Reviews by PvtCaboose91

"Thanks for the effort..."

There's plenty for horror enthusiasts to enjoy about 2002's Ju-on, a Japanese horror film that made a lot of waves around the world upon release and was frequently compared to 1998's Ringu. Directed by Takashi Shimizu, this is a well-made genre offering which provides a handful of thrills and chills within a fascinating narrative framework. It's a stylish haunted house story, benefitting from an array of creepy images and competent cinematography. Nevertheless, the hype is perhaps a bit on the hyperbolic side; Ju-on never quite attains excellence.

The term "ju-on" comes from Japanese legend; it is a curse that's born from a person who dies in a fit of rage. The curse of the movie was born when a jealous husband killed his entire family under the belief that his wife loves another man and his son is not actually his blood. Subsequently, their home becomes a contagion of evil, infected with a curse prepared to claim all those who come into contact with it. Ju-on is divided into six parts; it's a Pulp Fiction style anthology of stories involving an array of characters who become affected by the curse. It flashes backwards and forwards in time, revealing the fate of each of the characters, how they come to enter the house, and how they meet their end. The most prominent story arc concerns social worker Rika (Megumi Okina), who is sent to take care of an elderly woman in a vegetative state. She finds the house in complete disarray, and it doesn't take long for the sinister ghosts to make an appearance.

Ju-on suffers from storytelling and pacing difficulties, as it's not as bone-chillingly atmospheric or as enthralling as something like Ringu. When it dabbles in scares, it definitely delivers, but the in-between stuff is a mixed bag. Perhaps this is due to the fact that multiple stories are being told - we are never given a well-developed central character to latch onto. While Rika is the protagonist in theory, we do not get to know much about her as a person; she blurs into the other characters in the film, all of whom are thinly-sketched and at times barely distinguishable. Moreover, due to all the jumps in the timeline, Ju-on is at times confusing and difficult to follow. Although the structure is inventive since it theoretically allows for continual payoffs as it jumps from short segment to short segment, the end result is so-so.

On the upside, writer-director Takashi Shimizu displays more innovation than most Hollywood horror pictures, relying a lot on soundscape and creepy visuals. Ju-on was originally a made-for-TV production helmed by Shimizu, hence this was the filmmaker's shot at remaking his own film with the freedom of a bigger budget and theatrical distribution. And afterwards, Shimizu also helmed the American remake produced in 2004. How's that for enthusiasm towards improving one's work? While this particular incarnation falls short of greatness, Shimizu displays great skill behind the camera here, with a handful of impressive special effects sequences and effective use of eerie sounds.

At the end of the day, Ju-on is more creepy than outright terrifying, but it is a worthwhile addition to a genre that has grown increasingly formulaic and lazy. There's nothing especially damaging or wrong about the film, but it doesn't exactly break new ground either. Horror fans should check it out for sure, though more casual or passive viewers may not find a great deal here that appeals to them.

6.5/10

"But above anything else, I love the children."

Bestowing 1961's The Innocents with the label of "haunted house horror" is too simplistic, and the accuracy of such a description is debatable. An adaptation of Henry James' 1898 novella The Turn of the Shrew, this is a chilling horror feature that is notable for its brilliant ambiguity. When first released, Twentieth Century Fox billed The Innocents as a horror film for the adult moviegoer since it is a serious and intellectual piece of work rather than anything salacious, profane or cheap. Like 1963's The Haunting and 2001's The Others, this is a film that methodically develops tension and atmosphere, relying on what is unseen instead of rubber monsters or special effects. Although there is undoubtedly a place for more simplistic mainstream horror movies, The Innocents looks unique and refreshing in comparison.

After accepting a position as a household governess, Miss Giddens (Deborah Kerr) is charged with taking care of cute orphans Flora (Pamela Franklin) and Miles (Martin Stephens) at their uncle's luxurious mansion in the English countryside. It's a beautiful estate surrounded by luscious gardens and ponds, and a live-in housekeeper, Mrs. Grose (Megs Jenkins), oversees the vast house. Although everything seems innocuous at first, Miss Giddens is disturbed to learn that the family's previous governess, Miss Jessel (Clytie Jessop), died under unusual circumstances. Before long, Miss Giddens begins to see and hear strange things around the estate, leading her to believe that the property is haunted by the ghost of Miss Jessel and her late lover, Quint (Peter Wyngarde). As the normally innocent behavioural patterns of the children begin to change and grow more devious, Miss Giddens begins to suspect that the spirits of the dead may be possessing them.

The Innocents presents a haunting in the truest sense. Forget your contemporary perception of horror and forget about digital effects to illustrate implausibly over-the-top ghosts, as director Jack Clayton's horror opus is all about mood, atmosphere and eerie sounds. The Innocents benefits from its impressive gothic art direction, while the black-and-white cinematography by the masterful Freddie Francis (The Elephant Man) is extraordinary. Francis's composition and use of controlled lighting and shadows impress the most, turning what could have been just another forgettable horror film into a genuinely artistic piece of work. Director Clayton maintains the pervasively creepy atmosphere throughout the film, which is also a credit to the chilling original score by French composer George Auric (The Wages of Fear, Rififi).

The screenplay by Truman Capote and William Archibald is marvellous, as the film is deliberately unhurried and rich in engaging chatter. The Innocents is a small-scale picture that feels more like a stage play than a theatrical feature film, and this may leave impatient contemporary horror fans twitching in their seats. However, those with the appropriate attention span will find themselves engrossed in this scary picture as Clayton guides the narrative with a steady hand. Another notable aspect is the use of silence and eerie music to set the mood. The main tune is haunting, playing as an overture at the beginning to establish the tone. Additionally, The Innocents closes on a commendably uncertain note, with Clayton leaving us to decide whether the house is haunted or whether the sheltered, sexually repressed Miss Giddens is, in fact, going insane. Scholars will probably continue to debate the film for years, a true credit to the filmmakers who provide enough evidence to support conflicting theories.

Deborah Kerr was forty here, and she looks too old for the part of the twenty-year-old Miss Giddens. Nevertheless, she is a beautiful woman, and she is effective in the role thanks to her masterful acting prowess. Kerr is attention-grabbing from start to end, and she's extremely good at conveying mental deterioration, frustration and isolation. Fortunately, a terrific cast surrounds Kerr. Talented child actors are hard to come by, yet Franklin and Stephens are excellent as the characters of Flora and Miles, who are part angel and part devil. Stephens is the standout; he's a powerful child star, calling upon an astonishingly broad range of emotions and selling the various aspects of his character. Meanwhile, Megs Jenkins is also great as the housekeeper.

The Innocents admittedly looks dated to a certain degree in 2013, with a few patches of strictly ordinary filmmaking and an opening credits sequence that is a bit on the weak side. Nevertheless, this is required viewing for horror enthusiasts and budding filmmakers, as it is a masterclass on how to generate hair-raising thrills and chills without resorting to gore or excessive special effects. Sure, those things have their uses, and numerous successful horror films employ such techniques to terrifying effect. But not many linger on the mind or deliver the same staying power as The Innocents, which stimulates your intellect on top of raising the hairs on the back of your spine.

8.2/10

"You can only save one. Hurry up and make up your mind."

To some, 2010's Aftershock may appear to be China's answer to Roland Emmerich's 2012, but nothing could be further from the truth. Not a lavish spectacle merely concerned with visual effects, this is a potent character-based drama that finds time for well-earned tear-jerking. Upon its release, Aftershock became the second highest-grossing film in its home country of China, earning an astonishing 673 million yuan (around $100 million USD). Watching the movie, it is easy to understand the appeal. Aftershock goes above and beyond the call of duty, and it's genuinely rare to come across motion pictures as dramatically satisfying and emotional as this. The icing on the cake is that its production values are on the same level as any big-budget Hollywood blockbuster.

In 1976, a 7.8 magnitude quake struck the industrial Chinese city of Tangshan. It was a devastating event, destroying countless buildings and accumulating a death toll of approximately 240,000. This film shows us a family who are caught in the quake, with mother Li Yuanni (Xu Fan) losing her husband amid the chaos and facing the possible death of her two children, daughter Fang Deng (Zhang Zi-feng/Zhang Jingchu) and son Fang Da (Zhang Jiajun/Li Chen). Both are trapped in the rubble of their home, and saving one of the children by lifting a concrete slab will crush the other. Faced with a tough decision, the distraught Yuanni chooses for her son to be saved. Later, Deng's body is pulled from the rubble and left for dead, but miraculously, she later wakes up. Unaware of where her mother or brother are, and having heard her mother's decision, Deng winds up being adopted by a loving family. Over the following thirty-two years, she lives with her new family, never attempting to find her family or even try to contact them to let them know that she is still alive. Meanwhile, Fang Da grows up and becomes successful in his career, but his mother finds it difficult to move on with her life, unable to forgive herself for her decision.

Aftershock is not a disaster movie in the Hollywood sense, with the title actually referring to the emotional and psychological scars of the earthquake victims in the years following the earthquake. Hence, most of the narrative examines the central characters' lives as they deal with their grief. Running at a substantial 130 minutes, the screenplay is expansive in its exploration of each character, delving into familial drama and coming-of-age scenarios. Consequently, we grow to care about the characters and we get an intimate window into their lives, observing how the events in 1976 forever altered their lives. However, Aftershock falls short of perfection. Due to the lengthy running time, it feels overlong, with some dramatic scenes that could have been trimmed or excised altogether. Worse, Fang Deng marries a Canadian lawyer named Alexander (David F. Morris), and the English-language scenes set in Canada are positively ghastly. Performances are incredibly stilted and awkward, and it sounds like all the dialogue was dubbed. It's genuinely terrible stuff that sticks out like a sore thumb. A huge dramatic development towards the end of the movie is rushed, as well - it seems as if a critical scene is missing, which may leave you baffled.

Aside from the English-language performances, the actors are otherwise top-flight, brimming with honesty and humanity. Each performer handles the material's emotional requirements with confidence, and they always feel desperately human, making it easier to connect with them. The earthquake happens quite early in the film, and the result is horrifying in its immediacy. Peter Jackson's Weta Workshop was behind the special effects, and it is easy to recognise their meticulous digital craftsmanship throughout the chilling earthquake sequence. Buildings collapse, debris falls all over the place, and people are crushed in harrowing ways. It's one of the most jaw-dropping and enthralling earthquake portrayals ever portrayed in cinema. The images of the aftermath are just as extraordinary, with extensive sets and superb make-up. All the more impressive is the fact that Aftershock was produced for a scant sum amounting to approximately $25 million USD. That this technical luminosity was achieved on a meagre budget is nothing short of a miracle.

It's hard to refrain from crying or at least shedding a tear during Aftershock, as it's an emotionally powerful motion picture that does not rely on cheating or manipulation. It never feels like director Xiaogang Feng is twisting the knife or taking delight in evoking emotion. Instead, Fend earns the emotion through powerful performances and superlative craftsmanship. Aftershock also celebrates the resilience of the Chinese citizens. Their collective loss and grief were so huge, yet they bandied together selflessly to save lives and do good deeds in times of great tragedy. And since the movie refuses to make the earthquakes the primary focus, it in no way feels exploitative. This is a magnificent film.

8.1/10

"There's just something in our marriage that hasn't quite...clicked"

In the grand pantheon of trashy, lazy romantic comedies, 2013's I Give It a Year is not bad. By no means is it great or even overly memorable, but neither is it terrible. Written and directed by Borat and Bruno scribe Dan Mazer, this is a rom-com that benefits from clever plotting and a great cast, though it never quite manages to attain brilliance due to leaden pacing and lack of heart, not to mention the humour often lacks bite. I Give It a Year actually comes from the studio mills of Working Title, who were responsible for Four Weddings and a Funeral and Bridget Jones' Diary, among others. It's a far cry from its cinematic cousins, but I Give It a Year is nevertheless worth seeing if there's nothing better to watch.

Striking up a whirlwind romance, Nat (Rose Byrne) and Josh (Rafe Spall) end up getting married even though their respective families and friends believe the pair to be completely unsuitable for one another. Fast-forward nine months, and the formerly happy couple are in marriage counselling with an embittered councillor (Olivia Colman). In flashback, we see key events which led to their marriage crumbling, as Nat and Josh quickly realise they have different interests. At work, Nat also meets charismatic, rich American industrialist Guy (Simon Baker), and pretends to be single in his presence. Meanwhile, Josh's cute former flame Chloe (Anna Faris) re-enters his life and may still have feelings for him, further complicating matters.

To his credit, Mazer's narrative is not as clear-cut and predictable as a typical American rom-com, as the ending is welcomely unconventional. You see, whereas a regular rom-com is out to convey the message that marriage can always work and opposites attract, Nat and Josh simply do not work as a couple, and the message here is that opposites pull apart. It's a superbly refreshing angle for a rom-com to adopt, but Mazer nevertheless falls victim to various other conventions of the genre: a crude male best friend (here played by Stephen Merchant), the typical make-up scenarios, and so on. To his credit, however, Mazer does have fun with the time-honoured cliché of a last-minute dash to the train station, subverting the stereotypical scene in a clever fashion.

The problem with the whole enterprise is its distinct lack of quality belly-laughs. Unfortunately, all of the best jokes were in the trailer; the rest of the movie is middle-of-the-road, with a few guffaws here and there but nothing spectacular or memorable. Hell, some of the funniest parts of the trailer were even excised for the final cut. Mazer cut his teeth writing for Sacha Baron Cohen vehicles, hence it's disappointing that the film isn't funnier. This is not to say that I Give It a Year doesn't have its charms, though - isolated scenes and moments do shine, including all of Merchant's scenes, a hysterical moment in which Colman shrieks at her husband through the phone, and various other bits and pieces. Problem is, there's not enough of an emotional through line, and it's difficult to truly care about the characters and get invested in their situation. The film's poster invites comparisons to Four Weddings and a Funeral since the films share common producers, but I Give It a Year pales in comparison to Richard Curtis' early '90s classic, which was witty, heartfelt and had great characters.

As for the actors, Spall and Byrne are average at best. Both of them are pleasant enough, but they lack the type of spark which characterises all the best rom-com performers. The supporting cast are the ones who steal the show here, with the aforementioned Merchant superbly playing Josh's inappropriate, socially inept best friend, and with Colman who's riotously funny as the unhinged marriage councillor. Faris, who's visibly starting to age, is a good fit for Chloe, soft-spoken and meek. Rounding out the main players is Minnie Driver, and Australian actor Simon Baker, both of whom are serviceable.

Ironically, for all its attempts to subvert the romantic comedy subgenre, I Give It a Year ends up being just as ordinary and forgettable as every other average genre exercise. It's a shame, as well, because the movie could've been something extraordinary if it carried the same weight, power and poignancy of something like (500) Days of Summer, which similarly uprooted rom-com clichés in an effective fashion. Instead, I Give It a Year is watchable and has its charms, but it had the potential to be superior.

6.2/10

"Nikki's waiting for me to get in shape and get my life back together. Then we're going to be together."

Although it's a tad overrated in some circles, Silver Linings Playbook is a fine piece of filmmaking engineered by acclaimed director David O. Russell, whose 2010 feature The Fighter earned him a few Oscars and a truckload of box office dollars. Here, Russell fundamentally melds the screwball comedy of I Heart Huckabees with the dramatics and the uplifting disposition of The Fighter, and it's a concoction that works. Written by Russell himself, Silver Linings Playbook is an adaptation of Matthew Quick's novel of the same name. It's a story which deals with the delicate subject of mental illness in a respectful fashion, and it manages to alternate between poignant and light-hearted with a sure hand. Best of all, it's not a pretentious art-house production but rather an accessible motion picture with heart and laughs.

Philly native Pat Solitano (Bradley Cooper) has lost everything. After spending eight months in a psychiatric facility with acute bipolar issues, Pat returns to his parents Delores (Jacki Weaver) and Pat Sr. (Robert De Niro). However, his wife Nikki (Brea Bee) has a restraining order against him, he cannot return to his job, and he no longer owns his own house. Pat's sole focus is on reuniting with Nikki, hence he sets out to rehabilitate himself and get himself fitter in order to convince his estranged wife to lift the restraining order. At a dinner with friends, Pat is introduced to Tiffany (Jennifer Lawrence), a young widow with issues of her own who's having a tough time letting go. The two semi-outcasts soon begin to bond, with Tiffany simply wanting a friend and Pat hoping to use her family connections to get in touch with Nikki. Soon, Pat finds himself entering a dance competition with Tiffany in exchange for her agreement to pass a letter onto Nikki on Pat's behalf.

The only flaws of Silver Linings Playbook are script-related. Take away the offbeat predilections of the central characters, and the result is a pretty generic romance flick, with the proverbial meet-cutes, falling outs, misunderstandings and make-ups that we see all the time. Moreover, the film does feel its two-hour running time, with a few patches of rocky pacing and an awkward sequence in the third act when the Philadelphia Eagles unnecessarily become a focal point. The Eagles stuff does underscore Pat Sr.'s OCD disorder, but it has too much of a presence in this story ostensibly about Pat and Tiffany, taking away focus from what matters the most. Shortcomings aside, Silver Linings Playbook is a marvellous motion picture, and the formulaic nature of the romance actually translates into an engaging viewing experience with a few interesting twists on the proverbial clichés. Best of all, Russell manages to negotiate the film through its tonal shifts, switching between comedy and drama without making the enterprise feel as bipolar as its protagonist. And the film does not feel schmaltzy or manipulative; it earns its emotion.

Not since Reds back in the early 1990s has a motion picture earned Oscar nominations in all acting categories. Cooper, Lawrence, De Niro and Weaver were all nominated for Oscars, and it's easy to see why. Cooper, who has recently become a big star, too often exudes an aura of smarminess that harms his charisma, but he's truly transformed himself here. He's such a nuanced and likeable presence, dialling down his regular tendencies to the extent that it's like watching a different actor to the one who starred in Wedding Crashers and The Hangover. Meanwhile, coming off her huge success as the lead in The Hunger Games, Jennifer Lawrence delivers her most adult performance to date here, proving she can handle more than just effortless teen roles. She's beautiful and charming, and it's easy to like her despite her darker side. Lawrence picked up an Oscar for her work here, and deservedly so.

Silver Linings Playbook also welcomes De Niro back into the land of the living; the actor is back in fine form after sleepwalking through almost every film of his for over a decade. He expands his dynamic range, convincingly playing Pat Sr. and pulling off obsessive-compulsive disorder in a remarkable fashion. Jacki Weaver (Animal Kingdom) is every bit as impressive as her co-stars, playing Pat's mother in a loving, believable fashion. But the accolades don't stop here; Bollywood star Anupam Kher is terrifically engaging as Pat's psychiatrist, while John Ortiz does great work playing one of Pat's best friends. Also of note is Chris Tucker in his first film appearance outside of the Rush Hour franchise in fifteen years. Tucker is astonishingly great in the role of Danny, a fellow mental institution patient who developed a friendship with Pat.

Mental illness is a sensitive topic for a motion picture, especially a comedy. In the wrong hands, such a movie would result in a disrespectful, moronic and overdone depiction of mental disorders. Fortunately, Russell handles the subject in a masterful fashion, and the result is a well-made, crowd-pleasing dramedy spotlighting superb performances and an adept mix of pathos and humour.

8.1/10

"When I talked to the highway patrolman, I asked him "Is this a rare occurrence or does this happen a lot?" And he looked and me and he sort of smiled and he said, "It happens all the time.""

2006's The Bridge begins with a montage of serene everyday goings-on at San Francisco's Golden Gate Bridge. Here, director Eric Steel lulls us into a false sense of security through peaceful shots of birds flying over the water, waves breaking into the harbour, and pedestrians conducting their ordinary business. But then, a middle-aged man climbs over the tiny barrier at the side of the bridge and leaps into the abyss below without a moment's hesitation. You might initially believe that this scene is the result of elaborate stunt work or digital effects, but it is the real deal. It sets the tone for what is about to come. And if you cannot stomach this staggering initial footage of an actual suicide, you will not be able to deal with the rest of this ghoulish documentary, which contains authentic footage of numerous suicides.

The Golden Gate Bridge holds the dubious distinction of being the world's most popular suicide destination, with citizens leaping off the bridge once a fortnight on average. Throughout 2004, Steel and his team set up cameras on both the north and south sides of the bridge, recording all day for the entire year to capture images of people falling into the water below. During the year, twenty-four people committed suicide, and Steel's team caught twenty-three of them on camera. It is powerful and confronting, even though we often only see a splash or a close-up of a tiny human blur falling out of frame, with the camera operator struggling to follow the jumper. The Bridge is by no means an exploitative snuff film, however. Steel also recorded hundreds of hours of interviews with the families and friends of those who took their lives, and this material is intercut with the suicide footage to explore possible motivations and give us a portrait of several of the jumpers and the impact of their actions.

Steel wisely eschews voiceover narration, and he uses well-judged soundtrack choices and straight-to-camera testimonials with interviewees without the aid of spoken questions. It may make the structure feel more jumbled, but it turns The Bridge into a genuine experience and a mood piece. Moreover, Steel doesn't baulk from exploring the possibility that some jumpers do not deserve our pity. It is often said that suicide is selfish, especially if it's a public suicide that will permanently disturb the strangers around you. Steel interviews a family of bystanders who witnessed one of the suicides, and the film emphasises that someone's death wish destroyed this family's pleasant day out. As a consequence, the children will forever be traumatised. A less skilful documentary would paint the jumpers in a far more sympathetic light, but The Bridge presents differing perspectives without bias and lets us judge the people for ourselves.

One of the most effective constituents of The Bridge is the testimony of Kevin Hines, a young man who jumped off the bridge in the year 2000 but ultimately decided he wanted to live while falling. Hines managed to survive the fall with severe injuries and went on to become a spokesperson for suicide and mental health. The Bridge also explores the story of Gene Sprague, one of the men who jumped in 2004. We hear fragments of Gene's story sprinkled throughout the movie, occasionally seeing glimpses of Gene as he paces back and forth on the bridge, the wind whipping his long black hair. At the film's end, we finally see him climb over the railing and fall into the waters below. We may have seen numerous suicide images before this moment, but it is a wholly different experience after the film allows us to acquaint ourselves with Gene and spend so much time with him. In the end, it is unbearable to see Gene end his life.

Despite the film's strengths, there is simply not enough here. It feels as if Steel did not go far enough, as he could have delved into the problem of suicide more deeply by including interviews with experts discussing the psychology behind the jumpers. Considering this is Steel's first documentary effort, though, The Bridge is a remarkable, eye-opening experience. It's sad and moving, and it will linger in your mind long after viewing.

8.1/10

"You fucked up my day off!"

Although Arnold Schwarzenegger briefly featured in both Expendables pictures, the Austrian Oak has not had a leading role in a film since 2003's Terminator 3: Rise of the Machines. 2013's The Last Stand is Arnie's big comeback vehicle after the star gave up acting for a career in politics, and it's a sensational return to business as usual for the behemoth. Although Arnie is older and less agile than he used to be, The Last Stand finds him doing what he does best. Immensely enjoyable, this is a resolutely old-school Schwarzenegger action flick - it's got quality one-liners, badass action set pieces and eccentric sidekicks, and a surprisingly strong plot ties it together. Best of all, the whole thing was overseen by Korean director Ji-woon Kim, making his English-language debut following several diverse films, including the offbeat Western The Good, the Bad, the Weird and the magnificent action film A Bittersweet Life.

During a prison transfer, powerful cartel leader Gabriel Cortez (Eduardo Noriega) is broken out of custody by his loyal goons, which sends the FBI into a fit of panic. Aiming to cross the border into Mexico, Cortez speeds through the desert in a modified sports car, waiting for a team of his subordinates to create a makeshift bridge to allow him to leave the country undetected. Word soon reaches the ears of dedicated lawman Sheriff Ray Owens (Schwarzenegger) that Cortez will pass through his small, serene town of Sommerton Junction. Unprepared to let the criminal escape without a fight, Owens rounds up a gang of deputies as well as gun-toting local nut Dinkum (Johnny Knoxville) to stop Cortez dead in his tracks.

The Last Stand plays out like a traditional Western, containing shades of High Noon and Rio Bravo in its narrative structure. Admittedly, the film is a little slow to start and some of the storytelling is leaden from time to time, but it's good fun more often than not. And, once the action kicks in, it's worth it. The final half an hour or so is dedicated to the titular last stand, with Owens and his ragtag team of deputies defending their now-fortified town as Cortez's men descend upon it. This leads to shootouts, inspired stunt work and fisticuffs, which the Korean director immaculately handles. A late car chase through a cornfield is a bit on the shonkier side due to some shaky cinematography, but the set pieces are otherwise thrilling, precise and fluid, not to mention amazingly violent. The Last Stand earns its R-rating; Kim ladles on the bloodshed, evoking the bygone spirit of '80s action cinema. It's completely badass. Additionally, Kim's direction is full of energy, and he keeps momentum building as the action unfolds. It's rare to witness such a skilfully assembled action movie, which is a credit to Kim, who was an inspired choice to fill the director's chair.

Further contributing to the entertainment value is the picture's marvellous sense of humour. On top of all the proverbial one-liners, the script has fun with Schwarzenegger's age; he pulls out glasses to scrutinise a murder scene, and he quickly grows breathless during hand-to-hand combat. The Last Stand refuses to take itself too seriously, which is why it works so well. Sure, there are stakes and the action carries a certain grit, but it's all supplemented with a fun sensibility, and you'll most likely have a big dumb grin on your face for most of the picture. And in keeping with Arnie's normal output, The Last Stand gives the big guy a number of big guns to handle. The film fetishises firearms, leading to a few nifty arming-up montages and a handful of extremely badass moments. Uptight, politically correct folks will probably be up in arms over the use of guns in the wake of recent shootings, but who cares? The Last Stand is entertainment, not a political statement.

Schwarzenegger is more of a screen presence than an actor, relying on star power rather than actual talent, and he's back in fine form here. His line delivery is occasionally wooden, as we have come to expect, but the star is a commanding presence, exuding charisma and handling the one-liners with great panache. The action legend may be older, but he's playful and assured here, reminding us why we loved him in the first place and bringing to our attention just how much we've missed him. Luckily, the supporting cast is just as strong; Luis Guzmán is very funny as one of Owens' deputies, and Jaimie Alexander makes for terrific eye candy as another deputy. Surprisingly, Knoxville is good here, too, making the most of his limited screen time as an eccentric citizen who loves guns. Knoxville gets some great comedy, and he meshes extremely well with the stern Schwarzenegger. Also of note is Peter Stormare, who sunk his teeth into his villain role here. Stormare is hammy, but it's all part of the charm of his performance. Meanwhile, Noriega is a decent enough villain, though he's not as show-stopping as some of the better bad guys Arnie has overthrown in his career. However, Forest Whittaker is a bit less successful, delivering an average performance at best.

Fans of Ji-woon Kim may walk away disappointed with The Last Stand, as it's not exactly on par with the director's best work. He's renowned for tackling different genres and bringing a sense of novelty to each of his films, whereas this is more or less a standard Arnie action film as opposed to anything innovative or genre-bending. Miraculously, though, Kim does not tarnish his filmography with this picture. Hollywood has a way of chewing up and spitting out foreign filmmakers, but this isn't the case here. If you enjoy the likes of Raw Deal, Commando, True Lies, Eraser and The Running Man, and if you're just seeking a whole lot of fun, The Last Stand will prove to be a godsend, delivering arresting action with genuine style. And it's just terrific to see Schwarzenegger back on the big screen where he belongs.

7.5/10

"That house is not fit to live in. No one's been able to live in it. It doesn't want people."

The Changeling is pure class, a rare type of haunted house movie which is genuinely effective and frightening. Directed by Peter Medak, it's a horror movie short on jump scares and violence, but it succeeds because it's deftly made and insanely atmospheric. A superb mix of horror and mystery, the film builds slowly and steadily, relying on tension and character development rather than lazy scares or gore. Due to this, mainstream horror fans may not be willing to give The Changeling a shot, but any genre connoisseur worth their salt needs to check out Medak's horror master class, as it's hands down one of the all-time great haunted house flicks.

After losing his wife and daughter in a tragic car accident while on holiday, middle-aged composer and music professor John Russell (George C. Scott) rents an old Victorian mansion owned by the local historical society. It's an enormous place, and Russell hopes that the solitude, silence and comfort afforded by the house will give his creativity a jump. But not long after moving in, strange things begin to occur, with Russell hearing odd noises and experiencing unexplainable phenomena which may indicate that the residence is haunted by a ghostly spectre. Pairing up with realtor Claire Norman (Trish Van Devere), Russell sets out to investigate the house's past, eventually learning of a troubled family history from the early 20th Century.

Though it starts out as a run-of-the-mill haunted house horror, The Changeling shifts gears into its second act, developing into more of an investigative mystery beset with twists and plot revelations. We've seen mindless poltergeists who do not seem to have much of a plan beyond scaring people, but the ghost here actually has an underlying purpose, and it's interesting to see this smart twist on typical convention. Admittedly, the haunted house elements are fairly standard-order, but the movie works because of how skilful it is. It's a scare movie with taste and intelligence, which is a rare thing to witness.

The supernatural occurrences here are very low-key, with Medak orchestrating hauntings that feel authentic. Rather than digital monsters or ghosts, The Changeling features an invisible presence. Doors are slammed, eerie noises are heard, a dusty wheelchair appears to be alive, and there's a memorable sequence involving a ball that will send chills down your spine. Also effective is a key séance scene, in which a medium attempts to communicate with the spirit and write down what it's trying to convey. The scene of Russell listening to the audio recording of the séance after the fact is the kind of stuff true horror is made of. Medak is a stylish filmmaker, employing careful photography and moody lighting to amplify the horror. Aiding Medak is composer Rick Wilkins, whose score is minimalist yet insanely creepy. The Changeling is not perfect, however. It is a well-made movie considering its budget and era, but some pieces of editing and filmmaking look dated, and the pacing is not always effective. It's a slow-burning horror, yet a good ten minutes could have probably been excised to good effect.

George C. Scott may seem like a strange choice for a horror, but he's terrific, bringing a welcome sense of legitimacy and gravitas to the production that elevates it to a higher level. Scott is a real actor's actor, an incredibly authoritative presence able to handle emotion and intensity. He conveys a great deal of sorrow after losing his family through simple expressions, and he makes his character sympathetic and likable due to how level-headed and human he seems. On top of this, Scott is great during the haunting scenes, visibly scared but never truly letting the ghosts get to him. Backing Scott is an able supporting cast, with Van Devere a pleasant female presence while Melvyn Douglas stands out in his small but pivotal role as a United States senator.

If you're seeking an old-fashioned dosage of supernatural horror, then this little-seen, underrated '80s gem will scratch that itch. Though the slow-burning nature of the movie may put some people off, it worked for this reviewer. The Changeling was made in a different cinematic era, when horror films designed for mature, patient adults was still possible. And, amazingly, no-one has tried to remake the film so far. Let's hope it stays that way.

8.3/10

"You're nicked!"

Cop thrillers are a dime a dozen these days, with most relegated to the direct-to-DVD realm while only a select few are actually deemed good enough for theatrical distribution. With both TV shows and motion pictures exploring the same type of cops-and-criminals content, the genre has no more novelty to it. Which is perhaps the biggest issue facing 2012's The Sweeney, director Nick Love's modern-day adaptation of the cop show of the same name from the 1970s. However, it's not all bad. Having never seen the original show, I cannot comment on the quality of the adaptation, but Love's movie actually works as its own standalone entity. In keeping with Outlaw and The Football Factory, The Sweeney exhibits Love's penchant for big-screen machismo, with violence, action, macho posturing and profanity aplenty. As long as you're not expecting an Oscar-worthy masterpiece which breathes fresh life into its genre, there's a lot to enjoy in this stylishly produced action-thriller.

Jack Regan (Ray Winstone) is a hard-edged London detective, a member of the unorthodox police unit known as the Flying Squad. While under scrutiny from Internal Affairs, Regan and his squad begin investigating the robbery of a jewellery store which resulted in the death of an innocent civilian. Regan and partner George Carter (Ben Drew, a.k.a. Plan B) suspect career criminal Francis Allen (Paul Anderson) is involved, but the rabbit hole goes deeper than they anticipated. Complicating matters is Jack's secretive relationship with fellow officer Nancy Lewis (Hayley Atwell), and the fact that the Squad may be shut down due to their controversial methods and their unwillingness to follow orders.

For the record, "Sweeney Todd" is cockney rhyming slang for "Flying Squad," therein justifying the title.

It's apparent Love was aiming for something akin to Michael Mann's Heat, even emulating a failed bank robbery which leads to a massive shootout spanning multiple public locations. But whereas Heat was mature entertainment which spent a large chunk of its three-hour running time exploring its protagonist's personal life, The Sweeney is more concerned with police investigation and action. Plus, Love's film is not as airtight from a scripting perspective, with the writing containing its fair share of dumb character moments and manufactured "movie" moments. Added to this, there's not a great deal of nuance or subtlety to the screenplay, which was written by Love and co-writer John Hodge (Trainspotting). Still, The Sweeney does succeed as a piece of action-thriller entertainment thanks to brisk pacing and engaging storytelling, even if everything is wrapped up way too tidily.

The Sweeney was reportedly produced on a scant £2 million budget, which translates to less than $4 million American. Frankly, it looks like Love was working with a far more generous sum, as the film carries a polished, expensive look which is easily as impressive as any $50 million actioner. Most notable are the fluid, hard-hitting shootouts, including an intense fire-fight through Trafalgar Square and a nail-biting cat-and-mouse in an underground car park. Though Simon Dennis' cinematography is at times on the shaky side, it's tolerable for the most part, and the slick photography is complemented by crisp sound editing and Lorne Balfe's thunderous Hans Zimmer-inspired score. Interestingly, the Top Gear crew apparently filmed some of the car chases. Now that's being efficient and creative with one's budget.

Those outside of England may have trouble understanding the actors here, as the accents are thick and the characters spout an endless array of peculiar Pommy slang. At the centre of the film, Winstone is a terrific protagonist, with just enough charm to let us like him in spite of his character's downfalls and immoral tendencies. Drew, meanwhile, is strictly okay as Winstone's partner in crime. He has the right physicality to be a police officer, but he's not always credible as a gun-toting tough guy. Hayley Atwell (Captain America: The First Avenger) also appears here, and she's predictably lovely as Nancy. Also of note is Paul Anderson (what an unfortunate name...), who's effective as one of the villains here.

As perhaps to be expected since the film is based on a television show, Love visibly has franchise potential in mind, as the ending leaves room wide open for further adventures of these characters. It's an appetising enough offer, but it's doubtful that the underwhelming box office performance will have investors clambering for more. In final analysis, The Sweeney is an entertaining, hard-boiled thriller; the action is arresting and the film was assembled with panache, but it's nevertheless not narratively complex or intricate enough to rise to the same level as The Departed or Heat.

6.9/10

"Nobody could've landed that plane like I did."

Though Robert Zemeckis has spent the last decade dabbling in motion-capture and animation, his skills as a live-action director have not diminished in the slightest. Returning to live-action for the first time since Cast Away, 2012's Flight is one of Zemeckis' most thematically heavy, dark and outright dramatic picture in years, dabbling in R-rated territory (an area very rarely explored by the filmmaker) as he deals with addiction and the grim side of humanity in an uncompromising fashion. Due to this, Flight is not an especially pleasurable viewing experience, and movie-goers expecting fluffy entertainment should look elsewhere. Nonetheless, this is a competently-produced and superbly acted motion picture which deserves to be seen by a wide audience.

Airline pilot Whip Whitaker (Denzel Washington) has unparalleled expertise when at the controls of a plane, but he's a compulsive alcoholic and cocaine user unable to control his addictions. On a routine trip one morning, Whip's plane begins to fall apart in the air, sending it into a dive. Whip manages to save the plane in a miraculous feat of skill, bringing the aircraft down onto an empty field, killing only six of the 104 people aboard the flight. Whip is immediately branded a hero due to the amount of lives he saved, but he seeks to elude the spotlight and battle his personal demons without consistent media exposure. When a blood test shows that Whip was high on cocaine and was over the legal alcohol limit on the day of the flight, corporate lawyer Hugh Lang (Don Cheadle) is brought in to keep Whip out of prison and prove that the airline manufacturer was at fault. As Whip begins to rehabilitate, he befriends a junkie named Nicole (Kelly Reilly) who similarly wants to clean up her act.

Your response to Flight depends on your expectations. Despite the initial crash being a focal point of the trailers and advertisements, it happens about half an hour into the picture, and what follows is not a typical survival or disaster movie. Rather, the rest of Flight's story concerns Whip as he attempts to stay sober, deals with the impending legal proceedings and nurses his relationship with Nicole. Whip is a fascinatingly complex creation, a mix of admirable and reprehensible traits, and it's possible to root for him to succeed even though he deserves his comeuppance and we know it. What makes Flight noteworthy is the grey moral area probed by John Gatins' screenplay. It carefully introduces the possibility that Whip's piloting abilities may be enhanced by drugs and alcohol, and the plane might not have been saved had he been sober. Whip leans on his colleagues to testify that he was sober and in control on the flight, even though they're conscious that he was intoxicated. Furthermore, Whip's lawyer goes to great lengths to eliminate the toxicology report that incriminates him despite Whip admitting he was under the influence of cocaine and booze. The ending, however, takes a refreshingly unexpected direction, though it spells out everything in a really pat and on-the-nose manner.

Zemeckis gets major plaudits for his handling of the opening half-hour. Everything is efficiently set up during this time, and it would be an understatement to say that the plane diving sequence is amazing. Flight was reportedly produced on a modest $31 million, yet the technical specs are spot-on. The crash scenario is riveting, sold with first-rate visual effects, an immediate sound design and taut editing, finding Zemeckis at the top of his game. The set-piece also develops Whip as a fearless character. Flight earns its R rating, as the drug material is graphic and there's a surprising amount of nudity in the picture's opening act. Indeed, in the first scene there's full-frontal female nudity, and the picture soon shifts to a porn film set. It's unbelievable to think that this was directed by the same guy responsible for Romancing the Stone, Back to the Future and Who Framed Roger Rabbit?.

Washington earned himself a well-deserved Oscar nomination for Best Actor for his work here. It's a transformative performance, the type which steals accolades and awards. Refusing to let his ego get in the way, he allows himself to look unflattering here; flabby, out of shape, arrogant, pathetic, and an addict. The actor embraced the chance to play Captain Whitaker, resulting in a portrayal that he'll be remembered for. Meanwhile, Goodman has a tiny but memorable supporting role as Whip's drug-dealing pal, inserting a degree of comedy into the proceedings that actually gels with the otherwise serious disposition of the picture. A lot of the heavy acting lifting, though, is done by Bruce Greenwood and Cheadle as Whip's well-meaning friend and his attack-dog lawyer, respectively. The politics surrounding their motivations to try and get Whip off the hook are understandable, giving us something to mentally chew on after the end credits expire. James Badge Dale also makes an absorbing cameo playing a cancer patient who meets Whip in the hospital. Then there's Reilly, who's superb as heroin addict Nicole. Whip's relationship with Nicole feels underdone, however, and it feels as if more could've been done.

Flight at times feels too much like a manufactured movie, and perhaps it is overlong at around 140 minutes. Nevertheless, Washington's performance is a true tour de force, and the film is guided by Zemeckis' exceptionally sure directorial hand. Flight is a high quality drama and a compelling look at the grim aspects of addiction. It's well worth checking out, but only if you can stomach the exceedingly adult content.

7.9/10