Reviews by PvtCaboose91

"That's right, baby! Gru's back in the game with cool cars... gadgets... and weapons!"

According to The Big Book of Hollywood Economics, every successful animated feature needs a sequel. Even the low-budget Hoodwinked got a sequel that nobody asked for, and there is no end in sight for the Ice Age or Kung Fu Panda sequels. 2010's sleeper animation hit was Illumination Entertainment's Despicable Me, which racked up an impressive gross of nearly $550 million despite competing with Toy Story 3 for box office dollars, guaranteeing a sequel. But despite the return of Despicable Me's writers (Cinco Paul and Ken Daurio) and directors (Chris Renaud and Pierre Coffin), Despicable Me 2 is an oddly underwhelming follow-up that only works in drips and drabs instead of as a cohesive whole. It comes up short in terms of laughs, loses the original film's heart, and lacks the thematic complexity of a high-quality Pixar production. Despicable Me 2 is still bright and relatively fun, and spending more time with these characters is entertaining, but it is not unreasonable to expect a stronger sequel to such a standout movie.

Retired supervillain Gru (Steve Carell) is now domesticated and has firmly adapted to the lifestyle of a father, diligently looking out for his adopted daughters Margo (Miranda Cosgrove), Agnes (Elsie Fisher), and Edith (Dana Gaier). Meanwhile, a mysterious aircraft steals a highly potent chemical agent from a research station in Antarctica, and the responsible criminal now possesses a serum capable of creating an unstoppable army of mutants. This theft draws the attention of the ultra-secret Anti-Villain League, who send agent Lucy Wilde (Kristin Wiig, who voiced an entirely different character in the first film) to forcibly recruit Gru, requesting that he track down the culprit and recover the mutagen. Although Gru is reluctant due to his fatherly responsibilities, he decides to work for the AVL after Dr. Nefario (Russell Brand) leaves to assist another villain. Gru and Lucy partner up to go undercover at a local shopping mall to investigate the shop owners, hoping to find who stole the dangerous mutagen. Additionally, Gru's daughters hope to have a mother one day, believing that Lucy is the perfect wife for him.

What makes Despicable Me 2 interesting is the mystery at the story's core. The movie keeps the villain shrouded in secrecy until the end, providing a hook and allowing the film to toy with audience expectations. Unlike its predecessor, this sequel is more of an adventure than a fun family comedy, establishing a light-hearted tone but, unfortunately, failing to deliver a steady stream of laughs. In fact, there are only a few memorable comedic moments in the 98-minute picture, including an admittedly funny 21-fart-gun salute to farewell Dr. Nefario. Moreover, most of the best gags are only in the final third, and the only scene to make me laugh out loud (the Minions dressing up as the Village People and performing a rendition of "YMCA") occurs right before the end credits. Despicable Me 2 desperately needs more of the sly and even dark humour that made the original feature so special. Furthermore, this follow-up suffers from a lack of heart, making it feel empty and disposable. Despicable Me had a clichéd but effective character arc for Gru as he warmed up to the girls, but here we get a romantic angle that lacks the sincerity to make it soar. Additionally, the movie essentially forgets about the Anti-Villain League about halfway through; Gru solves the mystery and saves the world, but we do not see the repercussions on the AVL. It's baffling.

With a bigger budget and a longer production period, Despicable Me 2 is a more attractive visual experience than its predecessor, boasting improved animation that thankfully retains the franchise's simple but effective character designs. Composer Heitor Pereira and musician Pharrell Williams return to provide more playful music, keeping the franchise's recognisable theme and contributing another two enjoyable original songs, "Happy" and "Just a Cloud Away." However, the 3D does not add much to the experience. It is one of the most rote uses of the format in recent memory, with only a few moments taking full advantage of 3D's possibilities. For most of the movie, you will forget you are watching the picture in 3D. Trust me, it plays just fine in regular old 2D. On a more positive note, the film fares best while observing the Minions up to their usual mischief. Since the Minions only speak in gibberish, it is up to the animators to make them interesting by giving them amusing slapstick humour in the vein of the Three Stooges, Charlie Chaplin and Buster Keaton. Luckily, the Minions have a few moments of brilliance here, and their antics are as amusing as ever. Unfortunately, when the Minions are not on-screen, the rest of the humour is a mixed bag.

Of course, Despicable Me 2 is not an actor's movie, but the always-delightful Carell is still a perfect Gru. The crafty supervillain is a wonderfully quirky visual creation, and Carell voices him with a hilariously indeterminate accent that, in the actor's own words, mixes Ricardo Montalban and Bela Lugosi. Wiig is also good here, giving Lucy a spark of brightness and charisma. Al Pacino was initially slated to be part of the picture but dropped out at the 11th hour over "creative differences," and Benjamin Bratt came in to replace him. The fact that he was so easily replaced shows how interchangeable the voice acting is, though Bratt is still serviceable. Unfortunately, the movie criminally underuses Russell Brand's Dr. Nefario, who receives barely any screen time. Although Nefario is a supporting presence and works in small doses, his decision to leave Gru's service does not sit right.

Despite its flaws, Despicable Me 2 is still entertaining, with a few standout sequences and a nice sense of energy that rarely falters. It is not that the film is unwatchable; it just feels lazy, as if the animators were the only ones who put in a genuine effort. The filmmakers all had something to prove for the first Despicable Me, as it was Illumination's debut movie, and it had to make a positive impression. But for this sequel, it appears that everyone was operating on autopilot, which is a shame. Unsurprisingly, the movie grossed even more money than its predecessor, guaranteeing further sequels and spinoffs.

6.2/10

"These tapes only affect you if you play them in the correct sequence."

While this reviewer personally enjoyed 2012's found footage horror anthology V/H/S, it received a mixed critical reception and undeniably left room for improvement. Its cult following guaranteed a sequel, which arrives less than a year later. Despite its ostensibly rushed nature, V/H/S/2 is a rare case of a follow-up that surpasses the original. It's a slicker, brisker and more thrilling anthology of horror shorts, making the initial V/H/S look like an amateurish warm-up. Backed by solid production values, strong acting, and a selection of remarkable creative visions, V/H/S/2 is a big success, showing how good an omnibus can be in the correct hands.

Private investigators Larry (Lawrence Michael Levine) and Ayesha (Kelsy Abbott) are assigned to look into the disappearance of a young student. Breaking into his house at night, the pair only find his television blaring white noise, a large collection of VHS tapes, and a laptop. As Larry searches the house, Ayesha begins to watch the video cassettes. On the first tape, "Clinical Trials," a patient (Adam Wingard) receives an artificial eye that films everything he sees for the doctors. But the man begins witnessing malevolent ghosts around his home and realises that this ability is the result of the surgery. On the next tape, "A Ride in the Park," a biker (Jay Saunders) attaches a GoPro camera to his helmet as he rides through the local woods but is confronted with a zombie outbreak. The third segment, "Safe Haven," concerns journalists travelling to an Indonesian compound to report on a troublesome cult. However, the observers soon find that things are far more sinister, with the cult's leader (Epy Kusnandar) looking to unleash pure evil onto the world. And finally, "Slumber Party Alien Abduction" follows a bunch of kids left home alone for a weekend. Using cameras to capture their acts of tomfoolery, the young ones are visited by vicious extraterrestrials.

While V/H/S/2 retains two directors from its predecessor (Wingard and Simon Barrett), the roster is otherwise filled with newcomers, introducing fresh filmmaking blood and permitting the sequel to venture off in new and exciting directions. Naturally, the big thing with anthologies is that certain shorts are better than others, which was a relevant criticism for the first film. V/H/S had some dead weight and ran too long, but part deux is superior, with strong shorts across the board. Admittedly, the wraparound narrative feels a bit forced, and there's still not enough of a compelling reason to provide a central plot as an excuse to showcase the shorts, but the other segments range from very good to great.

By far, the best short is "Safe Haven," directed by Timo Tjahjanto and The Raid mastermind Gareth Evans. It's a horror masterpiece that excels due to its inventive premise, intriguing build-up, and bursts of tension and foreboding. All hell eventually breaks loose (literally), which is a sight to behold. Evans goes bonkers, employing a level of blood and gore on the same level as Ichi the Killer, and the short continually manages to top itself in terms of insanity and gore. Additionally, the found footage presentation amplifies the experience rather than serving as a hindrance, which is the mark of a sound creative team. Also brilliant is "A Ride in the Park," which treats your typical zombie premise with refreshing ingenuity. The unique hook is that most everything is recorded via a GoPro attached to a zombie's head, allowing us to see zombie carnage from the perspective of one of the walking dead. Its inventive cinematography and seamless special effects make this a real winner, and its short runtime generates welcome briskness. The creators behind the segment, Gregg Hale and Eduardo Sánchez, were involved in 1999's The Blair Witch Project. How appropriate.

All the praise for "A Ride in the Park" and "Safe Haven" in no way implies that the other two segments are subpar in any way; on the contrary, "Clinical Trials" and "Slumber Party Alien Abduction" are very good as well. The imaginative photography of director Wingard's "Clinical Trials" is particularly laudable, as we see everything from the first-person perspective of the main character. Although it does rely on a few cheap shocks, it's an effectively atmospheric piece of work, and the climactic moments are especially intense. Similarly, "Slumber Party," which was directed by Jason Eisener (the mind behind Hobo with a Shotgun), is a beautifully orchestrated short. Most of the footage is derived from the kids' dog, which has a camera attached to its head, making sure that nobody can ever ask why characters would keep recording as the shit hits the fan. The only thing holding V/H/S/2 back from perfection is the wraparound narrative, hence it's fortunate that it only takes up such a small amount of time.

It's hard to imagine horror buffs or fans of the first V/H/S walking away disappointed with V/H/S/2, which left this reviewer hungry for further sequels. A horror omnibus franchise may seem like a flimsy idea, but this series provides an excellent outlet for budding indie filmmakers to experiment with horror and found footage tropes. And if the standard is as good as this, further sequels seem very enticing indeed.

7.7/10

"This gun is clean, no serial number. So if I blow out what's left of your brain and chuck it in the East River, your case is closed. The people downtown are gonna file you under DSAF. "Did Society A Favor." Got it?"

Blue Jean Cop, or Shakedown as it's known in the United States, is exactly the type of cheesy '80s action entertainment you would expect to find in old VHS bargain bins. If this appeals to you, there's a good chance you'll have a good time with Blue Jean Cop, but if you prefer sophistication with your action...look elsewhere. The flick was written and directed by James Glickenhaus, who was also responsible for such movies as The Exterminator, The Soldier and The Protector, which gives you a good idea of what you're in for. And for what it is, Blue Jean Cop is fun enough, with some notable set pieces and a few surprisingly strong actors. It's flawed, but it's by no means unwatchable.

In Central Park, drug dealer Michael Jones (Richard Brooks) shoots a corrupt police officer, which leads to his arrest. Although Jones admits he killed the cop, he pleads self-defence, claiming that he felt threatened and was simply trying to protect himself. Brought in to defend Michael is Roland Dalton (Peter Weller), who's convinced that his client did not fire first. As he delves into the case, he finds that the incident is the tip of an iceberg of widespread corruption in the police department, and his investigation puts him in the line of fire. Dalton's friend Richie Marks (Sam Elliott) teams up with him to help him crack the case, working inside and outside the law to expose the corrupt cops. Complicating matters is the fact that Dalton's former flame Susan Cantrell (Patricia Charbonneau) is the attorney prosecuting Michael.

Although Blue Jean Cop apparently wants to be taken seriously since it spends long stretches in a courtroom, the embellished idiocy of the action set-pieces says otherwise. It is a bit of a jarring mishmash since it's not straight-faced enough to be a profound drama and not fast-paced enough to be straight-up awesome as action junk. Nevertheless, it is watchable, and the attempt to do something more serious is definitely appreciated. However, the third act is one big jumbled rush, barrelling through the proceedings as quickly as possible to reach the credits. As a result, the ending feels too simplified, quick and easy, as if the director was sick of his own film and wanted to sprint to the finish line without any thought towards coherency or logic. As a matter of fact, bits and pieces of the film seem to be missing, as if the flick had a torpedo taken to it in the cutting room. Then again, the home video version of Blue Jean Cop (which I viewed) runs 95 minutes, whereas the original cinema cut was apparently 112 minutes. Of course, I cannot be certain, and I'm not sure if this information is accurate, but the reported additional material might rectify these problems; as it is, the film feels wildly incomplete.

From a historical perspective, it's fascinating to view Blue Jean Cop. In an early scene, Marks is in a cinema screening 1982's The Soldier, one of writer-director Glickenhaus' earlier movies. Minutes later, Marks and Dalton wander past cinema marquees that display titles like Death Wish 4, American Justice, Steel Dawn and Deadly Illusion. Gosh, they just do not make movies titled with such gusto anymore. Blue Jean Cop embodies the type of cheesiness we have come to expect from the '80s, as well; Glickenhaus orchestrates several entertaining action set pieces pushing the boundaries of plausibility. In one scene, Marks even uses his bare hands to destroy the controls of a rollercoaster, causing it to fly right off the track. In another scene, Dalton is in a taxi, and a crane accidentally snags the car, lifting it right over a police barricade and onto the front steps of the courthouse. To the credit of Glickenhaus and his crew, such scenes were pulled off competently, and it's easy to appreciate the stunt work that must've gone into the shoot. That said, there is a scene towards the end with Marks holding onto the underside of a plane, which does look fake, but such phoniness adds to the cheesy charm of the flick.

Blue Jean Cop holds a lot of appeal due to its cast, which contains a few recognisable names. At the centre of the film is underrated RoboCop star Peter Weller, who's suitably charismatic in the role of Dalton. It's a business-as-usual performance for Weller, but he's good at what he does, and he's eminently watchable. Ditto for Sam Elliott, one of the manliest actors you will ever see, who leans on his usual shtick as Richie Marks. Elliott and Weller are a terrific on-screen pair, bantering with ease. Also notable is a painfully underused John C. McGinley, while Patricia Charbonneau is a top-notch pick for Susan; she's sexy, and her acting is unusually strong.

There is not much more that can be said about Blue Jean Cop, which is enjoyable enough in the moment but provides no lasting impact, nor is it overly distinguishable from similar efforts. It's a movie designed to consist of action and stunts, providing images of explosions, gunfire, shattering glass and impossible acts. It's a niche film, so it will only appeal to those who like this kind of thing. Everyone else need not apply.

6.2/10

"Your name is Kal-El. You are the only survivor of the planet Krypton. Even though you've been raised as a human, you are not one of them. You have great powers, only some of which you have as yet discovered."

In many ways, 1978's Superman ushered in the superhero movie subgenre, demonstrating that filmmaking technology had finally advanced far enough to convincingly realise comic book heroes on the big screen. Superhero movies are all the rage these days, but Superman was the very first of its kind. Certainly, there were cheap serials and cartoons before it, but this movie generated a new wave of multiplex-rocking live-action superhero flicks, paving the way for the likes of Batman, X-Men and Spider-Man. Directed by Richard Donner (best known at the time for The Omen), Superman remains not just a historically iconic movie but also an eminently enjoyable and well-made adventure. It's an epic motion picture full of grand spectacle, benefitting from strong storytelling, a wonderful selection of actors, and an unforgettable score. But Superman ultimately soars thanks to Donner's dedication to the spirit and style of the comic books, giving us an inspiring portrait of a man fighting for truth, justice and the American way.

With the distant planet of Krypton on the brink of destruction, scientist Jor-El (Marlon Brando) places his infant son in a spacecraft bound for Earth, where his dense molecular structure will give him superhuman abilities. He's swiftly adopted by kind farmers Jonathan (Glenn Ford) and Martha Kent (Phyllis Thaxter), who name the boy Clark (Jeff East) and raise him as their own. Following his father's death, Clark (now played by Christopher Reeve) learns of his origins, powers and responsibilities, and moves to the city of Metropolis, where he decides to use his incredible talents to become the world's protector, Superman. To hide his true identity, Clark disguises himself as a mild-mannered newspaper reporter working for the Daily Planet. Kent develops romantic feelings for fellow reporter Lois Lane (Margot Kidder), who's in love with the Superman side of him. Meanwhile, diabolical criminal mastermind Lex Luthor (Gene Hackman) has developed a scheme that will kill millions for his own profit and pleasure.

The original script by Mario Puzo (who wrote The Godfather novel) was deemed too long and ambitious, prompting financiers Alexander and Ilya Salkind to recruit Robert Benton, David Newman and Leslie Newman for rewrites. When Donner was hired to direct, he wanted to start from scratch and pursue another direction, bringing in Tom Mankiewicz to perform further rewrites. The final result is a screenwriting masterclass that shines in terms of structure and dialogue. Superman clocks in at a mammoth 140 minutes, allocating ample time to explore the Last Son of Krypton's origins before he's positioned as humanity's saviour. The film feels long in the tooth, yet nothing feels inessential, as Donner merely takes his time to develop the characters and work through the narrative. Superman is also full of wit and contains its fair share of pathos. Indeed, the death of Jonathan Kent hits extremely hard. What's also refreshing about the film is that it's not deadly serious; whilst Donner handles the ridiculous aspects with sincerity, there's a healthy sense of humour that doesn't feel out of place. Unfortunately, however, the script does crumble towards its climax; no matter how you portray it, Superman turning back time is too cheesy and naff.

This was not the first time Superman had stepped out of the pages of his comic books and into other media. There was a radio show in the 1940s, followed by a full-colour cartoon series, a film serial starring Kirk Alyn, and a television show featuring George Reeves as Superman. However, technical limitations continually hindered such efforts, preventing a believable representation of a live-action Superman. Until 1978, that is, when Donner and his team could finally achieve it. A teaser poster was even released before shooting had even begun, which announced, "You'll believe a man can fly." And, indeed, you do believe it, with state-of-the-art special effects giving credible life to the inimitable Man of Steel. Whenever Superman emerges to save the day, the results are glorious, with Donner showing a keen eye for staging coherent set-pieces. Geoffrey Unsworth's cinematography is also skilful, with gorgeous shot composition and use of lighting. But it's John Williams' heroic score that catapults the film to another level. The extremely memorable theme grabs your attention during the lengthy opening credits, and the set pieces are much more stirring thanks to Williams' musical accompaniment. It's one of the all-time great film themes, the type of which we never hear today; it perfectly captures the sense of heroism and high-flying adventure that Superman is all about. Everyone involved in the production set out to make the best film possible, and Warner Bros. spared no expense; Superman was their most expensive motion picture when it was released.

The casting of Clark Kent/Superman presented the production's biggest challenge. The producers considered many prominent actors, including Robert Redford, James Brolin, Paul Newman, Nick Nolte, James Caan, Sylvester Stallone, and even Arnold Schwarzenegger. But Donner wanted an unknown for the role to avoid the perception of "a movie star in tights." Reeve was definitely the best choice, as it's hard to imagine anyone else playing Supes. His physique is spot-on, but it's the actor's charisma that makes him so ideal. Moreover, Reeve creates fully-rounded personas for both Clark and Superman, making it easy to distinguish one from the other. Meanwhile, as Lois, Kidder is merely decent. She has nice chemistry with Reeve, but she lacks charm, and it's hard to see why Clark falls for her so quickly. Faring much better is Hackman, who's an ideal Luthor, while Ned Beatty is brilliant as Lex's dim-witted accomplice Otis. Brando was paid a then-unheard-of $4 million to appear in only a handful of scenes, and he lends gravitas and regality to his role of Jor-El. Jeff East is also solid as young Clark (whose voice was actually dubbed by Reeve), while the great Glenn Ford provides warmth and heart as Pa Kent.

Looking back at Superman in the 21st Century, it does show its age. A few special effects shots look dated, with obvious model work and a few never-quite-believable flying scenes. Donner's direction is also on the stilted side from time to time. Then again, it's hard to begrudge the film of this, as nothing like it had ever been attempted before. Superman is terrific despite its flaws; it's tremendously exciting as a comic book movie (it will work like gangbusters for children), but it also has a sense of sophistication and cinematic maturity that will appeal to adults. If only the sequels could have maintained this high quality.

7.9/10

"You've got the best crew in the world standing right in front of you, give them a reason to stay."

Impossibly, the formerly awful Fast and the Furious series at long last became good with the release of the fifth film, Fast Five, in 2011. Dumping the dead weight of the street racing tangents, the producers reinvented the franchise to create a solidly entertaining heist picture, and it paid off with surprising critical acclaim and box office success. Riding high on this triumph, we now have Fast & Furious 6, which retains its predecessor's tone and proclivity for pure blockbuster action. Helmed by Justin Lin and written by Chris Morgan (collaborating for their fourth consecutive outing in this series), it's an empty but entertaining showcase of fast cars and superlative stuntwork which also provides some satisfying fan service for anyone who's been watching this series since the beginning. Fast & Furious 6 may not be as good as Fast Five, but it's better than the rest of the films in the series, and it's a hell of a lot of fun.

Having made off with around $100 million following the Rio heist of the last picture, Dominic Toretto (Vin Diesel), Brian O'Connor (Paul Walker) and Brian's wife Mia (Jordana Brewster) now live in Spain trying to evade the law. They are soon tracked down by Agent Hobbs (Dwayne "The Rock" Johnson), who agrees to pardon their entire gang if they help him stop criminal mastermind Owen Shaw (Luke Evans). To tempt them even further, Hobbs produces photographic evidence that Dom's thought-dead love, Letty (Michelle Rodriguez), is not only alive but now working for Shaw. Rounding up the old gang - including Roman (Tyrese Gibson), Han (Sung Kang), Tej (Chris "Ludacris" Bridges) and Gisele (Gal Gadot) - Dom and Brian head to London, looking to take down Shaw before he creates a catastrophic tech bomb. Dom is determined to reunite with Letty in the process, but she's suffering from amnesia, which complicates matters.

Whoever titles these movies deserves a slap across the face. The fourth film, Fast & Furious, has no numerical appendage at all, while Fast Five simply drops the word "Furious" from its title, though it's called Fast & Furious 5 in a few countries (occasionally with the subtitle Rio Heist). At last, we're making headway with the coherently titled Fast & Furious 6, even though the opening title merely reads Furious 6. Is a little consistency too much to ask for? Good luck to any outsider who tries to figure out the order of these films.

Screenwriter Morgan reached an unimaginable creative high with Fast Five, recovering from the unredeemable Tokyo Drift and the merely ordinary fourth film. But he takes a step backwards here, with the scribe cooking up some of the worst banter you're likely to hear this summer. It's full of hammy jokes, consistent uses of the word "family," deep discussions about what it means to be a family, characters verbalising their every thought, unnecessarily prolonged exposition, and silly threats. Furious 6 runs a tremendous 130 minutes, and the flow of the film is disrupted during all the chatter. With that said, though, there are things to admire about the picture's construction. The use of Letty is particularly shrewd, as it gives the protagonists a compelling reason to return for duty after their massive score in the last movie.

Lin is a fantastic visual stylist, and his work here is easily on par with Fast Five. The director's handling of each set-piece is exquisite; all major money shots are executed with precision, and he relies a lot on practical effects with minimal CGI. You come to Fast & Furious 6 seeking action, and Lin delivers in a huge way. The fights are particularly awesome here, most notably when the gigantic Johnson is pitted against someone his own size. The cinematography is a tad shaky but never to the point of distraction - it's easy to follow what's happening, and the set pieces are very exciting. The climax (which unfolds on a runway that must be 50 miles long) is wonderfully executed, too, and it's astonishing how brutal some of the deaths are within the restraints of the film's PG-13 rating. However, Furious 6 is exhaustively idiotic. At times the stupidity does translate to exhilarating viewing, but on other occasions it's just too much, relying on cartoon logic which clashes with the gritty tone. Characters walk away from devastating car wrecks without so much as a scratch, and no mortal man would ever be able to survive what Dom goes through during the third act. Perhaps most bothersome is the resolution of the tank sequence, which is so empty-headed that cinema patrons laughed hysterically in my screening. I know it's a fool's errand to ask for plausibility in this series, but there's a line. This is just too far.

Fast & Furious 6 is not an actor's movie by any means, but the performances across the board are serviceable. Making the biggest impression is Johnson, whose current muscular build could send grizzly bears running scared. Continuing to show us that he actually has charisma and talent, he's terrific as Hobbs, and it's nice to see Johnson pursuing characters like this instead of kiddie dreck. Meanwhile, Diesel and Walker are on autopilot here, for better or for worse, and Evans is a pretty flat, interchangeable villain. Faring better are Gibson and Bridges, who deliver strong comic relief, while Rodriguez is solid if unremarkable. Gina Carano, however, is a boring blank slate as Hobbs' partner. She can definitely fight, but her acting skills are on the same level as a high schooler in a class play.

Ultimately, Fast & Furious 6 delivers what it says on the tin, as it's full of delirious junk food thrills brought to life with strong production values. There are unintentional giggles to be had at the more than a few "oh, come on!" moments, not to mention it's often cumbersome whenever dialogue is the primary focus, but it's a crowd-pleasing action flick, and the good outweighs the bad. Be sure to stick around once the end credits begin to roll, as there's a great extra scene that teases the upcoming seventh instalment.

7.3/10

"You and me... we got a little unfinished business to take care of."

Although released in 2013, Bullet to the Head was actually filmed before 2012's The Expendables 2, but Warner Bros. continuously delayed its release for unknown reasons, probably to mooch off the success of Sylvester Stallone's ensemble actioner. Sly has directed several of his recent projects, including 2006's Rocky Balboa and 2008's Rambo, but Bullet to the Head finds the aging action star back as an actor for hire, answering to another director. The move pays off for the aging Stallone at this point in his career; rather than a stereotypical Stallone flick, this is a dark Walter Hill movie with antiheroes and brutal violence, and it's not an ego trip for anyone involved. It's a vastly enjoyable, bruising action-thriller brimming with machismo, and it revives the spirit of the 1980s with genuine panache.

Set deep in the heart of New Orleans, Jimmy Bobo (Stallone) is a grizzled assassin with no faith in the American justice system who's content to mete out his own brand of justice: a bullet to the head. Jimmy's partner, Louis (Jon Seda), is killed by enforcer Keegan (Jason Momoa) after the two execute corrupt cop Hank Greely (Holt McCallany) on an assignment. Wanting to avenge Louis and find out who set them up, Bobo is forced to team up with Detective Taylor Kwon (Sung Kang), the cop investigating Greely's death. Although Kwon should arrest Jimmy, he has bigger fish to fry, wanting to use the hitman to follow the clues and solve the conspiracy.

In terms of structure and narrative, Bullet to the Head is identical to the action films of the '80s and '90s, with a straightforward story giving way to shootouts, fisticuffs, violence in general, and one-liners, not to mention bare breasts and hot women, as well. Unfortunately, the film feels underdone and far too short, clocking in at a scant 85 minutes. Alessandro Camon's screenplay takes a few lazy narrative shortcuts to maintain the slim runtime, with Kwon getting information over the phone at a moment's notice without anyone questioning what he's up to. It's strange that Kwon is not held on a tighter leash despite being in another city, and it's frustrating that the other local cops are so thoroughly useless, with vague motivations. It feels like the film is rushing through its narrative, which may keep the pace taut, but it needs more breathing room and dialogue-driven character moments. It's hard to determine if this is due to Camon's screenplay or the editing, but Bullet to the Head should be longer.

Bullet to the Head signifies Walter Hill's return to the director's chair for the first time since 2002's Undisputed. A veteran of the action genre, Hill is up to his usual tricks here, infusing the production with the type of magic glimpsed in movies like 48 HRS, The Warriors and Extreme Prejudice. Although Bullet to the Head is actually an adaptation of a comic book, it feels like a Walter Hill movie all over, with tough guys, R-rated violence and a bluesy score. He is a superb pick for this material and hasn't lost his deft filmmaking touch despite his old age. Hill's style is distinctly old-school - Bullet to the Head is low on CGI and has minimal shaky-cam, and Hill favours practical fake blood and the use of an actual tripod. Hill delivers in a huge way when locked in action mode, with plenty of thrills that keep the picture exhilarating and engaging. The most notable set piece involves the monstrous Momoa battling the smaller Stallone with an axe. The ensuing fight is exceptional.

The script is peppered with sharp dialogue, particularly from Jimmy, who spouts all the memorable one-liners. The racial difference is also played up, with Jimmy making a few slightly racist jabs against his Korean partner. This is easily one of Stallone's best acting performances in recent years, showing yet again that he's a robust on-screen presence despite being 65 during principal photography. Sly is a captivating badass, and he owns the role of Jimmy Bobo. This is probably the darkest, most crass antihero Stallone has played in his career, and he embraces it wholeheartedly, making us wonder why exactly it took so long for him to team up with Hill. Meanwhile, Kang is a little less successful. Thomas Jane was initially cast, but producer Joel Silver ejected him in favour of Kang, hoping for an ethnic actor to broaden box office appeal. (The irony, of course, is that the film bombed anyway, and it might've even performed better with Jane.) While Kang is serviceable here, he by no means owns the role, and one must wonder how much better the film might've been if Jane had starred. Fortunately, Momoa is better, making for a strong villain. Also look out for Christian Slater (who hasn't done anything memorable for years) tackling a colourful supporting role as one of the guys who set up Jimmy.

If you like R-rated action movies and yearn for a solid throwback to the action heyday of the '80s, or just want some respite from idiotic CGI-riddled superhero movies, Bullet to the Head is a movie for you. The appeal is pretty much restricted to fans of the action genre, of course, but it remains stylish and competently-crafted regardless of your tastes. Although it isn't a particularly inventive action film, and although it doesn't touch the greatness of buddy movies like Lethal Weapon, there is plenty of fun to be had here, and it's pure ecstasy when guns are pulled, knives are brandished, and punches are thrown. Its failure at the box office is one of the most disheartening injustices in recent memory.

7.2/10

"This thing is attached to Mia's soul like a leech. If I'm reading this right, it's become her."

Horror remakes justifiably strike fear into the hearts of genre fans, with bad remakes outnumbering the decent ones by a significant margin. A remake of Sam Raimi's 1981 cult classic The Evil Dead is particularly sensitive territory, as it had the potential to be a brainless PG-13 rehash made purely for easy box office returns. How surprising, then, that 2013's Evil Dead falls into the win category; it's an imaginative, chilling horror movie that retains its predecessors' proclivity for gleeful R-rated absurdity. It had the full support of both Raimi and star Bruce Campbell, showing that this is less of a money grab and more of an attempt to continue the long-dormant Evil Dead series. Calling it a reboot or a remake is not exactly accurate; it can easily be considered the fourth instalment in the series, as it doesn't deny that the events of the prior movies ever took place.

Struggling with her heroin addiction, Mia (Jane Levy) retreats to an old family cabin in the woods to go cold turkey for a weekend. Joining Mia for support is her estranged brother David (Shiloh Fernandez), David's girlfriend Natalie (Elizabeth Blackmore), and friends Olivia (Jessica Lucas) and Eric (Lou Taylor Pucci). As night falls, the gang discover the cabin's cellar, which has been the site of horrifying witchcraft. Although unnerved, they are determined to stay put to help Mia. Before long, Eric carelessly reads out some of the evil chants contained within the Book of the Dead, unleashing malevolent supernatural forces determined to possess everyone and turn them all into horrific zombie-ish demons intent on killing and mutilating.

Despite the basic setting and a few set pieces, Evil Dead is not a slavish remake of Raimi's film, as it plots its own course and does a few novel things, subverting expectations at every turn. The fact that Mia is a recovering drug addict makes for a nice new narrative angle, plus David is hesitant to believe in the demonic stuff as he just assumes that Mia has lost her mind. The climax is also inventive, contributing something fresh to the franchise mythology. With that said, though, the story does remain fairly standard-order, and it's hard to take these types of plots seriously after last year's The Cabin in the Woods. The biggest misstep of this new Evil Dead is retaining the rape of Mia by the forest - Raimi himself regrets using the tree rape in the original film; hence, it's surprising that a similar scene exists here. It's a repellent and unnecessarily macabre moment, and while it does serve the purpose of showing how the demonic spirits get inside Mia, something more creative would've been appreciated. Also, it's a shame the film doesn't give us a better sense of who the characters are. The pre-carnage stuff is strong, but there isn't enough dimension to these people. Then again, this is a horror film we're dealing with, and we're paying for the bloody stuff.

Although the 1981 film rustles up huge laughs amid the gore and terror, Raimi wasn't actually aiming for comedy-horror, and eventually embraced the comedic possibilities of the franchise with Evil Dead 2. With the benefit of a better budget and improved technology, Alvarez goes for the type of extreme intensity Raimi was initially aiming for, and he hits the bullseye. Evil Dead is one intense exercise in terror, with its shrieking musical score, loud sound effects and punishing gore enough to send chills down the spines of even the most jaded horror buffs. Alvarez and co-writer Rodo Sayagues have a palpable understanding of the appeal of this franchise, orchestrating numerous set-pieces involving bodily dismemberment, in which any tools or objects in sight are used to make a big bloody mess.

Evil Dead is a supremely brutal picture, gleefully R-rated, and it's no surprise that the MPAA slapped it with an NC-17 at first. Skin burns under boiling water, blood is vomited up, people are set on fire, and limbs are torn off. Meanwhile, the climax literally paints the whole world red. It feels more gleeful and fun than "torture porn" films like Saw and Hostel, too, making it easier to digest. Best of all, Alvarez and his team were determined to use in-camera effects, with only minimal CGI for minor touch-ups. It's an outstanding creative decision that will definitely be appreciated by those who detest CGI-laden horror pictures, and the technical achievements here are phenomenal. Apparently, 70,000 gallons of fake blood were used during filming, which sounds like an accurate figure. Everything from the cinematography, the editing, and especially the sound design is top-notch here, making great use of the modest $17 million budget.

Instead of attempting the impossible task of re-casting Bruce Campbell's iconic Ash role, Alvarez creates a new slate of characters for this version. What's interesting about the movie is how it toys with expectations, leaving us trying to figure out who exactly will emerge as the protagonist. The most notable performer here is Levy as Mia. She nails it, transforming from a meek girl to a sinister human doorway to Hell. Levy never hits a false note, and it's a bonus that she's likeable and beautiful. Fernandez lacks charisma and is a bit bland on the whole, but he's serviceable. Fortunately, Pucci is better, full of zest and charm. And when the shit starts to hit the fan, Pucci sells the intensity exceptionally well. As the rest of the token females, meanwhile, Lucas and Blackmore are strong if unremarkable.

The best thing to be said about this new Evil Dead is that it justifies its existence without having to be either an empty fan-service tribute or a bland, gritty reboot. It's a solid movie on its own terms and a welcome antidote to the lame, watered-down excuse for horror movies that we have endured for much too long. For the right audience - the type with a strong stomach and who aren't easily scared - this is the purest horror entertainment in recent memory. Though even if you like this type of gory horror, it's best not to watch it on a full stomach.

7.6/10

"There are too many ideas and things and people. Too many directions to go. I was starting to believe the reason it matters to care passionately about something, is that it whittles the world down to a more manageable size."

Although 2002's Adaptation is based on Susan Orlean's nonfiction book The Orchid Thief, it's far more than that label implies. While the screenplay by Charlie Kaufman does incorporate elements of Orlean's work, this is a brilliantly meta motion picture which is actually about Kaufman (played by Nicolas Cage) struggling to adapt the aforementioned novel for the screen. Kaufman suffered writer's block during the real-life screenwriting process, and wound up writing a sensationalised account of his painstaking endeavour to adapt the book. The finished product is nothing short of a masterpiece, an absurdist black comedy as well as a postmodern satire of today's entertainment industry. Kaufman's script is extraordinary, yet it's director Spike Jonze's cinematic treatment of the material which ultimately catapults it to brilliance. In both conception and execution, this is a home run.

Orlean's novel was expanded from an article she wrote for The New Yorker, and is ultimately a free-floating rumination on flowers and her own desires. It's not a solid foundation for a feature film, leaving screenwriter Charlie Kaufman struggling to adapt the work without turning it into a Hollywood movie. Also in Charlie's life is twin brother Donald, who's the antithesis of Charlie; whereas Donald is relaxed and outgoing, Charlie is inhibited, neurotic and analytical. (Adaptation further blurs the line between reality and fantasy by crediting the screenplay to both Charlie and Donald, even though the latter is actually pure fiction, a figment of Charlie's imagination.) Donald aspires to write scripts as well, attending screenwriting seminars as he pens a thriller while Charlie works to adapt The Orchid Thief. Meanwhile, the narrative also dips back in time to watch Orlean (played by Meryl Streep) working on her book. She gets to know orchid thief John Laroche (Chris Cooper), who initially looks like a toothless hick but turns out to be intelligent and ambitious.

Adaptation is steeped in multi-textural thematic layers, with most every scene and action part of a perfectly-judged tapestry to tell this remarkable tale. Even the title of the film is hard to nail, since it's literally about Kaufman struggling with an adaptation of a book while also having trouble adapting to life, and he's writing about Orlean who's struggling to adapt as well. Fortunately, Kaufman at no point grows too enamoured with his own genius, hence Adaptation never comes across as too self-conscious; instead, it's well-judged by Kaufman and Jonze. More than that, Kaufman has achieved something remarkable by presenting one of the most candid and searing portrayals of what it's like to write and make motion pictures. What's also interesting is the way that reality and fantasy mesh and intermingle to such an extent that it's hard to distinguish between one and the other. In fact, a number of the real people of the story are turned into fictional characters. We also get a glimpse of the set of Being John Malkovich (which was being filmed at the time the story is set), and several players from that movie get cameos here, including Jonze.

Adaptation's ending has proven to be polarising with both critics and audiences, but it's a perfect way to close the door for many reasons. When Charlie speaks to screenwriting expert Robert McKee (Brian Cox) about his script at one stage, McKee tells him to make sure the final act is good, going on to say that he cannot cheat or bring in a deus ex machina. But that's precisely what Adaptation does, which subverts the rules while also working on several other levels. See, Charlie explains in the first scene that he doesn't want to turn The Orchid Thief into an action movie, but his own experiences while writing go down that route anyway, representing brilliant irony. Furthermore, it feels organic to the story against all odds, and we have to remember that the script for Adaptation is also credited to the fictional Donald Kaufman. Donald is the one who gets Charlie involved in the violence that closes the story, and the climax feels like something Donald has written. After all, Charlie is all about patient drama while Donald writes thrillers, and Charlie actually ends up recruiting Donald to help him develop an ending.

Jonze is Kaufman's cinematic soul mate, pure and simple. As shown in Being John Malkovich, the writer has a gift for cooking up peculiar scripts, and Jonze is perfectly in tune with his concepts, translating them to the screen with visual ingenuity and energy. Such qualities are present in Adaptation. Voiceovers are used a lot throughout the narrative, giving us intimate insight into Kaufman's buzzing mind as well as the contents of Orlean's book. In one scene Robert McKee actually chastises voiceover narration, which makes the use of voiceover here both a sly subversion of the rules and a chance to let us into Kaufman's mind during the creative process. What's also miraculous about Adaptation is the way it remains eminently entertaining without stooping to unnecessary visual flourishes, which is a credit to the well-judged mise-en-scène. The picture is topped off with an enjoyably offbeat score by Carter Burwell.

Cage pulls off an astonishing double act here playing the Kaufman twins, demonstrating his terrific acting chops that are not often glimpsed. Charlie and Donald look the exact same, yet Cage's performances for each of the characters are so complete and nuanced that you'll never have trouble figuring out who's who. It helps that you occasionally see Charlie and Donald sharing the same frame, executed with effects so seamless that you may initially wonder if Cage has a real-life twin. Cage was nominated for a well-deserved Oscar for his efforts, though he lost to Adrian Brody. Outside of Cage, there are a few other seasoned veterans putting their best feet forward. Streep is wonderful, capturing the emotional core of Orlean with seemingly little effort, and ably handling the darker aspects of her role later into the story. Likewise, Cooper disappears into the role of Laroche, becoming unrecognisable with missing teeth and a seamless Southern accent. It earned Cooper an Oscar, and it's not hard to see why. Also in the cast is Tilda Swinton as the executive who hires Charlie, while Cox makes a great impression as McKee.

It's difficult to resist the boundless charms of Adaptation, which became one of the most critically acclaimed films of 2002 for good reason. This film is a miracle, a mind-blowing experience that's daring, unpredictable, original and thoroughly involving. It's amazing that it got made in the first place. Perhaps the best thing about Adaptation is that, if The Orchid Thief was adapted by anyone else, it would've become a dumb Hollywood heist movie, the type that Adaptation actually satirises.

9.3/10

"I knew it was a great mistake for a man like me to fall in love..."

F. Scott Fitzgerald's The Great Gatsby has acquired legendary status since its publication in 1925, becoming a staple of high school literature classes. Film adaptations already exist, but none have made as much of a lasting impact as the book. Enter Australian director Baz Luhrmann, who filters Fitzgerald's novel through his unique filmmaking lens, interpreting Gatsby as a tale full of glorious visual excess. In typical Luhrmann style, 2013's The Great Gatsby is a staggering visual creation, ablaze with colours and dazzling production values, and it's all in 3D for good measure. And you know what? If you can roll with the punches and accept Luhrmann's distinctive approach, Gatsby is a hell of a good motion picture, succeeding not just as a visual feast but also as a potent drama with a solid story at its core. Luhrmann's vision is simply enthralling.

Looking to conquer Wall Street in the summer of 1922, Nick Carraway (Tobey Maguire) moves to New York, renting a home next to an opulent mansion owned by enigmatic millionaire Jay Gatsby (Leonardo DiCaprio). Gatsby's gaudy lifestyle intrigues Carraway, with frequent parties on a grand scale attended by hundreds. Drawn into Gatsby's luxurious world, Carraway soon learns that his neighbour harbours feelings for Daisy Buchanan (Carey Mulligan), Carraway's cousin and Gatsby's former flame. Daisy lives across the water from Gatsby with her philandering husband Tom (rising Aussie star Joel Edgerton), and Gatsby is determined to woo her back. Thus begins a secret affair between the two while Tom deals with his own infidelity with local resident Myrtle Wilson (Isla Fisher). Carraway is drawn deeper and deeper into this world, with the gloss stripped away to reveal the tragedy and obsession lingering underneath.

Luhrmann is clearly enamoured with Fitzgerald's text, framing the narrative around Carraway typing up his memoirs while inside a mental institution. Through this, some of Fitzgerald's words are worked into the film via voiceover and on-screen captions, the latter of which is indulgent but nevertheless enjoyable. Luhrmann also gets to the heart of Gatsby's character, going back in time to give us a better look at his past. However, Luhrmann fails to take advantage of the chances for profound complexity. While it's a brilliant device to romanticise Gatsby (despite being a scumbag) since we're seeing him through Carraway's awestruck eyes, the character of Daisy is poorly handled. Daisy doesn't seem worth all the effort; she's materialistic and shallow, fitting more into Tom's life than Gatsby wants to acknowledge. In other words, Gatsby is in love with the optimistic vision of Daisy he has in his head rather than the real girl. There's solid material here for Luhrmann to delve into how wearying and even dehumanising it is to be someone else's unrealistic romantic ideal, but he fails to explore this to a satisfying degree. Gatsby is a compelling drama, to be sure, but further thematic undercurrents would be appreciated.

While Luhrmann and co-writer Craig Pearce remain reasonably faithful to the source material, the flick is unmistakably Luhrmann, with the director employing his artistic sensibilities to shape the story. The world of 2013's The Great Gatsby is stylised, theatrical and wildly extravagant. Simon Duggan's sharp 3D cinematography accentuates vibrant colours and opulent lighting, while the costumes and sets give the picture a lovely texture. There's staggering beauty to behold in every frame, with Luhrmann achieving this luminosity on a modest $105 million budget. Luhrmann has been derided for his use of anachronistic music, with Jay Z and Beyoncé songs featured at various times, but it actually highlights the timeless nature of the story's messages - Luhrmann draws parallels between the lifestyles of contemporary rappers and the filthy-rich millionaires from the 1920s. Artists like Jay Z, after all, are all about what Gatsby stands for: showboating, chest pounding, and substance-less overindulgence. Furthermore, the music is extremely good here, perfectly complementing the on-screen action. If you can give in to Luhmann's unique vision, the experience is a blast.

What's remarkable about Luhrmann's Gatsby is that it's not an entirely superficial experience. The visuals are lavish, yet the drama also hits hard. Luhrmann knows how to do big set pieces, but he's just as successful with the smaller moments, realising when he needs to settle down to allow the actors to take centre stage. While some critics denounce the film as over-the-top, that's fundamentally the point; Carraway is our entry point into the narrative, and he finds Gatsby's lifestyle extravagant and over-the-top. Hence, we are Carraway, and it's important to inundate us with indulgence to understand why he goes down such a dark path. The 3D enhances this, thrusting the gaudy lifestyle in our faces. The Great Gatsby was shot natively in 3D, and it looks miraculous; some of the greatest 3D you will ever see. Plus, the movie comes alive with energy and vibrancy during the party sequences, making it hard to complain about how embellished they are.

Regardless of the hate that DiCaprio received in the '90s, you cannot deny that he's an outstanding performer, emerging over the past decade or so as one of the most committed actors of his era. Reteaming with Luhrmann, who put him on the map with Romeo + Juliet back in 1996, DiCaprio kills it as Gatsby, perfectly embodying and expressing both aspects of his character: the confident, aspirational millionaire and the wounded, emotionally stunted man-child behind the mask. He's firing on all cylinders here, showing how much he deserves an Oscar statue. Maguire has received a lot of criticism, yet this reviewer has no problem with him. Anyone could play this character, to be sure, and he doesn't own the role, but Maguire is a likeable enough presence. Above all, he's an Everyman, and it's possible to project ourselves onto the blank slate of Nick Carraway. Mulligan, meanwhile, is predictably excellent as Daisy. Edgerton also fares well here, handling what's essentially a cardboard role with genuine skill. Luhrmann clearly wanted Edgerton to be an old-fashioned bad guy, and that's exactly what Edgerton plays. Anyone familiar with the Australian's prior work (Animal Kingdom, The Thing, The Square) might have trouble recognising him due to his demeanour and voice here. It's a fantastic performance. The rest of the actors are just as good, including a tragically underused Adelaide Clemens, who appears for all of one scene (and makes a big impression) before disappearing.

Luhrmann's detractors should stay well clear of The Great Gatsby, as it's one big showcase of the filmmaker's idiosyncrasies refined to perfection. Indeed, this is probably the most impressive and accessible Luhrmann production to date, but there's no talking to you if you hate the director and his sensibilities. Gatsby is a big, lavish Luhrmann melodrama, playing out almost like a Broadway musical with its overacting and unbelievably vast sets. The Great Gatsby will always belong to Fitzgerald, just as Romeo and Juliet will always belong to William Shakespeare, but Luhrmann has created his own memorable visions for both, all the while maintaining great respect for the original source material. It's doubtful we'll ever see another version of The Great Gatsby that's as spectacular as the one that Luhrmann assembles here.

8.3/10

"I don't want this parks department to build any parks, because I don't believe in government. I think that all government is a waste of taxpayer money."

Parks and Recreation debuted in 2009 with a six-episode first season, and it drew criticism even before it hit the airwaves, with many denouncing it as nothing more than a rip-off of The Office. Certainly, there are similarities, as Parks and Rec is a workplace-based show which plays out in a faux documentary style, and it was created by the men behind The Office. But it didn't take long for the show to take off, swiftly finding its own voice and style after a few episodes, and settling into a comfortable groove. Populated with a cavalcade of superlative actors perfectly playing colourful roles, and blessed with razor-sharp writing and strong technical contributions right down the line, Parks and Rec is a genuine winner; an endlessly enjoyable and insanely quotable television show that deserves your attention.

Set in the fictional town of Pawnee, Indiana, the show focuses on a group of government officials from the Parks and Recreation department. The deputy director is Leslie Knope (Amy Poehler), a bubbly, optimistic woman who loves her town and feels determined to do good things. In the first season, Knope proposes to build a community park on an abandoned lot located next to the home of nurse Ann Perkins (Rashida Jones) and her live-in boyfriend Andy Dwyer (Chris Pratt). The director of the parks department is cynical libertarian Ron Swanson (Nick Offerman), who detests the government and abhors his colleagues. Also working with Leslie is underachieving goof Tom Haverford (Aziz Ansari), as well as uninterested intern April Ludgate (Aubrey Plaza), among others. As the show progresses, it introduces health-conscious government official Chris Traeger (Rob Lowe) and the socially awkward Ben Wyatt (Adam Scott), the latter of whom develops a romantic relationship with Leslie. The show mostly concentrates on the everyday antics of these people, with Leslie navigating the frustrating world of bureaucracy and dealing with the eccentricities of both the townsfolk and her friends. A number of larger story arcs are pursued too, with Leslie running for city council and with Andy eventually developing a sweet relationship with April after being dumped by Ann.

That's about the best synopsis which can be provided for the first five seasons without spoiling the experience. Indeed, Parks and Recreation is the type of TV show that you should watch without knowing how things will pan out, as it's easy to get emotionally invested in these characters and care about what happens to them. One of the show's key strengths is the way it develops all of the characters so effortlessly. It's a massive ensemble and it should be difficult to keep tabs on them all, but you get to know each and every one of them, and you'll never mistake one supporting character for another. It also helps that Parks and Rec is so damn funny. Comedy is subjective, to be sure, yet this reviewer laughed heartily and frequently while working through the seasons. The show is highly quotable; it's no surprise that Ron Swanson quotes appear on t-shirts.

The large selection of writers and directors (including Bridesmaids director Paul Feig, The King of Kong helmer Seth Gordon, Arrested Development veteran Troy Miller, and even Poehler) pack a huge amount into every episode, working to keep the storytelling taut but effective. Literally hours of material is excised from each season, demonstrating that only the best stuff was left in the bite-sized 20-minute episodes. Some episodes are more successful than others of course, and there is some plodding from time to time, but Parks and Recreation is for the most part smart, sharp and consistently funny, emerging from the shadow of The Office to become its own independent entity. The faux documentary style makes for involving viewing, with big laughs generated from both the ridiculous situations that occur as well as the direct-to-camera interviews interspersed throughout.

What's most remarkable about Parks and Recreation is the cast; every member of the group is so entertaining, astutely-written and perfectly-performed that they could all front their own show. The production's secret weapon is Nick Offerman as Ron Swanson. This is a career-defining turn from Offerman, infusing his iconic role with a distinctive personality and many quirky traits. Swanson is the best character in the show, and that's saying something, with Offerman turning a potentially one-dimensional curmudgeon into a brilliant character with an unlimited armoury of side-splitting one-liners. Equally good is Amy Poehler, who's almost always on-screen, and who seems utterly incapable of taking a false step or sounding a contrived note. Poehler has a gift for comedy, and she understands the character of Leslie Knope to her very core. It's the sincerity of the acting which really sells it, as Poehler commits to saying and doing some of the most outlandish things. Also memorable is Aubrey Plaza, who nails the deadpan style of comedy as the jaded April. April hates everything and everyone, and it's uproarious to see her projecting her hatred for the world on those around her. April becomes Ron's personal assistant, which is a match made in heaven. Chris Pratt was meant to leave the show after Ann dumps him in season one, but his dumb, underachieving, goofily charming Andy became a fan favourite, and was given a permanent spot in the ensemble. Pratt is terrific, making Andy a believable, endearing character.

Another pivotal cast member is Aziz Ansari, who's extraordinarily funny as Tom Haverford. Rashida Jones plays more of a straight man in the show, but she's no less valuable than the rest of the cast; she's extraordinarily beautiful and she has a flair for comedy. Retta and Jim O'Heir also feature here as Leslie's co-workers, and both are given times to shine. Rob Lowe and Adam Scott are introduced in the second season, and they're great. Scott brings real depth to his role, while Lowe is pure comedy dynamite. Parks and Rec has seen its fair share of guest stars as well; Will Forte, Pamela Reed, Justin Theroux, Nick Kroll and Ben Schwartz all appear, while Paul Rudd shows up to play Leslie's political rival in season four, and Offerman's real-life spouse Megan Mullaly plays Ron's second ex-wife Tammy. Patricia Clarkson is Ron's first ex-wife, also named Tammy, and she's excellent; her ice-cold, uncaring demeanour frightens everyone...except April, who grows to idolise her.

To be sure, Parks and Recreation hit its peak in its second and third seasons, but although signs of fatigue are beginning to emerge, this nevertheless remains one of the most enjoyable shows on TV. It's delightful to spend time in the company of these characters, and it's interesting to see which paths they tread. With season six right around the corner, this reviewer will continue to watch. And if you haven't seen a single episode of this show, give it a shot - you won't regret it.

8.1/10