Reviews by PvtCaboose91

Horrible Bosses is a delightfully refreshing dose of R-rated comedy in a summer season otherwise devoid of such pleasures. Due to the cadre of familiar parts used to construct the film, one could easily perceive this as another attempt to recreate the unexpected success of 2009's The Hangover. After all, Horrible Bosses has three male leads finding themselves in all sorts of outrageous madness, not to mention the film contains a few fun cameos and the script is full of vulgar dialogue. And you know what? It actually works to a certain degree; easily surpassing The Hangover's recent sequel in terms of both laughs and creativity. How ironic it is that the film has the word "horrible" in its title, but it's not nearly as horrible as some of the other comedies which were released during 2011.

At the centre of Horrible Bosses is a trio of regular guys: Nick (Bateman), Kurt (Sudeikis) and Dale (Day). As the title implies, the boys are having trouble with their bosses - Nick is consistently tortured by sadistic megalomaniac Dave (Spacey), Kurt's new boss Bobby (Farrell) is an incompetent cokehead, and Dale is being sexually harassed by his boss Julia (Aniston). Due to the shaky job climate, the guys have no choice but to grin and bear their daily humiliations...until one drunken night they decide to kill their bosses. During a search for an assassin, they encounter criminal Motherfucker Jones (Foxx), who promises to help the boys take care of their undesirable superiors.

If you have had a job, there's a good chance you've had a horrible boss. (And if you've never had one, maybe you're a horrible boss yourself. Shame on you.) At some point or another, the majority of us have probably fantasised about killing our insufferable employer, which is why Horrible Bosses works so well. Here's a script imbued with a premise that's entirely plausible and easy to relate to, and has a thing or two to say about corporate douchebags (though the workplace satire is not quite as biting as Mike Judge's 1999 classic Office Space) within the context of a witty, constantly uproarious comedy suitable for a guys' pizza 'n' beer night. It's not one of the greatest films you'll ever see, but you'll be hard-pressed to find another recent comedy this downright original, which certainly says something in an age where three movies about fuck buddy relationships can be released within the span of 8 months.

Director Seth Gordon cut his filmmaking teeth with the documentary The King of Kong before moving onto the disappointingly bland 2008 comedy Four Christmases. Horrible Bosses thankfully sees Gordon getting his act back together - he has skilfully crafted a well-paced and sprightly cinematic diversion. His efforts here easily rival that of Hangover director Todd Phillips, who is presently recovering from back-to-back disappointments (Due Date, Hangover 2). Gordon was perfectly content to let his ensemble of actors roam around earning scores of laughs, but not to the point that the film feels undisciplined - on the contrary, the editing is sharp and narrative focus is never lost (Judd Apatow's team should take notes). The only real problems with Horrible Bosses stem from the script by Michael Markowitz, John Francis Daley and Jonathan M. Goldstein - it's not quite funny enough, and the best belly-laughs are a bit too sporadic. While the film is never boring due to the engaging central conceit, there are segments which simply lack the comedic personality of the film's greatest moments. It's a bit of a shame the film isn't more amusing, as it could have been this decade's Office Space with a funnier script.

Horrible Bosses' biggest asset is the cast. Jason Bateman (Paul), Charlie Day (TV's It's Always Sunny in Philadelphia), and Jason Sudeikis (Hall Pass) are a brilliant central trio who share great chemistry, and they get a lot of comic mileage out of the script. Bateman is always watchable no matter what movie he's in, and he represents the straight man of the trio. Alongside him, Day goes for broke and Sudeikis is hilariously over-the-top. However, the film belongs to the triumvirate of titular bosses, all of whom were brought to life through a show-stealing bunch of performances. Jennifer Aniston has never been this loose, sexy and downright vulgar, while Spacey is simply a hoot as the smug, psychotic boss who loves to put Nick through hell. And then there's Colin Farrell, whose over-the-top performance as Kurt's boss mirrors Tom Cruise's turn in Tropic Thunder. However, Farrell seems a bit too underused - further office antics would have definitely been beneficial.

At the end of the day, it's tough to imagine anyone walking away from Horrible Bosses with a dissatisfied feeling. Despite a few sluggish patches, this is a delightful film which shows that even mainstream comedies can still be armed with inventive premises. Sure, a more thoughtful treatment on the same subject matter would likely have yielded a better movie, but Horrible Bosses is an admirable attempt nonetheless. If you're seeking a fun & funny diversion, this is one to have on your radar.

7.7/10

Fluffy, lazily-constructed Hollywood comedies are all the rage, which makes it all the more refreshing to behold studio-produced comedies like 1999's Bowfinger that are genuinely good. Fuelled by a colourful cast, Frank Oz's amiable directorial touch and a delightfully witty, endearing screenplay written by Steve Martin, Bowfinger is one of the best films of its kind. On top of providing a solid hour-and-a-half of endlessly delightful, light-hearted, lull-free entertainment, Bowfinger gleefully and effectively takes the piss out of the Hollywood movie industry with its complicated politics, pretences and superficiality. However, the film also reinforces the well-worn but nevertheless heart-warming message that lies at the centre of Tinseltown: that you can achieve your dreams if you have the determination and drive.

The title character, Bobby Bowfinger (Steve Martin), is a struggling wannabe movie producer attempting to get his next project off the ground. Pushing fifty years of age, the optimistic Bowfinger reads a script written by his accountant, Afrim (Adam Alexi-Malle), and is immediately blown away. Entitled Chubby Rain, Afrim's script is a cheesy science fiction story about aliens arriving on Earth in raindrops. Bobby cannot secure Hollywood's hottest actor, Kit Ramsey (Eddie Murphy), for the leading role, but, in a moment of weakness, he lies to his loyal crew and tells them that Kit has agreed to star. To deal with their obvious problem, Bobby decides to follow Kit and secretly film the star while his actors simply approach him and say their lines. None the wiser about the whole scheme, Kit soon starts to believe that aliens are actually trying to abduct him.

Bowfinger is dynamite in terms of story, with the unique premise allowing plenty of leeway for a series of hilarious gags and set pieces. It is especially amusing to watch the inventive Bowfinger finding a solution to address every problem. For instance, to covertly light one scene, he has a crewmember holding a reflective "Work for Food" sign nearby. Meanwhile, the scenes of Bowfinger's actors interacting with the unwitting Kit are side-splitting. Yet, the film is not merely a string of dumb laughs, as each comedic set piece is beautifully sewn into the fabric of the narrative and serves a purpose. Frank Oz's masterful understanding of comedic timing and pacing is also a tremendous asset. Even when the jokes slow down, Bowfinger is still zippy and entertaining because, unlike lazy comedies, the film has forward momentum, a legitimate plot and a group of characters you care about. And when you think it's all over, the film concludes with an excerpt from Bowfinger's next magnum opus that is guaranteed to have you rolling on the floor in fits of laughter. Indeed, the sense of fun never wanes, and you will be left yearning for more movies of this comic calibre.

Bowfinger is also more thoughtful than standard-order mainstream comedies, as it is primarily a biting satire of contemporary Hollywood. It's to Tinseltown what This is Spinal Tap is to rock stars. The clever satire is most prominent in the depiction of the cult religious group "MindHead," an obvious send-up of the Church of Scientology. Additionally, Martin and Oz take several satirical jabs at the big, successful studio executives who are not overly passionate about the film industry and only care about the bottom line. See, Bowfinger is a lowly wannabe filmmaker who wants to make movies because he loves doing it, not because of the money. Like the infamously bad Ed Wood, Bowfinger lacks talent but is dedicated and enthusiastic, two characteristics missing in both the egotistical Kit Ramsey and the self-centred bigwig movie producer played by Robert Downey Jr. (in a performance predating his breakout success in the noughties). Fortunately, despite all of this thematic material, Bowfinger is not pretentious - it just has layers of thoughtfulness that give way to hilarious moments and a few genuinely touching, heartfelt scenes.

Martin is a delight as Bowfinger; his performance is as energetic, appealing, and hilarious as his script. Rather than an over-the-top caricature, Martin's keen movie producer is likeable, down-to-earth and innately human. Sure, Martin is not Oscar-worthy, but acting this well-nuanced is a rarity in mainstream studio comedies. Meanwhile, Eddie Murphy is equally remarkable in his dual role playing both Kit Ramsey and Kit's brother, Jiff. Murphy pulls off both characters remarkably well, but Jiff is the standout. Meanwhile, as wannabe actress Daisy, Heather Graham's performance is delightfully high-spirited and giddy, while Christine Baranski is fabulous as one of Bowfinger's loyal cast members. Also worth mentioning is Bowfinger's crew of illegal Mexican immigrants they collect from the border who become proficient and cinematically literate throughout the production of Chubby Rain. The list of standout performers goes on and on - suffice it to say, each and every one of them hit their marks brilliantly, and there is not a weak spot to be found.

Bowfinger is good, clean entertainment. It's a thoughtful and heartfelt story about Hollywood wannabes who yearn for success at any cost, even if it means bending the law just a little bit and using an actor who does not know he's the star. The energy and enthusiasm of the cast is infectious, and the movie achieves easygoing laughs without sacrificing narrative integrity or stooping to the level of flatulence jokes or bathroom humour. With gags and insights throughout the picture, it entertains while sending up Hollywood's vanity and shallowness. And it has infinite replay value.

8.9/10

Now this is what I'm talking 'bout! Awesome and rousing, Captain America: The First Avenger is a damn good home run of a blockbuster, showing up late in the summer derby to put most of its cinematic competition to shame. After Thor a few months prior, Captain America is summer 2011's second Marvel-produced action picture to provide a proverbial origins tale and function as a precursor to 2012's much-anticipated superhero mash-up The Avengers. Fortunately, the film doesn't feel like an extended trailer or an expensive advertisement for Joss Whedon's upcoming Avengers epic - rather, it feels like a wholesome, enjoyable action film that tells a good story and introduces a Marvel icon in a satisfying fashion.

A 90-pound asthmatic burdened by health problems and physical ailments, Steve Rogers (Chris Evans) is determined to join the army during WWII to serve his country, but is always rejected. Steve's valiance and determination is soon recognised by a German doctor (Stanley Tucci), who chooses the puny would-be soldier to participate in a military program designed to create super soldiers. Following the experiment, Steve is transformed into a muscular, physically sound specimen with superhuman abilities. Alas, Steve is kept away from the battlefield to perform in shows and films, and act as America's golden boy to provide morale boosts. However, he is eventually compelled into duty when villainous Nazi officer Johann Schmidt/Red Skull (Hugo Weaving) takes possession of an energy source powerful enough to change the course of the war...and control the world. With agent Peggy Carter (Hayley Atwell) and Col. Chester Phillips (Tommy Lee Jones) on his side, and with Howard Stark (Dominic Cooper) on-board to provide him with the technology to kick some serious ass, Steve begins undertaking adventures as Captain America.

While Iron Man and The Incredible Hulk took place in present day, and Thor bounced between present-day Earth and fantastical worlds, Captain America: The First Avenger is a through-and-through period piece which takes place during World War II. And this is precisely what makes the film so refreshing. After all, introductory superhero pictures often adhere to the same origins formula, with the mould staying the same while the characters and settings are changed. With Captain America occurring during WWII, the competent script is an intimate character piece, a proverbial origins tale, and a sprawling World War II epic spanning several years. More commendably, a compelling plot emerges beyond Steve's origins story, and neither storyline feels underdone. Also, the old-fashioned world domination scheme cooked up by the Red Skull is slightly reminiscent of classic James Bond adventures, making for a narrative of unadulterated, awesome fun.

Once director Joe Johnston begins focusing on the side of the titular character that everyone wants to see, Captain America is a blast. While a few action beats are somewhat awkwardly staged, the action is otherwise awesome and highly satisfying. The 2011 summer season has, after all, mostly concerned superheroes with mutant abilities and giant robots pounding on one another, so it's refreshing to watch a patriotic action hero take down the bad guys in a more old-school fashion, with kickass hand-to-hand combat and some nifty gadgetry (the shield is especially cool). It's also quite amazing just how much violence the filmmakers were able to get away with in a PG-13 comic book movie (the gunshot wounds are notably bloody). As to be expected from a superhero action movie, though, Captain America is a bit dumb - the baddies can't shoot straight, the good guy casualties are unrealistically low, and the technology being showcased is absurdly advanced for the 1940s.

Unsurprisingly, Captain America's special effects are constantly phenomenal. The crowning achievement is the depiction of "skinny" Steve Rogers, which is both an amazing CGI feat and an immaculate use of seamless digital effects to serve storytelling. When the action sequences grow more ostentatious late into the picture, the special effects do become a tad cartoonish, however. On a more positive note, the criminally underrated Alan Silvestri's score is spectacular, while the production design is gorgeous. The period detail is to be commended, with the 1940s being effortlessly recreated by Johnston's creative team. Captain America, like all prior Marvel movies, contains perceptive nods to other Marvel productions as a way to set up The Avengers. Yet, these necessities do not get in the way of creating a solid self-contained movie. The not-very-revealing post-credits teaser trailer for The Avengers truly feels like a great way to end the blockbuster and tantalise viewers about what's to come for its titular hero. The end credits even close with a nice little "Captain America Will Return In The Avengers" caption.

Captain America: The First Avenger was yet another victim for the 3-D craze, as it underwent a completely unnecessary 3-D conversion in post-production. I did not see the film in 3-D, but by all accounts the extra-dimensional effects are eye-gauging and unnecessary. It was perfectly fine in 2-D, and, if anything, the 3-D would be detrimental to the experience.

The character of Captain America was created back in the early 1940s, when Joe Simon and Jack Kirby sensed eventual American involvement in WWII and set out to create a jingoistic superhero. Joe Johnston and writers Christopher Markus & Stephen McFeely changed virtually no facets of the character's origins, and retained the Captain's fervid patriotism. Luckily, it works. And in the title role, Chris Evans is excellent - he competently conveys the character's coyness and kindness. And with his buff physique, Evans genuinely looks the part. In the supporting cast, Hugo Weaving exudes menace as the Red Skull, and he's close to being the best thing about the movie. Weaving played the role as a mix of Col. Hans Landa (from Inglourious Basterds) and Arnold Schwarzenegger's interpretation of Mr. Freeze (from Batman & Robin), and topped off the mix with a Werner Herzog accent. Also making an impression is Tommy Lee Jones, who's a whole lot of fun as Col. Chester Phillips. Jones has a gift for comedy, and the script gave him plenty of leeway to exploit this gift. Meanwhile, the amazingly hot Hayley Atwell did everything she needed to do as the token love internet, and Stanley Tucci adopted a completely believable accent playing the German doctor behind the program that births Captain America. Rounding out the cast is Dominic Cooper who excellently embodied the role of Howard Stark.

With Christopher Nolan's trademark dark, gritty approach to superhero stories being adopted so often, something like Captain America: The First Avenger is a refreshing breath of fresh air. The film reminds us that dark and brooding does not automatically mean a movie is a masterpiece, and that a well-crafted, retro comic book action blockbuster can be just as much fun (and arguably better).

8.2/10

Michael J. Bassett's Deathwatch is an interesting specimen. The feature-length debut for its writer-director, Deathwatch is a low-budget English horror picture set in the trenches of World War I. In other words, it mixes action/war with outright horror, resulting in something altogether unique and conceptually sound. If the genres are taken singularly, Deathwatch breaks no new ground, but by juxtaposing the genres and developing a thoughtful subtext, writer-director Bassett had an ideal platform on which to express anti-war sentiments in an innovative fashion. With that said, though, Bassett lacked the fundamental screenwriting skills to entirely capitalise on the potential of the delicious ideas he cooked up.

The story begins in France during World War I, as British soldiers from Y-Company are forced into a fierce battle. Among them is terrified young rookie soldier Charlie Shakespeare (Bell), who follows his unit as they charge against a German trench defended by machine gun placements. The morning after the battle, Shakespeare and the men find themselves lost and blinded by thick fog. Soon, they happen upon a shoddily-guarded, corpse-laden German trench, which they secure while waiting for reinforcements. However, it fast becomes clear that there is something inherently evil about the trench, and supernatural attacks begin to drive the men insane, leading them to murder one another.

Where most horror/slasher flicks concern a gang of substance-abusing, sexually active teens who are ripe for the picking, Deathwatch centres on a crew of hardened soldiers. Unfortunately, despite the change, the characters are not a great deal smarter than the average horror victims, and are not immune to being picked off by a marauding killer. On the positive side, the protagonist at the centre of the film is an interesting twist on most genre heroes - he is a coy, reluctant soldier with virtues seen all too rarely in wartime: mercy and empathy. Throughout the film, Bassett took advantage of all opportunities for thoughtful anti-war posturing, while there are also a few sly jabs at the messy British class system. However, the main metaphoric message of the film - that all soldiers in war are already dead and are facing judgment - is easy to overlook because it's poorly delineated. And if one does not glean Deathwatch's message, it loses a great deal of impact, so this is a big issue. It's no help that the ending is laughable.

Deathwatch was Michael J. Bassett's first screenplay, and his inexperience is obvious in the dull dialogue and general failure to explore the film's themes to their fullest extent. It is also obvious that Bassett had not directed a movie before, as the pacing is generally sloppy. Not to mention, the murky photography makes it difficult to distinguish what's happening in the trenches, and the dialogue is difficult to make out due to poor sound mixing. With that said, though, the production values are to be commended. The period details are remarkable, with mud, corpses, rats and barbed wire contributing to the atmosphere, while the costuming adds authenticity. Deathwatch's colour palette is muted for the most part; giving the film a sombre tone. It's a shame that a better director was not at the helm here, as the production values could have yielded a remarkable horror movie if only Bassett exuded more passion and skill.

Jamie Bell's breakout performance was in the acclaimed Billy Elliot. It was therefore a rather curious choice for the actor to star in this WWI ghost story as his next starring vehicle. Alas, Bell is not especially good or memorable. Maybe it had more to do with the demands of his character, but Bell simply lacks presence - he's forgettable and underwhelming. The other actors carried out their duties well enough, but the majority of them are too interchangeable and lacking in characterisation, which is all the more baffling since the film begins with a curtain call. Furthermore, most of them were saddled with two-dimensional soldier stereotypes, though the use of such stereotypes does admittedly assist in the conveyance of Deathwatch's anti-war message. The standout in the cast as Andy Serkis, who relished the chance to go over-the-top with his Kurtz-like character.

In final analysis, Deathwatch is a mixed bag. If taken as a low-budget supernatural horror movie, it is at least watchable, and its intentions are to be lauded. But considering the fascinating ideas, the film could have been a lot more. Horror junkies will probably get the most out of Deathwatch, but casual movie watchers and film buffs should probably look elsewhere for entertainment.

5.2/10

New York journalist and vehement animal rights activist Beth Winters (Judy Morris) travels to the small Australian outback town of Gamulla to investigate the sinister kangaroo slaughtering industry. Beth is not exactly popular in Gamulla, however - the colourful locals make her feel unwelcome, and nobody is unwilling to speak to her. When Beth mysteriously disappears and news of her disappearance reaches New York, Beth's partner Carl (Gregory Harrison) travels to Australia in search of answers. After an encounter with the unsavoury Benny (Chris Haywood) and Dicko (David Argue), Carl meets the kindly Sarah (Arkie Whiteley) and her friend, embittered hunter Jake Cullen (Bill Kerr). Jake knows all too well that a marauding razorback with a taste for human flesh threatens the community, but Sarah is the only one who believes him.

Solely focusing on a killer pig terrorising an outback community would have provided adequate material to sustain a 90-minute exploitation movie. Unfortunately, with a screenplay credited to Everett De Roche, Razorback is weighed down by an unnecessary subplot concerning thuggish kangaroo hunters which detracts a degree of focus, momentum and fun. The angle provides the impetus for Beth's interest in Gamulla, but the razorback fundamentally becomes a fringe threat as the film struggles to find its primary narrative focus. A revenge angle between Jake and the razorback is initially introduced but fades into the background, while themes about violence in the outback and animal conservation are never properly explored. Razorback is a bit of a mess, in other words. Additionally, a portion of the film tracks Carl aimlessly wandering through the desert searching for Beth, even hallucinating during his travels. Mulcahy embraces this tangent, evoking his music video experience as he experiments with striking, colourful imagery, giving Razorback its distinct cinematic identity. It may be a mess, but it's a beautiful mess.

Unlike more basic or pedestrian '80s horrors, Razorback is exceptionally stylised, befitting of a collaboration between Mulcahy and Oscar-winning cinematographer Dean Semler (Max Mad 2, Dances With Wolves). The resulting cinematographic routine is manic, beset with point-of-view shots, surreal imagery and close-ups of the razorback’s tusks and mouth, while dominant lighting and filters create shots bursting with extreme colour and shadows. Barely a scene goes by that’s not rich with atmosphere, which is a testament to the filmmakers' ability to both make the most of their budget and jazz up an unexciting premise with visual panache. Complementing the visuals is a synth-heavy score courtesy of Iva Davies, further establishing the film's unique flavour. A sizeable portion of the reported $5.5 million budget was expended to bring the titular boar to life, but by all accounts the resulting animatronics are not completely believable. Therefore, Mulcahy adopts the Jaws model by only showing the monster in quick bursts, and never letting viewers get a clear glimpse of it until the third act, with a climactic showdown inside an insalubrious dog food factory. The attack sequences are fast, vicious and gory, with smart editing by William M. Anderson (Gallipoli) masking the razorback's lack of realism. The results are serviceable enough. In its (rare) uncut form, Razorback is even better, with more exploitative (Ozploitative?) gory violence.

It is apparent that the visual styling took precedence over plotting and acting, with Mulcahy not exactly an actor's director, but at least the performers are not necessarily awful. Kerr impresses the most, confidently slipping into his role of a gruff razorback hunter and doing his best to give the movie some gravitas. As the stereotypical (American) hero, Harrison is believable and watchable though by no means outstanding, while Whiteley evinces an appealing charm and innocence, and Morris makes the most of her somewhat thankless role. Haywood and Argue portray the story's proverbial human villains, and they appear to have come straight from the set of a Mad Max film due to their manic behaviour and garish costuming.

Although mostly enjoyable, Razorback is unquestionably a product of its time, restricted by a meagre budget as well as the special effects limitations of the early 1980s. Unfortunately, despite the movie's distributors having confidence in the final product, Razorback struggled at the box office in both America and Australia during its 1984 theatrical release. However, it found its audience on home video, ultimately transforming into a minor cult classic. Heck, Jaws director Steven Spielberg is an admirer of this outback monster movie, while Quentin Tarantino can also be counted among the film's self-confessed fans.

6.7/10

Written and directed by David Michôd who makes his feature-length debut here, Animal Kingdom persuasively demonstrates that plenty of life still remains in the contemporary Australian film industry. Fundamentally the Australian Goodfellas in the suburbs of Melbourne, it ostensibly looks as if Animal Kingdom was specifically produced to capitalise on the recent success of the acclaimed TV show Underbelly. Truth be told, though, the picture was a decade-long passion project for writer-director Michôd, who spent years working on the script while often doubting the quality of his writing. Michôd's insecurities may have persisted throughout Animal Kingdom's filming and post-production, but his efforts have paid off in spades with this enthralling, thematically dense and award-winning masterpiece.

When his overprotective mother dies of a heroin overdose, socially withdrawn teenager Joshua (Frecheville) has little choice but to seek shelter with the very people his mother wanted to shield him from. Hesitantly moving in with his grandmother Janine (Weaver) and his uncles, Josh is drawn into a grim world of drugs and crime, struggling to maintain both his morality and his relationship with the sweet young Nicky (Wheelwright). Killings and police pressure bring about the beginning of the family's unravelling, leaving Josh to choose his path and decide whether or not to partake in the lifestyle that neither he nor his late mother wanted. Into Josh's life also steps Nathan Leckie (Pearce), a detective who's optimistic that he can convince the impressionable teen to turn on his family and help bring the criminals to justice.

Unwaveringly bleak and visceral, Animal Kingdom was admittedly constructed using conventional genre parts, but the familiarity is overshadowed by brilliant execution and a unique Aussie flavour. Rather than providing a clichéd saga of a crime family with a coy newcomer learning the ropes as his innocence is shattered, Michôd adopted a more fresh-feeling batting stance; refusing to concentrate on the more glamorous mechanical aspects of the organised crime business like heists and shootouts. Instead, Michôd's focus is on the perilous consequences of a criminal lifestyle and the effects of paranoia on a crime family. What's most impressive about Michôd's writing is that it does not sugar-coat the subject matter, nor is the material drenched in sentimentality. Animal Kingdom depicts a dreary, brutal world in a ruthless fashion, and any character - no matter how likeable or prominent - can be killed at any moment. Indeed, this veneer of sheer unpredictability generates a great deal of power, leading to a shocking climax. The dialogue, too, is not snappy or witty like a Martin Scorsese picture, but raw and realistic instead.

Comparisons to the works of Francis Ford Coppola and Scorsese are not unwarranted, since a lot of crime films of yesteryear appear to have influenced Animal Kingdom. The mood and atmosphere is different here, however, with the story being more intimate and personal, not to mention the protagonist has far more difficulty adapting to his new environment. Atmospherically and visually, Animal Kingdom is a home run. Over the past few years, Aussies have begat a handful of accomplished, gritty movies (see The Square), and Michôd's efforts follow suit. The filmmaking here is not over-stylised or ostentatious; instead, it's somewhat raw yet subtly enthralling, with a well-judged colour palette and an accomplished sound mix that effortlessly encapsulates the look and ambience of Aussie suburbia. While the pacing is usually deliberate, it is confident, and Michôd does manage to quietly ensnare you in the narrative's proceedings. Topping this off are the haunting melodies provided by composer Antony Partos, contributing to both the atmosphere and overall production's power.

For her role of Janine, Jackie Weaver has received a lot of press - she was even nominated for both a Golden Globe and an Oscar. And my word, her performance is worth all the attention; it's intense and focused, not to mention it genuinely feels like she is Janine. But do not let Weaver's acclaim fool you into thinking she's the only acting standout, since Animal Kingdom is packed to the rafters with exceptional performances. As Josh, newcomer James Frecheville is a real find; strong, subtle and believable. And as Pope, the de factor family leader, Ben Mendelsohn is utterly flesh-crawling. The horrible nature of Mendelsohn's character is not derived from the things he does, but instead the genuinely unnerving demeanour that flawlessly permeated Mendelsohn's performance. The most recognisable member of the cast is Guy Pearce (Memento, The Proposition), who's completely convincing as Detective Leckie. The remainder of the cast, from Dan Wyllie to Joel Edgerton to Laura Wheelwright and beyond, are all exceptional - there is not a faulty performance to behold. After all, Animal Kingdom received a staggering 7 Australian Film Institute Award nominations just in the acting categories!

Speaking of the Australian Film Institute Awards, Animal Kingdom received a record-making 17 nominations in total, and won 9 of them, including Best Film, Best Direction, Best Editing, Best Lead Actor, Best Lead Actress and Best Supporting Actor. Suffice it to say, Animal Kingdom is sublime from top to bottom; cobbling together a riveting and altogether powerful organised crime story that's as good as anything Scorsese and Coppola have ever done.

9.0/10

Ivan Reitman's first filmmaking endeavour since 2006, No Strings Attached is an attempt to explore "fuck buddy" relationships within the context of a mainstream romantic comedy. In other words, it delves into the same territory as 2010's Love and Other Drugs with a heavier smattering of cliché. In terms of positive assets, the central pair of lovers (and the actors portraying them, for that matter) have genuine chemistry, while the rest of the acting ensemble sparkle with wit and charm. On the downside, No Strings Attached is far from perfect, even if it's just taken as a fluffy comedy. It may be just passable enough that you'll endure the flick for its entirety, but afterwards you will likely be left with a resoundingly bland taste in your mouth. Not to mention, you won't come away from No Strings Attached thinking that it's one of 2011's funniest or most romantic cinematic offerings.

Since their early teenage years, Emma (Portman) and Adam (Kutcher) have found their lives to be intertwined; running into one another every few years, but avoiding a relationship in spite of an obvious mutual physical attraction. In present day, Emma is a hard-working medical intern with no interest in a serious relationship, while Adam is stuck as a lowly production assistant on a Glee-esque television show. After crossing each other's paths yet again, the two impulsively have sex, and in coming days Emma proposes that the two begin a "fuck buddy" relationship free of commitment. Adam gleefully embraces the idea. However, while Adam still retains hope that something more serious will eventually develop, Emma is far too hesitant to take things to the next step.

No Strings Attached melds romantic comedy with edgy subject matter, promising to provide an incisive exploration of the consequences of sex without emotional attachment. However, the film plays it far too safe, so you know precisely how the proceedings will play out. After all, there's no way in hell that studio executives were going to let a star-studded rom-com end audaciously and unconventionally (à la 2009's brilliant indie (500) Days of Summer), because an average couple (and, thus, the target audience) want to leave a cinema with a warm, fuzzy feeling. Bolder equals less profit, after all, and nobody knows that better than Hollywood executives. No Strings Attached was produced for a measly $25 million which should have allowed leeway for the film to be daring, but making as much money as possible was more important, especially since it would've taken a Herculean struggle in itself just to have the film be R-rated. Rom-com consumers who love the formula in all its forms may appreciate the comfort associated with No Strings Attached, but the unabashed conventionality of Elizabeth Meriwether's screenplay will most likely come across as pure laziness to more casual film-goers.

To be fair, No Strings Attached is not excruciating. Ivan Reitman has helmed a number of worthwhile comedies during his career (including Stripes and Kindergarten Cop), so the film is often entertaining enough. From a technical perspective this is a solid effort as well, with handsome production values and a constantly enjoyable soundtrack made up of charming, delightful tunes. In terms of laughs, the film delivers from time to time, though the laugh quotient is not as high as one might expect from a production like this. The film also plods during certain sections, unfortunately - there are a few laugh-free stretches of pure rom-com formula (for instance the "break up to make up" section) which are meant to be mistaken as evidence of cinematic maturity, but Reitman was unable to enliven them.

Movie sex scenes with Natalie Portman are like eclipses or sightings of Hayley's Comet - they're very rare, and you just hope that you'll witness at least one in your lifetime. In terms of her actual performance, Portman acquits herself quite well; nailing the various facets of her role. Alongside her, Ashton Kutcher was traversing more familiar terrain as Adam. He's well-known for playing a good-hearted puppy dog of a romantic lead, and thus No Strings Attached at no point challenges his acting abilities. Nonetheless, Kutcher is strong in his role, and he shares great chemistry and camaraderie with Portman. In this type of romantic comedy, supporting roles are usually just thankless throwaways, but in No Strings Attached, the typically thankless roles were energised by excellent writing and an ideal bunch of actors. Kevin Kline in particular is a scene-stealer, delivering a bunch of amusing lines and generally emanating hilarity. The extensive roster of memorable supporting characters was further filled out by the unbelievably adorable Greta Gerwig as one of Emma's roommates, the always-reliable Cary Elwes as a doctor, and the hilarious Ludacris as one of Adam's witty best friends, just to name a few.

With its mainstream-pandering vibe, No Strings Attached sacrifices thematic integrity in order to widen its appeal as much as possible. Unfortunately, the film attempts to have it both ways; trying to generate a veneer of maturity while dishing up laughs and the clichés that casual movie fans will be comfortable with. Suffice it to say, the merger of these two distinct styles is rather squiffy, resulting in a fun enough surface-level ride that would have been easily superior if the screenwriter simply chose one specific style and stuck with it.

5.5/10

Masterminded by indie filmmaker Robert Rodriguez (Desperado, From Dusk Till Dawn), 2005's Sin City is the most definitive cinematic translation of a graphic novel to date. Rodriguez adapted the movie from the pages of the iconic Frank Miller's neo-noir comic book series of the same name, resulting in an indisputable masterpiece boasting gorgeously stylised visuals of a violent, monochrome world inhabited by ruthless villains and compelling anti-heroes. Sin City is the ultimate proof that comic book movies are not inherently for children, as these blood-soaked stories are brutal, repugnant and sadistic. However, Sin City is a visually enthralling blast from start to finish for those able to stomach this material. Rodriguez's graphic novel adaptation is also a compelling showcase for the possibilities of digital moviemaking (kick-started by 2004's Sky Captain and the World of Tomorrow), wherein actors appear within computer-generated environments. Due to this, the film sparked an entire new comic-to-screen aesthetic, leading to movies like Zack Snyder's 300 and the Frank Miller-directed The Spirit.

"Sin City" is the appropriately shortened name for Basin City, the seedy metropolis where the proceedings occur. An anthology narrative, Rodriguez packs together three of Miller's stories - The Hard Goodbye, The Big Fat Kill, and That Yellow Bastard - and bookends them with the short story The Customer Is Always Right. In The Hard Goodbye, a hulking thug named Marv (Mickey Rourke) spends the night with an angelic woman named Goldie (Jaime King), but a silent, unseen assailant murders her during the night. Framed for the murder and wanting revenge, Marv seeks answers, leading him to a mute serial killer, Kevin (Elijah Wood), who is part of a larger conspiracy. The Big Fat Kill concerns Dwight McCarthy (Clive Owen), who wants to protect his girlfriend, Shellie (Brittany Murphy), from her abusive former lover, the immoral Jackie Boy (Benecio del Toro). Jackie Boy and his cronies drive across the city to Old Town, where they have a run-in with a group of dangerous, lethal prostitutes led by Gail (Rosario Dawson). In That Yellow Bastard, aging police officer John Hartigan (Bruce Willis) is sent to prison after saving young Nancy Callahan (Jessica Alba) from a serial child-killer, Junior (Nick Stahl), the son of corrupt politician Senator Roark (Power Boothe). After his eventual release several years later, Hartigan searches for the now-adult Nancy, unaware he is falling into Junior's trap.

Brought to life practically verbatim from Miller's strikingly illustrated graphic novels, the stories here are admittedly familiar-feeling and unremarkable on paper as they incorporate noir tropes and conventional characters. But Sin City shines in its execution, from the incredible aesthetics and enthralling sense of atmosphere to the top-notch casting and unique dialogue verbiage. Robert Rodriguez did not devise any script or storyboards for this feature-film iteration - instead, the filmmaker referred to Miller's comics during the production, taking the term "faithful adaptation" to a new and more literal level. As written by Miller, the dialogue and hard-boiled noir-esque voiceovers crackle with lyricism and badassery, while veteran action filmmaker Rodriguez handles the vehemently R-rated moments of gunplay and action with utmost panache and confidence. Like the comics, Sin City is not for all tastes as an omnipresent sense of the macabre and seediness permeates practically every frame, and there is plenty of brutal violence and gratuitous nudity that the easily offended or those with weak stomachs cannot consume comfortably. Nevertheless, this is true to the source, and the movie is legitimately exciting, engaging, and intense. In other words, it is not mindless, tasteless violence porn.

Visually and atmospherically, Sin City is a masterpiece. Serving as his own cinematographer, Rodriguez shot the picture with digital cameras in front of green screens to seamlessly facilitate the computer-generated backgrounds. Rodriguez's extraordinary black and white cinematography also benefits from stylish lighting and shadows, meticulously turning Miller's comic panels into captivating cinematic frames. The visuals are predominantly monochrome with small bursts of colour, resulting in a unique palette that filmmakers continue to emulate. There are plenty of visual nuances to behold here, including silhouettes in some shots to further solidify the picture's comic book origins. The budget for Sin City was relatively modest at $40 million, yet the special effects and compositing still stand up to scrutiny after twenty years. Another huge asset is the atmospheric and memorable score credited to Rodriguez, John Debney, and Graeme Revell, which adds more life and colour to the production. Rodriguez and Miller worked as a team to direct the movie, trimming small bits from the comics to generate the gloriously brisk pace. Frequent Rodriguez collaborator Quentin Tarantino even receives a "Guest Director" credit - he helmed the scene between Clive Owen and Benicio del Toro as they drive to the tar pits.

The casting constitutes another of Sin City's greatest strengths, as Rodriguez and Miller recruited a sensational ensemble. Despite the film featuring several big-name actors, nothing feels like senseless stunt casting for maximum box office, and none of the actors try to overshadow each other; instead, it's a genuine ensemble effort. The highlight is Mickey Rourke, who is in full career-resuscitating mode here as the ruthless Marv. With elaborate make-up to closely resemble his comic book counterpart, Rourke is a passionate and compelling scene-stealer, and this ranks as the actor's best work to date. Clive Owen is another highlight as the charismatic and capable Dwight, while Bruce Willis is enormously memorable as the hardened, aging Hartigan. Despite Willis playing a cop, he does not play another variation of his wisecracking John McClane screen persona; instead, his performance is far edgier and darker.

Other notable performers include Power Boothe as the corrupt Senator Roark and Rutger Hauer as Cardinal Roark, while the monstrous Michael Clarke Duncan also makes a great impression as the nearly indestructible Manute. Meanwhile, Josh Hartnett appears as an assassin at the beginning and end of the movie, and Elijah Wood (who worked with Rodriguez on The Faculty) plays against type as a sadistic, cannibalistic murderer, a far cry from his wholesome performances in films like The Lord of the Rings and Flipper. There are many other terrific actors here - including Michael Madsen as a detective, Devon Aoki as a mute assassin, Brittany Murphy as Shellie, and Benicio del Toro as an unsavoury douchebag - but suffice it to say, there is not a single weak link in the ensemble.

With strict rules about directorial credits, Rodriguez specifically resigned from the Directors Guild of America to credit Miller as co-director on the movie, which also led to his dismissal from the film John Carter as Rodriguez could no longer direct major studio pictures. This bold move reflects Rodriguez's dedication to bringing Miller's vision to the screen in the most faithful way possible, collaborating on-set and referring to the pages of his graphic novels to create something truly special. With its engaging narrative structure, breathtaking visuals and badass noir dialogue, Sin City is a uniquely spectacular cinematic experience. The movie is also thrilling and unpredictable, as Rodriguez and Miller incorporate shocking deaths and multiple gut-wrenching climaxes. Sin City is perfection, and it is difficult to imagine any existing fans not being satisfied with this exemplary effort (it should also earn Miller new fans), especially with the availability of Rodriguez's recut, extended and unrated edition that presents each story separately with additional material. After years of rumours and delays, a sequel, Sin City: A Dame to Kill For, was released in 2014, nine years after its predecessor.

10/10

They say war is hell, and this age-old cliché has been exemplified in pretty much every war picture to date. 2008's Outpost is a film that literalises this adage, incorporating the horrors of war into a traditional horror picture. Every now and again, a small-time, low-budget horror film comes out of nowhere to catch genre fans off-guard with an unexpected magnum opus. Films like Dog Soldiers immediately come to mind as a good illustration of this, delivering the sort of horror experience that we don't see often enough. Happily, director Steve Barker's Outpost is another one of these movies. In terms of story and ideas, this is not a particularly groundbreaking flick (even the DVD cover openly identifies films it shares similarities with), but it is a badass horror/action gem which competently accomplishes everything that a good horror film ought to accomplish.

In the picture's opening moments, career soldier-of-fortune DC (Ray Stevenson) is hired by corporate engineer Hunt (Julian Wadham) to assemble a team of mercenaries. Their assignment is to protect Hunt as he travels into an Eastern European civil war zone to conduct a mineralogical survey on property recently acquired by his employers. During their travels they stumble upon a dilapidated, seemingly abandoned old bunker, which, as it turns out, belonged to the Nazis during World War II. Investigation soon reveals that the Nazis used the bunker for brutal experiments blending the occult with science, resulting in a legion of marauding Nazi zombie apparitions who begin stalking and killing the mercenaries. Before long, DC and his men are engaged in a dangerous conflict against an unstoppable enemy.

Running at a hair under 85 minutes and forgoing unnecessary fluff, Outpost is exceedingly taut. The characters and their goals are briskly established in a masterfully efficient opening segment before the film's meat and potatoes elements begin to appear, with scares, intoxicating build-ups of tension, and an apprehensive atmosphere. It doesn't take long for the characters to realise that there's something amiss about the bunker, and likewise, it isn't long before the men learn that their client has been misleading about his true motives. It's a shame, though, that the film feels a tad underdone - more could have been done in terms of character development and exploring the mythology behind the Nazi zombies. Oh well, at least it leaves leeway for the sequels to further explore aspects of the mythology.

Most contemporary horror films are predominantly concerned with gory kills, but director Steve Barker chooses to rely mainly on atmosphere rather than cheap shocks and predictable jump scares. While helpless victims are slaughtered here, Outpost's mercenaries feel like the real deal rather than dumb knife fodder, and their operational skills show that they are experienced professionals. Additionally, the question of "Why don't these idiots just leave?" is addressed early into the action, allowing the mercs to be believably trapped in an unenviable situation with no easy escape.

Luckily, despite a low budget, Rae Brunton's superlative screenplay is competently transferred to the screen. Outpost is insanely creepy and atmospheric, and Gavin Struthers' cinematography is a huge help in this regard. Most of the proceedings take place within the tiny Nazi bunker, lending a claustrophobic feel to the grimy interiors. The photography is also desaturated to the point of near monochrome, allowing the film to feel more insidious and chilling. Furthermore, the lighting techniques are to be commended. In fact, Outpost should be screened in film school to provide a crash course on how to light scenes for maximum effect. The soundscape is equally outstanding, from the haunting melodies composed by James Brett to the eerie ambient noises of the film's key locations.

Character development is somewhat lightweight here, yet each of the mercenaries are imbued with distinctive characterisations to ensure that none of them become interchangeable victims amid the blood-letting. As an added bonus, the mercenaries are portrayed by a charismatic bunch of badasses who genuinely look like hardened soldiers. In the main role of DC is Ray Stevenson, who featured in the television series Rome as well as 2008's Punisher: War Zone. As the tough-as-nails leader of this hardened crew, Stevenson is effortlessly badass. Beside him, in the role of Hunt, Julian Wadham is constantly believable and intense. All of the actors truly disappear into their roles - indeed, when you look at Michael Smiley, you will not think of his role in the TV series Spaced. Most horror movies falter in the acting department, but Outpost is positively and comprehensively faultless.

Produced on a tiny budget, Outpost is a minimalistic Brit horror film in all aspects, with a narrow scope and little in the way of flashy special effects. It's also really, really damn good, and just as satisfyingly violent and gory as any contemporary horror picture. It may not be entirely original (the whole Nazi experiment conceit is not exactly fresh), but it's a damn solid chiller and a worthy picture to behold in an age of torture porn, horror remakes and hackneyed slasher pictures.

8.4/10

The umpteenth Adam Sandler comedy to be directed by Dennis Dugan, 2011's Just Go with It is a semi-remake of the 1969 screwball comedy Cactus Flower, which was based on a 1965 Broadway production that itself was adapted from a French play. Now that's a mouthful. Despite all this, Just Go with It more overtly comes across as self-indulgence for those that made it. Indeed, considering that no real effort looks to have gone into this abysmal romantic comedy, it appears as if Dennis Dugan and Adam Sandler just liked the idea of an all-expenses-paid Hawaiian vacation for a few months. Clearly, Sandler had more fun picking up his big fat paycheque via holidaying in Hawaii with his gorgeous co-stars than anyone will have watching this exercise in comic tedium. Just Go with It should have been a funny, broad farce, but instead it's merely a fluffy "Sandler-ised" romantic comedy from the tired mills of Hollywood.

Beverly Hills plastic surgeon Danny (Sandler) has spent decades having meaningless one-night stands, using a wedding ring and depressing faux sob stories to seduce random girls in bars. Danny is perfectly happy with the scheme, though his dishonesty is perceived as repulsive by his single-mum office manager Katherine (Aniston). At a party one night, Danny sleeps with a stunning blonde named Palmer (Decker), winning her over without his wedding ring tactics. Danny believes his relationship with Palmer could be more than a one-night stand...but then she finds Danny's ring, forcing him to create a faux story about a former marriage and a pending divorce. Danny gets Katherine to pose as his ex-wife, on top of using Katherine's children and his buddy Eddie (Swardson) to help sell the mounting fibs. Elaborate lies quickly stack on top of elaborate lies, and Danny is forced to bribe the gang with a trip to Hawaii.

Director Dennis Dugan's last collaboration with Sandler, 2010's Grown-Ups, was a complete bust; a misguided, obnoxiously unfunny wasted opportunity squandering great potential and a great cast. Digging further into the Dugan/Sandler back catalogue, the two also begat 2008's You Don't Mess with the Zohan and 2007's I Now Pronounce You Chuck & Larry. Thus, it would appear we were warned well in advance of the awfulness of Just Go with It, which comfortably solidifies that their collaborations are about as attractive as a herpes epidemic. Ironically, the early scenes of Just Go with It set in America are the only remotely enjoyable segments of the movie. After the scenery change and the characters begin interacting within lavish Hawaiian locales, though, the film degenerates into an excruciating snoozer. Sure, Dugan captured Hawaii's natural beauty well enough, but there is no energy or comedic spark to the material. It's as if the cast and crew wanted to get filming over and done with as quick as possible to have more time to enjoy their Hawaiian vacation.

Eye-rollingly predictable from the outset, Just Go with It has no time for any such foreign concepts as wit, heart or charm as it cheerlessly goes through the hackneyed motions. The biggest sin committed by writers Allen Loeb and Timothy Dowling is that there's far too much comedy in the "awkward humour" vein, with the characters forced to battle their way through awkward situations. This type of humour can work if, but only if it's actually humorous. Alas, this concept was lost on the writers, who made the film fundamentally uncomfortable and painful to watch. There are a few genuinely humorous moments in Just Go with It's first 20 or 30 minutes, but the ensuing black hole of monotony completely nullifies the film's initial charms. Perhaps worst of all, the film drags on for far too long, concerning itself with a string of lacklustre set-pieces that fail to score any substantial laughs. Worse, the film skips critical story beats in order to engage in this madness. For instance, we do not see the repercussions of what happens when Danny tells Palmer the truth.

In their roles of Danny and Katherine, Adam Sandler and Jennifer Aniston are merely variations of their usual screen personas. Sure, they're believable enough and they're not awful, but they were clearly on autopilot. Meanwhile, Brooklyn Decker was obviously cast as Palmer for aesthetic reasons, and her performance is exactly what you'd expect from a model-turned-actress. On the upside, Nicole Kidman (inexplicably left out of the advertising and promotional campaign) apparently "got" what the material was intended to be, and played her role broadly, loosely and spontaneously, stealing her every scene. If all of the actors were as broad as this, the movie would have worked. Nick Swardson also scores a few laughs, while young Bailee Madison is delightful as one of Katherine's kids who loves to put on a British accent. However it does seem likely that "Bailee Madison" was hired more as a novelty, since her name sounds remarkably like one of Sandler's earliest and most beloved movies...

Clocking in at an interminable 110 minutes and deficient in satisfying belly-laughs, Just Go with It marks yet another black mark on Adam Sandler's acting career. You're more likely to sigh with exasperation at the characters' stupidity and at the elaborateness of their schemes when you should be revelling in it and laughing heartily while waiting for the shaky house of cards to collapse. People may enjoy this movie if the humour appeals to them, but it will have little appeal outside of this demographic due to its lack of charm, heart and innovation. Just Go with It might make for a good date movie, but only if you hate your date.

3.2/10