Synecdoche, New York

Charlie Kaufman has shook up the film world quite considerably since writing his debut film Being John Malkovich. Since then he has brought us the joyous film experiences of Adaptation, Human Nature, Confessions of a Dangerous Mind and Eternal Sunshine of the Spotless Mind. Well, Synecdoche New York may well be his finest achievement, and it's also his directorial debut.

Starring Phillip Seymour Hoffman and a collection of some of the best female actresses working today including Catherine Keener who plays Caden's (Hoffman) wife Adele, Michelle Williams, Samantha Morton, Jennifer Jason Leigh, Hope Davis, Emily Watson and Dianne West. The other notable performance is Tom Doonan. With a cast of this magnitude its no wonder the film has garnered such rich reviews, and there isn't a dull performance amongst them. The reason they have all got onboard such an indulgent, surreal experience is clearly Charlie Kaufman.

The film can be viewed in two ways; one as a pretension, indulgent exercise or as a profoundly personal evocation of everything Kaufman fears in life. Aparently Kaufman saw the film as a horror and so before writing it he sat down to conceive of everything he find terrifying in life. Aparently he has some strong insecurities about himself, his image to women, the fallibility of his body and his desire to create a massively unique and personal work of art as these are just some of the themes jostling for attention. There is almost too much going on in this film, as if in lesser hands than Kaufman's the film would surely have collapsed under its own weight. It a credit to Kaufman for being so ambitious, audacious but also honest in his depiction of the themes he explores.

That this is also his directorial debut is also a great achievement. The film may not have the inventive camera use he found under Spike Jonze or Michel Gondry, but he controls the story with a mannered direction and never lets the ambition of the script get out of hand. Kaufman also recgonises the talent on hand and in Hoffman he has an actor of he highest calibre. For the most part then, Kaufman allows his actors the space and time and never tries to wrestle control of the picture from their capable hands. By doing this he makes the film feel completely his own creation. The actors on screen mirroring the actors they portray in the film.

It would be unwise to go into too much detail here about the actual content of the narrative, beyond sketching an general outline as I feel it would not do justice to the mind bending concept at play before your eyes. My only advice is watch the film, accept its indulgence, but also acknowledge the scope, ambition and audacity for Kaufman to not only broach such a subject but also to pull it off with such aplomb. For me this is so far the best film of 2009.

Coraline - 3D - Review

For my second foray into the revolution that is 3D film I saw Henry Selick's Coraline. A children's fantasy stroy adapted from Neil Gaiman's story, Coraline tells the story of a young girl who moves into a new house with her parents, both of whom are far too distracted with their jobs andc lives to give Coraline the attention she deserves. She finds a passageway through to a parallel universe where she finds her "other" parents who are much more attentive and loving to her.

Its not long before Coraline begins to realise that not everything is as it seems. Selick makes great use of 3D in this way by using the 3D to heighten to otherness of the parallel world. He also very cleverly makes the 3D work for the story and I can't remember being distracted by the technology through the film. At one point I even thought the 3D had stopped because I hadn't seen any for some time.

There are problems, the film is somewhat predictable and the ending has a number of challenges and tasks for our young heroine to overcome which risk falling into repetitiveness but the story manages to navigate these well enough and Selick never once shies away from the darker, scarier aspects of the story which gave me the willies so I can't imagine what some of the younger audience members must have been feeling.

The film itself is rather like a magic trick. It spellbinds instantly and draws you in before whsking you off into a world both parts fascinating and scary. The animation is phenomenal and matches what Selick achieved with both James and Giant Peach and Nightmare Before Christmas (although Coraline will not garner the cult following).

There is also a strong voice cast, which always enhances the experience of animated films, Teri Hatcher provides the voice of Mother, with Dakota Fanning bringing Coraline to life. But it is Dawn French and Jennifer Saunders as two aging stage performers who are brilliantly funny whilst coming off as stylishly grostesque caricatures.

As with most childrens films its the magnificent and dazzling imagination which captures to attention and whisks you away as the story unfolds. What I enjoyed most though was that the film was so dark and sinister and for once in a childrens film the villain was scary for adults as well as children. Children's film more often than not underestimate how much children are prepared to stand in terms of horror or scares but most of them will stand for much more than they are given credit for providing the characters prevail against evil.

Further proof that 3D is taking over and a film which actually justifies its use and makes the most of he technology using it to reinforce the story. A dazzling, terrifying but hugely entertaining animation which is as much fun for adults as its meant to be for children.

Star Trek - Review

I've never been a big fan of Star Trek. The original series has a quaint nostlagic feel to it, Patrick Stewart's Next Generation I watched when young with my Dad, but the other shows I found slow, turgid and lacking in dramatic conflict or action sequences. Thank God then for JJ Abrams who has taken the prime directive and shoved a dynamite up it's arse. Star Trek is not only a resounding success, it will probably be the best summer blockbuster of the year, and it's only May. Add to that, it may well be the best Star Trek film ever. First Contact was great, The Wrath of Kahn equally brilliant, but Abrams film is so great, that when the closing credits came I was sat in my seat secretly hoping he'd made part 2 and it would begin straight after.

After a farly slow, and not gripping opening sequences the film very quickly threatens to get better and better, and one sequence aside it delivers with aplomb.

The script is full of sharp wit, nods to the original series and is so intricately plotted it could only have come from the creator of Lost. As the final act wraps itself up there is not a single lingering doubt over how the events unfolded. Something not always easy when dealing with alternate universes and quasi time travel.

The cast is excellent bar none. Every character feels unique, memorable and, one of the truly marvellous elements of the script is that no character is shoehorned into the story. The manner in which Kirk, Spock, McCoy, Scotty, Uhura, Sulu and Chekhov come together feels organic, natural and their actions completely justifies there eventual crew membership aboard the Enterprise; a crew fans and non fans know all too well.

Having said that, there are slight problems. For a script which manages to zip along like a photon torpedo, the writers somehow find themselves on the Star Wars world of Hoth, complete with "there's always a bigger monster" cliche. Thankfully the CGI is very good and this sequence is quickly replaced with more Star Trek fun. Fun, not a word usually associated with Star Trek, it's usually the reserve of George Lucas' opus. Star Trek instead is a show which spent more time naval gazing than blowing stuff up. Abrams changes that without sacrificing the philosophical elements and also throws in a some pretty hefty universe changing moments to boot.

One sequence sees Kirk running around the Enterprise whilst McCoy injects him with different vaccines, and inocluations and gives the audiences plenty to laugh about.

It's Kirk and Spock who play centre stage more so than the supporting cast who really pull you in. One surprising element is that this is as much Spock's story as Kirk's, and both have character arc which feel satisfying and forges a strong relationship based on trust and respect. Opposites definitely attract. Chris Pine and Zachery Quinto are both excellent and from their opening scenes you can see them at the helm of the Starfleets greatest Starship. Pine especially feels like the young Kirk the franchise always needed if this film was to be a success.

The best film of the summer? Only time will tell, but its competitors will need to be pretty special if Abrams reboot is to be unperched as the biggest and best summer blockbuster of 2009.

In The Loop - Review

Unforseeable is the only way to describe just how good In the Loop would be. Having seen an episode of The Thick of It (i've since watched the entire 1st series) I had an idea of how insanely funny Armando Ianucci's directorial debut about the ineptitude of the British and US governments are, especially in relation to the decision to go to war, but In the Loop is a classic British comedy, which could only have been made on this side of the Atlantic. Not only does it expose the falleability of government but it demonstrates how personalities and hmuan error is almost always catastrophic. Ianucci portrays British policitians as imbeciles who have no answers to the questions put to them, but are certain that they should have a comment and will more often than not make one against all advice to the contrary.

The film kicks off with when Secretary for State for International Development Simon Foster describes the possibility for a war in the Middle East as unforseeable and sets of a shit storms of transatlantic magnitude as a visiting contingent of American politicians jump on the phrase and use it to set up secret talks and discussions about going to war.

The film offers up too many classic scenes to go into any details but one which will stay with you for its visual brilliance is a scene between a high ranking government official and a US military general who discuss the possibility of going to war in a little girls bedroom, and at one moment the US military general (played superbly by James Gandolfini) uses toys as props to explain the problems with not having suffucient troops.

One of the most joyous things about the film is its vibrant use of langauge. Peter Calpaldi's Malcolm Tucker has such a foul mouth and is so inventive with his use of swear words that you are equal parts impressed and apalled by what he says. Whilst at the same time fighting back the tears of laughter.

British comedy is rarely this good, normally because its too broad and trying to appeal to the masses, but if you are a fan of genuinely excellent comedy with insightfully hilarious views on ours and the US government then you will find no better example than In the Loop.

X-Men Origins: Wolverine - Review

Oh dear, oh very dear. It seems the once indestructible adamantian of Wolverine has turned to paper thin plotting and barely noticeably character development. The film is almost so bad that it's actually worth watching for the fun of it, but it even fails at this.

The problems with this film are too numerous to list here, so i'll focus on the main problems and few redeeming features.

Firstly, it's completely unclear who this film is made for. Non comic book fans will fail to see the significance of fan favourites Gambit, Deadpool etc, and fans will surely just be aggravated and incensed at how so many great characters, Wolverine included, have managed to be undermined in one film. The problems are really set out all in the first act. A band of mutants calling themselves Weapon X, set off to Africa in order to find something William Stryker (Danny Huston) requires for a dastardly plot. The characters included are given a brief moment to show their skills, especially Deadpool, who has the best sequence in the whole movie.

After this its all downhill as the writers try to strong arm a back story which picks bits from the comics without deviating from the three X-Men films which have already set so much in place.

Wolverine, once the outsider, getting the great quips and playing the anti hero, is here promoted to central status and neutered as a result.

The big problem is that the entire film is preposterous. One of the problems with comic book movies is making them seem realistic and relevant, something both Singer (X-Men 2) and Nolan (The Dark Knight) have managed brilliantly over the past few years. Instead Wolverine exists only in the bizarre reality of movie cliches, poor actions sequences and the kind of plotting and character development that leaves you wondering how the characters ever got into a position of authortiy if they make decisions like deciding to wipe the memory of Wolverine after they've made him invincible. Oh and this film includes Adamnatian bullets. Yes, its that ridiculous, and begs the questions why didn't Stryker just use them in the X-Men film. The film is also supposed to be set in the 70's or 80's and yet bares not a single hallmark setting it in the period. It does however spend time filling the back story of how Wolverine acquired his leather jacket; crucial development.

After watching the film I came home to find X-Men 2 on TV and it only excerbated my feelings of dissapointment. Where in X-2, for example, Stryker is a character motivated by the suicide of his wife, at the hands of his telepathic mutant son, in Wolverine, he's just a power hungry military offical looking to create a super soldier he can control.

The script feels as if it never got past the 2nd draft. Characters are introduced but serve no purpose, and aren't even that identifible or unique. A shape shifter played by Will.i.am, has none of the brilliant depth or dazzling visuals of Nightcrawler. Other characters, especially Gambit, become sidekicks, and in one scene just ends up getting in the way. In fact beside Wolverine and Sabretooth (a less hairy version at least) not a single other character has anything approaching an arc, something Singer focused on in both his X outings.

When the finale comes, an over the top fight sequence which somehow fails to raise the pulse, your left wondering how they managed to ruin a character who is without doubt one of the most unique and engaging antiheroes Stan Lee ever created. You'll also start to pick apart a plot which tries to be more complicated than it ever needed to be, and ultimately ends up making no sense.

The real crime for fans of the comics is surely that some great X-Men who FOX had most likely intended to give their own franchise will be lost for eternity, although recent news implies Deadpool won't be one of them.

Ultimately this film is not as bad as it could have been, but is no where near as good as it should have been. A poor script, drab characters and lifeless over the top action set pieces make for blunt claws, and a craving for X-Men: The Last Stand, which says it all really.

Let The Right One In - Review

Let The Right One In is a contender for film of the year. As far as I was concerned the vampire genre had breathed its last breath and had finally staked itself. The genre has become infected with cliche and outdated concepts of horror. Thomas Alfredson film has quite simply reinvented the genre. Gone are the gothis overtones instilled in the genre and gone are the rather lame, annoyingly brooding vampires. In its place is a young girl Eli who looks about 13, and instead of being a bloodthirsty stalker of victims she is instead a quiet girl who develops a loving friendship with a neighbour Oskar, who is the films protagonist. He is constantly bullied at school and has a rather mundane relationship playing in the courtyard of the sound covered building comples where his family live.

Based on the book written by John Ajvide Linqvist who also wrote the script, the film comes across almost as an anti horror film, yet despite that there are genuine moments of shock an terror. The slow pace only adds to the atmosphere of the film and makes the few moments stand out as being even more terrifying. Modern American horror could learn a lot from this film.

Whilst Eli and Oskar bond Hakan, an older man who moved in with Eli is out killing and draining the blood of locals to help feed her habit. However, unlike most horror films Hakan is not adept at this skill and quickly finds himself in trouble.

As the story unfolds Oskar is given the strength from his time with Eli to face up to his bullies, Eli is forced to feed her thirst herself and in doing her live crosses paths with a local group of who become irrevocably changed by the new vampiric members of the society.

What makes this film so magnificent and gripping is that the story is both understated, believable and never feeds the audience simple explanations, leaving you to derive your own meaning from the actions and themes explored. This is probably one of the most unique love stories ever commited to celluloid and not only breathes fresh live into a dying horror genre but also gives original and unique looks into some of the vampire lore of old, particularly the notion of a vampire not being able to enter a home without being invited.

As far as horror films go there has been nothing as intelligent and engaging for years, and as long as Hollywood continues to butcher old classics and churn out mindless gorefest then films with the inegrity and brilliance of Let The Right One In will be few and far between. My advice is to see the film before Hollywood churns out a pointless remake.

Monsters vs. Aliens in 3D - Review

So, the 3D revolution is upon us. Having been to Universal Studios in America I've seen Shrek and Terminator's short 3D rides which I both thoroughly enjoyed. There was a sense of occasion, queuing up and collecting the glasses before sitting down and facing a massive screen which projected its 3D images. The Terminator stayed with me longer with a cleverly devised little story and actors actually appearing on stage as part of the story. When I came out I felt I could tick 3D film of the list of cinematic experiences I've always wanted to do, IMAX and outdoor cinema have also since been ticked off, but still not drive-thru experience. But 3D films always struck me as something of a gimmick. I've seen Friday the 13th Part 3 and the scenes shot in 3D are blatant and actually somewhat distracting, especially not in 3D. Unlike colour and sound which changed to feeling of film and HD which is a technological advancement which is yet to convince me, 3D never felt like it would actually take over cinema, and I still feel 2D films will reign supreme. I don't know if it is that being a glasses wearer I have to sit in the cinema with 3D specs in front on my glasses or the fact that enjoying the experience involves wearing glasses but I went to see Monsters Vs Aliens with high hopes that I would be converted to the revolution. I wasn't.

But maybe not because of the 3D. Monsters Vs. Aliens is an excellent childrens film but never scales the heights of recent animated fare from Pixar and bar the hilarious B.O.B voiced by Seth Rogen, none of the characters are very funny and story is simplistic and lacking in inventive imagination. It wasn't that I didn't have fun, it was that the story wasn't strong enough for me to forget I was watching a 3D film, and ultimately I think that's what it should do. 3D may be new, and I'm sure when people first watched Becky Sharp or The Jazz Singer they were distracted from the story by the technological advancement, but then neither are great films either.

For me, if 3D is to become the standard movie going experience then you should not be distracted. I'm never distracted by a black and white film, personally I find them more artistic looking, but Monsters Vs. Aliens lacked the great story and great character to make the experience cinematic rather than a novelty.

A first foray in 3D cinema was not the dissapointment I had expected, but at the same time I'm still unconvinced that 3D brings that much more to the cinematic experience and it still just feels like a gimmick to have things flying at you out of the screen. I enjoyed Monsters Vs. Aliens and anyone with kids will have happy campers if they take them to see it.

The Damned United - Review

The Damned United tells the story of Brian Clough's fateful 44 day period as manager of Leeds United in 1974, whilst cutting back to his rise to the Second Division title with Derby in 1967. The film offers an interesting portrait of one of football's greatest managers, particularly as it focusing the the period when he failed rather than the success he later achieved.

Michael Sheen, who continues to play real people and now has Clough to ad to his roles as David Frost and Tony Blair, and here Sheen is brilliant as the egocentric football manager. Yet it was Timothy Spall as Clough's assistant Peter Taylor who's performance stuck with me. He came across as an extremely talented coach with an eye for talent and tactics who for most of time lives in the shadow of Clough's ego.

The film does offer a interesting insight into a young ambitious directors insecurities and fears as he faces off on numerous occasions with the successful Don Revie. A final scene in which both actors ar interviewed shows not only Clough's arrogance to his rival but also demonstrates Clough natural inability to acknowledge his own flaws and weaknesses.

In all this is a film with a strong script, from The Queen and Frost/Nixon writer Peter Morgan and directed with conservative assurance from Tom Hooper. The film is littered with great actors from Jim Broadbent as Derby chairman Sam Longson, Colm Meaney as Don Revie and Stephen Graham as Billy Bremner.

There are very few great films about football, mainly because cinema is unable to capture to unpredicability and beauty of the game but The Damned United manages to avoid this conumdrum by showing very little football and instead focusing on behind the scenes at the football club.

Overall The Damned United is a enjoyable film with some excellent central performances but its not a film which lingers in the memory long after watching it.