jill overhear the cries of a defenceless woman, who, in the midst of an intense custodial court battle, is likely to lose her case, due to a judge consumed by corruption.  Enraged by this obscene injustice, Abe secretly decides to aid the woman in her plight, by plotting and carrying out the murder of the aforementioned judge. It is the perfect crime. But from an ethical and moral standpoint, will Abe’s actions truly stand up to scrutiny?

Upon the arguably superficial surface of Woody Allen's 35th cinematic endeavour as writer and director, "Irrational Man" is yet another charming and well-acted effort from perhaps, cinema's most prolific director. Beneath however, this endearing and gorgeous piece (shot by Darius Khondji) is also another of Allen's master classes in a scenario which flags up ethical issues and of course, sparks another philosophical debate.

Clearly the most engaging and fascinating factor of the film is the candid and poignant question which Allen poses: to help a defenceless woman, would you kill a cruel and inhuman person, who seemingly deserves to die? When Abe accepts his ‘duty’, it becomes both a bold and entirely questionable act, but also an act of sacrifice, which would surely make a difference; if caught, Abe could be imprisoned for the remaining years of his life. As the title suggests, this is of course an irrational and highly illegal act, but the sequences in which Abe stalks the judge to map out his day-to-day activities, provide a wrongful sense of joy and humour, considering this may lead to an eventual murder. It is then that Allen's film ceases to be light in tone, and becomes something darker than I imagined. 

The problem is that we are aligned with Abe from the get-go. As an audience, we have witnessed first-hand, Abe’s self-destructive tendencies and are determined to see his life improve once more. Allen has ensnared us within his trap. We would like to witness Abe prosper and whether he murders somebody or not, we are rooting for his success, resulting in the strange feeling that “Irrational Man” is in part, an emotionally manipulative work, yet one which requires audiences to partake in the engaging discussion of the film’s motifs. When you sit back and examine the evidence (Abe, protagonist or antagonist?) and reasoning behind murder, detracting our feelings towards Abe whilst formulating our own opinions, it results in a far more rewarding and challenging experience. 

The material itself is elevated significantly by a stellar cast. Joaquin Phoenix replicates his unique “Walk The Line” slur in another of his tortured performances, as a shockingly obese (the weight gain is surprising) and troubled individual, who is both engaged deeply within the brooding style he so famously perfected in Paul Thomas Anderson’s “The Master”, whilst also providing a much-needed dose of charisma in the lighter, more comical moments. Whilst this is Phoenix’s vehicle, the chemistry between himself and the charming Emma Stone (her second collaboration with Allen, the first being “Magic In The Moonlight”) is undeniably palpable. Stone absorbs her role, truly captivated by Abe’s intellect, reflected in the actress’s wide-eyed gaze she so frequently fills a director’s frame with, as she yearns for Abe’s affections. Meanwhile, the supporting cast are welcome additions to the proceedings, particularly Parker Posey, portraying Rita Richards with delightfully acidic cynicism, providing a roster of one-liners. Newcomer Jamie Blackley also excels as Roy, Jill’s long-term boyfriend whose patience is perpetually tested, as Jill proclaims Abe’s tragic life-story and unique talents, in a series of humorous engagements, sparking jealousy. 


Verdict
Charming as always, Woody Allen’s “Irrational Man” is a darkly comic dose of intriguing and challenging themes, anchored by engaging performers. It may never provide the laugh-out-loud humour of his earlier, more realised works, yet this study of Philosophy and morality proves that Allen is always worth the price of admission, even if he seems to be borrowing heavily from “Crimes and Misdemeanours”... 

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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DVD/Blu-Ray Review: Carol Reed's 1949 classic "The Third Man", returns in a stunning 4K restoration...

“The Third Man” (U)
Directed by: Carol Reed.
Starring: Joseph Cotten, Alida Valli, Orson Welles, Trevor Howard and Bernard Lee.
Rated: ‘U’, for containing mild threat.
Running time: 104 minutes.
Released on EST from the 13th of July and Blu-Ray/DVD from the 20th of July, 2015.  

Pulp novelist Holly Martins (Cotten), is dangerously out of his league. Upon his arrival in post-war Vienna, Martins is greeted with only mystery, bewilderment and danger; his three close companions for the duration of Carol Reed’s Great British masterpiece. Martins himself, is due to visit a dear friend of his, named Harry Lime (Welles), but is dutifully informed that Harry was killed, after he was struck at high speed, by a car. Broke, and clueless in regards to his future plans, Martins decides to peruse the alien landscape, encountering Lime’s lover, Anna (Valli), and a section of the British Army Police, led by Major Calloway (a tremendous performance from Howard). After some brief enquiries, Martins discovers that Lime himself was accused of being a criminal, and to honour Lime, decides to stay and clear his name. But as Martins becomes ensnared within a plot similar to the novelettes he so frequently publishes, he soon finds himself embracing the role of a gumshoe, despite being hopelessly bemused, yet tenacious in the pursuit of truth.

Written sublimely by novelist turned screenwriter Graham Greene, “The Third Man” encapsulates perfectly, the codes and conventions of the quintessential film noir, featuring a female character to rival many, and a villain whose crimes signify the very meaning of callous. Each character receives some particularly acerbic and intelligent dialogue, with lines which are arguably iconic (the confrontation between Popescu and Martins within the book club, is at once comedic as well as frightening), but also deceptively revealing, regarding the intentions of the characters themselves, providing a depth unlike many other screenplays. Even secondary characters receive back story of sorts; the charming Sergeant Paine (Lee) often insists on relaying to Martins how much he adores the readability of his novels, despite often being shrugged off by the obnoxious American.

The entire cast absorbs the dialogue, and fully embody the characters they were destined to portray. Cotten is the stereotypical American (a drunk who is both loud and rude), but is sincere in his quest for justice, providing a reserved quality to the scenes between himself and Valli, as the prime suspects for a will they/won’t they relationship. But once Welles arrives on screen, he begins to steal the majority of the scenes he features in. Martin’s meeting with Lime aboard Vienna’s Ferris wheel, the Wiener Riesenrad, is tense far beyond expectation. As the scene itself progresses, Lime obliquely threatens Martins as calmly as one would order a cup of coffee. Lime remains cool and calm despite the clear desire of murder, ingrained upon his eyes. The result is chilling and the creation of an immortal exercise into true tension. The film’s cast is undeniably pitch-perfect, with Howard and Welles leading the proceedings. But this is a fine showcase for Cotten, committing fully to his performance which rivals the very best of the film noir actors of his time, particularly Bogart and Mitchum. The intensity and dedication to the crafting of his character is admirable, and pays off, allowing the audience to align with him despite his loathsome traits which provide a sense of humanity to the part.

The film itself is an undeniable masterpiece, but without the cinematography and score, “The Third Man” may not have earned its seat amongst the classics. Beautifully shot by Robert Krasker, his use of expressionistic black and white cinematography is astounding, providing an atmospheric tone throughout the entire film. The scenes filmed at night are consequently mysterious, adding a horror-like style to the sequences in which Cotten walks through the bombed-out streets, transporting us to an area in which the safety of our protagonist is constantly questioned. An appearance from Nosferatu himself would not surprise me... Yet the strangest feature of Reed’s film is the musical score from Anton Karas. Written only to require the participation of the zither (a strange instrument), the score itself signifies a mixture of fear, danger and comedy in every scene. Even if the characters are multi-layered in their emotions, Karas’s score unearths their deepest feelings, even in the most involved of sequences. 

As expected, the special features are exceptional (full list provided below); overly informative, yet especially rewarding for cinephiles. Martin Scorsese and Ben Wheatley contribute to a intriguing documentary and offer personal accounts of how Reed's masterpiece influenced the direction and style of their very own films, whilst another documentary charters Greene's personal life and the creation of "The Third Man" in relation to both the novel and screenplay, which is particularly powerful and revealing. Another documentary, entitled "Restoring The Third Man", offers direct insight into the process of 4K restorations like never before, allowing the audience to finally understand the pivotal craft of restorations.

Verdict

Simply put, this is the perfect embodiment of film noir. Intense confrontation, thrilling chase sequences, gorgeous cinematography and one of cinema's finest casts provide a captivating slice of Great British cinema unlike any other. The final shot might just take your breath away.

Film - 10 stars out of 10
DVD/Blu-Ray extras - 10 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.

 

Special Features Material Includes:

• Audio Commentary with Guy Hamilton, Simon Callow & Angela Allen
• Shadowing the Third Man
• Interview & Zither Performance by Cornelia Mayer
• The Third Man Interactive Vienna Tour
• The Third Man on the Radio
• Guardian NFT Interview - Joseph Cotten (Audio Only)
• Guardian NFT Interview - Graham Greene (Audio Only)
• Joseph Cotten's Alternate Opening Voiceover Narration
• The Third Man - A Filmmaker's Influence
• Restoring The Third Man
• Dangerous Edge - Graham Greene Documentary
• Trailer

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Remember kids, cars can't fly! Or can they? Scott Gentry reviews "Fast & Furious 7", an amusing, if slightly banal shot of puerile adrenaline.

"Fast & Furious 7"
Directed by: James Wan.
Starring: Vin Diesel, Paul Walker, Michelle Rodriguez, Dwayne Johnson, Tyrese Gibson, Kurt Russell and Jason Statham.
Rated: '12A' for containing moderate violence and moderate bad language.
Running time: 137 minutes.
Released in UK cinemas from the 3rd of April, 2015.

15 years ago, production began on conceivably, one of Universal's most lucrative franchises in the history of their company: "Fast & Furious". Reportedly based upon an article featured in “Vibe” magazine,  the films began small, featuring heavily upon the underground racing scene of L.A., then built its way up into one of the most ludicrously entertaining and unbelievably profitable set of heist films in cinema history. “Fast Five” itself benefitted from two things: the introduction of an insanely pumped out Dwayne Johnson, and a new wave of completely over-the-top thrills, like nothing we’d seen before. Heck, our band of rag-tag heroes even ripped a vault free from the inside of a police station using their cars, and dragged it through the streets of Rio de Janeiro. And if you thought that was absurd, “Fast & Furious 7” takes its action sequences to a whole new level.

Having defeated the fearsome Owen Shaw (Luke Evans) during “F&F 6”, this latest instalment finds our rambunctious crew settling into suburban life, having been fully pardoned by the United States and now living in the sanctity of their original home. But whilst attempting to put aside their criminal lifestyle and set their sights on family, trouble occurs in paradise. Dom (Diesel) and Letty (Rodriguez) are struggling to continue their tumultuous relationship, and Brian (Walker) himself admittedly misses the thrill of whizzing bullets and death-defying stunts, despite the calling of parenthood. But it isn’t long before the team are forced to once again, team up with DSS agent Hobbs (Johnson) and a shadowy government spook, named Frank Petty (Russell), in order to track down a minacious black ops assassin, (brother of Owen Shaw) Deckard Shaw (Statham), who is hell-bent on revenge...
 

 

The final minutes of “F&F 7” are admittedly, elegiac. Yes I, the least likely of “F&F” fans felt a sense of bereavement in its closing minutes. But let’s not get ahead of ourselves here. A fitting tribute to Paul Walker doesn’t disguise the fact that “F&F 7” is yet another needless, frenetic and dreadfully written piece of popcorn fare. Fellow critic Mark Kermode once said that these sequels only exist, because of the money generated from audiences who pay to see them. And of course, he is most certainly correct. But why do we subject ourselves to overlong bouts of nauseating torture every two years?

Well, perhaps it's due to the fact that “Fast Five” itself proved to audiences that “F&F” wasn’t only about the cars, but humour, inventive action sequences and above all, the ability to continue to astonish audiences well into their fifth instalment, something which many other franchises fail to do. But now, it seems as if each film since, features the exact same plot: criminal with connections to Dom’s family appears, government seeks aid in arresting said criminal and turns to America’s least trustworthy family for help, who oblige, due to the fact that one of their own has been hurt. Why can’t the government sort it out themselves? And for a family so rooted in religion, revenge seems to be a constant feature in their lives. Whatever happened to the idea of turning the other cheek? But perhaps what holds the film’s characters together is the concept of family, one that has been a major factor all throughout the seven feature films and ultimately, something which delivers a sense of humanity amongst the film’s high-jinks; something which is well-needed when comic relief fails.

Along with the film’s regurgitated plot, “F&F 7’s” script, once again written by franchise scribe Chris Morgan (“47 Ronin”), features clunky dialogue, which is clichéd and completely over-the-top. The comic relief once found in Gibson’s character Roman has become cringe-worthy, with the film’s superior and frankly bad-ass one liner’s left to franchise-saver, The Rock. The action sequences themselves are generally, poorly conceived and seem awfully similar to previous instalments. Even the scene in which Diesel and his co-stars skydive (whilst in cars) seems preposterous and highly aggravating, developing no sense of danger whatsoever. Even when certain characters are shot, beaten and placed in ‘that should have killed you’ crashes, nobody comes away with the slightest scratch. Courageous moves such as actually killing off multiple characters would surely add a devastating effect to the proceedings, only increasing the need for revenge and sequels, surely?

The cast itself is talented, but with material as clichéd as this to work with, it’s obvious that they won’t reach their full potential. However, Rodriguez receives perhaps the largest amount of screen-time since her introduction to the series, developing an intimate relationship with Dom that seems sincere and completely fleshed out. But Walker, Statham and Brewster are the actors with the least amount of material to work with, all three resigned to supporting characters with little development. Statham himself is supposed to resemble the film’s antagonist, yet arrives on screen perhaps three times in the film for terrible scenes, especially the eventual stand-off with Diesel. Perhaps the worst offence here is the underuse of “Game Of Thrones’s” Nathalie Emmanuel, as Ramsey. After superb work as Missandei, it’s disappointing to see such a talented actress receive little or no attention, with a character as flimsy as the car’s suspensions.

 

However clichéd the material becomes, James Wan’s welcome direction (he took over from long-time director Justin Lin) is put to terrific use in the frankly bombastic action sequences, particularly a scene in which a car flies through three tall buildings in Abu Dhabi. Ridiculous, but at the same time, the eleven-year-old in me wanted to cheer.

Verdict

In its seventh, tiresome and mind-numbing instalment, there are very few surprises here for fans of the series and newcomers, despite the delicate (if overstuffed) handling of Paul Walker’s departure. Clocking in at 137 minutes, “F&F 7” is tiring, clichéd and honestly, not an example of ‘leave your brain at the door’ entertainment at all.

4.5 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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Etan Cohen's disastrous and offensive "Get Hard" is the epitome of a one-joke movie, despite a talented cast. - Written by Scott Gentry

"Get Hard" (15)
Directed by: Etan Cohen.
Starring: Will Ferrell, Kevin Hart, Craig T. Nelson and Alison Brie.
Rated: '15' for containing strong language and sex references.
Running time: 100 minutes.
Released in UK cinemas from the 27th of March, 2015.

Offensive on many levels, Will Ferrell's latest star vehicle plays out exactly the way it was described by one enraged critic at its SXSW premiere, stating that it seemed “racist as f–.” That's understandable. The ingenious pairing of Ferrell and Hart is the film's only redeeming feature, but when working from material written by Jay Martel, Ian Roberts and Etan Cohen (also director here, and writer of "Men in Black 3"), the two leads are forced to confront purely vulgar and completely humourless material, including an arguably homophobic sequence in which Ferrell's character is repulsed, when in preparation for prison life, is required to perform oral sex on a man whom he meets in a local gay bar; eventually not being able to bring himself to complete such an act. Or what about the completely needless introduction to everybody's favourite white supremacist group, the Alliance of Whites? Needless to say, you may be slightly offended.

Ferrell himself stars as James King, a successful stock broker who, upon the eve of his engagement party to the illustrious Alissa Barrow (perhaps the highlight of "Mad Men", Alison Brie), is wrongly arrested and convicted for tax evasion. Despite protesting his innocence, James is ordered to serve a 10 year sentence within the infamous San Quentin prison. With 30 days to get his affairs in order, James desperately seeks the help of a former acquaintance, Darnell (Kevin Hart), in a bid to become accustomed to prison life, as he presumes that Darnell has visited prison, purely based on the colour of his skin... Sigh.

"Get Hard's" often coarse and generally uninspired screenplay riffs upon the clichés of prison life (sexual assault, gang violence) in a manner which can only be described as insulting; not only to the audience's very intelligence, but due to the fact that the film itself is hilariously generic and outrageously offensive, especially since it classes itself as a piece of comedic cinema, for which it is a sorry excuse. Clearly, the filmmakers aren't attempting to offend, but when not handled properly, the content itself spirals out of control into a series of unnecessary sequences which can only pass for a multitude of sketches, poorly attempting to be substituted for a narrative structure. It just doesn't work. Perhaps the film's only redeeming gags appear when Darnell attempts to create a fake prison riot within James's mansion (in which a live monkey is thrown into the proceedings), and a " Boyz N the Hood" reference crops up, providing an enjoyable running joke throughout.


Verdict

"Get Hard" features a capable cast and a premise with potential, yet is spoiled in the creation of repulsive humour and needless stereotypes which aren't challenged, yet endorsed by the subject matter. When crafted well ("Team America: World Police", "Dogma"), offensive comedies can be hilarious, but "Get Hard" focuses on tired material, clearly not able to offer a fresh outlook on prison life.

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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Competition: Win some rather snazzy "Insurgent" merchandise with our friends, E-One Entertainment!

The latest instalment of "The Divergent Series", titled "Insurgent", is now playing in UK cinemas nationwide, and we've got two awesome "Insurgent" activity tracker packs up for grabs in our latest competition, just for you, our lucky readers and followers!

"Insurgent" Activity Trackers Spec:

- Water resistant

 - TPU Bluetooth Activity band/watch worn around the wrist with OLED display, allowing users to monitor activity levels and overall lifestyle.

 - Includes time feature, tracking/monitoring goals for steps, activity, speed, sleep patterns.

Want to get your hands on a pack for yourself? Well, all you have to do is answer the following question to be in with a chance:

"Miles Teller stars as Peter Hayes, an ill-tempered Candorian, who was originally Tris Prior's mortal enemy throughout "Divergent". But in which film did Teller portray an equally arrogant character, often found with a pair of drum sticks in one hand, and the other in a bucket of ice?"

A) "The Spectacular Now"

B) "Project X"

C) "Whiplash"

To enter our competition, simply send (via email) your:
- Answer to the question
- Name
- Address
- Phone number
- and E-Mail
all to the email address, scottgentry830@gmail.com, before the 31st of March, 2015.

After being exposed as Divergents—people who don’t fit neatly into one of the five societal classifications or “factions”—Tris (Shailene Woodley) and Four (Theo James) find themselves on the run from Jeanine (Kate Winslet), the power-hungry leader of the Erudite faction.

Terms and Conditions
• Competition will close on the 31st of March , 2015.
• Open to UK residents only. 
• Prize for the two main winners are "Insurgent" Activity Trackers.
• 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.


Trailer

Tonally perplexing and sickening in its approach to comical violence, “The Voices” is a mentally disturbed piece of filmmaking, coincidentally featuring Ryan Reynolds’ finest performance since “Buried” - Written by Scott Gentry.

“The Voices” (15)
Directed by: Marjane Satrapi.
Starring: Ryan Reynolds, Gemma Arterton, Anna Kendrick and Jacki Weaver.
Rated: ‘15’ for containing strong language, sex references, bloody violence and gore.
Running time: 103 minutes.
Released in UK cinemas from the 20th of March, 2015.

It’s been over a year since Marjane Satrapi’s (“Persepolis”) fourth directorial feature premiered at the Sundance Film Festival, and based upon the early and overly positive critical buzz that the film received, I waited patiently here in the UK to see Ryan Reynolds redeem himself in a lead role, post “Green Lantern”, “R.I.P.D.” and the intolerable “Turbo”. You may be surprised to hear me say this, but Reynolds is a force to be reckoned with. In roles such as Paul Conroy in the unsettlingly claustrophobic “Buried” and the underappreciated part of Gary in head-spinning drama “The Nines”, he displayed great skill in controlling the screen, delivering subtly nuanced performances which proved he wasn’t just another Hollywood hunk, but perhaps something more. Yet again, it seems that Reynolds is the stand out performer in a film which aims to entertain, yet is far too disturbing to be classed as a “black comedy”. 

Our story begins in the small idyllic town of Milton, in which our hapless protagonist, Jerry (Reynolds), is employed within the local bathtub factory. Always cheerful and determined to wear a smile upon his face, he is eager to pursue positive relationships with his co-workers, particularly the alluring Fiona (Arterton) from the accounting department. Meanwhile, Jerry’s overly positive outlook on life is challenged at home, within the company of his pets, an Irish cat named Mr. Whiskers, and his overly-protective dog, Bosco (both voiced by Reynolds), constantly providing conflictive arguments as to whether Jerry should pursue the path of an average Joe, or follow his sadistic urges to kill… 

If you’re slightly freaked out or just downright confused by the film’s plot, then it’s understandable. “The Voices” is a film which continues to confuse me, and not just due to variously idiotic narrative strands, but simply because of its indecisiveness in regards to the tone in which screenwriter Michael R. Perry (“Paranormal Activity 2”) is attempting to pitch. Almost worried that he might offend, Perry isn’t too sure where to take his story, he either attempts to indulge within the dark and sinister sensibilities we’ve come to enjoy from pieces such as “Shaun of the Dead” and “Evil Dead 2” (flipping the piece tonally), or he displays acts of violence which simply aren’t funny, as they fail to mesh with the other material. It's evident that Perry clearly has a love for the horror genre (a lovely stylistic choice in Jerry's apartment proves that), but the film's problem is Perry’s sense of humour. Occasionally it can be hilarious, or just downright crude. 

The film itself begins with a perfectly whimsical (albeit slightly awkward) first act, before delving into a sub-plot which features around distressing material such as assisted suicide and the preservation of dismembered body parts, all in a manner which fails to be humorous, and instead becomes quite sinister, especially with the inclusion of a gratuitously large quantity of blood, especially within the a particularly violent act which takes place on screen. The film’s overall theme of mental health is arguably ridiculed and played for laughs, which is worrying, but with Reynolds leading the proceedings, he manages to create a sense of humanity when portraying Jerry.  

“The Voices” may not be the star vehicle Reynolds hoped for, but the film is worth the price of admission, purely for his delicate and occasionally off-kilter performance, restoring our faith in his talents, as a perfect companion piece to the upcoming “Deadpool”, especially in relation to its blood-drenched and darkly comic tone. The supporting cast remain perfectly average throughout, especially Arterton and Kendrick, as their talents are wasted in roles which don’t require actors of their calibre, especially for characters as bland as theirs. Yet, the film noticeably seems far more comfortable when focussing upon its romantic-comedy elements, prompting a stronger focus upon the character development between Jerry and Lisa (Kendrick). 

Verdict
Apart from its failure to discover a specific tone, “The Voices” remains a crudely entertaining and occasionally funny film, which honestly lives in a league of its own. If you’re seeing this for anything, make sure it’s for Reynolds. Oh, and the suitably warped end credits sequence; a true original in that respect... 

5.5 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.

Trailer

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