The story follow a young CIA agent based in Cape Town, who is tasked with protecting a fugitive wanted by authorities in the confines of a safe house. As you may have expected the movie title is a contradiction and it’s not long before the fugitive’s cover is blown – forcing the two underground in an attempt to stay alive and determine if they can trust each other or the forces intent on rescuing, capturing or killing them.

It’s not surprising that the thriller subgenre has become so prolific after legendary film-maker, Alfred Hitchcock, made it a signature element. Supporting the underdog, living the cat-and-mouse game vicariously in life-and-death situations makes it a truly exhilirating film experience.

Safe House has taken the fugitive fleeing from justice and simply doubled it for maxmimum effect. We’re introduced to CIA agent Matt Weston (Reynolds), who is counting the clock, waiting for some action to justify his far-from-home post. In walks Tobin Frost (Washington), an international criminal wanted by the CIA, whose interrogation is interupted by an attack on the safe house – putting Weston in charge of Frost’s recapture and delivery to authorities.

“Sure, but would Mrs. Doubtfire do THIS…!?”

Safe House’s co-leads are safe as houses. Denzel Washington has proven his professional consistency and quality, delivering predictably solid performances. Ryan Reynolds has proven his ability and versatility as demonstrated by the claustrophobic film Buried - a feature-length drama focused on his character in a coffin. They both live up to expectations in terms of the physicality of the action and in the intermittent drama.

In the wings, several seasoned supporting actors in Brendan Gleeson, Vera Farmiga and Robert Patrick round off a solid ensemble. Each of these in-form actors weigh in, adding to the overall quality and level of performance, while giving Washingtonand Reynolds centre stage. Safe House isn’t a showcase for supporting performances, but still draws quite heavily from the international acting pool.

Safe House is directed by Daniel Espinosa, whose film Easy Moneygave studios a glimpse at his blockbuster potential. The director’s flair for action is edgy and translates well into this thriller, keeping the intensity and pacing up without giving you a chance to look away with one of the best car chase scenes in some time.

“…and now I suppose YOU think you’re Miss Daisy?”

The film is set in Cape Town, South Africa, one of the most beautiful and versatile locations in the world. The city has so much to offer, allowing the action to make distinct scene transitions on foot and by car. The story moves from the safe house to train stations, apartments, townships and farmlands with relative ease, using beautiful, vibrant Cape Town colours to provide a sense of continuity and locality.

As a South African and Capetonian, it’s easy to say that the film-makers have done their homework. There are one or two funny local moments - Reynolds speaking Afrikaans and relocating the Cape Town train station to Green Point Stadium and remodeling it to look like a “subway”. Bar one or two minor distractions, it has an authentic feel.

Safe House is backed by a solid ensemble of actors, charged by frenetic action sequences, directed with a Bourne edge and set against the beautiful city of Cape Town. At nearly 2 hours, it’s a triumph that Espinosa keeps you on the edge of your seat with enough mystery to keep you captivated.

It may not have as much drama or thought-provoking depth as you would have expected, but this actioner certainly makes up for it with a gritty story that laces classic man-on-the-run constructs with a few surprises to make Safe House a solid genre entry without being overly predictable and playing it anything but safe.

The bottom line: Exhilarating

Release Date: 10 February, 2012

Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro

Catch more movie reviews at SPL!NG

Thankfully relatively unknown director Asger Leth and TV movie screenwriter, Pablo F. Fenjves have managed to negotiate a pretty decent thriller with an equally decent cast. The ensemble are cemented by the presence of Ed Harris, although most directors would be thrilled to have the likes of Sam Worthington, Elizabeth Banks, Jamie Bell, Genesis Rodriguez, Anthony Mackie and Edward Burns at their disposal.

There aren’t really any stand out performances in this team effort, but it’s good to see Sam Worthington tackling a more conventional film role. In his previous films, he’s been more of a vessel for the audience and as the title character in Man on a Ledge he clocks in a convincing performance as Nick Cassidy.

The supporting cast have good chemistry but it’s another day at the office with Titus Welliver and Ed Harris making the biggest impact. The innocent man stigma of The Next Three Days gives Elizabeth Banks a bit of history, up-and-coming actor Anthony Mackie, does well with the screen time and Jamie Bell adds a bit of hi-tech diamond thief fun with the gorgeous Genesis Rodriguez in tow.

“Damnit, whose line is it anyway?”

Man on a Ledge is an original blend of better films, most notably, Inside Job, Phone Booth and Man on Wire. The plot makes direct parallels with these movies as an ex-con distracts bystanders and law enforcement agencies from a diamond heist by threatening to jump from a Manhattan building.

It smacks of Spike Lee’s Inside Job in the style of shooting, the story involving a despicable businessman, the art of distraction and the actual heist itself. Although, Man on a Ledge jumps between the thrill of the diamond heist and the high pressure media, emergency services jumper scenario in a locked-down New York City block.

The fixed position under duress, maintained by several key actors is reminiscent of Phone Booth with Colin Farrell. Emergency services, media harassment and a sense of imminent jeopardy heighten the urgency of this literal on edge thriller. Although, the intensity is maintained by switching between heist and jumper… eventually bridging the two with some interesting twists.

“I will bury you ALIVE… in paperwork.”

Then possibly the inspiration for the entire film must be attributed to the Oscar-winning documentary Man on Wire, the true story of French tightrope-walking daredevil, Phillipe Petit. The documentary was shot and edited like a heist film as his team set up his illegal high-wire routine over New York City’s twin towers World Trade Center in 1974. The thinking: why not add a real heist and make this, or a similar high-rise stunt, the distraction?

The tone is mostly suited to being a crime thriller, with one or two lighter moments to break the tension. While the brief levity adds to the entertainment value, you can’t help but wonder how it would have turned out with a grittier tone, look and feel.

As it stands, Man on a Ledge is an entertaining popcorn thriller, a crowd-pleaser with an intriguing premise and a dull familiarity. There are one or two plot developments that rely on you letting go a bit, but the pacing, tension and twists-and-turns lure you back in. It never really threatens to outclass its influences, but turns in a competent team effort.

The bottom line: Fun

Release Date: 3 February, 2012
Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro

Catch more movie reviews at SPL!NG

Renowned filmmaker, Pedro Almodovar, knows how to make your skin crawl. The director of Talk to Her, Broken Embraces andVolver also knows how to captivate an audience… layering his stories in the shadows of the human condition, going where directors fear to tread. He’s done it again, giving The Skin I Live Ina strange ebb-and-flow, tilting from drama to thriller to body horror without really flinching.

In case you were wondering, there’s a lot of skin in this art house rendition of Frankenstein. In this scenario, Dr. Frankenstein is a world-class plastic surgeon played by Antonnio Banderas and his “monster”, the subject of all his skin experimentation, a mysterious and beautiful woman, ironically brought to life by Elena Anaya, whose credits include Van Helsing.

There are some strong parallels with Splice, both films exploring a motivation to play God through transgenic research, manipulating practice ethics in the name of advancing the possibilities of mankind. Splice reimagined the Frankenstein concept from a scientific perspective, while The Skin I Live In frames the story from the operating table.

“It puts the lotion on its skin… you first, then me.”

Almodovar’s film is a trans-genre affair, taking the audience on a journey that constantly mutates. Smart use of editing puts us off balance as we pick up the pieces to this drama thriller that manages to attract bizarre elements as diverse as romance, mystery and horror. It’s a riveting experience that never lets you go… and once it’s sunk its teeth into your skin, there’s no turning back.

The teeth-sinking process will hurt some viewers more than others, with some creepy, disturbing and violent content. For the unshakable, Almodovar’s film is visually stirring and taut, reminiscent of David Lynch’s Blue Velvet. There’s a fascinating and disturbing undercurrent… the sort of curiosity that makes it easy to watch animals kill or mate with each other on nature channels.

The actors throw their bodies into the film like puppets and Almodovar makes this a real director’s film, generating emotionally-charged and committed performances from Banderas, Anaya and the supporting cast in Marisa Paredes, Jan Cornet and Roberto Alamo. The scenes range from intense drama to deviant sexuality and there’s never really a dull moment.

While the whole film cascades from one powerful scene to another, Almodovar’s trademark romantic aspect is downplayed and the performances are stunted without room for the full spectrum of human emotion – trading love for insanity – an element that probably would have taken the story to the next level.

All in all, it’s great to see filmmakers reaching for and achieving new ground, whether it’s Antonio Banderas breaking the typecast mold or Pedro Almodovar going deeper into the darkness with a film twist to compete with The Sixth Sense and Fight Club. While The Skin I Live In only appears to be skin deep, it pushes boundaries and leaves its mark – whether a beauty spot or scar, that’s for you to decide.

The bottom line: Captivating

Release Date: Now Showing
Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro

Catch more movie reviews at SPL!NG

The original The Girl with the Dragon Tattoo was excellent and deserved its critical acclaim, but it wasn’t in English, relegating it to a limited art house international release. While shooting on-location and in the native tongue added to the authenticity of the story’s setting, it wasn’t accessible enough by Hollywood’s standards. The thinking is, you’re meant to read the novel, not the movie.

Noomi Rapace became the girl with the dragon tattoo, partly due to her relative anonymity and an all-or-nothing performance. If you’re doing a remake two years later, it’d be tempting to simply bridge the adaptations. Although Fincher wanted to swathe the audience in the mystique of her dark character with Mara and casting Rapace would sacrifice some of the novelty.

Fincher’s one of the best filmmakers of our time with Fight Club, The Social Network and Se7en. If he directs a remake, it’s never a half-hearted effort and we’ve come to expect a first-rate production. He’s added his finesse to the adaptation, revising it for the story to flow more smoothly with a few tweaks to create an even more taut atmosphere than the original.

“Wanna hear the most annoying sound in the world?”

All in all, the changes enhance the story’s flow, but strip detail and culture. Relocating the Vanger family to an “island”, giving more weight to the co-lead relationship, adding more elaborate flashbacks, highlighting the father-daughter motivations, adjusting the ending and leaving out a few scenes help improve the pacing and keeps the audience captive. Although, something’s got to be said for the detailed Swedish adaptation, which took more time to develop a sense of mystery.

The pacing and dialogue of mystery-thrillers make them generally better suited to television.  Niels Arden Oplev directed the first adaptation with more of a focus on drama and the socio-political message, allowing the mystery to seep into the celluloid. Fincher’s slick visuals and beautiful cinematography enchant and make the experience more cinematic, but the brutality of the editing and the stripping down of the detail – make it a little vapid.

Fincher doesn’t patronise the audience, but attempts to simplify and condense scenes where possible to create a universal mystery-thriller. Some of the twists, especially the Fascist history of the Vanger family, are interwoven into the story instead of expanding into full-blown scenes and this interpretation limits the supporting cast’s involvement to focus on Rooney Mara and Daniel Craig.

“PA wanted, colon. Must hack and be good in the sack, stop.”

Rooney Mara delivers a star-making performance. The character is dark and many of the scenes are intensely violent or sexual and difficult to shoot. She’s transformed her appearance from natural beauty to gothic rebel and has a firm grip on the Swedish accent. Her commitment to the role is faultless and she captures the restless spirit of Lisbeth Salander and her history of hurt.

Daniel Craig may be the current James Bond, but his facial features make him perfect for the role as a Swede. Craig may not be an intellectual, but captures the vulnerability of Mikael Blomkvist, allowing the iconic 007 status to fade into the background. To his credit, it’s something he’s been able to achieve in numerous film roles post-Bond.

The supporting ensemble is bolstered by name stars: Christopher Plummer as Henrik Vanger, Stellan Skarsgard as Martin Vanger, Steven Berkoff as Frode and Robin Wright as Blomkvist’s colleague and lover, Erika Berger. This casting is spot on and the performances are indicative, although you can’t imagine first-time viewers having much trouble playing Poirot.

“Word on the street is – you know how to Google.”

The only question mark would have to be over poor Yorick van Wageningen as Nils Bjurman. The actor is more than capable and Fincher has captured his performance with a sinister perversion. However, van Wageningen’s physique is more ‘Plague’ than Bjurman and the family portrait’s effect is lost. Peter Andersson just seemed more misogynistic, evil and perverted in the original when contrasted with van Wageningen’s “bully”.

David Fincher owes a lot to the dark driving music by Trent Reznor and Atticus Ross, which takes the atmosphere and emotional currency to another level. Trent Reznor worked on The Social Network and you could say his Nine Inch Nails background makes him more at home with the ‘Girl’ material. The midnight oil opening credits capture the essence of The Girl with the Dragon Tattoo, an equal measure of unsettling brutality and surprising beauty.

All in all, Fincher has delivered an outstanding film and a loose adaptation. The alterations are mostly improvements to the cinematic experience and he’s siphoned full performances from his actors, jolting the pacing, creating palpable tension and injecting an icy dark beauty into the visuals. It’s a dark, thrilling and universal crime epic that sets the bar for two brooding sequels.

The bottom line: “Brutiful”

Release Date: Now Showing
Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro

Catch more movie reviews at SPL!NG

Margin Call is a companion piece to Inside Job in the style of 12 Angry Men, offering outsiders a glimpse into the backroom ethics and doomsday plotting of an investment bank on the brink of collapse. Promising new filmmaker J.C. Chandor takes the audience on a gripping, behind-the-scenes journey into the taut atmosphere of a financial firm focussing on several key financial executives and employees.

Chandor’s first feature film is a character-driven drama. The Margin Call writer-director reportedly wrote the majority of the script in four days, yet the material is smart, crisp and polished. While Inside Job gave a comprehensive and intelligent overview, the content was in-depth and required investment from the viewer. Margin Call undresses key concepts, making it more accessible.

Margin Call features an ensemble of award-winning screen veterans. Kevin Spacey, Stanley Tucci, Demi Moore and Jeremy Irons make scene-stealing anyone’s game. These heavyweight actors deliver solid performances and give the film instant credibility. Their characters are vilified, yet they manage to extract the humanity between the numbers.

“Uh, bad news is an understatement…”

As if those big name actors weren’t enough – in-form, up-and-coming actors Paul Bettany, Zachary Quinto and Simon Baker drive the level of performance up another notch. There aren’t any weak links and this cast of fine actors all clock in solid performances. The dramatic weighting is shared equally, but if one were forced to pick a winner… Kevin Spacey’s middle man would be a safe bet.

Margin Call is a gripping and time capsule drama-thriller that gives us a window into the financial meltdown. It’s character-driven and may be a bit claustrophobic for movie goers who expect a bit more space to move. The office setting is stressful, especially if you’re trying to get away from it all and at times the environment is a little stagnant.

This would play out perfectly as an intense television suit drama and quite frankly, if it weren’t for the high-calibre ensemble, you wouldn’t expect to see it in cinemas. Margin Call adds a little finesse to taut boardroom political dramas like Wall Street and Boiler Room. It’s not as locked down as 12 Angry Men, but outclasses Oliver Stone’s sequel Wall Street: Money Never Sleeps.

The bottom line: Gripping

Release Date: 13 January, 2012
Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro

Catch more movie reviews at SPL!NG

No, not Joaquin Phoenix… he hasn’t done a film since 2008, we’re talking about Ryan Gosling! He’s had a fantastic year… The Ides of March, Drive and Crazy, Stupid, Love. Let’s just say it – he’s had a great decade, whether it was The Notebook, The United States of Leland, Stay, Half Nelson, Fracture, Blue Valentine or Lars and the Real Girl.

Sure, he’s another Mickey Mouse Club graduate like Justin Timberlake, but that little “talent agency” has churned out some pretty stern stuff over the years. Now firmly entrenched in Hollywood, the golden goose, feathers firmly planted in cap… stars in George Clooney’s latest movie, The Ides of March.

An adaptation of the stage play Farragut North, the new title The Ides of March is best known as the day Julius Caesar was stabbed in the back 23 times by a group of conspirators led by Brutus. He died, but Caesar isn’t the key here… it’s the back-stabbing politics. In 1992, Bill Clinton allowed a film crew to do a fly-on-the-wall documentary piece on the group that facilitated his presidential campaign. The War Room focused on two spin doctors and has had a strong influence on campaigning, and subsequently political dramas like The Ides of March.

“Chin up high, guard up higher… that’s politics.”

The Ides of March comes across like a blend of The War Room and corporate thriller Michael Clayton, which starred George Clooney. The political backroom meddling and spin doctoring becomes the increasingly hostile environment, Stephen Meyers (Gosling) finds himself in. The speech writing, image consultancy, debates and statistics are where the political game is supposedly won and lost, but Meyers discovers just how muddy his ideals have become when he is embroiled in a scandal that could destroy the campaign and his career.

The Ides of March literally has George Clooney’s name all over it. Clooney co-wrote the adaptation, directed and starred in the drama as promising electoral candidate Mike Morris. Clooney is usually a leading man and supports Gosling, along with an award-winning ensemble of Hollywood stalwarts including: Paul Giamatti, Philip Seymour Hoffman, Marisa Tomei and Evan Rachel Wood. They’re all in fighting form, making it a terrific team effort, giving Gosling a chance to showcase his talent and bounce off them like a star-spangled pinball.

The Ides of March is the proving ground for morality and loyalty, a high stakes political drama that parallels itself with the tempo and machinations of State of Play with some connecting themes with Matt Damon’s role in The Adjustment Bureau. Clooney has delivered a strong cast in a timely political drama with smooth storytelling and direction, making Gosling’s journey a reflective character study, one in which our opinion of him gradually changes. This drama follows the arc of most political thrillers and doesn’t really offer anything new to the genre.

The Ides of March is a solid film, both entertaining and thought-provoking as the ideals of a young campaigner fighting for justice crash to the ground. We’re invited on a fascinating behind-the-scenes tour of what it takes to out-muscle another candidate and win on game play rather than on principle. It doesn’t quite hit home, but is gripping nevertheless.

The bottom line: Engaging.

Release Date: 23 December, 2011
Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro

Catch more movie reviews at SPL!NG

As a fan of the exuberant Robert Downey Jr., the action revolution that is Guy Ritchie and the enigmatic character of Sherlock Holmes it just makes this Sherlock Holmes sequel difficult to watch. Each player brings a fantastic energy to the party with a wealth of experience and a reasonable refresh on the classic detective as an action-adventure instead of a crime-drama.

However, this “more-of-the-same” sequel does not gel. The first Guy Ritchie Sherlock Holmes had spunk, a cheeky novelty that offered a dark, action-packed update on Arthur Conan Doyle’s beloved characters. It wasn’t faithful, but gave the literary Sherlock Holmes an entertaining and refreshing shake-up.

Sherlock Holmes: A Game of Shadows ironically falls into the shadows of its predecessor, hurtling along from one Guy Ritchie action set piece to another. Ritchie is renowned for his slick action visuals, but the slow-motion shots and modern action sequences just seem out-of-place in any Sherlock Holmes adventure.

“The Sherlock Holmes Saga: New Moon”

The story just seems disjointed with a script that stop-starts the pacing with reams of innocuous dialogue to create a forced rapport for Holmes and Watson. The Paper Man writers seem to be relying on the basis that you’ve already got a three-dimensional conglomerate of the character of Sherlock Holmes from pop culture. The wordplay doesn’t suit our action heroes and just seems to fill the air with Robert Downey Jr. to spice it up.

Ritchie adds more disguises and more drama in an attempt to stay true to the spirit of the re-imagined Arthur Conan Doyle characters, probably bending to criticism of Sherlock Holmes and trying to right wrongs when his first slick adaptation thrived on these very misconceptions.

London is no longer a character. The sets have been wonderfully re-created with green screens offering an authentic, dreary London backdrop. However, the city doesn’t have the same dark and oppressive atmosphere to anchor the adventure in a sort of moving painting.

Robert Downey Jr. and Jude Law are talented actors in their own respect and Sherlock Holmes: A Game of Shadows would be a complete waste of time without their presence. Yet, the co-lead chemistry and banter seems forced and the characters are goofy and overly camp, a shade of the poise Arthur Conan Doyle envisioned for them. To add insult to injury, Downey Jr. has been roped in…

“But I’m a lady. I do not have testiclé.”

The Girl with the Dragon Tattoo’s Noomi Rapace is almost unrecognisable as Madam Simza Heron and you can’t help but feel that her character is a device to carry the torch of femininity as Rachel McAdams fades to black. Jared Harris is convincing as an intellectual, but a bit indistinct as the sinister, scheming nemesis and equal-opposite that is Professor James Moriarty. While Stephen Fry’s presence is welcome, he’s a bit of a spanner with a jarring nude scene in an over-inflated cameo.

The sequel hints at a homosexual relationship between Sherlock Holmes and his friend, Dr. John Watson. This isn’t the first adaptation to play on this notion and Ritchie keeps this dynamic taut with some interesting moments involving Holmes in drag lying between Watson’s legs.

A two-hour journey, Sherlock Holmes: A Game of Shadows becomes wearisome. This action-adventure feels much like Shanghai Knights did to Shanghai Noon with more add-on action and fewer laughs. The sequel credo of “much more of the same” applies and for movie goers that enjoyed the first Guy Ritchie offering, A Game of Shadows is like seconds – you know you’re going to be stuffed, but what the hell?

The bottom line: Jaded

Release Date: 30 December, 2011

Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro

Catch more movie reviews at SPL!NG

Unfortunately, after seeing the brilliance of this little 2D animation series, every moving-picture adaptation comes in direct comparison. While the cast and film-makers attached to the new The Adventures of Tintin have a wealth of experience in the action-adventure genre – they’ve created a hybrid piece of entertainment, which is well-made but an entirely different beast.

The first notable difference is the style of animation. The new Tintin breaks the 2D mold and enters the world of 3D, single-handedly giving the film-makers license to reinterpret every scene. This is a somewhat alienating, albeit a refreshing entry point for fans of the Tintin series. The characters anchor the visuals, while recognisable themes are weaved together.

“Tintin, if we don’t make it out of this alive…”

The second difference is the character design and voices. Tintin has been turned from strawberry blonde to full-blown ginger. His facial expressions are near-blank and it looks like the animators struggled to bring Tintin to life. Other character modifications include two characters who have been modeled to look a lot like the legendary filmmakers: Steven Spielberg and Peter Jackson.

The voices are not as well-matched as the original 1991 animated series with Colin O’Meara and David Fox, giving bankable name actors preference over authenticity. While Andy Serkis (Lord of the Rings) and Jamie Bell (Billy Elliot) do a sterling job in giving life to these beings, it’s good different – just not as polished. Daniel Craig plays Ivanovich Sakharine with comic duo, Simon Pegg and Nick Frost (Shaun of the Dead, Paul and Hot Fuzz) as bumbling detectives, Thomson and Thompson.

The focus has also shifted to blend several Tintin adventures in a Raiders of the Lost Ark-influenced story. Once again, this alienates and refreshes… taking liberties to deliver a rendition rather than an accurate recreation of Tintin’s adventures. Apart from some dramatic scene changes and additional peripheral characters, they’ve made Captain Haddock permanently drunk instead of cantankerous and the focus of the film upon introduction.

“Billions of blistering blue bazookas…”

Several add-on action sequences showcase the technology, apparently Spielberg directed with a video game controller. However, these sequences seem clever yet contrived. Tintin may be an animated series, but one of its charms is that it never leaves the realm of reality or the possible. The action sequences breach this promise… offering a roving camera that breaks the rules of live-action in set pieces that are near-impossible.

There just seems to have been too much of an effort to bend Tintin into a Spielberg/Jackson product than leaving the charm of the classic graphic novels to do the talking. Merging several of the comics has resulted in something of a quick-paced highlights package that while exciting, feels rushed and routine. There are no moments to engage with the characters, to catch our breath and embrace the mystery. The action-adventure pacing may be at home in an Indiana Jones adventure, but even a globe-trotting investigative journalist needs time to observe, stake out and infiltrate.

While technically sound and entertaining, The Adventures of Tintin is a sign of the times. The influence of video games, the systematic and often unnecessary rehash of classic series and the reliance on film technology are just some of the factors at play. This adaptation may appease most movie goers, but will feel insubstantial, glossy and superficial to those who remember the real Tintin.

The bottom line: Superficial

Release Date: 23 December, 2011

Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro

Catch more movie reviews at SPL!NG

Frank (Wilson), a burger flipper, whose smoking hot wife (Tyler) and commitment to justice are the only two things going for him… oh, that and a commission from God to become The Crimson Bolt. When a sleazy drug baron (Bacon) gets his wife hooked on drugs again, it’s up to Frank to rescue her from his clutches and take on the responsibilities of a superhero with his trusty sidekick, Boltie (Page).

Kick-Ass had its moments, but the dark psychosis, religious overtones and ultra-violence of SUPER give it a jagged edge. SUPER roots itself in a fairly simple comic book story, but ratchets up the tension with a mission from God – giving the characters complexity and a general uneasiness that hovers between likable and unlikable as dark comedy festers in the background… the kind of comedy Heath Ledger’s Joker would enjoy.

The film parallels Defendor, another self-made superhero movie, starring Woody Harrelson with a similar make up – except SUPER sticks to its Gunn (couldn’t resist). There’s no crowd-pleasing as this low budget superhero flick answers to no one except passionate writer-director James Gunn himself. It has an unpredictable YouTube quality as the reality of each act of violence bears consequences and people actually get hurt.

“WHAT? …Spidey called in sick.”

The shooting schedule was also quick and the film-makers fostered an air of urgency on set relying on a few takes. The energy translates onto screen and SUPER knits great performances from Rainn Wilson, Kevin Bacon, Ellen Page and Nathan Fillion together to execute a film that remains compelling from the cartoon opening credits to its climactic, gut-busting 30 minute finale.

Rainn Wilson is seriously good. Forget The Office and The Rocker, this movie takes the actor to a whole new level… maybe it had something to do with tentacles unzipping his scalp and God activating his brain. Ellen Page also sneaks in a manic performance as Boltie with Kevin Bacon doing his thing and a short, sharp “cameo” from Nathan Fillion as The Holy Avenger. Liv Tyler was better in The Strangers and Michael Rooker, well we could just blame the vacant performances on the drugs.

The central relationship between The Crimson Bolt and Boltie mirrors the dynamic between Hit Girl and Big Daddy in Kick-Ass. Except there’s a strange sexual chemistry between Wilson and Page, both united by a mutual passion, teetering on the edge of insanity yet dutifully bound by society.

“Wanna go fight some crime?”

SUPER is not your typical Hollywood movie on account of the budget and creative freedom. It’s probably the direction South Africa’s disappointing Superhelde should have taken. Aiming for cult notoriety, SUPER is like a wrench to the skull, yet it somehow manages to captivate using the wrench to tighten up a few bolts while its firmly lodged in your head.

SUPER is another one of those movies that actually gets better once you’ve been exposed to the off-the-wall comic madness and given it a few hours to sink in… It’s definitely not for the squeamish and will probably go down like a gallon of battery acid if you’re expecting the feel good comedy of the year, but just like Taxi Driver – it’s dark and powerful.

The bottom line: Jagged

Now available to buy or rent online
Catch more movie reviews at SPL!NG

Moneyball is based on the book, Moneyball: The Art of Winning an Unfair Game by Michael Lewis. The book drew on the Oakland A’s sabermetric approach to selecting players based on numbers rather than relying on the collective wisdom of insiders and player reputation. Billy Beane (Pitt), a baseball hopeful turn general manager and assistant general manager, Peter Brand (Hill), redefined baseball business in 2002 when the Oakland A’s were gutted by $100 million plus teams and forced to use their limited buying power more efficiently.

Moneyball is this year’s equivalent of The Social Network with the same Oscar-winning screenwriter, Aaron Sorkin behind the script with the equally accomplished Steve Zaillian of Schindler’s List. The script isn’t as jam-packed as The Social Network, yet offers the same captivating and intelligent range of entertainment with good pacing and a realistic verve. The glory story has been turned on its head, remaining just as human as The Blind Side, but not feeding into the predictable “winning” formula.

“Meet Benicio Del Toro and Thor’s lovechild.”

Instead, the screenwriters have drawn parallels with the current state of the economy. This clever tie-in becomes more and more obvious as the system drills down to statistics instead of relying on speculation, offering a thought-provoking stance on an already intriguing true story. It’s not to say that Moneyball has diluted baseball’s identity – there’s still plenty of action, spitting and butt-slapping.

This biographical sports drama is directed by Bennett Miller, whose acclaimed biographical take on American author Truman Capote gleaned him an Oscar nomination. So it’s no surprise to see Philip Seymour Hoffman, whose Oscar-winning portrayal of Capote put him on the map. Despite Hoffman’s win, he remains on the fringe of Moneyball… delivering a “gutsy”, subdued and uncharacteristically quiet performance as Oakland A’s coach Art Howe.

This unconventional quality is maintained through the entire cast. Brad Pitt has generally been overlooked as an actor in awards season over the years. His stubborn, hardy role as Beane gives Moneyball impetus and he’s already shown great strides in several film critic events in the build-up to awards season.

“It’s a toss-up… ‘Moneyball’ or ‘Spitball’?”

Pitt carries the film with a pensive, complex Billy Beane whose self-confidence is at an all-time low. He sticks to his guns, despite waves of criticism – backing a struggling team despite a failed marriage and short-lived career as a rookie. Hill supports him as Peter Brand – the diligent and altruistic economics graduate and wing man. Wright appears briefly in something of a cameo, but lends her name to this overlooked ensemble.

Just like The Social Network didn’t expect its viewers to have any programming knowledge, you’re not required to be a fan of baseball to enjoy Moneyball. It does help to know the basics, but this biopic is more about the back room business deals than bunting, walking and stealing bases. The politics of insider decisions and inflated valuations is universal for any high-value organisation where money and winning go hand-in-hand.

At over two hours, you’d expect this character-driven sports drama to be a bit of a slog, but the writing is crisp, the true story has clout, the direction is well-balanced and the film delivers a spirited mix of drama with a good sense of humour and strong performances.

The bottom line: HR

Now Showing

Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro

Catch more movie reviews at SPL!NG

Robot Jox was one of the first robot fighting adaptations and while slightly more complex than Rock ‘Em, Sock ‘Em… came at a time when the advances of CGI were very 1990. You’d expect more from a film set in post-World War III with Cyberstorm type weaponry, but Real Steel builds on the premise taking the action back to the boxing ring minus the rocket-launchers.

Robots boxing? Well, gloves or no gloves… it’s kind of primitive to think we still consider it entertaining to watch two grown men beat each other to a bloody pulp in a fight to wear some over-sized belt that’s too big to hold your pants up. Isn’t that what Fight Club’s for? The sport of boxing is age-old, but who says that the Tin Man wouldn’t make a worthy substitute? More machine power, more metal mayhem… maybe the geeks at Robot Wars are onto something?

“It’s all in the eyes… COME ON, where’s the fire?!”

Real Steel takes the Michael Bay Transformers hype, adds a classic sport movie theme and a charming father-son relationship with a bit of Disney heart. Thank goodness Wolverine a.k.a. Hugh Jackman is manly enough to turn Real Steel into a real fight movie. Without the tough guy and the tough title, it’d be a little hard to swallow the sentimental Disney sap that bleeds into the last round.

Schmarminess aside, Real Steel is pedal-to-the-metal entertaining and at just over two hours it more than earns the price of admission! Who can resist an underdog story about a fighter? Especially when Hugh Jackman and Dakota Goyo (apparently a boy’s name too) are co-leads. Jackman brings his cool, Gillette designer stubble finish to the mix as the dashing, yet misguided has-been and wannabe father figure. He’s supported by Dakota Goyo, a boy shadowing his father’s moxie and charm.

Night at the Museum and Date Night director, Shawn Levy, has the controller on this one. It’s surprising given his recent directorial credits, but it just reinforces the fact that this one isn’t all oil, metal and grit. It’s a thrill ride with interest points for young and old. Levy’s films have been entertainment vehicles and his experience of working with models and CGI on Night at the Museum gives him a knack for robot action.

“Human, prepare for a 12-round car crash…”

Although you could argue that his easy-going, good clean family fun entertainment may be a bit too broad. Perhaps it’s this attempt to meet everyone’s expectations and check all the boxes that limits most of his movies to a six-out-of-ten. It’s a feel good time at the movies, gives the popcorn more crunch but doesn’t leave enough of an impression – ironically making them light, yet rewatchable.

This is the case with Real Steel. The cast add the necessary charm, the futuristic robotic fight choreography give the fan boys a reason to cheer, the buddy relationship between father and son gives Real Steel mettle and heart, but these crowd-pleasing tactics are tarnished by heavy product placement and gooey heartwarming Disney magic.

Overall, a good value for money action sci-fi for the kid in all of us, but not as gritty or complex as some die-hard science-fiction fans would’ve hoped for. There’s already a sequel in the pipeline, so let’s hope they don’t have to rely on as much product placement overload and test audience feedback for the follow-up.

The bottom line: Entertaining

Release Date: 2 December, 2011

Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro

Catch more movie reviews at SPL!NG

We’re taken back to footage of Katie’s life before the “demon”. Her mother’s live-in boyfriend is a freelance videographer and editor who stumbles upon some strange aberrations in a home video, which leads him to investigate the phenomena to the point of no return.

This origin story is a rewind to the ’80s, an era when the horror genre was becoming increasingly popular with Stephen King, John Carpenter and Wes Craven bombarding pop culture with iconic horror. It’s the perfect setting, taking many back to their childhood and dressing the set in a state of memory decay with wicker prams, rocking horses, old dolls and teddy bears.

Horror survives on suspense, creepiness, shock, fear, the grotesque and the unknown. Paranormal Activity 3 embodies them all. There may not be much in the way of gore, but let’s not forget this horror is about what goes bump in the night. The suspense is escalated in classic Paranormal Activity style as strange occurrences become more apparent and more regular.

“Katie… I think this mirror’s broken.”

Bringing children to the forefront was also a masterstroke and a convention that has become synonymous with horror, built on classics like Rosemary’s Baby and The Omen. Even the focus on sisters is a borderline cliche in the wake of films like The Shining and A Tale of Two Sisters, but the innocence of childhood corrupted by evil never seems to grow old.

Another fantastic element that the Catfish filmmakers have delved into is the concept of an imaginary friend. Once again, an echo of Danny in The Shining, it’s an idea that still frightens us… to think that children may be inviting something into our homes that doesn’t exist or even worse, something that does.

Low budget horror may not have the slick production values or name actors of Hollywood blockbuster horror, but the loose ends taunt us with possibility and the grade forgoes special effects by harnessing the power of imagination. Paranormal Activity 3 finds a good balance, down-scaling the action in favour of quality over quantity when it comes to scary “how did they do that?” effects.

As with the previous movies, the cast is relatively unknown. Paranormal Activity 3 is taken from the perspective of Dennis played by Christopher Nicholas Smith, the live-in boyfriend and freelance editor, who becomes obsessed with the haunted home. Chloe Csengary stars as young Katie opposite Jessica Tyler Brown as her sister, Kristi. While their young mom, Julie, is played by Lauren Bittner.

“Toby, come out, come out wherever you are…”

Paranormal Activity 3 is more interested in portraying authentic reality cinematography, despite the ensemble’s natural, convincing performances. The camera eye is more focused on happenings, atmosphere and striking the right tone. Fixed tripod cameras monitor bedrooms, a makeshift fan camera pans the living space between the dining room and kitchen while a handheld camera links the scenes.

Paranormal Activity 3 is a pensive game of cat-and-mouse, stringing the viewer along, mounting the tension and then pouncing when we least expect it. Henry Joost and Ariel Schulman know how to build suspense and even make allowance for a couple of prank scares to relieve and unsettle us.

It’s the sort of movie you’ll want to cover your eyes for, the sort of fright fest where screams are intermittent and the kind of horror that makes you think twice about sleeping in an empty house all on your own. If you loved the first Paranormal Activity and were less impressed by Paranormal Activity 2, part three will meet and surpass your expectations. Based on the opening weekend success of the third movie, Paranormal Activity 4 is already being primed for 2014.

The bottom line: Spine-tingling

Release Date: Now Showing

Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro

Catch more movie reviews at SPL!NG

Not true. Talented film critic-turn-director Rod Lurie, the man behind The Contender, The Last Castle and Nothing But The Truth heralds a remake, which is not only faithful to the original, but has actually made some improvements – giving a powerful study on social, cultural and gender issues a slick finish with a taut script, good pacing and fine performances.

The iconic title was derived from Chinese philosopher Lao-tzu, who wrote, “Heaven and earth are not humane, and regard the people as straw dogs.” While the original was an adaptation of The Siege of Trencher’s Farm, Peckinpah went with Straw Dogs, the end result of a title competition among cast and film crew. Watch original trailer…

Straw Dogs is the story of David Sumner (Marsden), an L.A. screenwriter who moves with Amy (Bosworth) his TV star wife to her father’s estate in her hometown in the American South. Sumner is ridiculed by locals and his wife’s history comes back to haunt them as they struggle with their marriage and the increasingly hostile attitude of the people around them.

James Marsden vs. Dustin Hoffman… in Face/Off

The ensemble is terrific. James Marsden delivers a solid performance with one critical slant – he’s portrayed more sympathetically like Michael Douglas in Falling Down. Kate Bosworth makes an excellent substitution for Susan George leveraging her character’s hometown history to good effect. Alexander Skarsgard gives his intimidating character more weight. James Woods may not have the physical presence of Peter Vaughn, but musters an embittered take on the old coach. Dominic Purcell is good, but probably would’ve been more useful as Charlie.

The original Straw Dogs was set in rural Cornwall, England. For once, a remake has been Americanised and actually benefited from the relocation – making a cross-Atlantic transition down South to the U.S. Mississippi Gulf Coast. The North-South tension and small town mentality translates beautifully with an even stronger impact in the bar, hunting and religious themes. The unifying high school football thug camaraderie just seems to gel so naturally.

The Straw Dogs remake has also been updated to the present, moving from the post-Vietnam era of 1971 and leveling with post-9/11 America, 2011 – exactly 40 years since the release of Peckinpah’s version. This keeps the film more relevant and strums the same timeless, hard-to-swallow truths.

The characters have also been revised. Straw Dogs (1971) featured Hoffman as a mathematician working off a grant, while Straw Dogs (2011) updates David Sumner’s profession to that of L.A. period piece screenwriter on a writer’s retreat for Marsden’s role.

Other noteworthy overhauls include: the character substitution of a white Major for a black Sheriff, a stronger focus on David’s classic sports car, more screen time for Charlie played by Alexander Skarsgard, a bigger barn, a more neatly packaged split of the church charity event into a church service and a high school football match, a less graphic and sensual depiction of the rape scene with a couple of new inventions around the grand finale.

Never invite Eric Northman into your home…

Lurie’s adaptation thrives on conflict, keeping the film taut and on edge as the Sumners try to fit in with the community. Wealthy vs. poor, white vs. black, man vs. woman, North vs. South, Christianity vs. Atheism, city vs. town, machismo vs. cowardice, brain vs. brawn… Straw Dogs is riddled with bipolar themes, creating a tense atmosphere with an escalating Southern fever that cracks on toward breaking point.

There are one or two moments that don’t ring true for Straw Dogs, but the whole film has been refined with great intelligence. The tweaks ratchet up the tension and in many ways the revised Straw Dogs is more sensible and superior to the original.

Rod Lurie has delivered a first-class remake, one that is faithful, features a strong ensemble performance, edge-of-your-seat entertainment and a host of smart improvements. As brilliant a remake as it is, you can’t substitute the raw power, audacity and novelty of Sam Peckinpah’s original led by an in-form Hoffman. Both deserve an equal weighting in their respective categories of raw cult classic and slick commercial thriller.

The bottom line: Powerful

Release Date: 18 November, 2011

Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro

Catch more movie reviews at SPL!NG

Cancer is deadly serious, which is probably why very few people have tried to broach the subject in film, let alone comedy. Yet, they’ve taken the leap of faith in 50/50, a dramedy based on a true story. Adam is diagnosed with cancer and 50/50 relays the physical, mental and emotional challenges in his struggle to beat the disease. Telling that story is The Wackness director Jonathan Levine and producer-turn-screenwriter, Will Reiser.

There’s an inherent understanding between co-lead actors, Joseph Gordon-Levitt and Seth Rogen and film-makers, Jonathan Levine and Will Reiser. Levine delivers a balanced and realistic character portrait of Adam, while Reiser’s script offers a candid, honest slice-of-life take on living with cancer.50/50 explores the world of a young 20-something guy struggling with cancer, giving us a chance to familiarise ourselves with the people that matter: his best friend, girlfriend, therapist and parents. We’re drawn into this microcosm and are given a chance to live, laugh and cry on his journey.

“Dude, now you REALLY look like an alien.”

Joseph Gordon-Levitt (500 Days of Summer) is quickly establishing himself as a dependable A-grade actor with a string of solid lead performances over the last few years. He really knows how to choose great roles that push his acting ability and 50/50 is no different. Starring opposite Gordon-Levitt in more of a supporting role is Seth Rogen (Knocked Up), the gravelly-voiced dude who knows how to have a good time. There’s an easy-going chemistry between Gordon-Levitt and Rogen, making it easy to believe they’re buddies.

Relative newcomers Anna Kendrick (Up in the Air) and Bryce Dallas Howard (The Help) bring solid secondary characters to the story as Adam’s therapist and girlfriend. Kendrickcontinues to impress as a counterpart to Jesse Eisenberg and Dallas Howard seems to be carving a niche as that girl everyone loves to hate. Rounding off the supporting name cast is Anjelica Huston, acknowledging the next phase in her own life with a performance that carries great timing and sensitivity.

“Eat your heart out Liu Kang… THIS is martial art.”

50/50 is character-driven and good-natured. The performances give authenticity to the relational dynamics between the characters, who all seem to have a sense of history. Rogen injects some reckless youth into proceedings, always trying to spur Adam on a hedonistic binge in an attempt to live life to the full. His actions are treated with sympathy and because his heart’s in the right place, he becomes immune to judgement. The bad language, drug use and sex is infrequent – and while not entirely necessary, gives us a more intimate connection with Adam.

According to one 50/50 reviewer living with cancer and undergoing chemo, this movie “gets it”. There’s a quiet honesty to the performances and the balanced slice-of-life perspective never dips into melodrama or runs the risk of going over-the-top with the comedy. It’s a bold film, based on real-life experiences and there’s never a false note – making it a fascinating, beautiful and intimate film that really hits home.

The bottom line: Heartfelt

Release Date: Now Showing

Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro

Catch more movie reviews at SPL!NG

We’re presented with a not-too-distant future where money has been converted into time and people have been genetically engineered to stop aging at 25 for population control. Immortality is possible thanks to the new currency and class structures still exist between those literally living from day-to-day and the elite, whose biological clocks have centuries remaining. Will Salas (Timberlake), a man accused of murder finds himself on-the-run with a hostage, who can help him stay hours ahead of the time-keeper authorities.

In Time has a sharp contemporary cast. Justin Timberlake has been steam-rolling through movies ever since that surprisingly adept turn in David Fincher’s award-winning The Social Network. In Time gives the pop-turn-movie-star a chance to extend his reach to include lead action star. He’s supported by several other rising talents in Amanda Seyfried, Cillian Murphy, Olivia Wilde, Alex Pettyfer and Vincent Kartheiser. The ensemble is potent with an impressive array of shared blockbuster credits.

“That ‘piece of ass’ is my grandmother you idiot!”

Andrew Niccol leads the charge, armed with the experience from several critically-acclaimed high profile films, making him a respected and bankable writing/directing option. Niccol knows how to dress a film and has given In Time a sleek finesse reminiscent of Inception, Minority Report and his own film Gattaca. The cold, clinical and futuristic atmosphere is supported by strong production values, functional CGI and a good-looking cast. The premise of literally turning time into money seems obvious, but sets the scene for what could have been a science-fiction classic.

Unfortunately, In Time will not be accused of being out-of-time. The casting emphasises this point, taking a bit of a gamble with Timberlake, who just seems a bit too soft to be taking on a typical Hitchcockian lead. He’s not a Cary Grant, a Tom Cruise, a Bruce Willis or a Jason Statham and while he can move, In Time doesn’t give him the opportunity to get physical. He just doesn’t seem to have that dark edge.

The co-lead chemistry with Amanda Seyfried doesn’t really help matters much either. Her hairstyle distracts from her performance and she just seems too concerned with appearance over staying alive. The two make a cute romantic couple, but would be more suited to the romantic comedy genre than trying to outrun the law. They eventually get in tune with each other, when lighter comic intentional humour strikes – just reiterating the point that they would be more comfortable in comedy, drama or romance.

“Forget time – runaway fashion’s the killer!”

Cillian Murphy also just seems a bit out-of-place as the head timekeeper. He’s no Agent Smith and while tenacious, there’s no real intimidation factor at play. Alex Pettyfer was better inI Am Number Four and doesn’t seem to have the chops to pull off a thug and Vincent Kartheiser is the only actor that seems to deliver on performance as the refined rich old guy in a 25-year-old’s skin. While marred by some inconsistent performances, In Time’s pacing keeps a hold on the audience as one scene races to another.

What develops is a Bonnie & Clyde style heist crime/thriller set in the near-perfect utopian world of Gattaca. It’s as if Will Salas has discovered he was Robin Hood in a previous life as the sexy runaways get up to mischief with Daddy’s time banks and a class war ensues. Niccol presents the story, but there’s little to no attempt to delve into the philosophy, psychology or insights of the world. The surface-skimming approach keeps things lightweight from story through to characters, making it all seem a bit flimsy and too easy as a concept.

While laden with potential for greatness, something just didn’t click and In Time just doesn’t seem to be in-sync with the audience, offering an inadequate climax and half-baked resolution to a slick, yet heavy-handed production. The aesthetics offer eye candy, but the entertainment factor is superficial, lacks spark and seems to be going through the motions. It’s a tragedy to see such collective talent amount to a less-than.

The bottom line:  Disappointing.

Release Date: 28 October, 2011

Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro

Catch more movie reviews at SPL!NG

Just like the Survivor TV series, man’s greed or desire for power is exploited, making it easy to see the characters we love-to-hate meet their downfall. Schadenfreude or in Hollywood, point and say ha-ha, is where it’s at and we’re given a roving, voyeuristic eye to implant or extract ourselves from the story whenever convenient, sticking close to the redeeming heroes and dropping the bad eggs as if we’re getting off on that floor.

Skeem is a good crime caper. Tim Greene (Boy Called Twist) has written and directed a fun, entertaining and lively film that moves along at a frenetic pace with an ensemble representing some of South Africa’s best actors. The cardboard box of money is what was the missing element in Paradise Stop and Greene’s essentially delivered a more refined version of Benny Boom’s Next Day Air with local South African talent and comedy flavour.

“Hey my bra, is that a “Bad Moon Rising” or WHAT?!”

Next Day Air followed two transporters, whose cardboard box delivery of cocaine is delivered to the wrong address and becomes the bone of contention between an apartment block of gangsters. Skeem is set at a rural South African holiday resort and has a softer tone, but generates a similar concoction of light comedy, ultra-violence and bad language.

The problem is that there are just too many money-grabbing charlatans in one resort. It’s one thing to have a block of ex-cons backstabbing each other, but the film loses some of its grip by dismissing every resident as an uninhibited criminal in the shadows. We’re suffering the after-effect of a recession, which may have partly inspired this “love of money” caper, but the bad guys just seem to flip the switch when the pile of cash hits the ground without any sort of buffer.

Having a predominantly unlikable ensemble of characters makes it difficult to identify with the story, keeping viewers at an arm’s length. The only saving grace is lead actor, Wandile Molebatsi as Vista and Lilani Prinsen in her debut as Janna, whose jagged edges soften over screen time. Both up-and-coming actors deliver solid pivotal performances and help keep the action and cynicism in check with the flitter of integrity and goodness.

“T-t-tangerine trees en m-ma-marmalade skies…”

It’s a difficult balancing act, when you consider that the rest of the holiday resort’s guest list and descending gangsters are slithering all over the cold hard cash. The money-grabbing contingent is made up of Grant Swanby, Rapulana Seiphemo, Kenneth Nkosi, Terrence Bridgett, Kurt Schoonraad, Casey B. Dolan and Mark Elderkin to name a few… The ensemble is bulging with talent and threatens to implode as more and more characters get their “money shot”.

With so many actors fighting for screen time, there are some that shine brighter than others. Terrence Bridgett steals the show with his funny stammering, combi-driving henchman role as Mung. Kurt Schoonraad establishes the perfect tone for crime and comedy as Richie Rich. Rapulana Seiphemo does what he does best as the straight-faced gangster, while Kenneth Nkosi gets down to business with plenty of eye-balling.

Mark Elderkin deserves a special mention as the one-man-band equivalent of a stoner comedy, while Casey B. Dolan and Jenna Saras show us the meaning of sexy, vivacious, stone cold bitch. The ensemble is collectively good, but there are just too many speaking roles and characters to keep tabs on. You’re so busy trying to work out which chalet they’ve come from that by the time the real bad guys rock up and the money’s changed hands again… you’ve lost count.

2oceansvibe friends James Stewart and Barry van Zyl and their new powerhouse Music Design, Production and Licensing company, WATER took care of the audio side of things! (www.water-sound.com).

“Which of you f-f-fine y-young ladies is getting hitched?”

Skeem is chunky, especially in the middle and despite good pacing, it just gets to be a bit too much. Perhaps a slightly longer build-up to the resort or more intermittent murders would’ve helped clear some of the character debris and subplots. As it stands, the promise of a road trip that hits a dead-end and a locked down holiday resort just stunts and stagnates the production a bit.

The choice to shoot at a cheap holiday resort in the middle of nowhere was a touch of brilliance for a film with budgetary constraints: less props in the minimalist chalets, an anywhere in South Africa feel and a fixed, flexible shooting location.Skeem doesn’t overshoot the mark, although if you’re leaning towards a 16 age restriction, make sure you use live ammunition to tag-and-bag rather than distracting post-production gunfire visual effects.

The same sentiment can be expressed in the intensity of the film. There’s never really any threatening dopamine-inducing fear of death until the last 15 minutes. Apart from a few “we mean business” phone calls, the gravity of the situation doesn’t really have enough of an affect on the transporters – as if they’re only ever expecting a tap on the hand. The stakes aren’t raised soon enough and by the time they are… it feels a bit jarring, surprising like From Dusk to Dawn, but too late in the game.

Skeem is an independent South African character-driven crime comedy caper that is fun, zippy and entertaining. The money changeovers are well-written and it has a spicy, unpredictable atmosphere. Unfortunately, there are just too many unlikable characters with one too many subplots at play. This keeps the pace up, but makes the experience a bit too repetitive and clunky at times. Skeem has its flaws, but makes up for them with its zany mixed bag of characters, frenetic pacing and stand out comic performances in this difficult-to-master subgenre.

The bottom line: Frantic

Release Date: 28 October, 2011

Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro

Catch more movie reviews at SPL!NG

To remake or not to remake is the question, but most remakes aren’t a restoration as much as they’re a second spin on the money-go-round. The new Fright Night is no exception, taking the recent splurge of ’80s horror remakes and turning it into a trend. The movie may not be where director, Craig Gillespie, saw himself after directing commercials for 16 years and then unleashing his first feature film, Lars and the Real Girl, but even directors have to eat, which explains his second film - Mr. Woodcock.

Thankfully Gillespie and the crew of filmmakers are old enough to remember seeing the original Fright Night with much glee. They’ve channeled that nostalgia into the new version, retaining a good balance of comedy, horror and enough thrills to keep the audience on edge. In many ways, the new Fright Night is superior. It may not have the novelty working for it, but its taken the wooden stake and run with it – delivering on performance, experience and entertainment value.

“A graveyard in his backyard… CUMANN!”

Colin Farrell is devastatingly good as Jerry, the macho, mysterious, new neighbour. Farrell is a Hollywood bad boy in real-life, making it really easy to bridge the transition to “thing that goes bump in the night”. His dark countenance (and even the word “countenance”) gives him license to thrill, own the performance by being dead and love every minute of it. Anton Yelchin is one of three new generation actors, who just can’t put a foot wrong. Besides Jesse Eisenberg and Michael Cera, he’s one of the golden boys – making every performance weighted, likable and consistent… arguably a little too consistent for some.

The supporting cast is made up of David Tennant in one of the funnier performances of the film as Las Vegas magician and vampire hunter, Peter Vincent. He’s every bit as funny as Toby Kebbell’s Drake Stone in The Sorceror’s Apprentice and more… sending up performance art magicians and the occult with a dry, whimsical “Ghostbusters” style performance. Christopher Mintz-Plasse is just Christopher Mintz-Plasse, the way we love him, and Toni Collette rounds off the name stars with a “dry” performance of her own as Charley’s mom. While gorgeous newcomer, Imogen Poots, features alongside Yelchin as his romantic interest and does well to complement Charley as the doting girlfriend and high school sweetheart.

“Crucifix stake… BIG mistake!”

The 3D experience adds to the film, giving it an immersive quality without taking away from the scares, making Fright Night a great choice for Halloween. The CGI is convincing and is used sparingly, avoiding the dated animatronics of the ’80s or overreaching the CGI in creating the remake. The Fright Night remake is slick and brings the story up-to-speed with special effects and a modern finish to harness the 25-year plus lapse in time.

The entertainment value is found in the new levels to the story, which in its simplest form can be summed up as “a kid thinks his neighbour’s a vampire”. The comedy is crisp and fresh, the scares aren’t cheap and the pacing is good enough to steadily build the horror from 0 to 10 without losing the audience. It’s the sort of popcorn-spilling mix of entertainment that makes the laughs more satisfying and the thrills more unexpected – what movie night is all about.

In many ways, a companion piece to Disturbia – the Rear Window-inspired thriller, Fright Night [3D] packs a punch, meets and surpasses expectations for an ’80s horror remake. The tongue-in-cheek vampire comedy balances out against the blood-curdling suspense, making this a well-weighted horror comedy reminiscent of Shaun of the Dead – backed by good writing and a rock solid cast with a stand out performance from Farrell.

The bottom line: Entertaining.

Release Date: 21 October, 2011

Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro

Catch more movie reviews at SPL!NG

The legendary three musketeers: Athos (MacFadyen), Aramis (Evans) and Porthos (Stevenson) are betrayed by Milady (Jovovich) – a Resident Evil meets Marie Antoinette cat burglar, who uses the trio to steal an ancient manuscript in Venice. A year later, a pipsqueak by the name of Brakenjan, *cough* D’Artagnan (Lerman) joins the league of has-beens in the hopes of high adventure. He’s the cocky new kid on the Parisian block whose self-esteem is obviously flourishing, picking a fight with just about everyone. After foolishly taking on forty of the King’s men, he earns the respect of the beleaguered musketeers and a reluctant plot involving the theft of the Queen’s jewels, Buckingham, Richlieu… blah, blah, blah.

This adventure is not about story, camaraderie or heart – it’s a slick, opulent, budget-swaggering beast unleashed by writer-director Paul W.S. Anderson. Trailing in the wake of bigger franchises, this movie borrows like a magpie from Pirates of the Caribbean, Stardust, Entrapment, The Princess Bride, Marie Antoinette, Indiana Jones, Robin Hood: Prince of Thieves and even Anderson’s pride and glory, Resident Evil. The slick visuals, quick-pacing and decadent CGI layering will remind you of Guy Ritchie’s Sherlock Holmes, but unfortunately the script is found wanting.

“Okay boys, trousers down – he wants to inspect the jewels.”

The Three Musketeers has a comic book sensibility, a camp cheeriness, a lot of tongue-in-cheek dialogue and never takes itself too seriously. It’s the sort of wink-wink rapport that made The Princess Bride a classic, but somehow it doesn’t have the same substance. The characters aren’t as lovable, there’s not as much heart and there’s very little purpose – making this action-adventure all about fluff, flair and unnecessary 3D special effects.

How they managed to get name stars like Christoph Waltz, Orlando Bloom and Milla Jovovich amid a star-studded supporting cast is a wonder. Waltz has been milking his Inglourious Basterds performance for all it’s worth with a string of comical bad guy characters that pale in comparison. He’s like a poor man’s John Malkovich, giving villains a maniacal glaze with a dark sense of humour. Orlando Bloom hams it up like Lord Flashheart in Blackadder Goes Forth, delivering an over-the-top character that bridges his presence in The Three Musketeers with Pirates of the Caribbean. Milla Jovovich is Paul W.S. Anderson’s lapdog after the runaway success ofResident Evil, so in a similar move to Joan of Arc, she appears as Milady de Winter.

The Three Musketeers is aided by slick visuals, lush colours and a heap of action sequences that range from airship battles to rooftop duels. The opulence of Sofia Coppola’s Marie Antoinette and a theme involving the royalty drives this style over substance action-adventure. There’s an attempt to mimic the tone of The Princess Bride, but the magic and heart is seriously lacking. The accents, folk lore legend and villains in Richlieu and Rochefort are reminscent of Robin Hood: Prince of Thieves and there are some green screen action sequences that could have been scraped off the Resident Evil cutting room floor. The Stardust airship, the Indiana Jones booby traps, Catherine Zeta-Jones in Entrapment… The Three Musketeers has “borrowed” more than some bad spoofs.

“The Candy in the Age-Old French Tradition.”

The overriding problem is that there’s no clear hero – sorry Logan. The “all for one, one for all” band of merry men function as a single character with each musketeer representing a side to the “four-headed” Frenchman. The Three Musketeers is simply a theme skin dictating the setting and period for this generic fantasy adventure. The dilution of a main protagonist strands us as viewers but offers flair and fashion as a substitute for any real weight to this story, supposedly based on the Alexandre Dumas novel. The wishy-washy plot and farcical subplots are just there to give an excuse for musketeer style 3D action and it just doesn’t have the same appeal as Pirates of the Caribbean, The Count of Monte Cristo or any of its strains of influence.

The eye candy can only keep us entertained until they run out of new characters and explosive action and when you fall back on the story (just like Milady), there’s nothing but a sequel to break your fall. The cast has some recognisable names and faces, but no one’s really willing to own it. The redeeming features are all superficial making this entertainment throwaway fodder for the masses. The Three Musketeers has it all when it comes to production values, but beneath the moustache, feathery hat and bravado… there’s very little going on.

The bottom line: Pretty

Release Date: 14 October, 2011
Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro

Catch more movie reviews at SPL!NG

Revenge of the Nerds started the ’80s on the wrong foot and can probably account for most of the bizarre fashion, music and movies to come out of the era, allowing a rebellious “everything-goes” attitude to creep in – as long as you own it. How else can you explain movies like Ferris Bueller’s Day Off and The Breakfast Club? These iconic films demonstrated that geeks have got their own subculture and if you wear it with pride, you’re worthy of cool.

This age of reckless abandon in American youth culture generated much of the nostalgia we have for the ’80s – and explains why they won’t go away. Hollywood gave the care-free time a surreal quality, breaking culture down into simple bite-size chunks, adding a touch of flair and a bottle of rose-tinted romance. Who doesn’t want to daydream? Especially when we find ourselves in post-recession depression… sorry about the reminder. The Wedding Singer just about made up for all the disappointment in the ’90s and so it seemed only natural that a new ’80s style movie lift our spirits.

“That chick Tori, she’s truly dazzling.”

Sadly, that movie is not Take Me Home Tonight. This comedy romance drama about one wild night to remember has all the elements of a light-hearted foray into the ’80s complete with hairdos, fashion, cars and house parties with an easy-to-spot selection of jocks, nerds and punks. It’s even got that sweet psychedelic innocence that Cindy Lauper and The Cure tried to indoctrinate through their music, but with one flaw… it’s forgettable.

Unfortunately, the script lets the side down with an inconsistent mix of comedy and romance – leaning heavily on the cast to get the movie through on charm and style alone. There are one or two laughs, but Take Me Home Tonight just doesn’t hold up against the films its trying to emulate and more contemporary comedy classics like The Wedding Singer. Going ’80s for comedy is always going to draw comparisons, but it’s tough measuring up to the magic of Adam Sandler and Drew Barrymore in the rewatchable ’80s comedy that put Sandler on the map.

“One, two, three, four… I declare a dance war!”

Topher Grace plays Topher Grace as Matt. Teresa Palmer is smoking hot… ratcheting up yet another performance in her bid to Hollywood fame and fortune – and it’s working! Anna Faris tries a straight comic performance for a change, offering a toned down older sister who doesn’t have to be the centre of attention. While Dan Fogler gets his party face on in a hedonistic binge – delivering most of the fun and energy in this spicy yet sweet-natured “romcom”.

It’s not going to change your world, but it’s fun and entertaining enough to get you through the night. A plucky cast of young, likable actors, a night of rebellious excess and one or two moments of magic. Adam Sandler is to The Wedding Singer, what Topher Grace is to Take Me Home Tonight… so if you’re up for some nice, sometimes naughty and sweet entertainment, then by all means take this movie home tonight.

The bottom line: Charming

Now available to rent.

Catch more movie reviews at SPL!NG

Dave (Bateman), a successful lawyer and family man is given a chance to live the bachelor life he missed when he and his childhood best friend slacker-turn-actor, Mitch (Reynolds) take a pee in a special wishing well together. The deadbeat wannabe actor, in some ways an extension of Van Wilder, is forced to grow up as the two swap bodies and try to continue life in each others shoes… or shower flip-flops. As each of the men get to know each other a whole lot better, they learn some valuable life lessons along the way getting to experience the elusive lifestyle they so envied all the while tracking down the even more elusive fountain.

“You are not having sex with my wife.”

It’s a roller-coaster ride of awkward moments and calamities as each buddy takes one for the team, while enjoying the benefits and responsibilities of being each other for a while. Guys will be guys and what else would you expect from Wedding Crashers director David Dobkin and The Hangover writers John Lucas and Scott Moore?

Bateman is best known for his role as Michael Bluth ofArrested Development and has had a succession of hit-and-miss “nice guy” roles along the way with a good turn in The Switch and less-than-satisfactory performances in Horrible Bosses and Paul. The Change-Up is his return to form as he gets to have a little fun as the player in the lawyer suit.

Ryan Reynolds has also carved a likable mold for himself in Hollywood, but you’ll find very little to like about his slacker character whose pottymouth and degenerative lifestyle leave a trail of mucuous. Reynolds is fantastic at being Prince Charming and gets a chance to exercise those skills when he’s cast into the dark world of medium core porn and confronted with a string of vivacious night-prowling women as the innocent rebel without a cause.

“You had me at hubba-HUBBA…”

Speaking of vivacious, TRON: Legacy’s Olivia Wilde and Knocked Up’s Leslie Mann play supporting characters as the bodacious office babe and foxy stay-at-home mama. Wilde is drop dead gorgeous and it’s actually difficult to get past the doll face to her smart, spunky law firm character. More surprising, however, is Leslie Mann who has made a bit of a thing of playing slightly neurotic 30-something wives and mothers. It’s a bit of a break-out role for her, managing to dig herself out of the rut with a smoking hot figure beneath all the breastfeeding and domestic strife.

There’s a bit of a nasty streak in the comedy with babies bumping heads, backlot porn shoots and offensive child-rearing – making this the movie Hall Pass wanted to be. It’s vicarious escapism and a guilty pleasure for most guys (and some gals), who get a chance to hang out on both sides of the pendulum, whether making or rearing babies. A late Disney moment almost derails the movie in an attempt to salvage some heart, but the spirit of daring fun and outrageous behaviour is what wins out. So all in all, dashing and daring, not courageous or caring.

The bottom line: Daring

Release Date: 30 September, 2011
Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro

Catch more movie reviews at SPL!NG

This is an important film, one of many incredible stories that have emerged from a continent with many dark secrets. Colonialism divided Africa as each conquest left a chequered national history with no winners. Kimani Maruge saw it all and had the courage to put his hand up when Kenya gave its people the right to free education.

“It’s your first day. Relax.”

The First Grader may sound tame with an innocent movie title, but it’s not for sensitive viewers. We’re exposed to Maruge’s stream of consciousness as a flood of painful memories of being a freedom fighter continue to haunt him. Many are unaware of the atrocity that gripped Kenya and will be shocked to see these disturbing flashbacks contrasting the man’s fight for education with the struggle for freedom.

Oliver Litondo plays Maruge and delivers a subtle, stoic and spirited performance as the title character. While he’s had a few small parts, Litondo embodies Kimani’s determination going to great lengths to add to the authenticity of the role, even wearing shoes too small for his feet (Maruge’s toes were cut off).

He’s supported by Naomie Harris as Jane Obichu, a British actress whose credits include: 28 Days Later…, Miami Vice and Pirates of the Caribbean. She appears to have lost so much weight for the role that she looks like a child in the poster and delivers a stalwart performance as the young school teacher. The cast is boosted by accomplished South African character actors Tony Kgoroge and Vusi Kunene, who both add their weight behind the production.

Justin Chadwick, best known for The Other Boleyn Girl, directs this poignant drama with South Africa’s very own Ann Peacock attached as screenwriter. Chadwick balances the experienced cast with an inexperienced real class of extras, who add to the film’s authenticity and provide a wonderful contrast for Oliver Litondo’s role as a sweet old man dressed in his school uniform. Peacock’s delivers a winning heartfelt script with equal dabs of light and dark to keep the drama taut and flesh out Maruge’s back story only to make his achievement even more remarkable.

“This is going to hurt me more than it hurts you.”

The cinematography is effortless, taking Kenya’s natural beauty and keeping the dusty central location of the primary school fresh with young faces. The First Grader starts off strong with some parallels to I Am Slave, another powerful drama about the slave trade in Sudan, contrasting the painful past with the hopeful present. Yet, once the characters have been established and the gist of the story has been rooted - The First Grader struggles to maintain its intensity and hits a lull of inevitability as Maruge’s opposition fall away.

The First Grader remains engaging, inspiring and a must-see for its cathartic message of hope, healing and restoration. The solid performances, deft direction, heartfelt script and authenticity of the Kenyan setting overpower its minor flaws and subdued second half. The result – a thought-provoking film that has scooped a heap of film festival audience awards and the sort of movie that inspired Sarafina!’s Whoopi Goldberg to say “Run, do not walk, and go see this.”

The bottom line: Powerful

Release Date: 23 September, 2011
Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro

Catch more movie reviews at SPL!NG

Hanna is reminiscent of hitman movies like The Professional where a young Natalie Portman made her mark in Luc Besson’s acclaimed film about Leon, played to perfection in a career best performance by Jean Reno. In many ways, Hanna has been inspired by The Professional, combining the hitman theme with the innocence of a witness to the murder of a family. Jodie Foster’s role in Nell also echoes as the title protagonist comes into contact with society and technology after being raised in a Siberian forest without much contact with the real world… bare necessities.

The novelty of this premise of creating a character much like Hitgirl from the movie, Kick-Ass, is what propels Hanna. It’s a road trip story of sorts as Hanna comes into contact with a range of characters from hippie holiday-makers to cut-throat killers. There’s also an undercurrent of comedy much like Shoot ‘Em Up, which remains untapped as a young girl seeks revenge on her mother’s killer.

“Hello. My name is Hanna. You killed my mother. Prepare to die.”

Joe Wright (Atonement) knows how to please the eye from an aesthetic vantage point. Hanna lives up to this promise as photographic beauty cascades from one scene to the next with a manicured atmosphere. Wright composes a beautiful film, which counterbalances the action and modern soundtrack – like Terrence Malick meets Guy Ritchie as artistic sets and fight choreography reverberate a soundtrack from The Chemical Brothers.

The addition of such quality actors as Eric Bana and Cate Blanchett heighten the level of performance as this fish-out-of-water thriller builds to a crescendo. Bana is understated and solid as usual and Blanchett gives the main antagonist a zeal for perfection in a role that could very well be Hanna 20 years later…

The direction, performances, style and fresh take on assassins offer so much promise that it’s a bit disappointing when all the ingredients don’t add up. The story is like a Kill Bil: Junior as our assassin gets her first taste of revenge, using kills and locations to rack up a semblance of story. The title character is also very reflective, absorbing a sense of gravity from her interactions and surroundings – making it difficult to connect.

This keeps the audience slightly detached, hovering on the outside of the bulletproof looking glass. Hanna’s journey is taken at an arm’s length and becomes a spectacle, rather than a compelling story. The distancing also forces the audience to grab at the story, which struggles to harness any emotional depth. Having several cold, calculated characters share the lead is always going to be trying… no matter how cute or warm the traveling sideshow family distraction.

The bottom line: Beautiful.

Now available to rent or buy.
Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro
Catch more movie reviews at SPL!NG

Grant that a high note for a thrill-seeking gore-fest is not all that high, but let’s just say that Final Destination 5 is a surprise – lacking only the novelty that made the original such a success. Aliens of the Deep documentary film-maker and second unit director for Avatar, Steven Quale, has taken the director’s chair for the last chapter in the Final Destination series and if James Cameron can trust him, then he can’t be all that bad.

“No seriously dude… I got this!”

He isn’t, taking all his experience of working on a heavy special effects blockbuster like Avatar and channeling it into Final Destination 5, which boasts some pretty amazing special effects wizardry. In case you didn’t know, Final Destination is a tongue-in-cheek saga and isn’t meant to be taken too seriously. The whole concept of fate leaving a crease in the timeline of life as we know it is intriguing, especially when you consider the possibility that it may try to correct these “wrinkles” with an iron.

The combination of make up artistry and visual effects is also first-class… giving us a real sense of what would actually happen if a laser were to cut into an eye, acupuncture needles were to dig deep in skin or if someone had to impale themselves on a yacht mast. These scenes aren’t butchered in an average and obvious blood-and-guts style. The film-makers have taken it up a notch by making each kill less predictable, misleading us with elements in the environment that appear ominous, but don’t carry out the execution. This makes each kill more of a thrill and a guessing game, translating just as much imagination in dreaming up the Saw machines, to carry out each lethal Final Destination 5 scene.

The cast includes an up-and-coming relatively unknown bunch of actors with one or two surprises. Nicholas D’Agosto of Fired Up takes the lead in a sort of Freddie Prinze Jr. type role. D’Agosto is supported by Miles Fisher, an actor who resembles both Tom Cruise and Steve Carrel with the gorgeous and enigmatic Emma Bell opposite him as leading lady. Then the comedy component is handled by P.J. Byrne of Horrible Bosses and David Koechner a.k.a. Champ Kind, “WHAMMY”. It’s a pretty decent cast considering they’re all just lambs to the slaughter…

“Oh, cruel world… why’d you have to invent j-walking?”

Final Destination 5 is the sort of film that will make you a little tentative about doing gymnastics, getting laser eye surgery, being treated with acupuncture. The movie takes precarious situations and then gets extreme in a few seconds, but 3D isn’t the only new dimension in the fifth and final installment. Tony Todd, best known for his role as The Candyman, adds a creepy element as a mysterious stranger. Then, the crew of victims realise that they can pull a Highlander by murdering someone else to sap up their remaining years. A huge leap in terms of fatalistic theory, but who’s to question the movie equivalent of a roller-coaster?

These new additions add a freshness to the thriller and weary formula, making it easier to get through the last few deaths and making the movie more of a whatdunnit? The production values are high and the movie kicks off with a climax on a bus in setting up the survivor tale as a bridge collapses. The opening is like Source Code in the way the hero has a timely vision of what should have been before the tell tale signs warn of impending mass death, while the closing leaves us quite stunned.

Die hard fans of the series will be more than satisfied with the revamped addition to the Final Destination saga. The extended opening credits lower expectations with flying 3D effects and the closing credits recap the deaths throughout the series in a cheap montage taking away from the overall experience. While the credits are not representative of the production, it remains a solid entry. They could’ve explored Tony Todd’s character a bit more and the cast could’ve used more fire power, but all things considered – this is a horror sequel, one that will definitely meet your confined expectations.

The bottom line: Entertaining

Release Date: 9 September, 2011
Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro

Catch more movie reviews at SPL!NG

Instead of waiting for Ritchie to bite, William Monahan has taken the reins on this adaptation of the Ken Bruen novel in his directorial debut. The Hollywood writer has an impressive big budget filmography including: Body of Lies, Edge of Darkness, Kingdom of Heaven and Martin Scorsese’s The Departed, for which he won an Oscar. However, Monahan’s screenplays have gone one of two ways – either hitting the spot or crumbling under the weight of too many subplots.

Unfortunately, London Boulevard falls into the second category… trying to cover too many bases in this crime, drama, romance thriller about an ex-con trying to start over. Colin Farrell is a quality actor and is cast as the lead in this ’70s style drama. He’s the quintessential bad boy, giving his ex-con character gristle and an unpredictable nature… making him ready to snap at any minute. Although, it’s the sort of role that’s becoming a bit typecast for Farrell and there’s not enough to separate the performance from many of his previous films.

Keira Knightley, his leading lady, suffers from the same dilution as both actors take a page from their own lives with a bland stereotypical take on their characters that while adept, loses its vitality next to previous roles in better movies. The fuzzy performances affect the chemistry between the co-leads, who are a handsome couple, but don’t really seem to click on-screen.

“No my boy… this is how you act, with feeling.”

The same can be said for Ray Winstone… who may as well have been an understudy to Tom Wilkinson in Guy Ritchie’s RocknRolla. A favourite tough guy villain, it’s just another day at the office and as much of a specialist as he is, his role as Gant ranks alongside his average performance in Edge of Darkness. The best performances come from some of the secondary supporting characters, who are almost unrecognisable with Ben Chaplin as Billy – a dim-witted henchman and David Thewlis as Jordan – a Withnail and I inspired “caretaker” who looks like a gay Alan Rickman.

William Monahan can write well, but the script seems to wallow in its gangster cliches. The pacing and intermittent outburst of violence keeps us waiting-and-watching, but it’s a bit of a slog as we never seem to break into the characters or find a reason to care. Farrell may be a likable rogue, but the film just seems to hop from subplot to subplot – touching on London’s gritty crime network, jumping to sleazy paparazzi and tabloid shenanigans and then attempting to find some redemption at the heart of it all.

London Boulevard checks all the boxes from casting, costumes, cinematography and style, but it never seems to go beyond the veil of inner city crime and corruption. Adding an element of Notting Hill romance to spice things up, just seems a bit unnecessary in Guy Ritchie terrain and going for an artistic ending makes the events add up to nought – making you feel a bit cheated. It’s entertaining enough to wash over you and fans of the actors will simply get more-of-the-same, but without a real connection… you’d feel more satisfied rewatching Lock, Stock and Two Smoking Barrels.

The bottom line: Toothless.

Release Date: 2 September, 2011
Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro

Catch more movie reviews at SPL!NG

As South African photo journalists, they were on the forefront of a civil war, one being fought in areas known as “dead zones” between two warring political parties. Fearless sometimes foolish, they captured a portrait of life and death in motion and relayed it to white South Africans and the rest of the world, who were largely unaware of the bloodshed.

The Bang Bang Club were the equivalent of rock stars and documentary director Steven Silver has developed a film that captures the Zeitgeist, touching on the ethical dilemma and moral point-of-view that confronted these adrenalin junkie photographers. It follows a similar trajectory to most “rockumentaries” as a band of talented artists club together, go on the road, live hard, play harder and win fame, only to suffer the consequences.

The film is a journey from Greg Marinovich’s perspective, based on his and João Silva’s experiences of the events as depicted in their book, The Bang Bang Club: Snapshots from a Hidden War. The movie has a similar edge to many Vietnam war films, setting music from the same era against disturbing images of war with questions arising about the media’s role and responsibility in times of war.

“Saddle up! Lock and load!“

The Bang Bang Club recreates the stories in a biographical manner, giving each major event in their timeline a context and dramatising them to give more depth and raw emotional power. It’s like fleshing out the pictures, giving their side of the story and making sense of a time when you had to conserve photographs, carry camera bags and load spools quickly in a hot situation. These photographers were in the line of fire, risking their lives to bring news to life and earn an income.

Greg Marinovich is played by Ryan Phillipe, who recently co-starred in The Lincoln Lawyer. This Hollywood actor has been steadily carving a name for himself with a string of solid supporting performances and continues the trajectory into The Bang Bang Club. Phillipe captures Marinovich, who is depicted as the new kid in town – earning respect from his peers while repressing a spate of violent memories, starting with a man being killed in the street by a gang of ruthless opposition party supporters.

Malin Akerman, The Bang Bang Club’s leading lady is something of an Amy Allen to the photo journalist equivalent of The A-Team. While her role as Robin Comley is not in the firing line, she represents the group’s “agent” – providing a classic lead to offset the testosterone and help convey more of Marinovich’s psychological frame of mind. Case in point, her inclusion in the iconic Bang Bang Club members photo turn movie poster.

Taylor Kitsch stars as Kevin Carter, delivering a free-spirited Jim Morrison take on Carter – giving creedence to the soundtrack and Rock ‘n Roll atmosphere as the group hit bars, girls and Bang Bang gigs. The up-and-coming actor delivers one of the better performances of the ensemble in a fairly sympathetic portrayal of a man obsessed with death and haunted by his encounters with violence and suffering.

“The future is uncertain, but the end is always near.”

Of the supporting South African actors, Frank Rautenbach plays Ken Oosterbroek. The much-admired photographer was thought to be invincible and Rautenbach gives the tragic figure a superhero quality – establishing a strong South African flavour. Neels van Jaarsveld’s subtle portrayal of João Silva, gives the character a low profile just out of the spotlight’s reach. Vusi Kunene delivers a powerful, heartrending single scene performance as a distraught father, while Russel Savadier is the “David Brent” figurehead for the toothless newspaper tiger.

The Bang Bang Club’s production values are phenomenal, recreating documented scenes with a strong sense of accuracy from protest mobs and police trucks to special forces uniforms and violent personal attacks. The extras deserve a special mention, capturing an anger and restless spirit that adds documentary realism to the events.

All in all, Silver has composed a compelling day-in-the-life style docudrama with a solid ensemble and a great sense of realism. While key ethical dilemmas and struggles are merely presented, it’s more about relaying stories than pointing fingers and entering debate. The film captures the Zeitgeist of pre-election South Africa and delivers harrowing photographic evidence of a violent, complicated time in its history from the perspective of four gung-ho photographers, whose Pulitzer prize-winning photographs and notoriety has etched an indelible mark on photographic journalism. Be sure to catch the Special Assignment feature on The Bang Bang Club for more context.

The bottom line: Powerful.

Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro
Catch more movie reviews at SPL!NG

If you’re going to set up a firing line, you can’t just blast Favreau. The casting agent also needs to grab a blind fold, or just carry on wearing one. Daniel Craig is James Bond, but was selected because of his resemblance to Steve McQueen in The Magnificent Seven. We can give him the odd break from being a 007 as stipulated in his signed-in-blood contract, but the man is a cold, calculated killer and not nearly as charming as Michael J. Fox in Back to the Future III.

Jake Lonergan (Craig) and a posse of cowboys and natives is all that stands in the way of an alien race from taking over the world. Craig’s character is suffering an identity crisis and wearing an alien bracelet – but how on Earth are we meant to engage with the character if he’s unable to wipe that blank dead-eyed expression off his mug? They’ve roped in Harrison Ford, the down-to-earth ranch guy. He’s a tough adventurer, but he’s as heartwarming as open heart surgery. Unfortunately, the narrative is too scatter-shot and his character is more rugged than the Marlboro man – making it difficult to connect.

A new fashion line is launched… Cowman.

Both actors are accomplished and can do action and drama, two elements of Cowboys & Aliens, but Harrison Ford had to go on air with David Letterman just to prove he could tell a funny joke. So who’s left to deliver the laughs? Well, Sam Rockwell’s been able to whip up the odd sardonic smirk and Paul Dano’s whiny kid routine works a charm – but both actors are wasted in fairly inconsequential supporting roles as a barkeep and irritating brat.

In essence, Cowboys & Aliens is a straight-to-video release with a blockbuster budget. Jon Favreau knows comedy, as witnessed by the strong comedy presence in Iron Man 2, but this one just got away from him. The budget has allowed for a strong ensemble armed with some fairly big hitters and new talent like Olivia Wilde of Tron: Legacy. Solid production values give the film an austere and first-rate visual effects give District 9 a run for its money in the alien department.

Wilde Wild West

Cowboys & Aliens does pick up a notch or two in the attack on the mother ship, but there’s just not enough camaraderie and good chemistry to keep the beans hot in the pan. A sluggish and staggered middle in a nearly two hour actioner loses our attention as the cowboys meander through the wilderness bumping into extra fighters in the build-up to the climactic battle. It’s like they made it up as they went along.

It’s an uneasy mix of genres, one that works in some places, but fails to measure up in others. Unfortunately, a solid cast, great production values and first-rate special effects are no substitute for a stilted story, a miscast lead and off-key performances… making it seem like War of the Worlds meets Wild Wild West. Who knows, maybe they’re just softening us up for a live-action adaptation of Bravestarr?

The bottom line: Misfire.

Release Date: 19 August, 2011
Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro
Catch more movie reviews at SPL!NG

In science-fiction, it’s usually robots doing the uprising. Planet of the Apes takes an evolutionary view on the genre, asking a big “what if” as a species often compared with mankind is given a bio-genetic catalyst to level the playing fields. Just like most origins movies, Rise of the Planet of the Apes takes the story back to the beginning where genetic engineering and “playing God” lands humankind in trouble, as one ape’s intelligence leads to an all-out revolution and battle for supremacy.

Despite a failed reboot and a ridiculous movie title… Rise of the Planet of the Apes will get a rise from you. Maybe not on par with experiencing a standing ovation in a cinema or Helena Bonham Carter’s similarity with Michael Jackson in Planet of the Apes, but you will be entertained and blown away by the fact that Caesar, the main character in Rise of the Planet of the Apes is a mute ape, who is related to Gollum.

Andy Serkis, the actor that embodied Gollum’s mannerisms and performance in Lord of the Rings is now Caesar, the lead actor in the latest installation of Planet of the Apes, inspired by Pierre Boulle’s novel. It’s strange to think that the lead is mainly composed of CGI and visual effects, but we’re getting to the point that digital live-action characters are beginning to get a foothold in the film industry with movies like Lord of the Rings, Avatar and even Paul.

“Banana in pocket no squish?”

Rise of the Planet of the Apes is about revolution, but it’s not just a plot line – it’s a visual effects breakthrough… giving a digital being real presence with a performance that makes co-stars James Franco, Frieda Pinto and John Lithgow a supporting cast. The same Oscar-winning visual effects team that were responsible for Lord of the Rings and Avatar have taken this Planet of the Apes prequel to new heights.

Rupert Wyatt may have given this beast of a film some real style and clout as a director, but it’s the visual effects that leave a lasting impression as San Fransisco’s Golden Gate Bridge sways under an ape uprising. The CGI truly comes into its own when Andy Serkis joins the fray as Caesar’s puppet master. Until then, the young ape’s movements are smooth, adequate but a little inconsistent – preventing viewers from fully committing to the story.

James Franco makes a similar casting decision to including Mark Wahlberg in the reboot, providing enough credibility to the acting department without overshadowing the main attraction – the special effects. Franco soldiers on as Will Rodman, the human lead and pace-setter, progressively drawing back as Andy Serkis takes over as a fully developed intelligent lead. John Lithgow’s performance as Will’s father is also noteworthy, as an elderly man experiences a regenerative boost in physical and mental ability.

Rise of the Planet of the Apes supersedes Tim Burton’s Planet of the Apes for a number of reasons. Most importantly, it has the right science-fiction ratio balancing life as we know it with a fictionalized account of a tangent future. Instead of throwing us into a world of apes, we’re slowly immersed into the possibility that a chimpanzee can actually talk, dress, walk and think like a human… baby steps.

“The apes WILL have a planet… but what will we call it?”

Growing up with Caesar allows us to invest in the character, whose actions make up for words. What starts like a family comedy in the vein of Harry and the Hendersons with a friendly overgrown pet chimp on the backseat, begins to deteriorate as Caesar’s intelligence catches up with that of his master. A nasty neighbourhood incident leads him to an ape welfare shelter, where he is abandoned by his master and subjected to abuse by “wardens” along with other experiment-free, less-developed inmates.

This stage of the film is reminiscent of Prison Break or any prison break movie for that matter, and it has parallels with Rupert Wyatt’s previous feature, The Escapist. Caesar is incarcerated, forced to mix with his own kind and spurred on by his bitterness to hatch an escape plan and revolution that echoes movies like Jumanji and X-Men: The Last Stand for peril, anarchy and man versus other.

All in all, Rise of the Planet of the Apes is a wild thrill ride. What initially seemed like a bad case of whipping the proverbial dead horse… or ape in this case, has been fully realised. The prequel is entertaining, thought-provoking and well-paced, taking a “mute” CGI lead and allowing Andy Serkis to give the character a full, rich and complex performance.

He’s ably supported by talents like Franco and Lithgow and the visual effects are extraordinary when you consider how easily they allow the story to flow. Just like King Kong,  Rise of the Planet of the Apes doesn’t actually feature an ape planet, but makes for compelling viewing with enough ground work to warrant a sequel.

The bottom line: Seamless.

Release Date: 12 August, 2011
Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro
Catch more movie reviews at SPL!NG

As a Hawaiian teen surfer, she was devastated by a shark attack that changed her life in a flash. From an aspiring professional surfer to a stranded bystander – it seemed as though her surfing career was over. Friends and witnesses to the attack, speak of her bravery and cool-headed response to what should’ve been a panic-stricken struggle for survival. The same bravery and stubborn determination that saved her life, carried her back into the waves – minus an arm.

How do you surf without an arm? Paddling out, duck-diving… it’s a mission, but not impossible. Bethany Hamilton is living testament to the triumph of the human spirit. She hasn’t let her disability get in the way of her passion for surfing and people. Much like South Africa’s very own swimming champion, Natalie du Toit, Hamilton has become a national sensation, an inspiration and a role model. Soul Surfer commits her amazing true story to film.

The biographical sports drama has been lovingly created by a team led by writer-director Sean McNamara. The director has become synonymous with solid and satisfying family dramas, movies that are hard to come by in this day and age. While most of his experience has been earned from television productions, Soul Surfer is the true test of McNamara’s mettle… taking a true story and shooting on-location in Hawaii to deliver a well-balanced film that adds up to its quality ingredients.

“Flipper eat your heart out!”

McNamara’s job has been made easier thanks to a phenomenal cast including: AnnaSophia Robb, Helen Hunt, Dennis Quaid, Craig T. Nelson and Carrie Underwood. The talented and beautiful young AnnaSophia Robb, best known for her role in Bridge to Terabithia, stars as Bethany Hamilton. Her performance is nuggety, willful and mature, powered by a mental reserve that is honest, humble and inspiring. She’s supported by experienced co-stars, Helen Hunt (As Good As It Gets) and Dennis Quaid (Frequency), who play her parents with great chemistry and conviction, as if she were their own.

The choice to shoot on location grounds the film. The beautiful landscapes, natural environment and serene shooting location must have made the ensemble feel like they were on holiday and it really looks like they’re enjoying every minute! This shines through in the film, giving the audience an opportunity to immerse themselves in the story, the nature and the flow of life.

The CGI is extraordinary – not so much the short-lived shark attack as much as Hamilton’s amputated arm. AnnaSophia Robb must’ve spent hours with her arm restrained… learning to get by without the use of her hand. How they managed to block her arm out is a curiosity that really deserves its own special feature on the DVD. They’ve made the amputated arm blend into the shot to the point that Robb’s character becomes the actual victim herself.

The Bethany Hamilton and AnnaSophia Robb – soul sisters.

The surfing action has also been handled well from convincing us that Helen Hunt and Dennis Quaid can hold their own (maybe they can) to giving Hamilton’s character top draw moves with convincing one-armed surfing stunts. The suspense of disbelief is held consistently and there’s no shying away from showing Robb without her arm, giving us no shadow of doubt and allowing us to focus on the story instead of the disability.

Soul Surfer is also a clean film. Surfing imbibes its own sense of purity, but McNamara has managed to go one up on peer movies like Blue Crush that trade on beach babes and sexual tension. There’s a moral fibre that doesn’t sway to gratuitous violence or sexuality to sell the story. The power is in the truth, making the highs higher and the lows lower without losing perspective in Hollywood. This is probably attributed to the faith of the Hamiltons, a Christian family, who are comparable with the Swiss Family Robinson.

Bethany Hamilton’s story is an inspiration, taking what would ordinarily be a lifelong setback and turning her life into a beacon of hope for all survivors, showing that perseverance and hard work do pay off. The film closes with actual footage of Hamilton, with many documented moments echoing scenes from the film. Soul Surfer is a satisfactory family drama, which is buoyed by its solid performances, Hawaii’s natural beauty and this inspirational real-life story.

The bottom line: Spirited.

Release Date: 5 August, 2011
Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro
Catch more movie reviews at SPL!NG

High-tech, action-packed entertainment is a trademark of both directors and something that Abrams has latched onto – citing the first three Star Wars movies as a big influence over his generation and career. It’s no wonder he and Spielberg have teamed up. High-tech usually means alien these days and Spielberg is so obsessed with spacemen that he decided to resurrect Indiana Jones (and Harrison Ford), just to go alien on us again.

Being one of the most influential film-makers of all-time helps from time-to-time. He’s not dead yet, but why wait for Spielberg to be beamed up by the mother ship, when you can show your appreciation for him here on earth. This is the sentiment of Super 8, which could have just as easily been made by Steven “E.T.” Spielberg himself. He’s proved his worth with a film career spanning four decades with no less than 3 of those “golden boys” on his mantelpiece.

Super 8 follows the intrepid adventure of Joe Lamb and a group of teen film-makers, who witness a train wreck near their small American town. Their small zombie movie’s production value goes from small scale to big budget as the air force is summoned to secure the perimeter, the local police department get outranked and the government attempts to cover-up traces of the creepy phenomenon…

“I should’ve listened… NEVER work with kids or animals!”

Sounds like your typical science-fiction set-up. The big difference is that it’s taken from the perspective of a young teenager growing up in 1979 suburbia. The Smashing Pumpkins wrote a song about the year… and a decade after the first moon landing, you’d expect people to start wondering just how much “life” really is out there. You’d expect more name actors in a blockbuster like Super 8, but its got a Close Encounters of the Third Kind ensemble… opting for lesser known actors for more realism.

You may recognise TV actor, Kyle Chandler from Early Edition and Friday Night Lights, or Elle Fanning from Somewhere and The Curious Case of Benjamin Button. Chandler takes on a similar everyman role to Richard Dreyfuss in Close Encounters of the Third Kind, while you could say Elle Fanning’s supporting role is akin to Drew Barrymore in E.T. You could say this is a star-making vehicle with Joel Courtney delivering an excellent debut performance as Joe Lamb.

Super 8 is basically an homage to Spielberg. Imagine throwing all of his best movies into a blender and marketing the “juice” as Super 8. That’s exactly what’s happening here…With the major collision of influences from two of Spielberg’s earliest triumphs: E.T. – The Extra Terrestrial and Jaws. It’s like J.J. Abrams is playing a large scale version of Twister with Spielberg controlling the spinner directing him to each of his blockbusters.

The result is superb and the special effects are magical, relying on its two major influences, as well as The Goonies, Close Encounters of the Third Kind and War of the Worlds. Another driving force is the love of film-making, which inspired the title Super 8. The entertainment value is out-of-this-world, something synonymous with just about any Spielberg film. The passion behind the young film-makers is what compels them and lands them in the middle of the mystery.

“E.T. phoned home… Guess this must be B.F.E.T.”

Nostalgia and childhood innocence propel Super 8′s action-adventure. The sets and costumes allude to the age without distracting the audience and you hardly even notice the lack of cellphones or gaming consoles. Instead, an emphasis is placed on actually getting out there and being creative. Seeing the world from a teenager’s eyes doubles the payback, and Abrams counterbalances the thrills with light comedy and teen romance.

The Spielberg factor is that even with the complex blend of genres, there’s still focus… Progressing from small town drama to mystery-thriller and finally epic action-adventure, without losing the plot. This keeps the audience engaged as each swirling subplot builds the movie to a climax, giving us a chance to let the emotion catch up with us for a heartfelt ending. The ride is thoroughly enjoyable, executed as if by Spielberg himself, and delivers on performance, direction, story, special effects and writing.

In fact, it’s so quintessentially Spielberg that you get that “haven’t we seen this all before” feeling, which is probably the only real criticism of Super 8. The E.T. and Jaws cross-over works well enough to make the movie fresh and satisfactory, but it’s a bit like meeting a clone. It looks, talks and walks like the real deal, but there’s a synthetic, soul-less undercurrent. All-in-all, Super 8 is a first-rate product… But you can’t beat the real thing!

The bottom line: Compelling.

Release Date: 29 July, 2011
Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro
Catch more movie reviews at SPL!NG

Demon possession is no joke – unless you’re watching Ghostbusters. The problem is that its been so overdone in Hollywood with movies inspired by The Exorcist, The Shining, The Omen and Poltergeist that we don’t even cringe when we see a real-life exorcisms in progress in the power-plate section of our gyms. Whether you’re trying to shake off a little cellulite or ectoplasm, one thing we can all agree on is that Insidious is a crafty little horror gem.

From the creators of Paranormal Activity and Saw comes one of the year’s scariest horrors, starring Rose Byrne (28 Weeks Later) and Patrick Wilson (Watchmen). James Wan directed the first Saw movie, the best of the lot, and went on to direct Kevin Bacon in revenge flick Death Sentence and that ventriloquist doll horror, Dead Silence. He’s delivered a series of dark horror thrillers and seems to have an infatuation with movies from the ’70s, from Charles Bronson in Death Wish to that creepy Magic movie with Anthony Hopkins.

“Ah, just a little off the back and sides…”

Renai (Byrne) and her husband Josh (Wilson) are settling into family life with their son, Dalton (Simpkins). After a string of eerie events, culminating in an accident that leaves their son comatose, they decide to pack up and move into a new home. Unfortunately, the sinister happenings continue to haunt them – forcing the Lamberts to come to terms with the fact that their comatose son may be possessed, and lost in a realm called ‘The Further’.

If Wan has been paying tribute to his favourite ’70s movies with each new film, Insidious is his tip of the hat to The Exorcist with elements from Poltergeist and The Haunting. It’s a twist on the classic haunted house movie, which has ironically, been done to death in Hollywood. Wan has created a fresh feel to Insidious, which has the markings of a ’70s horror with some modern tweaks on the genre’s cliches.

Patrick Wilson and Rose Byrne, two up-and-coming starlets, add solid performances to the mix with a nuggety debut from young Ty Simpkins (and no, he’s not the kid from that FPB ad). The performances are convincing with writer-director team, Leigh Whannel and James Wan, concocting some clever John Carpenter type sequences that rely on suggestion and suspense rather than blatant visual scares.

“Mam, I’ve a feeling we’re not in Kansas anymore…”

The filmmakers have taken a hotchpotch of popular horror conventions and thrown them into the cauldron to create something borrowed, yet something new. Insidious has a number of familiar old school horror themes surrounding haunted houses and demon possession in some ways similar to Orphan and A Nightmare on Elm Street. Yet, the focus on paranormal is taken one step further as a team of real-life ghostbusters investigate the house and talk about astral projections as Dalton’s evil spirits grow more restless.

Produced on an estimated $1.5 million budget, Insidious is an inspiration, taking a page from Paranormal Activity and the first Saw movie, and showing that concept, performance and passion can overcome budgetary limitations. They’ve used the magic of editing to their advantage, much like John Carpenter did for Halloween, using shadows, lighting and sound to create and sustain tension – sparing visual effects for when they really need them.

Apart from a slightly forced conclusion, Insidious is a wild ghost tunnel ride – filled with all the creepy bits that made horror so prolific in the ’70s and ’80s. The tapestry may feature elements from better, more original horror movies – but Insidious is still entertaining and will no doubt give a few kids (and adults) a new reason to be afraid of the dark… or their future mother-in-law.

The bottom line: Chilling.

Release Date: 22 July, 2011
Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro
Catch more movie reviews at SPL!NG

Whether the Harry Potter series has enchanted or revolted you… you cannot deny the passion, quality and consistency with which the film-makers have carried the adaptations of the beloved J.K. Rowling novels about the little orphaned wizard who could. The trio of Daniel Radcliffe, Emma Watson and Rupert Grint have become household names – racked up fortunes to challenge some of Britain and Hollywood’s wealthiest… including the Queen, or was that members of Queen?

While many were slightly disillusioned by the decision to split Harry Potter and the Deathly Hallows into two parts… and then film them in 3D, millions of devoted potheads stayed faithful to the kid over the years. Harry taught children how to read again, fly a broomstick, talk to snakes and run into walls without hurting yourself. It’s the sort of latchkey kid education no parent can provide… unless you’re David Copperfield or a master of the dark arts.

“Okay you guys, let’s make this half count… TEAM!”

In this the last chapter of the Harry Potter saga… Harry (Radcliffe), Ron (Grint) and Hermione (Watson) continue their quest to destroy the last three remaining magical Horcruxes in an attempt to make the Dark Lord Voldemort (Fiennes) vulnerable to their attack in a final battle to decide the fate of Hogwarts and life as they know it.

It’s an epic finale to rival Lord of the Rings: Return of the King that makes the other Harry Potter movies seem like they were all leading up to this point… they were. The final adventure doesn’t waste any time in getting you back into Harry’s world. There’s an immediate assumption that you’ve seen the entire series up to this point with no mercy for people who thought they’d just go and see the final one for a laugh.

What ensues is a monstrous sequel spawned from another sequel to wrap up the saga and end on a high note. Harry Potter and the Deathly Hallows Part 1 was disappointing – the film was stripped of its 3D release, there was no Hogwarts, the trio wandered a aimlessly in the wilderness only to end on a groaning ‘To Be Continued’ ellipsis. Part 2 more than makes up for Part 1′s meandering with more focus, sharper visual effects, a return to Hogwart’s and an all-encompassing story to tie up the series with one massive battle between good and evil with Harry Potter in the middle of it all.

“…my laser pointer beats your light sabre, BIATCH!”

Apart from the now famous Daniel Radcliffe, Rupert Grint and Emma Watson, the cast has been impressive throughout the Harry Potter franchise with special mention of brilliant supporting actors: Alan Rickman as Snape, Michael Gambon as Dumbledore and Ralph Fiennes as the dreaded Voldemort. Part 2 also sees the return of John Hurt, Helena Bonham Carter, Maggie Smith, Jim Broadbent, Julie Walters, Robbie Coltrane, Emma Thompson and Gary Oldman, all accomplished in their own right.

The visual effects are quite simply out-of-this-world. For a film layered with special effects wizardry and make up artistry, it’s actually a good thing to say you didn’t really notice. Director, David Yates has guided the last four Harry Potter adventures and has had time to hone his film-making finesse from the director’s chair at the helm of possibly one of the longest running and most popular film franchises ever. The marriage of green screen and set locations is phenomenal, carried forth by the 3D technology without question.

The writing from Steve Kloves, an unsung hero whose involvement from the get-go with Harry Potter and the Sorceror’s Stone sets the framework for the full-scale imagination of the special effects team to add flesh and skin to this beast, giving enough credence to the lead trio, their counterparts and a huge ensemble without losing the spirit with which J.K. Rowling carried the characters. It’s a massive undertaking and, apart from a bumpy ride in Part 1, has managed to swivel this epic finale quite effortlessly.

“Harry… I am your father!”

It’s not only a visual and imaginative extravaganza, but an intellectual challenge… keeping track of each character, following the action, getting the intermittent nods of comedy, understanding the philosophy and sifting through all the darkness to find hope and levity. Harry Potter and the Deathly Hallows Part 2 is a slick production that shines with class and quality, an improvement on the series as a whole.

However, it’s not without its flaws. The last adventure has plenty of highs with a few sluggish moments to give us a break from the action-intensive fantasy and cataclysmic battles. Harry Potter and the Deathly Hallows Part 2 keeps the pacing up and its audience entertained, although there are some unintentional laughs that sporadically break the suspense of disbelief.

The quest and cast are so bloated that we don’t really have time to really connect with the lead trio. The grand finale has become so obsessed with getting the job done, that they race one step ahead of the emotional current of the film. We feel like we know Harry, but we don’t. Radcliffe’s aloofness stunts the audience’s identification with the character making him appear cut off… distant. Even for those who haven’t read the books, there’s spirit and determination, but no real warmth for the somewhat vacant characters.

“We’re more popular than John Lennon now…”

We’re so distracted by the mesmerising execution of the story that we lose touch with the individuals in the story, unsure of whether we’ve actually engaged with Ron and Hermione or with any character for that matter. It’s a massive undertaking to give every character the time of day (or dark) and there are some strange “cameos” from some of Britain’s most respected actors. However, once you brush the artistry away… the core seems a little empty.

It’s a fitting conclusion to a much-anticipated sequel and the entire film production can be proud from the ground up. The 3D is crisp, the visual effects are outstanding, the performances are adept, the script is strong, the cast is watertight and the direction holds it all up in the air simultaneously. It’s an epic fantasy film to stand up there alongside Peter Jackson’s Lord of the Rings… yet somehow it just doesn’t power home with an emotional resonance at its core, leaving it enjoyable yet somewhat distant.

The bottom line: Mesmerising.

Release Date: 13 July, 2011
Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro
Catch more movie reviews at SPL!NG

Wes Craven, one of horror’s luminaries, has been there and done that with a collection of classic ’80s horrors to make your blood curdle. Ever heard of The Last House on the Left, A Nightmare on Elm Street or The Hills Have Eyes? All of the originals, his. The writer-director has continued to make audiences shriek well into the ’90s with the ever-popular Scream series, a tongue-in-cheek slasher that pokes fun at the genre, while dishing up the thrills.

Scream 4 continues the Wes Craven legacy, despite his last film – a dismal box office outing and generic horror release, My Soul to Take. The fourth Scream follows 10 years later, in which Sidney Prescott (Campbell) returns home to promote her new book, detailing her blood-spattered past and story of survival. The local legend is met by a sick reunion of sorts, in which the town’s folk are celebrating her fateful day as if it were Halloween – making it a perfect time for the Ghostface Killer to return.

The first Scream movie was a fresh, fun and thrilling slasher that invented its own sub-genre with enough references to satisfy horror movie buffs, good-looking teenagers and bloody thrills to wow disenchanted horror moviegoers. The series delivered more of the same in Scream 2 and then more of the same in Scream 3.

“This town is famous for TWO things… murder and detergent.”

The more-of-the-same formula worked for parts 2 and 3, which, although less competent – never really overcame the crisp novelty of the original.  Scream 4 has taken the easy road with, you guessed it… more-of-the-same, although it’s a welcome return for most moviegoers who, until now, have had to endure a series of flimsy Scary Movie spoofs.

Neve Campbell, Courteney Cox, David Arquette and voice artist Roger Jackson all return for Scream 4. It just wouldn’t be Scream without the original survivors in Sidney Prescott, Gail Weathers, Dewey Riley or even the Ghostface Killer. It’s a 50/50 – where you could easily criticize Wes Craven for simply recycling the franchise or praise him for sticking to his guns.

The same town, the same story, the same characters… the only thing that ever really changes is the killer. This is where Scream 4 has gone wrong. Part of the fun in watching the series is trying to figure out who’s killing who, followed by a Ten Little Indians moment when someone isn’t quite dead or has to feign innocence to the police by going all Psycho on themselves.

“Now if only I had a gun.”

*Possible Spoiler Alert* Scream 4 fails quite miserably in the killer casting department. Yes – we never would have guessed… but let’s just say we’ve got plenty of reason. The killer just isn’t convincing enough and their motivation is so feeble and unimaginative that you’ve got to wonder why they even decided to reboot the series? Come on, Wes… throw a friggin’ dagger in the works, give a regular the mask!

It is Scream’s dedication to formula that gives each film momentum while keeping it stagnant. The predictability may be a reassurance for jaded slasher fans, but a reboot calls for something different, and casting Heather Graham as Drew Barrymore in Stab doesn’t exactly set the screen alight. Anna Paquin, Kristen Bell, Emma Roberts, Hayden Panettiere and Marley Shelton may add some eye candy, but it just doesn’t seem to be enough to break the film’s feeling of familiarity and mediocrity.

Scream 4 is just what you were expecting… and you can’t really give it too much grief for being competent. The production values are good, the film geeks add a nice touch, there’s plenty of blood and the performances are consistent for the most part. All in all it’s nothing special, a dull surprise… one that’s entertaining enough to sit through and forgettable enough to blend into your hazy collection of classic Scream moments.

Scream 4′s not essential viewing, despite your need to complete the series by seeing the reboot. It may be slightly fresher than simply watching Scream again, but we’d suggest you take your own Ghostface Killer mask and black cape to spice things up for you and the people sitting next to you in the cinema.

The bottom line: Okay.

Release Date: 6 July, 2011 (Today)
Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro
Catch more movie reviews at SPL!NG

Now if you don’t believe in aliens or robots, you may as well stop reading,  because this movie is about creatures from outer space that can transform from man-made vehicles into robotic beings and vice-versa. There are obviously questions surrounding their need for humans, since they are able to drive themselves automatically and never seem to refuel. So, let’s for one minute assume they’re just like E.T., yes – as in “E.T. phone home”, another Steven Spielberg alien project that substitutes aliens for pets.

Sam Witwicky (LaBeouf) is ready to save the world again. The dude’s struggling to get a job and he’s rescued humanity twice already… so it was an easy decision, give the guy a break. Normally, an unemployed kid who drives a “classic” Datsun with his parents living on his doorstep wouldn’t get the chance to date a supermodel. In case you didn’t notice, this is the world of the Transformers – where metallic boy toys do battle in a bid to save their planet, Cybertron. In other words, anything goes.

Yep – it’s a lot to get through… and if you watched Transformers: Revenge of the Fallen – you won’t be expecting the latest installation to change your world. Revenge of the Fallen was a strobe and lights show, which dropped the audience in the deep end and said “Adios, Amigo!” in a funny voice. Close-up action shots, confused story lines, grandpa robots, transformer testicles… it was a serious dip in the series, which they probably blamed on the Hollywood writers strike.

“Hell-o nurse…”

Transformers: Dark of the Moon have done their homework. The film immerses us into the world of Transformers, with short sharp bursts of Transformer action before things go haywire. Short Circuit would be proud of the way they ingratiate humanity into a full-scale robot action meltdown. Apart from Shia LaBeouf’s best and cockiest Transformers performance, they’ve added Victoria’s Secret model-slash-actress Rosie Huntington-Whitely to the team in place of Megan Fox.

Apart from adding a serious boost to the eye candy division, she actually does a reasonable job with that cheeky British accent. She’s a bit of a car model in Transformers: Dark of the Moon – stroking a selection of rare and beautiful foreign cars. Don’t worry, they’re not Transformers. The two do have that “how on Earth did that guy land such a hottie” stigma, but no one’s complaining when she struts her stuff and that camera ain’t shy.

The rest of the cast will blow you away. It’s a comedy ensemble you’d expect from the Coen brothers… hang on, haven’t all these actors actually worked with Joel and Ethan before? John Malkovich is hilarious as an alternate boss, Frances McDormand works it as a second-in-command iron lady and John Turturro reprises his role as Agent Simmons on a ridiculous power trip. A formidable ensemble in any movie, but wait… there’s more.

“I, Robot. You, Jane.”

Josh Duhamel pulls another stoic turn as that invincible special ops soldier, Lennox. Tyrese Gibson enters the fray as another action man, Patrick Dempsey shows he’s not just good-looking, while Alan Tudyk and Ken Jeong deliver the laughs with two short-lived jester performances. It’s a monstrous cast with just about every actor fully equipped to handle comedy.

Comedy is a major driving force in Transformers: Dark of the Moon. It’s like Michael Bay has used laughter to soften us up for the big jump… that Transformers are real. Once you take that hurdle, it’s a blistering actioner, loaded with first class visual effects, jam-packed with comedy and too likable not to be entertained. The cast deliver on performance and laughs, the story is easy enough to follow and intriguing enough to maintain our attention and the full array of eye candy – from Rosie to Optimus Prime – is just too dazzling not to be transfixed.

The robots kick ass and are voiced by a solid cast including: Peter Cullen as Optimus Prime, Leonard Nimroy… the original Doc Spock, as Sentinel with Hugo Weaving, better known as Agent Smith, lending his voice to Megatron. While the robot dialogue is reduced to wise speeches or cheesy one-liners, it’s the stuff of actioners, and who are we to question the metallic giants with lips?

“Three times… isn’t it time the FBI gave me a job title?”

Transformers: Dark of the Moon is stuffed with good stuff, but it’s this good stuff that bloats the robot movie to the point of overload. The first two-thirds of Transformers 3 is dedicated to establishing the human characters, designing a feasible plot for mayhem and then unleashing the special effect sound and lights show to rule all monster movies. At two-and-a-half hours… it’s a real push, but when you think that it’s all based on a robot cartoon it’s amazing you’re still fixated after two hours.

The movie has a few similarities to Transformers, the original and War of the Worlds even, but carries enough credibility and believability to deliver on entertainment value. The 3D technology adds to the occasion and has been done properly – making the visual experience all the more satisfying and immersive. If you enjoyed the first Transformers – you’ll find Transformers: Dark of the Moon a close second. Both have a good balance of human drama versus robot action and seem to revise the blueprint on what’s possible in Hollywood.

All in all, an excellent follow-up to Transformers 2… the Michael Bay and Steven Spielberg tag team have managed to turn the franchise around with bigger effects, bigger laughs in a solid science-fiction actioner. It may run about 20 minutes too long… but the pacing makes it less noticeable, and fans won’t be complaining there’s too much robot action.

The bottom line: Thrilling.

Release Date: 29 June, 2011 (Today)
Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro
Catch more movie reviews at SPL!NG

Photo Credit: Jaimie Trueblood | 2011 PARAMOUNT PICTURES. All Rights Reserved. HASBRO, TRANSFORMERS and all related characters are trademarks of Hasbro. ©2011 Hasbro. All Rights Reserved

You’d think studios would have a problem with Reynolds taking on three possible superhero franchises simultaneously. Just imagine the chaos if Robert Downey Jr. decided to moonlight as Superman. But that cheesy grin and breakthrough performances in films like Buried say otherwise, mmaking it easy for Reynolds to be the Green Lantern and whoever else he wants for that matter.

The DC Comics superhero has finally got his movie after a spate of more popular superhero movies over the last decade or two. Comic books thrived in a time when World War had left a generation of disillusioned youth, who didn’t want to read propaganda novels or Biggles. Today, film technology has enabled the film industry to capitalize on the trend once again in an age of terrorism… giving them an excuse to turn every Clark, Peter or Hal into a big screen superhero.

“Wait – uhhh, okay all done. Love this suit!”

Green Lantern features a host of unsung hero actors. Tim Robbins, Mark Strong, Peter Sarsgaard and Blake Lively support Ryan Reynolds in a good team effort. Robbins is spot-on as a devious senator and father figure. Mark Strong carries the devilish Sinestro well, with a post credit nod to a possible sequel. Peter Sarsgaard is perfectly detestable as an Elephant Man ugly telepath, and Blake Lively is a gorgeous counterbalance as the leading lady, Carol Ferris.

While one of the less popular superhero characters in DC Comics, Green Lantern has got serious big screen potential. The Green Lantern film has been directed by Martin Campbell, whose credits include: Casino Royale, The Legend of Zorro and more recently Mel Gibson’s acting comeback, Edge of Darkness. Campbell is no stranger to action and dives head first, creating an expansive alien universe for Green Lantern. The film has parallels with Thor, Iron Man and X-Men Origins: Wolverine.

The crossing-over of worlds is something that Kenneth Branagh got right when directing that hammer of the gods guy. Thor’s switching between the realm of fantasy and suspended reality worked, thanks to a softening up of mythology, good CGI and a good proportion of Earth time. This is something Green Lantern struggles with a bit. While we believe a Green Lantern domain exists, there’s not enough of a bridge between environments, besides the irony of green screen backdrops in both worlds.

This reliance on CGI is something that was also a strength and weakness for X-Men Origins: Wolverine. While Reynolds and Jackman are equally likable as superhero characters, the nature of both films required a serious outlay of CGI. Wolverine stretched the limits, going from outright spectacular to some fairly ordinary shots. The same good and bad can be said for Green Lantern. It captures the unimaginable, but suffers from over-extending – capturing some epic Akira moments and some green jelly moments too.

“No, it’s my grandmother’s… will you marry me?”

The script isn’t another Dark Knight, this one’s more in-line with the tongue-in-cheek fun in Iron Man, Thor and even The Mask. Reynolds is the right man for the job when it comes to the comedy, yet he seems restrained. Instead of belting the lines out, he’s trying to find some sort of balance between comedy and drama. The result is understated, somewhat cheesy – but a bit too diluted, never certain whether Campbell’s after action and laughs, or action and drama.

Green Lantern also has a rather “unHollywood” feel, which could be attributed to its New Zealand-born director, the strange retro rock soundtrack or perhaps a tendency towards anime titles like Akira. It’s good different, telling a conventional superhero story in a fairly unconventional way. This “unHollywood” take is supported by some choppy editing, in which scenes seem to end quite abruptly as if Green Lantern was initially a much broader project cut down for better pacing.

Overall, it’s a slightly uneven yet somewhat satisfying watch. The special effects are extraordinary, all the more commendable for being so frequent. Some of the life has been sapped from all the green screen effects and the performances are good – but could have been better. While the script isn’t perfect, it’s reasonable within the superhero context. Green Lantern isn’t on par with peers Iron Man 2, X-Men Origins: Wolverine and Thor, but punches in just above Ghost Rider, Daredevil, Spider-Man 3 and the first Hulk.

The bottom line: Okay.

Release Date: 22 June, 2011 (Today)
Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro
Catch more movie reviews at SPL!NG

Colter Stevens (Gyllenhaal) is a decorated helicopter pilot, or at least he thinks he is, until he’s cast into a waking nightmare. In an out-of-body experience, which seems more like an army training simulation exercise, the soldier is transported back in time and given minutes to find a bomb on a Chicago commuter train again and again. Before time runs out.

Just watching the movie trailer made that 1989 TV series, Quantum Leap, reverberate. The popular science-fiction television series, starring Scott Bakula, toyed with the concept of time travel. Taking a seemingly ordinary guy a giving him a chance to inhabit the body of someone else in another year and another place for a limited time. The same concept applies to Source Code, except our hero has been commissioned and isn’t playing out the erratic consequences of a freak accident.

“Hello, is anybody up there? I’m really badly burnt!”

Source Code’s themes also conjure up nostalgia surrounding Groundhog Day with Bill Murray as a disgruntled weatherman stuck in a 24 hour cycle. The fantasy comedy asked the question, what if you had to live the same day over and over? While every major religion found parallels with the film’s philosophy, the same idea is expressed in Source Code as comic aspects of being trapped in a time bubble without realisation come into play.

Then, Source Code has added the overriding time constraint factor, which has been popularised by films like Speed and more recently, Unstoppable. The ticking time bomb, perpetual motion and thousands of lives at stake thriller has been done many times before. Source Code carries this, raises the stakes and re-energises the genre with its high concept science-fiction, made all the more real by a heightened state of awareness relating to acts of terrorism post 9-11.

Jake Gyllenhaal is a fine actor, who has continued to deliver solid performances since he entered the cult domain as title star, Donnie Darko. He’s the unsung hero, starring opposite Heath Ledger in Brokeback Mountain and Tobey Maguire in Brothers with primary lead roles in Jarhead, Rendition and Prince of Persia. Just like his on-screen personality, it’s that quiet, unassuming confidence that ultimately wins the audience over. He’s always the good guy, even if there are a few darker shades to his personality.

“It’s perfectly safe… saw Will Smith do it in ‘Hancock’.”

He’s supported by Up in the Air’s Vera Farmiga, whose beautiful face fills the lone console in Colter Stevens’s time capsule. An accomplished actress, nominated for her supporting role opposite George Clooney, she orbits Gyllenhaal’s performance like a satellite, monitoring his progress, a cloaked and somewhat omninous observer. Gyllenhaal’s romantic interest is played by the exuberant, Michelle Monaghan, whose “repeat” performance is naive – a complementary counterbalance and distraction for Gyllenhaal.

Duncan Jones has created a beautiful film, which has tied several strands from more popular themes and genres together. The result is fresh, entertaining, thought-provoking and exciting. Tense, gripping action sequences keep pace with a story that keeps reinventing itself. Audiences were a little frustrated when Vantage Point relayed an attempted assassination from several perspectives by resetting the clock 24 style. Source Code keeps the narrative alive by giving each window of opportunity a new spin with more repercussions.

While deceptively simple, Source Code delivers a serious punchline, one that will keep you recycling the story long after the credits roll. It’s an instant classic – characterised by the same unassuming nature of its talented star and director. If you liked any of the films mentioned in this review, you will most definitely find Source Code well worth your time. A well-rounded, beautifully executed mystery, sci-fi thriller with commercial appeal portrayed with art house quality.

The bottom line: Gripping.

Release Date: 17 June, 2011
Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro
Catch more movie reviews at SPL!NG

Some of The Adjustment Bureau movie trailers would have you believe that you were in for a classic piece of mystery science-fiction in the style of an Alfred Hitchcock man-on-the-run thriller. That movie is Minority Report with Tom Cruise. While both movie titles are similar, are based on Phillip K. Dick short stories and have a number of parallels, they are not on par.

The co-leads deliver and do a great job in a Dharma & Greg sort of dynamic. One’s a politician, one’s a dancer in an opposites attract spin – but mysterious forces seem to be working against their happily ever after. You want them to find love, you want the guy to get the girl… problem is, the guys in hats don’t. They’re so stuck on their little join-the-dot timeline notebooks… that they’ll do everything in their power to keep the two star-crossed lovers apart.

“Show you mine if you show me yours?”

Writer-producer and debut director, George Nolfi, has been credited with writing Ocean’s Twelve, The Bourne Ultimatum and now directing The Adjustment Bureau. He and Matt Damon obviously have a good working relationship, which is probably why Damon agreed to star in his directorial debut. Unfortunately, for both of them, the film is not as polished as their previous collaborations and feels unfinished.

Matt Damon’s connection with Jason Bourne has made it possible for us to believe the kid from Good Will Hunting, Saving Private Ryan and Rounders can stay ahead of authorities without breaking a sweat. However, The Adjustment Bureau has overstepped the mark, by suggesting that he can do something he’s not known for… romance.

Primed as the next Minority Report, The Adjustment Bureau has made an adjustment of their own. Instead of becoming the science-fiction thriller of the decade, it’s chosen to be the City of Angels of the year. To be fair it’s a mixture of the two – something that ultimately doesn’t quite work as a science-fiction classic or epic romance.

“It’s not you.  It’s me – I don’t share finger food.”

Getting to this point of realisation is entertaining, enjoyable even. The Adjustment Bureau starts as if it’s about to blow our minds with its philosophy about fate and existence in something akin to The Matrix. Unfortunately, this hanging over the edge and looking down technique never turns into full-fledged flying. Nolfi is so busy suspending the audience that the film fails to take – avoiding any real sort of statement, without a rule book to define its world or a satisfactory ending.

The Adjustment Bureau builds to a crescendo and then drops us, too timid to deal the final death blow. While it looks the part: a first-rate ensemble, slick visual effects and a thought-provoking story with religious overtones – it fails to make its mark as a science-fiction staple, an enigmatic romance or a complete thought even. This leaves the audience bewildered, slightly disappointed and eager to figure out where it all went wrong.

Watching The Adjustment Bureau as something in the same league as The Lake House or The Curious Case of Benjamin Button makes more sense and the allure of the mystery behind the men in hats does keep you hooked long enough to enjoy the ride. Overall, a great concept with its merits… spoiled by some wishy-washy indecision and a tapered conclusion. It’s the sort of movie you’d expect to have a director’s cut… let’s just hope it gets a chance to see the light of day.

The bottom line: Afloat.

Release Date: 10 June, 2011
Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro
Catch more movie reviews at SPL!NG

“Freak” is a strong word. One you may have thought was your name in those formative years, but guess what – someone loves you. He loves you enough to make sure that you’re taken care of, given the right education, a safe environment to hone that unique “ability” and best of all, he won’t call you the f-word. Let me introduce you to Professor Charles Xavier, founder of the X-Men.

We’re surrounded by mutants: nubbins, extra fingers, webbed feet, The Elephant Man… X-Men are not that far from the realm of reality with multiple heroes and several sequels, and a prequel in X-Men: First Class. The prequel sets about explaining how the X-Men came to be, under the tutelage of Professor X and his school for the gifted. X-Men: First Class examines the fraternity, its values, the struggle and gives us compelling evidence to explain why Magneto and X are estranged friends rather than allies.

“Don’t worry, we’re getting it changed to ‘Gifted’…”

It’s quite an important film in that it’s responsible for refreshing the X-Men series – possibly even rebooting it. Now, watching the X-Men saga again, it’s the new insights from the prequel that make the dynamics all the more interesting.

The prequel, directed by Matthew Vaughn (Kick-Ass), doesn’t have the same cast as previous installations – opting for up-and-coming talents like James McAvoy as Professor X and Michael Fassbender as Magneto. The two have proved their worth in Hollywood, but aren’t quite as polished as Patrick Stewart and Ian McKellen. It may be early days, but both stars don’t have the draw or excitement associated with casting a Hugh Jackman or Halle Berry. Yet, they deliver the goods – conveying two complex co-lead characters.

The focus of X-Men: First Class lies with Erik Lehnsherr, AKA Magneto, and explains his rise to power. The story weaves Nazi elements from Erik’s childhood as a prisoner, experimented on under the watchful eye of Sebastian Shaw, played by a sinister Kevin Bacon. The film cleverly draws on CIA references, and old footage of President Kennedy in the build-up to the Cuban Missile Crisis. Nuclear energy, technological breakthroughs and evil masterminds – this was the age of Sean Connery as James Bond.

“…between telepathy and telephony? Wait, I know this one.”

The thread of Bond is established by casting Fassbender, who at times could easily be a worthy substitute or adversary for Daniel Craig. Anchoring the story in history adds to the weight of the film and suspense of reality, making all the events seem quite plausible in effecting political change and sparking the possibility of a World War 3 between the Soviet Union and USA. That, and the recurring theme of M.A.D.

X-Men: First Class also addresses Beast and Mystique’s back stories, padding the team with extra X-Men characters to support the action-adventure. New characters include; Banshee – a Rupert Grint knock-off, Havoc – something of a forefather to Cyclops, and Emma Frost – another telepath to counter Professor X. The selection of new characters are fun, but only really serve to flesh out the teams, act as cannon fodder, and provide worthy students for X to start his school.

This prequel is grand in scale, moving from continent-to-continent as the Cuban Missile Crisis reaches melting point. The special effects and CGI have been handled quite beautifully without too much reason to doubt the wow factor. The styling also has a ’60s edge – which thankfully doesn’t go too Austin Powers – keeping the look retro with a sleek contemporary glaze.

X-Men: First Class is one of those rare films that actually meets expectations. As a prequel to the X-Men franchise and armed with an up-and-coming “second-string” cast, there’s only so much they could do. Having Matthew Vaughn attached as director inspired much promise, and you could say that casting James McAvoy, Michael Fassbender, Rose Byrne, January Jones, Oliver Platt and Kevin Bacon echoed the same potential payload. It’s a solid actioner with a strong science-fiction element that streamlines with history.

There are of course several cheesy moments, inside jokes and surprising cameos, but the momentary lapses in intensity aren’t alien for a comic book movie. Just like Kick-Ass, it’s not perfect, but it is fresh with a strong presence, good performances and solid production values. The overall feeling is that X-Men: First Class delivers on entertainment value and stays true to the X-Men franchise. It’s not as good as X2, but slots in quite nicely alongside X-Men and X-Men: The Last Stand. Oh and just so you know, there isn’t a post credit clip.

The bottom line: Weighty.

Release Date: 3 June, 2011
Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro
Catch more movie reviews at SPL!NG

The Hangover Part II is the ultimate bachelor party, wedding jitters, road trip splurge in Bangkok. This is a guy’s movie that toes the line with raunchy humour from screenwriters Craig Mazin, Scot Armstrong and Todd Phillips, director of Due Date. You’ve got the comedy and camaraderie of City Slickers shared between Stu (Ed Helms), the groom-to-be and his three groomsmen: Phil (Bradley Cooper), Alan (Zach Galifianakis) and Doug (Justin Bartha).

If you loved it when Ferris took a day off school and howled when the Superbad crew hooked up with the police, then The Hangover Part II is what you’ve been waiting for. Dirty jokes, Mike Tyson singing, a monkey with a penis-infatuation and what can only be described as a hotel room scene from The Beach are what The Hangover Part II’s all about. It could very well be the stuff of YouTube with the troupe of merry men hailing from all corners of Hollywood.

“We’ve only just begun, White lace and promises…”

You’ll recognise Zach Galifianakis as the bearded guy who shared a hot tub with a topless Victoria Silvstedt from Out Cold, Justin Bartha as the cheeky sidekick from The Rebound, Ed Helms who plays Andy from US edition of The Office and Bradley Cooper, the good-looking guy from Limitless, who had plenty of hands-on experience with Scarlett Johannson in He’s Just Not That Into You.

So Stu’s getting married, and his posse are going to send him off into marriage leaving no stone unturned. At least that was the plan, until they lost his future brother-in-law and prodigy, Teddy. Now the three amigos are hanging badly, have unknowingly trashed a night club, started a riot and have a monkey on their backs… no not a cocaine metaphor, a monkey. The drunkards slowly retrace their steps across Bangkok, recovering lost memories from their fuzzy escapade through witnesses, clues and visions. Strip joints, tattoo parlors, monasteries… it’s like they’ve been everywhere.

The comedy is raunchy like Old School, as The Hangover Part II takes a page or two from Very Bad Things on what not to do in Bangkok. This is a misadventure story that will change everything in one night of debauched childishness. The truth is that they just can’t handle Bangkok… as we keep getting reminded in an echoing refrain reminiscent of the famous “Forget it, Jake, it’s Chinatown”.

The performances from the original Hangover posse are genuinely funny and they have the sort of history that guys would only have after actually having such a misadventure. Galifianakis must be Seth Rogen and Jack Black’s lovechild… he’s clueless and seemingly innocent for an asshole. Then you’ve got Ed Helms, who’s best described as a mixture of Daniel Stern of (Very Bad Things/City Slickers) and Christopher Mintz-Plasse… you know, Fogell/McLovin from Superbad.

“Akela, we are your faithful Wolf Pack… AWWOOOH!!!”

While Bradley Cooper has a Will Arnett look about him and plays it cool as handsome Phil, the smooth “Faceman” operator of the four ball. Phillips keeps a lid on things so that it all stays within the realm of possibility, while the mystery and wedding deadline loom on the horizon. However, The Hangover Part II takes this to the next level with mild action, plenty of Bangkok night life “ping-pong” adventure and a clever script that does well to conceal blemishes. There are several plot holes, but the camaraderie and comedy smooth things over with just the right balance of guy humour.

Sorry ladies, but The Hangover Part II is to guys what Sex in the City is to girls… one you’d best skip or use as a credit or two to appease your significant other. This is definitely not about the wedding… there are suits, wedding speeches and dresses, but this is about one wild, vulgar and offensive night in reverse. Remember Buying the Cow, throw Bangkok in there and you’ve got yourself The Hangover Part II, which probably has another sequel in the pipeline.

Picking up the pieces and discovering wicked, weird and wonderful happenings is all part of the ride. Be sure to catch the end credits as the boys flip through some mobile photos from their crazy bachelors night out… definitely not for the faint-hearted. All in all, it’s a great movie for a boys night out complete with tips on what to do or not to do on your next bachelors. For most guys, it’s a movie that you’ll probably watch again… and again.

The bottom line: Hilarious.

P.S. Yes, Part II should lose a point or two for being formulaic – but hey it works and they deserve an extra point for all the on-location shooting. C’MON!

Release Date: 27 May, 2011
Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro
Catch more movie reviews at SPL!NG

Arr, it’s a pop culture phenomenon alright, me maties… running long enough for a trilogy and then some. A couple of decades ago, when kids still knew what VHS meant – movie franchises only had three strikes, unless you were Rocky… making the count to 10. Nowadays you can literally walk the plank in part 1, get swallowed by a tick-tocking crocodile in part 2, get rescued by mermaids in part 3 and be home in time to watch part 4 with 5 on the back burner. Branding, sequels… it’s become an absolute circus in Hollywood with producers resurrecting Indiana Jones, Rambo and Die Hard!?!

“Well Jeeves, it may not float on water… but I’ll take it!”

Pirates of the Caribbean: On Stranger Tides is probably the last fish in the barrel, but they’ll keep shooting. Initially, Jack Sparrow was a supporting character… nominated as such for an Oscar. However, the popular dread-locked party pirate has become the main protagonist and not by any fault of Orlando Bloom or that wistful British pouter. Johnny Depp deserves the acknowledgement for a character well done, followed by a pat on the back. The problem with doing away with a character like Will Turner is that you’ve got no point of reference for the audience.

There’s no standard for normalcy… giving Jack free reign, the fantasy element a life of its own and overpopulating the script with bloody pirates! This is the tragedy that is Pirates of the Caribbean: On Stranger Tides. They’re stranger because we’ve lost the audience’s somewhat anonymous “avatar” and left to fend for ourselves in the world of magic, piracy and swashbuckling. To make matters worse, there’s no salty British sea dog to poke fun at and take the role of worthy adversary.

Without the weathered Brit or Spaniard captain, there’s very little to stop the Pirates of the Caribbean cabaret from staying for an extended season. Rob Marshall can direct beautiful films, has directed lavish musicals like Chicago… but treading water with ship wreckage is hugely underrated director, Gore Verbinski’s job. It’s like choosing to shoot The Hobbit without Peter Jackson… very wrong! The same Verbinski-Depp magic is missing and our new director fumbles around in the dark probably with his principal star on contract.

“Can I just say, you make a feisty Keira Knightley… savvy?”

Fortunately, the same high production values are there with some creative stunt work and storytelling. Although it has that… “haven’t we seen this all before” feeling. You’ll recognise the same epic crashing soundtrack and for all intents and purposes the same sets have just been remodeled from The Curse of the Black Pearl. We’ve got the wonderful addition of Captain Blackbeard, but apart from a solid introduction for Ian McShane the character is left high and dry without any “pirate all pirates fear” moments going forward.

The 3D technology adds an immersive quality to the production, which helps keep the audience engaged. However, the story is less captivating as the crew search for the elusive fountain of youth. Geoffrey Rush returns as Barbarossa on the British navy’s side in an interesting move and they’ve broached religion with a missionary on-board the adventure. The filmmakers have made enough changes to refresh the series, but it still feels stale and a bit dead in the water.

Sparrow isn’t as funny or lively as usual and all the attention’s relentlessly placed on Depp, who has to perform like a monkey. Any sense of realism has been squeezed out of the series… making it seem out-of-grasp for many audiences, who need the anchor of reality to keep the action-adventure bubbling over. The new sequel would be a worthy effort if it weren’t for the excellent consistency of Gore Verbinski’s trilogy up to now making Rob Marshall’s fourth installment in the series entertaining, forgivable yet disappointing.

The bottom line: Mediocre

Release Date: 20 May, 2011
Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro
Catch more movie reviews at SPL!NG

Well, that’s the premise for new science-fiction western actioner, Priest in 3D. Paul Bettany has become the go-to guy when it comes to playing controversial religious figures. He was Silas the red-eyed monk in The Da Vinci Code, Charles Darwin, the father of evolutionary theory in Creation and the archangel Michael in Legion. So it was almost inevitable that the underrated British actor would seize the title character in Priest.

“Haha, no you see that hidden camera over there…”

Paul Bettany may not be a headline star like his The Tourist co-stars Johnny Depp and Angelina Jolie, but he’s gradually becoming one. Priest gives him a chance to further his action man credibility on the back of his role in Legion, teaming up yet again with Legion director, Scott Charles Stewart. It’s true… the director has three first names, yet ironically is still in the process of making a name for himself. Right now, Stewart is dabbling… with religion, action and visual effects forming the basis of all his films to date. Legion and Priest have both swayed this way with style over meaning and it looks like his next film, The Mortal Instruments will follow suite.

The premise is simple… a priest disobeys the church to track down his niece in vampire country. You can’t really expect too much depth from a graphic novel when it comes to film adaptations. 30 Days of Night, 300… seems anything goes as long as you give your movie a set style, violence, mythology and blood. Sin City may be one of the exceptions, but Priest has gone with stylish action gore in a clash of kung fu priests and blood-thirsty vampires… not your average Sunday night feature.

The style is good. The visual effects are good. The action is good. The rest… not so good. Priest feels like its been cut to shreds in the editing room. The pacing is electric… moving rapid-fire from one scene to the next without giving the audience a chance to appreciate the action or visual effect artistry. Just as soon as the light from one kick-ass moment fades… the characters are riding gung-ho onto the next thing. This could be due to a script that may as well have been a set of cue cards with random cheesy one-liners or because the rotten parts were too bad to see the light of day.

“Well, that got out of hand quickly…”

What we’re left with is a rushed, stone skip of an action movie. The set design, CGI and costumes are fantastic, but they treat the audience like a bunch of monkeys with a short attention span. Dumb dialogue, lightning fast scene changes… it feels like an 80 minute trailer for the full-length film. To add insult to injury they’ve left the movie wide open for a sequel just like Legion did. Except, whatever happened to first making the original good enough to warrant a continuation?

Priest only seems to land most of the good stuff in the last 15 minutes and covers each exciting plot development in such quick succession that you wonder why they didn’t actually explore them with the other 30 minutes of missing celluloid. The supporting performances from sidekicks Maggie Q and Cam Gigandet are passable for an action movie and pretty good when you look at how little script they actually had to chew on. Karl Urban even manages to muster up some grit as Black Hat. However, Priest is limited by its video game quality.

Despite all it’s shortcomings… this actioner is watchable and entertaining as a mindless, forgettable bit of action fluff. It never lets its audience go from a visual point-of-view and provides enough decent monster action in a familiar setting to pass the time. Sure, they’ve borrowed and stolen… from Priest’s take on Christian Bale’s Batman voice, Underworld themes, style and action, Matrix costumes, the Mines of Morior creature from The Lord of the Rings, the train action from The Legend of Zorro and set it within a Jonah Hex/Bravetarr style environment, but who cares? The 3D visuals and sound are a plus, but aren’t essential if you just want to veg.

The bottom line: Half-baked.

Release Date: 13 May, 2011
Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro
Catch more movie reviews at SPL!NG

In the fifth installment of The Fast and the Furious, Dominic Torretto (Diesel) and his crew find themselves in Rio on the wrong side of the law after inciting the city’s most-feared drug lord. With a tenacious federal agent (Johnson) hot on their trail, they decide to go for broke… calling in favours from old friends to pull one last job to set them free from the system.

Fast & Furious 5: Rio Heist is a fresh blast of cold air… refocusing superficial egocentric clashes of machine and man-on-the-run to mirror the The Italian Job. Instead of minis, they’re racing just about anything from armoured vehicles and muscle cars to street racers and police cars. The movie has shifted the focus from just looking cool and winning to a heist in the style of an Ocean’s Eleven round-up. To spice things up even further… the heist goes down in Rio De Janeiro – the setting for movies like City of God and La Linea.

“Fast & Furious Five: Rise of the Silver Surfer”

Letting the party get started in Rio was an inspired move on the part of The Fast and the Furious: Tokyo Drift director Justin Lin. Not only is Brazil’s crime and festive capital a cesspit of hard-living, guns and drugs… it also enables the bad guys to take on the cops, have bigger gun fights and get away with more full-throttle action.

Rio is the perfect setting for a showdown and from the energy of the production, it’s quite phenomenal to think this is the fifth installation of the long-running series. Most multiple sequel sagas taper off in budget and quality in an attempt to rehash a popular concept. Fast & Furious 5 have just modified it, taking the same characters and basically hijacking any promise held by filming The Brazilian Job.

Fast Five delivers all the hot shot drivers from the series including: Paul Walker, Vin Diesel, Tyrese Gibson and introduces Dwayne “The Rock” Johnson still burning after Faster. It’s a bad ass action collective with Walker, Diesel and Gibson on one side of the law and Johnson going “Old Testament” on the other side as a federal agent and man hunter. Each of these leading men could and have taken the lead in their own respective films, but having them team up just makes the occasion bigger, meaner and heavier with Jordana Brewster back as Mia.

“Aim for the Brazilian bushes!”

Fast Five or Fast & Furious 5: Rio Heist balances racing action and gangland shoot outs… using the fast cars and hot girls more creatively to execute the heist. Blending the world of Fast and Furious with The Italian Job is such a snug fit that you wonder why they didn’t do it sooner? The stakes are higher, the cast is meaner, the stunts are more imaginative and there’s even some acting! Having Dwayne Johnson and Vin Diesel stand-off is one highlight of many in this frenetic balls-to-the-wall actioner that even has touches of Gone in Sixty Seconds.

Action junkies will be hooked, people expecting the same old formula will be impressed and fans will be wondering when the next sequel will be coming to cinemas. If The Fast and the Furious was hoping to repeat the magic of the first film or go out with a bang, they managed on both counts with this all-round actioner.

There are one or two unintentionally funny moments and Michelle Rodriguez is missing in action, but overall the feeling is great… making Fast & Furious 5: Rio Heist the best of the sequels and easily the best of the franchise in terms of entertainment value – clocking in at just over two hours.

The bottom line: Surprising.

Release Date: 6 May, 2011
Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro
Catch more movie reviews at SPL!NG

The story is quite simple… love or money. A drunken playboy (Brand) falls for the wrong girl. In most families this happens all the time, but in Arthur’s world… he stands to lose his inheritance. It’s the sort of light, fluffy fairy tale comedy that worked in the carefree dreaming of the ’80s. Making it work for today’s modern tastes is an entirely different matter. Modern Family director, Jason Winer, attempts to make the leap from TV to film – yet he and his lead seem a little out of their depth. Padding the ensemble with the likes of Helen Mirren and Jennifer Garner will give you credibility, but neither is known for their comedic roles, leaving Brand to scare up the laughs.

“Can I just say, you’ve put on a wonderful spread…”

Arthur is essentially a romantic comedy and when you don’t have the romantic connection, the movie begins to lean heavily on the comedy. This puts a severe strain on a film, when it falls into one of those “all the funny bits were in the trailer” type movies. There are one or two real chuckles and Helen Mirren does add some class to the production, but it’s a tawdry affair otherwise. Having a trust fund brat living it up lavishly in a hedonistic manner in post-recession times just seems excessive. The original Arthur was delivered when people weren’t counting pennies making it more popcorn friendly and suited to escapism.

The new Arthur proves that Russell Brand can take a lead comedy role, but there’s much to be desired when he’s not trying to get the laughs.  There was an apparent lack of chemistry between Brand and co-star Greta Gerwig. The fresh-faced actress is a real find, portraying a thin character quite convincingly – but there’s no substitute for a lack of chemistry between the Benny & Joon pairing. Jennifer Garner isn’t much better opposite Russell Brand… and plays a general irritation, desperately seeking those last laughs like a clown on death row. Helen Mirren is wonderful as Hobson, but can’t match the wittiness of John Gielgud in the 1981 original. The addition of Luis Guzman and Nick Nolte are just thickener for a very watery soup.

The whole situation is summed up by the handling of the original’s theme tune. The original has stood the test of time, 30 years and still regularly making the airwaves as one of those nostalgic trips down memory lane… even for people who haven’t seen the original Arthur. The music encapsulated the floating on air feeling of the Dudley Moore classic and is a cornerstone of the film. However, not so with the new version. The weak attempt at a remix has found it’s way to the credits, since it would just seem out of place in the actual film’s soundtrack.

“Russell, personally I thought ‘Hop’ sucked.”

The two films are worlds apart, sharing a similar story… but making the soft focus love and laughs of the ’80s seem more real. There’s a lack of romance, comedy and magic in the new Arthur – which doesn’t match expectations for the talent involved or the source material. You can understand a film getting the green light when the technology of the original has become outdated, but trying to mimic a classic for charm and comedy is a much more daring feat even if you wave the white 30 year anniversary tribute flag.

Fans of the original will die a slow death and even those that haven’t seen the Dudley Moore film will wonder why they didn’t just call it Mr Deeds 2. Where’s the heartwarming emotion, the ’80s loving and carefree fun? It’s sad when we’re forced to remake classics in favour of supporting original thought, especially when the remakes are wholly unnecessary.

The bottom line: Lightweight.

Release Date: 29 April, 2011
Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro
Catch more movie reviews at SPL!NG

Imagine waking up after a car accident to find that your life has been up-ended without a trace of your former existence. This is the case of Dr. Harris (Neeson), a man facing a similar situation after waking up from a coma. Harris falls into a state of bewilderment as paranoia begins to pick at his mind after an accident makes him spectator to a life he once owned. Just like The Fugitive with Harrison Ford, this doctor goes on the run from authorities in a classic Hitchcockian man-on-the-run thriller.

Director: “Concerned OR constipated… Take your time.”

Moving between the police, hospital staff and an undercover agency, Harris must find a way to reunite with his distant wife and recover his real identity. Liam Neeson surprised everyone with action-thriller Taken as a ex-special forces father whose daughter gets kidnapped, later starring in The A-Team remake as Hannibal Smith. He’s demonstrated that he’s still got it and in many ways, Unknown is a derivative of his role in Taken mixed with the plight of Dr. Richard Kimble in The Fugitive.

Jaume Collet-Serra directed House of Wax and Orphan, showing a curiosity for darker horror-thrillers. Unknown may not be a horror, but the snowy, murky and haunting city of Berlin gives the thriller a cold atmosphere and the perfect conditions for a mystery. While Unknown immediately conjures up flashbacks of Taken with a Luc Besson edge and quick pacing, it seems to go a little deeper as Dr. Harris transports the audience on a journey of self-discovery and all the pieces of the puzzle are reassembled.

Unknown varies between intense drama and riveting action set pieces as our hero recruits the help of his taxi driver, embarking on a mission to reclaim his identity. The taxi interplay and urban car chase scenes highlight Besson’s affinity for car chases and taxis, which make appearances in a number of her other films. Unknown may not be as cuttingly violent as Taken, but maintains stress levels as our dazed and confused hero escapes one tense situation only to land in another.

♫Every breath you take… Every move you make…♫

Neeson seemed more determined in Taken – like it was personal. In Unknown, he carries a vacant glare, possibly because his character feels numbed, void of identity, like a man suffering from amnesia. Instead of being a lone wolf, he’s aided by Diane Kruger, Bruno Ganz and January Jones. Kruger (National Treasure) shows she can roll with the punches as his accomplice, Gina, the taxi driver. Ganz (Hitler in Downfall) is almost unrecognisable, delivering a cold, experienced supporting role and January Jones (Mad Men) softens the sharp tension as a gorgeous, enigmatic counterpart to Neeson as Elizabeth Harris.

Unknown lags a little in places, but the mystery sustains us long enough to make the film compelling, exciting and action-packed. It’s a straight-forward actioner with a meaty premise and a solid cast. Unfortunately, this distancing forces it to skate over the characters, leaving the audience slightly alienated by the onslaught of anonymity and disconnectedness. Not feeling for the lead character displaces viewers making them feel like they’re playing witness at an arm’s length, cut adrift.

If the script was able to create more of a bond between audience and Dr. Harris, the film would have been right up there with its influential peers in Taken and The Fugitive. Instead, it makes its mark with relentless action, quick pacing and a classic Hitchcockian theme in a suspenseful man-on-the-run thriller with one big difference. The identity isn’t mistaken, it’s missing.

The bottom line: Electric

Release Date: 8 April, 2011
Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro
Catch more movie reviews at SPL!NG

Bradley Cooper plays Eddie Morra, a struggling writer, who comes to possess a miracle drug after bumping into his ex-wife’s dubious brother. After completing his first draft overnight and rearranging his life, Morra is convinced that he’s stumbled on the medical breakthrough of the millennium. However, the side effects and consequences of his new dependence create a dangerous situation, which put his health and livelihood at stake.

Secret of business tycoon’s overnight success? Drugs.

This is Bradley Cooper’s star vehicle, a film to show he can be a leading man and not just another Face. Cooper is a good looking guy, which generally aids actors to the point that they have to start proving they can in fact act. Cooper is likable, charming and can play a lead character – but he isn’t on his own. He’s supported by Abbie Cornish, an Australian actress who has just recently cracked the Hollywood market with starring performances in Limitless and Sucker Punch… you may also remember her from Bright Star and Candy.

If an up-and-coming Aussie actress wasn’t enough, one of Hollywood’s heavyweights… Robert De Niro has also been added to the team. De Niro hasn’t been at his best over the last few years, but has a few great moments with Cooper, especially when the interactions mimic that of The Apprentice. Although, the driving influence behind this film is most definitely an appreciation for Darren Aronofsky’s work.

Neil Burger is quickly becoming a go-to director with The Illusionist, The Lucky Ones and now Limitless to his credit. Although, Limitless seems more like a derivative of Pi and Requiem for a Dream. The film has been influenced by Pi for its rapid editing, flurry of visual paranoia and its claustrophobic camerawork. Instead of being black-and-white, Limitless has embraced colour and light to express an enhanced enlightenment in the heightened awareness drug state. It’s a cleaner, more commercial version of Pi – tweaking the story to portray a drug-infused mastermind rather than a gritty numbers genius on the verge of implosion.

“Hun, think you may have mixed your pills up today.”

Morra’s deterioration and drug use can be aligned with Requiem for a Dream, making Limitless heavily influenced by Aronofsky. The collaboration works well enough to carry the film without too much Pi baggage, yet the echo is still there. Burger is a writer-director, and Limitless marks his first feature where he’s only credited with direction. Perhaps he felt more at liberty to play with a script that wasn’t his own?

Limitless is more about entertainment than trying to break new ground artistically. It succeeds in presenting a beautifully filmed and surreal mystery thriller in the same league as Cypher. The concept of a pill that could make you rich and powerful is the sort of plot device an Eddie Murphy comedy may use. However, it’s been treated with a sharper edge in a hostile and threatening environment in Limitless.

The performances are good, the story is compelling and it’s been handled quite crisply in its adaptation from novel to film. Limitless has blinding moments where it touches the glass ceiling, but never really breaks through – hampered by its Aronofsky affinity and a diluted antagonist. A strong thriller with an equally solid cast, it’s one of those well-rounded and enjoyable movie experiences that delivers the goods. The film’s overall entertainment value smooths over minor flaws like the ending… well, at least he didn’t wake up to discover it was just a dream.

The bottom line: Sleek.

Release Date: 15 April, 2011
Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro
Catch more movie reviews at SPL!NG

Sofia is quickly making a name for herself as one of Hollywood’s finest art directors, with Oscar nominations to boot and a controversial Golden Lion at the Venice Film Festival for Somewhere… It’s no Lost in Translation 2.

This slice-of-life drama follows Johnny Marco, a hard-living generic Hollywood star on his day-to-day meanderings around Los Angeles. Watching twin strippers do synchronised pole-dancing in his apartment, playing Guitar Hero, getting face molds created for roles, attending press junkets and embracing the rock ‘n roll excesses of life have become the norm in the real Hollywood. Everything seems to blur together as we learn more about the character. Then, a surprise visit from his daughter gives the star a chance to re-examine his own life. Massages, booze, work, obligation… whoever said “fame is a whore” may have been misquoted after slurring “fame is a chore”.

“Real guitar or toy guitar – SFW, I still ROCK!”

The film was written with Stephen Dorff in mind. Perhaps Coppola had a crush and wanted to work with the Hollywood stud. He’s definitely star material, despite a low-boiling latter half to his film career. Real-life boyfriend, Quentin Tarantino, controversially enabled Coppola to claim the Golden Lion, but they’ve got more than a Golden Lion and shared affinity for film-making in common. They’re famous for polishing tarnished stars. Dorff works well in Somewhere – not brilliant, just good. Most of the film’s dialogue is improvised… making the film basically a derivative or caricature of his own life as a Hollywood celeb and how difficult is it to play yourself? Quite.

Chris Pontius of Jackass notoriety and Michelle Monaghan make “guest” appearances, both improvised and creating a more realistic atmosphere. Somewhere is also one of the quieter films out there with very little noise filling the backdrop, traded for the sounds of the odd Guitar Hero track, a Shannon twins strip dance routine song or a lone guitarist.

“…and that’s Daddy with blood on his face in Blade.”

He stars alongside Elle Fanning (The Curious Case of Benjamin Button), sister of Dakota, who has become the art house version of her famous sister. Fanning delivers the goods in a part, which generally requires presence and a good daughter-to-father connection. She impressed critics with Phoebe in Wonderland and the pre-film relationship established between Dorff and his young co-star makes this bond convincing. Dorff even went as far as picking Elle up from school to add to the sense of familial history.

Coppola has blended the simplicity and reality of YouTube video culture with an intriguing, languishing story about the emptiness of stardom. An extended fixed shot of a black Ferrari doing laps on a circuit open the film, while creeping zooms into the behind-the-scenes culture of Hollywood unveil some fascinating moments. She’s captured the beauty of ordinary everyday events in quite a stark, yet composed manner – tweaked by fame.

Stripper twins wind their bodies around poles imperfectly mirroring each other, while we just see Dorff puffing on a cigarette in other moments abstract and alienating moments. Coppola teases the audience with a light sexual overlay, showing a bare-breasted woman at the end of a passage or a scene in which a male masseuse creates an awkward unusual Hollywood moment. It all seems inspired by the real Hollywood, just like the smog that hangs over the real LA, the film undresses the flip side of the glitz and glamour… revealing a big nothing in art house style.

The bottom line: Experiential.

Release Date: 8 April, 2011

Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro
Catch more movie reviews at SPL!NG

One of the cornerstones of this type of arrangement is complete honesty from the start. This, ironically, is the very thing that weighs in on the “friendship” when one f-buddy is forced to announce that they have fallen in infatuation (love) with the other – creating a rift and forcing a superficial one-way “relationship” or a break-up. Easy sex with no strings attached is exactly where our two f-buddies find themselves in No Strings Attached, a romantic comedy about the benefits and pitfalls of doing your buddy.

“You made me a PERIOD mix CD? Awww!”

Ashton Kutcher has been fighting the toy boy image for quite some time. It didn’t help that he got involved with Demi Moore and perhaps his boyish good looks have been more of a double-edged razor than a sword. If you can’t beat them, join them seems to have been his motto over the last two years… trying his hand at being a spy opposite Katherine Heigl (who could have been his mom) in Killers, getting his kit off with Anne Heche in Spread and most recently being Adam, Natalie Portman’s play thing in No Strings Attached.

Portman is a better actor than Kutcher, even before she cut up those ballet pumps and went crazy. As a producer on No Strings Attached, she’s financially committed and has fully immersed herself into the role of Emma. Although, it has to be said – she’s more suited to drama. Light romantic comedy is too vacant for our little black swan and she just seems a little out of sorts, like a porcelain doll in a sweet shop.

The premise relies on good chemistry between the co-leads, which has been achieved to some extent… not perfect, but convincing. The romance aspect of No Strings Attached works and the charm of the leads helps carry the film. It’s a fairly surprising film for Ghostbusters III director Ivan Reitman, whose films have generally been a bit wacky and funny. Apart from some good recurring menstrual humour, the script is a little flat on comic energy forcing the central relationship into the limelight.

“Carrots? You shouldn’t have.”

The supporting characters mean well with Kevin Kline, Lake Bell and even Cary Elwes taking part, but the film trips into the same rut as Love and Other Drugs. The pivotal, highly sexual relationship is actually a serious matter and the director’s just can’t seem to extract the lighter side of being able to call someone up at any time of the day and “do it”. Edward Zwick’s Love and Other Drugs was a more confusing genre mix, but No Strings Attached manages to keep within the confines of “romcom” using a similar co-lead structure of heart throb guy and a jaw-dropping classic beauty.

The whole film just doesn’t quite gel, especially when the characters are using superficial means to win each other over. The heartwarming aspect of the relationship is frozen over to the point that when their hearts start melting, the audience has already written the characters off as less-than-human. The transition is just one step too far and we miss the connecting emotion – distancing us from the story altogether.

Unfortunately this is the case with No Strings Attached. We want to fall in love with the characters, but their selfish use-or-be-used agendas create a buffer and alienate us. Without the safety net of hilarious comedy or inexplicable chemistry, the whole affair becomes a bit of a slog… likable to a point, somewhat entertaining but void of involvement and too cold for the audience to latch onto. “Romcoms” are meant to be funny and heartwarming… No Strings Attached is mild on both counts.

The bottom line: Middling.

Release Date: 1 April, 2011

Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro
Catch more movie reviews at SPL!NG

Adam Sandler has also been through a number of films to the point that he’s typecast himself as a numb, sweet and ordinary family guy, and along the way he’s lost some of the verve that made him famous for movies like The Wedding Singer and Happy Gilmore. Sandler has proved he can act in straight roles for films like Punch Drunk Love and Reign On Me, yet he’s pursued the feel good brand of lightweight comedy romance that has made his production company, Happy Madison, what it is today. There’s no harm in creating a franchise, although something’s got to be said for losing the essence of its origins and basically “selling out”.

Adam Sandler has dissolved from being a quirky nice-sometimes-angry everyman into a less enthusiastic father figure. Just Go With It is a Sandler movie in essence, but he’s resorted to the safety of the sweet, indistinct character that has carried him through his last several movies. He’s recruited a Charlie’s Angels inspired task force for eye candy using Jennifer Aniston, Brooklyn Decker and Nicole Kidman to spice things up with Nick Swardson and Dave Matthews handling some of the off-the-wall comedy.

Are those your kids “playing” with the shark? Yep.

Just Go With It is a situational comedy, which centres on a deception involving a plastic surgeon (Sandler) and his loyal assistant (Aniston), who carry out an elaborate plan to cover up a careless lie and win the heart of an unassuming lady love (Decker). What starts as a harmless lie soon escalates when the troupe find themselves in Hawaii with his assistant still pretending to be ex-wife with munchkins in tow.

Jennifer Aniston gets a bikini stand-off with Brooklyn Decker and a hula contest with Nicole Kidman – in one of her more relaxed performances of late. Nick Swardson delivers the biggest laughs in yet another ridiculous, over-the-top performance reminiscent of South Africa’s very own Leon Schuster. Just Go With It invites you to do just that and creates enough fun situatons to keep you watching.

Sandler has essentially become the figurehead and puppet master of his movies, pulling the strings and dictating the story, feel good vibes and nostalgic soundtrack. It’s fast, it’s convenient and made for the people… A little like McDonald’s. We’re living in an age when escapism involves switching off rather than switching on, and this is true for many movie goers wanting a film to wash over rather than engage and challenge.

For this reason, Sandler’s films have their place, as do Big Macs. Family-centric, comedy fodder for the masses. It’s humorous, lightweight, nostalgic feel good fun, and what better way to relax and forget about the big bad world than by letting Adam Sandler douse you with an hour or two of his fluffy, forgettable and often funny dream stuff. Never mind the ethics behind using your assistant to cover-up one lie with many more… And deceiving the one you love.

“Brooklyn Decker, ladies and gentlemen!”

For what it’s worth, this Sandler movie is more charming than Funny People, Grown Ups and Bedtime Stories. There’s very little bubbling under the surface, making it an entertaining, sweet and harmless holiday ride. The cast look like they had fun making Just Go With It and that shines through, giving it enough room to be chilled, easy-going and sometimes silly.

The bottom line: Lightweight.

Release Date: 18 March, 2011
Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro
Catch more movie reviews at SPL!NG

Depp’s known for playing outwardly eccentric characters who are misunderstood by society, but this time it’s difficult to determine just how freakish our reptilian protagonist is when he’s surrounded by a motley crew of furry critters in the desert. He’s supported by a voice cast including: Isla Fisher, Timothy Olyphant, Abigail Breslin, Alfred Molina, Bill Nighy, Stephen Root and Ray Winstone. It’s an all-star ensemble of voice actors – each adding their own dark slant like the casting for a Tim Burton movie.

Lars (Depp) stumbles into the small dusty town of Dirt before swindling his way to Sheriff with the help of a tall story and a gullible saloon. Before he’s even wet his tongue, the chameleon adopts the name and legacy of Rango, a stranger-turn-savior of Dirt and its townsfolk, who are experiencing a drought with the added threat of local bandits. As Rango, Lars has to live up to the legend and survive longer than the town’s last Sheriff.

“The Mojave Desert – home of the cactus… and this guy.”

This offbeat animated adventure and western comedy is quite remarkable. Rango’s visuals are worth the admission price alone – boasting beautiful textures, imaginative characters and true-to-life backdrops. The colours are mesmerising and Pirates of the Caribbean director, Gore Verbinksi, has treated Rango like a live-action epic when it comes to cinematography. The story is pretty stock standard for a western with all the regular ingredients, except it’s animated and played out by animals instead of people. However, the voice performances and production values create the illusion of reality – making some of the scenes seem quite real.

Rango isn’t a kids movie. It flies under the banner of Nickelodeon, but don’t be fooled – this one is quite dark with impending death pinned as a central theme by a bunch of Mariachi owls. The comedy isn’t as crisp as a Pixar script and the characters aren’t as charming as they’d have you believe, but Rango still delivers on dialogue with a smart script and some witty interplay.

The novelty of the concept is that the classic Western has been given a new skin and a different shade of performances. There’s a surreal element to the film reminiscent of Jack Sparrow’s meanderings in the desert with bugs carrying our hero away at one point. Verbinski has used light, colour and textures quite masterfully – with light refraction from bottles and warped reflective images from water to give the movie a Fear and Loathing in Las Vegas overtone. Dreams, visions… this animated feature goes beyond the confines of a straightforward Pixar production to achieve something beyond normalcy.

“Woah, so this is what it feels like to be part of a possum.”

Despite it’s ambitious ventures to the outer edges of animation and its adult themes, it doesn’t quite deliver on laughs and story. The style and execution of Rango outweighs the slightly superficial attempt at a Chinatown meets Three Amigos. It’s largely entertaining with eye-popping visuals and good pacing, yet without a truly original story… the brilliant animated effects seem vapid and without anything to keep it anchored, it all seems to be in the moment rather than memorable.

It’s a fun, rollicking thrill ride from start to finish with dazzling animation and a first-class voice cast. The film comes across as something of a fluid artwork, maintaining its entertainment value and keeping the viewer transfixed in its trippy, quick-paced adventure. Gore Verbinski and Johnny Depp bring their trademark mood across in Rango, giving the animated feature instant cult appeal. Rango isn’t for everyone, but it’s difficult not to like it.

The bottom line: Enthralling.

Release Date: 18 March, 2011
Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro
Catch more movie reviews at SPL!NG

The premise: Ninja and Yolandi are wheelchair-bound,dirt poor gangsters, intent on gaining more street cred by upgrading their wheelchairs for higher-end models.

Mostly I felt like I spent fifteen minutes of my life watching Yo-Landi and Ninja shoot Uzis at bushes, and beat piles of rubbish with sticks while moaning in the fashion of a five year-old at a tile factory shop on a hot, hot day.

Do you have to like it because people say it’s good? No.

Is it made by a number of people who have recieved critical acclaim for their previous work, and may yet receive critical acclaim for this short film? Yes.

Does it have a message? Probably. I am open to interpretations from the hoards of insightful people beating down my email door.

Am I missing the point? I may well be.

Was I moved, emotionally? No.

Were there parts that I enjoyed? Most definitely. Namely:

• The personalised wheelchair number plates, one of which was “Wat Kyk Jy – GP”, undoubtedly a shout out to Griffin over at WatKykJy.co.za, who is closely associated with the group.
• The oversized Zippo lighter, the parody of a spliff, and Ninja’s accompanying deadpan expression.
• Ninja’s one-liner at the end of the film, exhorting Yo-Landi to sleep because “it’s doo-doos” was particularly great.

Bear in mind that Yo-Landi turned down an offer to play the lead role in David Fincher’s film adaption of Stieg Larsson’s Girl With The Dragon Tatoo.

Blame H.G. Wells for writing War of the Worlds or Ed Wood’s Plan 9 from Outer Space, blame that addictive 1982 Space Invaders arcade game or Neil Armstrong for taking one giant leap for mankind… blame the guys that found that new planet or anyone that dares to remind us just how tiny and insignificant Earth really is… the point is, alien invasions have been done before and never cease to get tired.

There’s an endless fascination with beings from outer space, conjured out of our own uncertainty of what lies beyond, which makes the premise of a space race colonizing Earth for its rich natural resources seem quite plausible and increasingly possible. Perhaps that’s why we should support the systematic destruction of Earth… whether it be global warming, deforestation, pollution or campaigning against Al Gore’s “irritating” truth. Anything to make Earth less attractive to expansive alien nations looking to wipe humanity from history.

“Looks like the weather forecast was right, 100% chance of aliens.”

Someone said “the next world war will be fought over water” and this is where Battle: Los Angeles positions itself, on the cusp of our own microcosm spilling over into the universe. Battle: LA hits the ground running. The marketing campaign may be reminiscent of films like Cloverfield for its posters and District 9 for its online presence, treating the material from a “this is about to happen” perspective with posters relaying images from other well-documented cases with websites to report threats.

This is also how South African director, Jonathan Liebesman, has treated the film. The gritty, core platoon focus of The Hurt Locker has influenced the style of Battle: Los Angeles. The Hurt Locker created a tense, war-ravaged, realistic account of a man addicted to war. Documentary style camerawork swirled around a squad of soldiers committed to defusing bombs and picking out terrorists. Instead of terrorists, we have aliens in Battle: Los Angeles with a platoon of marines entrusted with a rescue mission that burgeons into an infiltration of enemy operations.

The documentary feel to the action camerawork echoes Cloverfield and Liebesman counterbalances the frenetic with some levelheaded scenes to help establish character. Battle: Los Angeles employs the urban jungle warfare and disaster scenario of Cloverfield together with the scale of Independence Day. The film focuses in on one city in the struggle, but uses news broadcasts to relay the escalation in world domination Roland Emmerich style as major coastal cities fall to the invasion.

“Pilot: Haha… to think I almost regifted that Wagner CD!”

Aaron Eckhart (Thank You For Smoking, The Dark Knight) leads the charge, despite being a second-in-command staff sergeant on his last day of duty. Eckhart’s stoic presence and grim demeanor carry the dramatic weight of this action-intensive film. The war and science-fiction genres may serve as a frame of reference, but the genre mix has a similar effect to Predator… leaning heavily on quick pacing and action sequences. This makes Battle: Los Angeles feel like a day in the life of a marine… combining the exhilaration of first-person shooter video game with a simple action story about uniting against a common enemy without too much star-spangling.

Michelle Rodriguez – the gorgeous, kick-ass soldier babe has now officially been typecast. Flying choppers in Avatar, pistol-whipping in Machete and ripping zombie heads off in Resident Evil… she’s that tough fighter girl with very little in the way of competition in Hollywood right now. Bridget Moynahan also lends her credentials to the film as a civilian mother for some emotional interplay, while a bevy of marine actors including: Ramon Rodriguez, Cory Hardrict, Ne-Yo and Michael Pena round off the platoon with key performances.

Battle: Los Angeles is an all-out action assault. The film bombards the senses with explosions, alien spacecraft, advanced weaponry, special forces tactics and ground-to-aerial warfare. This movie refreshes the alien invasion theme film by putting you in the boots of a marine, taking you right into the heart of the action as fellow soldiers join the ranks and get taken out by the enemy. Battle: LA is so action-intensive that it actually has to play catch-up halfway, giving you a chance to reflect, gather your senses and connect with the characters as the squad come under new leadership.

The visual effects are excellent. They’re not on par with Avatar, but are convincing – keeping the audience at an arm’s length… showing just enough to form an idea of what is attacking without enough blunt detail to contaminate the real alien factor for viewers. Liebesman knows how to keep the audience hooked… feeding small bits of information – making it seem like real-time discovery from an unscientific platoon rather than putting everything under the microscope and answering every single question – leaving the playground of the unknown to the imagination.

Battle: Los Angeles is an entertaining alien urban assault, filmed in a gritty documentary style from a marine’s perspective and delivered with first-rate visual and special effects. The casting demonstrates the film’s intentions from the get-go… making it a cross between a Roland Emmerich scale film like Independence Day and a more intensive, reality war film like Kathryn Bigelow’s The Hurt Locker.

Battle: LA doesn’t purport to be an emotional journey, but rather an experiential action overload incorporating a fine balance of genres, reality vs. fantasy and cast vs. effects. The end result is that this atmospheric alien invasion film is the next best thing to being there. When The Hurt Locker and Avatar locked horns at the Oscars last year, someone had a brainwave… and guess what – it worked!

The bottom line: Gritty.

Release Date: 11 March, 2011
Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro
Catch more movie reviews at SPL!NG

The S-Train

Steve Jobs Unveils New iPad – Apple Inc. Chief Executive Steve Jobs is on medical leave, but that didn’t stop him from making a surprise public appearance to unveil the iPad 2, an upgraded tablet computer that could help the company fend off a slew of rivals in the burgeoning market. ”We’ve been working on this product for a while and I just didn’t want to miss the day,” Jobs said shortly after receiving a standing ovation Wednesday. [sfgate]

Sheen Loses Kids After Threatening To Decapitate His Estranged Wife – When Charlie Sheen threatened and maligned his bosses over “Two and a Half Men,” it was business and, to some people at least, bizarrely comic. When his estranged wife alleged that she and their twin toddlers were in peril from the TV star, the saga turned ugly.. Sheen’s 23-month-old sons were removed from his home Tuesday night after Brooke Mueller Sheen claimed that he threatened her with decapitation, adding a nasty custody battle to the actor’s bitter war with the studio and producers who shut down his hit CBS show. [msnbc]

Gaddafi Warns Of Bloody War – Libya’s Muammar Gaddafi warned the West on Wednesday against intervening to support the rebellion against him, saying that would unleash a “very bloody war” in which “thousands of Libyans would die”. Speaking live on state television, Gaddafi again blamed al-Qaeda for the challenge to his 41-year iron-fisted rule, saying the objective was to control Libya’s land and oil, and promised to fight to the last man and woman. Good times. [news24]

Official Royal Wedding Website Launched - Start clicking: Prince William and fiancée Kate Middleton are set to reveal details of the bride-to-be’s wedding dress on their newly launched Web site officialroyalwedding2011.org, which aims to celebrate all aspects of their upcoming nuptials. The palace has also added a news site to its roster of social media – there are royal-couple Facebook, Twitter (@ClarenceHouse) and Flickr accounts, as well as the Royal Channel on YouTube – says this will be the first place for fans to learn details of Kate’s eagerly anticipated dress. Also planned for the site: a video stream of the April 29 wedding! [people]

News Corp Ditching SKY News – The News Corporation has proposed spinning off the Sky News unit, in an effort to finally win government approval of its takeover of British Sky Broadcasting, a person briefed on the matter said on Wednesday. The plan — in which the Sky News channel would formally be separated from BSkyB to head off concerns that the News Corporation would gain too much control over British news media — could be announced Thursday, said this person, who would not speak for attribution because the matter was confidential. [newyorktimes]

Anne Hathaway And James Franco Can’t Stand Each Other - A source has told Us Weekly that Anne Hathaway, 28, and James Franco grew to “hate each other” as they rehearsed to host the Oscars Feb. 27. ”She had to provide all the energy — he was just phoning it in,” says a second insider. (“James seemed in his own little world,” during the Oscar telecast, says another source. “Producers were pissed.”). After the awards, Franco, 32, skipped his own party at L.A.’s The Writer’s Room. ”He went immediately back to NYC because he was pissed about how the show went,” adds a third source. Blind. [usmagazine]

Colombian Soccer Owl Dies – A Colombian soccer team’s mascot owl died after being controversially kicked (video here) by a rival player, Radio Santa Fe reported today. The bird landed on the field with an apparent broken wing during Sunday’s game between Barranquilla’s Atletico Junior and Deportivo Pereira. The visitors’ Panamanian striker Luis Moreno kicked the owl off the field, provoking a furious reaction from the Baranquilla crowd, who considered the bird to be a good luck charm. [heraldsun]

Saif Gaddafi Plagiarised His Degree Thesis – The London School of Economics (LSE) has launched an investigation into claims that Colonel Gaddafi’s son, Saif, plagiarised his PhD thesis. The 38-year-old graduated from LSE with a Master’s degree in philosophy, policy and social value in 2003 and gained a PhD in philosophy in 2008. It is alleged that he used a ghost writer and copied sections of his thesis, The Role of Civil Society in the Democratisation of Global Governance Institutions, which was examined by Lord Desai, the Labour peer. [independent]

More On Saif Gaddafi, Muammar’s Son – Before he joined Libya’s slaughter, Gaddafi’s son Saif was celebrated by Westerners as a liberal reformer. He was so smooth in his Brioni suits and cashmere zip-up sweaters. His English was fluent, his manner easy. He spoke of civil society and democracy, the subject of his doctoral thesis at the London School of Economics. Through American consultants, he promoted openness at home, counterterrorism abroad, and headed a major charity. He dabbled in art, painting a little himself and displaying the work of others. But now we see how he used money to fool the West. [dailybeast]

Julian Assange ‘Jewish Conspiracy’ Comments Spark Row - Julian Assange has blamed a number of journalists for a “Jewish” conspiracy against his whistleblowing website, WikiLeaks, according to the editor of Private Eye, Ian Hislop. In the latest issue of the satirical magazine, Hislop writes that Assange called him on 16 February to complain about an article on Israel Shamir, a WikiLeaks associate in Russia who has denied the Holocaust and has published a string of antisemitic articles. “He said that I and Private Eye should be ashamed of ourselves for joining in the international conspiracy to smear WikiLeaks,” Hislop writes. [guardian]

Mugabe Threatens Takeover Of Foreign Firms – Zimbabwean President Robert Mugabe on Wednesday threatened to boycott Western products before seizing companies from countries that have imposed sanctions against him and his allies. ”We can’t keep hosting more than 400 British firms including mines. Now it’s time we took measures,” Mugabe told a rally launch of a petition to call for the lifting of sanctions by the United States and the European Union. [timeslive]

Michael Jackson ‘Chemically Castrated’ As A Child – Michael Jackson may have been more prince than king of pop, a French doctor says in a new book alleging his wide-ranging voice resulted from a childhood chemical castration to fight acne. ”When he died, I realised that he was an unusual phenomenon,” Alain Branchereau, an opera buff and professor of vascular surgery at Timone University Hospital in France’s Mediterranean port of Marseille, told AFP. ”I said, ‘That’s the voice of a castrato!’.” [afp]

Zapiro vows to fight Zuma’s R5m lawsuit - Jonathan Shapiro, the cartoonist behind Zapiro, has remained defiant, stating that President Jacob Zuma’s R5 million defamation lawsuit against him and Avusa Media, the publisher of Sunday Times and division of JSE-listed Avusa, had no basis. Shapiro faces another R2 million lawsuit lodged by Zuma over three cartoons published during the president’s rape trial during 2006. [businesslive]

Hollywood Sex Symbol Jane Russell Dies At 89 – Controversial Hollywood sex symbol and actress Jane Russell has died in California at the age of 89. The star of Gentlemen Prefer Blondes died of respiratory problems at her home in Santa Maria, central California. ”Jane Russell passed away peacefully today at home surrounded by her children at her bedside,” son Buck Waterfield said in a statement. Russell was one of the leading actresses of the 40s and 50s, getting her start in Howard Hughes-produced smash hit The Outlaw. [abcnews]

John Galliano To Stand Trial - Disgraced fashion designer John Galliano, will face trial over an incident at a Paris café during which he allegedly hurled anti-Semitic and racist abuse at Géraldine Bloch, 35, and her companion Philippe Virgiti, 41. The proceedings could take place in the second quarter of this year, and Galliano could face up to six months in prison, and up to €22,500 in fines, if convicted. [telegraph]

live – every day – 1-click to tune in.

It’s rare that the Academy Awards hand out a second Oscar and once you’ve got that golden boy statue, it’s difficult to get off that red carpet. Cage has switched from serious film performances to a more commercial edge, opting for franchise opportunities like National Treasure and Ghost Rider. There have been a handful of critically-acclaimed roles in films like Kick-Ass and Werner Herzog’s Bad Lieutenant: Port of Call – New Orleans, but Cage has been doing what pleases him instead of trying to impress the Academy Awards fraternity. He’s always been drawn to over-the-top characters, tending to incorporate a bit of Elvis into every film.

He’s a Hollywood Rock Star, churning out lead role performances like clock-work with a couple of supporting performances and voice roles on the side. In his latest (ad)venture, Driving Angry 3D, Cage gives the performance equivalent of an air punch as Milton, a vengeful father who escapes Hell to track down the men who killed his daughter and kidnapped his granddaughter. Hell? Yep, it’s one of those comic book movies with a bit of fantasy in the mix… think back to Evil Dead for the tone and atmosphere. Cage is a charismatic actor, which is why he’s also popular – making it difficult to single out a favourite Nicolas Cage movie.

“Let’s just say, it’s been one HELLUVA day.”

With a title like Drive Angry, you’d be forgiven for thinking that this movie was about Road Rage or that Cage was reprising his role in Bringing Out the Dead, in which he played a paramedic ambulance driver. Drive Angry isn’t as serious as that Scorsese film, but is just as violent with a double serving of gore making it more like a loose adaptation of that video game Carmageddon. Drive Angry 3D is desperately seeking cult approval. There’s a cheesy undertone to all the action as Cage rips it up with big shotguns, hot babes and muscle cars. Come on, how can you expect a character to be taken seriously when he’s danced with the Devil and skipped out on dessert?

Cage is supported by the gorgeous model-turn-actress Amber Heard, who could very well be the next kick-ass Hollywood it-girl. The beautiful babe in Zombieland has also appeared in Pineapple Express, Never Back Down and the Joneses… quickly developing cult appeal for her choice of roles and her smoking hot body. She’s a walking sex bomb, making Cage look good and providing a strong presence as the eye candy. She can kick butt, handle a shot gun and drive fast… making herself quite versatile in an Angelina Jolie sort of way.

Character actor, William Fichtner, also drops into the picture playing a perverted Agent Smith type character known as ‘The Accountant’. He’s a Grim Reaper meets Golden Retriever, tracking Milton down to take him back to Hell. Fichtner is one of those actors who’s instantly recognisable as “that guy”, filling the shoes of many deviant supporting characters with flair. He does an excellent job in Drive Angry, which will probably go down as one of his more memorable performances and give his name a bit more resonance. He’s not quite a Hugo Weaving or Christopher Walken yet, but has become more than just a recognisable villain with this role.

“Shift over? Scrub, get your ass in the car! NOW.”

Drive Angry 3D isn’t putting up any pretenses, this flick’s all about the action “when Hell breaks loose”. They’ve roped things in a bit when it comes to Hell’s fury, making it less like Prophecy and more in tune with Evil Dead. Writer-director, Patrick Lussier, is better known as an editor specialising in fantasy/horror, although with 3D feature films, My Bloody Valentine and Drive Angry, under his belt… we could be seeing a lot more from the director over the next few years, already tipped to take over from Rob Zombie with Halloween III and Hellraiser after Condition Dead 3D.

Lussier is all about the action, shock and horror – making him perfect for 3D. Drive Angry has shards of metal flying out of screen, explosions, car wreckage, bullets and yes, even boobs. This is the antithesis of a chick flick and he’s carving out a niche for himself as the go-to guy when it comes to bringing a touch of fun back to movies with 3D. They may be cheesy, over-the-top and action-intensive – but that’s just what Doc Hollywood ordered. It’s like giving the reins to a kid hooked on dopamine, porn and violent video games… and maybe that’s why it works – full of enthusiasm and dedicated to the cool factor.

Nicolas Cage adds dramatic credibility to the film, remember that Oscar? He’s got the perfect balance of respectability and flamboyance to get away with this borderline grindhouse affair. Perhaps having a first-rate lead was the missing ingredient from My Bloody Valentine, a Twin Peaks type 3D horror about a spate of murders in a small mining town. Tongue-in-cheek is becoming popular again with other gimmicky 3D films like Piranha’s remake getting wings.

Drive Angry is super entertaining, delivering video game generation content with old school grindhouse overtones and a wry smile. It’s not to be taken seriously, voyages into the occult and camps things up a bit for the laughs. The visual effects are good, the 3D gets a real work out, the revenge road trip adventure story keeps pace and the performances have just the right amount of torque. If you like your action violent, your car chases over-the-top, your shoot outs out-of-this-world and your cheese sleazy, you really can’t go wrong with Drive Angry 3D.

The bottom line: Comic.

Release Date: 25 February, 2011

Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro
Catch more movie reviews at SPL!NG

Corrupt officials, match-fixing and personal afflictions are where the real action is and it’s these themes that make good sports movies great… that, and basing them on a true story like in The Fighter.

Rooting for the underdog is a popular theme for sports movies and this is the true story of “Irish” Mickey Ward, a boxer in the 1980s. His brother, Dicky Eklund, known as the “Pride of Lowell” for knocking Sugar Ray Leonard down in a fight in 1978, has since become a crack addict. Now the subject of a documentary in which he believes he’s making a comeback at the age of 40, it’s Dicky who inspires Mickey to carry the torch and go professional. The brawler-turn-pro boxer has a tough time relying on his brother, and doesn’t always agree with his domineering mother and manager, Alice, who’s intent on keeping it in the family.

The Fighter chronicles the trials and tribulations of Ward, whose troubled brother inspired and frustrated him. It’s an uplifting story, a triumph of the human spirit as two brothers simulatenously reach new heights. Mickey pushes away from his family to fight for himself and reach his true potential, while Dicky tries to come clean and kick his addiction – both realising the value of the interdependent relationship they’ve fostered over the years.

“He ain’t heavy, he’s my brother…”

Mark Wahlberg is a real contender and delivers another solid, generous and likable performance as Mickey Ward. He’s obviously done the work, playing a real character with great conviction and drive. Yet, it’s Christian Bale who almost derails the title character completely. Some would say Bale was overacting, but the credits reveal the real Dicky Eklund and Bale has matched… no, mastered the mannerisms of Eklund. The performance is scene-stealing and turns a supporting role into something of a co-lead.

As if two top-notch “co-leads” wasn’t enough, Melissa Leo and Amy Adams step in to deliver two equally good performances. Leo captures the essence of the willful and nepotistic Alice Ward, a matriarch and headstrong woman. Adams chimes in as Charlene Fleming, Mickey’s devoted girlfriend… yet another “Fighter”. The central characters all seem to channel the spirit of the underdog… tenacious, strong-willed and ready to drop the gauntlet to guard their values.

David O. Russell directs in a fluid and spontaneous manner. It conveys a sense of reality, giving the camera freedom of movement and allowing us to get into the swing of things. The Fighter isn’t just a drama, it carries a good sense of humour too. Alice Ward’s collection of daughters is one point of recurring comedy as they function like a litter of puppies… going with the flow, echoing their mother’s sentiment in a “so you think you’re better than me” collective. There are several laugh-out-loud funny moments as Dicky tries to keep his head above the water and sidestep the law, responsibility and family duty.

“Muhammad always said, life is like a box… ing match.”

The Fighter is a two-tiered movie… with two inspiring characters, each overcoming their own setbacks. This makes the story somewhat disjointed as each contender fights for the lead. Both stories could be a film in their own right and it makes for intriguing interplay as the story twists-and-turns between Wahlberg and Bale. It’s also a little confusing, given Bale’s charismatic performance, and the camera’s propensity to follow him.

Bale’s performance alone is worth the admission price of the ticket. It’s one of those character-driven stories, which would only be semi-decent if it weren’t for the amazing personas at play. The film’s several nominations for performances just emphasises this point. However, the biggest travesty is the importance of Wahlberg’s lead performance, which has actually been diluted instead of lifted up by his supporting cast. Without the anchor of a dominant lead, the film feels a little lost at sea sometimes… lost, but nevertheless entertaining and inspiring.

The bottom line: Spirited.

Release Date: 25 February, 2011

Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro
Catch more movie reviews at SPL!NG

After a solo mountain climbing expedition accident, Ralston was pinned by a boulder and eventually resorted to desperate measures in order to survive. The story made world news, stunning and inspiring everyone who heard of Ralston’s ordeal. Naturally, a triumphant story like Ralston’s was destined for paperback and then celluloid, despite the ambitious and stagnant nature of a film locked in on one man and a boulder. That didn’t stop British Oscar-winning director, Danny Boyle, who eventually signed on to direct the “one-man show” and recreate the story that reached millions in much the same way Touching the Void did for Simon Yates and Joe Simpson after their infamous 1985 mountaineering expedition.

James Franco has come a long way since Spider-Man, with a number of starring and co-starring roles under his belt. A few years ago, casting Franco in the lead for a film like 127 Hours would have been a risky bet, but the young actor has refined his acting talent to the point that he’s garnered a Best Actor Oscar nomination for his performance as Aron Ralston. This movie is something of a breakthrough performance for Franco, whose acting has always been admired – yet rarely acknowledged, with his name now attached to nine films between now and 2013. Agreeing to star in 127 Hours would have been a bold move for any actor, given that the majority of the film is focussed directly on them… with minimal dialogue and loads of close-ups. Tom Hanks managed to do his role justice in Castaway, but he had freedom of movement and well, he’s Tom Hanks.

James Franco cuts his arm off… with his camera.

The film leans heavily on Franco’s performance and Boyle’s direction… much like the relationship between actor and director in Phone Booth with Colin Farrell and Joel Schumacher. Although, there are less characters to interact with and 127 Hours chooses a more introspective path with flashbacks and hallucinations creeping into the life-and-death situation much like the story of Christopher McCandless in Into The Wild.

Boyle introduces the film at a frenetic pace, demonstrating the first world’s more-in-less-time ideology. Aron is an extreme sports junkie who thinks he’s invincible. The lightning pace of Aron hitting the open road, mountain-biking like a daredevil and then hiking the great wilderness show our hero trailblazing his way across the rocky terrain. He stumbles upon two “lost” hikers, only to play guide, show just how isolated they really are and give us a chance to see a softer side to his all-or-nothing personality.

After the two girls move on, Aron is on his own again… flying solo, until a boulder catches his arm and he grinds to a standstill. 127 Hours isn’t just a biographical recreation of Ralston’s story. This is a commentary on modern life, a realisation of what’s truly important and only then a tale of survival. By staying in one place for 127 hours, Ralston had to confront death, innovate new survival tactics, stave off starvation and most importantly assess his life. Preparing to die isn’t high up on most people’s to-do lists …

“Hello? This wound is beginning to fester… smells like almonds.”

127 Hours is comparable with A Christmas Carol for the introspective journey our lead is forced to endure. While real versus unreal, both Ralston and Scrooge reach self-realisation under duress, through a series of premonitions. They are forced to evaluate their lives: past, present and future. It’s only when they’ve been able to confront the big picture and the significance of their existence that they’re able to move forward. This is at least half the story for Aron Ralston, whose will to survive, adventurer know-how and triumph of the human spirit fills the other half.

127 Hours makes a fascinating character study as Ralston uses a handheld camera to relay his experience, deliver his final goodbyes and document his struggle. There’s a strong focus on self as he tries everything to free his arm. Even after days of endurance, there’s very little to do with a higher power as Ralston remains trapped. This is a story about fate, belief in one’s self and confronting death, but one would have expected Ralston to “arm wrestle” with his beliefs like a man on his death bed.

This is triumphant adventure drama has been treated with great sensitivity by Danny Boyle. Yes, there’s blood, sweat and tears, but 127 Hours has been filmed it in such a way that we’re able to understand his struggle with basic human needs without the content becoming gratuitous or too voyeuristic. Cutting your own arm off with a blunt blade is shocking… there’s no question about it, but consciously deciding to survive no matter the cost makes Ralston’s desperate actions seem bold, justified and courageous – words that characterise 127 Hours from start-to-finish.

The bottom line: Bold.

Release Date: 18 February, 2011

Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro
Catch more movie reviews at SPL!NG

However, The K-k-king’s Sp-speech is not about the military exploits of this particular Duke of York, but rather about the potential embarrassment of “Bertie” and his stammer. Second to the throne, it was “Bertie” who overcame his stutter with the help of a speech therapist named Lionel. No, this is not a royal romance – his therapist gave him the friendship, confidence and verbal fortitude to become King after his brother’s abdication and boldly lead Britain into war. The King’s Speech is a winning historical drama, with “Bertie” lovingly portrayed by Colin Firth, who has been going from strength-to-strength with each new award-winning performance.

Playing someone with a stutter is no easy feat… comparable to acting seriously with your foot firmly wedged in your mouth, and Firth commands the role with a regal grace and dignified self-loathing. We learn that the impediment was most probably caused by a series of childhood disappointments and it’s not long before renowned speech therapist and last resort, Lionel Logue, is summoned to fix the Duke’s stutter.

The story centres on the relationship between Bertie and Lionel, who see-saw in their professional and personal relationship with one another. The King’s Speech views the relationship from several angles: the political slant of royalty relying on a mere commoner, the vulnerability of doctor-patient confidentiality and the test of true friendship, shaping the complex bond between a British Royal and an Aussie everyman.

“T-t-t-testing – 1, 2, 3. T-t-t-t… TESTICLES!”

The performances are key in The King’s Speech, with Colin Firth in possibly the best patch in his acting career, supported by seasoned and consistently excellent contender, Geoffrey Rush. The two have great on-screen chemistry and adapt their performances from high drama to light comic moments, showing their great versatility. Let’s not forget about Helena Bonham Carter and Guy Pierce, who give the ensemble even more credibility with fine supporting roles – with Bonham Carter garnering an Oscar nomination for her part as a young Queen Elizabeth in the making.

Tom Hooper directs after successful outings with Longford, John Adams and The Damned United, giving this historical drama bite with a real sense of authenticity for the life and times. The movie’s title and era conjure up a stuffy, pretentious and somewhat stale atmosphere, but Hooper has converted what could have been a slow, languishing drama into a historically accurate, entertaining, lively and relevant drama giving his actors space to truly shine in this remarkable true story.

The cinematography is beautifully understated, the score gives the story just the right amount of pomp and purpose and the production values are outstanding, transporting the audience back in time. There are uplifting, funny and dead serious moments – wringing out every drop of emotion and entertainment, while staying true to the characters. The King’s Speech is difficult to fault. Some may find it difficult to relate to, but it manages to draw the same sort of audience that Shakespeare was renowned for with contact points for the aristocrat and working class man.

The story of King George VI’s ascension to the throne is not familiar to international audiences, yet The King’s Speech changes this… turning what seems rather insignificant in retrospect and casting a light on what could have been a turning point in world history. The King’s Speech is a true all-rounder and a cinematic triumph, and with 12 Oscar nominations in almost every department, it’s easy to see how this quality film production has won the hearts of all who see it.

The bottom line: B-b-brilliant.

Release Date: 11 February, 2011

Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro
Catch more movie reviews at SPL!NG

Mommy obviously has a strong influence over her little girl’s happiness and whether she’s a good or bad mother echoes years later in her child’s general disposition. This is the case in Black Swan, in which a little girl’s mother motivates her daughter to excel in the art of ballet in the hopes of vicariously touching that icy pinnacle she could never reach. Black Swan is a heart-breaking tale, regarded as a companion piece to Darren Aronofsky’s The Wrestler. Both films deal with individuals locked into a specialised sport, art form or entertainment that seems dated, irrelevant and a little kitsch in pop culture until now.

Aronofsky molds his lead to literally become their character with Rourke embodying the hard-hitting lifestyle of a wrestler with a drinking problem, cleverly aligning Rourke’s own history as an alcoholic and feeding into the notion of has-been star to unearth a brilliant heartfelt performance. He pushes the repeat button with Natalie Portman, whose transition into the white swan and then the black is quite mesmerising. Not only has she sculpted her body for the part of prima ballerina, but she’s totally embraced ballet, and apart from a few close ups of someone else’s ballet shoes, seems to be in perfect control of her technique.

Split ends… bad. Split personalities…  worse.

Ballet is all about beauty, form, grace and timing, which is why Black Swan is just so terrifying! The elusive dream of being the most beautiful little girl in the whole room is more like a nightmare in the world of Black Swan. After it’s announced that the company will be performing a revised version of that all-time favourite, Swan Lake, the claws come out as each ballerina flounders about for the lead – comprising of the sylph-like white swan and her much darker alter-ego. The key role requires a ballerina whose technique is beyond perfect, able to effortlessly capture the spirit of light and dark. The company’s star is suffering a nervous breakdown and a forced retirement leaving the lead for the taking.

Nina is a white swan, perfectly demure and graceful – yet lacking the dark seductress that is the black swan. Aronofsky peels layers from Nina like petals as she is forced to confront her sexuality and become vulnerable to the darker, sensual side of her being. To truly capture the zest of the black swan, she must grow up… shed the innocence of that little girl, break the attachment bonds she shares with her overbearing mother and become unhindered, free. However, the departure from childish innocence seems too much for the fragile girl, who wrestles with her past, her psyche, her sexuality and her fears in a swirling abyss of negative emotion.

Aronofsky swathes the audience in what seems like a downward spiral. This is the antithesis of that hopeful Hollywood underdog story. It’s sometimes a horror,  often a drama but mostly a psychological thriller taking an introspective journey with a confused little girl, whose world seems to be hurtling, uncontrollably toward her ambition of fulfilling her mother’s dreams for her and becoming a woman.

The direction is loose, yet purposefully so… characterised by swirling cameras, a shaky behind-the-scenes documentary feel with a increasing sense of hopelessness. This isn’t easy-viewing, it’s draining and quite depressing – yet done so beautifully that you can’t help but stare. Aronofsky blends elements from his previous films, bringing the format of The Wrestler and the atmosphere of Pi together. The dark, disturbing drama spins into Lynchland, seamlessly weaving dreams and fantasies  into the story without giving the audience any warning. This taut, uneasy atmosphere is where the story of Nina Sayers takes place with an “ugly duckling” becoming a “swan”.

Psychotic ballerina or KISS groupie? Tough call.

Natalie Portman’s performance is astonishing, going beyond the call of duty to transform her physique, portraying a girl whose own character transition becomes the undoing of her self. Echoes of the late Heath Ledger reverberate as Portman conveys Nina’s fragile state and powers home in the climax, showing a girl so caught up with obsession that she has become imprisoned by her own insecurities. She’s supported by Mila Kunis, who has been well cast as the effortlessly vivacious new prospect. Vincent Cassel delivers a creepy performance as the manipulative trainer. Barbara Hershey’s dark bewitching eyes will stay with you long after the credits roll and Winona Ryder delivers a performance, which just underlines Portman’s brilliance.

Black Swan is by no means your average movie, creating a niche in almost every aspect of the film-making process. It echoes some of Aronofsky’s previous films, yet builds on these to creep into new corners. It’s a haunting, disturbing and altogether compelling experience, which for most viewers is a once-off. The range of negative emotion is powerful and the dark surge will leave you somewhat speechless. No one signs up to live someone’s nightmare, unless it’s directed by Darren Aronofsky and stars Natalie Portman. You don’t enjoy Black Swan, it has its way with you… chews you up and spits you out.

The bottom line: Dismal.

Release Date: 4 February, 2011

Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro
Catch more movie reviews at SPL!NG

Another boob making an appearance in Love and Other Drugs is Jake Gyllenhaal. He and his sister, Maggie, have been riding on their Donnie Darko cult notoriety for what seems like decades, maturing over a tricky mountain pass through Brokeback Mountain and over a couple of stiff drinks in Crazy Heart. Anti-Western movie roles may have given them some dramatic weight, but that hasn’t changed the fact that they both play broody, somewhat charming characters. Jamie Randall is Jake’s latest deadbeat pretty boy, whose life has been a bad joke. Sponging off his parents, losing one job after another and sleeping with just about any girl he makes eye contact with may be a summation of what one did at university, but to others – it’s an accident waiting to happen.

Jamie is a hedonist, which while “nice” tends to get in the way of studies and meaningful relationships. The school of hard knocks can give you some experiential knowledge, but working in a hi-fi store doesn’t often open up the right doors for a spoiled rich kid. Now forced to get a real job, Jamie is confronted with the possibility that he may become a bum (American sense of the word)… unless he makes a pact with the devil, or in this case pharmaceutical giant, Pfizer. Yes, the one that “discovered” the magical blue pill that started a sexual revolution for those that were part of the ’60s sexual revolution. Trust the baby boomers to bring things back into fashion.

“Feel It… It Is Here.”

On his journey as a pharmaceutical sales rep, Jamie meets the finicky, Maggie, posing as an intern at a prospective client’s practice. No, not his sister, Spider-bait… played by Anne Hathaway. The gorgeous lily white girl is a walking pharmacy… making her needy, high on pills and suffering from low self-esteem, an obvious choice for the Gyllenhaal Express. Jamie, a good-looking, charming stud on the up-and-up asks her out after an altercation and what do you know – they start a passionate love affair, but will Maggie (still not his sister) allow Jamie into her circle of trust?

Love and Other Drugs is one of those movies that brims with potential, yet disappoints like shiny, red floury apple. What were the writers thinking? What happened to the Edward Zwick of  The Siege, The Last Samurai, Blood Diamond and Legends of the Fall? The film starts like Thank You For Smoking with what looks to be a whimsical satire and subversive attack on the state of the pharmaceutical industry in America. I guess, they thought they’d leave that movie to Michael Moore… instead, opting for a 112 minute advert for Pfizer and featured product placement, the Love…Drug known as Viagra. Love and Other Drugs enters the fray without a scathing commentary on big drug corporations. Where’s the inside joke and… nothing. Then, it quickly backtracks into a romantic comedy romp about young reckless love like a scene from Varsity Blues or Feast of Love. As if the film hadn’t made enough tonal shifts and genre jumps, it enters into Nicholas Sparks terrain before tagging the proverbial “happily ever after” ending instead of the customary big red bow.

This is confusing… are we meant to be happy, sad or repulsed as an audience? The main protagonist has the moral compass of a jack rabbit on Viagra, his indistinct multi-million dollar brother is a poor excuse for a leech with a tinfoil bow tie and his girlfriend-in-waiting is as elemental as a nymphomaniac in Springtime. The comedy doesn’t touch sides apart from one or two guilty laughs, the chemistry is skin deep and the story ranges from “romcom” cliches to the sappy, bottom-of-the-barrel sentiment of a mediocre made-for-TV tearjerkers… shame.

Amazingly, Love and Other Drugs manages to keep your attention. It’s no small miracle, armed with a cast including: Jake Gyllenhaal, Anne Hathaway, Oliver Platt, Hank Azaria, Judy Greer and Gabriel Macht. The co-lead couple deliver charming performances, which just about save the film despite all its flaws. However, it’s just not enough as the soft core porn lessens the depth of emotion and a terrific cast are wasted on pithy sidekick roles. Love and Other Drugs is a mixed bag of a film, which must have gone through several rewrites during shooting. Tacking on some heartrending drama on the back of a superficial romance, posing as a satire is like going to see this film after reading this review… awkward, disappointing and ultimately dissatisfying. If Anne Hathaway’s pale naked body is the only thing you’ll remember about this movie, it’d be best if you just waited for Love and Other Drugs to hit rental…

The bottom line: Disappointing.

Release Date: 28 January, 2011

Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro
Catch more movie reviews at SPL!NG

Russell Crowe has always come across as a fairly reasonable bloke. He fought off gladiators in Gladiator, did maths in A Beautiful Mind, bought the farm in A Good Year, flexed his bow in Robin Hood and even dated Meg Ryan at one stage. His melancholic facial features deliver half of his performance as Crowe draws on the character of John Brennan, a community college teacher fighting to get his life back after what he perceives to be a miscarriage of justice.

The Next Three Days tells the story of an ordinary man, whose wife is arrested and sentenced to 20 years imprisonment after a brutal murder. All the evidence suggests this to be an open and shut case as Lara Brennan (Banks) is dragged through courts and into prison. John does everything in his power to free his wife, from attorneys to private detectives, but it all seems futile with Brennan destined to a single parent. However, a flame still burns for the love of his life, who he believes is innocent to the point of obsession… to the point of staging a prison break.

“Cock the hammer, it’s time for action, but how do I load it?”

On the surface level, the plot seems pretty cheesy with the romantic overtones of star-crossed lovers wanting to be reunited. However, Paul Haggis doesn’t trade in cheese… although some would probably argue that some of his scripts look like Swiss cheese after he was credited with writing Quantum of Solace. While Haggis is best known for his screenwriting abilities, having penned Crash, Million Dollar Baby, Letters from Iwo Jima and In The Valley of Elah, he’s also admired as an accomplished director with In The Valley of Elah and Crash under his belt.

The award-winning filmmaker has worked with the likes of Clint Eastwood and it’s safe to say that the two have a similar style. Both flourish on drama, which is toned down and executed in a hard, honest and no frills fashion. Great storytelling and acting is the focus, creating a somewhat invisible peephole on the lives of ordinary people engaging in extraordinary feats of humanity. Uplifting possible real-life stories are their preferred medium and they thrive on creating films that inspire, move and engage audiences.

The Next Three Days fits the bill and while the concept of a meticulously planned prison escape does feel a little worn, it’s the sincerity of the performances that nail it down. Crowe is the kingpin in this crime drama and while he’s not the first person you’d think of when it comes to romance, he powers the depth of his character’s love for his wife through his actions. He’s supported by Elizabeth Banks, who while adequate, seems a little miscast in the role of Lara Brennan.

The suspense is tied up in the preparation, secrecy, planning and eventual operation as we root for the underdog. Haggis has added another dimension to the taut atmosphere by fogging the truth… making the murder something of a mystery. The cloaking device works beautifully as the couple’s interactions reveal fragments of the truth and build towards the conclusion.

Haggis even throws a few red herrings into the mix to keep us guessing, steering our attention in one direction and then marking quick reveals throughout the film. It’s the work of a magician storyteller, keeping you on the edge of your seat and committed to the narrative. The Next Three Days does cross the finish line a little late, but the slower pacing adds to the suspense and makes it easier for us to invest in the character and his mission.

The Next Three Days not filmed like a heist, bank robbery or jail break… and this is probably the reason that an old hat concept can feel relatively fresh. Instead it’s from a family perspective with one man convinced he’s committing a crime for the greater good, gambling with his only son and a prison. We’re captivated by Crowe’s understated performance, inspired by his romantic albeit foolish plight and anticipating everything that could possibly go wrong. It’s totally entertaining and apart from a few minor flaws, makes a satisfying all-round movie experience.

The bottom line: Engaging.

Release Date: 21 January, 2011

Watch ‘The Next Three Days’ Trailer

Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro
Catch more movie reviews at SPL!NG

A high school reputation is built almost entirely on the sports field for guys, in the girl’s locker room for girls or behind the scoreboard for both. It’s that awkward age when everyone’s waiting for the next move, trying to fit in at all costs even if it means tossing name just so they aren’t voted as “Most likely to start a shoot out…” in their yearbook. This is the world of Easy A.

Emma Stone stars as Olive, a conscientious, diligent and pretty darn nerdy high school student in modern day America. High school can be tough on a kid, especially when you’re a goodie-two-shoes like Olive. When a white lie hits the ground like wild fire, Olive’s life starts to parallel that of Hester Prynne’s in The Scarlet Letter, a prescribed study book, which inspires her to use the rumour mill to her advantage, both socially and financially.

“The Scarlet Letter does NOT denote cup size.”

While Easy A falls into the same high school locker as movies like Jawbreaker, Clueless, Mean Girls and Ten Things I Hate About You, it stands out thanks to its first-rate cast and sharp writing. Apart from Juno, we’re just not used to smart dialogue when it comes to the usual high school fluff straight out of Hollywood. Perhaps its a comment on Canadian schooling – or just lazy scriptwriting? Easy A appeals to everyone… and with a cast including Lisa Kudrow, Thomas Haden Church, Patricia Clarkson and Stanley Tucci, it’s easy to see why.

However, this is Emma Stone’s movie. You may remember her from Zombieland, Superbad or The House Bunny. She’s basically been called in as a Hollywood substitute for Lindsay Lohan, whose career could have been on track like Stone’s instead of in the gutter with trashy cameos in Machete. Both are of a similar age, both have a similar look and Stone is just making the grade both professionally and in the public eye. So it’s quite ironic that Easy A is about her playing a character, whose public behaviour is a lot like Lohan’s.

Easy A is a light high school comedy, buoyed by the quality of its ensemble and boosted by a story, which doesn’t simply function as a modern day Shakespeare or fairy tale knock-off with Amanda Bynes. Instead they’ve made her Olive’s main antagonist in a comical supporting role, which is unusual for the charming, confident and attractive lead actress. These are the little tweaks that make Easy A entertaining. It doesn’t quite hit the teen high school movie genre out of the park, but it’s guaranteed to make the little girl in every one of us… giggle, gush and then sigh. No, really.

The bottom line: Sharp.

Release Date: 14 January, 2011

Watch ‘Easy A’ Featurette

Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro
Catch more movie reviews at SPL!NG

This is a sound and lights show. If you understand that and can get over the swirling plot, cardboard characters and average performances – you may just enjoy it. The first TRON was cutting edge in terms of its use of film technology, pushing the bounds of what could be achieved on screen. TRON: Legacy falls into the same box… using 3D to good effect. It’s heavy on CGI, which is what you would expect from a movie that took 64 days to shoot and 68 weeks to clear post-production.

Jeff Bridges may be the star of the show, but even an Oscar for Crazy Heart, won’t stop you from playing second fiddle to the visual effects of TRON: Legacy. The first movie was dominated by its aesthetic beauty and Legacy carries the torch, paying tribute and exposing a new wave of audiences to the world of TRON. The light cycles, architecture, grid and “frisbee” events are in the style of The Running Man with our hero quickly learning the game. These creations, the ridiculously expensive $13 million wardrobe and near-perfect beings in TRON: Legacy make the experience beautiful and even mesmerising at times.

How to make body suits and recliners look good.

Garrett Hedlund does a good job in portraying young Flynn as a likable rich kid with daddy issues. He manages well considering the irony of portraying a rather 2D character. Bridges is a talent and a firm favourite, playing several derivatives of his character in TRON: Legacy, but this alien dimension lacks humanity making the film void of emotion and a little blunt in the exchanges between father and son. Olivia Wilde plays the drop dead gorgeous Quorra, whose beauty distracts one from her performance.

The sound comes to us courtesy of Daft Punk, whose energetic electronic beats reverberate through your body. The electronica is so powerful that it almost trumps some of the high-end scenes it carries, making the visuals take a supporting role at times. This is the domain of Daft Punk and who better to create a fitting soundtrack to the dazzling neon light play and dopamine-inducing action? Strobes, smoke, mirrors, beams of light… and 3D, it’s a psychedelic futuristic experience and the sound design is quite simply out-of-this-world.

TRON: Legacy fulfills its role as a tribute and reboot. The production values are high and just like Avatar, it’s the technical agility, sound and visuals that demand your attention. Unfortunately, the story just doesn’t pack the same weight and the characters are difficult to connect with, making this film a big, beautiful yet somewhat sluggish affair. The sound and lights show is a hard two hours and functions better in the action set pieces, but the light show runs its course quite quickly and with very little to fall back on intellectually – the mind tends to wander.

The bottom line: Spectacular.

Release Date: 31 December, 2010 (Now Showing)

Watch Daft Punk’s ‘Derezzed’ from ‘TRON: Legacy’

Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro
Catch more movie reviews at SPL!NG

“Hands in pockets! I thought we talked about this?”

In The Town, Affleck is Doug MacRay – a former ice hockey hero turn hoodlum on the streets of Boston, purported to be the bank robbery capital of America. MacRay is one of the noble criminals, whose past life has a way of catching up with him. First, completing a bank robbery successfully with a hostage scenario, in which a reverse take on Stockholm Syndrome takes place. MacRay remains in contact with the hostage, Claire Keesey played by Rebecca Hall and a budding romance develops under the auspices of a chance encounter.

As with most crime drama thrillers the gang of robbers are painted into a corner and forced to do one last job. This “last” job has smacks of Kubrick’s The Killing as MacRay and his wingman, James Coughlin played to near-perfection by Jeremy Renner, pull a heist at the “Cathedral of Boston” – The Red Sox baseball stadium. It’s a daring manoevre and The Town builds us up to this daring escapade like an Ocean’s Eleven heist without the flashy novelty of Las Vegas. Instead we’re presented with the back-end of Boston, crawling with low-lifes and scum.

Irish accents, baseball bomber jackets and pockets of crime… this is not the Boston we know from shows like Boston Legal, but the gritty city’s underground. Just like Gone Baby Gone, Affleck has created an oppressive environment with moments of hope for humanity. We’ve got the vigilant police force, the one-step-ahead-of-the-law gangbangers and a tale of redemption. It’s a little bit like The Dark Knight, if it weren’t about Batman… a classy, well-acted and brilliantly edited piece of entertainment. Dark hues and solid writing underpin this crime drama, which is bursting at the seams – almost willing its way into the terrain of crime saga like something from a much broader piece or TV series.

“You had me at ‘put your hands up, BIATCH!’”

The story is gripping as masked identities, ulterior motives and justice take course. Affleck has shown he can act and now he’s demonstrated that Gone Baby Gone wasn’t a flash in the pan. While Rebecca Hall and Jeremy Renner deliver stand-out support performances, its Affleck who leads from the front with other noteworthy performances from Blake Lively and Jon Hamm FBI agent Frawley. The Town blends old world gangster films with the nuances and production values of contemporary classics like The Dark Knight and The Departed.

The Town makes a solid crime thriller, which establishes a tone and standard for Affleck’s brand of direction. It may not be the crime epic of the year, but it certainly holds it own and there’s no doubt that Affleck’s next film will draw even more attention as critics and movie goers contrast his new film with the story so far. The good news is that Affleck’s days of direction are still in their infancy, making it incredibly exciting to see where he goes from here. If he were to make a call betweenfull-time acting and directing… we’d better wait for his next movie before we make that call.

The bottom line: Quality.

Release Date: 31 December, 2010

Watch ‘The Town’ Movie Trailer

Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro
Catch more movie reviews at SPL!NG

If only Peter Jackson had heard of Galifianakis before casting for Lord of the Rings… he would’ve made an excellent Aragorn, or Peter Jackson for that matter. Due Date is most easily compared to that road trip classic Planes, Trains and Automobiles with Steve Martin and John Candy. The odd comic pairing linked by fate’s twisted sense of humour with a common goal and one-way friction – except it’s not as good.

“So this is why they put the steering wheel on the right!”

In Due Date, high-strung suit, Peter Highman (Downey Jr.) is expecting – and before you think it’s anything like Schwarzenegger in Junior, it’s his wife who is about to give birth on the other side of America. After a mix-up at the airport, Highman, now worried about his wife’s hymen is forced to share a rental car with the irritating ponce, who got him into the mess in the first place. It’s a match made in Hell and the highway is long and winding, not ideal if you’re sharing a ride with an aspiring actor named Ethan Tremblay and his easily-aroused dog. The American road trip, fast food joints, dodgy rest stops and a coffee tin filled with Ethan’s father… there are bound to be some awkward comedy moments.

This is an oddball comedy and a two-hander like $5 a Day and Around the Bend with Christopher Walken, except it’s directed by a guy who thinks Van Wilder was a documentary. The ensemble are top draw, well-cast and up to the task… creating a seething mix of hilarity and repulsion. It’s not for everyone and in all honesty it could’ve been funnier even venturing into a little action. While Downey Jr. and Galifianakis do their characters justice, the chemistry isn’t quite right. Phillips has a solid filmography as a director, but Due Date falls into the same bargain bin as his movie School for Scoundrels with Billy-Bob Thornton and Jon Heder.

“What do you mean you were “PRE-TEND” sleeping!?!”

It’s flat-out entertaining, has a good pace and sets the platform for a couple of good laughs, but there’s something missing. Both characters are a little hard-hearted and perhaps this is why we don’t buy into it 100%. They’re just so different and wacky that you’re not sure if you’re laughing because it’s funny or sad. The story is just a device to raise the stakes and the cast has been bolstered by some cameo roles from Jamie Foxx, Juliet Lewis and Michelle Monaghan. However, the sum total of all the film’s parts just doesn’t add up to something in the same league as some of Phillips’s previous movies. It’s a decent jaunt if you’re looking for some good interplay, a fun story and some light entertainment… but it doesn’t hit out of the park.

If you’re a fan of Todd Phillips and the co-leads Robert Downey Jr. and Zach Galifianakis, you’ll probably give it the benefit of the doubt and actually get a kick out of Due Date. Although you’d do better to make this your back-up plan. The film shows Galifianakis can act and he should broaden his character range… but it’s not essential that you see it on cinema – it’ll probably fare better as a rental.

The bottom line: Okay.

Release Date: 17 December, 2010 (Now Showing)

Watch Alternate ‘Due Date’ Trailer

Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro
Catch more movie reviews at SPL!NG

Megamind is a DreamWorks action comedy from Tom McGrath ofMadagascar fame and yes the bleeding penguins were the best part. He’s obviously been giving DreamWorks a scratch on its collective back (or belly) depending on where you like it most and after a reasonably successful stint with animated features,Madagascar and Madagascar 2 – he’s become the equivalent of a colonel in the on-going battle between Spielberg’s DreamWorks and Pixar for global cartoon domination.

‘Cartoon’ is probably bandied about like a swear word in the animation industry nowadays with studios literally gleaming the 3D cube with their creative brilliance in all departments. Toy Story 3,UP, Ratatouille… these films have set new standards and it seems as though DreamWorks has always played second fiddle with their portfolio of animation including: Shrek, Madagascar, Kung Fu Pandaand Monsters vs. Aliens. They continually produce solid animated features, but are playing towards a different market segment with their feel good jaunts. Who can blame them with the likes of Pixarand Disney soaking up the glory on the podium with gold and silver?

“Roses are red, my giant head is blue…”

Megamind is their take on The Incredibles, just like Shark Taletried to find Nemo. DreamWorks have roped in some serious acting-turn-voice talent to get the job done and harnessing another ‘solid 7′ contender like Will Ferrell is almost half the battle won. Then cranking up the star power of a supporting voice cast with Brad Pitt, Jonah Hill, David Cross, Ben Stiller and Tina Fey actually makes it difficult to avoid hitting #1 at the box office. However, Megamind is more than that and demonstrates its quality from start to finish.

The animation is mesmerising,wildly creative and fascinating – matching The Incredibles and upping the game with 3D technology. The visual effects are worth the admission price alone. The voice cast deliver polished performances around the kingpin that is Will Ferrell. Love him or hate him, Ferrell is quickly becoming the new tiger in Hollywood… in a similar trajectory to Jim Carey – who was sitting on the $25 million a picture fence not so long ago. Ferrellhas a great comic voice and would definitely be first choice to play The Cowardly Lion if they ever remade The Wizard of Oz. He uses it to good effect in Megamind as the title character weaving a little bit of his “Ferrellesque” lunacy in for good measure.

It’s the classic superhero versus villain story, except its got a big twist… we’re actually rooting for the villain. The production seems to have been influenced by the passing of Michael Jackson, givingMegamind a familiar back story as an outsider with amazing talent much like the King of Pop. Then to push this notion even further,Megamind‘s theme tune is Bad. Throw in another King in the form of Elvis Presley with tassels and a guitar and you’ve got a complex stand-off. They’ve used Jackson’s complex biography as a basis for the lovable/detestable character of Megamind and then cast Will Ferrell… to establish a similar “love or hate” relationship with the public.

“As some of you may have guessed… it’s based on my real-life story.”

The complexity of our identification with the characters is what propels Megamind as we despise and then sympathise with our tragic blue anti-hero. He’s a victim of his circumstances… dropped from space as an alien baby like Superman and then forced into a corner for being different. As Megamind says “All men must choose between two paths. Good is the path of honour, friends and family. Evil… well, it’s just cooler. Hit it!” The balance of good and evil keeps swirling like a ying-yang in Megamind as superheroes come and go, showing that with great power comes great responsibility and without much good, it’s no fun being bad.

This is a quality production from start to finish ratcheting up the cool factor with a first-rate voice cast… the epitome of cult cool, a dazzling balance of 3D/2D visuals, a rock soundtrack includingGuns ‘n Roses and AC/DC and a classic superhero story that virtually anyone can relate to. It’s got the makings of a classic, instantly rewatchable and full of surprises. What it does lack somewhat, is the same calibre of emotional intelligence as films from Pixar. While we love the characters, there’s just too much swapping about and not enough of a connection to truly feel for these superheroes.

The warmth may be a bit of an afterthought, but it’s the strong focus on entertainment value, which recharges this animated action comedy and sci-fi movie. It’s funny, it’s exciting… but most of all – it rocks! Yes, it’s family-friendly – and no you shouldn’t pass it up. This is one, which you’ll enjoy in 2D or 3D. Get a taste of what Dr. Evil would’ve been like if he was blue and make sure you’re armed with popcorn and Coke.

The bottom line: Entertaining.

Release Date: 17 December, 2010

Watch Alternate ‘Megamind’ Trailer

Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro
Catch more movie reviews at SPL!NG

He’s chosen to adapt a graphic novel about a 20-something year old guy named Scott Pilgrim, whose girlfriend insists he must defeat her seven evil exes to win her heart… easier said than done. The plot sounds pretty ridiculous – crazy even, but when you get that Scott Pilgrim vs The World is aimed squarely at the video game generation you’ll understand how it works. Just like retro arcade games, you’ve got a hero on a quest, who must defeat several “bosses” (ex-boyfriends) in order to “clock” the game (rescue the girl).

“Scott, did I mention I have seven evil exes?”

Scott Pilgrim is not to be taken seriously and Wright created the film along the lines of a musical with fight choreography taking the place of chorus numbers to toughen it up. Although there still are numbers, which are used to identify evil ex-boyfriends and to tally Scott’s score. Remember that ridiculous bit with Leonardo DiCaprio in The Beach where he’s hopping through the jungle racking up points? That’s what is going on here, except it spans the whole film. Now they’ve obviously paid more attention to detail with a graphic novel to guide the style and storyboarding, but there’s that ever-present retro video game feel.

Arcade nostalgia is cool… look at the menu screens for The IT Crowd, t-shirt logos with Pacman or Game Over. It’s an age when people get a kick out of looking back to the old days and Scott Pilgrim clearly has the right mix of alternative music and arcade cool to rack up the points with fans. Michael Cera is another whole component, bringing his George Michael Bluth suave dorkiness to the party from the days of Arrested Development. Wright chucks in a bunch of references using old school video game soundtracks and even the theme from Seinfeld – wha?

Cera underplays it as usual, has great timing and represents a generation of understated cool. He’s supported by Mary Elizabeth Winstead, who could have been a young Kate Winslet and Kieran Culkin, whose gay friend role helps underpin some of the whimsy in the witty interchanges. Jason Schwartzmann brings his dark cult cool to the table as a fitting antithesis to Michael Cera in a final showdown of epic proportions. The ensemble is chock-full of up-and-coming stars, who work together without much or any adult supervision.

What’s with Michael Cera and “light sabres”?

The rapid editing, special effects, intermittent on screen titles and neon graphics are distracting at first, but it’s not long before you understand the currency of Scott Pilgrim vs The World. He’s no ordinary guy… part of a band, growing up, on the look out for the next gorgeous girl and trying to stay left-of-centre. There’s an eerie connection with Eternal Sunshine of the Spotless Mind in the romance, pairing a quirky yet fairly average joe with an even quirkier, cute and mysterious babe… in a cold climate with a Juno sensibility.

The action is like something out of a comic book, which is good because it is. Stephen Chow’s Kung Fu Hustle successfully blended cartoon action with kung fu in a sort of musical of its own. The sidesplitting humour and vicious action set pieces took the traditional action comedy from oddball cop partners to new heights and realms even. Scott Pilgrim vs The World has been releeased in the build-up to the much anticipated Tron: Legacy as a boy enters an arcade game to find his father. Instead they’ve bridged digital with reality and turned it into a love story. There’s enough reality to call it Earth, while it’s punctuated by fantasy elements to create a sense of continuity.

This is a bold film, which will appeal to anyone whose played Pacman. However, there’s no denying the finesse with which Edgar Wright has created this spectacle. He’s taken a predominantly visual piece and adapted it so lovingly that it maintains its humanity, captures our hearts and gets us right behind the hero as if he had some sort of superpowers. The comedy has a crisp bite, the romance is sweet, the action is spellbinding and it all sits together beautifully. Even if you don’t know what Guitar Hero is, you’ll be able to enjoy Scott Pilgrim vs The World for its timeless love story and the new packaging just makes this adventure so much more entertaining.

The bottom line: Dazzling.

Release Date: Now Showing

Watch Alternate ‘Scott Pilgrim vs The World’ Trailer

Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro
Catch more movie reviews at SPL!NG

John Van De Ruit’s Spud series has captivated the South African reading segment much like Adrian Mole did in the ’90s for kids and even for some adults. While one functions like a memoir and the other a diary, it’s the day-to-day growing pains that make the journey so unique yet somehow they manage to tap into the vulnerablility of humanity and eventually the proverbial triumph over adversity. Of course, they’re a great read… who doesn’t want the little guy to succeed and who hasn’t felt like the a Spud in one situation or another.

The Crazy 8′s – kickin’ it old school… literally.

So Spud has entrenched itself as a firm favourite for ex-boarders, fascinated school boys living a very similar life to John Milton and curious outsiders. The book has made the leap from the pages of Van De Ruit’s bestseller to the celluloid and for the most part, it’s been a complete success. Spud is faithful to the book, giving an account of 1990s South Africa with the release of Nelson Mandela and John “Spud” Milton’s first year at an elite private boarding school for boys in Durban North.

The casting of the film’s principal co-stars, young Troye Sivan and John Cleese raised the bar to an international standard. Cleese’s involvement will draw significant international interest after some years since his last live-action performance, while Sivan takes his first lead in a title role. Sivan (X-Men Origins: Wolverine) is the star and projects intelligence, humility, likability and a brimming talent reminiscent of Freddie Highmore. Both actors share a similar on screen presence and have an enchanting quality about their innocence.

John Cleese registers a passionate performance as “the Guv”, really embracing the character as if related somehow. He demonstrates his experience and knack for comedy, while wringing out the drama from his tragic character – every alcoholic tear drop. Cleese is the backbone and dramatic credibility to Spud, but allows Troye Sivan the space to shine. His English teacher character will draw parallels with Robin Williams in Dead Poet’s Society… with direct references to Oliver. Cleese adds some fighting spirit and fatherly warmth to Spud with a special focus on their friendship.

Other noteworthy performances are delivered by the somewhat restrained Aaron McIlroy as Spud’s madcap father, Jason Cope as the Crazy 8′s housemaster nicknamed “Sparerib” and Jamie Royal as young “Gecko”. The ensemble is padded with other South African actors like Jeremy Crutchley, Julie Summers and Graham Weir, who don’t really have enough screen time in Spud. While up-and-coming starlet Tanit Phoneix headlines the eye candy division as the bodacious Eve with support from Genna Blair as “Mermaid”, Charlbi Dean Kriek as femme fatale Amanda and Alex McGregor as Christine.

The shenanigans have been treated in a comedy style with a serious afterthought. While night swimming and howling from windows make for a Peter Pan version of boarding school, aspects of initiation and earning respect the hard way also filter through. Shoe polish scrubs and toilet dunking on your birthday doesn’t exactly make the best advert for mothers thinking about sending their kids to boarding schools. The inclusion demonstrates the strife staying true to the story, which seems to occur at most boarding schools in one form or another. The Lord of the Flies group mentality kicks in and there’s a strange rite of passage to becoming one of the boys, one of the men.

Of Small Fries and Big Cleese.

Speaking from experience, the good times are obviously most memorable, which is probably why someone would even choose to recount their boarding school experience as a comedy in Spud’s case. The not-so-good times do however build character, mental resilience, independence and stamina – things that are more difficult to earn at home. Boarding school makes lifelong friends… brothers even.

Donovan Marsh directs Spud with an admiration for films like Dead Poet’s Society, however there’s a more theatrical component to Spud with the overlay of Charles Dickens’s Oliver, making it a play-within-a-film much like Dead Poet’s Society with a focus on the teacher-student relationship. While Spud goes for comedy over drama, it’s the situational comedy that makes this school boy adventure funny more than any witty dialogue. John Cleese knocks a few classic lines out of the park, but the tone is high-spirited fun more than traditional comedy.

The laughs are intermittent and are slowly replaced by some rather touching moments, which get quite serious. Spud is hugely entertaining and delivers on value time and time again with top-notch lead performances and a solid team effort from the supporting cast. The film almost warrants some reverse engineering to turn the film into a play. The theatrical quality of the film demands it and it could easily mirror the success story of a film like The History Boys. Just like it’s title character, Spud the movie, could rise to the challenge once all its naysayers are silenced and an adoring South African public will be waiting with open arms to welcome the film and future sequels home for the holidays.

The bottom line: Entertaining.

Release Date: 3 Dec, 2010
Watch the ‘Spud’ Trailer

Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro
Catch more movie reviews at SPL!NG

It’s not surprising that its principal stars are some of Hollywood’s top earners at the age of 20. This series has been at it for more than a decade, roping in some of Britain’s finest acting talents along the way. In the latest installation, Harry Potter and the Deathly Marshmallows: Part 1, Potter is targeted by Lord Voldemort. After narrowly escaping an aerial assault on a motorbike, the magical man-child retreats to the comfort of his peers only to set on an epic adventure in a quest to retrieve three of the most powerful objects in wizardry known as The Deathly Hallows.

Hogwart’s movie night or minutes after the premiere?

The same trio return with Daniel Radcliffe, Emma Watson and Rupert Grint in fighting form with a bulkier Grint standing almost a head taller than Radcliffe. They’re no longer teenagers with one Harry Potter movie poster unabashedly displaying Radcliffe’s stubble. The actors have come a long way since the early days of The Philosopher’s Stone and have brought much depth to their recent performances thanks to excellent writing and a creeping familiarity with their famed characters. Harry Potter and the Deathly Hallows: Part 1 takes a more introspective approach to the story and the characters.

They’re no longer kids and have entered what may be called their wilderness years in something akin to Where the Wild Things Are without the big monster puppets… sorry Spike. The journey sets them apart from the wizard fraternity we’re used to seeing them in and a clear line has been drawn between the trio and their past. This breaks with the Harry Potter franchise formula, which usually bases the adventure at Hogwart’s. The lead three have essentially been cut loose from their families, their school friends and their teachers. There’s no Quidditch, practical jokes or mild peril anymore… things have become darker, more serious and more independent, vulnerable even.

We follow Harry, Hermione and Ron as they wind their ways from intricate urban settings to beautiful natural landscapes. The conflict is between good and evil, urban and rural, night and day, friend and foe. Deathly Hallows: Part 1 stands out from the series as something completely different – even engaging in an uncharacteristic animated sequence to recount the story of the Deathly Hallows. It’s true… the final chapter in the series has been divided into two, but for some reason they still felt the need to draw the film out over two-and-a-half hours.

“Potter DAMNIT, I’ll come clean… I just want your nose!”

The overall feeling is that it’s still entertaining, although there’s a stronger focus on the core ensemble making each scene feel a little repetitive without the added assistance of the magic school. The tone is darker with a grim atmosphere reminiscent of Excalibur with swords, sweeping landscapes and witchcraft. This adds some weight to the production, although it’s not as much fun with fewer laughs than The Half-Blood Prince. The narrative almost seems to lose itself at some points in the wilderness as the story unpacks the triangle between Harry, Hermione and Ron as they make sense of their predicament and struggle onward. Although without an overriding sense of danger or urgency as they trek across the plains, the momentum is lost on the audience making it seem a little stagnant.

It’s difficult to say why David Yates opted for a more deadpan build-up to Harry Potter and the Deathly Hallows: Part 2. Perhaps downplaying the saga in the second last film will only make the final chapter even more fulfilling. There are also questions surrounding the franchise’s decision to switch from shooting for 3D back to normal 2D in line with the rest of the series. There are several scenes, which would have worked well with the format. This was probably done in reaction to the sluggish, drama intensive midriff, following a quick-paced introduction and a more energetic conclusion. The production values are high and in keeping with the rest of the series, which gives the film a rich, classic Harry Potter quality.

Overall, it’s just a little disappointing. From choosing to split The Deathly Hallows into two movies, dropping the 3D gimmickry, delivering an “into the wild” type sequel and ending quite abruptly on a “cliffhanger”… it just seems a little uncertain. This uncertainty creates an underlying tension, which works well for the relational dynamics, but not so much for the big picture. If anything, they should have probably gone for a 4 hour finale with an old school interval like Peter Jackson did for The Lord of the Rings: Return of the King in 2003. Harry Potter and The Deathly Hallows: Part 1 won’t do too much damage to the franchise in the long run, but has tarnished the saga with its uncharacteristic traits and uncertainty.

The bottom line: Adrift.

Release Date: Now Showing
Watch ‘Harry Potter and the Deathly Hallows: Part 1’ Trailer

Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro
Catch more movie reviews at SPL!NG

Willis may not be in his 60s, but he’s rapidly approaching the can-only-play-retired-cops-dads-and-firemen age. The Hollywood retirement plan may not be as strict as that of the modeling world, but if you’re best remembered for action… then you’ve got to milk it before it dries and shrivels up. We’re not talking about prostate examinations, but RED – Bruce’s latest venture (or adventure). This is his way of admitting that he’s not getting any younger… but shows that he’s still got that cheeky twinkle in the eye. One thing’s for sure… the old dog’s still alive with a couple of tricks in the tank.

“I’m NOT Sgt. Pepper and these are not… I say NOT my Eggmen.”

RED, stands for Retired: Extremely Dangerous and was adapted for screen from the graphic novel. The story follows Frank Moses (Willis) whose retirement plan is interrupted by a high-tech assassination plot. Moses rescues a love interest (Parker) and takes her under his wing (think Schwarzenegger and Williams in Eraser) as he reassembles his old black-ops team to fight back, take revenge and survive retirement. It’s basically what The A-Team film adaptation would have been like if George Peppard was still alive and they had hired the original “crack squad” of actors.

Now it’s not that difficult to look alive when your co-stars include: Morgan Freeman, John Malkovich and Helen Mirren… come on, they’re already playing old politicians and professors!?! Okay, they do represent the cream of Hollywood’s acting elite with regular dramatic nominations and lead roles. However, RED is more The Expendables than Grumpier Old Men with machine guns. These Hollywood heavyweights are having a bit of tongue-in-cheek fun and showing that they’ve still got what it takes. If Bruce Willis weren’t there for action credibility, RED would be a tad flaccid… giving him the responsibility of team leader, primary star – let’s just call him Colonel Viagra.

Willis gives RED some serious backbone with his blood sports fisticuffs, especially when matched against the younger, just as virile Karl Urban. He overshadows the rest of the ensemble when it comes to dive rolls and shoot outs – making the implausible less implausible. The Morgan Freeman, John Malkovich and Helen Mirren factor provides a more comic aspect, packing more of a punch with their star power than their stunts or bravado. In this department, it’s actually John Malkovich that steals the show. He’s obviously tapped into his role from Burn After Reading, taking a crazed ex-operative underground and giving himself permission to go over-the-top as a stop-gap for Murdock in this geriatric A-Team. Malkovich isn’t afraid to reach for the laughs with his Larry David clown hairstyle and seems to harness the coolest lines and gags.

“STOP, or this grandma will shoot!”

Morgan Freeman would probably be the B.A. Baracus of the team, but he’s severely under-utilised. His part is a little bit tame for this kind of film and it’s like he’s still trying to shake the Madiba out of his system. Helen Mirren is a gorgeous woman, almost putting herself up there as the poster girl for the term GILF, but she’s just a bit too girly to be taken seriously with any high-tech weaponry. The effect is cute, rather than militaristic and she enters the game quite late as a substitute for that pretty “Faceman” boy. The cast is rounded off by a debauched-looking Richard Dreyfuss, the fresh-faced Mary-Louise Parker of Weeds and West Wing, who seems a little out of her depth (who wouldn’t?) and Brian Cox.

RED is whole lot of fun, delving into lightweight action comedy with a heavyweight cast and heavy duty weaponry, serving up a good couple of funny moments. The bloated ensemble is a little bit difficult for Flightplan director, Robert Schwentke to wield and find a snug fit for maximum chemistry, but for the most part it works! Fans of any of the actors will get a chance to see them trying something uncharacteristic, something new and different. Helen Mirren is rarely ever at the end of a big-ass gatling gun, Morgan Freeman and straight action don’t compute and when has John Malkovich ever been cast as a jester instead of a King?

The A-Team revival has been doing the rounds of late with tongue-in-cheek actioners like you guessed it… The A-Team and The Losers hitting the spot. The movie-going public is obviously after a bit of light, cheesy escapist fare and RED is just the answer if you’re looking for some good old-fashioned popcorn entertainment with your favourite movie stars. This one is a little more subtle than your average Rush Hour or Lethal Weapon sequel, so don’t expect it to blow you away and you’ll have a good time. Although it’s worth saying again… Malkovich is the life of this party, and yes the fire brigade have been put on standby.

The bottom line: Gung-ho.

Watch ‘RED’ Trailer

Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro
Catch more movie reviews at SPL!NG

So I like to think that the commentary in this review was unhindered by the Herzog “genius” factor, treated on its own merits as if it had been directed by anyone. I only managed to watch 45 minutes before making a gap… but I would encourage you to see The Bad Lieutenant when it comes out on DVD if only to decide between labeling it “the greatest Hollywood hoax ever conceived” or a true Herzog masterpiece. I look forward to hearing what you thought about this film.”

It’s really difficult to comment on Werner Herzog’s latest offering, The Bad Lieutenant: Port of Call New Orleans starring Nicolas Cage. First off, the full title should alert you to the fact that this is a send up of the cop crime genre, which is not to be confused with Abel Ferrara’s Bad Lieutenant (1992) starring Harvey Keitel. Both focus on a bad cop with a drug addiction, are based on the same script but are made with different intentions.

Herzog has made a name for himself as a daring and unorthodox director with films that push the limit. He’s capable of greatness as exemplified by recent Herzog films like Grizzly Man and Rescue Dawn. However, The Bad Lieutenant is one of those films you’d expect from fellow infamous German director, Uwe Boll. Where does film genius depart for sheer madness, what makes a bad film good – you’ve got to draw the line somewhere.

“Prima Donna with Ham Sandwich” – Werner Hertzog

This is not a parody of the cop crime genre, but one of the movie industry. Herzog has successfully made a bad ’80s style crime drama, riddled with cliches and dominated by Nic Cage in one of the most over-the-top performances in his career as Terence McDonagh. Cage is intentionally hamming it up with Herzog’s roving camera following the “bad lieutenant” on his exploits as he steals drugs off criminals and basically runs amok. This addict cop has free reign over the city, unburdened by the law, diminished by his aching back and always ready for his next snort of cocaine… basically, a regular nice guy.

The film has been done in an ’80s style with laughable symbolic references, introducing the film with a snake weaving between the bars of a flooded prison cell and old style block lettering for the title. Herzog has purposefully dressed down the look and feel of The Bad Lieutenant, making it seem 25 years old. At the helm, Nicolas Cage swaggers around like a hunchback wielding the best worst performance of his career. He knows how to loosen his collar and this time he may as well have taken his shirt off as well.

There’s a manic lunacy at the centre of this unorthodox cop movie with Cage fumbling around screen and various characters having a quick snort of coke to get the party started. The cast is made up of some Hollywood fringe actors and others that haven’t been on form of late… I won’t mention any names, Val Kilmer. Eva Mendes plays a prostitute after she and Cage starred opposite each other in the equally forgettable Ghost Rider. Val Kilmer is McDonagh’s cop partner, while Jennifer Coolidge, Michael Shannon and Xzibit round-off the name stars in bit roles.

The Bad Lieutenant has been made to be bad and there are one or two moments that will get a laugh, but this is not easy-going entertainment… it’s intentionally schlocky, frustratingly bad, lacks a clear story, is sketchy on character motivation and would have been better marketed as The Bad Cop, or Escape from New Orleans. The odd couple do have a director-actor synergy, which maintains some degree of continuity, but it’s wasted. The Bad Lieutenant isn’t funny enough to be a parody, lacks the impetus or enough likable characters to make satisfying entertainment and at best is worthy of a minor cult following… hey, at least Ed Wood Jr. was trying.

“Darling – I’m gutted, but soon we’ll have something in common.”

Nicolas Cage is trying to resurrect his film career like Tom Cruise did in Tropic Thunder but unfortunately for Cage, it’s an alienating performance. Werner Herzog has had the gall to make a detestable film although there’s a strong contingent of movie-going public that probably will get a kick out of this film. For the rest of us, it’s an exasperating experience that is maddening at best and an absolute waste of time and patience at worst… just waiting for The Beastie Boys to burst through the screen and make a cameo appearance.

If you think film is meant to make a bold statement, The Bad Lieutenant: Port of Call New Orleans has succeeded. However, if you view movies as a medium primarily concerned with escape, a journey metered for maximum enjoyment by competent film-making – this fails miserably. I’m just surprised at how Herzog and Cage have managed to garner such brilliant reviews for a film that goes against the grain, breaking every rule in the book and lacking any intrinsic entertainment value… it’s like winning a medal for coming last in a three-legged race. Frankly, I’d rather watch an Uwe Boll film in slow-motion while being spit-roasted in Hell.

The bottom line: Terrible.

Release Date: 15 November, 2010
Available to rent from all “bad” video stores.

Watch ‘The Bad Lieutenant – Port of Call: New Orleans’ Trailer

Catch more movie reviews at SPL!NG

Ironically, it’s a heart matter that starts this roller-coaster as Facebook founder and Internet billionaire, Mark Zuckerberg (Eisenberg) is dumped and inadvertently crashes Harvard’s powerful servers with a “Hot or Not” inspired website, motivated by a drunk and bitter lashing out at all the women in Harvard. The semi-biographical rise of Zuckerberg is followed in all the back room negotiations with former colleagues all wanting a piece of the rampant billionaire’s Internet phenomenon, The Facebook.

“…so the party’s only for your 500 million closest friends?”

David Fincher’s The Social Network is gripping, compelling and features grand performances, most notably from Jesse Eisenberg in what will no doubt earn him an Oscar nomination. However, the selfishness at the core of this drama is absorbing to the point that you fail to connect emotionally with the characters. A powerhouse performance from Eisenberg provides the foundation for this clash of young and old money as a more savvy version of The Skulls plays out in legal proceedings and bars rather than under the auspices of a dark, underground secret society.

The Social Network is based on Ben Mezrich’s novel, The Accidental Billionaires, and has been adapted by Aaron Sorkin. Most films these days seem to get the go-ahead on the back of a substantial fan base and since Facebook is the quintessential fan base, arguably the largest, it was only a matter of time before the controversial back story of Facebook and Mark Zuckerberg was turned into a movie. The social network has become a social phenomenon reconnecting old friends, lovers and forging new business ties. It’s easy to see how dramatically it’s altered our social spheres from chance meetings to instant “adds”. This relationship network is probably a direct result of the Internet as a catalyst for globalisation, however this doesn’t change the fact that many have integrated their real lives with this social channel.

The concept of the Internet billionaire isn’t new as witnessed in the arrival of Napster’s founder, Sean Parker (Timberlake), but this tale of greed, intellectual property and trust is a good example of an “overnight success”. Ben Mezrich also wrote Bringing Down the House: The Inside Story of Six M.I.T. Students Who Took Vegas for Millions, which was later adapted into 21 with Jim Sturgess and Kevin Spacey. These stories of “nerds” getting one over on “the Man” show a fascination with societal revenge and a revulsion toward authority. Hippies fought back with free love, while the new generation is using the leveling playing field of science and technology as their primary medium for revolution.

“We’re not breaking up, I’m just ‘unfriending’ you.”

It’s all about the power, which makes The Social Network something of a political drama. In Western society, money equals power and it’s the split-second change of status (Facebook and societal) that makes this story so compelling. Budding Internet pioneers will associate with the evolution of online ideas, the partnerships involved in exploiting these innovations and the pay off when they actually work. The Social Network is more about the power plays, which have been realistically drafted into this edgy script from Aaron Sorkin. The Social Network screenwriter has a passion for relational politics and courtroom muscling, which is probably why his filmography includes: A Few Good Men, The American President, Charlie Wilson’s War and The West Wing.

Sorkin’s smart, dry and whimsical script is what holds this weighty drama together. The writing is dense, almost warranting that you watch The Social Network again on video with subtitles, yet the quick pacing and lush story are laced together by intuitive direction with fine performances from the next generation of Hollywood stars. Andrew Garfield (Boy A) is quickly racking up a filmography most seasoned actors would die for and deservedly so, starring as Zuckerberg’s silent partner, Eduardo Saverin. Justin Timberlake whisks in quite late in the game to deliver a heavyweight supporting performance as Napster’s smooth-talking shark, Sean Parker. The performances are what give The Social Network clout in a very business sense, leaving little room for heart in this heady mix of ego and power trips.

Overall, it’s a clinical execution drawing together all the strands with fine storytelling, a great dramatic premise, intelligent writing and sensitive direction, delivered by a new wave ensemble of up-and-coming stars. The quality of The Social Network as a unit are what make the film so enjoyable as a drama amid the clutter of 3D technology. It’s a universal tale about society and humanity, which makes it a little sad that the film strayed away from any real sense of connectedness. You care for the characters as much as some of your online friends on Facebook.

The bottom line: Gripping.

Release Date: 5 November, 2010

Watch ‘The Social Network’ Trailer

Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro
Catch more movie reviews at SPL!NG

Piranha was originally a Roger Corman produced camp horror B-movie in the slipstream of Steven Spielberg’s Jaws. Alexandre Aja lends a level of credibility to the camp goings-on in this remake of Joe Dante’s Jaws spin-off in 1978, since he’s a member of the Splat Pack and directed the critically acclaimed gore-fest horror remake that is The Hills Have Eyes.

A prehistoric species of man-eating piranha is released when an underwater tremor opens a deep abyss near a popular Spring break lake resort. After a number of isolated incidents local authorities attempt to close the lake and the resort. Piranha is self-aware, not to say the actors are staring back at you, but more in the sense that it knows it’s a send-up… think back to horror comedies like Tremors with Kevin Bacon. How else can you explain a B-movie cast including: Elisabeth Shue, Jerry O’Connell, Ving Rhames, Christopher Lloyd and wait for it… Richard Dreyfuss?

Prehistoric Piranha… surprisingly not ‘Fish of the Day’.

The ensemble is phenomenal for this kind of straight-to-video worthy horror fodder and you’ll be forgiven for thinking that they’re all on the B-movie train to obscurity. They’ve all seen better days… and who would believe it’s been 25 years since Christopher Lloyd literally became ‘Doc” in Back to the Future. For what it’s worth, their fluff performances do just fine given the nature of the material and carry an equal measure of serious and silly. Elisabeth Shue gives a straight face to the no-nonsense cop mom, Jerry O’Connell gives it horns as an over-the-top porn director, Ving Rhames is the tough guy martyr, “Doc” is just an older, slower “Doc” and Richard Dreyfuss takes first blood as a ridiculous reference to his role in Jaws.

The first thing you’ll notice about Piranha is boobies… they’re oodles of them. The casting was very biased and everyone from the extras to the actors must have included their cup measurements or an actual bra in order to secure an audition. If you had to do a count, you’d probably find there were more breasts than piranhas. From bobbing up-and-down in the bay for Spring break to doing nude underwater skinny-dipping to classical music, Piranha is a “homage” to the female anatomy and there’s possibly some metaphorical connection between the deep chasm and cleavage. The so-called tribute treads a fine line between glorifying and objectifying and this will definitely affect your choice on date night.

The cold hard truth is that this is not a suitable date movie, unless your girlfriend is into girlfriends, you’re trying to break up or she’s cool and “gets it”. The porn shoot on the yacht gets pretty raunchy for a horror flick from some intense lady-on-lady nudity and body shots to naked parachute skiing. This is however, fantastic news if you’re planning a movie night with the lads. There’s enough nudity to soothe the naturist in everyone and enough gore to counterbalance the titillation factor with some bloody water sport scenes.

Jerry O’Connell – not afraid to get into character(s).

The movie does have a vague plot, a reluctant hero and an obvious safety message about piranhas, which prevents anyone from saying it’s just 88 minutes of senseless sex and blood. However, don’t expect a heartwarming coming-of-age story or any clear answers as to how a school of bloodthirsty prehistoric piranhas could suddenly surface alive and hungry after thousands of years. The CGI is B-movie shoddy, the underwater Jaws perspective shots are twee and the 3D doesn’t add much other than D-cup curvature, but who cares about the underwater fish frenzy of blood and bone? Personally, I think having one giant piranha would have done more for the film – although that doesn’t leave much room for a sequel.

As you can see, Piranha knows its audience down to the bone. So if you have a special affinity for mammary glands, can see the comedy behind a blood-soaked bikini holiday and don’t take life too seriously, Piranha 3D is perfect for you. It’s camp, crap and full of boobs in every sense of the word, but hey – it may just be lightweight, Summery and entertaining enough to get you through to the credits… and that’s got to count for something. Piranha 3D is not clever, it’s just giving you what you want… sea, sex and blood, and for most Piranha fans all that’s missing is beer.

The bottom line: Fun.

Release Date: 29 October, 2010

Watch ‘Piranha’ Trailer

Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro
Catch more movie reviews at SPL!NG

If you’re a blogger and you’re quick enough, then email socialnetwork@2oceansvibe.com with the subject “The Social Network” and in the email give us your name, blog title and URL + the region that you live in. Blogs will be checked and only blogs with a minimum of two months worth of blog entries will be eligible.

First 40 for each region will be notified with a special invite from Seth Rotherham and Ster Kinekor for them + 2 friends each.

GO!

However, it seemed like a hollow victory. Deathproof wasn’t as edgy as many had hoped and if truth be told, Rodriguez’s mixture of sexy/dangerous with a machine gun-legged beauty eclipsed Tarantino. The tribute worked as a commercial entity, but it’s still ironic that these neo-grindhouse flicks are armed to the teeth with big names and budgets, instead of tapping into the wealth of underground sleaze and pit of dodgy directors. In short, keepin’ it real, ain’t so real after all.

Machete was spawned from the grindhouse “renaissance”. Danny Trejo agreed to make one of several grindhouse trailers and audiences loved the concept so much, they decided to flesh out a film with him as the title character, Machete. The story follows an ex-Federale who becomes involved in a plot to assassinate a senator (De Niro). When things don’t go as planned, Machete (Trejo) runs for cover only to take bloody vengeance on his former employers.

Trejo’s a B-movie legend at the ripe old age of 66 and commands respect on the screen, whether it be for his pockmarked no-nonsense approach to acting or his kick-ass street cred and wealth of “that Mexican guy” performances. He’s a hard man, a tough-as-nails-son-of-a-bitch and he was born to play Machete.

“Machete means you don’t mess with this Mexican.”

Rodriguez did an excellent job with Planet Terror, also directed Sin City, and knows how to add heaps of style and drench a film in cool. For the most part, he’s managed to cater for Machete bringing an all-star cast to the cutting board with names like Robert De Niro, Jessica Alba, Steven Seagal, Michelle Rodriguez, Jeff Fahey, Lindsay Lohan and Don Johnson in support of Danny Trejo. Each star brings their own baggage to the film dragging a certain level of notoriety and sleaze cool into the picture. There aren’t any stand out performances and the schmaltzier the better, yet each character has the goods to take the lead in their own spin-off grindhouse movie.

So what makes a good grindhouse movie? Well, that’s up to the viewer and what they’re hoping to get from their selection of porn, slasher, martial arts and sleaze. Machete is a combination of all grindhouse elements with a special emphasis on action. Trejo riding a motorbike with a machine gun attachment and slicing-and-dicing enemies with a machete is what hooked everyone with the movie trailer. However, the best bits always seem to make the trailer edit and in keeping, Machete doesn’t quite live up the hype.

Trejo has earned his dues as a character actor, not a lead and the film gets inundated with new characters to keep things fresh. There’s a loose plot about overthrowing a racist political candidate and liberating the Mexican labour force as our hero goes on-the-run only to follow the blood trails up to the boss in a spectacular climax of weaponry and attitude. The story is peppered with gun play, knives and a creative number of bloody kills… spattered with several naked women and loaded with testosterone. However, it just doesn’t measure up to expectations. The trailer made it seem as though Machete would use the machine gun motorcycle more often and the whole production just lacks that something special present in the Grindhouse trailer.

Steven Seagal’s video conference performance, Lindsay Lohan’s body double… there’s something wrong here, but it’s difficult to put a finger on it. Where’s the dark sleaze from Sin City and the deviant action of Planet Terror? Machete has several memorable fight scenes, a couple of risque religious gambles but it’s just lacking that killer instinct. Grindhouse as a genre just seems more reckless, more passionate, tackier and more exploitative, whereas Machete seems to be holding back.

“They’re not for sale… but delivery is FREE.”

Rodriguez is a family man, having directed movies like Spy Kids and Machete is bad… but not bad to the bone. Exploitative films were screened in a grindhouse (bump and grind) for the very reason that they were the outcasts/the rebels and Machete is a little cloying when it comes to its palpable Hollywood undercurrents. Film scratches, intentional schmaltz, that gravelly voice-over and $20,000,000 budget aside, this is commercial grindhouse, which totally goes against the whole idea behind the movement.

The irony is that it’s not using the risque material, but rather the big name stars to draw a crowd. You won’t feel cheated after watching Machete or compelled to recommend it to your Gran, it has the fodder: violence, nudity and shock value – but it’s a movie for the masses, suitable for commercial cinemas and fit for late night television viewing.

As far as blades go, Machete is a little blunt… lacking the driving force of a true leading macho man, the gritty danger of a real exploitative film and cruising in the wake of what could have been. This isn’t to say it’s not entertaining. The film is on par with Deathproof and a few shades short of matching Planet Terror for entertainment, but it just feels a little forced as a tribute and too safe, making a grindhouse knock-off rather than a haphazard gem.

The bottom line: Okay.

Release Date: 22 October, 2010

Watch ‘Machete’ Trailer

Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro
Catch more movie reviews at SPL!NG

Beautiful.

The plunger on the face did it for me. And the toothpaste squeezing exercise? It’s too stunning. We had a repeat of that in the pepper scene from Dumb & Dumber (don’t click that if it’s rude to laugh out loud where you are right now).

A classic moment in cinema history..

Do you have a favourite moment from Ace Ventura or Dumb & Dumber?

Leave a comment with a youtube link.

[thanks rob]

If you’re a blogger and you’re quick enough, then email socialnetwork@2oceansvibe.com with the subject “The Social Network” and in the email give us your name, blog title and URL + the region that you live in. Blogs will be checked and only blogs with a minimum of two months worth of blog entries will be eligible.

First 40 for each region will be notified with a special invite from Seth Rotherham and Ster Kinekor for them + 2 friends each.

GO!

Subtle is the keyword here and while a sperm sample and turkey baster are exhibited for all to see… it doesn’t get as down-and-dirty as other Farrelly brothers movies like: There’s Something About Mary, The Heartbreak Kid or even Me, Myself & Irene. The Switch may have Ben Stiller written all over it, but it’s Jason Bateman’s movie and he’s Hollywood’s awkward nice guy, which makes him perfect for the part of Wally. He co-stars alongside the gorgeous and currently eligible Jennifer Aniston, who is more of a supporting act in her role as Kassie.

An unmarried 40-something year old woman (Aniston) opts for artificial insemination in order to fall pregnant before it’s too late. After finding a suitable donor, hosting a suave conception party and subsequently falling pregnant, her best friend and secret admirer (Bateman) discovers that he may have switched the donor’s sperm with his own… oops! It’s as if Michael Bluth from Arrested Development is getting a prequel to explain George Michael Bluth and Rachel Green from Friends is getting a sequel as a single parent with child in tow.

The casting is quite superb, drawing the two TV series star’s career-defining roles together in New York. They avoid slipping back into their famed characters and actually deliver fine, nuanced performances, which squeeze the bittersweet indie comedy out of the script’s reality instead of reaching with over-the-top comedy acting. This makes The Switch interesting as a hybrid of formulaic “romcom” and heartwarming dramedy and not your typical cue-the-laugh-track Hollywood comedy.

“Waving it like a magic wand doesn’t make you The Sperm Fairy.”

The commercial sensibility of casting two TV/Film stars in Jason Bateman and Jennifer Aniston is counterbalanced by the inclusion of the respected and accomplished trio of Jeff Goldblum, Patrick Wilson and Juliette Lewis. The gross-out “Farrellyesque” romance comedy premise is offset by sweet, subtle and realistic romance drama involving a boy… in some ways like an American About A Boy. It’s actually funny to think directors Josh Gordon and Will Speck, known for Blades of Glory, are behind all this down-to-earth comedy. To complicate things, Allan Loeb, screenwriter for dramas like Things We Lost in the Fire, 21 and Wall Street: Money Never Sleeps takes credit for adapting The Switch from Baster, the short story by Jeffrey Eugenides.

Going into the film armed with this background knowledge helps explain a lot! This may have been primed as a risque laugh-out-loud comedy, but it’s actually a sweet romance comedy drama with a smart, good-natured sense of humour. The plot may be a little contrived, predictable even… but that doesn’t stop The Switch from being quietly entertaining, complemented by a solid cast and fine performances.

It may seem strange that a child actor would steal the show, but young Thomas Robinson outplays his experienced counterparts in almost every scene. The kid can act and anchors The Switch for heart, making it enjoyable and even touching with some poignant father-son moments. You could even say that Thomas Robinson replaces Jennifer Aniston as Jason Bateman’s supporting actor in the second half. The Switch may not be rolling-in-the-aisles hilarious, but there are many subplots at play with enough oddball characters to fill the gap and bounce laughs off Bateman. He’s the straight-laced guy and his awkwardness only adds to his overall appeal as a likable character.

If anything, The Switch is a little too pleasant for its own good. The film is rated PG-13, yet its sweet enough to get away with the odd off-colour comment or situation. The movie carries a sense of grace and dignity through its treatment of the material, the wealth of acting experience shines through backed by a fresh burst of talent from Thomas Robinson. It may not be what you were expecting, but it sure delivers on entertainment value for those who are willing to sit back and enjoy something good-natured, optimistic and dare I say “nice” for a change. It’s not essential that you see it on the big screen, but it’s definitely worth checking out on DVD.

The bottom line: Nice.

Release Date: 15 October, 2010

Watch ‘The Switch’ Trailer

Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro
Catch more movie reviews at SPL!NG

The premise is fantastic, rivaling movies like Minority Report for its ethical dilemma with a controversial slant on how ruthless corporates govern with fear to ensure speedy service delivery and profits… nothing like South Africa. When our hero (Law), Remy, an ex-combatant and one of “The Union’s” best repo organ guy’s suffers a heart failure… he wakes up with a top-of-the-line replacement and an exorbitant debt. He loses interest in the job and when he fails to make payments… the second best organ specialist (Whitaker) is dispatched to hunt him down.

Sounds like a great story – a blend of Crank: High Voltage and Minority Report. However, Repo Men is more comparable with Surrogates, a recent Sci-Fi flick with Bruce Willis or Babylon A.D. with Vin Diesel. The idea is crisp and compelling, the cast is solid, the future visiion even holds up… but the crazy glue doesn’t stick without clear direction and a rock solid script.

Jude Law isn’t the best man for the job. There’s a reason he’s usually a supporting actor and perhaps he’s become too typecast and a little too niche for Repo Men. Although you’ve got to break typecasting somehow and he’s toned his physique for the role and is happy to get bloody. So perhaps if we didn’t know it was Jude Law, there would be no problem. Yet, it’s incredibly difficult to mistake the pretty boy with the English accent and some would probably be surprised to hear he did his own stunts let alone throw a ball.

“So the driver was actually a monkey!?!”

Law lays down the law as a repo man with Forest Whitaker as his partner and childhood “friend”. Whitaker has been in a series of indie type crime dramas since he won an Oscar forThe Last King of Scotland and hasn’t really been the same since he received the golden statuette. Perhaps it’s just a reflection on how amazing that performance was, the Oscar dip or maybe he’s done a Cuba Gooding Jr. on us. Liev Schreiber plays a fairly innocuous “Union” executive part in Repo Men, but his star presence boosts the film’s credibility with up-and-coming City of God actress, Alice Braga substituting for your typical big name actress.

What starts as a philosophical mystery quickly turns into an action-thriller and commentary on dehumanisation and job satisfaction with enough gore to parallel the Saw series. Clipping heart valves, guiding blades over flesh… the film-makers have made this Universal Studios film seem like it was independently funded. The performances are very ordinary, diminished in part by a fairly young and inexperienced director, Miguel Sapochnik and also from a lack-lustre novel-to-script adaptation. The atmosphere is believable enough with the classic protector-innocent couple on the run, but it’s like there isn’t enough material to keep the audience going for the full 111 minute runtime.

Repo Men goes through the motions with one or two flashes of brilliance, instead of demonstrating insight. An unconventional “love” scene, a thought-provoking twist and some decent action go a long way to redeeming Repo Men in the last quarter as the film-makers get it together, but it’s too little, too late. Sapochnik’s storytelling needs a better flow and starting with Schrodinger’s cat paradox is not in keeping with the tone of the rest of the film. Repo Men could just have easily been a dark future comedy with the same cast and it’s a pity they didn’t add some light comic moments to relieve the consistent blood spatter.

It may not be the best science fiction action-thriller out there, but it does have one or two moments that make it bearable or interesting at least. Rent it on DVD if you enjoyed Surrogates and Babylon A.D. and you won’t be disappointed. The film isn’t as grandiose as it seems to think it is and it’s just a pity that the sum total of its parts don’t add up to what it could have been. Under a different director and with some sharper writing, this could have been brilliant… so take it with a pinch of salt and there’s a chance you’ll enjoy it.

The bottom line: Iffy.

Release Date: 4 October, 2010

Watch the ‘Repo Men’ Trailer

Now available to rent.
Catch more movie reviews at SPL!NG

They’ve done the same stunt with The Other Guys, a homage to the mismatched buddy action-comedies of the ’80s. This cop comedy ranges from dead serious to downright ridiculous… throwing Will Ferrell and Mark Wahlberg in a sensible cocaine-dusted pursuit vehicle together as partners. They’re an unlikely team, but boy do they work well together with Wahlberg playing the tough Brooklyn beat cop just out of the cooler and Ferrell taking the Stranger Than Fiction government auditor character into much sillier terrain as a desk-bound police accountant with a disrespect for hot women.

Catch the rest of the review and the trailer after the jump…

Allen Gamble (Ferrell) and Terry Hoitz (Wahlberg) idolise New York super cops, Highsmith (Jackson) and Danson (Johnson). Their real-life superheroes are an elite crime-fighting team with the street cred and records to prove it! When the mismatched pair of desk jockey detectives get an opportunity to step up like their heroes, things go horribly wrong as they get in way over their heads… WAY over.

The Other Guys is backed by a terrific cast. Will Ferrell and Mark Wahlberg soak up the limelight as the co-lead partners, but are simply the spit-and-polish on this police badge. Supporting character actors include: Michael Keaton, Samuel L. Jackson, Dwayne ‘The Rock’ Johnson, Eva Mendes and Steve Coogan. It’s not a spoof, yet the over-the-top antics echo Loaded Weapon 1, where Samuel L. Jackson and Emilio Estevez ripped into the buddy cop genre with a special emphasis on Lethal Weapon.

Usually, these odd couple movies feature partners of mixed races for maximum comic effect… Pryor & Wilder, Gibson & Glover, Tucker & Chan… the list goes on. Ferrell and Wahlberg don’t even need drastic cultural differences as each character grates against the other with dry irritation, class differences and more of a brains versus brawn angle. Wahlberg’s great as the tough guy and straight man, while Ferrell winds things up again and again… precariously dangling the comedy over the edge and managing to bring it back down safely without sabotaging the suspended reality.

“Jail? No. Justin Bieber Weekend on VH1? YES, muhuahua…”

Adam McKay is quickly becoming the go-to guy when it comes to directing comedy and uses The Other Guys to demonstrate that he can deliver action satisfaction too. The car chase scenes are a few shades short of being worthy of a Die Hard sequel and there are enough stunts to call The Other Guys an action-comedy and not a comedy-actioner. Ferrell seems best when there are no restrictions on his performance and this is probably why he and McKay tend to consistently hit the funny mark, bone… thingy. Creative control gives Ferrell the ability to crank it up to 11 and this must have been the case with some of the OTT scenes, most notably the bad cop/bad cop rant as witnessed in the movie trailer.

If you’re a fan of Will Ferrell comedy, The Other Guys won’t disappoint. The plot is secondary… this one’s all about the heat of the moment and the silliness of it all. There are plenty of quotable quotes to be found in the dialogue with several references to TLC and peacocks. The Other Guys isn’t as classic as Anchorman, but there are enough solid comedy moments to make this one of their better movies. Ferrell is one of the only actors willing to completely embarrass himself for his audience’s sake and his commitment underwrites this notion to the point that the paparazzi are wasted on him.

There are one or two sluggish moments in the film, but thankfully this is one of those comedies that entertains with fresh laughs beyond the movie trailer. It’s the sort of film that will probably get a sequel and is also one of those movies you’ll be able to watch again and again… as long as you’re into Will Ferrell’s hysterical brand of humour of course! If the trailer doesn’t make you budge, plain and simple… you’re not human.

The bottom line: Silly.

Release Date: 23 September, 2010 (Yes, it’s showing already.)

Watch ‘The Other Guys’ Trailer

Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro
Catch more movie reviews at SPL!NG

Oliver Stone’s cutting edge 1987 Wall Street film showed how self-made multimillionaires could blossom overnight on the right tip-off or power play and come crashing down the next day… the playground of tycoons. Wall Street: Money Never Sleeps is Oliver Stone’s first sequel and even more surprising is that they cut Trump’s cameo… which means he either had a bad hair day or there were too many brand connections with The Apprentice? You’ve got to admit if Michael Douglas were taller, redder and richer… they’d basically be twins.

Catch the rest of the review and the trailer after the jump…

The same environment exists within Wall Street: Money Never Sleeps and it couldn’t have come at a better time with the financial unrest of the recession over the last few years. Michael Douglas reprises his role as Gordon Gekko, who has spent a good few years serving time in prison. He’s come out a changed man, promoting his new book as an author who’s been there and made the mistakes, yet still advocating preposterous delusions of chasing wealth like a drug. He’s hooked on money… sacrificing relationships and working around-the-clock… always pushing for more.

His daughter, Winnie (Mulligan), is his only family, a young woman whose boyfriend’s promising career as a trader on Wall Street is taking him places quickly. Jake (LaBeouf) and Winnie are aware of the allegations of Gordon’s inside trading and want nothing to do with him at first. However, Jake values Gordon’s ideology and believes in the greater good of the man – allowing him to become something of a mentor and father figure in the hopes of reuniting father and daughter. When it comes to their attention that Winnie’s substantial trust fund could be the catalyst to skyrocket a worthy get rich quick green investment, things start to become unstable.

“No kid, inside trading is NOT selling watches from a coat.”

Michael Douglas is fantastic as Gordon Gekko, slipping into the shark suit as if it were second nature. He has the go-getter attitude, the “never-say-die” approach and “won’t take no for an answer” mindset that will see him rise to the surface at any personal cost. However, this is a supporting role in Wall Street: Money Never Sleeps with Shia LaBeouf taking the lead. LaBeouf is softer than Charlie Sheen, playing a convincing character, despite looking about 10 years too young for the role. Carey Mulligan (An Education) also plays a supporting role as Winnie, who is actually difficult to recognise at first with her red hair. Rounding off the big four is Josh Brolin (No Country for Old Men), who delivers a similar performance to his role as Dan White in Milk. Other big name stars include Susan Sarandon, Frank Langella and the legendary 90-something, Eli Wallach, but their parts are fleeting.

Wall Street: Money Never Sleeps is an epic money game story from Oliver Stone, outclassing Boiler Room and August for cast and eclipsing them for scale. It’s an entertaining story, weaving our young protagonist between business transactions, corporate heavyweights and through some interpersonal difficulties with his girlfriend and her father. It’s all about the New York lifestyle, from charity benefits to motorbikes, from helicopters to tailor-made suits. Stone manages to pick up the story with the help of Gekko, even with a brief appearance by Charlie Sheen, who just underwrites LaBeouf’s unsuitability for the part.

The rise-and-fall of an empire or powerful figure always makes a great story. The problem is when this fluctuation is a characteristic of the film itself. Stone has created the same Wall Street world, but Gekko is sidelined for the young blood, Shia LaBeouf. He’s proved himself a strong actor, but it’s just difficult to believe that he’s old enough to be playing with the big boys. Computer hacker – yes, Wall Street trader – no. While this miscast lead shows his class with the ability to carry the film, it does soften the sharp corporate edge… making it a little toothless with no help from Carey Mulligan. This does make their characters seem out of their depth and like guppies instead of yuppies, and they wouldn’t last a month on Wall Street.

“CHECK… MATE, MR. GEKKO! I now have your Queen.”

It’s a nice contrast against the wizened Gordon Gekko, whose weathered face and voice deliver experience… a true Wall Street veteran. Ironically, there are several mentions of cancer from Douglas himself, who recently admitted to having chemotherapy for throat cancer. The film seems to relish on bipolar opposites… rich, broke… beautiful, ugly… young, old… the list goes on. In the same breath, Stone has several subplots swirling around the central characters with enough story leads for another sequel. This makes Wall Street: Money Never Sleeps engaging at times, engrossing even, but somehow it just doesn’t have the same bite as Wall Street.

Perhaps this has something to do with the character’s motives and the attempt at some moral retribution. The ethics are bent and this is probably why the conclusion doesn’t seem to fit in with the rest of the film. There’s never really a feeling of danger as Jake tries to climb the corporate ladder… and it always feels as though there’s some sort of safety net to soften the fall. This makes his actions seem reckless at times, but always law-abiding and never life-threatening. Michael Douglas should have taken more of a co-lead role as Gekko and Oliver Stone should have depicted Jake’s journey with more hurdles and a crushing reality.

Wall Street: Money Never Sleeps functions as a decent piece of entertainment and a reasonable follow-up to Wall Street, considering the 20-something year time lapse between original and sequel. A top-notch return from Michael Douglas and an intriguing, timely story of Wall Street politics in the here and now make Wall Street 2 worth watching. Wall Street: Money Never Sleeps manages to hold your attention for more than two hours, despite casting issues, an overall softening, a lack of insight and a neat little bow of a conclusion.

The bottom line: Fascinating.

Release Date: 23 September, 2010

Watch the ‘Wall Street: Money Never Sleeps’ Trailer

Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro
Catch more movie reviews at SPL!NG

Where would we be without Survivor’s – Eye of the Tiger theme tune, Rocky’s “Adrian!”, Miyagi’s “Wax-on, wax-off.” or the famous LaRusso crane kick? These are threads of pop culture and have helped define the formula for classic underdog movies. The lingering after effects of these master-apprentice movies still echo today… delivering a healthy dose of nostalgia and paying homage to the impact of these feel-good films – why else would they remake The Karate Kid a quarter of a century later?

Catch the rest of the review and the trailer after the jump…

Nostalgia is a big seller and probably explains why it was time for another Rocky with Stallone reprising his classic role in Rocky Balboa, The A-Team getting a film adaptation and The Karate Kid getting dusted off for a modern restoration. Re-imagining The Karate Kid was no easy feat… who would play Mr. Miyagi, the iconic figure Pat Morita made so famous and indelible? How would they keep it fresh? How would they find another Ralph Macchio? Who would have the goods to direct a respectable remake? The short answers: get Jackie Chan, set the story in China, teach Jaden Smith to kick ass and hope like hell that Dutch comedy/action director, Harald Zwart, knows how to make a carbon copy.

Jackie Chan was a good choice for Mr. Miyagi. He has the likable character and even the talent to pull it off. You may think Chan is all about the fly-kicks and funny choreography, but he can act too… as witnessed in The Karate Kid. Apart from one action sequence, Chan takes the role of master… training his student and making a strong, honorable performance to fill the shoes of Morita with a couple of clever references. He has time to focus on drama, instead of playing it up with action stunts and comedy. It’s great to see that he’ll still be around after his body stops doing the near-impossible.

“Imagine chopsticks are legs and fly is enemy – now FIGHT!”

Setting The Karate Kid, formerly known as The Kung Fu Kid, in China was an excellent update for the story. In fact, it was probably the only way they could go – given how similar the narratives are in terms of plot development and sequence. The culture shock and fish-out-of-water comedy added another dimension to the film and made “the new kid at school” role even more alienating for our main protagonist, played by Jaden Smith (The Pursuit of Happyness). This allowed the true essence of the martial arts to flower in its natural surroundings and lent more credibility to the sport and choreography.

Jaden Smith replaces the character of Daniel LaRusso with Dre Parker, an Afro-American kid. He’s a couple of years younger, black and living in China with his mom. It’s a far more drastic relocation than simply moving to another city, but marks a sign of the times with outsourcing and globalisation. Smith plays the title character and most of the film’s enjoyability hinges on whether you like the kid or not. Some may think he’s had an easy road with his parents being Will Smith and Jada Pinkett-Smith, but one thing’s for sure… he’s been born with an abundance of charisma just like his father. It’s a fantastic follow-up compared with his performance in The Day the Earth Stood Still, backed by a quiet exuberance and growing maturity.

Harald Zwart was just as interesting a choice for director as casting Jackie Chan and Jaden Smith. The Dutch film-maker is renowned for comedy, delivering a mixed bag of films including: One Night at McCool’s, The Pink Panther 2 and Agent Cody Banks. Perhaps his experience working alongside child star, Frankie Muniz held him in good stead. Either way, the Dutch director went a long way to redeeming his flagging film career with an honest and well-balanced remake, with extra credit for filming on foreign soil.

All in all, this is a solid, well-balanced and heartwarming family sports actioner. It may be about kung fu instead of karate and have a variety of differences with the original, but this works in its favour. The Karate Kid takes about half an hour to warm-up and then really turns on the charm… winning hearts with a determined lead performance from young Jaden Smith, an honourable depiction of Mr. Miyagi with a surprising take from Jackie Chan, refreshing the story with a new setting and delivering a sound remake, which is respectful of its origins and a great tribute to the underdog story.

The bottom line: Surprising.

Release Date: 17 September, 2010

Watch ‘The Karate Kid’ Trailer

Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro
Catch more movie reviews at SPL!NG

The writer-director has progressively gone from brilliant to terrible starting with The Sixth Sense, Unbreakable, Signs, The Village, progressing to Lady in the Water, The Happening and culminating in his most dismal effort to date, The Last Airbender. M. Night Shyamalan’s projects have been original and perhaps it was the ambitious nature of his first adaptation and the process of converting this big budget Nickolodeon cartoon that must have broken his back. There’s a reason Shyamalan’s best work has to do with small communities and it was quite a leap of faith for Paramount to offer up $150 million for him to create  a live-action The Last Airbender.

Catch the rest of the review and the trailer after the jump…

The story follows the misadventures of Aang, a young apprentice in the ways of airbending, whose Avatar lineage dates back thousands of years. The boy must grow into his boots, summon up the power of the four elements and tell the Fire nation it’s time for lights out. Confuse things with a host of superfluous characters, add a few spiritual motifs and you’ve got Avatar: The Last Airbender.

First off, the title The Last Airbender is incomplete. To avoid confusion with James Cameron’s epic blockbuster, Avatar, the first word in the title was dropped. For a predominantly blue action fantasy adventure in 3D, the comparisons would have probably done more damage than good. Although, to be honest… most of the damage was done in the actual creation of this epic misfire. While Avatar and The Last Airbender both share some commonalities and feature some spellbinding visual effects, the two are literally worlds apart.

The cast is relatively unknown bar Dev Patel of Slumdog Millionaire fame, Hollywood regular Cliff Curtis and Shaun Toub from Iron Man. These actors offer the only redeeming performances given the quality of the characterization, their screen time and a boring script. Jackson Rathbone of Twilight notoriety offers a fragile pretty boy performance, which would even be out of place in a Chuck Norris movie. Shyamalan’s take is lifeless and serious, when the series is renowned for its sense of humour and joy. For an Asian anime series, the film is composed of everyone but suitable reflections… using Indian actors for the Fire nation and a white cast for the Water nation with a Texan karate kid named Noah Ringer as Aang, the Avatar.

The Last Airbender – he can fart around corners?!

The casting has been controversial to say the least and all the “bad” choices are in fact bad choices just for acting ability before skin colour even becomes an issue. It’s a sad day in Shyamalanland as an eager audience try to make sense of a series of loosely-based Avatar: The Last Airbender segments flow by in slow-motion. Shyamalan has followed the story quite attentively if you compare notes with episode 1, but throw in a couple of dreamy flashbacks, cut the story adrift and fail to develop a sense of continuity with a stable lead and you’ve got a pretty-looking, yet unmanned hot air balloon.

The lines are delivered like cold pizza and were probably meant to be inspirational. Instead they’re cheesy (still cold), painful and fail to make the link between character and narrative. The only reason you finish watching The Last Airbender is because you’ve paid to see 3D and you’ll be damned if you’re not going to get your money’s worth. Thing is… the 3D is almost non-existent. In fact, it’s harmful to your eyes. You can’t watch without the 3D glasses and the add-on 3D effects are horrible, just plain horrible. There are no crisp lines and some ridiculous attempts at 3D have been made by blurring backgrounds, making it almost essential that you see the 2D version if you have to.

The story’s themes and influences run far and wide. We’ve got a side order of Dune with the political factions/nations in an arm wrestle – one that’s never fully explained. Then we’ve got some The Lord of the Rings – Two Towers battle scenes reminiscent of Helm’s Deep, except they’re on water. Echoes of The Golden Compass also sound out as an eagerly-awaited big budget family fantasy film tanks with its dazzling effects, awkward performances and pithy story. Hell, there’s even a bit of Kung Fu Panda philosophy thrown in with the free Zen garden happy meal.

The Last Airbender has been filmed in such a way that you can just imagine them shooting the entire film in M. Night Shyamalan’s green screen basement with a bunch of IT guys relaying backdrops more furiously than a cheap screensaver app. All in all, it’s a surreal, yawn-inducing homage to a cartoon that deserved so much better. Perhaps movie producers will think twice before they get their takeaway order mixed up again… remember vindaloo and chop-suey are best served from different restaurants.

The bottom line: Tiresome.

Release Date: 10 September, 2010

Watch ‘The Last Airbender’ Trailer

Book Tickets at Ster-Kinekor
Book Tickets at Nu Metro
Catch more movie reviews at SPL!NG