Perhaps the most anticipated adaptation of the year, David Fincher's "Gone Girl" is an often hilarious thriller with outstanding performances from its cast.

"Gone Girl" (18)
Directed by: David Fincher.
Starring: Ben Affleck, Rosamund Pike, Tyler Perry, Neil Patrick Harris, Carrie Coon and Scoot McNairy.
Rated: 18 for containing strong bloody violence and very strong language.
Running time: 148 minutes, 51 seconds.
Released in UK cinemas from Thursday, the 2nd of October, 2014. 

Earlier this year Gillian Flynn's best-selling novel, "Gone Girl", left me devastated. It was a paperback which led me to believe that it had great potential, yet it only managed to provide riveting entertainment throughout its first two thirds. However, it was the ending that spoiled a perfect novel. An ending so inconceivable, that I refused to read another book by Gillian Flynn. Since then I've contemplated why I felt that way, and have graced Fincher's adaptation with gleeful abundance. But, the novelist lied. When Flynn promised a different ending to the film adaptation (which she has also scripted) I was overjoyed, but it turns out that there is no difference whatsoever between the ending of the book and the film.

Personal ranting aside, Fincher's attempt at another critically acclaimed novel is exceptional. It opens with the idea of a perfect marriage, and descends into a convoluted series of mind-games and elements of social commentary, based upon the media's idea of what it is to be accused of murder, and how to deal with their wrath. 

The perfect couple? Ben Affleck and Rosamund Pike
star in a still from "Gone Girl". 

Nick Dunne (Affleck) is a thirty-something writer who lives in the heart of Carthage, Texas, alongside his beautiful wife Amy (Pike), who is a writer of the "Amazing Amy" book series. All is well in the Dunne household until one day, when Nick returns home from his morning errands to find that Amy is nowhere to be found. With smashed objects lying around the living-room, Nick discerns that his wife may be missing. Upon notifying the police and his family, the media swarm upon Nick like a pack of wolves, aggravating him at every turn. Soon through Nick's albeit strange behaviour, the public perception of Nick’s intentions begin to change, with many people asking the same horrifying question: Did Nick Dunne kill his wife? 

You think you know the story? Think again. Sticking close to the source material, Flynn has allowed for Affleck's best performance in many-a-year. Portraying a potential murderer has allowed him to expand his acting talents, with added humour and bite, putting behind his previously disappointing performances and adding this latest role to the shelf of his recent successes, emerging a fully-fledged actor.

The accused... Ben Affleck stars in a still from "Gone Girl".

Without Affleck's participation the film wouldn't work with another actor in his role, and it's the same case in relation to Pike. Ever since she was viewed in Pierce Brosnan's "Die another Day", she has continued to excel in all of her films. Here she plays with the audience's mind, allowing us to encourage her character at one moment, and hate her, the next. It's a strange quality, but her performance is a quiet, yet absorbing one, eventually revealing how talented she really is. A career best performance, I have no doubt. 

Apart from the two leads, the film also benefits from a constantly intriguing cast, full of actors who show a side of themselves that didn't deem possible. There are two actors in particular: Tyler Perry and Neil Patrick-Harris.
Yes, Tyler Perry has finally delivered a solid supporting performance that doesn't involve dressing up in a ridiculous stereotypical costume and requires him to actually act. And that he does. Every detail is understated, but he is surprising. As is Harris, who also astonishes within the film, as a constant reminder that he too can actually act when not required to be starring in "How I Met Your Mother", delivering a peculiar performance that's both creepy and comforting. Scoot McNairy also appears within the film as a troubled ex-boyfriend of Amy, who, when confronted about Amy’s past relationship, creates a dark presence which suits his style exceptionally well. He may only appear for one scene, but it’s definitely appreciated. 

Amazing Amy may not be so amazing after all...
Rosamund Pike stars in a still from
"Gone Girl". 

Gillian Flynn may be adapting her own novel, but why not? She's the perfect candidate for the job. She has spent countless hours carefully crafting these characters and events for her novel, so she should know them from the inside out. That itself is evident. For each scene the audience are treated to characters that are written with affection and the idea that they are actually worth caring about. It's a skill that is worth having, and shows that Flynn may be more than just a novelist, despite her decision in regards to the film's finale. 

As always, Fincher is a master behind the camera. His ability to get the very best performances out of his actors is phenomenal, and he does it again here, in a thriller that seems as if it was written especially for his mind. Perhaps it was, and along with his camera angles and general skill in the art, he produces a sleek looking film that mirrors his vision of "The Girl with the Dragon Tattoo" (2011). 

Setting up a defence... Ben Affleck
and Tyler Perry star in a still from
"Gone Girl". 

As most recent Fincher films have been scored by Trent Reznor & Atticus Ross (“The Social Network” and “The Girl With The Dragon Tattoo”), the pair have returned to produce a strange and absorbing soundtrack, which fits the tone of the film perfectly. In particular, their track named “A Reflection” is a splendid example of how talented they are, and how dark the film actually becomes. It couldn't be better.

Verdict:
Fincher’s latest film is an unflinching rendition of marriage in its true form. Darkly comic and boasting some of the finest and most unanticipated performances for many years, “Gone Girl” is a thriller destined for ‘vintage’ status. 

9 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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Gratuitously violent and tedious in length, yet Denzel Washington's latest thriller is ridiculous fun. Written by Scott Gentry.

"The Equalizer" (15) 
Directed by: Antoine Fuqua.
Starring: Denzel Washijgton, Chloe Grace Moretz. 
Rated: 15 for containing strong bloody violence, sex references and strong language.
Running time: 131 minutes, 34s.
Released in UK cinemas from the 26th of September, 2014.

Despite the age of 59, Denzel Washington definitely doesn't act or look particularly bad for his age. Like many actors before him (Liam Neeson, Al Pacino), the star of various achievements by the late Tony Scott, has ignored the idea of age and returned to cinema in the form of an action hero/vigilante, in Antoine Fuqua's third film, "The Equalizer".

Washington portrays Robert, a calm and peaceful man, who by day works in the American equivalent of B&Q, but by night, enters the local 24 hour diner for late night reading, a mug of tea and a friendly chat. After spending many a night with the lonely inhabitants of the diner, he makes the acquaintance of a young girl named Elena (Grace-Moretz), who is unfortunately placed within the employment of a group of Russian gangsters, led by the abusive pimp named Slavi (David Meunier). After being severely beaten, Elena is left scarred and hospitalised, which angers Robert. Despite years of self-imposed retirement from his shady past in the Special Forces, he decides to see justice carried out, by using his very special set of skills...

Well, Fuqua's overblown tale of revenge may not take itself too seriously in relation to its plot, but it seems as though its screenwriter isn’t particularly sure of the tone he was hoping to achieve. Screenwriter Richard Wenk (“The Expendables 2”) has provided us with an old-school approach to the Hollywood revenge flick and despite the film’s desperate plea to become a thoughtful blockbuster, it fails, mainly because it’s aiming far too high. As it happens, this approach isn’t particularly inventive, but it is entertaining. 

Throughout his career, Washington has become widely renowned for his comedic and often dramatic persona that governs many of his performances, notably his characters from “Unstoppable” (Tony Scott’s last film before his death in 2012) and “Inside Man”. But here, it seems as though Washington’s performance is solid, yet the tone of the film itself is cloudy. In particular, there are many instances which pose the question: is this supposed to be comedic, or dramatic? Personally I believe it’s a bit of both, as Washington’s character continues to kill people in the most violent of ways, with the occasional quip that often sent the cinema into fits of laughter. 

Despite being the ultimate killing machine, Washington’s performance is at all times likeable, and constantly achieves respect from the audience, governing the screen with his vintage style and swagger. But it isn’t just Washington who controls the screen, its Grace-Moretz, as she provides a surprising performance that includes striking similarities to Jodie Foster’s portrayal of a prostitute, in “Taxi Driver”. Marton Csokas may not be on acting form, yet he does provide a strange certainty in his ability to portray a diabolical villain, as he delivers in many scenes, various anecdotes to Washington’s character; scenes which are tense filled, yet largely entertaining.

Thankfully, it’s not just blood and guts which are on offer here (there is quite a bit of gratuitous violence); Harry Gregson-Williams’s score is one of the main items on display, as he constantly surprises the audience in his score, as he adapts perfectly well to each scenario, particularly the explosive action sequences. Fuqua’s cinematography is also worth mentioning here, as each and every shot looks exceptionally sleek. 

Verdict:

Overlong, yet full of bloodthirsty thrills and spills, “The Equalizer” (a film which bears no resemblance to the 1980’s show) is an entertaining piece of popcorn-fare, which surprises through its style and a wickedly ludicrous performance from Washington. Friday night fun, sorted. 

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: "Hannibal" season two is a deeply complex feast of fascinating imagery, convoluted characters and thrilling performances from its leads. Written by Dani Walsh.

"Hannibal" Season Two (18)
Created by: Bryan Fuller.
Starring: Hugh Dancy, Mads Mikkelsen, Caroline Dhavernas and Laurence Fishburne.
Rated: 18 for containing very strong gore, sadistic violence and gruesome images. 
Combined running time: 559 minutes. 
Out on DVD/Blu-Ray now. 

When it was announced that Thomas Harris’ most enduring creation would be coming to the small screen, it was difficult to get enthused about the project. 1991’s “The Silence of the Lambs” is quite rightly regarded as horror/thriller masterpiece, a rare book-to-film adaptation that equals, if not surpasses, the source material and Anthony Hopkins’ portrayal of Doctor Lecter was instantly iconic, netting the Welsh actor an Academy Award for Best Actor with only a mere 16 minutes of screen time.  An unlikely franchise was born, but after a succession of lacklustre sequels and prequels both on page and on screen, was there really anything left to say about Hannibal the Cannibal?

To say that Hannibal’s first season - under the stewardship of show-runner Bryan Fuller- surpassed expectations undersells just how good it really is.  Mads Mikkelsen found a way to make the character his own, moving away from the sometimes larger-than-life stylings of Hopkins’ performance and making this new, pre-“Red Dragon” incarnation of Hannibal Lecter charming, ruthless, dangerously unknowable and truly evil.  Matching him step-for-step in the acting stakes was Hugh Dancy as Will Graham, and their relationship became one of the most compelling things on television to behold.  The question was, how were they going to top that?

Season two begins with a startling narrative device, showing the audience a thrilling and brutal fight between two major characters that clearly happens quite far off in terms of chronology from where season one left us, and then jumping back in time to fill in the gaps.  It immediately lends the entire season a ticking-clock sense of urgency, as week upon week and episode after episode you are left wondering how they will reach that point.

The cinematography and soundscapes of “Hannibal” are a thing of real beauty and really help the show stand out as something far grander, more cinematic, even operatic than most other shows, even in this golden age of US TV drama.  Much was made of the first season’s heavily stylised and visceral on-screen violence, but season two takes the level of gore to stratospheric new heights, with arteries spraying and flesh eviscerated with giddy abandon. Hannibal’s culinary prowess is demonstrated so effectively that cannibalism almost seems like an attractive proposition.  The sound design is especially effective in these grand moments, but also used to devastating effect in the quieter, personal moments, helping create a general sense of unease that permeates the skin.

Season two has also shown us that Bryan Fuller has no intention of sticking to Thomas Harris’ source novels as if they were some sort of sacred text.  Although based upon the characters in “Red Dragon”, Fuller and his team seem to be taking an almost gleeful approach, subverting expectations and changing the preconceived ideas that fans of the books and films may have about the characters and situations they find themselves in.  I am of course being deliberately evasive about plot specifics, but needless to say that there are electrifying moments in this series that will shock you and haunt you for days to come.

It’s not perfect - there is a brief mid-season lull that threatens to revert back to generic serial-killer-of-the-week territory that season one also occasionally suffered from, and Caroline Dhavernas works hard with her role of Dr Alana Bloom but ultimately is given short shrift by the writers as a character who is either making baffling decisions given her occupation as a professional psychiatrist, or merely serving as a narrative pawn to further the story.  Luckily, Michael Pitt turns up late in the season to give it a much-needed boost and focus as Mason Verger, last seen in Ridley Scott’s 2000 movie “Hannibal” as a horribly disfigured survivor of Dr Lecter.  Pitt’s performance is so gleefully deranged and unhinged that he proves a perfect antithesis for the mannered, considered approach to psychopathy that Hannibal Lecter and Will Graham have taken.

There are plenty of welcome cameos and recurring characters from season one (Eddie Izzard and Gillian Anderson both reappear at pivotal moments), but the thing that keeps “Hannibal” a cut above its competition is the relationship between Hannibal and Will.  

Both Mikkelsen and Dancy have settled into these roles so well that it’s becoming harder and harder to remember there being any other versions of their characters, and for all of the abundant, Grand-Guginol-style lashings of gore, the really thrilling thing is getting to watch two actors at the top of their game, tackling deeply complex roles and playing deadly psychological mind-games with each other, turning from friends to enemies and back again at the drop of a hat, and making you genuinely care about two characters that are capable of truly deplorable things and wonder what the outcome will be.  This is Bryan Fuller’s design.  Roll on season three.

9 Stars out of 10

Written by Dani Walsh.

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 copy of "The Two Faces of January" on DVD!

Fancy winning a free DVD? Of course you do! To celebrate the release of "The Two Faces of January" which is available now on DVD, Blu-ray and VOD, we have an exciting competition, just for you, our avid readers! We are offering three lucky winners the chance to win the film on DVD.

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

"The Two Faces of January" is an adaptation of a novel, but by which writer? 

A) Dennis Lehane

B) Agatha Christie 

C) Patricia Highsmith


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

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

The Two Faces Of January is a suspense thriller starring Academy Award nominee Viggo Mortensen (The Lord Of The Rings, The Road, A History Of Violence), Golden Globe nominee and Cannes Best Actress winner Kirsten Dunst (Spider-Man, Melancholia, Marie-Antoinette) and Oscar Isaac (Drive, The Bourne Legacy, Inside Llewyn Davis). It is based on the novel of the same name by Patricia Highsmith (‘The Talented Mr. Ripley’) and adapted by Academy Award nominee Hossein Amini (Drive, Snow White And The Huntsman).

Viggo Mortensen, Kirsten Dunst and Oscar Isaac 
star in a still from "The Two Faces Of January".

It's 1962. A glamorous American couple, the charismatic Chester MacFarland (Viggo Mortensen) and his alluring younger wife Collette (Kirsten Dunst), are in Athens during a European vacation. While sightseeing at the Acropolis they encounter Rydal (Oscar Isaac), a young, Greek-speaking American who is working as a tour guide. Drawn to Colette’s beauty and impressed by Chester’s wealth and sophistication, Rydal gladly accepts their invitation to dinner. However, all is not as it seems with the MacFarlands, Chester’s affable exterior hides darker secrets. As events take a sinister turn, Rydal finds himself compromised and entangled as an accomplice to a crime committed by Chester. Their journey takes them from Greece to Turkey, and to a dramatic finale played out in the back alleys of Istanbul’s Grand Bazaar.

Kirsten Dunst dazzles as the flirtatious Collett, in
a still from "The Two Faces Of January". 

The Two Faces of January is available to own on DVD, Blu-ray and VOD now.

© 2014 STUDIOCANAL S.A. ALL RIGHTS RESERVED

Terms and Conditions 

• Competition will close on the 1st of October, 2014.
• Open to UK residents only. 
• Prize for the three main winners is a copy of The Two Faces of January on DVD. 
• 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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DVD/Blu-Ray Review: Murder, violence and obsession are the key traits within this performance-driven adaptation of Patricia Highsmith's novel. Written by Scott Gentry.

“The Two Faces Of January” (12)
Directed by: Hossein Amini.
Starring: Viggo Mortensen, Kirsten Dunst, Oscar Isaac and Yigit Ozsener. 
Rated: 12 for containing infrequent strong language, moderate violence and scenes of smoking.
Running time: 94 minutes.
Out on DVD and Blu-Ray from the 15th of September. 

In the vein of Hitchcock’s signature style, first time director Hossein Amini (screenwriter of “Drive”) has retained the subject of suspense between his characters throughout this stylish and sleek film. Set in the sunny location of Athens, this twist-filled drama follows a seemingly normal American couple named Colette and Chester McFarland (Dunst and Mortensen), who after fleeing prosecution from American police, are now comfortably sightseeing in peace. Upon a chance meeting with a fellow American and tour guide named Rydal (Isaac), the couple become infatuated by his charm and skill, eventually deciding to invite him to dinner. After a heavy night of drinking and eating, Rydal accidentally witnesses Chester moving a seemingly unconscious man from his room and into a store cupboard. In his defence, Chester claims that the man had assaulted him and proceeded to subdue his assailant. Rydal agrees to help hide the man, but quickly discovers that there may be more to the McFarland’s than meets the eye. 

As a directorial debut, Amini’s film adapts a much-loved novel into an exceedingly tense film, which is anchored by its lead actors. Mortensen provides a particularly unhinged, yet uncertain performance, as an alcoholic, who constantly surprises as his character develops throughout the film, specifically within scenes shared between Isaac’s and Dunst. Isaacs is also pleasing as his charming but cheating tour guide, whose attempt at handling the sexual tension between the characters of Rydal and Colette is exemplary. Surprisingly, Dunst provides one of her best performances in years, acting as the femme fatale who will eventually tear apart the group’s friendship. 

In addition to its strong cast, Alberto Iglesias’s taut score is a joy to listen to, especially within the main titles of the film, proving his excellence in providing film scores of a rich nature. Amini also surprises in his directorial debut through his talent in many of the sequences, by composing stylish scenes to suit the genre. 

The DVD/Blu-Ray also contains some fascinating special features, including three documentaries on the film’s shooting locations, the style of 60’s clothing used in the film, and providing the twist in a classic thriller. In addition to the documentaries, the special features also comprise of deleted scenes, a set of hilarious bloopers, and various interviews with the cast and crew. For the more dedicated of cineastes, the features also incorporate an option for the audience to view the film with a storyboard. 

Verdict

Honouring Hitchcock’s signature style, Amini has not disappointed in his striking directorial debut, with characters that are rich in their complexion, a superb style and luminous performances from its cast. 

7 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 animation may be enthralling, yet "The Boxtrolls" is a disappointing affair. Written by Scott Gentry.

“The Boxtrolls” (PG)

Directed by: Graham Annable and Anthony Stacchi.

Starring (voices only): Elle Fannin, Simon Pegg, Toni Collette, Issac Hempstead-Wright, Ben Kingsley, Nick Frost, Richard Ayoade, Jared Harris and Tracey Morgan.

Rated: PG for containing mild violence and threat.

Running time: 96 minutes.

Out in UK cinemas from the 12^th of September, with preview screenings taking place in selected cinemas on September the 6^th and 7^th. 

For the past five years, the stop-motion animation studio named Laika, have been developing dazzling entertainment in the form of Henry Selick’s creepy, yet astonishing “Coraline” (an excellent adaptation of Neil Gaiman’s 2002 novel) and “Paranorman”, a cleverly scripted take on the horror films of yesteryear. But now in their third feature film, it seems as though the charm and effect of the company’s award-winning style, is beginning to wear off.

Set in a Victorian-esque town named Cheesbridge, and led by the cheddar obsessed mayor, Lord Portley-Rind (a delightful performance by Harris), the thriving town of cheese lovers are apparently plagued by an underground society of charming and mischievous creatures named the Boxtrolls. Threatened with their extermination by the town’s villain, Archibald Snatcher (Kingsley), the cute and cuddly inventors turn to their adopted boy, Eggs (Hempstead-Wright) for help, as the young feral child ventures above the confines of their underground home and teams up with the eccentric Winifred (Fanning), in order to save his dysfunctional family.

There isn’t a single doubt in my mind when I begin to think about the quality of Laika’s flawless animation, but when it comes to their techniques in relation to the writing of each character and the film’s dialogue, it seems that they may have fallen short on this occasion. Written by Irena Brignull and Adam Pava, the film’s screenplay is regrettably weak in regards to its characters and humour, which is unlike these productions. Here, most characters are underwritten, especially the parts played by Morgan, Collette and Pegg, who are placed on the sidelines in order to allow the younger and titular characters to flourish. But, they don’t. In fact, for a film named “The Boxtrolls”, the cardboard-box clad creatures (each are named after the product which previously inhabited the carton) are given small amounts of screen time, appearing for scenes in which 3D effects are needed, or when the creators decide to play on the audience’s heartstrings.

The script is disappointing in many ways, and it’s mainly because this film hasn’t retained the sharp and satirical dialogue which made “Paranorman” work so well. Instead there is little to enjoy in terms of humour, with the exception of visual gags, which don’t always hit the mark. But despite the weak script, each actor manages to bring a vivid style to their character and provide comical performances. In particular, Ayoade and Frost manage to steal nearly every scene in which they appear in; notably a scene taking place within the credits, in which the pair debate with one another about how their very lives may be controlled by large giants, with the camera panning backwards to show a key animator creating a scene. Trust me, it's arguably the funniest scene in the entire film.

Verdict

It may be the weakest film of the Laika collection, yet the company has continued to show its mettle in relation to their skills as animators, rivalling Aardman and others, using their love of horror as an advantage. Yet, a perfect voice cast is lamentably wasted (with the exception of two members) and is deserving of a more sophisticated script. Sadly, it’s a case of style over substance.

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.