The Purge: A fairly lukewarm anarchy

by Jon Petre

What? A bad America? No. Well then, I
guess this is cool and edgy!

I reviewed The Purge back in 2013 (God, was it really that long ago?) and, much like its sequel, it received only a lukewarm appreciation from me. Anarchy was, I think, somewhat better, but there were still too many elements that held it back.

Anarchy sheds the characters of the first film for a newer cast that could've been much more exciting than they came across. Two women (a mother and a daughter, Eva and Cali) prepare to barricade themselves inside their home for the night, but there is something wrong with Eva's terminally ill father (Cali's granddad). A soon-to-be-divorced couple find themselves trapped outside with only a few minutes to go before the Purge starts, and a disgraced Police sergeant (played well by Frank Grillo) prepares himself to kill the man that ran over his son while under the influence. Compelling stuff, right?

But wait! There's more!
At the same time, a group of mysterious "anarchists" are hacking government channels and trying to get the truth out--the purge is just a plot by the government to kill off criminals/poor people (basically the same thing in their eyes), thereby keeping population and unemployment down. My god? The government? Wrong? How original!

Jokes aside, I really thought that Anarchy had some credence behind it. Grillo's character seemed interesting enough, and there seemed to be a lot to be going on with in regard to the rebel-freedom-fighters. The film began quite slowly, but I suspect that was to build tension and such. All it succeeded in doing was boring me. The freedom fighters didn't actually show until about twenty minutes from the end. I mean, come on. There was so much build-up, but there was no delivery. It was like taking all the ingredients for a beautiful, summery meal and then smashing them together in a trash compactor and microwaving it until the smoke smells good.

Come on!

I really stopped caring about the characters around--well, it didn't really start, if I'm totally honest. If my interest/care were to be plotted on a graph, we started somewhere around the middle, then it dropped, then it tentatively rose when we found out "the plan", just before the halfway point or so, but then it dropped out and I really couldn't care less. It was the same feeling that you get when watching a horror movie--"Oh my god, just stop that". I rolled my eyes more than once during the Purge. There was a spike of interest again, when the anarchists finally did surface, but I feel that James DeMonaco
was trying to pander to too many audiences and too many genres--this wasn't a successful blend of horror, action, satire and thriller.

Oh, ha. I see what you did there. And a black God/!?!!? Wow. 

And the satire. My god, the social commentary. DeMonaco was trying to make a statement about America throughout the film; that the new government was evil, corrupt, anti-working class and white. Well done. It wasn't edgy, and I didn't think--wow, you've opened my worldview! This sort of thing has been done before, and it's been done better. If the subject of the film had been a critical look at post-modern America, then perhaps it might've worked, but there were too many factors to let just one of them breathe.

In conclusion, The Purge: Anarchy was by no means a good film, though it surpassed the home invasion thriller of its predecessor. There were some great elements here and there, and if the focus had been more on these factors rather than trying to make cool baddies and a better horror vibe then this really could've been something. Perhaps with a bigger budget they could've hired more writers, more directors, but at the end of the day I think the focus should be how you're doing it, rather than how much of it you're doing. A turgid two from me.

2/5

It’s absurd! It’s imbecilic! It’s jolly good fun! Scott Gentry reviews Brett Ratner’s “Hercules”.

"Hercules" (12A)
Directed by: Brett Ratner.
Starring: Dwayne Johnson, Irina Shayk, Ian Whyte, Ingrid Bolsø Berdal, Ian McShane, John Hurt, Joseph Fiennes, Rebecca Ferguson, Rufus Sewell.
Rated: 12A for containing moderate violence, bloody images, moderate sex references and strong language.
Running time: 98 minutes.
Out in now in UK cinemas. 

I’m not going to lie, I think that myself and the rest of the world held low expectations for Brett Ratner’s belated (this is the second of two “Hercules” films released in 2014, the other being Summit Entertainment's less entertaining, “The Legend of Hercules”) adventure film, but in some ways, I was pleasantly surprised. 

Dwayne “The Rock” Johnson stars as the robust, yet amicable warrior, who after completing his twelve labours (tasked by the god named Hera) including the slaying of the Nemean lion, capturing the Cretan bull and others, begins his life as a mercenary, ridding towns and kingdoms of whatever stands in their path. Upon receiving word from King Cotys of Thrace (John Hurt) and his daughter, the demi-god and his band of merry men (including Ian McShane and Rufus Sewell) and one strapping young woman (Ingrid Bolsø Berdal), decide to aid the King and his family, as they attempt to rid the land of an army, unlike anything they’ve seen before...

Now midway through blockbuster season, audiences and critics are constantly being bombarded with many films that have the unfortunate ability to bore one’s mind exceedingly quickly, or thankfully, have the complete opposite effect. In the case of “Hercules” however, it seems as though this indulgent film may just stand in the middle of the two. It seems as though Ratner’s team of writers have a clear vision for this adaptation of the famed graphic novel, “Hercules: The Thracian Wars” by Steve Moore, yet perhaps due to the pressure from certain studios to deliver “Hercules” as a ‘12A’ rated epic, the grittiness of Moore’s novel became lost during production (the BBFC advised that the filmmakers to cut three scenes due to bloody detail in three scenes, in order to obtain the ‘12A’ rating). 

In spite of that, “Hercules” is a film which attempts to push the ‘12A’ rating to its very limits, with various blood-spurts upon the slashing of enemies, decapitations and the odd strong declaration, particularly in the form of “f****ng Centaurs”. But it just isn’t strong enough. In the vein of cheesy 80’s action epics, Ratner’s film tries very hard to be accepted into that category, and succeeds to some degree, yet it lacks the novel’s main appeal. 

Despite Johnson being a former “WWE” fighter, he shows that his charming charisma works wonders, as he protrudes around the battlefield proclaiming impudent one-liners which are at times rather hilarious and at others, a little near the mark. In spite of the film’s comedic element, Johnson emerges as perhaps a stronger actor and tackles the dramatic sequences perfectly well, producing a tongue-in-cheek performance which is surprisingly good. McShane and Hurt may be the eldest on the screen, but even during the action sequences, the two seem to be having the most fun, as McShane’s character named Amphiaraus, constantly tries to predict his death which leads to hilarious situations. Hurt may not be delivering his most refined performance, but he certainly is devilishly cool as King Cotys and is most definitely welcome among the younger cast. Sewell and the rest of Hercules’s group are all fairly talented, but Sewell himself delivers an unusual comic performance which is particularly entertaining.
  
The film's 3D effects are often put to good use, with arrows flying out of the screen and various blood spurts also making their appearance. Yet, it feels as though more 3D effects may have been required, as the companies behind the film don’t seem to be spending enough time and effort on the 3D version of their film. If they expect to tempt an audience into the cinemas solely for 3D effect in some cases, they may need to begin by upping their game. 

Verdict

“Hercules” is a mischievous epic which provides perfectly decent laughs and thrills to impress its audience. It may be complete poppycock, but who cares! It’s a darn sight better than “X Men: The Last Stand”.  

6.5 Stars out of 10

Written by Scott Gentry.

Film 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.

The First Trailer for Morten Tyldum's "The Imitation Game" (2014), Starring Benedict Cumberbatch, Kiera Knightly, and Charles Dance

by Jon Petre

The first trailer has been released for this November's biopic of legendary code breaker and mathematician Alan Turing, with Cumberbatch starring as the man himself.

I really admire Alan Turing, because in case you didn't know, he not only cracked the Enigma code (which helped us to win the war, by allowing us to read their secret messages) but also invented the first modern computer. Turing was however gay, at a time when that was a punishable crime--which, led to [SPOILERS!]

Anyway, the film looks to be dramatic, if emotional. It's out on the 21st November this year, and I'll be reviewing it as and when it graces our cinemas. Here's the trailer.

But be forewarned! Despite how promising the film looks (Star Theory, anyone?), this is exactly the type of trailer that I despise. It gives away the whole plot, more or less, although if the biopic covers all of his life (not just the war years, what happened before and after) there will be lots of rich material for Tyldum to mine. Don't watch the trailer if you want the film to be fresh and engaging--it's a good story, trust me.

Hail to the chief! Matt Reeves directs a blockbuster with brains and a fair bit of violence, says Scott Gentry, as he reviews "Dawn Of The Planet Of The Apes".

“Dawn of the Planet of the Apes” (12A)
Directed by: Matt Reeves.
Starring: Andy Serkis, Jason Clarke, Gary Oldman, Keri Russell, Toby Kebbell and Kodi Smit-McPhee. 
Rated: 12A for containing moderate violence, threat and infrequent strong language.
Running time: 130 minutes.
Out now in UK cinemas. 

It’s particularly difficult to pull off a “Planet of the Apes” film and directors such as J. Lee Thompson who directed “Battle for the Planet of the Apes” (1973), and Tim Burton who directed the 2001 remake, “Planet of The Apes”, know exactly why their films failed. The first, being a lifeless attempt at wringing the last few dollars from a doomed film series, and the latter being a film featuring a confusing plot and ending. However, in 2011 British director Rupert Wyatt rebooted the “Planet of the Apes” series, with an intriguing prequel, written by Rick Jaffa and Amanda Silver, that set a bench-mark for future blockbusters.  

Now marking the second instalment of the prequel series, “Dawn of the Planet of the Apes” follows the ever-growing nation of genetically evolved apes who are led by their fearless chief Caesar (Serkis), as they continue to develop their home in the redwood forest, opposite the Golden Gate Bridge near San Francisco. Despite a peace that has lasted for ten long years, a group of humans that have survived the deadly virus (it was unleashed on society at the end of “Rise of the Planet of The Apes”) threaten the apes and cause tension between the two groups.  Soon the idea of violence becomes a possibility, as the actions of certain apes and humans may bring both sides to the brink of war.

Enemies or not? Jason Clarke, Keri Russell and Kodi Smit-McPhee star
 in a still from "Dawn Of The Planet Of The Apes".

After nearly a three year wait, Reeves (taking over from previous director Wyatt) has finally delivered a sequel that can rival films such as “The Godfather: Part II” due to its captivating ability to create such tension and bravura from each performance, despite the use of 3D effects. This is particularly evident in the performances from actors such as Serkis (portraying Caesar), Kebbell (playing Caesar’s second in command, Koba) and Karin Konoval (representing Maurice, a large orang-utan) who all play apes. Regardless of the lack of lines spoken in many parts of the film, this talented trio manage to capture emotions just like any other actor would, posing the question, could Serkis or any of his fellow ape performers win an award for best actor/actress? 

On reflection, “Rise OTPOTA” was mainly shot in studios with the help of green-screen, but “Dawn OTPOTA” has (like the apes) evolved, with Serkis leading the forefront of motion-capture technology and helping to develop it so Reeves is able to shoot certain scenes on location. By doing this, the film felt as if it had acquired a glossy look and the ability to become believable. The work on-screen is astonishing.

War, has begun. The Apes make a stand, in a still from
"Dawn Of The Planet Of The Apes".

The cast portraying humans however are slightly disappointing, as it seems as though the perfectly capable actors aren’t given noteworthy roles to represent themselves; members such as the ever-appreciated Oldman, Clarke and Russell, provide safe and secure performances as the survivors, but don’t seem as though they’re star power is needed in these circumstances, as the real drama can be found in the relationships between the apes, not the humans.  

Written by Michael Giacchino, the film’s soundtrack is at times exciting, but fails to create the effect of Patrick Doyle’s previous score which is in many ways a shame, as Giacchino is known for creating epic scores for films such as “The Incredibles” and “Mission Impossible: Ghost Protocol”. 

Caesar (Serkis) prepares for war, in a
still from ""Dawn Of The Planet Of The Apes".

Although they may have taken most of the story from the 1973 film ““Battle for the Planet of the Apes”, Mark Bomback, Rick Jaffa and Amanda Silver have however revitalised a simple blockbuster and turned it into engaging entertainment which delivers on exciting action sequences, but also a plot which focuses on the idea of morals and leadership. Nevertheless, plot clichés are still included within the film and it’s easy to understand why, but “Dawn OTPOTA” is a film which is allowed to develop certain ideas yet still create a crowd-pleasing blockbuster. 

Verdict

“Dawn OTPOTA” is a tumultuous affair of betrayal, love and war that’s highly engaging, and thoroughly entertaining. It’s most definitely one of the year’s best.

8 Stars out of 10

Written by Scott Gentry. 

Film 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.

DVD/Blu-Ray review: Renny Harlin returns to action epics, with "The Legend of Hercules"; written by Scott Gentry.

“The Legend of Hercules” (12)
Directed by: Renny Harlin.
Starring: Kellan Lutz, Gaia Weiss, Scott Adkins, Roxanne McKee, Liam Garrigan, Liam McIntyre, Rade Serbedzija, and Kenneth Cranham.
Rated: 12 for containing moderate violence.
Running time: 97 minutes. 
Out on DVD and Blu-Ray, from the 4th of August, 2014. 

Films based upon mythical characters or ancient histories are most definitely in this year. First we had this, “The Legend of Hercules”, then came “Pompeii” soon after in April and in August we’ll have Brett Ratner’s “Hercules”. A rivalry of two “Hercules” films eh?

The first of the trio above, “The Legend of Hercules”, follows the story of Alcides (Lutz), a prince who does not know that he is the son of Zeus, Hercules, and instead lives on earth with his mother, Queen Alcmene (McKee) and stepfather King Amphitryon (Adkins), the latter being an evil, tyrannical king. After discovering that his brother Iphicles (Garrigan) is set to marry his beloved (Weiss), Alcides attempts to flee along with the princess. As punishment, he is banished from the kingdom and sent to live out his remaining years as a slave. Upon being sold into slavery, Alcides embarks on an epic quest, in order to return to his kingdom and prevent an ill-fated marriage.

In a time where filmmaking is constantly evolving, it seems that Renny Harlin’s explosive retelling of the Hercules myth is not something which has evolved well, and has subsequently turned out to be a fairly disappointing affair. The main reason for the film’s failure is most definitely its script (written by Sean Hood, Daniel Giat), which makes no attempt to create characters who are interesting to watch or that can be cared about. This is in many ways a shame, as this low-calibre cast makes the best of a weak script, providing fairly decent performances; in particular McIntyre, who portrayed Spartacus in the series “Spartacus: War of the Damned”. The rest of the film is filled with less than impressive special effects, but are accompanied well by the choreographed fight sequences that have a spectacular “Gladiator” style, but are brought down by the lack of injury sustained by the characters. 

In regards to the special features, the DVD/Blu-Ray includes an insightful fifteen minute documentary on the making of the film, with various sections on the fight choreography, horse riding, and the design of the sets. A commentary with actor Kellan Lutz and director Renny Harlin is also available within the special features. 

Verdict

Harlin’s overblown film is occasionally enjoyable fun, but doesn’t keep the audience’s attention for the film’s entire running time. It isn’t worth the price of the DVD/Blu-Ray, but is perhaps worth watching on Netflix, when there aren’t any other film’s or television shows to occupy one’s time.

Film = 4.5 stars out of 10.
DVD/Blu-Ray extras = 6 stars out of 10.

Written by Scott Gentry

Film 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.

Michael Bay has finally delivered; "Transformers: Age Of Extinction" is pure escapist fun. Written by Scott Gentry.

"Transformers: Age of Extinction" (12A)
Directed by: Michael Bay.
Starring: Mark Wahlberg, Nicola Peltz, T.J. Miller, Sophia Myles, Stanley Tucci, Kelsey Grammer and Titus Welliver.
Rated: 12A for containing moderate action violence and infrequent strong language.
Running time: 164 minutes, 54 seconds.
Out now in UK Cinemas.

I'm literally shocked. Michael Bay has finally directed a piece of cinema which has (surprisingly) impressed me. However, let's not get ahead of ourselves here, there's still a few problems with "T: AOE", that may need ironing out. His Sci-Fi epic is not only 164 minutes long, but it also contains the key traits of Bay cinema: explosions (duh!), gratifying shots/depictions of women and humour guaranteed to make anyone cringe. That aside, the film is enjoyable, and not just in terms of its visuals.

Mark Whalberg and Nicola Peltz are thrown into the battle, in a still from
"Transformers: Age of Extinction". 

Set four years on from the devastating attack on Chicago, government agencies (led by the villainous Grammer) are now refusing the help of Autobots, and are beginning to viciously and mercilessly, hunt them (and Decepticons) down. Meanwhile, Cade Yeager (Whalberg) and his daughter, Tessa (Peltz) are in financial trouble and are facing eviction from their ranch in Texas. Luckily, Cade manages to find a disused truck inside of an abandoned cinema and decides to strip it for parts. Whilst exploring the humongous vehicle, he ultimately realises that perhaps this isn't a truck. Perhaps this is a Transformer. Simultaneously, inventor Joshua Joyce (Tucci) is designing clones of the robots, from the bodies of fallen Autobots and Decepticons whilst using a dangerous element named “Transformium”. This can only end well, can’t it?

Upon Cade awaking the Autobot and realising it's none other than the famed Optimus Prime (played by Peter Cullen), it isn't long before the government and a mysterious, robotic bounty-hunter named Lockdown (Mark Ryan) show up, and the long fought peace is disrupted. Cue explosions!

Cade (Whalberg) makes a discovery, in a stil from
"Transformers: Age of Extinction".

Well, what can I say? I liked it, and it’s mainly because the film has been toned down considerably, leaving it a more playful and well developed film. For instance, there is actual character development which isn’t as boring as previous films and makes for an entertaining, explosion-less first act, which is surprising. Here, the cast are given time to develop their characters freely, with Whalberg acting in an overly comedic manner and providing a particularly decent performance. However, Tucci manages to steal the glory from most of the other actors in the third act, as he provides a hilarious performance as Joshua Joyce, who seems to have the most fun, especially during a hilarious chase sequence, where he says (to a bunch of slow, elderly, ladies) “Can anyone tell me what ‘get the f**k out of my way’ is in Chinese?”. 

The supporting cast take the form of Peltz and Jack Reynor as they play a love-struck couple and let’s face it, aren’t as talented as the rest of the cast, and are mostly left screaming for their lives. Peltz in particular, as at every opportunity Bay directs the camera around her extremely short-shorts and plunging necklines, even in the midst of the explosions, leaving the question, why is she even on the screen? 

Whalberg, Peltz and Reynor star in a
still from "Transformers: Age of Extinction".

In league with some rather ham-fisted acting from various members of the cast, Ehren Kruger is once again onboard as the film’s screenwriter and has pretty much written the seemingly exact same storyline as the original three instalments, but with some added content such as the Dinobots, the bounty-hunter element and the government agents. It isn’t surprising but it seems to work fairly well, mainly due to a smaller number of Autobots who are easier to focus upon and engage with, as a result of their longer amount of screen time and character development. The film is graced by the appearance of two new Autobots named Hound, a rather strange character voiced by John Goodman who enjoys smoking tank shells. Wait. What? Yep that’s right! Tank shells. 

Is it me, or does Whalberg have a
rather large left hand? 

Ken Watanabe voices the other addition to the crew, as a samurai-wielding, Japanese robot named Drift, who constantly refers to Optimus as Sensei. A little bit stereotypical, eh? 

Despite the new additions, the comedy is still overly cringe-worthy in places, especially when Cade decides to shout (whilst shooting alien weaponry) “I’m so going to patent this!”In my opinion, it may be wise to finally hire a new screenwriter. 

Many people have also commented on the running time, but quite honestly it didn’t fell like two hours and forty-four minutes. It felt as if Bay’s spectacle was fairly short, perhaps even an hour. The running time was most definitely not an issue. Furthermore, the film contains some of the most blatant product placement I have ever seen. Even during a sequence with the man-made “Transformium” (yep, that’s what it’s called, unbelievable!), an element of the transformers DNA which can be turned into anything the characters desire, the characters proceed to create various products such as the “Beats” audio speaker, the “Pill” (they even say it’s name out loud, if you didn’t already know what it was!) and a “My Little Pony” figurine. It’s outrageous!

And what of the Dinobots? Perhaps one of the most coveted members of the “Transformers” universe, these robotic dinosaurs may have only been introduced into the film by the last act, but they manage to earn their place within the carnage; looking as cool as they come, the robotic beasts rip, smash and tear their way through Deception punks like meat, and overly impress the least faithful of Michael Bay fans. Thank goodness the Dinobots were right.

A perfect Grimlock, in a still from
"Transformers: Age Of Extinction". 

The reason perhaps why “T: AOE” works so well is because the film is smaller and it allows Bay to still use vast amounts of destinations to destroy, but their isn’t as much going on as in the previous storylines. This time around the film actually contains some sort of plot that the audience can follow, occasionally relate to and ultimately enjoy. There isn’t a thousand strands left hanging here, there is only the possibility of further sequels, and if Bay continues to make films like this, I’ll be more than happy to sit through them.  

In regards to the film’s visual effects, “T: AOE” is of course nothing but impressive. Once again the explosions, falling buildings and rock 'em Sock 'em robot sequences are all here, yet returning as impressive as ever, along with deafening sound and a score to match, written by Steve Jablonsky adds to the action with his pulse-pounding score that adds a certain quality to the massacre. It’s a battlefield on the screen, and by seeing it in the IMAX format, it’s worth being consumed by Bay’s visual style for the duration. Trust me on this. 

Verdict

A pleasant surprise from Michael Bay and his team of warmongers; “Transformers: Age of Extinction” is smaller in terms of scale, feels far more personal and is ultimately more enjoyable. Goodbye Shia LaBeouf, Megan Fox and Rosie Huntington-Whiteley. We’re better off without you. 

6 stars out of 10

Written by Scott Gentry

Film 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.

New: the first trailer for "Horrible Bosses 2" is released online...

"Horrible Bosses 2" (TBC)
Directed by : Sean Anders.
Starring: Jason Sudeikis, Jason Bateman, Charlie Day, Kevin Spacey, Christoph Waltz, Chris Pine and Jennifer Aniston.
Rated: TBC. 
Out in UK cinemas from the 28th of November, 2014. 

"Horrible Bosses 2" finds Nick (Bateman), Dale (Day) and Kurt (Sudeikis) finally reaping the rewards of their efforts in the first installment, having become their own bosses by launching their own business. Soon, a new investor (Waltz) decides to outwit his competition and forces the trio into designing a plan to kidnap the investor’s adult son (Pine) and ransom him to regain control of their company. 

From Warner Bros. Pictures, here's the eagerly awaited trailer for "Horrible Bosses 2"...  

From director Clint Eastwood, comes "Jersey Boys", a toe-tapping musical, based on the highly popular stage show. Written by Scott Gentry.

"Jersey Boys" (15)
Directed by: Clint Eastwood.
Starring: Vincent Piazza, John Lloyd Young, Erich Bergen, Michael Lomenda and Christopher Walken.
Rated: 15 for containing strong language, sex and drug references, and infrequent violence.  
Running time: 134 minutes.
Out now in UK cinemas.
Official movie site: 
www.jerseyboysmovie.net 

Clint Eastwood has directed a large amount of films in the past five years, but the trouble is, they haven't always been of a particularly high standard. It's arguable that Eastwood's "Gran Torino" (2008) was his finest accomplishment in years, providing large amounts of awards nominations and the realisation that Eastwood was still in the game, but what has come of him since? 

The group finds it's voice, in the form
 of Bob Gaudio (Erich Bergen), in a still
from "Jersey Boys".  

He has unfortunately resorted to making passion projects such as "Hereafter" (2010) and "J.Edgar" (2011), which weren't particularly well received. However, he has returned to directing with "Jersey boys", a film which follows the story of four young men from New Jersey who due to their friendship, were constantly on the wrong side of the law, causing trouble and mischief wherever they went. However, after departing from their criminal ways, came together, in order to form the iconic 1960's rock band, "The Four Seasons", propelling themselves into fame and fortune. 

Based upon Eastwood's infatuation with Jazz music, it seemed as though "Jersey Boys" was the perfect project for him to take on next, but unfortunately this isn't quite the case. After all, a musical is meant to be focussed on the music, but it seems that the screenwriters Marshall Brickman and Rick Elice, are more focussed on the narrative instead of the music, but when the music does begin, it's not hard to fall for toe-tapping tunes such as "Walk Like A Man" , "Sherry" and “My Eyes Adored You”. The music itself is infectious, but it would have suited the film better if perhaps, there could have been a little more.

Led by Frankie Valli's (John Lloyd Young) powerful falsetto voice ,
the group flourish into fully-fledged rock stars,
in a still from "Jersey Boys". 

It also seems that many of the elements which may work extremely well on stage don't exactly translate smoothly, across onto the screen. For example, at many times during the film, the main characters may begin monologues whilst in song or mid-conversation (the screenwriter Brickman was perhaps using his influence of Woody Allen's writing? After all, he did co-write films such as "Annie Hall", in which Allen constantly addresses the audience) to the audience, which is fine in many instances, but the breaking of the fourth wall eventually becomes tiresome, by the end of the film's two hour and fourteen minute running time. 

As the film attempts to increase its gangster sub-plot, it decides to try and make itself into a dark and cautionary tale reminiscent of "Goodfellas", but it doesn't quite work, leaving the viewer dissatisfied in that respect. But it isn't just the monologues and gangster sub-plots which become slightly irritating; it seems that the dialogue between the characters is perhaps a little thin and is not of a particularly high standard, but the main cast (mainly made up from the cast of the original stage production) are all fairly enjoyable to watch and provide decent performances with an unusually weak script. 

It's John Lloyd Young as Frankie Valli however, who manages to create a good screen presence among his fellow actors. Christopher Walken also appears as Gyp DeCarlo, in a role as a mobster who helped the group out of difficult times, but is ultimately wasted and unappreciated. The running time is also something of a problem, as it seems as though the editing process didn't exactly happen as it was perhaps expected, leaving numerous scenes feeling as though they could have been cut from the film entirely.

The group rehearse, in a still from "Jersey Boys". 

The costumes, sets and various other items of the 60's aesthetic are all here, providing the audience with the feeling of being invited into the 60's, along with subtle references to certain stars of that time period. Eastwood's direction and Tom Stern’s cinematography is also appreciated, as visually, the film is quite stunning, nailing their desired style in many ways, including shots of the performances and recording sessions.

But, as the film attempts to stretch out its gangster surroundings, it decides to try and make itself into a dark and cautionary tale reminiscent of "Goodfellas", but it doesn't quite work, leaving the viewer dissatisfied in that respect. The running time is also something of a problem, as it seems as though the editing process didn't exactly happen as it was perhaps expected, leaving numerous scenes feeling as though they could have been cut from the film entirely.

Verdict

"Jersey Boys" is neither ambitious nor is it quite the film it desires to be; it’s a film which is exciting in many places, but is ultimately a slightly disappointing piece from a talented group of individuals.  

5.5 Stars out of 10

Written by Scott Gentry

Film 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.