Reviews by PvtCaboose91

"You will learn someday that being half human, makes you stronger than a god."

Did you see 2010's Clash of the Titans remake? Judging from the film's box office gross of almost $500 million and the strong home video sales, there's a good chance you did. Now here's another question: did you like it? I'm guessing not... Clash of the Titans was a one-off anomaly which did strong business despite being badly-received, and then, a few months later, nobody cared about it any longer. Added to this, the film is notorious for being the poster child of terrible 3-D since it underwent a hasty conversion in post-production. Two years later, the quickie sequel Wrath of the Titans is now upon us, with the folks at Warner Bros. hoping to turn the profitable but unloved first instalment into a money-making franchise. While this is a better film than its rocky predecessor and while it improves the experience in a number of ways, the filmmakers nonetheless failed to take heed of all previous mistakes. Consequently, there's still no reason to care about this series.

Approximately a decade after he defeated the Kraken, demigod Perseus (Worthington) has settled into the peaceful life of a fisherman, raising young son Helius (Bell) following the premature death of his wife. The Age of Gods is coming to an end, though; people have stopped praying, and thus the immortality of the Gods is in danger. Perseus' father Zeus (Neeson) seeks to make peace with his brother Hades (Fiennes), but he's promptly captured by Hades and Ares (Ramírez), who have joined forces to release the leader of the titans, Kronos, and become immortal. Zeus' powers are being sapped in order to free Kronos, and Perseus is compelled back into action when news of this reaches his ears. With demigod Agenor (Kebble) and Queen Andromeda (Pike) by his side, Perseus assembles an army and sets out to both free Zeus and forge a super-weapon able to destroy Kronos.

Keen film-goers will recognise that this is pretty much the same plot as 2011's Immortals. Such familiarity is the least of Wrath of the Titans' problems, though. Dan Mazeau and David Johnson's script is a dangerously dry concoction, ignoring the importance of strong characters in favour of a stripped-down experience devoid of humanity. Critics often overuse the analogy "This movie feels like a video game", but Wrath of the Titans literally does progress like a typical video game - once the set-up is in place, the film follows a very simple, game-like formula: the characters travel to a new location, look around for a little while, and then have a boss battle. Rinse and repeat. In between, we get a further glimpse of what's at stake. This culminates with an ultimate boss battle. The characters remain blank slates throughout all of this, and we are never permitted a chance to get to know them or even understand their motivations. Due to how interchangeable all of the characters are, the ensemble cast is the equivalent of a pack of rice cakes. The dialogue is frequently tin-eared, as well. It's not that the dialogue sticks out as terrible; it's that it's too bland to stick out at all.

Clash of the Titans particularly faltered in its climax, as the Kraken was defeated too quickly and easily. Wrath of the Titans likewise fails on this front. While Kronos' eventual emergence from the bowels of the Earth makes for an awesome reveal, the intimidating monster doesn't do a great deal at all. Instead, he's defeated after barely a few minutes of screen combat. As a result, the ending feels too easy and there's no real tension. As a matter of fact, there's no suspense or tension to any of the proceedings. At the very least, though, the action sequences are often enjoyable and the film maintains a fun matinee vibe throughout. To the credit of director Jonathan Liebesman, the action elements are far more assured here than in Clash of the Titans. Devoid of irritating shaky-cam, the action beats are a highlight, especially with the impressive digital effects. Like its predecessor, Wrath of the Titans was also converted to 3-D in post-production. Surprisingly, the conversion is astonishingly good, generating a strong sense of three-dimensionality. In fact, if you were none the wiser, you could easily believe that it was filmed with 3-D cameras.

In Clash of the Titans, Sam Worthington had trouble settling on an accent for his role of Perseus, as he haphazardly alternated between faux American to mildly British to Australian. Here, the star completely embraced his native Australian accent and made no effort to change his voice. Such a thick Aussie accent sounds out of place in a movie concerned with Greek mythology, but at least he's consistent this time. Unfortunately, though, his performance here as a whole is underwhelming. Worthington displayed immense charisma in 2009's Avatar, but here he seems to be on autopilot. The same can be said for most everyone else in the cast, though Liam Neeson and Ralph Fiennes do admittedly ooze gravitas as Zeus and Hades (respectively). The only standout is Bill Nighy, but he's criminally underused. Nighy is a hammy delight as Hephaestus, sparking the picture to life with an injection of sorely-needed personality. Alas, he departs the picture after merely a few short scenes, completing wasting a golden opportunity.

It's a seriously flawed movie, but at least Wrath of the Titans is not excruciating. It's forgettable and superficial of course, but it won't make you lose the will to live. In essence, this is just one of those movies that's better seen than heard. In visual terms it's a home run, with luscious CGI and grand set design marvellously selling the illusion of this vast fantasyland. Whenever the characters stop to talk, though, your brain will likely lose interest and switch off, as the picture foregrounds weak actors while utterly wasting the good performers. Just imagine what a picture with eye candy of this magnitude would be like if viewers could become emotionally invested in the characters and their circumstances. Food for thought.

5.5/10

"There was an idea to bring together a group of remarkable people, so when we needed them, they could fight the battles that we never could..."

At long last, Marvel Studios has successfully pulled it off. Four years after Iron Man and The Incredible Hulk signalled the beginning of an interconnected cinematic superhero universe, 2012's The Avengers - Marvel's ultimate endpoint thus far - is finally here. Arriving with the intimidating burden of expectations following five interconnected Marvel superhero films, not to mention the decades of comic book history preceding it, The Avengers is in safe hands with self-professed geek Joss Whedon (2005's Serenity) serving as writer-director. Harnessing his unparalleled talent for witty dialogue and character dynamics, Whedon defies the odds to deliver the ultimate summer blockbuster spectacle. With more intelligence and dramatic heft than the Transformers franchise, and boasting many breathtaking action sequences, fanboys can rest assured that The Avengers is worth both the wait and the hype.

When Asgardian prince Loki (Tom Hiddleston), the mischievous brother of demigod Thor (Chris Hemsworth), arrives on Earth, he steals a powerful cosmic cube known as the Tesseract. Loki plans to put Earth under his submission and enslave humanity with the aid of the Chitauri. Faced with an unprecedented threat, S.H.I.E.L.D. director Nick Fury (Samuel L. Jackson) works to unite the only beings capable of saving the planet from total annihilation: genius billionaire Tony Stark/Iron Man (Robert Downey Jr.), WWII super-soldier Steve Rogers/Captain America (Chris Evans), brilliant scientist Bruce Banner/The Hulk (Mark Ruffalo), Thor, as well as master assassins Natasha Romanoff/Black Widow (Scarlett Johansson) and Clint Barton/Hawkeye (Jeremy Renner). Although initially only recruited to find the Tesseract, it fast becomes apparent that large-scale combat is inevitable to defend the Earth.

Whedon had ample baggage to handle when going into The Avengers. On top of formulating a self-contained story, Whedon also needed to advance the individual stories of each character and balance the large congregation of iconic heroes...and all without making the flick seem bloated. Against all the odds, Whedon pulls it off. Indeed, The Avengers feels like a complete and cohesive motion picture, as opposed to a "greatest hits" montage of CGI-laden action sequences. Admittedly, the first half occasionally keeps us at arm's length due to the narrative's complex machinations, but the second half is pitch-perfect beat-by-beat. Everything works perfectly from the midpoint onwards - the drama, the one-liners, the ensemble dynamics, the narrative goings-on, and the action sequences are all spot-on. Furthermore, Whedon does not short-change any of Earth's Mightiest Heroes, as they all play meaningful roles in the story, and receive adequate screen-time for their respective arcs to grow and percolate. Additionally, Whedon leaves logical room for both another Avengers movie as well as solo adventures for the central characters. However, one should not watch The Avengers without viewing the previous films (though The Incredible Hulk is wholly optional and inessential). Whedon does briefly reintroduce each character to bring the audience back up to speed, but the experience is more richly rewarding and cathartic for established Marvel Cinematic Universe viewers.

Unlike less skilful blockbusters, no plot holes or bewildering story elements blemish The Avengers, and, despite a narrative involving intergalactic flights of fantasy and extraordinary advances in technology, the story's internal logic never collapses in on itself. Plus, unlike The Dark Knight, this is not a joyless superhero experience - instead, a fun atmosphere (similar to films like The Dirty Dozen) enlivens The Avengers, with fun derived from both snappy banter as well as the action set-pieces. Anyone familiar with Whedon's writing (Firefly, Buffy the Vampire Slayer) should not find it surprising that the dialogue sparkles as vibrantly as the digital effects, with several genuine laugh-out-loud moments scattered throughout the picture. Luckily, though, the story's dramatic elements are still taken seriously, and there is always the sense that a lot is at stake. Although Whedon abides by the established formula of the heroes coming back together to save the Earth after utterly failing, this story development carries genuine weight after the events of the second act.

21st Century blockbuster filmmakers too often rely on disorientating rapid-fire editing and shaky cinematography to generate the faux illusion of excitement. On the other hand, Joss Whedon eschews lazy shortcuts like this, instead staging enthralling large-scale action sequences which benefit from elegant, sturdy cinematography. Most audacious is a single tracking shot which moves through the climactic devastation, shifting from one Avenger to the next, showing us awe-inspiring capabilities of Earth's Mightiest Heroes. Moreover, during the climax, Whedon focuses more on the interactions between the heroes as they banter and plan strategies, in addition to observing the innocents caught up in the mayhem. This approach generates a crucial sense of humanity, again elevating The Avengers above Michael Bay's regular output. Indeed, Whedon (working with editors Jeffrey Ford and Lisa Lassek) favours rhythm, suspense and dramatic payoffs as opposed to empty, frenetic bombast. Additionally, the special effects and production values consistently impress, thanks to the gargantuan $220 million budget. The Avengers delivers the goods time and time again, leaving you in utter awe. The definitive touch is Alan Silvestri's stimulating original score, which bursts with flavour and majesty, giving The Avengers a distinctive cinematic identity. In particular, the main Avengers theme is brilliantly memorable.

The Avengers boasts a cast of staggering enormity, yet the ensemble shares fantastic chemistry and works exceptionally well together. Leading the pack is Downey, who retains the razor-sharp comedic timing and irresistible charm which originally rendered him the perfect cinematic Tony Stark/Iron Man. Downey provides the lion's share of the comic relief, particularly while interacting with the supporting cast as personalities clash. Alongside him, Evans remains note-perfect as Captain America, once again showing an innate sense of boy scout goodness and morality while also advancing his character maturation. In addition, Hemsworth is still a fine Thor, and Renner makes a strong impression as Hawkeye despite limited screen-time (something he resentfully spoke about in interviews). Reprising her role from Iron Man 2, meanwhile, Johansson is a complete delight as Black Widow - she's sexy and believable, and kicks some serious butt. The last Avenger is the Hulk, who confidently steals the show. After two Hulk movies of mediocre quality, Whedon finally does the character justice. Taking over the role from Edward Norton, Ruffalo is an appealing Bruce Banner, while the digital effects that bring the Hulk to life are spectacular. Plus, yes, the Hulk smashes stuff real good and, yes, it's fucking awesome.

Luckily, the supporting players equally assured. Jackson was born to play Nick Fury, as he oozes cool and charisma, and looks intrinsically badass with an eye-patch. Similarly excellent is Hiddleston, who here reprises his role from 2011's Thor. Hiddleston is both charming and sinister as the Norse God of Mischief, making for one of the best villains in recent memory. Rounding out the cast are a few more robust carryovers from prior MCU films, including Clark Gregg as Agent Coulson, Stellan Skarsgård as Dr. Selvig, and Gwyneth Paltrow as Tony Stark's loyal companion, Pepper Potts.

An exhilarating victory lap for Marvel Studios, The Avengers is simultaneously a superlative Marvel blockbuster and an outstanding Joss Whedon film. It's refreshing to see a summer movie which provides popcorn-munching delights without insulting one's intelligence, and it's equally refreshing to see a superhero movie which avoids the "dark, gloomy and gritty" approach. The benefits of Whedon's involvement cannot be overstated; without his talent for handling ensembles or writing snappy dialogue, The Avengers could have been a messy letdown. Thus, let's be thankful that the end result is an extraordinary success with infinite replay value. It will inspire absolute ecstasy in comic book enthusiasts, and, thankfully, casual viewers should also find The Avengers to be a deliriously enjoyable, crowd-pleasing blockbuster. Be sure to stick around for additional scenes during and after the credits.

9.2/10

"And it was decreed that each year, the 12 districts of Panem should offer up a tribute of one young man and woman between the ages of 12 and 18 to be trained in the art of survival and to be prepared to fight to the death."

With Harry Potter's final instalment having come and gone, and with the Twilight franchise finally preparing to exeunt with its final entry (at least we fucking hope), The Hunger Games is primed to be the start of the next huge cinematic franchise. It's based on Suzanne Collins' novel of the same name; the first in series of books which are exceptionally popular with teenagers due to the story's focus on young love. The franchise is definitely far sturdier than the insufferable Twilight, yet this first Hunger Games instalment comes packaged with its own array of issues. While the picture will almost certainly satiate pre-established fans (who can miraculously keep a straight face when they read such names as Katniss, Haymitch and Peeta), The Hunger Games is merely a decent movie which had the potential to be great.

Set in a post-apocalyptic future, the story takes place in the nation of Panem which is divided into 12 districts of industry. Each year, an event called The Hunger Games takes place, wherein a male and female teenager are randomly selected from each district to be carted away to the Capitol for a week of intense media exposure and training...before they are set loose and forced to kill each other for the nation's entertainment. 24 contestants enter, and there can only be one victor. In District 12, Katniss Everdeen (Lawrence) volunteers to compete in the games to keep her little sister (Shields) out of harm's way. Along with her district's male contestant Peeta (Hutcherson), Katniss heads off to the Capitol under the care of mentor Haymitch (Harrelson) and stylist Cinna (Kravitz) who see the young woman as a potential winner due to her superb hunting skills, knowledge of nature and sheer determination. As the slaughtering begins, Katniss finds herself battling tough odds to stay alive as she tussles with sensitive feelings for Peeta.

The entire first hour of The Hunger Games is dedicated to build up; it patiently develops the characters and delves into their problems while establishing this dystopian world and gleefully satirising global media. It's a promising beginning, but unfortunately the titular games fail to live up to this level of excellence. The games are supposed to be concerned with not only surviving against opponents but also battling the harsh elements and struggling for food and water. Unfortunately, the latter components are almost entirely ignored. The characters should be malnourished with cracked lips and pale skin, yet they always look 100% healthy. It lowers the stakes and thus weakens tension, stripping the film of gritty overtones which could have catapulted it to greatness.

Furthermore, even with a hefty 140-minute runtime, at times the script fails to adequately explain itself. For instance, according to the books, Panem is the state of post-war North America, yet the movie never reveals this. As a result, one may erroneously assume that it's part of an alternate country or even another planet entirely. Not to mention, the film never deals with what happens to fallen players. Hovercrafts collected bodies in the book, but the movie entirely omits this detail even though the hovercrafts are actually established in an early scene. Worse, the game's technicians unleash holograms of killer dogs and fireballs that are apparently lethal despite being hologrammatic, and there's no explanation about how they work. The script is quite a mess indeed, although the dialogue is admittedly well-written. And no, the "read the book, it'll make more sense" argument does not apply. That's bullshit. A movie should not require you to do extra homework; it should exist as its own entity, or else it has failed.

To the credit of director Gary Ross, the tone is spot-on; the material was treated with the gravity and seriousness that it needed. And despite ignoring the effects of malnutrition, The Hunger Games is skilfully grounded, eschewing excessive CGI and never going too over-the-top during the action beats (some of which are magnificent). However, the cinematography is unforgivably bad. On top of the camera always shaking for no rhyme or reason to a headache-inducing extent, framing is often slipshod, and the filmmakers consistently violate the 180 degree rule with jarring consequences. Whenever an action scene or a fight takes place, director Ross gives over to spastic camerawork that's meant to instil excitement but is more likely to make you dizzy. Rarely do action films have set-pieces so badly shot and edited that it's impossible to tell who's fighting who, who's winning, and even what sex the assailants are. It seems that this style was employed to avoid capturing graphic violence to secure a PG-13 rating, but simple cutaways are more than sufficient for this task. (Ironically, the shaking camera will make you more nauseous than any amount of violence could.)

If nothing else, the acting in The Hunger Games must be commended. As Katniss, Jennifer Lawrence is pitch-perfect. Katniss is often described as the "anti-Bella Swan" due to how strong and independent she is, and the actress was up to the task of portraying this character for the screen. Lawrence (who was nominated for an Oscar for Winter's Bone) nailed the emotional and dramatic requirements of the role, and she possesses a certain charm and beauty which make her believable as a love interest. Alongside her is Josh Hutcherson as Peeta, and he displays more skill as an actor here than any of the Twilight cast members. It's the supporting cast who steal the show, though. Woody Harrelson is superb fun as mentor Haymitch, while a plucky Elizabeth Banks shows up in bright-coloured wigs and garish make-up as District 12's lively chaperone. Also noteworthy is the immensely likeable Lenny Kravitz, and a scenery-chewing Stanley Tucci who plays the falsely sympathetic host of the Hunger Games telecast. In a smaller role is young Australian Liam Hemsworth, who's pretty forgettable as he has barely 15 minutes of screen-time.

Underneath the violence and romance, The Hunger Games possesses a hint of social commentary; it explores the ridiculous nature of reality television and comments on the exploitation of humans for the sake of entertainment. It additionally comments on the notion of a totalitarian government who use this televised slaughter of innocent kids to silently keep the common people in their place. Then again, such material has already been explored in far better pictures like The Running Man and Battle Royale, thus The Hunger Games really doesn't have anything new to say except that its predecessors were spot-on in their visions of the future. At the end of the day, The Hunger Games boils down to strong acting, reasonable screenwriting and handsome production values that are let down by shoddy camerawork. Plus, the emerging love triangle has Twilight written all over it. Do we have another "Team Edward/Team Jacob" situation on our hands? Dear God...

6.2/10

"Sometimes I wonder... will God ever forgive us for what we've done to each other? Then I look around and I realise... God left this place a long time ago."

Respectfully weaving a fictitious action-adventure narrative within a tumultuous nonfictional time and place is a daunting proposition for any filmmaker. 2006's Blood Diamond attempts such a premise, as its fictional story takes place during the real-life Sierra Leone Civil War. Fortunately, veteran filmmaker Edward Zwick (Glory, The Last Samurai) is more than capable of handling this material, skilfully breathing cinematic life into Charles Leavitt's ambitious, meticulously researched screenplay. More thoughtful than an average summer blockbuster, Blood Diamond is several things: an arresting action-adventure thriller, a searing indictment of corporate greed, and a history lesson that explores South Africa's unscrupulous diamond trade. Zwick nails all these things while maintaining interest through immaculate filmmaking and sublime performances.

In war-ravaged Sierra Leone, peaceful fisherman Solomon Vandy (Djimon Hounsou) lives with his family and hopes to keep them safe from the country's continuing conflicts. But when rebels tear Solomon's village apart, the father is forced away from his family and assigned to work in the diamond fields for a vicious warlord, Captain Poison (David Harewood). While mining a river, Solomon unearths an extremely valuable pink diamond and manages to bury it before government troops storm the area. Imprisoned in Freetown, Solomon gains the attention of Rhodesian ex-mercenary and gunrunner Danny Archer (Leonardo DiCaprio), who specialises in smuggling conflict diamonds. Hearing of Solomon's discovery, Archer bails the frightened father out of prison, hoping to use him to find the stone. With Danny promising to help Solomon find his family in exchange for the diamond, a hesitant partnership emerges. Into this mix soon steps American journalist Maddy Bowen (Jennifer Connelly), who is in the country conducting research for a story about the conflict diamond trade.

Blood Diamond clocks in at a hefty 135 minutes, but it doesn't feel too long, as there is enough momentum to maintain interest. As the story progresses and plot twists unfold, the movie draws us in deeper and deeper; we grow to care about Solomon and Archer and want to see the men succeed at their respective goals. Indeed, Blood Diamond is, at its core, a provocative human story. Miraculously, the film additionally explores the brutality of the conflict diamond trade with unflinching realism without the stench of exploitation, as such material serves to add compelling dramatic weight to the narrative. Plus, there's a level of complexity to the characters that make Blood Diamond more intelligent than your usual good guys vs. bad guys action flick. Once the end credits roll, it's virtually impossible to forget the harrowing images here, and viewers are left to think about the truth behind the shameful inner workings and secrets of the profitable diamond industry that are too often swept under the rug.

Produced for a sizable $100 million, Blood Diamond looks sublime. Zwick shot the film on location in Mozambique and other areas of Africa, affording a visceral, authentic atmosphere that is impossible to achieve on a sterile set or a crisp digital environment. Furthermore, Zwick is a superlative director, and his action sequences and shootouts are frequently exhilarating, such as a phenomenal large-scale battle at an R.U.F. camp involving a helicopter. Also worth noting is James Newton Howard's original score, which is full of flavoursome motifs that give compelling life to this story. It is also remarkable that a movie of such grand scope is bold enough to be R-rated, refusing to skimp on the harrowing details of the Sierra Leone Civil War. The violent depiction of everyday conflicts in Sierra Leone may seem exploitative, but the violence is never gratuitous; instead, Zwick merely avoids sugar-coating or sanitising the nasty details. The vivid sequences here of child soldiers being dehumanised through training and killing innocent people are not easy to forget. This type of stuff happens in reality, and Zwick seeks to highlight this fact, spreading awareness in the process.

With DiCaprio in his thirties here, his pretty-boy appearance is replaced with a face of ruggedness, wisdom and character, all traits that make him perfect for the role of Danny Archer. The role calls for DiCaprio to espouse a tricky area-specific Zimbabwean accent, and he nails it. You genuinely believe DiCaprio - he doesn't sound like an actor forcing an unnatural voice; he looks, sounds and feels like the real deal. Better yet, DiCaprio's intensity is spot-on. Indeed, he richly deserved the Oscar nomination he received for his performance. Alongside him, Djimon Hounsou (who also received an Oscar nomination) is earnest and convincing as Solomon Vandy. Hounsou brings his trademark intensity to the role, in addition to nobility and gravitas. Rounding out the leading players is Jennifer Connelly, who easily convinces as dedicated reporter Maddy Bowen, and a terrific Arnold Vosloo, who plays Archer's superior.

One of the best movies of 2006, Blood Diamond is enthralling and insightful big-budget action cinema. On top of its top-flight technical credits and magnificent acting, the film also possesses a sense of humanity. Indeed, it is hard to hold back tears during a late scene when Solomon is forced to confront his son, who was brainwashed by rebels, or when Archer tearfully calls Maddy to give her permission to finish her article. Blood Diamond is a film that successfully entertains as it educates, and it features one of Leonardo DiCaprio's greatest performances to date.

9.2/10

"Tonight's about the girls we never had a shot at. Tonight's about changing the game."

Considering that Todd Phillips was responsible for both Old School and the successful Hangover movies, it's no wonder that his name is all over 2012's Project X. In a nutshell, this is a proverbial "found footage" slant on the standard high-school-party-gone-wrong premise blown up to epic proportions. Indeed, the words "out of control" severely undersell Project X, as it fast develops into every party fanatic's wildest dream and every parent's worst nightmare. Needless to say, the whole enterprise is irresponsible, mean-spirited and morally repugnant, but it's also mightily fun and satisfying. Project X is a bona fide guilty pleasure, though how much you enjoy it depends on your tolerance for this type of vulgar humour. Imagine if the photo slideshow at the end of The Hangover was translated into a movie - that's pretty much what you get here. If you're easily offended, stay clear. Everyone else, have at it.

The setup is pretty typical: three socially-insignificant high school seniors - Thomas (Mann), Costa (Cooper) and JB (Brown) - crave acceptance into the cool crowd, and realise that a game-changing party has the potential to do thus. On Thomas' 17th birthday, Costa encourages his companions to take advantage of the opportunity, especially since Thomas has the house to himself after his parents leave for the weekend. Hiring cameraman Dax (Flame) to film the event, the boys arrange a night of alcohol and drugs, promising countless potential guests a party to end all parties. While Thomas wants to keep things under control, Costa's mass marketing leads to an explosive shindig. As hundreds, potentially thousands of people show up, things fast get out of hand, drawing attention from both the media and the police.

For what's essentially just a brainless party movie, Project X is surprisingly relatable. Thomas is portrayed as an everyman, and he is our entry point into the narrative. The emotions and arcs he experiences (being reluctant to host the party, feeling anxious about the thought that maybe no-one will show up, feeling frightened that the party-related anarchy will lead to big trouble from his parents, and finally embracing the fun before ending up feeling lucky he survived) are easy to identify with, and one can put themselves in Thomas' shoes with ease. However, the script is marred by the inclusion of one of Thomas' childhood friends, Kirby (Blanton). They're established as plutonic pals, yet Thomas violates the friend zone and Kirby goes along with it, leading to an insufferably clichéd romantic subplot. It was visibly thrown in to add some heart, but the way it plays out (particularly with an absurd rekindling in the final scene) weakens the illusion of reality, reminding us that this is just a scripted movie.

At the very least, Project X is one hell of a hilarious ride for most of its runtime. From the serene party preparation scenes to the moments of insane partying which culminate with a street-bound riot involving police and a news helicopter, the humour seldom flags. It's exceedingly juvenile stuff of course, but my word, it works remarkably if this type of stuff appeals to you, especially the climax which continues to escalate in terms of both anarchy and hilarity.

All of this madness is filtered through the proverbial found footage aesthetic. On top of Dax the videographer filming the night's events, supplemental material is provided courtesy of various cell phones, news outlets and police cameras. Since extras were actually given leeway to do their own filming with Blackberries and iPhones, director Nima Nourizadeh had hours upon hours of genuine-feeling footage to dig through, evoking his instincts as a music video director to use as much as he could to create flashy montages illustrating all of the fun being experienced. However, at times the film does feel like a calculated movie with planned cinematography, microphones and conscious editing. Plus, the sound mix is far too polished; it sounds manufactured, not as if it was captured with the amateur filmmaking equipment that the picture was lensed with.

Project X has its faults, but this reviewer had a lot of fun with it. It's an entertaining celebration of youthful abandon; a time in your life when you're old enough to do anything you like, but before you're intelligent enough to realise you probably shouldn't do them. Even if a few moments stick out as being the product of a written movie, more often than not it sells the illusion of being a wild party filmed by its guests, and it captures the essence of a party atmosphere. Make no mistake, this is completely disposable entertainment which won't be remembered in a few months from now, but it possesses an engaging energy and an infectious sense of fun which hardly wanes. The best way to enjoy Project X is with a handful of mates and a few dozen beers.

6.8/10

"You are here because you some Justin Beaver, Miley Cirus lookin' motherfuckers."

Are you a fan of the old 21 Jump Street television show expecting this new film to be a respectful revamp? If so, stay far, far away from 2012's 21 Jump Street. Outside of the title and the basic premise of cops going undercover in a high school, this film has nothing in common with the old TV series as it adopts a completely different tone and spirit. The film exists in the same continuity as its predecessor, but it's a vehemently R-rated affair with a new slate of profane characters and a modern comedic sensibility. And surprisingly, it actually works, especially with the film evoking meta undertones as it raises some hilarious hell. See, the picture may seem like a flimsy excuse for filmmakers to steal ideas behind an old brand in lieu of original thinking, but 21 Jump Street subverts this by actually acknowledging its own derivative nature.

In high school, nerd Morton Schmidt (Hill) and jock Greg Jenko (Tatum) were sworn enemies, and they made each other's lives miserable. Seven years later, the two meet once again at the police academy. Here, Schmidt excels at exams but lacks the right physical attributes whereas Jenko is the exact opposite. Recognising that they make an ideal team since they fill each other's gaps, the two become best friends. After hopelessly botching a drug bust during their first few days as police officers, Jenko and Schmidt are transferred to the recently resurrected 21 Jump Street program run by a self-professed angry black captain (Cube). Given new identities and forced to pose as brothers, the two are sent to infiltrate a local high school in order to find the manufacturer of a new drug. Times have changed since their high school years, though - while Schmidt finds himself falling in with the cool crowd, Jenko ends up befriending the science geeks.

For those who need a history lesson, the original 21 Jump Street TV series ran from 1987 to 1991, and it's notable for bringing a young Johnny Depp into the spotlight. While it had its fun moments, the show wasn't a comedy as it treated its dramatic elements seriously. 2012's 21 Jump Street, on the other hand, is pretty much all comedy and satire. It's clear that writers Jonah Hill and Michael Bacall had a ball examining today's high school climate, with the film observing Jenko's utter bewilderment as the students shun his bad boy routine and display shocking newfound enthusiasm for studying. In one brilliant scene, Jenko also finds himself incapable of identifying some of the peculiar cliques which have now emerged. While revelling in this high school madness, 21 Jump Street is one hell of an entertaining riot, and even the standard-order plot elements are engaging. Once the final act begins to kick in, however, Hill and Bacall's script succumbs to some of the most eye-rolling comedy clichés imaginable, including break-up-to-make-up scenarios (Morton has to fix things with both Greg and his love interest), the predictable "getting kicked off the case" situation, and a climax ripped straight out of the "Action 101" handbook.

To put it bluntly, the trailers for this 21 Jump Street were awful, advertising the film as a dumbed-down reboot of the old TV show featuring the interminable "talents" of Jonah Hill and Channing Tatum. It seemed wrong to turn a classic police/high school drama into something more akin to Superbad. Happily, though, this is another classic case of poor marketing, as the finished movie is far more assured and satisfying than the trailers led us to believe. Directors Phil Lord and Chris Miller have a gift for pacing, as they imbued the proceedings with an infectious energy that keeps the film moving forward at an agreeable clip. 21 Jump Street is uneven, however. While it lands plenty of laughs, some jokes are too easy and not every scene gels (a brawl between Schmidt and Jenko in particular needed tighter editing).

Against all odds, Jonah Hill and Channing Tatum are excellent and enormously funny here. Tatum has done a lot of growing up over the last few years - once bland and charmless, he has turned into a charismatic leading man with a gift for humour and a firm grasp on comic timing. As for Hill, he's far less irritating than he usually is, and he's often hilarious as Schmidt. But it's Ice Cube who steals the show here in his few scenes as the angry black police captain, spouting line after line of profanity-laced, tremendously funny dialogue. Who would've thought Ice Cube would be a standout in anything? Meanwhile, the sweet Brie Larson and a funny Dave Franco are pitch-perfect as a couple of high-schoolers, while Rob Riggle chews the scenery on several occasions as a teacher.

The thought of a modern reboot of a cancelled decades-old TV show is often cringe-worthy. With any other filmmakers onboard, 21 Jump Street would've been a half-assed attempt at nostalgia which lazily rehashed a few episodes of the series. It's therefore commendable and relieving that the creators seized the opportunity to make a genuinely funny, entertaining movie that's also unafraid to laugh at itself.

7.2/10

"You killed my father, and you stole my elephant!"

Considering the success of 2003's Ong-bak and the sudden international interest in martial arts wunderkind Tony Jaa, it's unsurprising that Jaa swiftly reunited with Ong-bak director Prachya Pinkaew for another round of cinematic mayhem. The result is 2005's The Protector (a.k.a. The Warrior King), and it's one of the most viscerally exciting action pictures in recent memory. For sure, its plot is borderline incomprehensible and Pinkaew's storytelling is garbled, but the film is nevertheless a satisfying showcase of bone-breaking brawls, punches, kicks and phenomenal fight choreography, ensuring the picture is worth watching for action fans at the very least.

When two of his family's beloved elephants are stolen by wicked criminals, Kham (Jaa) is forced to travel from his native Thailand to Sydney in Australia to retrieve them. Once in Sydney, Kham becomes entangled in the city's seedy underworld populated by corrupt cops and Chinese gangsters. As he searches for his elephants, he receives assistance from a Thai police official (Wongkamlao) and a sympathetic young Thai girl (Khongmalai) who was forced into prostitution.

Anyone who saw Ong-bak is likely to experience déjà vu throughout The Protector. For this film, a missing Buddha statue head was simply replaced with stolen elephants, resulting in a similar plot following a similar trajectory. Hackneyed stories are typical in the action genre, but Pinkaew's storytelling is unusually weak and choppy. Most glaringly, scene transitions are often jarring and poor - some scenes just end abruptly as if missing a second half, while other scenes seem to just begin without sufficient context as if they're missing a first half. Furthermore, an early boat chase is absolutely dreadful; the editing is unbelievably choppy, it makes no coherent sense at all, and a few shots were visibly sped up. It's a major red flag if an action scene in an action movie ignites more bewilderment than excitement. Suffice it to say, too, The Protector proceeds with the logic of an 8-bit video game, as legions of nameless thugs materialise out of thin air for Jaa to combat (including various buffed up wrestlers). One assumes the main bad guys just have an endless supply of henchmen who loyally follow them all the time.

The horrible boat chase aside, Pinkaew's action sequences are often fluid and fun. Whenever Jaa is permitted the chance to engage opponents using his trademark Muay Thai fighting style, The Protector comes alive like nothing you've ever seen before. Jaa and Pinkaew cranked up the levels of brutality and intensity to such extremes that Ong-bak looks positively restrained in comparison. Jaa's fighting is rough and raw yet beautiful, with a mixture of stunning balletic movements and vicious battering that's sure to leave you squirming. Better yet, Pinkaew eschewed heavily-stylised filming and editing, allowing us to watch Jaa work without any flashy distractions. While some scenes were achieved with the aid of CGI, no digital effects were used to enhance Jaa's fighting - the crazy little bastard did everything the old-fashioned way.

The biggest selling point of The Protector is a single Steadicam shot running a good five minutes which tracks Jaa as he fights his way to the top of a criminal hideout. Along the way he takes out dozens of opponents; throwing them over banisters, breaking through walls, and tossing them through glass. It's mind-boggling to consider the intricate planning it must've taken to stage such a shot, not to mention all the time it must've taken to choreograph the fights between Jaa and all of the poor sons of bitches who dare to cross his path. The scene is one little sliver of this 110-minute picture, yet it renders the entire film worth watching, demonstrating that trite storytelling is forgivable in an action flick just as long as there's phenomenal ass-kicking to compensate.

On a slightly less positive note, the acting is uniformly dreadful and the dialogue is insufferably bad. Jaa is worthy of inheriting the martial arts mantle left behind by the likes of Jet Li and Jackie Chan, but he still has yet to show the same charisma which characterised his predecessors. As a result, while Jaa's fighting is awesome, interest often wanes between the brutal beatings. Alongside Jaa, the Australian performers sound appallingly stiff and awkward, while the acting is even worse from the Asian performers who speak broken English. And don't get me started on Petchtai Wongkamlao... The irritating man was intolerable enough in Ong-bak, and he's even worse here. Wongkamlao specialises in comic relief, but he would be far better used as a mute or a corpse.

To their credit, those behind The Protector attempted to infuse the film with some type of heart. Its story struggles with coherency, yet, at its core, this is a tale about a boy's love for his beloved elephants - and a hero working to rescue animals is a refreshing alternative to saving women or childhood friends. Still, there's no getting around the film's myriad of problems, making this a film strictly for the action junkies. And if you do seek out the movie, make sure it's the original 110-minute edit. See, when The Protector was being shopped around for an American release, the Weinstein Company got involved, and they're notorious for butchering. Thus, the film was trimmed by about 25 minutes for its Stateside release, which makes no fucking sense. This reviewer has only viewed the original cut, and has no intention of checking out the butchered US version. I suggest you think similarly.

6.5/10

"For a few immortals to live, many people must die."

In Time is a rare instance of an original science fiction movie. Rather than having a basis in pre-existing material, this flick's ambitious concepts and ideas came directly from the mind of writer-director Andrew Niccol (Gattaca, Lord of War). Unfortunately, however, ambition is not the same as achievement. In Time could've been the Total Recall of this decade and one of the most thoughtful sci-fi films of 2011. Instead, whereas Total Recall was a smart, satisfying actioner unafraid to play thought-provoking mind games, 2011's In Time is an insult to the intelligence, and it squanders its marvellous premise on a silly chase movie which runs out of steam by the halfway mark.

In the year 2161, humans are now genetically engineered to live until the age of 25. Any extra time they gain in their lives is the world's new form of currency; everyone has a digital clock on their forearm which displays how much time they have left, and it fluctuates depending on how much they gain or lose through working at a job, paying for various things, or generally living. 28 years old and residing in the ghetto, Will Salas (Timberlake) is a typical blue-collar worker struggling to make ends meet. However, Will is given the opportunity to escape his mundane existence when he meets the rich but depressed Henry Hamilton (Bomer), who gives Will the 116 years on his clock before committing suicide. After Will's mother (Wilde) "times out", Will leaves his restricted time zone for a more luxurious area where he rubs elbows with the rich. However, Will's newfound time raises suspicion with law enforcement. To escape wrongful incarceration, Will runs off with Sylvia Weis (Seyfried), the daughter of supremely wealthy businessman Philippe Weis (Kartheiser). As a romantic connection slowly develops, Will and Sylvia set out to topple the status quo.

To the credit of writer-director Niccol, In Time does show evidence of having smarts underneath its Hollywood exterior. A conversation between Will and Henry introduces a fascinating allegory pertaining to today's society, where the world is becoming overpopulated and the cost of living is perpetually rising. What a shame this brain fodder is jettisoned immediately afterwards, paving the way for Niccol to adopt a bland routine of chases and false tension. Unfortunately, this leaves a lot of unanswered questions. For instance, do humans still get diseases in their genetically engineered form? Do overweight people still exist? Is there any form of government? Do people still presume there's an afterlife, or is a dying person the equivalent of a machine shutting down? Since the film takes place in Los Angeles, what's the rest of the planet like? What would happen if someone's forearm containing their clock was chopped off? Not to mention, time transactions are ridiculously flawed - it's way too easy to steal someone else's time and there's no form of security. Credit card transactions require pin codes and signatures, yet in this world it's as easy as overpowering someone at an arm wrestle to steal time. It seems Niccol came up with a few ideas but failed to sufficiently think them through.

Another huge downfall of In Time is its reliance on the worst Hollywood action stereotypes. For instance, Will and Sylvia pass out after surviving a (ridiculously-executed) car accident, and regain consciousness a few seconds after their time has been stolen. Meanwhile, an early scene in which Will's mother dies (for ineffective forced emotion) is painfully predictable, and its split-second precision is facepalm-inducing. And why is it that a sheltered rich girl like Sylvia can fire guns with such precision and confidence that veteran gunslingers would be envious?

To Niccol's credit, production values are admittedly impressive - the forearm clocks look fantastic, and set design is magnificent. However, that's where the praise ends. Despite the polished visuals, there's absolutely no tension throughout the flick. Will and Sylvia come this close to death several times, yet we always know that they'll survive simply because the actors have their name above the title. One could argue that any action film has this fault, but great action filmmakers overcome this by keeping us wondering whether or not the hero/s will actually be safe. Niccol's characters, on the other hand, never seem to be in genuine danger. The climax, too, is an utter dud - it introduces a cheap twist which only reinforces that Will's reason for being hunted in the first place is flimsy and lazy.

Speaking of Will, his character is all over the shop. One minute he's a nice clean mother's boy who risks his life to save a stranger, and the next he's an insufferable prick skilled with firearms who arrogantly pushes Sylvia around. And why is it that Will - who sternly tells Henry that he wouldn't waste a century of time if he had it - strolls straight into a casino when he arrives in Richville? It doesn't help that Justin Timberlake is so devoid of personality. Timberlake has shown that he can act, but he's uninteresting as an action hero. It's also odd that characters in the film are meant to be physically frozen at the age of 25, yet the 30-year-old Timberlake and the 35-year-old Cillian Murphy look their true age. It doesn't stop there, as several other side characters look easily older than 25. Is an "under 25s" casting call really that complicated? Amanda Seyfried was exactly 25 years old during filming, and she isn't too bad, but she shares no chemistry with Timberlake, and it's clear that the actors were chosen for their good looks rather than their talent. Furthermore, the relationship which emerges between Will and Sylvia feels obligatory and forced.

Perhaps the worst crime perpetrated by In Time is that it takes itself too seriously. There is not a modicum of humour to unearth here, rendering the film incredibly boring. In Time shows promise in its conceptual framework, but motion pictures are a medium to tell stories, and Andrew Niccol was unable to construct a worthy story around his half-baked ideas. It's not worth wasting two hours of your life you can never earn back to watch In Time.

3.8/10

"Everything will be all right in the end... if it's not all right then it's not the end."

The Best Exotic Marigold Hotel is an utter delight. Here is a satisfying comedy unafraid to have a heart and a brain, and it has no interest in toilet humour or cheap gags. It's one for the mature crowd, as it earns lots of belly-laughs through genuine wit and doesn't shy away from the inherent dramatic elements of its story. Based on Deborah Moggach's novel These Foolish Things, director John Madden (Shakespeare in Love) has given this picture a warm tea-and-biscuits type of charm, rendering it suitable for older, more cynical moviegoers probably disenchanted with today's filmic landscape. Add to this an all-star British cast including the likes of Judi Dench, Bill Nighy and Maggie Smith, and The Best Exotic Marigold Hotel is a film you cannot miss. Anyone of any age will have fun with it.

The story starts in England, where a varied bunch of retirees begin looking to make their autumnal years easier on the wallet. There's the recently-widowed Evelyn (Dench) who's awash with debts; Muriel (Smith), who requires a hip replacement; Graham (Wilkinson) who's looking to revisit his past and confront old demons; couple Douglas (Nighy) and Jean (Wilton) whose marriage is under strain; and singletons Norman (Pickup) and Madge (Imrie) in search of adventure and love. They all come together in India, where they stay at the seemingly enticing Best Exotic Marigold Hotel. Unfortunately, the hotel has fallen into disrepair. The hotel's well-intentioned owner Sonny (Patel) dreams of providing a wonderful resort for retired folks, but is facing financial difficulties. Added to this, Sonny's disapproving mother (Dubey) lingers around, doubting Sonny's capacity to run the hotel and wanting him to enter an arranged marriage.

Similar the rundown hotel of its title, The Best Exotic Marigold Hotel is a feature which slowly but surely grows on you. Blessed with a smart script by Ol Parker, it's charming, emotional, witty and engaging, not to mention it possesses unexpected depth and richness. All of the main players are strongly-written and three-dimensional, and the film thoughtfully reflects upon what it means to grow old, how we view ourselves in old age, and how we value the elderly. While old folks are often seen as useless in Western society, the main players here all have something to give, and they're only respected and given the chance to effectively contribute when they move to a different culture. And to Ol Parker's credit, a number of character arcs defy our predictions. The only real problem with The Best Exotic Marigold Hotel is that it's less interesting while dealing with Sonny's dilemmas. It's laudable for this minor character to be given some dimension, but his romantic subplot is too familiar and contrived, betraying the intelligence otherwise exhibited as the narrative plays out.

It's a daunting task to juggle a large ensemble of characters with their own individual stories, but, to the credit of Madden and Parker, the film for the most part succeeds in this respect. It's great fun to watch the different responses of each guest; Graham and Douglas have an extraordinary time, while Muriel constantly moans and Jean hates everything she sees (loudly!). Admittedly, The Best Exotic Marigold Hotel does drag at times, but technical contributions are otherwise top-notch. India is a country rich with culture and heritage, and Madden's crew have wonderfully captured these characteristics. Thanks to Ben Davis' luscious cinematography, you can almost feel India's humidity on the noisy, crowded streets amid the stalls, markets and traffic jams. The Best Exotic Marigold Hotel lets us bask in the country's flavours, and experience the exquisite beauty of India when riding on a tuc tuc or rickshaw while your ears are filled with a range of sounds.

Easily the biggest strength of The Best Exotic Marigold Hotel is the cast, which features some of the finest elderly actors that Britain has to offer. Watching this gathering of immense talent is an utter pleasure, and all of them are perfect in their respective roles. The standouts are Judi Dench and Bill Nighy, the former of which is especially adept at dealing with the story's dramatic and emotional elements. Maggie Smith, meanwhile, is as brilliant as ever in the role of Muriel, and she had a field day with one-liners. And then there's the always-reliable Tom Wilkinson, who displays immense gravitas as Graham. Slumdog Millionaire star Dev Patel also appears here, delivering an enthusiastically over-the-top performance as hotel manager Sonny. Rounding out the cast is Celia Imrie, Ronald Pickup and Penelope Wilton, who are equally as terrific as their higher profile co-stars.

It's definitely worth checking into The Best Exotic Marigold Hotel. This is a lovely movie, and it's a sublime showcase for its terrific cast which effectively mixes light-hearted laughs with scenes of pathos. If you have a good sense of humour and an open mind, you'll no doubt have an enjoyable time with this flick. It will leave you with a big smile on your face and a warm heart... Who can complain about that?

8.5/10

"This night changes everything for me!"

Ti West's fourth motion picture undertaking, 2009's The House of the Devil is an '80s-style horror film clearly inspired by the classic shockers of yesteryear, and it even begins with a grindhouse-style opening title sequence that would make Quentin Tarantino smile. West wanted to emulate the likes of The Amityville Horror and The Texas Chain Saw Massacre so much, in fact, that House of the Devil claims to be based on true events even though the story is almost entirely fictional. Alas, it seems that West channelled so much effort into recreating the technical specifications of classic horrors that he neglected to write a script that's worthy of his inspirations. Thus, while definitely atmospheric, The House of the Devil is an uneventful, mostly banal shocker which lacks punch and has limited replay value.

Sweet-faced college sophomore Samantha (Donahue) has had enough of her sex-crazed roommate, and begins looking to rent her own apartment. Problem is, she doesn't exactly have enough money to afford a place of her own. When she spots a flyer advertising for a babysitter, Samantha jumps at the chance, calling the mysterious Mr. Ulman (Noonan) who's in desperate need of assistance. When Samantha's best friend Megan (Gerwig) drives her to Ulman's ominous residence, she learns that she's actually needed to watch over Ulman's elderly mother-in-law. To secure her services, Ulman throws lots money at Samantha, and she agrees to the job. At first, Samantha's "babysitting" assignment seems straightforward and worry-free, but, as the night wears on, she realises she's being threatened by insidious forces.

The House of the Devil is set in the 1980s; an era of walkmans, ancient televisions and absolutely no cell phones. It also genuinely looks as if it was filmed several decades ago. While most throwback horror films merely aim to recreate the spirit of its forerunners, Ti West went one step further, shooting on 16mm film stock and solely relying on old-school special effects (including classical-looking blood) to give the impression that the film has been rotting in a vault for twenty-five years. West's recreation of the period is immaculate too, with era-specific costumes, hair styles, cars and set design effortlessly selling the illusion. Furthermore, West took heed of what worked in all of the best classic horror films. Therefore, House of the Devil is mostly dedicated to atmospheric build-up, and there are long takes which increase the sense of dread. West definitely had the right idea, which makes it even more unfortunate that the result is unfulfilling and underwhelming.

For the better part of an hour, West's camera tracks Samantha as she aimlessly strolls around Mr. Ulman's house, unoccupied and creeped out. While the film is peppered with effective standalone interludes that thrill or chill, at no point does the humdrum story become quite as terrifying or gripping as one might hope. And if you're willing to endure the meandering narrative hoping that a knockout finale is right around the corner, you're going to be disappointed by the familiar-feeling climax that's more repellent than chilling. The payoff is completely inadequate - after a good 70 minutes of restrained build-up, all we get is a slapdash chase ripped out of a conventional torture porn movie. The weak conclusion renders the creepy build-up moot, which is a shame considering the excellence of Eliot Rockett's cinematography and the charm of Jocelin Donahue's believable performance.

At the very least, The House of the Devil is an ideal chance to indulge in some retro horror atmosphere. If you didn't know better, you could easily believe that it came from the vaults of classic terror, which only furthers the disappointment of West's slipshod script. You may enjoy the film somewhat in the moment, but when it ends you'll shrug, let out a resounding "meh", and never feel inclined to watch it again.

5.1/10