Reviews by PvtCaboose91

"It's hard to love your job when no one else seems to like you for doing it..."

The marketing campaign for Wreck-It Ralph painted this Disney animated flick as one big party for aging video game nerds, a story brimming with references and inside jokes that outsiders won't understand. Luckily, the resultant picture will appeal to wide audiences, as it strikes a great balance between fan service and highly satisfying moviemaking. The reason why Wreck-It Ralph works is because it's a lively movie which tells a wonderful story with well-realised characters, not because Q*Bert cameos here. What's notable about Wreck-It Ralph is that it may be perceived as just another video game flick, but it's more about the world of video game characters as a whole. And the movie is imbued with so much creativity and visual wit that one could be fooled into believing this to be a Pixar production.

In an old-fashioned video game arcade, behemoth Wreck-It Ralph (John C. Reilly) is a character in the Fix-It Felix, Jr. game, spending his days wrecking an apartment building that's subsequently repaired by handyman Felix (Jack McBrayer) with his magical hammer. Once the arcade shuts for the day, the community of characters congregate for conversation and relaxation. After thirty years of the same daily routine, Ralph has grown weary, fed up with his position as the bad guy and tired of being treated like a second-class citizen. Yearning for respect, Ralph sets off to win himself a medal and become the good guy, eventually entering a kart racing game called Sugar Rush that's overseen by the ruthless King Candy (Alan Tudyk). He meets the spunky young Vanellope (Sarah Silverman), an outcast who aspires to be a racer but is forbidden from doing so by Candy. Added to this, Ralph's actions lead to the threat of an outbreak of sinister bugs, and the Fix-It Felix, Jr. game may soon have its plug pulled.

Wreck-It Ralph is often described as the Toy Story of the video game world, and it is reminiscent of Pixar's first feature-length endeavour in the way it introduces the world of arcade game characters who are living, sentient entities who go through the motions for the entertainment of the players. This conceptual framework aside, though, Wreck-It Ralph's closest cinematic cousin is in fact Tim Burton's The Nightmare Before Christmas, since they both concern misunderstood loners who suffer an existential crisis and set off on an ill-advised vision-quest that takes them to other worlds where they don't belong and threatens the fabric of the universe. What's interesting about Wreck-It Ralph is that there's actually some depth to the picture: The arcade characters being pre-programmed but completely self-aware is a sly metaphor for everyday workers who are stuck in jobs they don't always like. Nevertheless, Wreck-It Ralph lacks the emotional depth and thematic relevance of something like Toy Story. It's an enjoyable ride with a few sly touches, but it doesn't deliver any thoughtful messages, and the movie probably won't wring any tears from you.

Disney managed to secure the rights for so many recognisable faces here, including Pac-Man and his orange nemesis, Bowser from Super Mario Bros., and even the inimitable Sonic the Hedgehog. Gamers will, of course, get the most out of Wreck-It Ralph, as they will pick up on all the cameos and references, but there's enough humour and energy to ensure the uninitiated also have a good time. The opening act is an absolute home run, with director Rich Moore briskly establishing the world inhabited by the arcade characters and taking us through their monotonous daily routines. Once the film settles into Sugar Rush and the plot crises are introduced, however, the pacing unfortunately begins to slow. It's never exactly boring, but Wreck-It Ralph could have used a more judicious editor to give it an added zip. Luckily, the picture is a complete visual knock-out from start to finish, which helps to maintain interest throughout the draggier narrative patches. While not photo-realistic, the animation is succulent and richly detailed, and the character designs are absolutely spot-on.

Reilly has a talent for portraying lonely sad-sacks, making him ideal for the voice of Ralph. His performance is heartfelt and charming, and he's a big reason why the movie works as well as it does. But it's the supporting cast who make the biggest impression. Playing the little Vanellope, Silverman delivers a funny, feisty performance that's also imbued with a sense of humanity. Also excellent is Jane Lynch voicing a tough-as-nails military boilerplate from the arcade game Hero's Duty. Her role is brilliantly written, and Lynch chews the scenery and emanates authority with terrific gusto.

If it's not the greatest animated movie of 2012, Wreck-It Ralph is very near the top of the list. It's a strikingly original piece of work which wonderfully taps into video game culture while also telling an amusing tale supported by a playful sense of humour and beautifully rendered animation. Video game fans will probably have the most fun with the picture as they'll recognise the references and in-jokes, but the unenlightened should still be enraptured by the comedy, the characters and the superlative set-pieces.

8.0/10

"A gun is a tool, Marian; no better or no worse than any other tool: an axe, a shovel or anything. A gun is as good or as bad as the man using it. Remember that."

Shane may be a vehement Western due to its adherence to several of the genre's tropes, but it's a film that belies its genre. By the 1950s, the American Western genre had become predictable, with Westerns growing to the point of being interchangeable, but 1953's Shane is bolder and smarter than more formulaic genre offerings from the same period. This is a film that focuses on storytelling and depth of character, not to mention its technical credits are superlative. Additionally, screenwriter A. B. Guthrie Jr. imbues Shane with themes of family value, loyalty, courage and friendship, and its hotly-debated ending remains as powerful as ever. Though the film is perhaps overrated in some circles, it remains a landmark achievement that inspired multiple movies in the decades to follow.

The titular Shane (Alan Ladd) is a skilled gunslinger with a secretive past. Riding into an isolated Wyoming valley, Shane encounters the homestead of farmer Joe Starrett (Van Heflin), his wife Marian (Jean Arthur) and son Joey (Brandon De Wilde). It becomes apparent that he has ridden into a land feud between the homesteaders and cattle ranch boss Ryker (Emile Meyer). Ryker wants to re-establish control over the entire valley and drive the homesteaders out. Shane takes Starrett's side in a confrontation with Ryker's men and decides to live and work on Starrett's farm. Joey grows to idolise Shane, who seeks to stay out of trouble and make an honest living. However, with the homesteaders continually resisting, Ryker resorts to bringing in a hired gun named Jack Wilson (Jack Palance) to get his dirty work done.

The narrative of Shane is familiar all these years on; it's the tale of a gunfighter fed up with killing who attempts to go straight and lay down his weapons for good. But, of course, things do not work out as planned, and, in this case, Shane is forced to strap on his pistols again for the greater good. The formula has been repeated countless times since, most notably for Clint Eastwood's western Unforgiven. Fortunately, its imitators do not diminish Shane, which remains fresh-feeling all these years on. The film actually incorporates a lot of Joey's perspective - viewers share his viewpoint, travelling alongside the boy as his innocence is shattered and he learns grave things about life and death. However, the problem with Shane is one of pacing; it's too long and glacial. It feels its almost two-hour runtime, as the storytelling is not always engaging. Things grow particularly weary during the second half when the titular character is relegated to more of a background player. The climax, though, is satisfying, but the way it ends will likely be polarising.

Before working as a director, George Stevens was a cinematographer, which gave him knowledge about smooth and beautiful camerawork. Shane is a visually impressive western, with eye-catching landscapes and wonderful production values. Stevens was a true perfectionist; filming for Shane wrapped in 1951, but it was in post-production for the better part of two years due to the intensive editing. The dedication is evident, as Shane is beset with standout set pieces. A large saloon brawl involving Shane, Joe and various goons is spectacular even by today's standards; fluid, gritty and hard-hitting. The editing, photography and sound design of this particular scene cannot be faulted. Luckily, this technical luminosity is often evident from start to finish. Stevens was also very insistent about being as true to the period as possible. An expert on the era was recruited, and sets and clothing had to be completely accurate. Stevens had witnessed the damage a gun could do to a man while serving in WWII and was disappointed that violence was so watered-down in films. Thus, bullets hit hard here, and the brawls are vicious. Following the aforementioned saloon fight, men are seen being patched up.

Although Ladd wasn't nominated for an Oscar (a baffling oversight), he submitted a truly bravura performance as the lonely wandering hero of the title. He embodied the role so well, conveying a certain charisma but nevertheless looking believable as a tough man of action. It's impossible to imagine any other actor playing Shane with the same confidence and excellence as Ladd. Luckily, the supporting cast is solid for the most part, with Palance a solid villain and an endearing De Wilde playing Joey. Meanwhile, Van Heflin is nicely amiable as Joe Starrett, but it's Jean Arthur who stands out as Joe's wife. Arthur's performance is brimming with passion.

Shane may be a Western with scenes of violence, but it's a family movie above all. It's a motion picture for everyone - the story is touching, with universally relatable themes, and the performances are great right down the line. The film has endured as a classic because, despite pacing issues, it's a well-made and thoughtful addition to the Western genre that's hard not to like.

7.9/10

"Sometimes reality is too complex for oral communication. But legend embodies it in a form which enables it to spread all over the world."

Avid sci-fi addicts looking to check out 1965's Alphaville will likely wind up disappointed. This is not a traditional science fiction movie, but instead a hardcore Jean-Luc Godard flick carrying sci-fi undertones. Compared to a commercial product like Minority Report, Alphaville looks woefully under-produced and cheap, but only superficially. At its core, this is an thoughtful treatise on technology and society that intertwines film noir and sci-fi, and its ostensibly slipshod appearance is a part of the satirical slant. Godard originally wanted to name the film Tarzan vs. IBM, a title which perfectly encapsulates the essence of Alphaville. This is a story of a rugged spy battling a dystopian society, and the character of Tarzan was a rugged, individualistic caveman who competed against futuristic technology.

An American secret agent, Lemmy Caution (Eddie Constantine) travels to the outer space city of Alphaville disguised as a journalist named Ivan Johnson. Alphaville is a dehumanised, dystopic society controlled by fascist supercomputer Alpha 60, which was created by Professor Von Braun (Howard Vernon). Alpha 60 seeks to conquer further societies, ruling under an iron fist in a police state where creativity and individualistic expression are replaced by ruthless logic. Caution's assignment is to infiltrate the city and assassinate Von Braun, looking to free Alphaville and destroy Alpha 60 before the computer wages nuclear war on other galaxies.

Alphaville wears its influences on its sleeve, containing elements from George Orwell's 1984 and Aldous Huxley's Brave New World. To allow for easy identification, the citizens of Alphaville are assigned a unique number that's tattooed on their necks. Added to this, people are executed for the slightest of things, and the population are kept in the dark about numerous events. This material mirrors repressive regimes. Furthermore, there is a "Bible" in every hotel room, but the book is in fact a dictionary that's consistently updated rather than a religious text. Each new edition subtly drops words from its vocabulary, as more and more words and expressions are outlawed. Words such as "love" and "conscience" are unknown to the citizens of Alphaville, and the word "why" has been replaced with "because." The word "why" is outlawed in order to brainwash citizens into following their daily routines and abiding by the law without questioning it. Hell, the absence of questions is so ingrained into the population that they automatically greet people with a phrase ("I'm very well, thank you, you're welcome") that's completely lacking in context.

In keeping with Godard's usual modus operandi, it's difficult to nail the narrative of Alphaville, as it's full of non-sequiturs which makes the film challenging to follow. Images are seemingly shown without context, scenes look out of place, and the editing is peculiar, even though the story is straightforward. Also interesting about the film is that Godard used no special effects despite Alphaville being an intergalactic city. The city looks like France in the '60s, and the technology, fashion, sets and cars all look very "normal" for a sci-fi story. One could contend, however, that this compels us to look at the peculiar city of Alphaville and pick out the similarities to our world, and wonder if that's where we are headed...or if we're already there. In keeping with these themes, the performances also seem purposely stilted, in a sense underscoring the robotic invasion of the human soul. As Lemmy, Constantine seems positively unexcited, as if the peculiarities of Alphaville have provoked mental unrest within him. However, the big problem with Alphaville is that, although it runs a brisk 95 minutes, it feels very draggy, and struggles to be involving despite its thematic framework.

Due to its exceedingly experimental nature, Alphaville will not work for everyone. This is not so much a "movie" movie, but rather a cinematic representation of political and philosophical ideas. This should not be anyone's introduction to Godard, and the film will not be considered easy or fun to watch by many, but it does offer food for thought. Our postmodern society resembles the city of Alphaville more and more with each passing year, continually heightening the film's relevancy, which is a feat in itself. Still, there are more contemporary and commercial sci-fi flicks which are more accessible and involving, though Alphaville is still worth checking out.

7.2/10

"The Treblemakers. The rock stars of a cappella, the messiahs of Barden. Well, you know, not including athletes, frat guys, or actual cool people."

Pitch Perfect is very much a product of the Glee craze, a glossy production aimed at teens punctuated by musical performances. It's perhaps an enticing offering for girls but it's unlikely that many other demographics will see any reason to check it out. How surprising, then, that Pitch Perfect is a moderately entertaining fare no matter your age or gender, another film in the mould of Mean Girls that's both quotable and well-made. It's more or less the Dodgeball of a cappella - an admittedly formulaic underdog story that's nonetheless bright and enjoyable. Helmed by television veteran Jason Moore and written by Kay Cannon (adapted from Mickey Rapkin's book of the same name), Pitch Perfect is a crowd-pleasing comedy destined to be enjoyed by more than just the die-hard fans of Glee.

Budding DJ Beca (Anna Kendrick) aspires to move to L.A. to pursue her dreams, but her professor father (John Benjamin Hickey) urges her to head to college to undertake a degree. Reluctant to take full advantage of the college experience, Beca is soon convinced to join the Barden Bellas, an a cappella group looking to repair their tattered reputation and take the top prize at the ICCAs (the International Championship of Collegiate A Cappella). Surprisingly, Beca takes to the group and makes a number of new friends, including Chloe (Brittany Snow) and Australian singer Fat Amy (Rebel Wilson). However, Beca encourages the group to be more daring with their song choices and create mash-up tunes, much to the chagrin of stubborn traditionalist Aubrey (Anna Camp). Complicating matters is the arrogant rival group The Treblemakers, one member of which, Jesse (Skylar Astin), takes a liking to Beca.

Slick and breezily paced, Pitch Perfect unfolds like a pilot for a television show, using a cappella as the personality backbone for what's otherwise a standard-order comedy with young characters. The story is pure formula, make no mistake, with the narrative working towards a painfully predictable resolution. However, as taught by Jesse's adoration for John Hughes' The Breakfast Club, a film's formulaic nature is forgivable as long as there are well-written characters to care about. Cannon's script indeed contains a handful of terrific characters and is permeated with funny lines, most of which are about to become embedded in the public consciousness. Pitch Perfect is still harmed by several almost unforgivable comedic staples, though, including cartoonish villains, stereotypes and a trite message of team spirit. Added to this, the film goes for cheap laughs from time to time, with a running joke involving projectile vomiting and a moment in which a character sloshes around in a large puddle of puke. Plus, when the group turns the tables on the insufferably obstinate Aubrey, it's a case of "why didn't they do that earlier?" Furthermore, the film runs far too long at around 110 minutes and would've benefitted from being made as a zippy 90-minute feature.

After helming episodes of such TV shows as Brothers & Sisters and Dawson's Creek, Moore relishes the chance to direct his first big-screen affair here, mounting a film of comedic energy, wit and visual assurance. It's beautifully shot by cinematographer Julio Macat, too, and the production values are gorgeous despite the paltry $17 million budget. During the musical performances, though, Pitch Perfect is a mixed bag. It's easy to see why the Bellas were so ridiculed since their trademark song is woefully boring, but even the Treblemakers are intolerable from time to time. Nevertheless, some of the musical numbers shine here, with the Bellas' climactic performance an absolute joy, and the picture contains a satisfying mix of songs, both old and recent.

Kendrick is frequently seen in supporting roles, playing second-fiddle to great actors in the likes of Up in the Air and 50/50, not to mention she was part of the abominable Twilight saga. It's terrific, then, to see the endearing actress at last headlining a major studio feature. Watching Pitch Perfect, one can only wonder why it took so long for Kendrick to get her own starring vehicle; she's a great screen presence, beautiful and believable, and she has actual emotional range. Kendrick plays one of those types who's completely disinterested and distant towards everyone, and she pulls it off. Not to mention, she has a beautiful singing voice. Also fantastic here is Australian comedian Rebel Wilson, who was a scene-stealer in 2011's Bridesmaids. Wilson has tremendous comedic energy and timing, and apparently improvised most of her dialogue. She's a huge asset. The rest of the cast is equally impressive, with Anna Camp a believably stubborn Aubrey, and Brittany Snow who's beautiful and charismatic as the Bellas' voice of reason. Also showing up in a glorified cameo is a hugely amusing Christopher Mintz-Plasse playing the college's audition launcher, while Elizabeth Banks and John Michael Higgins get a few moments to shine as the ICCA commentators.

Pitch Perfect is not pitch perfect by any means, but it's a serviceable time-waster with laughs and a smattering of enjoyable music. If you enjoy teen comedies like Clueless and Mean Girls, there's a good chance you'll have fun with this one despite weak moments from time to time. It's definitely one to watch with a group of friends.

6.5/10

"You ever hear of Joe Cooper? He's a cop. A detective actually. He's got a little business on the side."

It's been forty years since filmmaker William Friedkin tested the boundaries of what's acceptable in modern cinema with his 1973 horror opus The Exorcist. Friedkin's Killer Joe (finished in 2011 but released last year) finds the director back in this territory, mounting a controversial NC-17-rated thriller which shows that the director still has a talent for the lurid. Killer Joe was written by Tracy Letts, who adapted his own stage play for the screen and who worked with Friedkin on 2006's polarising Bug. Sleazy and engaging, this is more or less a contemporary film noir in the vein of Double Indemnity, yet it's also something of a black comedy, though Friedkin's own descriptor "black hole comedy" is perhaps more apt. Full of vile moments and repulsive characters, the film is a punishing viewing experience from time to time, but it benefits from exemplary technical credits and sublime acting, with Matthew McConaughey front and centre delivering his best performance in years.

Set in the American South, troubled lowlife Chris (Emile Hirsch) owes several thousand dollars to the local loan shark. He turns to his father Ansel (Thomas Haden Church) for help, taking up residence in his trailer with Ansel's second wife Sharla (Gina Gershon) and daughter Dottie (Juno Temple). Chris' mother has a hefty life insurance policy which would be paid to Dottie in the event of her death, hence Chris and Ansel decide to enlist the services of Joe Cooper (McConaughey), a Dallas police detective who moonlights as a contract killer. Although Joe demands the money upfront, he agrees to the job if he's given Dottie as a retainer. While Chris is hugely reluctant, Joe and Dottie commence a sexual relationship. However, not everything is as it seems, and Chris' idiocy begins getting in the way, leading to friction between Joe and his employers.

Bug was likewise based on one of Letts' stage plays, but Friedkin and Letts retained the single setting for that tale of body horror and paranoia. For Killer Joe, however, the collaborators have opened up the play a fair amount, spanning various locations rather than remaining within Ansel's trailer. It does not feel falsely or arbitrarily expanded, though, which is a huge credit to the creative team behind the picture. Fortunately, Letts' script is strong for the most part, full of sharp dialogue and well-realised characters. The film eventually accepts its stage play origins with an extended final scene running over twenty-five minutes that's confined to Ansel's trailer. It's a small-scale finale, but the scene is legendary, cranking tension levels up to eleven and serving up shocks at an alarming rate. The only flaws with Killer Joe are inherent in the script, which incorporates some of the play's weaker moments. One gets the sense that Friedkin and Letts revel in the shocking nature of this stuff too much, leading to an unorthodox use of a chicken leg that's more uncomfortable and degrading than effective. Yes, it's meant to be degrading but it seems like overkill.

Despite being his first big-screen outing in years, Friedkin remains an exceptional filmmaker here, his competency with staging and pacing shining through in every frame. What's surprising about the film is that, although it's often vile and repulsive, it's compulsively watchable and enthralling, which is a credit to Friedkin's skills as a cinematic craftsman. It's not that he waters down the content to make it more accessible; it's just hard to look away due to the tension, plot twists and dialogue. Killer Joe is a stylish picture to boot, with gorgeous cinematography by Caleb Deschanel perfectly capturing this Southern Noir tale. The MPAA slapped the film with an NC-17 rating, a move that Friedkin expected and embraced, though the distributors also cut together an R-rated edit. Beware, Killer Joe contains full-frontal nudity, shocking violence, disturbing themes, and plenty of bad words... It's genuinely fantastic to see Friedkin pushing buttons again.

Friedkin is a director who knows how to coax the best out of his actors, hence Killer Joe is full of top-flight performances, with all the actors at the top of their game. McConaughey too often plays pretty-boy romantic leads, which he's now more or less reviled for. It's refreshing, then, to see the actor sinking his teeth into the ferociously creepy yet funny titular character. Demonstrating acting talent we've forgotten he has, McConaughey is mesmerising here, his calm demeanour and terrific grooming a delightful contrast to the dirty trailer trash he deals with. Drenched in Texas swagger, Joe is a man you would not want to cross, yet he's strangely charismatic and respectful. It's a bravura turn for McConaughey that's brilliantly controlled and creepy. Hirsch is fairly good here, too, but it's Juno Temple who stands out as Dottie. She's such a bizarre and complex character; she's either simple-minded or extremely intelligent. Church also fares well here, while Gershon is astonishingly good as Ansel's new bride.

Even though Friedkin is getting older, he is still drawn to edgy, controversial material, and Killer Joe is a fascinating effort by the veteran filmmaker. It's not a universally appealing motion picture, however; it's nihilistic, crude, intense, shocking and violent, but it's also darkly funny and competently produced. As long as you can stomach this type of material, Killer Joe is well worth checking out.

8.1/10

"EVERYBODY wants to see ANYBODY fuck. I hate Rosie O'Donell, but if somebody said "I got a tape of Rosie O'Donell getting fucked stupid" I'd be like "Why the fuck aren't we watching that right now?""

Zack and Miri Make a Porno is one of Kevin Smith's most purely enjoyable and accessible motion pictures to date, a straight-up crude comedy in the vein of The 40-Year-Old Virgin that manages to supplement its humour with heart and depth. It's an ideal project for Smith, calling for his usual modus operandi of profane mischief, unfussy technical specs and a sizable roster of familiar faces. Written and directed by the filmmaker, the film is also firmly in the Smith's comfort zone. Over the years, Smith has repeatedly declined offers to tackle superhero movies and other projects since he knows his limitations. He often does much the same thing in terms of humour and content with his movies, but at least he's good at this stuff.

Sharing an apartment together, do-nothing barista Zack (Seth Rogen) and his long-time school friend Miri (Elizabeth Banks) are destitute, hopelessly behind on their bills and facing homelessness. After their 10-year high school reunion further highlights their lousy circumstances, and after their water, heating and electricity are all shut off, Zack and Miri agree that drastic measures are in order. Desperate to get out of their financial hole, the pair decide to act upon an off-the-cuff idea to make a porno and reap the monetary benefits. Teaming with friends Delaney (Craig Robinson) and Deacon (Jeff Anderson), as well as eager performers Lester (Jason Mewes), Stacey (Katie Morgan) and Bubbles (Traci Lords), they begin production on their porno odyssey, shooting after hours at the local coffee shop where Zack works. Zack and Miri agree to have their first sexual encounter on-camera, but the filming brings out emotions and feelings that the pair never knew they had.

The ultimate narrative trajectory of Zack and Miri Make a Porno is predictable, but, as with all the best comedies, it's more about the journey than the destination. As proved countless times before, Smith has a talent for witty dialogue and entertaining characters, and this remains unchanged here. Zack and Miri Make a Porno is loaded with side-splitting one-liners, hilarious bantering and film references - the characters initially set out to make a Star Wars porno parody called Star Whores, with character names and costumes destined to provoke belly-laughs. As the characters talk, they constantly name-drop websites, movies, actors and other pop-culture stuff, not to mention there's plenty of profanity. Critics have slammed the movie for its excessive language, but Smith is a poet with profane words, and the swearing comes off as a natural part of the characters' vocabulary rather than a gratuitous addition.

With each new film, Smith continues to grow as a filmmaker. He has come a long way since the drably-filmed, amateurish Clerks. - Zack and Miri Make a Porno is visually accomplished, and it's as competent and well-paced as one could reasonably expect from a simple comedy sans big visual effects. Sensitive viewers should tread lightly, as Smith does not baulk from capturing the type of content one would expect from a movie about shooting a porno. Nudity and sex scenes abound, which led to the MPAA slapping the film with an NC-17 rating (not a new experience for Smith). Indeed, the film is just as aggressive as its title. Speaking of the title, it stirred up much controversy, leading to advertisements and even DVD covers shortening the title to Zack and Miri, much to Smith's chagrin. It seems like a strange move to shorten the title as such, since it may fool viewers into believing the film to just be a simple, sweet romantic comedy. Oh boy, that would be a regrettable error. Besides, is the word "porno" really that bad in a world where the Sex and the City movie can be widely advertised?

Smith's best movies are those which are about something, and tackle some sort of life issue. He's also good at telling personal stories that incorporate the writer-director's own experiences (see Chasing Amy). Zack and Miri Make a Porno continues in this vein. The way that the crew make the porno is very much reminiscent of the way Smith produced 1994's Clerks.: shot in the writer-director's place of work at night and produced on the cheap, using hockey sticks for boom poles and only a tiny crew. Smith also probes a sensitive topic: long-time friends becoming romantically involved. The scene depicting Zack and Miri's on-camera sex is one of the director's finest moments; it begins as a hilarious parody of awkward porn situations, but the actual sex is sweet and romantic, even though the characters are on top of a bag of coffee beans. The dramatic aspects of the story do not feel like obligatory rom-com stuff; Smith actually put some emotion and feeling into it, resulting in something fairly mature. The best thing about Zack and Miri Make a Porno, though, is that it still works as entertainment despite its dramatic material.

In the lead roles, Rogen and Banks are marvellously talented and sharp. Rogen just leaned on his usual shtick here, but he's terrific at what he does, espousing charisma and spouting obscenities with confidence. Smith wrote the role of Zack with Rogen in mind, and has stated he would not have made the film if Rogen wasn't interested. Banks, meanwhile, is hugely endearing and beautiful. Rogen and Banks don't exactly share sizzling chemistry, but they're both believable in their respective roles. The supporting cast is fun and colourful, with Robinson and Smith regular Anderson enormously entertaining as the crew of the movie. Jason Mewes (the Jay to Kevin Smith's Silent Bob) is also present here, putting in a playful performance as uninhibited performer Lester. Likewise, real-life porn star Katie Morgan makes a good impression. Added to this, Justin Long and Brandon Routh show up in cameo roles, and their work is hilariously shameless.

If you're in the right mindset, Zack and Miri Make a Porno is a perfect time-waster, enjoyable and thoughtful. It's perhaps one of Smith's less daring filmmaking endeavours, as it essentially uses the When Harry Met Sally formula...except it involves making a dirty movie. Plus, the film not as mature or insightful as Smith's Chasing Amy. Nevertheless, Zack and Miri Make a Porno is good fun, and it's hard to imagine Smith's fanbase being dissatisfied with it.

7.8/10

"The abused becomes the abuser."

Psych:9 is part of Lionsgate's master plan to release a string of low-budget horror features helmed by inexperienced filmmakers produced under the "Ghost House Underground" banner. I sure as hell hope that the other movies are better than this. There are some redeeming features to Psych:9 if one takes into account that it was the first feature film for both its writer and director, but it's simply flat on the whole. Plus, it would seem that screenwriter Lawrence Robinson and director Andrew Shortell have encyclopaedic knowledge of every horror movie and slasher of the last three decades - there is not a single original bone in Psych:9's cinematic body, and the treatment of the hackneyed material is not engaging or stylistically inventive enough to overcome the "been there, done that" feeling which plagues every frame of the enterprise.

In desperate need of a job, Roslyn (Foster) takes a position working the night shift inside a hospital that recently closed its doors. Working alone as she collates medical records and organises files, it isn't long before Roslyn begins hearing strange noises and seeing peculiar things. On edge due to a series of killings in the local area attributed to a serial killer known as the Nighthawk, Roslyn finds friendship in amiable psychiatrist Dr. Clement (Elwes), who is taking care of the files in the psych ward. Roslyn begins growing suspicious that her husband Cole (Mann) could be the Nighthawk, and her work leads her to suspect that the murders are linked to the hospital. Amid this, Detective Marling (Biehn) is investigating the Nighthawk killings, and he's not ready to rule Roslyn or her husband out as potential suspects.

At face value, Psych:9 is an interesting proposition. It's set in an abandoned hospital, a serial killer is on the loose, there are paranormal undertones, and Michael Fucking Biehn is in the cast. In deft hands, it could've been an intriguing horror outing, but this potential ultimately leads nowhere. It's ostensibly a supernatural chiller, but Psych:9 is a straight-up whodunit slasher with splashes of Shutter Island. While there's nothing inherently wrong with this from a conceptual standpoint, the film seems deliberately ambivalent as to what exactly is going on. A deep, dark and decisive finale could've been extremely effective, but the filmmakers went another route, as if Robinson himself was unsure about how to properly end it. More than likely, most viewers will be left confused about what just happened, and what the final twist actually means. And the "pay more attention" argument is null; the storytelling is just too jarring and editing too off-tempo.

At the very least, the production is not a total bust from a technical perspective. In terms of direction and photography, Psych:9 is okay; not terrible or overly cheap, but not enthralling or polished enough either. It's the very definition of mediocre. The hospital is the most effective thing in the film; it's a suitably creepy, unnerving location, with rotting medical equipment and plenty of dark shadows and dank hallways. The film is bathed in a fluorescent lighting scheme of greens and yellows in an attempt to hide the low budget, giving it an ugly but somewhat atmospheric look.

Similarly, the acting is mediocre-to-good. In the lead role, Sara Foster does a decent enough job, conveying fear and vulnerability well enough. She's an attractive and endearing screen presence, as well, which makes her a suitable horror lead, though unremarkable. The biggest names here are Cary Elwes and Michael Biehn playing Dr. Clement and Detective Marling, respectively. Elwes is watchable in anything he's in, and he's especially amiable here. Biehn, meanwhile, is the best actor here. He wasn't given much to work with, but Biehn makes the most of his role and he seems to be the most committed member of the cast.

In the end, Psych:9 wants to do something more than your standard ghost story, but it's ultimately more trite and less interesting than a straight haunting feature. There's nothing original here, and it doesn't serve up enough effectively spooky moments. It's not exactly horrible, but it is formulaic and hopelessly forgettable. If you're an unfussy horror/thriller fan looking for a simple evening rental on a dark, stormy night, you might extract some enjoyment from Psych:9. Otherwise, there are many other, more skilful horror offerings available.

4.2/10

"Randal Graves. Thirty-two and you're flipping burgers? Jesus, anybody else from our graduating class back there?"

After producing a number of additional movies set in the "View Askewniverse" centring on other characters, it was inevitable that Kevin Smith would one day write and direct a true sequel to the film that started it all. Released 12 years after its 1994 predecessor, Clerks II denotes another home run for Smith; it's a sequel that's just as good as the picture which spawned it. The film also finds the writer-director back in the territory where he belongs after a brief pit-stop with 2004's harshly-received PG-13 drama Jersey Girl. Smith is in fine form here, providing plenty of amusing dialogue, some smutty humour and a bit of heart on the side. Clerks II wears its heart on its sleeve; it's a love letter to both its fans and the beloved slackers at the centre of the Clerks universe.

When a fire destroys the Quick Stop convenience store and takes the video shop with it, Dante (O' Halloran) and Randal (Anderson) take thankless jobs at fast food establishment Mooby's. The pair are now in their mid-30s, and Dante is ready to settle down and start a family with his fiancée Emma (Schwalbach Smith). Dante is on the verge of moving to Florida with Emma, and faces his final shift with Randal, who's every bit as crude, sarcastic and cynical as he's always been. Complicating Dante's life is his boss Becky (Dawson), with whom he has developed a close bond; so close, in fact, that they had a brief liaison behind Emma's back. Meanwhile, the dynamic duo of Jay (Mewes) and Silent Bob (Smith) spend their time outside the fast food restaurant, continuing their daily routine of harassing people and selling drugs.

Through cynical eyes, Clerks II can be perceived as a fundamental remake of its black and white forerunner, right down to a love triangle involving Dante and two women vying for his affection. But while there are similarities, Clerks II is not just a lazy rehash, as Smith does enough fresh and daring things while taking the characters to new places. From a narrative viewpoint, it's the perfect sequel. The way Dante and Randal continue to accept their mediocre lives is an ideal backdrop for Smith's trademark brand of humour, and it's unfailingly entertaining to watch these guys slaving away at low-wage jobs without ever catching a break. Furthermore, Clerks II retains the original film's proclivity for nerdy pop-culture references. Star Wars and The Lord of the Rings are both referenced, while Michael Bay's live-action Transformers movie - which was in pre-production when Clerks II was shot - is brought up. The stream of witty dialogue is never-ending, making for highly entertaining viewing. Smith even crams in cameos by such recognisable stars as Jason Lee (on his day off from filming My Name is Earl) and Ben Affleck.

Despite how hilarious the original Clerks. is, it's not just a collection of profane comedic dialogue; it additionally provides shrewd observations on life as a retail worker. Fortunately, Clerks II is also about something. Beneath all of the gross-out humour, pop-culture references and expletives, the film is a solid thesis on the collateral damage of growing up. The concept is clichéd, to be sure, but Smith handles the material with more sensitivity, skill and honesty than most comedies, and this stuff doesn't just come off as an obligatory rom-com distraction. The crux of this is revealed after the gang are put behind bars, when Dante and Randal hash out their feelings for one another. It's a surprisingly good scene, both poignant and funny, which gives these characters a solid sense of dimension. And the payoff is outstanding. Trash Smith for his outspoken nature if you will, but the man is one hell of a writer.

Clerks. was shot on a paltry $27,000 which came out of Smith's own pocket, resulting in a grainy, rough-looking picture that left a lot to be desired from a technical perspective. Clerks II corrects all of this, with Smith working on a more generous budget to produce a smoother, more attractive and generally more accessible movie. The fact that the film looks more polished reflects the growth of both the characters and Smith as a filmmaker. Smith's direction is still fairly workmanlike, but the real appeal of the film is the dialogue and character interaction, which more than carries the movie through to the finish line.

Brian O'Halloran and Jeff Anderson seamlessly slid back into the roles of Dante and Randal here as if no time had passed. On several occasions, the pair exchange dialogue with the precision of professional tennis players. In the interim between Clerks. and Clerks II, Smith brought these characters into comic book, cartoon and action figure realms, but it's clear that these boys belong in live-action movies spouting Smith's sublimely witty dialogue. Jason Mewes and Kevin Smith also return here to play Jay and Silent Bob. It's clear that Smith carefully planned their screen-time, as the duo's every appearance is hysterical. If the sight of Jay re-enacting Buffalo Bill's dance from The Silence of the Lambs doesn't provoke tears of laughter, there's a good chance you have lockjaw. The highlight, though, is Silent Bob finally opening his mouth towards the end. Another fitting addition to the cast is Rosario Dawson. Her character of Becky is every bit Randal's equal, and their verbal sparring matches are uproarious.

Although Clerks II lacks the spark of freshness which characterised the first film, it's an utter treat, and it stands as one of few sequels that both perfectly complements and is respectful towards its predecessor. As long as you have a tolerance for shocking humour (a sequence involving a donkey pushes the boundaries of bad taste, and Randal rattles off a lot of racist slurs), Clerks II is a great comedy and a satisfying addition to the Kevin Smith canon.

7.7/10

"I will never find a Hitchcock blonde as beautiful as you."

Any cinema lover worth their salt has watched Alfred Hitchcock's Psycho more than once, but it is doubtful that many are actually aware of the story behind its creation. Based on Stephen Rebello's non-fiction book Alfred Hitchcock and the Making of Psycho, director Sacha Gervasi's Hitchcock is an engrossing biopic that delves into the Master of Suspense's professional and personal life with colourful zest. Although it contains a few re-enactments of on-set activities, Gervasi's adaptation predominantly focuses on Hitchcock's relationships with the people around him. It's not quite the masterpiece it had the potential to be, but Hitchcock is an acutely enjoyable film and a treat for anyone who loves movies.

Riding high on the smashing success of 1959's North by Northwest, Alfred Hitchcock (Anthony Hopkins) is at a loss about what project to pursue next. While the studios are clambering for more of the same, Hitch is disillusioned by the critics who believe he is creatively declining and is too old to be at the top of his game. Seeking to make a picture that breaks modern convention, Hitch picks up a copy of Robert Bloch's novel Psycho, which took its inspiration from the murders committed by madman Ed Gein (Michael Wincott). Paramount executives, however, refuse to fund the picture due to its disturbing content. Accordingly, Hitchcock makes the bold decision to mortgage his house and finance the movie himself. Working with a talented team including writer Joseph Stefano (Ralph Macchio) as well as stars Janet Leigh (Scarlett Johansson), Anthony Perkins (James D'Arcy) and Vera Miles (Jessica Biel), Hitch faces immense pressures as he struggles to shoot the audacious thriller. Complicating the situation is his wife and collaborative partner, Alma Reville (Helen Mirren), who begins showing interest in collaborating with writer Whitfield Cook (Danny Huston).

While Hitchcock deals with all production stages throughout the making of Psycho, it's more focused on the relationship between Alfred and Alma. Screenwriter John J. McLaughlin (Black Swan) takes tremendous creative liberties in his depiction of the pair, introducing an infidelity subplot that heightens the dramatics of the picture and reinforces the importance of Hitch's primary creative consultant, who was instrumental in his success. It's a trite subplot, but it makes the triumph of Psycho's success feel more earned. Likewise, McLaughlin uses dream sequences and fantasies in which Hitch converses with Ed Gein, which do not entirely work but are nevertheless an interesting touch. However, those hoping to see more action on the set of Psycho will likely be disappointed, as Hitchcock focuses more on the man's life rather than the production. This idea is not inherently bad, but more production detail would have improved the overall experience since Gervasi skims over a lot of the filming. For example, the shooting of the shower scene feels underdone, and we never see filming take place on the iconic exterior of the Bates Motel/House set.

Despite its script shortcomings, Hitchcock is a quality motion picture from top to bottom. Gorgeously shot by Jeff Cronenweth (The Social Network) and ideally scored by Danny Elfman (Men in Black 3), Gervasi and his crew clearly put every dollar of the budget to great use. Additionally, the film bursts with period detail, showcasing lovely costumes, spot-on make-up (which earned an Oscar nomination), and gorgeous production design. Most people would expect a film like Hitchcock to be self-serious Oscar bait, but it's more in the vein of Tim Burton's Ed Wood, as it's fun and accessible. It's purely joyous to watch Mr. Hitchcock waiting outside a cinema showing Psycho, his anxiousness about the audience's reaction turning to giddy elation when the shower scene elicits endless screams that carry into the lobby. The film is also full of fun historical anecdotes: Hitch indeed purchased every copy of Psycho nationwide to prevent the movie-going public from finding out the ending, and the filmmaker initially refused to add music to the infamous shower scene. Plus, watching Hitch meet with the censorship board to convince them to approve the shower scene is supremely enjoyable.

Anthony Hopkins is an expectedly delightful Alfred Hitchcock. Under the extensive make-up and fat suit, Hopkins embodies the filmmaker and adopts his mannerisms to fantastic effect, delivering a rich performance that amounts to more than mere imitation. Hopkins makes Hitch feel like a real person with lovable characteristics and a vulnerable side, and it's a massive shame that he failed to earn an Oscar nomination. Alongside him, Helen Mirren is every bit as brilliant as one would expect from the veteran actress. She walks away with the movie, portraying Alma as commanding, sassy, and vivacious. She also imbues the role with humanity, making her wholly credible. Watching acting heavyweights Hopkins and Mirren as a screen couple is a unique treat - they are dynamite together. Admittedly, the actors do not look much like their real-life counterparts, but their performances are so well-rounded, consistent and focused that it's easy to buy them as Alfred and Alma. Luckily, an enormously talented supporting cast surrounds the pair. Scarlett Johansson and Jessica Biel shine as starlets Janet Leigh and Vera Miles, and both ladies look fantastic in vintage clothes. Meanwhile, James D'Arcy perfectly embodies Anthony Perkins's twitchy discomfort, making him an ideal choice to play the actor. Likewise, the reliably charismatic Michael Stuhlbarg makes a positive impression as Hitch's agent, while Michael Wincott is a suitably sinister Ed Gein, and Kurtwood Smith has a few amusing moments as the head of the censorship board.

Hitchcock is a delightful exploration of the titular man, his creative wife, and their risky gamble to scare the movie-going public with Psycho. Things particularly take off once the film's release comes into view, and we smile in giddy delight alongside Hitchcock when Psycho develops into a smashing success. This biopic is not as remarkable as Hitch's best achievements, but it is enormously fascinating and entertaining. Plus, Gervasi tempers the film's serious moments with well-judged comic relief, and it's book-ended with Hitchcock speaking to the camera in the vein of TV's Alfred Hitchcock Presents. This buoyant, mischievous tone mixed with the strong storytelling, lush period recreations and magnificent performances make Hitchcock such a delight from start to finish.

8.2/10

"That's what the internet is for. Slandering others anonymously. Stopping the flick isn't gonna stop that."

Although it's the weakest picture in Kevin Smith's View Askewniverse, Jay and Silent Bob Strike Back is inspired lunacy, essentially a 100-minute party for fans of Smith and his cinematic world. It is also the ultimate measure of Smith's incredible geekiness, as it's bursting with homages to everything that the writer-director holds dear: character clichés, genre types, and pretty much every motion picture that Smith has ever seen. Added to this, Smith introduces a large amount of knowing satire, taking shots at two main targets: the internet with its various bloggers and armchair critics (methinks Smith is an IMDb regular), and Hollywood with its moronic sequels and personal and professional friendships. Jay and Silent Bob Strike Back lacks the thematic meaning and emotional undercurrents of Smith's best movies, but it remains goofy, random, often hilarious and infectiously enjoyable.

Booted from their usual hangout spot outside the Quick Stop Convenience Store, Jay (Mewes) and Silent Bob (Smith) learn that a film is being made based on their comic book alter-egos, Bluntman and Chronic. Filming has not yet started, but negative word of mouth is spreading around the web, with internet users threatening to taint the image of Jay and Silent Bob forever. Determined to stop the film from coming to fruition with mere days left until filming begins, the intrepid pair hit the road, looking to travel to Los Angeles to crash the set. On the road, they meet four sexy jewel thieves, one of whom takes a liking to Jay and vica versa.

Plot is usually a secondary concern in Smith's movies, and this is hugely evident in Jay and Silent Bob Strike Back, as the storyline is especially thin this time around. The set-up simply involves the titular duo making their way to Hollywood, leading to a series of disconnected vignettes featuring random guest stars. There's nothing inherently wrong with this per se, but the subplot involving the jewel thieves grows pretty dull. Plus, while Jay and Silent Bob Strike Back is funny, it's not really about anything, as it lacks the depth and honesty provided by Clerks. and Chasing Amy. You'll laugh, but you won't get any grand insights or emotion.

Though he has improved a hundredfold since the original Clerks., Smith remains an average director, and his mise-en-scène is pedestrian at best. With that said, though, this is the most visually accomplished Smith movie, and it does look solid. Jay and Silent Bob Strike Back is at its best when poking fun at the movie industry and the shallow culture surrounding Tinseltown. Smith has enough distance from Hollywood to take some sharp jabs, and he has every reason to do so. After all, Smith has run into many problems with the studio system, from MPAA disputes (Clerks. was unjustly given an NC-17 rating at first) to troubles with distributors who grew too nervous about the controversy surrounding Dogma. Jay and Silent Bob Strike Back especially takes off during the trip to Miramax when the titular pair walk onto the sets for both Good Will Hunting 2: Hunting Season and a new Scream film. The range of cameos is fucking miraculous, too, with Smith clearly calling in every favour humanly possible. All of this madness culminates with one hell of a climax involving some hilariously-staged action.

In their proverbial roles of Jay and Silent Bob, Jason Mewes and Smith are their usual selves; Mewes regurgitates an endless stream of expletives and is as disrespectful as ever, while Smith conveys a lot through mere facial expressions, only talking when he has something of intelligence and substance to say. Mewes and Smith are quite the comedic duo, and they play off each other extremely well. The supporting cast of the picture, meanwhile, is massive. As the female jewel thieves, Shannon Elizabeth, Eliza Dushku, Ali Larter and Jennifer Schwalbach (Smith's wife) are extremely attractive, serving as the film's eye candy. The best actors in the film, though, are Will Ferrell as the extremely dumb wildlife marshal, and an unhinged Chris Rock who plays the director of Bluntman and Chronic. There are a range of celeb cameos as well; playing exaggerated versions of themselves, Jason Biggs, James Van Der Beek, Ben Affleck, Matt Damon, Wes Craven and Gus Van Sant all show that they're good sports. Many others appear, all of whom do a great job.

Anyone unfamiliar with the titular characters, or the View Askewniverse as a whole, should avoid Jay and Silent Bob Strike Back, as it's a film clearly designed for fans of Smith's past works. And for Smith fans, the film is a lot of fun. Still, it's not quite perfect; in its best moments it's a hoot, but in its worst, it's a hit-and-miss, middle-of-the-road affair. During the press tours for Jay and Silent Bob Strike Back, Kevin Smith made it clear that it was to be the end of the View Askewniverse pictures and the last appearance of Jay and Silent Bob. But 5 years later, Smith delivered Clerks II, which is fortunate since these characters are too rich to ever be permanently put to bed. Smith may fear he will get typecast for these types of movies, but he's good at them.

6.6/10