Reviews by PvtCaboose91

"Django. The D is silent."

Django Unchained is one of 2012's best films, a deliriously enjoyable slice of pulpy entertainment finding Quentin Tarantino back at the top of his game...for about seventy minutes. Following the terrific opening act, the film pussyfoots around in pure boredom for the better part of an hour, showing Tarantino at his most undisciplined and, well, unchained. Tarantino's first all-out Western, Django Unchained is actually a close cousin to 2009's Inglourious Basterds. Like that film, Django Unchained takes place in a troubled historical period, features Christoph Waltz, and exhibits the writer-director's strengths and weaknesses in equal measure. While the film has a handful of great set pieces and a marvellous cast, the flashes of brilliance are let down by Tarantino's indulgent tendencies. Glacially paced, the film never quite soars to excellence despite the tremendous screen artistry on display.

In 1858, two years before the American Civil War, dentist-turned-bounty-hunter Dr. King Schultz (Christoph Waltz) frees a slave named Django (Jamie Foxx) from his captors. Schultz is on the hunt for a trio of wanted slave traders and needs Django to help him identify them. It quickly becomes apparent that Schultz and Django are an ideal team, and the two enter into an agreement: if Django assists Schultz in collecting bounties, he will reap the financial benefits. Afterwards, the two will set off to retrieve Django's wife, Broomhilda (Kerry Washington), who has been enslaved on a plantation owned by the ruthless Calvin Candie (Leonardo DiCaprio). Django and Schultz travel to Mississippi to meet Candie, hoping to buy Broomhilda from the hedonistic plantation owner.

Inspired by the 1966 Spaghetti Western Django (the lead of which, Franco Nero, cameos here), Django Unchained is Tarantino's most linear film to date - there are no chapters, and the timeline is not fragmented. The ingredients for the film are just right and should make for a dynamite action film, but the execution is slipshod. Since this is an uncomplicated story, there's no earthly reason for it to run nearly three hours. After opening strong, Django Unchained begins losing momentum, with nonsensical bloat causing the film to fizzle out long before the climax. Tarantino loves to hear his characters talk, of course, and such extensive dialogue is almost to be expected, but it doesn't excuse the woeful sense of pacing. The first hour or so is brisk, taut and efficient, but then Tarantino gets carried away with speeches and pointless dialogue, bringing the film to its knees.

Django Unchained works in pieces rather than as a whole. Amid the useless plot digressions, the long-winded monologues and the poor attempts at tension, certain set pieces work beautifully; there are funny scenes, intense scenes and several exhilarating sequences. The cartoonish bloodshed is where the film truly takes off. The scenes of Django and Dr. Schultz collecting bounties are pure dynamite, and a late shootout is one of the most extraordinary set pieces Tarantino has ever put on the screen. The bullet hits are hilariously exaggerated, with blood squibs exploding like landmines, creating utter delirium. The cinematography by Robert Richardson is sublime, and since Tarantino adores film, Django Unchained was shot with 35mm film stock, which gives it a gorgeously cinematic appearance. Tarantino evidently strives to create something aesthetically similar to the films of Sergio Leone and Sam Peckinpah, with old-fashioned opening credits and steady photography.

The highlight of Django Unchained, without a doubt, is Waltz as Dr. King Schultz. He essentially plays the good-guy version of his role from Inglourious Basterds; he's well-spoken and impeccably polite, yet he's also a killer at his core. Waltz is a constant delight, radiating charm and delivering Tarantino's dialogue with utmost assurance. Likewise, Foxx is an excellent fit for Django, soft-spoken and full of gravitas. Will Smith was originally in the running for the role, but he might have slanted the tone too much towards comedy. On the other hand, Foxx keeps the tone grounded, and the film is all the better for it. Meanwhile, in his first non-lead role since the 1990s, DiCaprio clearly has fun playing Calvin Candie. DiCaprio is not always the most interesting speaker, but his performance is committed and gritty. Samuel L. Jackson also puts in an unexpected performance as a close friend of Candie's. Jackson is fantastic - he is both funny and sinister. The supporting cast also includes the likes of Zoe Bell, Don Johnson, James Remar (in two roles), Bruce Dern, and John Jarratt. Even Tarantino himself appears towards the end of the film, though his Australian accent is incredibly questionable.

Django Unchained is perhaps the most frustrating motion picture of 2012. Somewhere within its overstuffed 165-minute runtime is a far superior, snappier 90-minute movie, and it is irksome to see Tarantino wasting so many brilliant film fragments by surrounding them with tedium. Tarantino's earlier efforts sparkle so much due to budget and timing limitations, which forced the filmmaker to show discipline. But armed with a huge budget and with the freedom to do what he wants, he's far less effective.

5.8/10

"You don't run, not when you're with us... You stand your ground and fight!"

On the surface, Green Street Hooligans looks to be a film about football hooliganism and football in general, as it's set in England and concerns avid fans of the sport. However, it's far deeper and more compelling than the premise suggests. Co-written and directed by female German filmmaker Lexi Alexander, Green Street Hooligans is reportedly part autobiographical, which lends a sense of authenticity and grit to the production. Unexpectedly powerful, the movie is predominantly a study of divided loyalties, relationships, friendships and the cost of violence, emerging as far more than just a straightforward story about football.

An intelligent American journalist student, Matt Buckner (Elijah Wood) is unfairly expelled from Harvard after his roommate frames him for drug possession. With little options, Matt flies to visit his sister Shannon (Claire Forlani) and her husband Steve (Marc Warren) in England. Steve wants to take Shannon out for a romantic evening, hence he decides to leave Matt in the hands of his brother Pete (Charlie Hunnam). Pete is a full-blooded football hooligan, the full-time leader of a gang. Although reluctant, Pete decides to takes Matt to a match, after which a fight breaks out with a rival football club that hooks Matt into Pete's way of life. Ingratiating himself into Pete's gang, Matt soon earns the respect of the members, who affectionately nickname him "The Yank." However, Matt is a journalist student and an American, two factors of which could stir up turmoil with not only rival football gangs, but his own friends as well.

It's doubtful that many are actually aware of football "firms" in the United Kingdom, let alone the type of activities they are involved in. The presence of Matt therefore gives the film the chance to provide an outsider look into this culture; he is our anchor into the story. Interestingly, for a movie concerned with football clubs, there is only one scene depicting the sport. Green Street Hooligans is more concerned with the gangs and the juvenile way they squabble over their favourite teams. However, the screenplay (by Alexander, Dougie Brimson and Josh Shelov) contains pedestrian elements. Its use of clichés in its narrative structure is forgivable since it all gels quite well, but the dialogue is too cheesy and standard-order at times. For instance, Matt's voiceover that opens the film includes the declaration "What I was about to learn no Ivy League school in the world could teach me." Later, Matt declares that he doesn't know where his home is anymore. It may be easy to feel these sentiments, but they sound too cheesy when vocalised, and such things should be expressed wordlessly through themes and images.

Green Street Hooligans packs one hell of an emotional wallop as it approaches the finish line, leading to an unexpectedly powerful and affecting ending that may have some viewers in tears. In spite of various claims that the film glamorises violence, it does the exact opposite, examining the brutal effects of brawling which do not look fun at all. Director Lexi Alexander is a former kickboxing champion, thus the fight scenes are graphic and well-choreographed, not to mention shot and edited in an effective fashion. Green Street Hooligans looks great as well; scenes were shot in real stadiums, pubs and alleyways, which heightens the production's sense of authenticity. Christopher Franke's musical score is just as impressive.

Wood displayed great emotional depth as Frodo Baggins in the Lord of the Rings trilogy, and he's every bit as good and mature here. People may always associate Wood with Frodo, but the actor has genuine chops, and deserves to emerge as more than just a Hobbit. Wood is the heart of Green Street Hooligans, and he nails the role. Most impressive is the way he sells Matt's transformation from naïve young journalist to a hardened man of depth. Every bit as good, if not better, is Charlie Hunnam as Pete. He initially seems to just be a dumb thug who brawls and belittles, but Hunnam plays the role with great depth and humanity, resulting in a mesmerising performance. The supporting cast is solid all-round, with Claire Forlani submitting her best work in years, and with a hypnotising turn by Marc Warren. The actors all hit their marks; Alexander coaxed some phenomenal performances from the well-chosen selection of actors.

A technically flawless piece of work, Green Street Hooligans tells a great story in a powerful way, with sublime acting and outstanding filmmaking prowess. Perhaps the biggest achievement of the film is that it works as a visceral, macho slice of entertainment, yet it still has thought and depth. And if anyone truly believes that Green Street Hooligans glamorises violence, they completely missed the themes and messages of the movie.

7.9/10

"This spirit is the taker of children..."

In short, The Possession is not bad. It's not a game-changing horror picture, nor is it a particularly remarkable effort. With that said, however, it fulfils its genre requirements in a satisfying fashion, providing a smattering of thrills and chills despite the restraints of its PG-13 rating. Problem is, it takes too long for the good stuff to kick in, leaving about an hour of pure mediocrity and boredom. The Possession carries the proverbial "Based upon true events" caption, as it was inspired by a Los Angeles Times article from 2004 which detailed ominous hauntings connected with an antique box purchased from eBay. It's a fascinating concept, providing ample opportunities for mindless ghost antics, but the end result ultimately falls short of its potential despite promising moments here and there. Surprisingly, The Possession was actually produced by horror maestro Sam Raimi, who was seemingly on autopilot for the duration of the production.

In Upstate New York, recently divorced high school basketball coach Clyde (Watchmen's Jeffrey Dean Morgan) is working to build a stronger relationship with daughters Hannah (Madison Davenport) and Em (Natasha Calis). Moving into a house of his own, Clyde plays it cool with his offspring when they stay for a weekend, buying them junk food and letting them have whatever they want from a yard sale. At said yard sale, Em picks up an ancient wooden box inscribed with Hebrew passages, which she grows obsessed with. As Em is drawn closer and closer to it, her personality alters and her behaviour grows erratic. Upon investigating, Clyde discovers the legend of the Dybbuk Box; a piece of Jewish folklore which unleashes a demonic spirit. Short on options, Clyde turns to a rabbi named Tzadok (Matisyahu) for help.

The Possession's structural building blocks are pure cliché, with a now-divorced father and a set of children who prefer their mother. Oh, and the mother is dating somebody else. It's basically Mrs. Doubtfire, only with more demons. And is it surprising to anyone that there's a subplot about Clyde pursuing a new job that will require him to move? The Judaism angle helps to distinguish The Possession from more generic efforts (exorcism films are more concerned with Roman Catholicism, after all), but this stuff is untouched until the final third, after which screenwriters Juliet Snowden and Stiles White return to screenwriting formula for a standard-issue climax involving chases and exorcisms. The storytelling is fairly sloppy, too, with Clyde's ex-wife Stephanie (Kyra Sedgwick) stubbornly refusing to believe that anything serious is amiss with Emily even when she turns into a snarling, pasty-faced zombie. Furthermore, a major character hastily leaves the film under inconclusive circumstances, never to be seen again.

Although the film is exceedingly mediocre, director Ole Bornedal gets major credit for not making it as a found footage production. (Let's not forget the utter debacle of The Devil Inside.) And at times, Bornedal's handling of the material is truly outstanding, resulting in a few insanely atmospheric and creepy moments, not to mention some expositional scenes that build a nice sense of foreboding. Anchoring the picture is Morgan, submitting an effective performance which paints Clyde as an everyman. Morgan nails the role's vulnerabilities and adds heart, shedding tears multiple times to powerful effect. However, it's the young actresses playing the daughters who run away with the movie. Calis and Davenport look and interact like real sisters, and the girls handle the requirements of their roles with a confidence rarely seen in child actors. Most impressive is Calis, who runs through various personalities and emotions yet never seems faux or contrived. However, The Possession is a PG-13 film, and this is obvious. At times, the film pushes the boundaries of its rating with dark and violent material, but this only serves to show us what we could've been in for if the picture was a hard-R.

In better hands, the same filmmaking ingredients could have yielded an overall superior effort, but the film we have is purely mediocre. Rather than flat-out terrifying and enthrallingly creepy, The Possession springs to life in fits and starts, with Bornedal only sporadically figuring out how to scare us. Otherwise, all we get are jump-scares underscored by commanding musical cues, and a number of scenes of lifeless character interaction. Despite the Jewish flavour, the film is every bit as generic as its title, though horror aficionados may find this to be worthwhile as a rental.

6.1/10

"It's hard to love your job when no one else seems to like you for doing it..."

The marketing campaign for Wreck-It Ralph painted this Disney animated flick as one big party for aging video game nerds, a story brimming with references and inside jokes that outsiders won't understand. Luckily, the resultant picture will appeal to wide audiences, as it strikes a great balance between fan service and highly satisfying moviemaking. The reason why Wreck-It Ralph works is because it's a lively movie which tells a wonderful story with well-realised characters, not because Q*Bert cameos here. What's notable about Wreck-It Ralph is that it may be perceived as just another video game flick, but it's more about the world of video game characters as a whole. And the movie is imbued with so much creativity and visual wit that one could be fooled into believing this to be a Pixar production.

In an old-fashioned video game arcade, behemoth Wreck-It Ralph (John C. Reilly) is a character in the Fix-It Felix, Jr. game, spending his days wrecking an apartment building that's subsequently repaired by handyman Felix (Jack McBrayer) with his magical hammer. Once the arcade shuts for the day, the community of characters congregate for conversation and relaxation. After thirty years of the same daily routine, Ralph has grown weary, fed up with his position as the bad guy and tired of being treated like a second-class citizen. Yearning for respect, Ralph sets off to win himself a medal and become the good guy, eventually entering a kart racing game called Sugar Rush that's overseen by the ruthless King Candy (Alan Tudyk). He meets the spunky young Vanellope (Sarah Silverman), an outcast who aspires to be a racer but is forbidden from doing so by Candy. Added to this, Ralph's actions lead to the threat of an outbreak of sinister bugs, and the Fix-It Felix, Jr. game may soon have its plug pulled.

Wreck-It Ralph is often described as the Toy Story of the video game world, and it is reminiscent of Pixar's first feature-length endeavour in the way it introduces the world of arcade game characters who are living, sentient entities who go through the motions for the entertainment of the players. This conceptual framework aside, though, Wreck-It Ralph's closest cinematic cousin is in fact Tim Burton's The Nightmare Before Christmas, since they both concern misunderstood loners who suffer an existential crisis and set off on an ill-advised vision-quest that takes them to other worlds where they don't belong and threatens the fabric of the universe. What's interesting about Wreck-It Ralph is that there's actually some depth to the picture: The arcade characters being pre-programmed but completely self-aware is a sly metaphor for everyday workers who are stuck in jobs they don't always like. Nevertheless, Wreck-It Ralph lacks the emotional depth and thematic relevance of something like Toy Story. It's an enjoyable ride with a few sly touches, but it doesn't deliver any thoughtful messages, and the movie probably won't wring any tears from you.

Disney managed to secure the rights for so many recognisable faces here, including Pac-Man and his orange nemesis, Bowser from Super Mario Bros., and even the inimitable Sonic the Hedgehog. Gamers will, of course, get the most out of Wreck-It Ralph, as they will pick up on all the cameos and references, but there's enough humour and energy to ensure the uninitiated also have a good time. The opening act is an absolute home run, with director Rich Moore briskly establishing the world inhabited by the arcade characters and taking us through their monotonous daily routines. Once the film settles into Sugar Rush and the plot crises are introduced, however, the pacing unfortunately begins to slow. It's never exactly boring, but Wreck-It Ralph could have used a more judicious editor to give it an added zip. Luckily, the picture is a complete visual knock-out from start to finish, which helps to maintain interest throughout the draggier narrative patches. While not photo-realistic, the animation is succulent and richly detailed, and the character designs are absolutely spot-on.

Reilly has a talent for portraying lonely sad-sacks, making him ideal for the voice of Ralph. His performance is heartfelt and charming, and he's a big reason why the movie works as well as it does. But it's the supporting cast who make the biggest impression. Playing the little Vanellope, Silverman delivers a funny, feisty performance that's also imbued with a sense of humanity. Also excellent is Jane Lynch voicing a tough-as-nails military boilerplate from the arcade game Hero's Duty. Her role is brilliantly written, and Lynch chews the scenery and emanates authority with terrific gusto.

If it's not the greatest animated movie of 2012, Wreck-It Ralph is very near the top of the list. It's a strikingly original piece of work which wonderfully taps into video game culture while also telling an amusing tale supported by a playful sense of humour and beautifully rendered animation. Video game fans will probably have the most fun with the picture as they'll recognise the references and in-jokes, but the unenlightened should still be enraptured by the comedy, the characters and the superlative set-pieces.

8.0/10

"A gun is a tool, Marian; no better or no worse than any other tool: an axe, a shovel or anything. A gun is as good or as bad as the man using it. Remember that."

Shane may be a vehement Western due to its adherence to several of the genre's tropes, but it's a film that belies its genre. By the 1950s, the American Western genre had become predictable, with Westerns growing to the point of being interchangeable, but 1953's Shane is bolder and smarter than more formulaic genre offerings from the same period. This is a film that focuses on storytelling and depth of character, not to mention its technical credits are superlative. Additionally, screenwriter A. B. Guthrie Jr. imbues Shane with themes of family value, loyalty, courage and friendship, and its hotly-debated ending remains as powerful as ever. Though the film is perhaps overrated in some circles, it remains a landmark achievement that inspired multiple movies in the decades to follow.

The titular Shane (Alan Ladd) is a skilled gunslinger with a secretive past. Riding into an isolated Wyoming valley, Shane encounters the homestead of farmer Joe Starrett (Van Heflin), his wife Marian (Jean Arthur) and son Joey (Brandon De Wilde). It becomes apparent that he has ridden into a land feud between the homesteaders and cattle ranch boss Ryker (Emile Meyer). Ryker wants to re-establish control over the entire valley and drive the homesteaders out. Shane takes Starrett's side in a confrontation with Ryker's men and decides to live and work on Starrett's farm. Joey grows to idolise Shane, who seeks to stay out of trouble and make an honest living. However, with the homesteaders continually resisting, Ryker resorts to bringing in a hired gun named Jack Wilson (Jack Palance) to get his dirty work done.

The narrative of Shane is familiar all these years on; it's the tale of a gunfighter fed up with killing who attempts to go straight and lay down his weapons for good. But, of course, things do not work out as planned, and, in this case, Shane is forced to strap on his pistols again for the greater good. The formula has been repeated countless times since, most notably for Clint Eastwood's western Unforgiven. Fortunately, its imitators do not diminish Shane, which remains fresh-feeling all these years on. The film actually incorporates a lot of Joey's perspective - viewers share his viewpoint, travelling alongside the boy as his innocence is shattered and he learns grave things about life and death. However, the problem with Shane is one of pacing; it's too long and glacial. It feels its almost two-hour runtime, as the storytelling is not always engaging. Things grow particularly weary during the second half when the titular character is relegated to more of a background player. The climax, though, is satisfying, but the way it ends will likely be polarising.

Before working as a director, George Stevens was a cinematographer, which gave him knowledge about smooth and beautiful camerawork. Shane is a visually impressive western, with eye-catching landscapes and wonderful production values. Stevens was a true perfectionist; filming for Shane wrapped in 1951, but it was in post-production for the better part of two years due to the intensive editing. The dedication is evident, as Shane is beset with standout set pieces. A large saloon brawl involving Shane, Joe and various goons is spectacular even by today's standards; fluid, gritty and hard-hitting. The editing, photography and sound design of this particular scene cannot be faulted. Luckily, this technical luminosity is often evident from start to finish. Stevens was also very insistent about being as true to the period as possible. An expert on the era was recruited, and sets and clothing had to be completely accurate. Stevens had witnessed the damage a gun could do to a man while serving in WWII and was disappointed that violence was so watered-down in films. Thus, bullets hit hard here, and the brawls are vicious. Following the aforementioned saloon fight, men are seen being patched up.

Although Ladd wasn't nominated for an Oscar (a baffling oversight), he submitted a truly bravura performance as the lonely wandering hero of the title. He embodied the role so well, conveying a certain charisma but nevertheless looking believable as a tough man of action. It's impossible to imagine any other actor playing Shane with the same confidence and excellence as Ladd. Luckily, the supporting cast is solid for the most part, with Palance a solid villain and an endearing De Wilde playing Joey. Meanwhile, Van Heflin is nicely amiable as Joe Starrett, but it's Jean Arthur who stands out as Joe's wife. Arthur's performance is brimming with passion.

Shane may be a Western with scenes of violence, but it's a family movie above all. It's a motion picture for everyone - the story is touching, with universally relatable themes, and the performances are great right down the line. The film has endured as a classic because, despite pacing issues, it's a well-made and thoughtful addition to the Western genre that's hard not to like.

7.9/10

"Sometimes reality is too complex for oral communication. But legend embodies it in a form which enables it to spread all over the world."

Avid sci-fi addicts looking to check out 1965's Alphaville will likely wind up disappointed. This is not a traditional science fiction movie, but instead a hardcore Jean-Luc Godard flick carrying sci-fi undertones. Compared to a commercial product like Minority Report, Alphaville looks woefully under-produced and cheap, but only superficially. At its core, this is an thoughtful treatise on technology and society that intertwines film noir and sci-fi, and its ostensibly slipshod appearance is a part of the satirical slant. Godard originally wanted to name the film Tarzan vs. IBM, a title which perfectly encapsulates the essence of Alphaville. This is a story of a rugged spy battling a dystopian society, and the character of Tarzan was a rugged, individualistic caveman who competed against futuristic technology.

An American secret agent, Lemmy Caution (Eddie Constantine) travels to the outer space city of Alphaville disguised as a journalist named Ivan Johnson. Alphaville is a dehumanised, dystopic society controlled by fascist supercomputer Alpha 60, which was created by Professor Von Braun (Howard Vernon). Alpha 60 seeks to conquer further societies, ruling under an iron fist in a police state where creativity and individualistic expression are replaced by ruthless logic. Caution's assignment is to infiltrate the city and assassinate Von Braun, looking to free Alphaville and destroy Alpha 60 before the computer wages nuclear war on other galaxies.

Alphaville wears its influences on its sleeve, containing elements from George Orwell's 1984 and Aldous Huxley's Brave New World. To allow for easy identification, the citizens of Alphaville are assigned a unique number that's tattooed on their necks. Added to this, people are executed for the slightest of things, and the population are kept in the dark about numerous events. This material mirrors repressive regimes. Furthermore, there is a "Bible" in every hotel room, but the book is in fact a dictionary that's consistently updated rather than a religious text. Each new edition subtly drops words from its vocabulary, as more and more words and expressions are outlawed. Words such as "love" and "conscience" are unknown to the citizens of Alphaville, and the word "why" has been replaced with "because." The word "why" is outlawed in order to brainwash citizens into following their daily routines and abiding by the law without questioning it. Hell, the absence of questions is so ingrained into the population that they automatically greet people with a phrase ("I'm very well, thank you, you're welcome") that's completely lacking in context.

In keeping with Godard's usual modus operandi, it's difficult to nail the narrative of Alphaville, as it's full of non-sequiturs which makes the film challenging to follow. Images are seemingly shown without context, scenes look out of place, and the editing is peculiar, even though the story is straightforward. Also interesting about the film is that Godard used no special effects despite Alphaville being an intergalactic city. The city looks like France in the '60s, and the technology, fashion, sets and cars all look very "normal" for a sci-fi story. One could contend, however, that this compels us to look at the peculiar city of Alphaville and pick out the similarities to our world, and wonder if that's where we are headed...or if we're already there. In keeping with these themes, the performances also seem purposely stilted, in a sense underscoring the robotic invasion of the human soul. As Lemmy, Constantine seems positively unexcited, as if the peculiarities of Alphaville have provoked mental unrest within him. However, the big problem with Alphaville is that, although it runs a brisk 95 minutes, it feels very draggy, and struggles to be involving despite its thematic framework.

Due to its exceedingly experimental nature, Alphaville will not work for everyone. This is not so much a "movie" movie, but rather a cinematic representation of political and philosophical ideas. This should not be anyone's introduction to Godard, and the film will not be considered easy or fun to watch by many, but it does offer food for thought. Our postmodern society resembles the city of Alphaville more and more with each passing year, continually heightening the film's relevancy, which is a feat in itself. Still, there are more contemporary and commercial sci-fi flicks which are more accessible and involving, though Alphaville is still worth checking out.

7.2/10

"The Treblemakers. The rock stars of a cappella, the messiahs of Barden. Well, you know, not including athletes, frat guys, or actual cool people."

Pitch Perfect is very much a product of the Glee craze, a glossy production aimed at teens punctuated by musical performances. It's perhaps an enticing offering for girls but it's unlikely that many other demographics will see any reason to check it out. How surprising, then, that Pitch Perfect is a moderately entertaining fare no matter your age or gender, another film in the mould of Mean Girls that's both quotable and well-made. It's more or less the Dodgeball of a cappella - an admittedly formulaic underdog story that's nonetheless bright and enjoyable. Helmed by television veteran Jason Moore and written by Kay Cannon (adapted from Mickey Rapkin's book of the same name), Pitch Perfect is a crowd-pleasing comedy destined to be enjoyed by more than just the die-hard fans of Glee.

Budding DJ Beca (Anna Kendrick) aspires to move to L.A. to pursue her dreams, but her professor father (John Benjamin Hickey) urges her to head to college to undertake a degree. Reluctant to take full advantage of the college experience, Beca is soon convinced to join the Barden Bellas, an a cappella group looking to repair their tattered reputation and take the top prize at the ICCAs (the International Championship of Collegiate A Cappella). Surprisingly, Beca takes to the group and makes a number of new friends, including Chloe (Brittany Snow) and Australian singer Fat Amy (Rebel Wilson). However, Beca encourages the group to be more daring with their song choices and create mash-up tunes, much to the chagrin of stubborn traditionalist Aubrey (Anna Camp). Complicating matters is the arrogant rival group The Treblemakers, one member of which, Jesse (Skylar Astin), takes a liking to Beca.

Slick and breezily paced, Pitch Perfect unfolds like a pilot for a television show, using a cappella as the personality backbone for what's otherwise a standard-order comedy with young characters. The story is pure formula, make no mistake, with the narrative working towards a painfully predictable resolution. However, as taught by Jesse's adoration for John Hughes' The Breakfast Club, a film's formulaic nature is forgivable as long as there are well-written characters to care about. Cannon's script indeed contains a handful of terrific characters and is permeated with funny lines, most of which are about to become embedded in the public consciousness. Pitch Perfect is still harmed by several almost unforgivable comedic staples, though, including cartoonish villains, stereotypes and a trite message of team spirit. Added to this, the film goes for cheap laughs from time to time, with a running joke involving projectile vomiting and a moment in which a character sloshes around in a large puddle of puke. Plus, when the group turns the tables on the insufferably obstinate Aubrey, it's a case of "why didn't they do that earlier?" Furthermore, the film runs far too long at around 110 minutes and would've benefitted from being made as a zippy 90-minute feature.

After helming episodes of such TV shows as Brothers & Sisters and Dawson's Creek, Moore relishes the chance to direct his first big-screen affair here, mounting a film of comedic energy, wit and visual assurance. It's beautifully shot by cinematographer Julio Macat, too, and the production values are gorgeous despite the paltry $17 million budget. During the musical performances, though, Pitch Perfect is a mixed bag. It's easy to see why the Bellas were so ridiculed since their trademark song is woefully boring, but even the Treblemakers are intolerable from time to time. Nevertheless, some of the musical numbers shine here, with the Bellas' climactic performance an absolute joy, and the picture contains a satisfying mix of songs, both old and recent.

Kendrick is frequently seen in supporting roles, playing second-fiddle to great actors in the likes of Up in the Air and 50/50, not to mention she was part of the abominable Twilight saga. It's terrific, then, to see the endearing actress at last headlining a major studio feature. Watching Pitch Perfect, one can only wonder why it took so long for Kendrick to get her own starring vehicle; she's a great screen presence, beautiful and believable, and she has actual emotional range. Kendrick plays one of those types who's completely disinterested and distant towards everyone, and she pulls it off. Not to mention, she has a beautiful singing voice. Also fantastic here is Australian comedian Rebel Wilson, who was a scene-stealer in 2011's Bridesmaids. Wilson has tremendous comedic energy and timing, and apparently improvised most of her dialogue. She's a huge asset. The rest of the cast is equally impressive, with Anna Camp a believably stubborn Aubrey, and Brittany Snow who's beautiful and charismatic as the Bellas' voice of reason. Also showing up in a glorified cameo is a hugely amusing Christopher Mintz-Plasse playing the college's audition launcher, while Elizabeth Banks and John Michael Higgins get a few moments to shine as the ICCA commentators.

Pitch Perfect is not pitch perfect by any means, but it's a serviceable time-waster with laughs and a smattering of enjoyable music. If you enjoy teen comedies like Clueless and Mean Girls, there's a good chance you'll have fun with this one despite weak moments from time to time. It's definitely one to watch with a group of friends.

6.5/10

"You ever hear of Joe Cooper? He's a cop. A detective actually. He's got a little business on the side."

It's been forty years since filmmaker William Friedkin tested the boundaries of what's acceptable in modern cinema with his 1973 horror opus The Exorcist. Friedkin's Killer Joe (finished in 2011 but released last year) finds the director back in this territory, mounting a controversial NC-17-rated thriller which shows that the director still has a talent for the lurid. Killer Joe was written by Tracy Letts, who adapted his own stage play for the screen and who worked with Friedkin on 2006's polarising Bug. Sleazy and engaging, this is more or less a contemporary film noir in the vein of Double Indemnity, yet it's also something of a black comedy, though Friedkin's own descriptor "black hole comedy" is perhaps more apt. Full of vile moments and repulsive characters, the film is a punishing viewing experience from time to time, but it benefits from exemplary technical credits and sublime acting, with Matthew McConaughey front and centre delivering his best performance in years.

Set in the American South, troubled lowlife Chris (Emile Hirsch) owes several thousand dollars to the local loan shark. He turns to his father Ansel (Thomas Haden Church) for help, taking up residence in his trailer with Ansel's second wife Sharla (Gina Gershon) and daughter Dottie (Juno Temple). Chris' mother has a hefty life insurance policy which would be paid to Dottie in the event of her death, hence Chris and Ansel decide to enlist the services of Joe Cooper (McConaughey), a Dallas police detective who moonlights as a contract killer. Although Joe demands the money upfront, he agrees to the job if he's given Dottie as a retainer. While Chris is hugely reluctant, Joe and Dottie commence a sexual relationship. However, not everything is as it seems, and Chris' idiocy begins getting in the way, leading to friction between Joe and his employers.

Bug was likewise based on one of Letts' stage plays, but Friedkin and Letts retained the single setting for that tale of body horror and paranoia. For Killer Joe, however, the collaborators have opened up the play a fair amount, spanning various locations rather than remaining within Ansel's trailer. It does not feel falsely or arbitrarily expanded, though, which is a huge credit to the creative team behind the picture. Fortunately, Letts' script is strong for the most part, full of sharp dialogue and well-realised characters. The film eventually accepts its stage play origins with an extended final scene running over twenty-five minutes that's confined to Ansel's trailer. It's a small-scale finale, but the scene is legendary, cranking tension levels up to eleven and serving up shocks at an alarming rate. The only flaws with Killer Joe are inherent in the script, which incorporates some of the play's weaker moments. One gets the sense that Friedkin and Letts revel in the shocking nature of this stuff too much, leading to an unorthodox use of a chicken leg that's more uncomfortable and degrading than effective. Yes, it's meant to be degrading but it seems like overkill.

Despite being his first big-screen outing in years, Friedkin remains an exceptional filmmaker here, his competency with staging and pacing shining through in every frame. What's surprising about the film is that, although it's often vile and repulsive, it's compulsively watchable and enthralling, which is a credit to Friedkin's skills as a cinematic craftsman. It's not that he waters down the content to make it more accessible; it's just hard to look away due to the tension, plot twists and dialogue. Killer Joe is a stylish picture to boot, with gorgeous cinematography by Caleb Deschanel perfectly capturing this Southern Noir tale. The MPAA slapped the film with an NC-17 rating, a move that Friedkin expected and embraced, though the distributors also cut together an R-rated edit. Beware, Killer Joe contains full-frontal nudity, shocking violence, disturbing themes, and plenty of bad words... It's genuinely fantastic to see Friedkin pushing buttons again.

Friedkin is a director who knows how to coax the best out of his actors, hence Killer Joe is full of top-flight performances, with all the actors at the top of their game. McConaughey too often plays pretty-boy romantic leads, which he's now more or less reviled for. It's refreshing, then, to see the actor sinking his teeth into the ferociously creepy yet funny titular character. Demonstrating acting talent we've forgotten he has, McConaughey is mesmerising here, his calm demeanour and terrific grooming a delightful contrast to the dirty trailer trash he deals with. Drenched in Texas swagger, Joe is a man you would not want to cross, yet he's strangely charismatic and respectful. It's a bravura turn for McConaughey that's brilliantly controlled and creepy. Hirsch is fairly good here, too, but it's Juno Temple who stands out as Dottie. She's such a bizarre and complex character; she's either simple-minded or extremely intelligent. Church also fares well here, while Gershon is astonishingly good as Ansel's new bride.

Even though Friedkin is getting older, he is still drawn to edgy, controversial material, and Killer Joe is a fascinating effort by the veteran filmmaker. It's not a universally appealing motion picture, however; it's nihilistic, crude, intense, shocking and violent, but it's also darkly funny and competently produced. As long as you can stomach this type of material, Killer Joe is well worth checking out.

8.1/10

"EVERYBODY wants to see ANYBODY fuck. I hate Rosie O'Donell, but if somebody said "I got a tape of Rosie O'Donell getting fucked stupid" I'd be like "Why the fuck aren't we watching that right now?""

Zack and Miri Make a Porno is one of Kevin Smith's most purely enjoyable and accessible motion pictures to date, a straight-up crude comedy in the vein of The 40-Year-Old Virgin that manages to supplement its humour with heart and depth. It's an ideal project for Smith, calling for his usual modus operandi of profane mischief, unfussy technical specs and a sizable roster of familiar faces. Written and directed by the filmmaker, the film is also firmly in the Smith's comfort zone. Over the years, Smith has repeatedly declined offers to tackle superhero movies and other projects since he knows his limitations. He often does much the same thing in terms of humour and content with his movies, but at least he's good at this stuff.

Sharing an apartment together, do-nothing barista Zack (Seth Rogen) and his long-time school friend Miri (Elizabeth Banks) are destitute, hopelessly behind on their bills and facing homelessness. After their 10-year high school reunion further highlights their lousy circumstances, and after their water, heating and electricity are all shut off, Zack and Miri agree that drastic measures are in order. Desperate to get out of their financial hole, the pair decide to act upon an off-the-cuff idea to make a porno and reap the monetary benefits. Teaming with friends Delaney (Craig Robinson) and Deacon (Jeff Anderson), as well as eager performers Lester (Jason Mewes), Stacey (Katie Morgan) and Bubbles (Traci Lords), they begin production on their porno odyssey, shooting after hours at the local coffee shop where Zack works. Zack and Miri agree to have their first sexual encounter on-camera, but the filming brings out emotions and feelings that the pair never knew they had.

The ultimate narrative trajectory of Zack and Miri Make a Porno is predictable, but, as with all the best comedies, it's more about the journey than the destination. As proved countless times before, Smith has a talent for witty dialogue and entertaining characters, and this remains unchanged here. Zack and Miri Make a Porno is loaded with side-splitting one-liners, hilarious bantering and film references - the characters initially set out to make a Star Wars porno parody called Star Whores, with character names and costumes destined to provoke belly-laughs. As the characters talk, they constantly name-drop websites, movies, actors and other pop-culture stuff, not to mention there's plenty of profanity. Critics have slammed the movie for its excessive language, but Smith is a poet with profane words, and the swearing comes off as a natural part of the characters' vocabulary rather than a gratuitous addition.

With each new film, Smith continues to grow as a filmmaker. He has come a long way since the drably-filmed, amateurish Clerks. - Zack and Miri Make a Porno is visually accomplished, and it's as competent and well-paced as one could reasonably expect from a simple comedy sans big visual effects. Sensitive viewers should tread lightly, as Smith does not baulk from capturing the type of content one would expect from a movie about shooting a porno. Nudity and sex scenes abound, which led to the MPAA slapping the film with an NC-17 rating (not a new experience for Smith). Indeed, the film is just as aggressive as its title. Speaking of the title, it stirred up much controversy, leading to advertisements and even DVD covers shortening the title to Zack and Miri, much to Smith's chagrin. It seems like a strange move to shorten the title as such, since it may fool viewers into believing the film to just be a simple, sweet romantic comedy. Oh boy, that would be a regrettable error. Besides, is the word "porno" really that bad in a world where the Sex and the City movie can be widely advertised?

Smith's best movies are those which are about something, and tackle some sort of life issue. He's also good at telling personal stories that incorporate the writer-director's own experiences (see Chasing Amy). Zack and Miri Make a Porno continues in this vein. The way that the crew make the porno is very much reminiscent of the way Smith produced 1994's Clerks.: shot in the writer-director's place of work at night and produced on the cheap, using hockey sticks for boom poles and only a tiny crew. Smith also probes a sensitive topic: long-time friends becoming romantically involved. The scene depicting Zack and Miri's on-camera sex is one of the director's finest moments; it begins as a hilarious parody of awkward porn situations, but the actual sex is sweet and romantic, even though the characters are on top of a bag of coffee beans. The dramatic aspects of the story do not feel like obligatory rom-com stuff; Smith actually put some emotion and feeling into it, resulting in something fairly mature. The best thing about Zack and Miri Make a Porno, though, is that it still works as entertainment despite its dramatic material.

In the lead roles, Rogen and Banks are marvellously talented and sharp. Rogen just leaned on his usual shtick here, but he's terrific at what he does, espousing charisma and spouting obscenities with confidence. Smith wrote the role of Zack with Rogen in mind, and has stated he would not have made the film if Rogen wasn't interested. Banks, meanwhile, is hugely endearing and beautiful. Rogen and Banks don't exactly share sizzling chemistry, but they're both believable in their respective roles. The supporting cast is fun and colourful, with Robinson and Smith regular Anderson enormously entertaining as the crew of the movie. Jason Mewes (the Jay to Kevin Smith's Silent Bob) is also present here, putting in a playful performance as uninhibited performer Lester. Likewise, real-life porn star Katie Morgan makes a good impression. Added to this, Justin Long and Brandon Routh show up in cameo roles, and their work is hilariously shameless.

If you're in the right mindset, Zack and Miri Make a Porno is a perfect time-waster, enjoyable and thoughtful. It's perhaps one of Smith's less daring filmmaking endeavours, as it essentially uses the When Harry Met Sally formula...except it involves making a dirty movie. Plus, the film not as mature or insightful as Smith's Chasing Amy. Nevertheless, Zack and Miri Make a Porno is good fun, and it's hard to imagine Smith's fanbase being dissatisfied with it.

7.8/10

"The abused becomes the abuser."

Psych:9 is part of Lionsgate's master plan to release a string of low-budget horror features helmed by inexperienced filmmakers produced under the "Ghost House Underground" banner. I sure as hell hope that the other movies are better than this. There are some redeeming features to Psych:9 if one takes into account that it was the first feature film for both its writer and director, but it's simply flat on the whole. Plus, it would seem that screenwriter Lawrence Robinson and director Andrew Shortell have encyclopaedic knowledge of every horror movie and slasher of the last three decades - there is not a single original bone in Psych:9's cinematic body, and the treatment of the hackneyed material is not engaging or stylistically inventive enough to overcome the "been there, done that" feeling which plagues every frame of the enterprise.

In desperate need of a job, Roslyn (Foster) takes a position working the night shift inside a hospital that recently closed its doors. Working alone as she collates medical records and organises files, it isn't long before Roslyn begins hearing strange noises and seeing peculiar things. On edge due to a series of killings in the local area attributed to a serial killer known as the Nighthawk, Roslyn finds friendship in amiable psychiatrist Dr. Clement (Elwes), who is taking care of the files in the psych ward. Roslyn begins growing suspicious that her husband Cole (Mann) could be the Nighthawk, and her work leads her to suspect that the murders are linked to the hospital. Amid this, Detective Marling (Biehn) is investigating the Nighthawk killings, and he's not ready to rule Roslyn or her husband out as potential suspects.

At face value, Psych:9 is an interesting proposition. It's set in an abandoned hospital, a serial killer is on the loose, there are paranormal undertones, and Michael Fucking Biehn is in the cast. In deft hands, it could've been an intriguing horror outing, but this potential ultimately leads nowhere. It's ostensibly a supernatural chiller, but Psych:9 is a straight-up whodunit slasher with splashes of Shutter Island. While there's nothing inherently wrong with this from a conceptual standpoint, the film seems deliberately ambivalent as to what exactly is going on. A deep, dark and decisive finale could've been extremely effective, but the filmmakers went another route, as if Robinson himself was unsure about how to properly end it. More than likely, most viewers will be left confused about what just happened, and what the final twist actually means. And the "pay more attention" argument is null; the storytelling is just too jarring and editing too off-tempo.

At the very least, the production is not a total bust from a technical perspective. In terms of direction and photography, Psych:9 is okay; not terrible or overly cheap, but not enthralling or polished enough either. It's the very definition of mediocre. The hospital is the most effective thing in the film; it's a suitably creepy, unnerving location, with rotting medical equipment and plenty of dark shadows and dank hallways. The film is bathed in a fluorescent lighting scheme of greens and yellows in an attempt to hide the low budget, giving it an ugly but somewhat atmospheric look.

Similarly, the acting is mediocre-to-good. In the lead role, Sara Foster does a decent enough job, conveying fear and vulnerability well enough. She's an attractive and endearing screen presence, as well, which makes her a suitable horror lead, though unremarkable. The biggest names here are Cary Elwes and Michael Biehn playing Dr. Clement and Detective Marling, respectively. Elwes is watchable in anything he's in, and he's especially amiable here. Biehn, meanwhile, is the best actor here. He wasn't given much to work with, but Biehn makes the most of his role and he seems to be the most committed member of the cast.

In the end, Psych:9 wants to do something more than your standard ghost story, but it's ultimately more trite and less interesting than a straight haunting feature. There's nothing original here, and it doesn't serve up enough effectively spooky moments. It's not exactly horrible, but it is formulaic and hopelessly forgettable. If you're an unfussy horror/thriller fan looking for a simple evening rental on a dark, stormy night, you might extract some enjoyment from Psych:9. Otherwise, there are many other, more skilful horror offerings available.

4.2/10