Reviews by PvtCaboose91

"This time, we're going to see this through to the bitter end! Or lager end..."

In the interim since Hot Fuzz in 2007, Edgar Wright, Simon Pegg and Nick Frost have moved onto bigger things: Wright dabbled in Hollywood moviemaking with Scott Pilgrim vs. the World, while Pegg and Frost starred in Paul, as well as a host of other American projects. It's exciting to see the guys reuniting six years on, getting back to their British roots to put their own trademark spin on the science fiction genre with 2013's The World's End. The third instalment in the trio's Three Flavours Cornetto trilogy, the flick further demonstrates the superb spoofing instincts of writers Wright and Pegg, who employ their extensive knowledge of cinema to pay homage to genre classics while still creating a mightily entertaining and original classic of their own. The World's End is a different type of endeavour for the lads, but it's no less satisfying than Shaun of the Dead or Hot Fuzz, closing the trilogy with heart, plenty of rambunctious mischief, and a few nice pints of beer.

In the early 1990s, five schoolboy friends led by fearless rebel Gary King (Simon Pegg) set out to conquer "The Golden Mile" - that is, a pub crawl involving twelve taverns that concludes at The World's End. Alas, the boyhood chums fall short of the final pub, which haunts Gary into his adult life. Now in his forties, Gary has hit rock bottom. To pull himself out of the doldrums, he hatches a plan to reunite with his former pals and attempt The Golden Mile once again. Tracking down family man Peter (Eddie Marsan), divorced contractor Steven (Paddy Considine), stuffy real estate agent Oliver (Martin Freeman) and corporate lawyer Andy (Nick Frost), Gary leads them back to their old stomping grounds in Newton Haven, where the drinking soon commences and the gang are joined by Oliver's sister Sam (Rosamund Puke). However, it quickly becomes clear that things have changed, as nobody seems to remember them, and the people act strangely. Discovering that something quite sinister could be happening, the pub crawl nevertheless remains a goal at the forefront of Gary's mind, who's determined to reach The World's End no matter the cost.

Compared to other 2013 comedies like This is the End, The World's End is not one of the funniest movies you will see this year. However, it is one of the most satisfying because it supplements its flat-out fun disposition with genuine creativity. Similar to Hot Fuzz, Wright and Pegg take a deceptively simple premise and run with it; the big picture is a lot bigger than initially anticipated, resulting in several twists and turns that lead the story in unexpected directions. By the time we reach the story's dénouement, we're much further from the pub crawl conceit than we could have ever imagined. Added to this, The World's End is arguably the most poignant addition to the Blood and Ice Cream Trilogy. Wright aims for depth and heart, with the relationship between Gary and Andy instilling the narrative with a solid emotional centre and allowing for a shrewd examination of friendship and growing up. The World's End is pure class, assembled by a creative team who care about their craft. It's an utter treat to see such an altogether unique comedy emerge from this cinematic climate dominated by remakes, reboots and sequels.

The World's End is not on the same level as Shaun or Hot Fuzz in terms of laughs, which may be disappointing for some. To be sure, a funnier screenplay could've catapulted the picture into the stratosphere, but Wright's directorial approach compensates for this. You see, as opposed to other modern "comedies" like Movie 43 and Scary Movie 5, The World's End does not live and die by its comedy. Wright is not perpetually on the prowl for another laugh; he never loses sight of the importance of storytelling, tension, or effective mise-en-scène. The World's End is not always hilarious, but it's never boring, and that's a huge compliment for a comedy. Even if you don't laugh much, you'll still enjoy the story.

Of course, The World's End contains callbacks to the earlier collaborations of Wright, Pegg and Frost; it would not be a constituent of the Blood and Ice Cream Trilogy without a Cornetto, and there are surprise cameos here from some of the Spaced gang. The movie is also filled with nods to genre classics, including Village of the Damned and Invasion of the Body Snatchers, in addition to more obscure titles. However, Wright's style, voice and energy as a filmmaker ensure that The World's End transcends homage to become its own entity. Wright is an adamant film connoisseur, as well, shooting on 35mm film as opposed to the cheaper digital alternative. Consequently, The World's End looks beautiful. The film-like appearance enhances the sense of atmosphere, and the cinematography by Bill Pope is far more skilful than we had any right to expect on a project like this. Pope is actually an award-winning cinematographer who also lensed The Matrix and Spider-Man 2, and his immense talents are a tremendous asset. Furthermore, Wright continues to display his knack for great action scenes here, orchestrating a number of brawls that are thrilling and amusing in equal measure.

Admirably, Pegg and Frost do not rely on their usual comic shtick here, instead playing characters with more nuance. Pegg does play a fairly standard character type, but there are deeper aspects to the role that gradually emerge as the story progresses, and the manic energy that Pegg brings to the table is truly marvellous. After all, Gary grows more and more intoxicated as the story goes on, and Pegg manages to maintain consistency. Frost, meanwhile, portrays something of a sad sack, which is wholly unexpected considering the scenery-chewing roles he's played in the past. Fortunately, he pulls it off with confidence, and this may open up a whole lot of new doors for the actor. As for the rest of the gang, Freeman, Considine and Marsan all place forth competent performances and provide solid support for Pegg and Frost.

As with Shaun of the Dead and Hot Fuzz, The World's End undoubtedly improves on repeat viewings when you know what to expect and can better absorb the nuances of the filmmaking and storytelling. Rather than an out-and-out comedy like its predecessors, this is more of a Brit sci-fi flick with a few laughs, and it definitely works in this sense, even though a wittier script and a few more jokes would not have gone astray. The World's End is definitely a suitable conclusion for the Cornetto Trilogy due to its unexpected climax and the word "end" in its title. However, I hope that this won't be the last time Wright, Pegg and Frost get together to make a movie...

8.6/10

"I've been trying to find you for over a year. My employer's dying, he wants to thank you for saving his life."

Even the most die-hard X-Men fans cannot defend 2009's X-Men Origins: Wolverine, a misguided disaster in every conceivable way. It would seem that even the folks behind the film acknowledge its awfulness, so now we have 2013's The Wolverine, which distances itself from its forerunner by avoiding a numerical appendage and not tying into its events. Luckily, The Wolverine is a vast improvement over the previous movie, with director James Mangold delivering the best cinematic representation of Logan/Wolverine to date, on top of presenting the defining appearance of Hugh Jackman in the titular role. Mangold's picture smartly avoids including as many mutant cameos as possible, instead delivering a lean, focused action-thriller. Based on a popular comic series from the 1980s, The Wolverine succeeds due to its grounded nature, with the writers choosing to create a character study instead of a dumb blockbuster.

Picking up a few years after 2006's X-Men: The Last Stand, the story finds Logan (Jackman) in the Alaskan wilderness living off the land. Haunted by the death of Jean Grey (Famke Janssen), Logan wishes to live in solitude, in fear of endangering anyone else he holds dear. He's soon tracked down by Yukio (Rila Fukushima), who summons Logan to Japan at the behest of billionaire industrialist Yashida (Hal Yamanouchi). Logan saved Yashida from an atomic bomb during WW2, and now the former soldier is on his deathbed, wanting to say goodbye to his old friend. However, Logan is also offered an unexpected proposition: the chance to be relieved of his regenerative abilities, allowing him to live the life of a mortal. Yashida wants to live forever and wants Logan's abilities transferred to him. Despite refusing the offer, Logan is soon stripped of his powers, making him vulnerable to attack as he works to protect Yashida's granddaughter, Mariko (Tao Okamoto), from vicious Yakuza thugs.

Once Logan and Mariko go on the run, the narrative becomes a tad convoluted, as character loyalties are blurry, and there are a few twists that probably will not hold up on repeat viewings. Still, the attempt at sophistication is appreciated, especially in light of the movie's horrendous predecessor. The Wolverine also excels in its depiction of Logan. The issue with many superhero movies, especially X-Men Origins: Wolverine, is that the hero is invincible, rendering the conflicts predictable and unexciting. Writers Mark Bomback, Scott Frank and Christopher McQuarrie fortunately rectify that problem here, as the story explores Wolverine's vulnerabilities, making for much more engaging viewing. Without his immortality, Logan enters a combat scenario more susceptible to injury and even death, heightening tension.

There's an underlying stream of psychological complexity to The Wolverine, which is entirely welcome. Rather than the dumb action theatrics of the previous outing, the script explores the effects of Wolverine's immortality on his psyche, and this is a predominantly character-based story, without a big bang every ten minutes, just for the sake of it. Logan here is a fleshed-out, three-dimensional character, and his sadness over Jean's death humanises him and lends unexpected weight to his quest. The drama and character development here are undeniably classy, and they are handled with much more competency than one would expect in a summer blockbuster, which is a testament to Mangold's talents as a dramatic filmmaker. It's a shame, though, that the movie succumbs to overblown blockbuster sensibilities into its final third. Granted, this is a summer film, but the need for a big action climax is questionable, especially one as cartoonish as this, clashing with the tone established in the first two acts. It feels as if one person wrote the drama, while the final act was created by someone else entirely. Considering that McQuarrie's script was reportedly rewritten by dumb action film veteran Mark Bomback (Live Free or Die Hard, the Total Recall remake), this could actually be the case.

Keeping the picture afloat at all times is the craftsmanship. Mangold is a skilled director, and Ross Emery's cinematography is also marvellous. Setting The Wolverine in Japan for most of its duration gives the production a different feeling than other superhero movies. The elegant Japanese sets, the sense of culture and the production design bestow the picture with a unique flavour, not to mention the proceedings owe more to samurai movies than modern-day comic book flicks. For the most part, the action scenes are magnificent, most notably a breathtaking conflict atop a bullet train that looked cheesy in the trailers but turns out to be a real highlight. And while the climax is overblown to a detriment, it's still watchable, thanks to Mangold's competent touch. Unfortunately, however, The Wolverine is a PG-13 film, which is a problem since Mangold is clearly pulling punches. At times, shaky-cam and prohibitive editing are used to mask Wolverine's kills, and it feels inorganic and awkward due to the serious tone of the piece. The Wolverine didn't need to be a cheap gore-fest, but a brutal, real depiction of Wolverine's abilities would be more satisfying and coherent. Likewise, Wolverine swears from time to time here, but it feels as if he's holding back, and a less restrictive rating could've livened the dialogue.

Recovering from the 2009 movie with panache, Jackman delivers an exceptional performance as Logan, confidently handling the rage-fuelled action scenes and the dramatic stuff with effortless abandon. The script introduces a tender side to Wolverine, which Jackman again handles well; he conveys the inner anguish of the role and brings out the tortured aspects of Logan's psyche to laudable effect. He also reached his pinnacle physique for the movie - Jackman himself has said that he finally achieved the build he always dreamed of for Wolverine, and it shows. Fortunately, the supporting cast is strong, with Mangold predominantly relying on authentic Asian performers instead of big stars. Newcomers Fukushima and Okamoto are especially good, while Svetlana Khodchenkova makes a strong impression as Viper, a mutant with poisonous abilities. The only other recognisable actor here is Janssen, whose part amounts to a cameo, though Will Yun Lee (Red Dawn, Die Another Day) also appears.

Every superhero movie these days is concerned with universe-building, from the classy way that Marvel does it to the shoddy method employed by The Amazing Spider-Man. For the most part, The Wolverine stands alone, telling an independent story without the need to pull in a heady roster of familiar faces or comic book characters. There is, however, a mid-credits scene that you must stick around for which teases the future of the X-Men series. You could not pay me to reveal what happens in the scene, who cameos in it, or what end it achieves, but suffice it to say, it's a stunner. All in all, The Wolverine is a pleasant surprise, far better than this reviewer had anticipated. It gets the tone of Wolverine right, explores his personality in a potent way, and shows off his berserker rage. Nevertheless, one cannot help but wonder what Darren Aronofsky could've made of this project if he hadn't dropped out in pre-production, as he reportedly aspired to create the brutal, full-blooded, R-rated Wolverine flick that we've been waiting for. Now, that would've been phenomenal.

7.3/10

"A bug invasion will not happen on my watch."

It's surprising that 1997's Starship Troopers never managed to spawn a proper franchise. Directed by Paul Verhoeven and based on Robert Heinlein's 1959 sci-fi novel, the original Troopers was a spectacular action extravaganza, conveying a sprawling war story backed by strong social satire and competent production values. Alas, its disappointing box office squashed series potential, only leading to a cancelled TV series and two horrendous straight-to-video sequels that fans would prefer to forget about. Luckily, 2012's Starship Troopers: Invasion is a slight but welcome step in the right direction despite being a moderately low-budget, straight-to-video, all-CGI production. Invasion restores a convincing sense of scope to the series, contributing to and expanding the Troopers mythology in the hope of finally sparking that long-overdue franchise. It's not perfect by any means, but it's impressive enough considering its origins, and die-hard Troopers fans should have a ball with the action scenes.

In deep space, the mobile infantry soldiers aboard the spaceship Alesia are assigned to clear out a bug infestation at military outpost Fort Casey. Meanwhile, intelligence officer Carl Jenkins (Justin Doran, replacing Neil Patrick Harris from the original movie) commandeers the spaceship John A. Warden for a classified mission, much to the chagrin of the ship's captain, Carmen Ibanez (Luci Christian, replacing Denise Richards). Joining the soldiers aboard the Alesia following their latest mission, Ibanez soon receives word that the John A. Warden has stopped responding, suggesting that bugs might have overrun the ship. The soldiers, along with Ibanez and the team's incarcerated leader, Henry "Hero" Varro (David Wald), are sent to board the John A. Warden to investigate, with no clue that they could be walking into an insidious trap set by the alien bugs. Overseeing the operation from afar is General Johnny Rico (David Matranga, replacing Casper Van Dien), who's compelled to get involved when the John A. Warden begins an unstoppable descent towards Earth.

Invasion wears its budget on its sleeve. Director Shinji Aramaki did not have the benefit of a blank cheque to breathe life into the script, compelling the creative team to do the very best job possible with meagre resources. The most underwhelming aspect of Invasion is the animation. While the CGI excels in terms of ships, landscapes and armour, facial detailing is underdone, and a lot of human movement looks robotic and unnatural, not to mention that the characters at no point look to be imbued with souls. Additional problems arise with the dialogue, as lip synchronisation is spotty at best. This is more than likely because it was intended to be in multiple languages, but it's distracting nevertheless. Invasion more or less feels like a feature-length video game cut scene, as it also lacks the energy to sustain proper momentum. Furthermore, the music is very chintzy, solidifying the production's "video game cut scene" sensibility, and the movie feels more like a generic space game (think Halo) than an intelligent sci-fi like Verhoeven's masterpiece.

Fans of 1997's Starship Troopers will enjoy seeing Johnny Rico, Carl Jenkins and Carmen Ibanez make a return, though the novelty is somewhat ruined since they each have different voices and faces. The absence of Neil Patrick Harris is somewhat understandable, but are Casper Van Dien and Denise Richards really that busy these days? Van Dien's absence is especially baffling since he has an executive producer credit. Outside the returning protagonists, Invasion is populated with a host of halfway interesting but largely forgettable soldiers, albeit with nifty nicknames such as "Ratzass" and "Ice Blonde." Most interesting is the character of "Trig," who's given a backstory revealing that she uses a homemade .50 calibre rifle that kills bugs with a single shot. But for the most part, the characters are lost in the thick of the action due to the pedestrian script that suffers from bland dialogue and poor characterisation.

On a brighter note, Invasion stays true to its lineage; it's as blood-soaked and gory as any of the previous movies, with the animation graphically depicting plenty of insect goo, severed limbs, and blood and guts. There's also a bit of CGI female nudity for anyone who enjoys that sort of thing (I'm perfectly happy with live-action T&A, thanks). To the credit of the filmmakers, the shoot-'em-up scenes are often exciting and make for enjoyable viewing, though things do get repetitive; we can only see clusters of men shooting at bugs so many times before scenes begin bleeding together.

It's crucial to watch Invasion with tempered expectations, knowing full well what to expect: a fun but ultimately insignificant straight-to-video sequel that in no way feels like a theatrical film. With more money and better resources, the resultant movie could have been epic, but what we have here is decent, at least. It's probably too late at this stage to ask for a true sequel, but at least we'll always have the 1997 original, which delivers more than just pure action.

5.8/10

"I think this individual might be mentally ill..."

With a great deal of talent both in front of and behind the camera, The Heat seemed like a can't-miss comedy. The last time director Paul Feig helmed a theatrical comedy, the result was 2011's surprise hit Bridesmaids, which turned Melissa McCarthy into a star. Reteaming with McCarthy for an R-rated buddy cop actioner, Feig falls short of recapturing the magic of Bridesmaids, with the screenplay providing very little substance for the predominantly able cast to work with. Despite all that it had going for it, The Heat is an oddly flaccid comedy, providing very few worthwhile scenes in what's otherwise an overlong mess.

A by-the-book, repressed FBI Agent based in NYC, Sarah Ashburn (Sandra Bullock) is promised consideration for a promotion if she heads to Boston to bring down a drug operation. Although she believes she has the situation in the bag, she finds herself hindered by the foul-mouthed, reckless Shannon Mullins (McCarthy), an unbalanced detective unwilling to let Ashburn handle her case. The pair fail to see eye to eye but are forced to team up to get the job done. Due to their opposite approaches to law enforcement, a great deal of friction develops between Mullins and Ashburn, which is only exacerbated by a couple of DEA agents (Dan Bakkedahl and Taran Killam) who disapprove of their efforts. Suffice it to say, it doesn't take long for Mullins and Ashburn to bond.

The script for The Heat may be credited to Parks and Recreation veteran Kate Dippold, but the extent of her input is a mystery. Although the narrative is technically about drugs, Feig doesn't seem too interested in this stuff; The Heat amounts to an endless string of superfluous scenes spotlighting the improvisational skills of its actors, interspersed with a few references to the big picture every once in a while that ultimately lead nowhere. The Buddy Cop Film formula is in full force here, with Dippold and Feig filling the picture with cliché after cliché. The notion of clichés is not wrong in itself, but The Heat fails to re-energise its familiar narrative parts; instead, it feels like the film is perfunctorily ticking all the boxes, hoping that the talents of the stars will be enough to make it work. Unfortunately, it's not enough to sustain the film's two-hour duration, a ludicrously overlong running time for a picture with a disposable plotline. To Feig's credit, the flick is skilfully assembled, and isolated set pieces do shine at least. However, there is one ridiculously fake explosion towards the end that's more awkward than funny.

What's most baffling about The Heat is its shortage of genuinely funny gags. The formulaic script and extended runtime could be forgiven if only the movie provided big laughs, but it only delivers in fits and starts. Much of the dialogue was clearly improvised, and after a while, the profanity-laced bantering simply grows tiring. In fact, many of the jokes that worked in the two-minute red-band trailer actually fall flat here. The biggest problem is Feig's inability to discipline his picture or keep it on a leash; his all-but-the-kitchen sink approach leads to far too many unnecessary scenes with limp comedic payoffs that do not advance the plot in any way. Take, for instance, a strange scene in which Ashburn attempts an emergency tracheotomy on someone who's choking. It's meant to reinforce that both protagonists are misguided, but we've seen this point demonstrated enough already, and the scene has no comedic value at all (it played to awkward silence in my cinema). There are also too many scenes involving McCarthy brandishing her firearm, a personality trait that delves into the realm of callous bad taste when she threatens a nurse in a hospital ER because she's told not to use her cell phone.

Those tired of McCarthy's brand of humour will not find much here to change their minds - this is very much an autopilot role for the actress, who was called upon to infuse Mullins with her unique shtick. She provokes a few laughs here and there, to be sure, but the material is beneath her talents, and it's disheartening to see McCarthy wasting her time on films like this, Identity Thief, and The Hangover Part III. As for Bullock, her comedic chops are questionable, but she's not too bad here. It's hard to summon a great deal of enthusiasm about her, though, to be honest. The rest of the cast is packed with familiar faces with nothing to do as they take the back seat to make more room for McCarthy and Bullock. Marlon Wayans achieves precisely nothing as an FBI agent, though Frank F. Wilson (Biff from Back to the Future!!!) is a highlight as Mullins' boss. Oh, and Michael Rapaport shows up as Mullins' brother in what must be his first big-screen appearance since the '90s.

Admittedly, The Heat does have its moments, but the laughs are too few and far between for such a punishingly overlong motion picture. Feig was not interested in shaping a tight comedy, instead prolonging the experience as much as possible, leading to a dreary and directionless final product. Whatever potential might have existed in the original script disappears in the hands of this creative team.

4.9/10

"Something horrible happened here..."

The Conjuring is 2013's must-see scary movie, following in the shadow of 2012's Sinister and director James Wan's own 2011 flick, Insidious. Written by Chad and Carey Hayes, this is a horror outing that favours tension and restraint over in-your-face bedlam, confirming that Wan is a master of the genre who's almost unparalleled in his ability to conjure pure terror. Wan is also notable for paying attention to one aspect often neglected by his contemporaries: atmosphere. Horror movies can have jump-scares and bloodletting, but it's ultimately the mood and tone that matters in the long run, as such elements can transform bumps in the night into an experience that will haunt you for weeks. Add to this a handful of strong performances from an able cast, beautiful filmmaking and a sharp script, and The Conjuring deserves every bit of acclaim it receives.

Real-life figures Ed (Patrick Wilson) and Lorraine Warren (Vera Farmiga) examined several supernatural occurrences during their time as paranormal investigators. Supposedly, the married pair once encountered a case so petrifying and malevolent that they tried to keep it under wraps - and it's this case that forms the basis of The Conjuring. Set in 1971, the Perron family move into a rural house purchased at auction, with parents Carolyn (Lili Taylor) and Roger (Ron Livingston) looking to build a cosy new life with their five daughters. At night, the family begins encountering strange smells, weird noises and unexplained events, which rapidly escalate in viciousness. Low on options, the frantic Carolyn convinces the Warrens to investigate, ultimately discovering that the household's supernatural presence is far more devious and sinister than they could have imagined.

As with any film purported to be based on true events, one must wonder how much of the script is actually true (my guess: not much), but this query hardly spoils the nail-biting experience of The Conjuring. Wan and his writers defy expectations by assembling a character-based horror rather than a straight-up haunted house movie draped in unoriginality. Ed and Lorraine function as the trademark experts, but the characters here are fully-realised, three-dimensional, and interesting. In fact, they approach each case as sceptics, making them a lot more relatable. For its first two-thirds, The Conjuring splits its focus, covering the woes of the Perron family whilst occasionally cutting away to the Warrens to give us a glimpse into their personal lives. It's absorbing. Furthermore, the lingering query of "Why don't they just leave the house?" is addressed almost instantaneously once the Warrens enter the picture, asserting that the family do not have the funds to move and explaining that the ghostly presence will follow them anywhere they go. However, a few horror chestnuts show up here and play out exactly as one would expect, including the youngest daughter befriending a ghost.

To be sure, the storyline is nothing spectacular, but the craftsmanship is something to behold, with Wan giving The Conjuring an A-grade look and feel. The period setting endows the picture with a unique flavour, and the production values are spot-on, with authentic sets and costumes, and Frank Leonetti's well-judged cinematography that makes brilliant use of inventive angles and shadows. Better yet, many of the special effects are practical, resulting in a realistic, lived-in disposition that heightens the sense of atmosphere. There's a retro mood to The Conjuring that's very refreshing, and it reinforces that Wan's understated approach was influenced by the iconic horror movies of the 1970s.

The hype machine for The Conjuring emphasised its scary disposition, and the experience is quite frightening indeed. Wan's flick carries an R-rating, but not because of blood, gore or nudity; instead, the rating is due to Wan's inherent understanding of how to unnerve and disturb us. The director's confidence is astonishing, as intensity levels are continually heightened, and we become increasingly convinced that a demonic presence is lurking in the dark corners of the Perron's residence. Even a cynical theatre crowd will have trouble finding things to laugh at or ridicule here - the characters are so convincing, and the suspense so competently executed that the obnoxious viewers should be silenced for the most part. The Conjuring especially comes alive towards the end. Whereas Insidious' final act was lightened by a sense of funhouse camp, The Conjuring culminates with a callous climax that fires on all cylinders. Wan holds nothing back - the imagery is disturbing, while the layered sound design will have you riveted in your seat, provoking nonstop goosebumps for 10 minutes. It's a vicious, malevolent sequence, benefitting from flawless staging, lensing, and editing; it is possibly Wan's best motion picture work to date.

Another enormous strength of The Conjuring is the flawless cast. Acting is not often a strong suit in horror, but Wan assembled a sublime selection of actors and coaxed top-flight work from all of them. Remarkably, the child actors fare extremely well here; they all effectively convey fear, and seem perpetually in the moment. Wilson and Farmiga are brilliant here, too, imbuing the Warrens with depth and warmth. And Taylor deserves massive kudos for her work as Carolyn, as she expertly handles the tough material. Rounding out the main players is Ron Livingston (Office Space, Swingers), burying his comic chops for a completely serious role, and pulling it off with confidence.

The Conjuring is James Wan's masterpiece, and that's a tough call considering his efforts on Saw and Insidious. Admittedly, there is nothing original left to be mined in the haunted house genre, and every such production is going to be narratively familiar to an extent, hence it's the execution that matters - and in this respect, Wan hits it out of the park. The Conjuring is an instant classic, one of the best traditional horror flicks of this era and one of the most frightening movies you're likely to see this year.

8.5/10

"I don't wanna die at James Franco's house."

This is the End is some of the most fun you're likely to have in a cinema during the 2013 summer season. Masterminded by Evan Goldberg and Seth Rogen (Pineapple Express), it's a big cinematic house party, with an apocalyptic end-of-the-world scenario being moulded into an uproarious ride featuring a slew of famous faces playing exaggerated versions of themselves. If you enjoy the Judd Apatow brand of R-rated comedy, This is the End is a godsend, one of the most flat-out hilarious American comedies in recent memory which also has messages and a heart at its core. Efficiently shot for a modest $32 million, it's clear that Goldberg and Rogen were smart in their construction of the film, using special effects only when necessary and never letting star egos get in the way of creating a meta, self-effacing ride.

Although he hates the city, actor Jay Baruchel flies to Los Angeles to visit his old friend, Seth Rogen. Growing apart due to Seth's L.A. lifestyle and affluent new circle of friends, Jay hopes to reconnect with his pal for a weekend of weed and booze-fuelled shenanigans. But Seth insists that the pair attend a party at James Franco's house, much to Jay's reluctance. Unfortunately, the apocalypse hits during the evening, resulting in the deaths of several party guests. Franco battens down the hatches, leaving a motley crew of actors inside, including Seth, Jay, Jonah Hill and Craig Robinson, though a very mischievous Danny McBride soon joins them. Hoping they'll eventually be saved, the guys remain inside Franco's mansion, rationing food and recording video diaries using the camera from 127 Hours.

The directorial debut for Rogen and Goldberg, This is the End was inspired by the unreleased 2007 short Jay and Seth Versus the Apocalypse. A lot of the movie's charm is derived from the array of famous faces who appear here, including Rihanna, Emma Watson and Michael Cera. If none of the main actors here are familiar to you, and if you haven't seen any of the comedies they've featured in (Your Highness, Pineapple Express), there's a good chance that This is the End will not work for you, as a lot of humour is derived from seeing the actors playing hilarious alternate versions of themselves (Cera goes completely against his onscreen persona as a coke-snorting ladies man). Also amusing are the various references to the actors' bodies of work; career choices are ridiculed and personalities are prodded. Best of all, while the marketing materials for This is the End are hilarious, the trailers did not spoil all of the strongest gags, lines or scenes.

In terms of tone and construction, This is the End is somewhat reminiscent of the likes of Shaun of the Dead and Hot Fuzz. The movie is a side-splitting ride, to be sure, full of improvised dialogue, vulgar banter and a smattering of toilet humour, but Goldberg and Rogen steer the ship with skill, allowing the film to work as an apocalypse story as well as a comedy. Regardless of the light-hearted tone, the characters' fates are still taken rather seriously, and the narrative is solid, never devolving into the mindlessness of Scary Movie or Epic Movie. Moreover, Goldberg and Rogen keep the film on a tight leash, never letting indulgent improvisation or dumb jokes affect the film's momentum, and at no point losing sight of the big picture. Not to mention, the technical aspects of the production are indeed laudable; for a comedy, the cinematography by Brandon Trost is unusually strong in terms of composition, while the scattered visual effects sequences are terrific, especially the climax which also boasts marvellous creature design. Surprisingly, This is the End has a degree of depth to it, as well; it's a weirdly sweet and insightful farce about friendship and loyalty, and there are messages about the importance of being a nice guy. It's nothing too substantial, but the effort is appreciated.

Acting contributions right down the line are sound, with the actors clearly embracing the chance to make fun of themselves openly. By playing himself here, Rogen essentially admits he's the same person in all his films. Rogen knows his strengths and plays to them, delivering a performance with spot-on comedic timing and delivery. The scene-stealer, though, is McBride, who's smartly used as a supporting presence. McBride delivers lines guaranteed to bring the house down, and a late scene involving a celebrity cameo (which cannot be spoiled) is one of the funniest film moments you'll see this year. Franco and Baruchel are also in fine form, while Hill is astonishingly tolerable as a hilariously "soft and gentle" version of himself. Robinson is brilliant, too, yet again demonstrating his wonderful gift for comedy. Goldberg and Rogen reportedly aimed to push the envelope so far that all the actors would feel uncomfortable doing something, and they managed to break everyone…except for the extraordinarily game Franco. Luckily, all of the stars get a number of memorable moments to shine, and there are also great contributions from the likes of Watson and Cera.

This is the End does feel a bit long in the tooth at 105 minutes, and it probably could've been trimmed down to a more serviceable 90 minutes, but this is nit-picking. When it comes to a movie like this, its value comes down to the question of how often you laugh. In this case, I laughed a lot, and haven't been this entertained in a cinema since 2012's Ted. If you don't like this brand of humour, that's your prerogative, but if you enjoy raucous, vulgar, vehemently R-rated comedy, This is the End is definitely for you. It's the type of motion picture that invites you to party right alongside the cast, and it's arguably the best thing that Goldberg and Rogen have done to date.

8.4/10

"Who died and made you fucking king of the zombies?"

An exceptional mixture of horror, biting British humour and reverence for zombie cinema, Shaun of the Dead is a total gas, winningly written and directed by the guys behind the cult TV show Spaced. We've seen horror spoofs done before, most notably the full-on farce of the Scary Movie franchise, but Shaun is a different animal, and simply calling it a parody would undersell the craftsmanship on offer here. Not a one-joke spoof, the film is more of a loving ode to the walking dead genre created by George A. Romero, taking its horror elements and story with sincerity while also providing plenty of huge belly laughs amid the vicious violence. It's a much-needed reminder about how fun zombies can be, and the fact that it's delivered via boundlessly energetic and skilful filmmaking is the icing on top.

A 29-year-old slacker from London, Shaun (Simon Pegg) is unmotivated to do anything, satisfied to work a dead-end job while constantly drowning his boredom in beer, much to the disgust of his frustrated girlfriend Liz (Kate Ashfield). Fed up with Shaun's unfulfilled promises and reluctance to get his life in order, Liz dumps him, prompting the broken man to go on a drunken bender with his slob best mate, Ed (Nick Frost). Awakening with a hangover the following morning, Shaun and Ed grow to realise that the country is in the midst of a zombie outbreak. Although the media advises everyone to stay inside their homes, Shaun becomes determined to finally do something. Shaun and Ed begin fighting their way through town to rescue Liz, her best friends, and Shaun's parents, aiming to take shelter in the local pub until the zombie apocalypse blows over.

Whereas most parody films amount to a series of meaningless sketches supported by a flimsy plot, Shaun of the Dead tells a fully-rounded narrative, allocating time between the big jokes and major set-pieces to focus on character interaction and tension-building. Co-written by Pegg and director Edgar Wright, the beauty of the movie is that it presents the zombie genre with tremendous respect and veneration while also playing the expected story beats with earnestness and joyfully poking fun at the genre's clichés. Furthermore, Shaun re-introduces zombies in the old-fashioned mould; they moan and move slowly, essentially representing the antithesis of the creatures from Danny Boyle's 28 Days Later. The zombies are pretty easy to kill here, too, leading to delightful sequences of zombie bashing involving innovative uses of Queen music, vinyl records and sports equipment. Additionally, in the vein of Romero's endeavours, Shaun largely avoids exploring the cause of the outbreak. Wright and Pegg simply set up the wonderfully quirky characters and let the craziness play out; the bigger picture is irrelevant amid the pure fun the picture dishes up.

For horror geeks, Shaun of the Dead is a dream come true. Wright and Pegg love their zombie cinema, packing the script with references to genre classics like Dawn of the Dead and Braindead (there's even a sly dig against 28 Days Later). Fans of Spaced will also appreciate the film, as it has references to the show and appearances from cast members. Shaun of the Dead's comedy is not in your face like American films; the humour is understated, and if you don't pay attention, then you might actually miss the gags. If you give Shaun your full attention, however, you'll be able to appreciate the superb screenwriting, as there isn't a pointless line of dialogue during the picture's 95-minute duration. Added to this, Wright does not baulk from graphic violence, staging vicious zombie attacks and several gruesome moments towards the end. This does lead to a few tonality issues, but Wright quickly recovers for a climax that brings the house down. Although Wright was somewhat inexperienced in the realm of feature-film directing at this stage in his career, his filmmaking is flawless, with attractive cinematography and competently staged set pieces.

Going above and beyond the call of duty, Wright one-ups the usual standard for the genre by introducing characters that we can genuinely care about. Each character has a distinct personality; they're all hapless and flawed, allowing us to relate to them. Watching Shaun and the others bicker and squabble is funny, yet such scenes are also convincingly played. Leading the cast is Pegg, harnessing his wonderful comic gift to play the titular Shaun. Pegg never seems to be in on the joke; he plays it straight, making the absurdity of his lines and actions all the more amusing. Likewise, Frost is a riot, a scene-stealing supporting presence armed with one-liners and quirks guaranteed to have viewers rolling on the ground in fits of laughter. The rest of the cast is equally great, including Dylan Moran, who very much goes against type by playing a bit of a douchebag.

Romero's zombie classics carry some sort of subtext, and Shaun of the Dead retains this vital aspect of the genre while simultaneously creating golden comedy through social commentary. Wright posits that, in this day and age, humankind is already a collection of zombies, stuck in their ways and doing very little in the way of living. As a matter of fact, when London is taken over by the walking dead, Shaun and Ed are too hungover to even notice, as nothing seems out of the ordinary to them. Brilliant. Incidentally, Romero has stated that he loves this film, and he even invited Pegg and Wright to cameo in his 2005 project Land of the Dead. In short, Shaun of the Dead is a masterpiece. Even those who don't like horror will enjoy this film due to its comedic undertones.

9.5/10

"People think of aliens as these beings invading our planet in some great cataclysm, destroying monuments, stealing our natural resources. But it's not like that at all. The invasion already happened."

Former visual effects artist Scott Stewart has not had a lot of luck in film directing to date, having helmed 2010's astonishingly incompetent Legion and the drab vampiric actioner Priest the year afterwards. With this in mind, another filmmaking effort from Stewart sounds about as enticing as a kick to the genitals, but 2013's Dark Skies shows that the director has improved in his two-year absence. This is an intense, taut thriller, exhibiting a thick sense of atmosphere and a storytelling sleight of hand that nobody previously assumed Stewart was capable of. And despite being touted as being from the producer of Paranormal Activity, this is not a found footage production. Thank God.

In the suburbs, Daniel (Josh Hamilton) and his wife, Lacy (Keri Russell), have fallen on hard times, with Daniel struggling to find a job after being out of work for some time. Their usual routine is interrupted when strange things begin happening around their home during the night, with photos vanishing from frames and kitchen items being mysteriously stacked, placing suspicion on the couple's sons, Jesse (Dakota Goyo) and Sam (Kadan Rockett). Hoping to uncover the source behind the madness, security cameras are installed, and the parents conduct research, which leads them to believe that extraterrestrials might, in fact, be responsible for the mysterious happenings. For help, they turn to alien expert Edwin Pollard (J.K. Simmons), whose words are not as comforting as they would have liked.

It's for the best that Stewart was working with a scant $3.5 million budget, as opposed to the $26 million sum used to produce Legion or the extravagant $60 million budget for Priest. The budget helps by limiting the scope, compelling Stewart to focus on tension and mystery rather than dumb money shots. Dark Skies is an extraordinarily intense thriller, relying on what is unseen to create a sense of menace and threat. Moreover, while there are a few jump-scares, Stewart's efforts do not feel lazy, as there are some unsettling set pieces and images in the vein of M. Night Shyamalan's Signs. Also keeping us interested is the fact that Daniel and Lacy are a likeable, believable pair, with both actors selling the illusion that they are husband and wife. It hits hard to watch their distress over their various troubles, and you will want them to find a way out of their financial issues and halt the aliens before real damage is done. Acting is not usually a strong suit in thrillers of this ilk, but Russell and Hamilton truly hit it out of the park. Stewart gave the performers layered people to play, and the pair make it work. Luckily, Goyo and Rockett are just as impressive as the kids, while Simmons disappears into his role and always commands attention.

It's hard to overstate the effectiveness of the initial hour or so of Dark Skies, with the escalation of events - flocks of suicidal birds flying into the family's house, Lacy losing hours in a day, Daniel's nose bleeding profusely, unknown markings on the boys' bodies, and so on - building a sense of anticipation, while Simmons' big scene to shine reveals answers and connects the dots in a riveting fashion. Sure, the narrative does resemble Close Encounters of the Third Kind, but Stewart develops a unique personality for the picture. However, the script is not airtight; during the climax, for instance, the family willingly split up despite being told they can protect themselves through family unification. Added to this, there are several cheesy moments, most notably involving the token sceptics - we have cops and technicians who roll their eyes and give silly explanations for crazy stuff. Admittedly, people like that would probably exist in a real-life alien situation, but the actors are too hammy.

While the climax is effective, Dark Skies' ending is dopey and ridiculous, introducing an unnecessary twist and closing on a cliffhanger that makes the experience feel unsatisfying on the whole. It's an underwhelming payoff to a patient thriller, taking the production down a few notches. Still, despite its scripting flaws, Dark Skies remains a perfectly serviceable picture for a Friday evening. Its sci-fi aspects are interesting, and it's extremely creepy from time to time. To see a movie of such skilful construction from Stewart is exciting indeed, making this reviewer wonder why Dark Skies was so maligned by the critics.

7.1/10

"We are cancelling the apocalypse!"

Pacific Rim is of a rare breed of summertime blockbuster: it's not a reboot, a remake, a sequel, or a comic book adaptation. Instead, it's an original property, with Mexican director Guillermo del Toro dreaming up a new big-screen universe that pays tribute to the old Kaiju and mecha movies associated with Japan. Del Toro's first feature in five years, Pacific Rim is an uncomplicated actioner pitting monsters against an array of giant robots, yet it's more proficient than Battleship or Transformers thanks to the deft filmmaking on display. Del Toro understands how to nail the sense of childlike awe necessary for this type of blockbuster, rendering Pacific Rim an exhilarating summer treat. Nevertheless, despite the slick visuals, the picture suffers due to slipshod scripting, ultimately kneecapping what should have been an easy home run.

In the future, massive alien monsters known as Kaijus emerge from an underwater portal located at the bottom of the Pacific Ocean, rising to wreak havoc in densely populated cities. In response, the world's governments collaborate to construct enormous artificial robots known as Jaegers to engage the beasts in combat. Jaegers require two pilots, with the pair engaging in "drifting" - that is, locking minds - to operate the robots in sync. A retired Jaeger pilot who lost his brother in a Kaiju battle, Raleigh (Charlie Hunnam) is called back to duty by his former commanding officer, Stacker (Idris Elba), who needs all the pilots he can find for humanity's final stand against the Kaijus. In need of a co-pilot, Raleigh finds a comrade in young Mako (Rinko Kikuchi), who has traumatic memories of the monsters from her childhood. Also investigating the Kaiju threat is scientist Dr. Newton (Charlie Day), who finds himself able to "drift" with a Kaiju brain, in the process uncovering potentially vital evidence for the survival of humankind.

An exuberant piece of entertainment designed for maximum theatre wall shaking, Pacific Rim is vast in scale to match the depth of del Toro's imagination. But while the film carries the strengths of Hollywood's best blockbusters in terms of eye candy, the screenplay by del Toro and Travis Beacham, unfortunately, falls victim to several eye-rolling Hollywood chestnuts. The death of Raleigh's brother is a clichéd device, and things only grow worse from there. For instance, none of the new hotshots believe Raleigh or Mako have any merit as Jaeger pilots, yet the pair are forced to enter a fight and wind up coming out on top, winning everyone's respect in the process. If that isn't conventional enough, the climax comes packaged with the trademark sacrifice and the faux character death. Practically every story beat is from the Big Book of Action Clichés. On top of all this malarkey, the scientists are hackneyed caricatures that never feel like real people. Plus, the dialogue lacks the spark that such writers as Shane Black and Joss Whedon can impart, leading to patches of uneven pacing. Del Toro ultimately keeps the picture afloat thanks to smooth mise-en-scène, but smarter scripting would not be an unreasonable request considering the usual quality of the director's output.

Fortunately, the rest of Pacific Rim is a home run, with first-rate technical specs across the board. Whenever del Toro is locked in action mode, some of 2013's best blockbuster moments emerge, as the filmmaker understands how to create honest-to-goodness excitement. Whereas Michael Bay makes it his duty to ensure that it's impossible to discern what the hell is happening at any certain time in Transformers, del Toro captures everything in sturdy wide shots here, letting us watch the carefully designed CGI battles benefitting from novel choreography. As with Man of Steel, some viewers will no doubt be unnerved by the surplus of destruction, but it's hard to imagine a situation like this playing out in reality that wouldn't result in the devastation of major cities. In terms of action, the only drawback is the lack of daylight skirmishes; apart from one all-too-brief daytime throwdown in Sydney, the battles occur in dark, dimly-lit settings. Still, this is not a significant drawback, as the action scenes here are consistently exhilarating nonetheless. You would have to be the biggest cynic on the planet not to harness your inner child and marvel at the superb set pieces.

As expected, the digital effects are marvellous, giving vivid life to the Godzilla-like monsters and the tremendous Jaegers. Del Toro is a kid in a candy store here, efficiently using the $180 million budget to visualise the grand-scale action. While the behemoths in Bay's Transformers are impossibly smooth, Pacific Rim presents a more plausible spin on giant robots - the Jaegers here have real weight and inertia, and suffer a continuous stream of damage. Every part of the Jaegers seems to have a purpose, as opposed to the Transformers designs which are ugly and busy. Del Toro thankfully infuses Pacific Rim with a healthy sense of humour, too, finding Jaegers using ships and metal containers as makeshift weapons while the destruction of an office building sets off a steel ball pendulum.

There's not much to write home about in terms of acting. Hunnam has the right physique to be an action hero, but his screen presence is too underwhelming, rendering him a bland protagonist when Pacific Rim needed a strong anchor. Mildly more successful is Idris Elba, who's authoritative and badass here. The rest of the acting is merely adequate - as with the narrative, del Toro paints the characters in broad strokes of primary colours for marketing needs, though he does introduce a good demonstration of his typical idiosyncrasies in the form of Ron Perlman as Hannibal Chau, a black market trader of monster remnants. Perlman continually enlivens the picture and scores a few laughs, but he feels like a missed opportunity since he's far too underused.

Is Pacific Rim the large-scale monsters vs. robots masterpiece we all hoped for? Not exactly, as the film is hollow and could've used a stronger screenplay. While it is aided by a few instances of trademark del Toro quirks, it's not as funny or as heartfelt as his best efforts, plus the chatter is often lifeless, and the narrative is a mishmash of blockbuster clichés. That's not to say Pacific Rim has no merit, though. On the contrary, it's a wonderfully entertaining, at times awe-inspiring instance of A-grade eye candy from a passionate filmmaker. It's definitely worth seeing on the biggest screen possible.

6.8/10

"Just because you haven't seen something doesn't mean it's not there."

Produced by Blue Sky Studios, who also created Ice Age and Rio, 2013's Epic is based on William Joyce's 1996 children's book The Leaf Men and the Brave Good Bugs. Apparently, such a title was too unwieldy for a motion picture, though Epic is not much better since it tells you nothing about the premise and invokes grandiose expectations that the movie cannot deliver upon. But while Epic is not as imaginative or exhilarating as the title would lead you to believe, it's a decent kiddie flick that manages to entertain for its 100-minute duration. Nevertheless, it's hard to overlook the flaws of the picture whilst examining it in hindsight - director Chris Wedge seems to be more concerned with marketing needs (a budding romance, a dashing hero, an attractive female, a heroes & villains tale) that he fails to deliver a genuinely breathtaking story. It's a thoroughly mechanical effort, though it's not without charms.

Following her mother's death, M.K. (Amanda Seyfried) sets off to live with her daffy scientist father, Professor Bomba (Jason Sudeikis). A detached oddball, Bomba spends all of his time trying to prove the existence of an advanced civilisation of miniature people living in the woods. These tiny individuals, known as The Leaf Men, are led by warrior Ronin (Colin Farrell), who lives to defend Queen Tara (Beyoncé Knowles), a royal with great powers that protect the kingdom. The sworn enemies of The Leaf Men are the wicked Boggans, who are determined to destroy the forest and stop Queen Tara from passing on her powers through a magical flower. When M.K. leaves the house searching for her father's three-legged pug, Ozzy, she encounters the tiny Queen Tara on the verge of death. Shrinking M.K. down to size, she is chosen by Tara to take the flower pod to the magical caterpillar known as Nim Galuu (Steven Tyler). To protect her, Ronin calls upon his irresponsible godson Nod (Josh Hutcherson), while molluscs Mub (Aziz Ansari) and Grub (Chris O'Dowd) tag along for the adventure. The consequences could be dire if the flower falls into the hands of Boggan leader Mandrake (Christoph Waltz).

Although Epic is technically an adaptation of Joyce's novel, Wedge and the five credited writers (including Joyce himself) were on the prowl for an action-adventure story more in the vein of Star Wars and Avatar with a splash of Honey, I Shrunk the Kids for good measure, mangling the source beyond all recognition. Epic clings to uninspired writing chestnuts and lacks the sophistication to make the picture truly soar like the best Pixar productions. Wedge has stated that comparisons to FernGully and Avatar are frustrating, but it's a big problem that Epic keeps inviting said comparisons, whether intentional or not. An opening sequence depicting a few Leaf Men battling some Boggans is full of Avatar influence, with characters riding around on birds shooting arrows while Ronin weightlessly leaps from tree to tree. Sharper dialogue and more robust storytelling could have breathed originality into the familiar parts, but Epic falls short in both respects.

On a more positive note, the animation of Epic is expectedly bright and sumptuous, maintaining a strong sense of visual interest throughout. Although not as lusciously detailed as a Pixar effort, it's good enough, with Wedge dreaming up a unique look that serves the material well. Whenever the movie is locked in action-adventure mode, Epic bestows major pleasures, and the third act, in particular, contains some nice payoffs. The music courtesy of Danny Elfman also helps, giving the film a zippy pace. It's a shame that the animation is not supported by stronger scripting, but the visual efforts are appreciated nevertheless, ensuring the picture is enjoyable from start to finish regardless of its inherent flaws.

The main knock against Epic is the lack of interesting central characters. M.K. is Bella Swan, plain and simple, retaining the Twilight protagonist's sullen personality and daddy issues. Rather than a sassy or involving lead, M.K. is a complete cardboard cut-out, a safely designed female without a single memorable personality trait. Likewise, Nod is a bland, generically-designed pretty boy, and the romance that burgeons between himself and M.K. is exceedingly by-the-numbers. Even Ronin is flat, though Farrell tries his best to give the role some vigour. Only the supporting characters are capable of livening the proceedings, with the adorable pug Ozzy stealing his every scene thanks to the magnificent animation bringing him to life. There's also the comedic duo of Grub and Mub, whose back-and-forth bantering never fails to amuse. Ansari retains the sharp comic timing of his work in Parks and Recreation to play Mub, and he lands the biggest laughs of the picture. However, none of the other characters make much of an impression - even Waltz is at his most forgettable as the stock villain. Mandrake is a flat antagonist, setting out to destroy the forest for no reason except because he's evil.

Although this review probably sounds overly negative, Epic works as a kid's movie on its own terms. It delivers inoffensive entertainment for family audiences, and children will likely be enraptured by all the bright colours, vivid animation and exuberant supporting characters. It's not the prettiest, funniest or cleverest of animated movies, and there isn't much to inspire a passionate response, but it's not dumb or annoying, which is a miracle. It's fun, and it delivers several effective scenes. You could do a lot worse.

6.5/10