Reviews by PvtCaboose91

"We are investigating paranormal activity in suburban Los Angeles..."

According to Marlon Wayans, A Haunted House is not exactly a parody but instead a horror flick with "funny characters" doing the opposite of what typical white people do in similar movies. I call bullshit: this is a spoof film, plain and simple, constructed in a way that brings back painful memories of such Friedberg/Seltzer catastrophes as Disaster Movie and Meet the Spartans. There are maybe three or four amusing moments in this entire film - as for the rest, A Haunted House is a banal endurance test, an early contender for one of 2013's worst movies. The best thing that can be said for the film is that it's an R-rated comedy, unlike Scary Movie 5, but that's about the only shred of positivity I can offer.

Taking its cues from the Paranormal Activity franchise and 2012's The Devil Inside, the plot concerns Malcolm (Wayans), who moves in with girlfriend Kisha (Essence Atkins) in the suburbs. Malcolm purchases a video camera to document every facet of their new life together. He even sets up a camera at night overlooking their bed to film their bedroom Olympics. Kisha suspects that their housekeeper may be stealing from them, so they also install some surveillance cameras around their home. But Malcolm's cameras capture evidence that a ghostly presence may be in the house, compelling the pair to call upon a psychic (Nick Swardson), a pair of ghost hunters (David Koechner and Dave Sheridan), and a coke-snorting priest (Cedric the Entertainer).

Wayans was working without any of his brothers here, but he still retains all of the recognisable trademarks of a Wayans production: stupid, unfunny jokes about farts, poop, sex, dicks and masturbation. The material grows increasingly limp and uncreative the more it chugs along, with racism and ghost-rape also popping up. In the right hands, just about anything can be funny, but director Michael Tiddes is not the right hands. As a matter of fact, nobody involved in creating A Haunted House constitutes the right hands. Hence, if you have the mental capacity of a ten-year-old, this sophomoric effort may be to your liking. But the rest of us will see A Haunted House to be the pile of shit that it is. Gags run on for far too long, with Malcolm at one stage engaging in sexual acts with stuffed toys for several minutes. Other jokes are simply repeated to exhaustion - the psychic is gay and tries to cajole Malcolm into being his lover, which is not funny the first or second time, let alone the twentieth. The film eventually starts spoofing The Devil Inside and The Rite, apparently forgetting that audiences found those movies to be hilarious self-parodies in the first place.

There is only one scene in A Haunted House that made me laugh out loud. After Malcolm witnesses compelling evidence that a poltergeist is indeed inside his residence, he immediately flees the house, packing up his gear and tearing off to safety, leaving Kisha behind. But he soon realises that it's impossible to sell a home in today's wretched market and is subsequently forced to move back in. It's such a clever concept amid the scenes of gross-out gags, gay jokes and drug-taking, and it's executed with unexpected precision and comedic gusto. It's so on the money, in fact, that I'm convinced it was created by an entirely different creative team from the rest of the movie. What a shame this goodness lasts for about a minute. There may be a few other amusing lines here and there, but A Haunted House is slim pickings for the most part. If all the worthwhile jokes from this ninety-minute film were edited down into one bite-sized chunk, we'd be left with barely five minutes.

A Haunted House is not worth your time. There's absolutely no subtlety, wittiness or sense of pacing here. It doesn't even feel like a real movie. Compare A Haunted House to something like Ghostbusters or The Naked Gun, and the difference is day and night; whereas the aforementioned '80s comedies have stories to tell and were brought to life via creative scripts and actual filmmaking artists, A Haunted House is a limp "comedy" assembled by self-indulgent filmmakers. This was Tiddes' first movie, and you can tell; it feels more like a student project than a proper theatrical production. Unfortunately, it turned a profit, earning in excess of $40 million from a $2 million budget. A Haunted House 2 is coming, a sure sign of the apocalypse.

2.2/10

"This girl's dead. That guy's dead... That guy in the corner is definitely dead."

Although Warm Bodies seems like a blatant attempt to cash in on the "supernatural teen romance" subgenre popularised by the abominable Twilight saga, the similarities start and end with the idea of a human falling in love with a supernatural creature. In fact, Warm Bodies has more in common with Edward Scissorhands, as it's a quirky, incredibly endearing romance that's wonderfully acted and directed. It's a peculiar hybrid of Shakespeare and zombies, but the result is pure bliss, with writer-director Jonathan Levine (50/50) pulling off an ostensibly impossible tonal juggling act to tell this oddball tale of zombie romance. It may not match films like Shaun of the Dead or Zombieland in terms of laughs or thrills, but it packs a great deal of heart.

After an apocalyptic world disaster, the planet is overrun with the walking dead. Human survivors live behind huge walls, while the zombies are left to wander around aimlessly, looking for fresh meat. Residing in an airport, R (Nicholas Hoult) is a sensitive creature who feels guilty about feeding on humans but is compelled to do so to survive. During an attack on a group of humans, R spies a woman named Julie (Teresa Palmer), and he suddenly begins to feel emotions he's long forgotten. Wanting to protect Julie from his zombie brethren, R takes the frightened girl back to his shelter within an abandoned plane, trying to communicate through his actions and the limited number of words he can utter. Julie is horrified at first but begins growing a hesitant trust for the zombie as they spend time together. Their relationship cannot last, though, as Julie's father (John Malkovich) oversees the military team assigned to slaughter zombies. But R starts to display human-like qualities the more he hangs out with Julie, beginning a trend in the rest of the undead.

As plot complications continue to pile up, you begin to wonder how everything will end up being resolved, but Levine (adapting Isaac Marion's novel of the same name) does a superb job of wrapping everything up without making the ending too overwrought or prolonged. Plus, the film closes with a happy ending that doesn't feel like a total cop-out, which is miraculous. Warm Bodies manages to breathe fresh life into zombie lore as well. The film actually evokes memories of George A. Romero's Day of the Dead in its depiction of the living dead learning to use vehicles and weapons. Luckily, Levine doesn't pussify zombies (a la Twilight), instead merely presenting a balanced and thoughtful perspective on them, which is refreshing. Nevertheless, the undead still have real bite here; although R is sensitive, there are packs of skeletal zombies known as "Bonies" which are ferocious and add genuine threat to the tale.

Clocking in at a brisk 95 minutes, Warm Bodies progresses at a nice clip and never outstays its welcome, yet more narrative development would've been beneficial. The film hinges on our belief that the zombies can be rehabilitated as they get in touch with human feelings again, but it's never quite believable enough as it's too rushed. It needed more breathing space and time to gestate; it all happens too quickly, making a number of things hard to swallow. Added to this, the script is tacky from time to time, with a few eye-rolling lines of dialogue. This aside, there's little else to complain about in Warm Bodies, which is otherwise a solid film. Levine keeps things playful and fun, with the script emphasising R's buzzing brain. See, although R can only speak a few words at a time, we're privy to his interior monologues; hence, there's a lot of effective voiceover narration that adds context to his actions while providing some wry humour.

There's no getting over the fact that Warm Bodies is patently ridiculous; the scientific underpinnings of the premise and a few aspects of the narrative are a bit too cutesy for their own good. But the film overcomes this because Levine commits to the premise with absolute sincerity. Levine was last seen behind the cancer comedy 50/50 for which he displayed a miraculous ability to mix the sweet and the sour, and he retains this skill for Warm Bodies. He strikes a perfect tonal balance, playing the horrific elements completely straight while also providing some exceptional comedy and a sense of sweetness. Indeed, the relationship between Julie and R feels fully human and gains more emotional traction than most Hollywood romances. The payoff is rewarding, as we get the chance to feel invested in the relationship. Warm Bodies is also a handsome and well-made motion picture despite its modest budget. Cinematographer Javier Aguirresarobe shot the film on 35mm, which gives it a gorgeous cinematic look.

Levine has a secret weapon in Hoult, who impresses mightily as zombie R. Hoult's body language and tender line delivery sell the role perfectly, and his demeanour is believably zombie-esque, especially with a layer of impressive make-up that further sells the illusion. Meanwhile, as Julie, Australian newcomer Palmer looks remarkably like Kristen Stewart, inviting even more Twilight comparisons. However, Palmer is a terrific choice; she's the hot version of Stewart and can actually act. Indeed, whereas Stewart is emotionless and stiff, Palmer is a genuinely expressive actress able to convey emotion and nuances. Hoult and Palmer share wonderful chemistry, too. Fortunately, there's solid support from several actors, including Malkovich as the badass military leader, Rob Corddry who's often amusing as R's kind-hearted zombie pal, and the lovely Analeigh Tipton playing Julie's best friend.

Warm Bodies is no masterpiece, and it won't pick up any Oscars, but it's a sweet, good-natured romantic comedy, and I was surprised by how much it won me over by the end. Comparing it to Twilight is wrong; Warm Bodies is so much smarter, thematically deeper and charismatic than the Stephanie Meyer franchise, and it doesn't deserve to be associated with Twilight. Although the movie is primarily aimed at young ladies, it will also appeal to males, who won't be embarrassed to watch this one with their dates.

7.1/10

"Your commanders have committed a crime I cannot forgive. None of you are safe. Have I got your attention now?"

Director J.J. Abrams's second venture into the cosmos aboard the U.S.S. Enterprise, 2013's Star Trek: Into Darkness is a smoother, more engaging experience than its predecessor, and it shows that there is still plenty of mileage left in the decades-old franchise. This is a follow-up that lives up to and surpasses the movie that spawned it, retaining the 2009 film's sense of energy and excitement but upping the ante with a stronger villain and a more interesting narrative. The most impressive thing about Into Darkness is that it's an entertaining blockbuster both for Star Trek fans and the uninitiated. Indeed, there's fan service aplenty, and Trek fans should find the film an absolute godsend. Non-Trekkies, meanwhile, will find this sequel to be an exhilarating, involving sci-fi action extravaganza. You can't ask for much more than that.

After a Starfleet mission goes awry and Spock (Zachary Quinto) reports the wrongdoings, Captain Kirk (Chris Pine) is relieved of his command, but the expulsion does not last long. Rogue Starfleet agent John Harrison (Benedict Cumberbatch) begins staging devastating terrorist attacks around London, resulting in the deaths of civilians and several Starfleet employees. Reinstated as the captain of the U.S.S. Enterprise, Kirk and his crew are tasked with seeking out and killing Harrison, which takes them to the Klingon world of Kronos. However, the mission provokes unease amongst the crew. Engineer Scotty (Simon Pegg) does not trust the torpedos supplied by Admiral Marcus (Peter Weller), while a mysterious new crew member (Alice Eve) piques Spock's interest.

Written by Damon Lindelof, Alex Kurtzman and Roberto Orci, Into Darkness is smarter than the average summer blockbuster, showing a keen interest in sophisticated dialogue and themes. While the mechanics of the plot are sometimes too vague, and more explication would be appreciated, this is only a mild hindrance. Pretty much everything else about Into Darkness is a raging success: it's a relentless action-adventure filled with bombings, chases, hand-to-hand combat, space battles and shootouts. Yet, the in-between stuff is also strong, and there's a particularly notable heartfelt scene in the third act that packs so much of a punch directly because of how intense the past two hours have been. This is a surprisingly character-rich film, giving the central characters a distinguished presence and purpose, though Alice Eve's role is a tad underwritten (and her underwear scene is every bit as gratuitous as the trailer suggests). Furthermore, the dialogue is a consistent joy, with sharp one-liners and moments of satisfying humour that feel surprisingly organic amid the heavy drama and excitement.

Abrams inserts an unusual sense of genuine peril into the proceedings, with unexpected character deaths and a lingering feeling that some of the protagonists might not survive. It gives the movie an added edge and makes the action sequences all the more stimulating. Star Trek: Into Darkness is a handsome picture, as well - it is full of well-staged set pieces and carries a brisk pace that keeps the film continually entertaining. Daniel Mindel's cinematography is lavish and competent, while the score by Michael Giacchino amplifies the sense of intensity during the thrilling action scenes. As to be expected from a big-budget blockbuster, the production values are astonishing, and the CGI borders dangerously close to photorealism from time to time. As a matter of fact, especially during the finale, it's hard to tell what's live-action and what's digital. That said, though, Abrams cannot overcome one of the primary missteps of the last movie: his directorial tendencies - with frenetic cinematography, a hyper-polished look and the goddamn lens flares - are too much at times, which can be distracting.

All the leading players from the 2009 film return for duty here, but it's newcomer Cumberbatch who steals the show as John Harrison, the tale's antagonist. He's genuinely terrifying here, but the brilliance of Cumberbatch's performance is how multi-layered and manipulative he is. At times, Harrison does not even seem like a villain due to how placid and charming he is. When he strikes, though, he's one of the most menacing bad guys you will ever see. Meanwhile, the returning faces are also great, with Pine upping his game and Quinto remaining superb as Spock. The two are a great screen pair, and their interactions are frequently compelling. Also standing out is Pegg, who handles the comic relief exceptionally well, while Karl Urban makes for a scene-stealing Bones. Another notable newcomer is former RoboCop star Peter Weller (who was actually in a couple of episodes of Star Trek: Enterprise), turning in an engaging performance as Admiral Marcus.

Into Darkness is presented in 3D, a decision made by the studio heads at Paramount rather than Abrams. Hence, money rather than artistry motivated the choice to go 3D. The last film was fine in plain old 2D, automatically making the extra dimension seem redundant. Nevertheless, the conversion is solid, with several impressive shots and scenes that look natively 3D. Still, the experience plays more smoothly in 2D, mainly due to Abrams's shaky-cam trademark that sometimes makes the glasses tough on the eyes.

Ultimately, Star Trek: Into Darkness solidifies a franchise reborn. 2009's Star Trek instilled a lot of promise for the future, and this sequel does not disappoint. It's been four years since the last film, and Into Darkness was initially slated for a summer 2012 release date, so it's marvellous to finally see this new adventure come to fruition. It's a hugely appealing and thrilling action film that should reel in a new generation of Trek fans and appease the veteran Trekkies.

8.4/10

"We came, we saw, we kicked its ass!"

Three decades on, Ghostbusters is still as hilarious, spooky and marvellous as ever: an absolute hoot of a horror-comedy engineered by talented moviemakers in the prime of their careers. Directed by Ivan Reitman (Stripes) and written by Dan Aykroyd and Harold Ramis, it's a grandiose spectacle of comedy and special effects enhanced by sharp, quotable dialogue and a pitch-perfect cast. Ghostbusters was an unexpected box office smash upon its release in the summer of 1984, grossing almost $300 million worldwide against its $30 million budget, and it still feels fresh and original in 2013. With its spot-on tone, absurd plot devices, hysterical one-liners, gut-busting physical humour and over-the-top performances, it's no wonder that movie-goers keep calling on Ghostbusters for their entertainment needs well into the 21st Century.

Kicked out of Columbia University after their funding is pulled, parapsychology scientists Peter Venkman (Bill Murray), Ray Stantz (Aykroyd), and Egon Spengler (Ramis) decide to go freelance, setting up a ghost removal service and calling themselves the "Ghostbusters." Operating out of an abandoned firehouse and seeing a steady increase in demand for their services, the gang also recruit a sardonic receptionist named Janine (Annie Potts), as well as a fourth member named Winston (Ernie Hudson), who does not have a science background but needs a job. The Ghostbusters are soon approached by Dana Barrett (Sigourney Weaver), a beautiful cellist who notices strange supernatural happenings in her apartment building. After Dana and her nerdy neighbour, Louis Tully (Rick Moranis), are possessed by supernatural entities, it's up to the Ghostbusters to save New York City from destruction at the hands of Gozer the Gozerian.

Most of the movie's comedy is generated from the interactions and conversations between the main characters, who seem to disperse an endless array of witty dialogue. For a PG-rated film, the script is surprisingly risqué, though most of these gags will probably fly over kids' heads while adults will have a hearty laugh. On top of the intelligent bantering, Ghostbusters delivers terrific situational comedy and an all-around charm and zaniness that feel spontaneous instead of forced. The narrative also has an excellent flow; perhaps no filmmaker other than Reitman could smoothly transition from an ominous standoff with a demigod to a goofy battle involving a Godzilla-like giant marshmallow man. Additionally, Reitman keeps the proceedings somewhat grounded and establishes real stakes; the Terror Dogs are pretty unnerving, and there are scares amid the laughs. But while there are serious moments, the film keeps the comedy coming thanks to funny bantering and the hammy nature of the creatures (see the iconic Slimer or the gigantic Stay-Puft Marshmellow Man). The only real problem with Ghostbusters is a subplot involving an environmentalist played by William Atherton (Die Hard). It's too much of a standard-order story thread, and it occasionally threatens to spoil the fun. However, Atherton's presence does pave the way for numerous comical exchanges.

Contemporary spoof movies and comedies are not often skilfully assembled, yet Ghostbusters is bursting with talent in terms of cinematography, editing and direction. The opening library scene is a masterpiece of deliberate pacing and tension, and one can't help but smile when the theme kicks in and the title appears on-screen. It's an immaculate opening for the picture. Similarly, the cinematography is unusually strong throughout, with a careful eye towards composition and lighting, which makes the movie look interesting and moody. Ghostbusters is a special effects-heavy production, with numerous ghosts and creatures appearing throughout. Most of the practical effects stand up to this day, while the more obvious effects shots (specifically the green-screen compositing) only amplify the film's charm and absurdity. The stop-motion animation and puppetry for the ghostly creatures do look goofy, but it all still works in the context of a screwball comedy. With modern filmmakers overusing CGI, there's something endearing about watching old-school effects from a different era, with matte paintings, optical shots, vast sets, models and puppets. Also exceptional is Elmer Bernstein's score, which captures the essence of the film and sets the tone for every scene; it's playful, light-hearted and comedic, yet the music is also foreboding at times to underscore the horror elements. The superb technical execution of Ghostbusters is precisely why comedies from this era are superior and more respected than their modern counterparts: it feels like a proper film pulled off with genuine skill and care instead of a slapdash creation thrown together by a bunch of juvenile filmmakers.

The screenplay makes fantastic use of the cast, playing well to each performer's strengths and inviting improvisation. The Ghostbusters gang carries a terrific camaraderie as if they've been friends for years, which helps us feel comfortable whenever they interact on-screen. Bill Murray is at his comedic best here with his deadpan delivery, sarcasm and witticisms shining through in every scene. Nobody does humour quite like Murray - he's an enormous asset to the picture. Meanwhile, Ramis is a top-notch straight man, delivering the science-heavy exposition with abandon and charm. Then there's Aykroyd, who absolutely nails his role and provides several big laughs. The last of the four central Ghostbusters is Hudson, who ably fulfils his duties as the token black guy and shares fantastic chemistry with the other three boys. The role of Winston was initially written with Eddie Murphy in mind, but the actor choosing to star in Beverly Hills Cop resulted in Hudson's casting. Also worth mentioning is the side-splitting Potts as the Ghostbusters' receptionist, who is responsible for numerous comedic highlights. Weaver, who holds her own against her fellow actors, and Moranis, who's never been funnier, round out the cast.

Wonderfully executed and smartly written, Ghostbusters is a seminal '80s comedy that stands the test of time and deserves to be seen, even by those who do not usually enjoy movies of this vintage. The production is the rare result of the right creative minds doing what they do best at the right time, creating a lightning-in-a-bottle blockbuster flaunting the perfect mix of comedy and horror. Much of the iconography throughout Ghostbusters remains memorable all these decades later, from the instantly recognisable monsters and ghosts to Ray Parker Jr.'s smash hit theme song that is now a staple at annual Halloween parties. Even though it spawned an inferior second film and an atrocious 2016 remake, we still have this first film, and we can be forever thankful for that.

9.1/10

Ever since he was infamously punched onstage while performing at the Manchester Comedy Store in 2007, it has been all uphill for Australian funnyman Jim Jefferies, who has so far released four comedy specials and has performed stand-up all over the world. Jim is arguably one of the finest comedians currently working today, as he delivers genuinely funny material with real bite. Jim is deserving of his own television show, which is why Legit is so disappointing. It's not terrible per se, but it's too much of a mixed bag, rendering it underwhelming. To the credit of the show, it starts out completely flat and dull but gradually improves over subsequent episodes. Nevertheless, Legit never quite hits its stride, only ever showing slivers of greatness that are surrounded by pure mediocrity or outright boredom.

Legit features Jim playing himself. A stand-up comedian, Jim yearns to go "legit," hoping to one day star in motion pictures and appear on television. In the pilot episode, he meets old childhood friends Steve (Dan Bakkedahl) and Billy Nugent (DJ Qualls), the latter of whom is severely disabled, suffering from muscular dystrophy. The trio move into a house together, and the rest of the series chronicles their various shenanigans, as Jim auditions for roles, performs stand-up, and attempts to get with women.

In a nutshell, Legit falls lethally short in terms of comedy. For the first few episodes or so, the script is almost entirely comprised of recycled material from Jim's stand-up, with his stories being played out here, and with his diatribes spouted in everyday conversation. It simply feels lazy. Jim has stated that he never performs the same material again after recording it in a special in order to ensure that his fans have new jokes to enjoy whenever they pay money to watch him onstage. And yet, Legit drags out some of Jim's oldest jokes from five or six years ago, which have now lost their punch. Worse, this is a mainstream American television comedy, meaning it cannot be outright vulgar or feature any nudity. Swearing is present, but only very occasionally, and the bad stuff is bleeped out. Without swearing, the humour lacks bite. Onstage, it's funny to hear Jim curse frequently, especially when he blurts out the occasional "cunt." Casual viewers unfamiliar with Jim may find some of this material funny, but they'd be better served watching Jim's much funnier stand-up DVDs.

Produced by U.S. cable television network FX, an "American" disposition pervades the entirety of Legit to detrimental effect. Despite scenes involving sexual stuff, no nudity is ever allowed. Sure, it might be nasty to see a penis, but, if done properly, it could be shocking in a hilarious fashion. And it might sound childish but a brothel scene in the first episode feels way too tame, lacking sauciness. It's baffling that this show is American in the first place. After all, Jim lives in England, and has even stated in his stand-up that he prefers to live in England because America is so politically correct. An English television show would have more teeth, and it would be far more colourful as well. As it is, Legit is a middling American sitcom, lacking the brilliance and wit of classic shows like Scrubs or Friends.

Another underwhelming aspect about Legit is, alas, Mr. Jefferies himself. It's not that he's terrible - he's just "meh." To illustrate why, compare Legit to Ricky Gervais' new show, Derek. In it, Gervais and non-actor Karl Pilkington play actual characters and stretch their range, which is intriguing and entertaining. Jim just plays himself here, and a half-hearted version of himself at that since he's unable to utter curse words. It would be interesting to see Jim attempting more actual acting, since Jim's real-life ambition is to become a screen actor.

It must be stressed that Legit is not all bad, but the drab episodes outnumber the enjoyable episodes. The show actually exhibits real promise when it moves into original material, with its third episode in particular featuring an entirely original plot and a handful of fresh jokes that successfully land. And that's the really frustrating thing about the show: it often takes off when it doesn't rely on Jim's now worn-out material. But then, just as things are getting better, Jim delivers more of his material in a really half-arsed fashion, which winds up sounding forced. By the end of the first season, Jim has just about run the gamut of his stand-up material, leaving little else for him to source in later episodes (a few of his other stories are much too racey and crude for this sitcom). Legit has been renewed for a second season, but it's difficult to feel excited about it. Nonetheless, it will be interesting to see what Jim does next and where the show leads. If, that is, I decide to keep watching it.

5.8/10

"Oh, you're just having a bad dream, that's all baby. That's all it was. Bad dreams make you think you're seeing things that you haven't."

Watching the early scenes of 2009's Triangle, you may feel like you've seen it all before. It drops a handful of standard-order characters into what seems like a slasher premise, and it looks as if the film is about to adopt the clichéd structure of people getting murdered one-by-one by a mysterious person or entity. But writer-director Christopher Smith has something different and more substantial up his sleeve, mounting a film full of Twilight Zone-level strangeness that's too delicious to spoil. Triangle is not what the trailers made it out to be - it's more like a twisty Alfred Hitchcock picture with splashes of Memento and The Prestige. But even if you watch the movie with this in mind, Triangle still defies your preconceptions.

A single mother with an autistic son, Jess (Melissa George) rarely gets time to herself anymore. With a day off, Jess agrees to spend her free time on a sailboat with a few companions, organised by casual acquaintance Greg (Michael Dorman). Also along for the ride is deckhand Victor (Liam Hemsworth), friend Heather (Emma Lung), and couple Downey (Henry Dixon) and Sally (Rachael Carpani). Unfortunately, a vicious storm suddenly hits, overturning the yacht and leaving Heather lost at sea. Standing atop their capsized boat, the survivors take refuge inside a passing ocean liner. However, the vessel seems deserted, and Jess cannot shake feelings of unease as she wanders the eerie hallways.

Triangle was the brainchild of Christopher Smith, who previously helmed the Danny Dyer vehicle Severance and 2004's Creep. Smith reportedly spent two years working on Triangle's script, hashing out the narrative and meticulously planning every twist and turn. Hence, this is not your stereotypical throwaway horror-thriller with little lasting value. On the contrary, Smith creates a mesmerising ride that pulls the rug out from underneath you whenever you think you've figured out what the hell is happening to these characters. Psychological concerns also underpin the story, as Smith explores how much you would be willing to endure to be with somebody you love, or to correct your mistakes.

Smith stated that he was influenced by 1994's Pulp Fiction, with its play on time, and Stanley Kubrick's The Shining, with its claustrophobic atmosphere within an isolated location. It seems the director also took influence from 1962's Carnival of Souls, and there are a few similarities to Donnie Darko. Triangle is competently constructed by Smith, who displays a firm grasp on tension-building and mise-en-scène. The initial period onboard the ocean liner is unbelievably creepy, with empty, dank hallways and a lingering sense of mystery that grabbed this reviewer's attention. Triangle never concentrates on gore but nevertheless provides an unflinching front-row seat to a nightmare in progress. The cinematography by Robert Humphreys is a huge strength, and the movie is filled with striking imagery. If there's anything to be criticised, it's the CGI, which reveals the movie's low-budget limitations. The storm resembles something from an animated film, and some shots depicting the large ship look like something from an Asylum production. It's not a deal-breaker, but such moments take you out of the movie.

Although Smith hails from England, Triangle was shot in Australia and features an entirely Aussie cast. Luckily, he coaxes marvellous performances from the actors, all of whom do a superb job of hiding their native accents. If you were none the wiser, you would believe these people to be American. At the centre of the picture is Melissa George, delivering a complex and assured performance as Jess. An attractive actress, George sells a sense of apprehension in the film's early stages and nails the character's transformation to something much darker by the film's conclusion. She's aided by a more than capable supporting cast, including Liam Hemsworth, who was taking all the work he could get at this early point in his career.

Suffice it to say, movie-watchers who like to watch films in which everything is tied up in a dainty little ribbon may not like Triangle. It's one of those movies with layers upon layers of content to examine, compelling you to rush to internet forums to discuss your interpretations and read the conclusions of others. It's the sort of film that keeps you asking questions long after the credits have expired, and one that deserves to be watched over and over again. The fact that Smith pulls off the movie with virtuoso technique is another bonus, as Triangle is atmospheric and very intense.

7.8/10

"Things are different now, I have to protect the one thing that I can't live without."

Kicking off Phase Two of Marvel's interconnected series of superhero adventures, Iron Man 3 is a raging success, a comic book movie with depth, smarts and a marvellous sense of fun. The director of the first two Iron Man pictures, Jon Favreau, did not return to helm this third instalment, and his replacement was Shane Black, a filmmaker who's been writing screenplays since the 1980s and who helped to reboot Robert Downey Jr.'s career with his superlative directorial debut Kiss Kiss Bang Bang. Black was an inspired choice for the picture, retaining his penchant for red herrings, black humour, snappy dialogue and intense action scenes. It's a change of pace for the Iron Man series and the Marvel franchise in general, yet that's precisely why Iron Man 3 works. It's pure ecstasy.

Severely traumatised following the events of The Avengers, Tony Stark (Downey Jr.) finds himself unable to sleep properly and consistently suffering from anxiety attacks that affect his relationship with Pepper Potts (Gwyneth Paltrow) as well as his public image. A new threat soon emerges in the form of the Mandarin (Ben Kingsley), a terrorist leader who takes responsibility for several bombings on American soil. When one bombing leaves Happy Hogan (Favreau) in the hospital, the situation becomes personal, with Tony setting out on a mission of revenge against the Mandarin.

From the beginning, it's clear that Iron Man 3 is a Shane Black script. Playful narration opens the picture, which evokes memories of Kiss Kiss Bang Bang, and things only get better from there. Black was actually a dialogue consultant on 2008's Iron Man; he was called upon whenever a snappy one-liner was needed, making him a logical choice to fill the director's chair in Favreau's absence. It's hardly surprising, then, that an entire script by Black (co-written by Drew Pearce) is a home run. Witty dialogue and comedy abound, yet Black perfectly balances the humour with drama and genuine stakes. Iron Man 3 is exceedingly dark - the darkest Marvel movie so far - and incorporates many of Black's distinctive idiosyncrasies. For starters, it's set at Christmastime, and a number of narrative developments and lines of dialogue wouldn't feel out of place in a Kiss Kiss Bang Bang sequel. However, the Black influence is an ideal fit for this series after the enjoyable but safe second film, and this new direction works as long as you're willing to accept that this is a different type of Marvel adventure. And there are no earmarks of studio interference; it appears that Black was never asked to dilute his vision.

As good as it was, the first Iron Man was hampered by its generic "origin story" structure, making it feel like Spider-Man with the names changed. Likewise, Iron Man 2 felt like a formulaic follow-up, ticking the proverbial superhero sequel boxes. But Iron Man 3 plots its own course; all bets are off here, with an unconventional and unpredictable story. Being unfamiliar with the comics, I cannot comment on the quality of the adaptation, but Iron Man 3 plays out beautifully on its own terms. In particular, the story arc of the Mandarin is unique and unexpected. Fans of the comics may get up in arms about the changes to the source material, but it works brilliantly in the context of this story. Iron Man 3 is a blast from start to finish, and it's easy to give into the picture's mischievous charm and delirious sense of pure fun.

Black has dabbled in R-rated territory for most of his career, having scripted movies like Lethal Weapon, The Last Boy Scout and The Long Kiss Goodnight. It appears that Black tried to transfer as many of his R-rated tendencies as possible to this flick; the action scenes are incredibly vicious and brutal, and the human body count is astonishing for a Marvel film. If you come to Iron Man 3 seeking spectacular blockbuster action, it delivers in spades. The bar is set high early into the film with a breathtaking assault on Stark's estate that will have you on the edge of your seat. But Black tops himself in the film's latter half, beginning with a jaw-dropping airborne rescue that's so exciting because it was largely the work of a parachuting stunt team instead of green-screen. Meanwhile, the climax is almost as good as The Avengers, packing emotional power and an enormous amount of multiplex-rocking action. The quality of the special effects is consistently mind-blowing, and the mise-en-scène of the set pieces is incredible. Iron Man 3 is the first Iron Man film to be presented in 3D, but the extra-dimensional effects are underwhelming. Converted to 3D instead of being shot in the format adds nothing to the experience; the fact that the film's predecessors worked just fine without 3D proves that 2D is a preferable option.

Downey Jr. continues to demonstrate that he can carry this franchise, and he once again proves to be an ideal mouthpiece for Black's razor-sharp dialogue. The beauty of Downey's performance is how multifaceted it is, conveying misery and anxiety whenever it's called for and displaying spot-on comic timing and delivery at other times. He embodies the role of Tony Stark, and it's impossible to imagine any other performer playing the character. Downey also shines in several scenes with a young boy who befriends Stark, allowing Black to insert his trademark buddy movie back-and-forth banter into the proceedings. Meanwhile, as Captain Rhodes, Don Cheadle is just as good here as he was in the second movie, and his chemistry with Downey is outstanding. Special mention also goes to Guy Pearce, who's spot-on as Aldrich Killian. Pearce makes Killian believably dorky in the film's early scenes before becoming a spellbinding and menacing presence. Then there's Kingsley, who's pitch-perfect as the Mandarin and who handles the various aspects of his role with finesse. Paltrow also impresses once again as Pepper, while Favreau looks to have had a ball here.

Surprisingly, outside of Paltrow and Paul Bettany (who voices Jarvis), no Avengers cast members appear here, though there's a surprise cameo that cannot be spoiled. The lack of Avengers tie-ins is a wise choice, though, since Iron Man 2 was so much an extended trailer for The Avengers and spent too much time setting up the Joss Whedon blockbuster. Fortunately, Iron Man 3 is its own film with its own story to tell, and the rest of the Avengers team have no relevance here.

It's an obvious recommendation at this point in the Marvel franchise, but be sure to stay until the end of the credits for an additional scene. It's an unexpected type of post-credits scene that fans may find odd, but it brings the narrative full circle, and it's a perfect way to cap off the experience. It's nearly impossible to walk away feeling dissatisfied with Iron Man 3. Armed with a fresh vision, it's arguably the best of the Iron Man trilogy, and it's a valiant follow-up to Whedon's wildly successful The Avengers. Black's film entertains from the very first frame, packing heart, sound storytelling, superb comedy and top-flight performances. It keeps getting harder and harder to justify sequels since they're everywhere these days, hence it's miraculous to witness a part three as solid as this.

8.7/10

"With all due respect, I'm the best hope you've got."

Olympus Has Fallen is the best Die Hard movie of 2013. Sure, it's not a canonical Die Hard film, but it's Die Hard in tone, spirit and structure, and it's better than the official fifth instalment in the Bruce Willis-starring franchise, not to mention it feels a lot closer to the series than A Good Day to Die Hard. Those expecting another of director Antoine Fuqua's riveting character dramas may not like Olympus Has Fallen, but action fans will find much to enjoy here; it's a generous bounty of R-rated gunfights, wit, explosions and machismo. It has its faults, and it pales in comparison to the original Die Hard, but it's nevertheless a solid, old-school action-thriller that benefits from the fine directorial hand of Fuqua. More than enough works here to ensure it's the first must-see actioner of 2013.

A former Special Ops soldier, Mike Banning (Gerard Butler) is a trusted Secret Service Agent to President Asher (Aaron Eckhart), but he falls from grace when an unfortunate car accident leaves the First Lady dead. Months later, Banning has removed himself from the Secret Service, working a mundane office job in the Treasury Department. When a delegation from South Korea arrives at the White House for a diplomatic visit, Washington suddenly falls under attack from both the sky and the ground, resulting in the deaths of innocent civilians as well as the President's entire security detail. Asher and his entourage are taken hostage by terrorist Kang (Rick Yune), who holds them in the President's underground bunker. But there's a "fly in the ointment, a monkey in the wrench" in the form of Banning, who slips into the White House unnoticed. With Kang demanding that the acting President (Morgan Freeman) remove American troops from Korea, Banning is the country's only hope.

Like 2012's Red Dawn remake, Olympus Has Fallen features North Korean terrorists battling the United States, reinforcing that NK has become the new default international villain. Conflicts with Russia have calmed down since the 1980s and the Russians have become a viable box office audience, but North Koreans are fair game, as they aren't a valuable market for Hollywood movies and nobody would give a fuck if North Korea got offended. Written by first-timers Creighton Rothenberger and Katrin Benedikt, Olympus Has Fallen incorporates several Die Hard elements, including a few scenes directly lifted from the 1988 blockbuster. It's all to nice effect, however. Under Fuqua's direction, the picture moves at a good clip, with some witty dialogue and plenty of opportunities for exciting action set-pieces. It is pretty dumb at times, and the real-world credibility is a little on the skewiff side, but the movie never calls for an unreasonable suspension of disbelief; it's pretty easy to accept everything here. Olympus Has Fallen is a clichéd ride but a smooth one.

On a less positive note, some of the digital effects are distractingly obvious; Olympus Has Fallen strived to evoke action films from the '80s and '90s, hence use of actual models would have been far more appropriate. Likewise, Fuqua adds contemporary cinematography to the old-school pandemonium, resulting in frenetic camerawork that sometimes spoils the fun. Nevertheless, the rest of the production is much more successful, particularly with Fuqua embracing the movie's R rating, spicing up the one-liners with profanity and giving the action scenes an extra punch. Fuqua has honed his gritty action-thriller chops for years, and he delivers the action here with tremendous intensity. Olympus Has Fallen is genuinely gripping from time to time, especially the extended skirmish depicting the takeover of the White House (an incredible sequence), and an armrest-clenching climax. It's a B-grade movie for the most part executed with A-grade technique.

Butler has spent too long careening from one awful rom-com to the next, and he's more alive here than he's been in years. It's a role that's perfect for his capabilities, allowing Butler to make wisecracks and break necks. He's the gruff, more skilled version of John McClane, and his performance is far more energetic than anything Bruce Willis has done in the past decade. As the North Korean villain, Yune pretty much plays the same role he portrayed in Die Another Day, and he displays sufficient menace to make the character work. Also enjoyable is Freeman, who's charismatic and badass, showing us exactly why every movie needs a touch of Morgan Freeman. Meanwhile, Eckhart makes for a decent President, showing a level of humanitarian decency that almost pushes the film into the realm of fantasy. Rounding out the cast is Melissa Leo as the Secretary of Defense, Radha Mitchell as Banning's wife, and Dylan McDermott, who makes a good impression as a fellow Secret Service agent.

Perhaps expectedly, Olympus Has Fallen is getting a bad rap for its pro-America stance, but that's an empty criticism, and it's not even completely accurate. Yeah, the heroes are American, there are some slow-motion shots of American flags, and the characters deliver some jingoistic speeches, but it doesn't feel like propaganda, as the film also depicts Secret Service agents and D.C. cops behaving like morons and dying as a result. So, yes, the movie is by-the-numbers, and the script is not airtight, but it's rare to get an action-packed adrenaline rush this proficiently assembled. It's a total blast, packing in enough escapist action and enjoyable onscreen carnage to make it an entertaining experience.

7.6/10

"Sometimes I would like to get my hands on God."

2008's Punisher: War Zone is the third attempt at bringing Marvel's infamous anti-hero to the big screen, after a bargain-basement 1989 adaptation and a 2004 picture with Thomas Jane. While this reviewer enjoyed the Jane incarnation, it underperformed at the box office, though its strong home video performance prompted sequel talks. Production on the sequel was continually delayed, which resulted in Jane departing and a whole new creative team coming on-board to reboot the Punisher series once again. One of the complaints that greeted 2004's The Punisher was its lack of actual punishing, and it seems that director Lexi Alexander heard those cries from the comic book fanboys, as War Zone is filled with carnage. Unfortunately, the storytelling nuances of its predecessor are lacking here, resulting in a perfectly serviceable slice of cheesy entertainment in dire need of a more fleshed-out script.

A former Special Forces instructor, Frank Castle (Ray Stevenson) is now a vigilante, waging a war on organised crime ever since his family were slain by the mafia. While pursuing crime boss Billy Russoti (Dominic West), an undercover FBI agent is inadvertently killed and Billy is left horribly disfigured. Castle is unable to forgive himself for the FBI casualty, trying to make amends with the agent's widow (Julie Benz) and thinking about retiring as The Punisher for good. However, Billy is soon back on his feet, rechristening himself as Jigsaw and teaming up with his insane brother Loony Bin Jim (Doug Hutchison) to wreak havoc on the city, which compels Castle into action. Meanwhile, a couple of cops (Colin Salmon and Dash Mihok) attempt to track Castle down with plans to arrest him.

To the credit of writers Nick Santora, Art Marcum and Matt Holloway, Punisher: War Zone is a more faithful cinematic incarnation of the comic book mythos than the previous two attempts. It's clear that the film was engineered by people who've actually read a Punisher comic, with Castle's backstory taken directly from the pages of the books, and with Castle getting assistance from his weapon supplier Microchip (Wayne Knight). The problem with War Zone is the trite aspects of its screenplay, as it's full of forgettable dialogue and the storytelling is underdone. Jigsaw even makes the hopelessly clichéd statement "Billy is dead. From now on, you call me Jigsaw." Hensleigh's picture gets flack for its extensive runtime, but its patience is one of its strengths, giving Castle the chance to be more snide in his punishing through crude acts of trickery and deception. Here, Castle doesn't exhibit the same creativity, instead going all-out with guns and mayhem. If taken as a pure cheesy action ride, War Zone does deliver; it's just that it could've been a true keeper and the definitive Punisher adventure if more attention was paid to the in-between stuff.

Alexander is clearly a Punisher fan herself, as she worked to recreate a cinematic look which mirrors the comics. Thus, the colour palette is uniquely comic book-esque, and the cinematography is dark and moody, reminiscent of 1994's The Crow. Moreover, War Zone is full of bloody chaos offered up with glee. A Punisher movie could never be PG-13, and Alexander knew this, dishing up a blood-and-bullets extravaganza that goes bonkers with violence and gore. It's a bruiser of an action movie, evoking the spirit of the '80s in its action (think 1985's Commando). Better, the set-pieces are competently assembled, devoid of shaky camera and rapid-fire editing. It's great to be able to discern what's happening without getting a migraine. Fortunately, while War Zone has enough gore to rival a Saw film, it's presented well, with a comic book tone that never lets it spill over into the realm of despicable bad taste. It's more of a grin-and-enjoy actioner, rather than repulsive gore-porn.

Stevenson is The Punisher; he has the perfect build and demeanour for the role, and represents the most faithful cinematic incarnation of the comic book character to date. The actor looks relentless, going about his business of punishing without compunction, and looking completely casual as he tears into his opponents. It seems foolhardy to compare Stevenson and Jane though, as both actors do a superb job on their own merits as Castle/The Punisher, and each possess strengths and weaknesses. Also in the cast here is West, who gleefully hams it up as Jigsaw, while Hutchison chews the scenery with gusto. Many have compared West and Hutchison to Heath Ledger's Joker, even going so far as to claim that the actors were directly inspired by Ledger. Contrary to fanboy belief, the movie was conceived and shot a long time before The Dark Knight was released, and - shock horror - movies were actually made before The Dark Knight. The rest of the cast is pretty forgettable, though Knight makes a nice impression as Microchip.

In a nutshell, Punisher: War Zone is a comic book adaptation motivated by gratuitous violence. It may be difficult to respect the film in a serious sense, but it is a good fun time if you're part of the target market, an orgy of brutality delivered at just the right frequency to provide an evening of easy-going, popcorn-munching entertainment. It harkens back to the action genre's heyday, coming across as a B-grade '80s film executed with A-grade production values and a slick budget. And yes, it works as pure fun, but it's too bad that other aspects of the script were mistreated and rushed out the door.

6.2/10

"60 years ago, Earth was attacked. We won the war, but they destroyed half the planet. Everyone's been evacuated. Nothing human remains. We're here for drone repair. We're the "mop-up crew"."

Helmed by Joseph Kosinski (TRON: Legacy), 2013's Oblivion is a striking visual feast, displaying remarkable attention to detail in production design and cinematography. It's a pleasure to watch the effort unfold on a large screen, as the picture's aesthetics are a marvel to behold. And despite Oblivion being marketed as an action fiesta, it's more of a patient, old-fashioned sci-fi film that only indulges in a handful of blockbuster moments. Kosinski's film possesses all the right ingredients to become an instant genre classic, but unfortunately, it falls far short of its potential. Despite its ambitious ideas and lavish visual construction, it's a thoroughly hollow effort, and the screenplay is cobbled together from so many other familiar movies that every plot point and twist is visible from miles away.

In the year 2077, Earth is a desolate wasteland as the result of a war involving aliens that poisoned the planet. The majority of Earth's population now resides on the moon Titan, while a corporation oversees the rehabilitation of the planet, using drones that patrol the land in search of leftover alien invaders. Jack Harper (Tom Cruise) and Victoria (Andrea Riseborough) are tasked with maintaining the drones on Earth while their superior Sally (Melissa Leo) watches them from afar. The daily rounds are growing tedious for the pair, though only two weeks remain before their tour ends, and they can join the rest of the human race on Titan. Despite having his memory wiped, Jack dreams of life before he was born and of a woman he's never met. When a deep-sleep space capsule crashes nearby containing Julia (Olga Kurylenko), the very woman he's been dreaming about, Jack's life is suddenly thrown into turmoil, leaving the worker baffled and desperate for answers.

If Duncan Jones' Moon was produced for $120 million and was aimed at the blockbuster market, it would look exactly like Oblivion. In fact, Oblivion comes across as a beat-by-beat remake of the earlier film, right down to the main narrative twist, the message of corporate greed, the ostensibly isolated setting, and even minor plot details (in Moon, the protagonist was nearing the end of his service contract, and so is Jack here). Although Kosinski reportedly pitched his film in 2007, it's hard to ascertain just how much of this stuff was in his initial pitch, as the project was developed over a full six years. Sure, it's hard to tell an original story since practically everything has been done, but there's a difference between reusing clichés and reusing big twists. It's the equivalent of someone using the twist of Psycho or The Sixth Sense for a thriller. Unfortunately, the rest of Oblivion is just as derivative, taking cues from Planet of the Apes and WALL-E, while the climax is a mix of Independence Day and 2001: A Space Odyssey. Unoriginality is not a big problem per se, but Kosinski never enlivens the material; it lacks a touch of soul.

On the positive side, it's easy to be impressed by Claudio Miranda's superlative cinematography, which makes good use of the beautiful production design and eye-catching Icelandic locales. The score by French outfit M83 is also a solid inclusion, though it sounds distinctly influenced by Hans Zimmer. Certainly, Oblivion is competent enough, engaging for isolated sections of time and containing several standout sequences. The script is a misfire, but at least the finished picture is easy to consume, and unfussy movie-goers may find something of worth, especially since the film is not as brainless as Hollywood's regular output. Yet, the experience as a whole remains underwhelming, as it's an emotionally empty experience and the deliberate pacing does not always work. It's quite astonishing that the film is as flat as it is, considering Michael Arndt (Toy Story 3) and William Monaghan (The Departed) were involved in the writing process.

Cruise may now be fifty years of age, but he's still working furiously to maintain his movie star status. Oblivion allows the actor to pull off the usual action movie stuff: driving fast, posing while beautifully lit, running away from explosions, using firearms, and so on. There's even an aerial chase that reminded this reviewer of Top Gun. Cruise haters may dislike his performance, but he's good enough as Jack Harper. Meanwhile, unfortunately, Morgan Freeman is not the lead he was marketed as being, showing up in a phoned-in performance that takes up fifteen or twenty minutes at most. And whenever he's on-screen, Freeman just delivers obvious exposition. It's a wasted opportunity. The rest of the actors are serviceable if unspectacular.

As an exercise in production design and sound effects, Oblivion is a success, as the movie always looks handsome. In fact, it's surprising that the film wasn't in 3D, especially considering Kosinski was responsible for the 3D TRON sequel. Despite the movie's visual strengths, the lack of imagination in other areas reduces the overall value. It's too distractingly familiar and empty. Moon was produced for a substantially smaller sum, yet it contains humanity and soul, two things lacking in Oblivion.

6.1/10