A school boy's dream, yet why so shy? Scott Gentry reviews Matthew Vaughn's deliriously entertaining spy spoof, "Kingsman: The Secret Service".

"Kingsman: The Secret Service" (15)
Directed by: Matthew Vaughn.
Starring: Colin Firth, Taron Egerton, Samuel L. Jackson, Michael Caine, Mark Hamill, Soufia Boutella and Mark Strong.
Rated: '15' for containing strong bloody violence, and strong language.
Running time: 129 minutes.
Released in UK cinemas from the 29th of January, 2015.

When a Matthew Vaughn film opens confidently with the classic Dire Straits hit, "Money for Nothing", and a testosterone fuelled shoot-out in a middle-eastern country, surely you're on to a winning piece of cheeky and absurd filmmaking? Well, it's partly correct. This film is the epitome of OTT, and Vaughn's latest offering may have captured the silliness of the graphic novel it is based on (written by the comic-book mastermind Mark Millar), added in his signature style (lots of blood!) and reinvented my perception of Colin Firth (no longer the well-mannered man in a tuxedo’), but is there really anything to set "Kingsman" apart from the "Kick Ass" crowd? Alas, no.

Having given up on his life ambitions, Gary 'Eggsy' Unwin (Taron Egerton) wastes his life hanging around with his friends, partying and drinking, with no clear goal in sight. At home, the family live in poverty and his mum and stepdad constantly argue, leading to upsetting scenes of domestic abuse, which Gary wishes to stop, but cannot. Upon one drink-fuelled evening however, Gary and his friends steal the car of his stepdad’s close friend, subsequently crash, and despite his friends successfully escape, Gary is arrested by the police. With no help from his immediate family, Gary remembers a promise made to him by a shadowy co-worker of his deceased father’s, calls a number, and is mysteriously released. Soon after, he is approached by Harry Hart (Colin Firth), a suave gentleman who reveals to Gary that he wishes him to be recruited into a privately funded spy organisation, named Kingsman, based upon his promising, yet unrefined skills, just as a global threat occurs from a cold-blooded genius, named Richmond Valentine (Samuel L. Jackson) emerges...

It was quite unfortunate to find that a novel (which I personally love) with such potential for onscreen blockbuster carnage has been ravaged of all its unique attributes, as Mark Millar's piece has been adapted and placed into the 'playing it safe' category of blockbuster cinema. After the negative reception to the violence found in "Kick Ass" (famed critic Roger Ebert found the film to be highly offensive and "morally reprehensible"), it seems that Vaughn and his co-writer Jane Goldman have responded with a less shocking approach to their screen adaptation, despite the horrifically violent nature of the novel, but I can understand why. 

They're worried of losing their audience. But it's been proven in many instances that '18' rated films can recover their budget and expand upon their box-office hauls over time ("Gone Girl", a prime example), despite their adult material.  But here, Vaughn's afraid to go grittier, and for a high-flying Spy film, it isn't filled with enough action to truly live up to its double-o high-jinks. Whatever would the sensors say if it was adapted straight from Millar's novel? Well, upon classification from the BBFC, "Kingsman" received an '18' rating, but has since been re-cut to a '15', in order to get the maximum amount of audience members into cinemas. It's disconcerting to know that studios are far more interested in the box office returns, rather than the creative aspects of filmmaking, and they should honestly consider taking higher risks. It's an age-old argument I know, but why not be bold?

The novel's characters reflected a sense of realism and were frequently placed into dark situations which challenged them, whereas "Kingsman" contains unbelievable action set pieces, and relatively thin characters, apart from the two leads. Ultimately, Vaughn and Goldman have attempted to cash in on their previous success, and failed, as they have essentially replicated their winning formula, but have manipulated it into a completely over-the-top piece with no real purpose. And surely if their goal was to pick at the Spy genre, it's pointless, as we've seen it all before in the form of "Get Smart", all the way to the depths of Eddie Murphy's "I Spy". But, "Kingsman" is enjoyable fun for many reasons: it's regularly offensive, frequently hilarious and features one of the most exciting shootouts of recent cinema history, set to the tune of Lynyrd Skynyrd's "Free Bird".

The piece is mindless fun, sure to enrapture testosterone-filled teenagers as well as perhaps some action-hungry adults, and it’s all down to the script (co—written by Vaughn and Goldman). It’s pleasantly self-aware, citing cheeky references to the spy genre at any given chance, from Jack Bauer all the way to Jason Bourne, containing slices of dialogue which are frequently hilarious, creating many enjoyable scenes clearly influenced by their idols. But there are problems. The representation of women in the piece stands out considerably in my mind, as the pair have bothered to create two strong-willed female characters, but at the next moment, other women are underdeveloped and used for sexual innuendos. It isn’t so much offensive, just disappointing. 

Perhaps the most enjoyable feature of Vaughn's adaptation is his all-star cast. Jackson is perfect as the stereotypical villain, a tech whiz with a hatred for blood (plus an ingenious lisp) as it makes him feel rather queasy, leading to some rather hilarious scenes shared with his bodyguard, Gazelle (Sofia Boutella), a talented paraplegic with no remorse for acts of brutal violence, frequently and inventively beheading and maiming her opponents. Firth provides a charming performance ingeniously taking pot-shots at the polite Englishman (often to the confusion of his adversaries), and has never been so funny, gleefully shooting his way through mass amounts of villains, whilst also remembering his manners (they make a man). 

Firth is particularly entertaining alongside his young co-star Egerton, especially in the earlier scenes in which Firth's seasoned Spy attempts to teach his protégé the ways of becoming a gentleman, with priceless results. Egerton himself acts solidly in a promising debut with style, bound to surprise once again in Brian Helgeland's upcoming biopic of the Kray twins, starring Tom Hardy. Alongside the talented leads there are many entertaining performances from the supporting cast, most notably from Mark Hamill, Michael Caine and Mark Strong, all of whom delight in their roles, especially Hamill, who after a long hiatus from live-action films returns in a small, yet pivotal role, as an eccentric university professor.

Once again there is clean, sleek and stylish direction from Vaughn (who has recently become a capable director of action sequences). Although, the action sequences are generally fast-paced, and Vaughn has created many of the frenetic sequences in a manner which is too fast to even begin to register the unfolding chaos playing out on the screen. It’s obviously an artistic choice which somehow fits in with the story, but these sequences often become exhausting. The CGI is also another hitch, as the film strives to include ridiculously over-the-top scenes of action which aren’t possible to shoot without the use of CGI, removing the sense of realism from the film, and damaging the film’s USP, that it’s a realistic film. 

Verdict

Essentially preposterous and overly childish, yet “Kingsman” is a gleefully entertaining romp, perfect for a Friday night at the cinema, requiring very little thought. But will we remember it in just over a year? Most probably not. 

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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Clearly influenced by the best of action cinema, yet Julius Avery’s feature debut, “Son Of A Gun”, fails to hit its ambitious notes, despite a capable cast and stylish camerawork.

"Son Of A Gun" (15)
Directed by: Julius Avery.
Starring: Brenton Thwaites, Alicia Vikander, Ewan McGregor, and Nash Edgerton.
Rated: '15' for containing very strong language, strong bloody violence, sex and drug use.
Running time: 108m 49s.
Released in UK cinemas from the 30th of January, 2015. 

It's honestly quite a treat to see Ewan McGregor in a film which A) allows him to use his Scottish accent, and B) doesn't require him to wield a lightsaber, or attempt to outrun a tsunami. In fact, it's just nice to see him on screen, as it seems as though he’s been absent from cinema lately. But in Julius Avery's latest Australian thriller, regarding heists, damaged women and long prison sentences, it's clear that not even the presence of perhaps Scotland's most beloved actor is enough to guide audiences through its weak dialogue, unambitious plot and blood-drenched action sequences.

19-year-old JR (Brenton Thwaites) has just been placed into a maximum-security prison and is set to serve sixth months amongst the most dangerous of Australia's inmates. Upon his introduction into prison life, JR is mortified to find violence and rape at nearly every turn. But, amidst the chaos, JR soon finds a friend in Brendan (Ewan McGregor), a powerful inmate with plenty of friends on the inside, as well as the outside. After taking a shine to JR and helping him in some rather challenging situations, Brendan asks that he return the favour when his sentence ends. Despite his inexperience in armed crime, JR decides that aiding and abetting this deceptive and damaged criminal can only be the right decision. But, in the wake of various criminal operations, JR can't help but wonder whether it was the right decision after all, especially when the love of his life, Tasha (Alicia Vikander), arrives into the equation...

The main draw of "Son Of A Gun" is the film's cast, but apart from its star power, is it really any different to the low-budget films we so begrudgingly flick through, in the straight-to DVD section of HMV? No, it isn't. However, the film is at its most intriguing when following the story of our main character (especially within the first half-an-hour), as JR is an often silent soul who's back-story isn't revealed, adding intrigue to the proceedings, as we follow him into the shadowy underworld of organised crime. But when the film isn't focussing on JR, it becomes bogged down in clichéd material seen time and time again. Writer/director Julius Avery’s feature debut attempts to focus upon the key topics of a typical crime drama, such as the loss of innocence, but only glances at them, brushing aside the possibilities of an intriguing romance and truly great character development.

Despite his clichéd script, Avery's skill behind the camera is perhaps the most intriguing feature of the piece, particularly in certain action/chase sequences which ooze of influences from Michael Mann, and perhaps fellow Aussie David Michôd, which are most certainly welcome. The main cast are talented; McGregor himself revels in the role of a filthy criminal, who's also infrequently funny, with the humour of the piece clearly having been written for him. But here lies another problem, what is the specified tone? It begins as a ghastly thriller, (possibly a character-study of our main protagonist) but morphs into a hit-and-miss film, with scenes that just cannot be taken seriously, especially one’s shared with the villain of the piece, played by Jacek Koman.

Ultimately, McGregor has the most amount of fun, especially when he spends time deciding how to interrogate a timid young man: hammer, or freezer? Thwaites himself proves to be a talent worth following, and after recent roles in "Maleficent" to "Oculus", the young star continues to shine amongst his fellow cast members, producing a reserved performance, which eventually pays off. Vikander, a victim of circumstance here, is unfortunately left high and dry like most women in this testosterone-fuelled piece. Her character is undeniably weak, but she shines, emerging as one of the most interesting within the piece, much like her role in Alex Garland's "Ex Machina". 

Verdict

Occasionally grim and frequently stylish, but this is another standard genre piece which benefits from its main star’s talents, yet falters in its attempt to discover the film's tone and the overall purpose of the piece. 

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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Smart, tense and undeniably challenging, but Alex Garland's directorial debut is foiled by underwritten roles, and a clichéd ending. Scott Gentry reviews "Ex Machina".

"Ex Machina" (15)
Directed by: Alex Garland.
Starring: Domhnall Gleeson, Oscar Isaac and Alicia Vikander.
Rated: '15' for containing strong language, bloody violence and sex references.
Running time: 108 minutes.
Released in UK cinemas from the 21st of January, 2015.

Alex Garland is undoubtedly one of Britain's most famed screenwriters. Having begun his winning streak with scripting duties on Danny Boyle's revolutionary horror "28 Days Later", back in 2001, Garland shot to fame with his distinctive brand of sci-fi/horror, and continued with stunning pieces such as "Sunshine" (2007). But here, the go-to-guy for unconventional approaches to sci-fi cinema, seems to have lost his touch, in an overlong and ultimately laborious addition to the artificial intelligence back-catalogue.

A young and talented technology geek, Caleb Smith (Domnhall Gleeson), works in the world's most powerful search engine company named BlueBook, successfully run by the multi-billionaire, Nathan Bateman (Oscar Issac). Upon winning first prize in a company competition, Caleb is invited to visit the house of his enigmatic and mysterious employer, revelling at the prize, which money can't buy. After arriving at the mountain-based estate however, Caleb soon realises that Nathan is nothing more than an (albeit intelligent) egotistical and self-obsessed drunk, with a needless/glamorous house maid and seemingly, far too much time on his hands. After toying with Caleb over drink-fuelled discussions, Nathan eventually (in a childish, and giddy manner) reveals to Caleb that the home is in fact a secret research facility, in which the world's first artificially intelligent being has been created. Its name is Ava. Immediately, Caleb bonds with the fully-working Ava (Alicia Vikander), but when required to take part in rigorous Turing tests (the examination to prove a machine's ability to exhibit intelligent behaviour, like a human being), trouble occurs in paradise, and Caleb is left questioning notions of an ethical nature...

In the past few years we've had far too many films regarding artificial intelligence, and frankly, it's becoming rather annoying. But, it's not to say that the idea of AI's aren't a tempting prospect. It's an idea which could ultimately change the course of history. Here however, it's not even helping to change cinema history. Unfortunately, Garland has set himself up to fail by entering into an already crowded house full of the same ideas, with no clear ambition or idea which would rival productions such as Spike Jonze's challenging romance, "Her". Here, we have a clearly intelligent piece of filmmaking, which has unfortunately arrived far too late.

The piece, however tedious, does include some perfectly acceptable performances. Gleeson and Issac are both on top form, with entertaining roles which may not challenge their style, but satisfy nonetheless, especially when the pair discuss "Ghostbusters" and dance to a positively groovy tune with the housemaid. But here lies the problem, for a film with such challenging ideals and dark subject matter, Garland constantly wrecks the atmosphere by adding comic effect into scenes which don't require it. Especially (SPOILERS, of sorts?) when a certain character reaches a ghastly demise, and in a perfectly laughable manner, dies relaying lines which are honestly hilarious, but shouldn't belong in a scene which purposefully attempts to evoke dark emotions. Although being the main subject of the film, Vikander (who portrays Ava) isn't given a lot to work with, and is required to state lines which occasionally engage interest, but her story arc fails to provide her with a decent role which would hold any concentrated form of vague interest. 

Without the great idea of AI's, we're left with a drama which features a love triangle of sorts, that doesn't exactly feel romantic, but rather sickening. By the time the third act comes into play, the film is found running on fumes, eventually concluding in a manner which is not only fairly obvious, but unimaginative. It seems that Garland himself has decided to play the project safe, and perhaps due to a constrictive budget, was forced to do so, and fails to explore the world outside of the lab. 

Apart from its practically thin plot (it is a January offering from Hollywood, don't forget), and virtually undemanding narrative, "Ex Machina" does benefit from some minor details. Rob Hardy's cinematography is faultless, and adds a wonderfully glossy look to the film, highlighting the features of Nathan's home beautifully, despite a relatively low budget. The film's score is also of merit, as Portishead’s Geoff Barrow and composer Ben Salisbury (composers of the unused soundtrack to 2012's "Dredd" -http://drokk.bandcamp.com/) have written a delightful soundtrack filled with some sinister tracks for the finale, which linger in the mind for some time after. 

Verdict

A piece which shows promise, but Alex Garland's directorial debut is foiled by constant comparisons to other genre pieces which are often larger in scope, and ideas which aren't ever fully developed. The film is held together by its more than capable cast, but ultimately there's nothing to entertain past the idea of artificial intelligence.

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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Damien Chazelle presents his latest directorial effort, a dazzlingly smart and triumphant musical protégé drama, reinforced by two incredible awards-worthy performances. Scott Gentry reviews "Whiplash".

"Whiplash" (15)
Directed by: Damien Chazelle.
Starring: Miles Teller, J.K. Simmons, Paul Reiser, Mellissa Benoist and Austin Stowell.
Rated: '15' for containing very strong language and strong sex references.
Running time: 106 minutes.
Released in UK cinemas from the 16th of January, 2015.

Three months ago, I was fortunate enough to catch "Whiplash" at the London Film Festival, and since then it has been released in America to critical acclaim, received a Golden Globe for best supporting actor (going to J.K. Simmons) and many other nominations. But despite the time which has elapsed since my inspiring and intoxicating viewing, I've only become far more eager to see this visually arresting piece again. "Whiplash" (believe it or not) is what cinema's all about. It's a film with heart, and as James King (a fellow Film critic) so rightly said, the film is "so good, it'll change the way you look at life".  

Miles teller (a long way from the depths of "Divergent") is Andrew Neyman, our cocksure, jazz drumming antagonist, who through his accomplished way with a pair of sticks, drums like a young Buddy Rich. Whilst determined in his pursuit of stardom to become "one of the greats", he is surprisingly accepted into the Shaffer Conservatory, a prestigious music school, highly regarded as the best in the United States. Shortly after joining the infectiously competitive school, Andrew is introduced into the class of the school's most feared and respected tutor (who's methods may gain success, but are ultimately questionable), Terence Fletcher (J.K. Simmons), the one person who stands in his way of achieving virtuosity. But as Andrew endeavours to succeed, his social life and sanity begins to crumble, with the relationships between his family and friend Nicole (Melissa Benoist), suffering under his inextinguishable thirst for success. So, Andrew is posed with a question: love, or greatness? 

There have been many outstanding renditions of (mentally and physically) tortured musicians in modern cinema (“Crazy Heart” and “Walk the Line” are excellent examples), but “Whiplash” achieves a sense of compassion for cinematic characters like never before. Here we are placed in the shoes of a sanguine, yet ultimately impolite character, who, by all rights, shouldn’t be rooted for by the audience, and still, we feel compelled to care for Andrew. But, who really should we attach ourselves to in “Whiplash”? Our two main characters are both as socially incompetent as each other; not fit for society. But through their wonderfully crafted personalities, we are drawn to discovering their ambitions whatever the events on-screen. Originally based upon his own short film, but rewritten here, its Chazelle’s creation of these two perplexing characters, and their subsequent rivalry, which conclusively anchors this attention-grabbing piece. The story itself may seem simplistic, but Chazelle has crafted tense and bitter entertainment effortlessly, providing edge-of-your-seat thrills without the need for gratuitous violence. It’s the shocking revelations of the plot, which really took my breath away.

Previously, Teller wouldn’t have been my idea of a lead actor, but after this scintillatingly intense performance, my opinion was instantly denounced. Teller is evidently talented, and throughout this roller-coaster ride of emotions, he commands the screen from start to finish with a sincerely impassioned performance, which works particularly well in regards to the psychological aspects of the character, even when Andrew’s pretentious persona wears thin under pressure. Simmons himself returns in full J. Jonah Jameson mode to present a fearsomely daring performance, filled with delightfully dark comedy ("Oh my dear God. Are you one of those single tear people?") which he excels in, as a sort of updated answer to Stanley Kubrick's horrific creation, Sergeant Hartman, as he bellows heinous taunts towards his unwitting students and employs draconian tactics into rehearsals, intent on creating an orchestra of military precision. It's a gruelling experience, and Simmons revels in the role, deceiving students with courteous words in one moment, and destroying their very dream the next. It's honestly both captivating and petrifying.

A new-comer to cinema, yet instantly memorable, Mellissa Benoist also provides exceptional support as Andrew's will they/won't they interest, especially in the heart-warming scenes in which he visits the local multiplex, and attempts to woo her affections. Chazelle's dialogue delightfully sizzles between the pair, creating one of the most authentic on-screen romances in years. 

Verdict

The film is faultless, and along with Sharone Meir's glossy cinematography, Justin Hurwitz's exhilarating score and inspired editing by Tom Cross, Chazelle's love-letter to cinema and Jazz is a supremely well-acted and enthralling drama, which has successfully reinvented the protégé musician sub-genre. Cinematic perfection. 

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.

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In Retrospect... The Top 30 Films Of 2014 - Part Two

- Apologies for the lateness (we were busy watching films, valid excuse right?), but without further ado, here's part two of our top 30 films of 2014. Enjoy! 


14) “Chef” (15)

Jon Favreau writes, directs and stars in this low-key family comedy, with a delightfully retro soundtrack and a stellar cast, full of delightful cameos. Favreau himself stars as Carl Casper, an acclaimed chef, who after being fired by his boss (Dustin Hoffman) following arguments over artistic freedom and insulting critics, starts up a food truck, in a bid to reinvent his career, whilst reconnecting with his distant family.

Despite its partially clichéd material, the result of Favreau's return to independent filmmaking is a charming summer comedy, filled with a talented cast (John Leguizamo and Bobby Cannavale provide hilarious support), smartly written dialogue and proficient camerawork. Plus, the food looks absolutely gorgeous!

13) “Paddington" (U)

After its release in November, this delightful Python-esque comedy became an instant classic, finding its way into the hearts of cinemagoers everywhere. "Paddington" follows the story of our titular character, which charters the very beginnings of his life, beginning with his early years  in the depths of deepest darkest Peru, in which he lives happily with his Aunt Lucy (Imelda Staunton) and Uncle Pastuzo (Michael Gambon). 

But after a freak earthquake destroys his family home, Paddington is sent out into the big wide world, in search of a new family who can take care of him properly. Upon arriving in London after a tumultuous voyage on a shipping boat, the sprightly and gentlemanly bear makes the acquaintance of the Brown family, headed by the safety-conscious Mr. Brown (Hugh Bonneville). But when a villainous taxidermist (Kidman) from the Natural History Museum discovers that Paddington is an endangered bear, she sets out to catch him at any cost, threatening to destroy the growing friendship of Paddington and the Brown family. 

“Paddington” is one of Britain’s greatest cinematic achievements, successfully mixing charming family-friendly fun with witty comedy, aimed at the more discerning of viewers. It really is a great British delight. 

12) “Gone Girl” (18)

The master of dark and dangerous cinema returns, with a shocking and unflinching rendition of marriage in its true form. Ben Affleck is Nick Dunne, the unwitting average Joe who lives in the heart of Carthage, Texas, with his beautiful and talented wife Amy (Pike), a writer of the "Amazing Amy" book series. Life is good for the Dunne's until one fateful day in which returns home to discover 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? 

From the offset, all is not what it seems, and Fincher keeps the tension at its peak shocking his audience with a stylish and darkly comic film, which features two of the most unanticipated performances in many years. “Gone Girl” is a thriller destined for ‘vintage’ status.

11) Captain America 2: The Winter Soldier (12)

The first of Marvel's 2014 selection was a thrilling 70's style political thriller, filled with wonderfully witty dialogue and some of the most engaging action sequences in a superhero film to date.

Steve Roger's (Chris Evans) latest adventure finds him working as an active member of S.H.I.E.L.D, under the strict command of director Nick Fury (Samuel L. Jackson), alongside agent Romanoff (AKA Black Widow, played by Scarlett Johansson), and a new team of highly skilled individuals. But when the return of a mysterious assassin known only as the Winter Soldier, causes widespread panic and the subsequent revelation that SHIELD may be compromised, it forces Rogers to become a fugitive, realising that he can trust just about no one. Where's the Avengers when you need them?

There are occasional plot holes, but the inclusion of gleeful pop culture references (Rogers is now a fan of Marvin Gaye, good man!), gritty action sequences and a wonderful Stan Lee cameo, it satisfies the need of Marvel's attempt at intelligent blockbusters, paving the way for "Civil War" rather nicely...

10) “The Raid 2: Berandal” (18)

Few films are as fun as Gareth Evan’s hyper-violent sequel to his cult hit “The Raid”, but the Welshman’s ambitious film has improved on its predecessor’s blunders, by refining his follow-up in more ways than one: the dialogue is sharper, the action is sleeker and the plot is wonderfully gritty. Set only a few short hours after the events of “The Raid”, this next chapter sees Rama (the unbelievably talented Iko Uwais) go undercover into the criminal underworld of Jakarta, in order to put an end to the corruption within his police force.

Despite being made on a relatively modest budget of $4.5 million, this independent gem completely trumps the various action blockbusters of last summer, delivering outrageously violent and almost cartoonish thrills (hammers, baseball bats, they’re all being used), but incorporating real heart into its wonderfully convoluted screenplay. The chase scene alone, is to die for.

9) Interstellar (12)

Ambitious, intelligent and ultimately thought-provoking, Christopher Nolan set out to reinvent the Sci-Fi blockbuster and succeeded. Mathew McConaughey is our new Dave Bowman, a skilled pilot who is asked by the secretive professor Brand (Michael Caine) to set out with a team of scientists (including Anne Hathaway and Wes Bentley), in search of worlds through a wormhole, which will lead to planets that may be able to sustain human life, after the subsequent demise of planet Earth.

The effects are astonishing, and yet again, Zimmer’s score is suitably bold and breathless, but despite the intellectual script, it can often prove to be a tad confusing. Nevertheless, this is daring stuff.

8) The Guest (15)

A hidden gem we must admit, Adam Wingard’s (“You’re Next”) latest love-letter to the action/horror genre is a hilarious piece of retro filmmaking. Britain’s very own Dan Stevens ditches the calm gentlemanly persona he’s grown accustomed to in “Downton Abbey”, for an aptly comic and down-right grim role as David, a soft-spoken soldier who arrives at the Peterson family’s home, claiming to have known their son, who died in action. Taken by his calm and friendly manner, the family invite him into their home, with their children Anna (Maika Monroe) and Luke (Brendan Meyer) taking quite a shine to their new friend. But when a series of “accidental deaths” rock the town to their core, Anna can’t help but wonder if David is connected to these acts of brutal violence... 

Unfortunately, this terrific little film just didn’t find its audience upon its UK release last September, turning over a poor box office return. But, perhaps it’s destined for cult DVD status? And with its gloriously synth-heavy, nostalgic soundtrack, it’s impossible not to fall for Wingard and Simon Barrett’s ludicrously entertaining piece.

7) “12 Years a Slave” (15)

One of the finest contenders for last year’s awards season, Steve McQueen’s outstanding third feature film, is perhaps one of the finest modern classics ever to grace a silver screen, due to the filmmaker’s unique style and a phenomenal cast. 

This often disturbing film reveals the disconsolate tale of Solomon Northup (Chiwetel Ejiofor), a free man from the year 1841 who was deceived, kidnapped and sold into slavery. Ejiofor commands the entire piece and provides a deep and dedicated performance throughout, whilst the supporting cast (Michael Fassbender, Benedict Cumberbatch and Lupita Nyongo'o) are on fine form. Meanwhile, John Ridley (writer) and McQueen’s teaming is a masterstroke, producing a piece with such verve, it’s particularly hard to fault it at all. 

8) Inside Lleywn Davis (15)

The Coen Brothers do what they do best in this emotional comedy drama, led by a confident Oscar Isaac, wonderfully catchy music (“Please Mr. Kennedy” is just hilarious) and striking visuals.  

This delightful period piece follows a week in the life of our titular character (Isaac) who is a failing musician, as he desperately traverses the Greenwich Village folk scene (New York) in the winter of 1961, to search for work. 
It may not carry the typical Coen Brothers narrative that we’ve become accustomed to, but there’s enough humour and well-written drama to gain appreciation from new fans. 

7) What We Do In The Shadows (15)

In this preposterously silly spoof of the horror genre, Jemaine Clement (of “Flight of the Conchords” fame), has teamed up with Taika Waititi (“Eagle Vs Shark”), for perhaps the funniest film to come out of New Zealand since “Braindead”. 

Having taken up residence in a flat within Wellington, New Zealand, a foolish group of vampires named Deacon (Jonathan Brugh), Viago (Waititi), Vladislav (Clement) and the humble yet violent Petyr (Ben Fransham) live comfortably together, until the day that Petyr decides to leave the confines of his cellar and bite into the neck of their dinner guest, Nick (Cori Gonzalez-Macuer). After having his entire blood supply drained from his body, Nick is turned into a new-age vampire, who threatens to upset the status quo, when he begins to show the group inventions such as the computer (cue hilarious results) and advertises his newfound powers a little too much…

Despite being just a series of extended sketches, with no particular narrative strand to follow, the cast keep the film pulsating at an alarming rate. With their whip-smart script boasting some of the most quotable dialogue since “Anchorman: The Legend of Ron Burgundy”, this group of witty comic performers turn the vampire story upon its head, with bloodthirsty results. 

6) Guardians of the Galaxy (12)

This was Marvel taking a gamble. With a relatively unknown cast of characters and Andy Dwyer from “Parks and Recreation” in a lead role, this could have been an expensive misfire. But, it wasn’t. In fact, “Guardians of the Galaxy” quickly found its way into the hearts of cinemagoers with its charming characters, retro soundtrack (we've had it on repeat for absolutely ages), and its exceptional use of special effects. 

Chris Pratt plays Peter Quill, a pompous interstellar adventurer who travels the galaxies in search of precious artefacts which can be sold on the black market. On one dangerous mission however, our hero comes across an orb, which happens to be coveted by one of the galaxy’s most terrorising villains, Ronan the Accuser (Lee Pace, wasted criminally here). Soon, Quill is forced to team up with four other intergalactic criminals, including a racoon, a walking and talking tree, a deadly female assassin and a manic brute, set on vengeance. 

The result is an engaging and thrilling piece of Sc-Fi which creates an exciting new place in the ever-expanding Marvel universe, filled with James Gunn’s passionate brand of comedy, plenty of cracking action sequences and perhaps the best comic duo in many a year. 

5) “The Grand Budapest Hotel” (15)

Full of heart and hilarious dialogue, Wes Anderson’s latest comic delight is a devilishly violent and stylish piece, fulfilled by Ralph Fiennes’ awards-worthy performance.
Monsieur Gustave (Fiennes) is a sleazy concierge at the Grand Budapest hotel, and due to a penchant for elderly ladies, is placed in mortal peril, when one of his recent spinsters (Tilda Swinton) is murdered. Having decided in her will to leave a famous painting to the concierge, instead of her own family, Gustave is forced to become a fugitive, alongside his lobby boy, Zero Moustafa (Tony Revolori). 

Fiennes delivers a career best performance alongside this star-studded cast, in a highly impressive and ambitious film, delightfully scripted and directed by one of Hollywood’s most poignant directors. It isn’t one to be missed.

4) “Her” (15)

A supremely smart and intelligent satire of love in the digital age, Spike Jonze directs and writes with such talent, that it’s difficult not to love this melancholic, and passionate tale. 

Joaquin Phoenix (“Walk The Line") delivers a stunning performance as Theodore Twombly, a socially detached writer of cards, who falls for his charming and alluring computer operating system, named Samantha (Scarlett Johansson). 

Boasting a unique mix of unsettling drama and hilarious comedy, Jonze’s “Her” features exceptional performances from its cast, a wonderful soundtrack from Arcade Fire, and genuinely challenging ideals. 

3) “Nightcrawler” (15)

Having reportedly lost 20 pounds for his role, Gyllenhaal continues to show his dedication to film as he produces a dark and attention-grabbing performance, in Dan Gilroy’s thought-provoking directorial/writing debut. 

Originally a petty thief, Lou Bloom (Gyllenhaal) is an opportunist. Whilst searching for a new and potentially legal way to make money, he is inspired by an amateur film crew who he sees shooting footage of a car crash, eventually intended to be sold to a local news station, for their morning news broadcast. Seeing dollar signs, Lou trades in a stolen bike for a camcorder and a radio scanner, eventually discovering that business is booming. But as he drives from crime scene to car crash with his protégé Rick (Riz Ahmed), his morals are tested when unethical decisions begin to plague his life. 

Gilroy’s debut is both thrilling and frightening, highlighting just how far individuals would go to chase their American dream. Plus, Gyllenhaal’s outstanding portrayal of a sadistic and creepy individual is delightfully reminiscent of Travis Bickle, and along with the more than capable cast (Bill Paxton, Rene Russo), we’re entertainingly challenged and pulled into Lou’s dark depths of depravity. Creepy is the word that comes to mind...

2) “Whiplash” (15)

Having premiered in the UK at last year’s London Film Festival, and already on general release in the US, we felt compelled to include this triumphant drama from director Damien Chazelle (“Grand Piano”). It's technically out on general release already, so why not include it? It definitely deserves a mention. 

The young and talented Miles Teller (“Divergent”) takes the lead role of this intense piece, as Andrew Neyman, a young and ambitious Jazz drummer who is determined to become one of the greats. However, at his elite school of music, there’s just one obstacle standing in the way: his arrogant yet wildly talented instructor, Terence Fletcher (J.K. Simmons). After discovering his potential talent, Terence introduces Andrew into his class, where competition is infectious. But as Andrew endeavours to succeed, his social life begins to crumble, with the relationship with his family and girlfriend Nicole (Melissa Benoist) suffering under his inextinguishable thirst for success. Eventually, something’s got to give. 

The story is unique, and writer/director Chazelle pushes Teller and Simmons to the very pinnacle of their acting abilities, producing electrifying performances that deserve award nominations. With a film’s script as smart as this, and wonderful compositions from Justin Hurwitz, it’s tense, gripping and full-of-heart entertainment such as this, which makes cinema-going such a pleasant and thought provoking experience.  Be sure to see it in UK cinemas from the 16th of January, 2015, it's outstanding.

1) “Boyhood” (15)

Richard Linklater’s latest cinematic endeavour doesn’t require an introduction of sorts, but after twelve years in production, and a cast of undeniable talent, it’s a modern masterpiece that can't be ignored. 

This ambitious and touching film follows the life of Mason (Ellar Coltrane), as he grows up in society from the age of five to eighteen, along with his sister Samantha (Lorelei Linklater), Mum (Patricia Arquette) and Dad (Ethan Hawke). As well as studying the human condition, Linklater’s film highlights the discovery of popular culture (video games, music), attending family events such as dinners, birthdays and graduations, all the while providing a nostalgic look into our world for the past twelve years. 

Technically ambitious and legendary in scope, this is a film for the ages, and Coltrane’s first performance is one to match even the greatest of actors and actresses. Whatever's up next for Linklater, he’ll be hard pressed to create a finer piece of work than this.   

Enjoy part one and two? Agree or disagree with any of our choices? Well we'd love to know your thoughts, so don't forget to share in the comment's section below!
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