Red Cliff - Review

Since Ang Lee's Crouching Tiger, Hidden Dragon there has been a slew of wuxia and historical epics coming out of the west, more often than not becoming the most expensive films the country of origin has ever produced. John Woo's Red Cliff is no different. Thankfully unlike some other recent historical epics, Mongol, which have failed to live up to the reputations of their real life counterparts, Red Cliff, focuses more on an actual battle than an historical figure, and despite problems, feel more like a resounding success than anything else.

The film focuses on the 3rd century battle at the strategic stronghold red cliff. John Woo delivers a breathtaking action epic which contains some of the most audacious and mind bogglingly choreogrpahed fight scenes seen on screen, which is something considering the leaps and bounds made in this area over the past few years.

Tony Leung and Takeshi Kaneshiro standout as emperor and strategist who work together to combat the advancing superior forces of Cao Cao and this film differs from other recent epics by giving an insight into the strategy deployed to overcome the advancing forces, and along with the epic Woo-style action this gives the film a unique curiosity and also gives it a modicum of authenticity.

Red Cliff though is worth watching simply because it marks a return to form for John Woo. It is also his first Chinese language film since Hard Boiled in 1992. Woo 's American output never really achieved the dizzying heights of his classic action films made in Hong Kong and China, and this film feels more akin to those earlier, inventive, imaginative, exhilirating efforts made in his native tongue.

Although not quite on the level of Lee's Crouching Tiger, or Yimou's Hero, Red Cliff certainly delivers on the monumental epic, and it is the most expensive Asian financed film to date, breaking box office records in China. Hopefully this will see a return to form for Woo who was once one of the most vibrant and unique voices in Eastern cinema.

Transformers 2 Revenge of the Fallen

In my opinion Transformers was one of the best comedies of the past few years. It might have been dressed up as an action movie, but its the moments of comedy which linger in the mind even today. So when Transformers 2 Revenge of the Fallen was inevitably greenlit I was anxious so see if they would maintain their comical tone and light-hearted we-know-this-is-based-on-a-toy-so-lets-just-have-fun attitude to the film.

Thankfully Transformers 2 offers up much of the same in the comedy stakes whilst also throwing a lot more robot carnage at the screen. The story itself it rather ridiculous and utterly redundant once the action begins. A rather insipid opening sets up mankind and tranformers history, implying that they have been on Earth for millenia. Thankfully this is swiftly forgotten by a massive smackdown in China before the story is actually set up.

Shia LeBeouf is back as Sam, as is Megan Fox, whose introduction is gratuituous to say the least. They are joined by Josh Duhamel and John Turturro who reprise their roles as Captain Lennox and Agent Simmons. Unfortunately, despite the 150 minute running time only LeBeouf is given the screen time deserved after such strong performances in the original.

The film itself never feels overlong, but this is mainly because like Bad Boys 2 (Bay's only other sequel) the film is jam-packed with action, the final action scene feels long enough to be a film on its own. Despite all the action, and it is markedly improved from the first film, especially a forest showdown between Optimus Prime and 3 decepticons, where Prime finally gets to kick some arse, the film lacks the heart and character of the first film.

Overall the film has too much going on, there are a massive number of transformers, so many in fact that you never really know who any of them are. Some of the favourites of the original, especially Bumblebee seem to take a back seat, and is only given one good moment. The titled Fallen is an anticlimatic Emperor figure to Megatron's Vader, and never gives you the satisfaction of coming close to achieving the revenge he seeks. In fact its not even clear who or what revenge he is seeking.

Thankfully the film never gets weighed down by its convoluted characters and plot, instead it zips along with its tongue wedged firmly in its cheek although it never manages to be as good as the original, and despite its bumming numbingly overlong running time the film is mindless summer entertainment (a loosely used term) which should appeal, at least to a degree to fans of the original.

Looking For Eric - Review

The idea of a film about Eric Cantona's greatness as a footballer is no brainer for me. It's going to be hugely entertaining and also very nostalgic. And yet Ken Loach's Looking For Eric becomes less about the great man himself and more about what he represented as not only a footballer but a person. The film is also amazing in that the actual story, away from Eric Cantona's role, stands up and Loach has developed characters which pull you in, allow you to grow to love them before finding yourself worrying about them as they find themselves in a deadly serious predicament, one which seemingly has no solution. The films then delivers a heart warming, hilarious and downright imaginative conclusion.

The story focues on Eric Bishop, lifelong Manchester United fan, and postman, who is going through something of a crisis. He lives with his two disrepectful stepsons, the mother of whom is nowhere to be seen, and he has been asked by his daughter to meet up with his first love, and ex wife Lily. After a breakdown of sorts Eric starts seeing Eric, Cantona. As Cantona philosphises and talks about life, football and everything, he becomes a makeshift guardian angel to the poor, unhappy Eric.

Eventually the characters in Eric's life take over and after his son becomes embroiled with a gangster things descend into a mire it seems there is no escape from. The film offers some hilariously comedic moments, not least a scene where Eric's post office buddies try to cheer him up and pull him out of his depression by working through some exercises in a self help book together. The camaraderie and male insecurity providing one of the strongest scenes in the movie. But this film also has an incredible amount of heart, most of it coming from Steve Evets as Eric. He has a face which conveys years of unhappy misery, he's a man who, over the years has gradually been ground down, who carries his regrets in every word he speaks, and his only outlet is the club he loves. Evets carries the film and gives it both its heart and the humour.

By the films slightly far fetched but incredibly cathartic ending Evets has changed his life around, with the help of his family, friends and the man they call Cantona.

An seemingly unlikely partnership in Loach and Cantona turns out to be a beautiful, heartwarming and brilliant piece of cinema. Loach uses Cantona sparingly but when he is needed, and Cantona relishes the opportunity to play himself, but its the other Eric, Evets who steals the show, sitting comfortably alongside Loach's other unlikely heros of the past.

Terminator Salvation - Review

I'll Be Back - well I for one am hoping this franchise is not. After two classics, one a futuristic horror film, the other a all out action extravaganza, a middling third outing, which was more a retread of T2 with less heart and some ok action sequences before the boldest and most intense ending so far. A short lived TV series and finally a franchise film reboot from of all people, McG.

Terminator Salvation threatened to be the film which relaunched the franchise off into a new direction. Ever since those apocalyptic scenes in the original Terminator I have been anticipating the film which gave us the war with the machines. Cameron avoided it, and at the time it seemed a bizarre choice. Now it seems he knew something the producers of Salvation didn't. That Terminators are much more intimidating when they are alone, with a specific mission to hunt down and destroy a target. In this future Terminators are neither scary nor that menacing. They have superior firepower and better technology. But beyond that they lack the sheer inhuman relentlessness that personified their earlier (or later in the timeline) incarnations.

Christian Bale stars as saviour and leader of resistance John Connor, only at this stage in the timeline Connor is not leader, but reports to superiors, who clearly are not as informed as he is; Connor has the ear of the people, and tapes from his mother stating his importance in the resistance. Unfortunately the film negates much of the aura surrounding Connor's role as leader. Bale gives his weakest performance but isn't even given much to work with, so you can hardly blame him. Yes he might slip into his Batman growl too often, but with such a 2D character what else if left.

Instead character arch and hero status is left to Sam Worthington as Marcus Wright the Terminator with human flesh. This is not a spoiler as not only does the trailer give it away, we learn in the opening credits sequence that he has given his body to Cyberdyne systems for research, persuaded by a kiss from a cancer stricken Helena Bonham Carter, before being sentenced to death for murder. So in a rather clunky manner not only has the film ruined a potential twist in the story it has also set up the moral dilemma of our protagonist.

When Marcus is introduced to us in the present (2018) we already know he is a Terminator and it's him who is ignorant of what he has become. Never the less Worthington isn't bad in the role of a character trying to find redemption or salvation by helping the resistance, or more specifically Kyle Reese (Anton Yelchin - who steals the show).

The action sequences are drab, uninspired and lack the emotional weight Cameron instilled in his earlier films. There is never a sense of peril for the characters, You know Reese, Connor and Wright will all be ok, at least until the final battle. It's not until Connor faces off against some watersnake Terminator's that my heart rate jumped up above nonplussed.

From that point on the film managed to raise the tempo and build toward a fairly satisfying climax if entirely preposterous. The film gets weighed down by its own attempts to developed a deep plot, and the time travel elements and backstory only stand to hinder the filmmakers attempts. An example comes when we learn that Wright was purposely programmed to infiltrate with Reese, lead Connor to the Skynet base so they could destroy him. Watching this "matrix reloaded moment" where the plot effectively grinds to a halt so a video of Bonham Carter can explain the story not only undermines the action and pace but also reveals the ludicrous nature of the story. If for example they went to the lengths to programme Wright to infiltrate with Reese, to enable Skynet to capture him thus luring Connor to Skynet so he could be killed, then why not make things simpler and have Wright programmed to kill Reese once his learns who he is, then dispatch with Connor afterwards, which he certainly has the opportunity to do.

The film also includes a number of references to the original two films which stands as an admittance that Salvation can't be a film on equal footing with its predecessors. You can see there reasoning, but it merely undermines the film, making it feel more of a homage to Cameron's masterpieces than a film with genuine intentions to achieve an equal greatness. They even throw in a CG Arnie at the end, which despite looking rather ropey, is one of the few effective moments. The T101 emerges in the trap set for Connor and predicatably a battle in a factory, which never capture the excitement or fear achieved by the original Terminators.

Ironically most reviews has said this film is better the Rise of the Machines but the ending of both just proves T3 is superior. Jonathan Mostow's poor threequel had the explosive action but lacked the heart, but with his ending the film delivered the most downbeat and unexpected ending the franchise may ever get. Remember he gave us Judgment Day.

In conclusion, and I say that now because I could go on. Salvation has not saved a franchise which started so well. McG has distorted our collective image of the post apocalyptic future Cameron hinted at so subtly and Bale has achieved nothing in bringing an adult Connor to screens. If they are to continue the franchise my advice would be to push Yelchin's Reese to the forefront, not only is the most engrossing performer but he gives the character real heart. Something Wright and Bale fail in, which is ironic considering the films ending.

On a final note, one of the elements which has made the Terminator films so enduring is the strong central female character of Sarah Connor. T3 replaced her with Claire Danes' Kate Brewer who was a diluted version but Salvation sidelines all female characters to mere set dressing, and this is an unforgivable oversight but the writers and producers.

Drag Me To Hell - Review

I can't remember having so much fun during a horror film in a long time, and I personally would like to thank Sam Raimi for being the only man in cinema to be able to turn your stomach in one instant and then having you rolling around in the aisles in the next.

Alison Lohman stars as Christine Brown, a bank clerk, who is competing with a colleague for a prised assistant managers role. In order to show her metal, she refuses a third mortgage extension to a strange, gypsy like woman. The set up is simple, and to a degree rather drab. But it doesn't last long. Like Raimi first foray into horror, The Evil Dead, he quickly gets to the scares and shocks, and what really pulls you in is that our first encounter becomes a drawn, endurance test of shocks, scares and horrors set in a underground parking lot, which contains more invention and horror than most schlock horror pumped out of Hollywood these days.

From this moment Raimi skirts the line between inspired and absurd and even when he crosses it, during an unusual but hugely entertaining seance, somehow he makes it work.

The film itself manages to capture the constant assault of spirits on Christine and the comic relief works as a vent for the tension and fear you feel.

There are so many great comic moments that like Evil Dead its almost more a comedy than a horror, but then every time you feel yourself laughing too much, Raimi drags you back into a terrifying situation and your reminded once more that this is the best horror film to emerge out of America is quite some time. The film comes from Raimi's Ghost House Pictures and this is really the first film from their canon to deserve the title of horror. Despite Raimi's recent forays into comic book adaptations and hollywood blockbusters its a pleasure to know that he has not grown out of some sickeningly funny comedy horror, and more importantly that he is still the greatest exponent of the comedy horror genre.

On one final note, since seeing Alison Lohman blow me away in Matchstick Men and Big Fish I've been waiting with baited breath and anticipation for her to emerge as a genuine leading lady, with Drag Me To Hell she shows that not only can she carry a film, but also that she has a great range and can compete with any heroine in horror illustrious past.

Drag Me To Hell is breath of fresh air, with a stale, vomit inducing rib tickling brilliance that rarely features in cinema these days.