Continuing the review round-up for 2011: the rest of the films I never got round to covering. Read and enjoy.
Underrated and overlooked, A Lonely Place to Die is thrilling, but simple - the characters have as much depth as the parent-and-toddler end of your local swimming pool, and the finale gets a little bit too wound up in itself; the majority of the cat-and-mouse action takes place in the remote highlands, and things get a bit clustered when things come to a head in a Wicker Man-style village fete. Still, this tale of a group of climbers who find a kidnapped girl is breathtaking.
30 Minutes or Less ✰✰✰
This small-town
comedy hits the mark - but only just. Danny McBride and Nick Swardson play a
couple of arrogant, selfish goons who strap a bomb to unsuspecting delivery
boy Jesse Eisenberg (think Futurama’s Philip. J Fry) and tell him to rob a bank. Or else. This could easily have made for a Nic Cage action vehicle,
but ultimately is done a much better service by Eisenberg and pal Aziz Ansari
(of Scrubs). Not laugh-a-minute, but on the right end of the humour spectrum.
Melancholia ✰✰✰✰
This one’s a grower, that’s for sure. My initial reaction was one of tedium; Lars von Trier’s end-of-the-world sci-fi about another planet colliding with Earth oddly has the doomsday scenario take backseat, in favour of The Depressing Tales of Kirsten Dunst. Yet, on reflection, a breathtaking mix of beautiful cinematography, fine acting (especially from Dunst’s pitiable husband Alexander Skarsgård) and a lasting impact make Melancholia a great watch indeed. But I still can’t stand Kirsten.
Midnight in Paris ✰✰
Everyone seems to have fallen for Woody Allen’s love letter
to Paris and literary age, but I’m not so sure. That’s not to say it’s not
enjoyable; a good few laughs were to be had and it’s definitely a feel-good
hit. But Owen Wilson’s only playing himself, and a lot of it boils down to ‘oh
look! It’s that well-known writer that I’ve heard of before! I can identify
with this!’ It’s worth a watch, but emphasis on ‘a’. No need to sit through it
again.
The Ides of March ✰✰✰✰
Ryan Gosling’s on fire lately. Crazy Stupid Love? Maybe not. But Drive and The Ides of March were
two of 2011’s best. Attempting to illuminate political strife in local American
politics, George Clooney’s drama is hard-hitting and possibly the cleverest
film since Inception. It might not be
the political exposé George intended, somehow failing to inform us of anything
the media hasn’t already forced into our preconceptions, but it’s still a
smart, funny and engaging drama that proves Gosling’s range - and Clooney’s
ability both behind and in front of the camera.
In Time ✰✰
Justin Timberlake’s first serious action role as lead, after making a name for himself as an actor alongside Jesse Eisenberg in 2010’s The Social Network, In Time doesn’t really stand out amongst a crowd of sci-fi thrillers. The concept is fairly unique - hit twenty-five years of age and you have to earn more life or, well, die - but that’s about as far as it goes: the execution is bland, the acting blander, and ultimately it’s all a bit boring. Cillian Murphy is uninspired and romps through clichés left right and centre, though Amanda Seyfried is notable in a fairly diverse role (as opposed to her previous work - see Mamma Mia).
Justin Timberlake’s first serious action role as lead, after making a name for himself as an actor alongside Jesse Eisenberg in 2010’s The Social Network, In Time doesn’t really stand out amongst a crowd of sci-fi thrillers. The concept is fairly unique - hit twenty-five years of age and you have to earn more life or, well, die - but that’s about as far as it goes: the execution is bland, the acting blander, and ultimately it’s all a bit boring. Cillian Murphy is uninspired and romps through clichés left right and centre, though Amanda Seyfried is notable in a fairly diverse role (as opposed to her previous work - see Mamma Mia).
Tower Heist ✰✰✰
Assembling a cast of clowns and somehow ending up with the most serious comedy in years, Brett Ratner’s Tower Heist focuses on a group of employees who vow to get back at their big bad boss after realising he’s swindled them of their savings. Getting off to a slow start, and not really picking up the pace, the film provides nowhere near as many laughs as it could (and indeed should, considering its cast of Ben Stiller, Eddie Murphy, Matthew Broderick et al) - and where it does provide comic moments, they’re hardly subtle. Though for a film entitled ‘Tower Heist’ perhaps that’s to be expected…
Assembling a cast of clowns and somehow ending up with the most serious comedy in years, Brett Ratner’s Tower Heist focuses on a group of employees who vow to get back at their big bad boss after realising he’s swindled them of their savings. Getting off to a slow start, and not really picking up the pace, the film provides nowhere near as many laughs as it could (and indeed should, considering its cast of Ben Stiller, Eddie Murphy, Matthew Broderick et al) - and where it does provide comic moments, they’re hardly subtle. Though for a film entitled ‘Tower Heist’ perhaps that’s to be expected…
Take Shelter ✰✰✰✰✰
Another slow burner, but like The King’s Speech, it only burns brighter because of that. Or, should I say, burns intensely - for this is perhaps the most hard-hitting, intense film of the year. Donnie Darko if done by Nolan, Take Shelter tells the tale of hardworking father Curtis (Michael Shannon), who is plagued by a series of apocalyptic visions. Coming to a head in one of the most powerful scenes in modern film history, director Jeff Nichols’ darkly themed drama is a brooding, psychological masterpiece that prompts as many questions of its audience as it answers.
Another slow burner, but like The King’s Speech, it only burns brighter because of that. Or, should I say, burns intensely - for this is perhaps the most hard-hitting, intense film of the year. Donnie Darko if done by Nolan, Take Shelter tells the tale of hardworking father Curtis (Michael Shannon), who is plagued by a series of apocalyptic visions. Coming to a head in one of the most powerful scenes in modern film history, director Jeff Nichols’ darkly themed drama is a brooding, psychological masterpiece that prompts as many questions of its audience as it answers.
Mission: Impossible - Ghost Protocol ✰✰✰✰
This one needs to be seen in IMAX to be properly seen, so
catch it while you can. Tom Cruise’s action series returns for its fourth
instalment, and defies all conventions attached to the modern fourquel (see Kingdom of the Crystal Skull or Die Hard 4.0). Ably joined by a now
fully-featuring field man Simon Pegg and rising star Jeremy Renner (who will
soon be taking over the Bourne series), Cruise’s impossible mission will take
him to Dubai and back - and might involve a slight vertical climb up the
tallest building in the world. A dizzyingly good action blockbuster: Michael
Bay, take note.
And the rest...
Sacha Baron Cohen is the standout in Martin Scorsese’s foray
into family film. Heartwarming but not spectacular.
Science fiction without the sci-fi, but this is still a
powerful drama with a frank message.
Johnny Depp being Johnny Depp. A little overblown but still
engaging and humourous.
Fine actors being finely wasted by Roman Polanski’s dull and
drawn out film. With projectile vomiting.
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