richy1024 Reviews

Les Misérables (2012)

Voices of trembling emotion, 24601 times a dozen more.

[9/10 · 3 February 2013]

Embark on cinemas most gifted with an astonishing take on a theatre vintage classic. Les Miserables breathes lasting sentiment from its audience with its range of vocal capacity, taking us through a narrative of fateful love, desire and passion. Tom Hooper's marvellous employment of toning back, purely allowing his talented cast to project themselves as if they were on the prime theatre stage itself engrosses us with a blessing of raw material that will in itself be intrinsically testing to emulate.

Authored by Alain Boubil and composer Claude-Michel Schonberg (with English-language libretto by Herbert Kretzmer) Les Miserables warrants its acclaim as noticeably the most projected stage piece with a mammoth following which has seen fabulous permanence. With the initial English take performed in the capital in 1985, the French revolution story has been executed internationally over 40 countries en masse 20 languages, promoting itself to a entirety of approximately 60 millions spectators. Subsequently, this has assembled a cabinet of Grammy's in their abundance, nominations for best picture at the Golden Globes and the Oscars before its premier release which is indicative of the prowess of the monumental 1862 marvel tale by Victor Hugo. Like the novel, Tom Hooper's adaptation begins in 1815 prior to the Rebellion of the Revolution in 1852. The chronicle boils down to a loving bond with a varying number of interlacing relationships that accurately define the emotion and volume set by the narrative.

With Hugh Jackman and Russell Crowe winning the protagonist roles, Javert's (Crowe) pursuit on tracking convict and former slave Jean Valjean (Jackman) is harmonised by grandiose routines from Anne Hathaway as Fantine and Eddie Redmayne as Marius, Fantine's daughter Cosette future love. Valjean's freedom from slavery is tormented by Javert who embarks on a journey to keep tabs on the former old lag. Despite Valjean's embracing endeavour to demonstrate his value by constructing his own business, officer Javert consequentially thwarts his detainee following the liberation of dear Cosette (Isabelle Allen and then Amanda Seyfried) from her janitors, The Thenardiers, manoeuvred by the energetic Sacha Baron Cohen and Helena Bonham Carter who offer a comedic stir in their exertion to pursue life royally through their worship for robbery and foraging.

Les Mis offers a wonderful transition of sentimental measures from subjugation, redemption and emancipation, which replicate the emotion seen on the theatre stage. This is merged with Hooper's change of ability by stripping back rather than being too hands on, allowing Jackman to pursue the struggles of slavery with empathy with a small child he purchases in an effort to respect an oath to former employee, the struggling Frantine. Despite Hathaway's role only lasting a third of Jackman and Crowe's, her performance truly encapsulates her ability, helping us understand the capitulation of a young mother, relieved from her factory vocation and voluntarily surrendering her body to the depressive depths of prostitution.

Aside the themes of oppression, salvation and liberation, accompanied by a host of period costumes and tear jerking mantras, we feel a host of religious overtones through the use of lyric and narrative. Spiritual connotations are introduced as Valjean's is in receipt his release papers following his participation in the docking of an enormous ship. He visualises the position of Christ, hoisting a timber post whilst lagging the French flag. This is also visualised upon his escape, trudging over peaks with a walking stick and frayed garments. As his future improves over time, Valjean's commitment to religion is revealed to us with small prayers, pursuing his eyes to the north in vowel to do good.

Hooper's preference to shoot the harmonies live as opposed to having the actors lip-sync pre-recorded versions of the songs follows the customary values of the melodic trend since the 1930s. Diamond performances from Hathaway, Redmayne and Daniel Huttlestone (as Gavroche) pilfer the picture, combining the best of the conventional and already established with the finest of the new, as though they were part of the innovative cast. The camera is truly inspiring, capturing passion with indispensable shots, shaping out the backdrop and solely absorbing the endowment of the cast, dwelling into the narrative through the lyrical manifest. It's rather magnetising and moving to see Hathaway and Redmayne giving their all by emotionally draining themselves, complete with ingredients such as quavering jowls and straining tendons. Redmayne has provided himself a great platform with his lengthened limbs to hit striking notes. He sincerely compliments Amanda Seyfried's elderly fashioned wide eyed and guiltless form, igniting true love and appealing to the spectators as an authentic princess of the screen.

The grand finale brings great happiness with a message of victory instead of raising the white flag following the death of the majority of the characters. Les Mis offers a message of union, pride and triumph. With every chant, every connection and revolt, Les Mis communicates to us intensely with its industrious and steadfast entertainers' charismatic take on source material that has been repeatedly performed and appreciated by the masses.

Paranormal Activity 4 (2012)

More of the same, more infants, more cameras around the quarters.

[5/10 · 30 December 2012]

The annual outing of the Paranormal series has arrived and pursued its consistency. Its cheap production values have astutely kept any resistance from gravity by keeping its feet firmly on the ground, seeing epic growth and a devoted fan base. Its simplicity is its most effective tool, respecting the will of the audience and never underestimating expectations.

Fans will feel a mixed bunch of emotions in this fourth edition. The fright value remains without too much violence but takes a step back from the historical third outing. Progression of the legend may leave a vaguely uncomplimentary taste as this version provides little explanation but only a continuation of events. On the offset, suggestions reveal another chain of events to follow by yet again stalling the finale with a sudden cut off at the end of the reel.

Upon evaluation the element of discovery takes us back to Micah in the preliminary supernatural instalment, but through the eyes of a female, Alex (Kathryn Newton). The teenager intelligently offers the audience two modes of surveillance. The unsolved happenings around her are still documented through the oppressive static camera, whilst the poignant moving image recorder has switched from attachments to a panning fan to the modernisation of Skype, talking to her friend Ben (Matt Shively), who not only provides the comic relief Micah espoused to in edition one, but initially and charismatically acts as a member of the audience, with outcry at the odd occurrences behind Alex during their flirtatious engagements.

Devilish Katie (Katie Featherston) revels on as the force of dismay by giving adopted son Robbie (Brady Allen) the freedom to poison Alex's stepbrother Wyatt (Aiden Lovekamp) to entice Alex to discover the essence behind the capture of the espouse child. From here the playful intensity created by the simplicity of the cameras teases our objectivity of being shaken by incessantly switching between the predictable to the capricious nature of the narrative.

Jack Reacher (2012)

Mister I don't follow the Law? Mister maybe you should just not be so mysterious.

[4/10 · 30 December 2012]

Christopher McQuarrie revision of Lee Child's fictionalised tale One Shot sees Tom Cruise attempt to incessantly rejuvenate his independence from his private life with a character that narrowly matches our expectations of him. Mister, "I am not a hero" Jack Reacher (Cruise) is an intangible character with a vague, jerky background. Former martial, no long term residential palace and a solitary vest he washes each evening, Mister Reacher is someone who cannot be found, only he uncovers you. This is a man who fails to live by institutions, derives his own laws, but a little less enigmatic then he could be as once he appears he doesn't seem to depart again as expected by his fellow on-screen chums.

Lawyer Helen Rodin, played by the rather stunned looking and unconvincing Rosamund Pike, hires our elusive hero following a merciless sniper massacre on five citizens of Pittsburgh, due to her struggle to verify the purity of a man whose fingerprints and other contingent evidence on top of a request by the accused for the police to contact Reacher.

Despite the gravity of the plot, Cruise executes this routine with a slightly healthier approach than the ghastly efforts flanking Cameron Diaz twelve months ago, notwithstanding the customary tripe involving machine gun shells, a few left and right jabs and the humorous sexual symbolism of a man standing no taller than 5 foot 7 inches, not mentioning the anomalous inclusion of a fingerless Werner Herzog. Cruise's competency does shine above the rest, but poor casting and some examples of hopeless dialogue simply categorises McQuarrie's festive treat with a bad taste after two thirds of the reel. The movie does embrace a few instances of generating a brutal atmosphere which on occasion enlighten the insipidness of immeasurable cross-examination scenes and frail attempt at a rather precarious car pursuit. Cruise's career will never be refined despite his continuous self confidence. Name changers such as Top Gun, Vanilla Sky and the first Mission Impossible categorise the ambitious Jack Reacher as yet another collective to fill an empty space on the shelving.

Skyfall (2012)

A skin tight suit will never stop this 007 from killing with his bare hands. The nation's favourite sign is reborn.

[9/10 · 23 December 2012]

From a parachute assignment with her majesty the Queen over Danny Boyle's inspiring set at the opening ceremony of London 2012 to the misty depth's of the Scottish highlands, Mr Bond faces his most injurious test by having to decide between the two most significant women in his life, thus providing us with a glimpse of who the true Bond girl is.

The consensus of Skyfall's Bond has seen 007's maturities establish with a distinctive rawness. We now have a rigid skinned agent whose experiences have seen sorrow and anguish in his past but seen a persona who has benefited from the audience's acceptance of the solemn tenor and less extravagant gadget themes throughout the franchise's fifty year stint. Daniel Craig has provided a new dimension to Bond, predominantly fitting within the criteria of the modern shift of seriousness within film. His wonderful talents pursue the conventional raw emotions that Bond feels in this outing. He crucially understands the material from 007's past and motions of the present determine the character's motivation. The 23rd instalment brings the modern Bond to his most atmospheric challenge yet. Skyfall sees Craig embark on one of icon's most testing missions. His loyalty to M (Judi Dench) is placed under detrimental restraint. Not only does he have to scuffle with a silky but uncomfortable nemesis in former MI6 employee Silva (Javier Bardem), Craig is set the challenge of performing even more charismatically on the eve of Bond's fiftieth anniversary, turning a domestic threat into a personal one.

This episode breathes an air of familiarity as we are invited into the notion of a qualified agent, suffering from an ageing atonement with an element of vulnerability and victimisation but his wise and highly articulate prowess in his field play dividend, sticking to his prehistoric loyalty to MI6. The mortal human factor is a blessing to see and but Craig's posture on screen counters this with beautiful arrogance and the mental determination of Bond. A titanic sum of thought has gone into this outing. The franchise seemed to be in a perilous state and needed to be reborn.

We are led to believe the perilous trip that Bond has journeyed since the days of Sean Connery, Roger Moore and Pierce Brosnan has led to this very moment. We develop a perceptive of Bond's continuation away from subsistence of spy life, learning of his life without parents and being invited into his personal routes before M's motherhood role took shape. This series seems to build relationships between each of the films since Casino Royale. On screen growth between Craig and Dench would propose a step-parent affiliation. Certain tags are given through the dialogue and symbolism in character gesture and movement. Besides M, Craig develops a healthy relationship with the very woman who places a rifle bullet through his canvas which rather convincingly reminds us of the characteristics between Bond and Miss Moneypenny.

Beyond the tone of severity we are taken on a voyage to relive some wonderful tones and mimics that remind us of the majestic overtones over the last fifty years, particularly in the Brosnan era. Preambles such as an academic censored handgun are imputed whilst annotations on exploding ballpoints are snorted at, in particular by the striking, and resourceful Q (Ben Whishaw). The selection of artiste for Q is rather smart, using a moderately nameless and inexpert big screen actor to play an archaic character, following the footsteps of John Cleese, Whishaw adds much sophistication to the role.

Sam Mendes' first attempt at a Bond is undeniably an endeavour he can be proud of. He has deliberated the story with a glorious attitude and tendency, blessing us with some gripping contrasts in China to elevate the superiority in design and technology, and then stripping back the intensity with raw sentiments across the landscape views throughout the Scottish highlands and the country's vast dissimilarities in culture from London. The sombre graphic of the narrative offers complexity and heavy watching is sometimes required but this is not too punishing on its audience after Mendes hurls Bond into a moving train cart and then allows him to briefly pause to adjust his shirt cuff, a gesture that relieves impetus in the scene without entirely concluding the anxiety. Aside from the rich style and glamour of China and London, 007 gets gritty in the swarming markets of Turkey, a replicate of his past lethally reminding us of From Russia With Love. Globe hiking has forever been as crucial to the franchise as the harmonious gadgets, with an elegant ray of the map across all of its geographical coordinates, sizable body counts, sports cars and crafty arsenal are expected within the genre, there have been a few blunders down the years and a couple of forgotten suit bearers. Mendes and Craig work magnificently in creating the epic that Bond enthusiasts have been longing for.

2012 (I) (2009)

Exploding tower blocks and flash limousines? Is that all Emmerich's has to offer in his portrayal of the legendary myth of the globes demolition?

[4/10 · 21 October 2012]

Roland Emmerich brings the eminent conspiracy of global calamity in the year 2012 to life, providing us with a over-elaborate solution, saving only the rich and our protagonists. Considering Emmerich is the predominant for the disaster movie by an international freezing onslaught in The Day After Tomorrow (2004), placing a colossal lizard in the city with Godzilla (1998) and the extraterrestrial incursion of Independence Day (1996). Astray from his catastrophe movies, as Emmerich unquestionably finds contentment by inflicting deadly causes onto the realm of the planet; we have seen appalling exertions such as 10,000 BC that have deservedly injured the filmmakers' reputation. His career has been structured by the reliability of CGI and supervised editing by the ignition of buildings and the collapse of mountains.

This addition plays no significance. It's over exuberant and carelessly predictable. Although Emmerich's favoured genre has been ever existent since the birth of cinema, Independence Day (1996) indisputably became a revelation to audiences as it is accepted that every household clutches onto a copy of Will Smith's big break in their DVD collection. Alas, additions such as The Day After Tomorrow and 2012, whilst aesthetically sound, lack efficiency therefore creating unavoidability for conventional ennui. Therefore, it seems Roland has lost his touch, although his enthusiasm to encapsulate the viewer continues to be at the vanguard of his creations. Here, the prime issue relates to the scenery itself and how it seems to look impractical. Some of Emmerich's preferences seem a little uncalculated, persuading us at first that the splendour of CGI is of unreal proportion, but on second viewing certain blips steer this effort towards generic filmmaking, thus the audience lacking in fervour for the heed of the picture. These glitches range from improbable escape routes for limousines and outbound flights escaping the fall of the ground into the earth's crust.

Largely, although 2012 carries a heap of stimulation, deplorably after a while its impact is rather molecular, although significant to the allegory tale surrounding the year 2012 it fails to consequently demoralise our emotions. Prepare for a few huffs and puffs as you will become rather fatigued whilst chasing our leads in their hunt for survival.

The Cold Light of Day (2012)

Anxious to say there is no light on this day; only hostile cold torture.

[4/10 · 21 October 2012]

Yet again the adrenaline junky has been let loose in Hollywood, providing yet another inept and maladroit action thriller. Henry Cavill partners Bruce Willis and Sigourney Weaver to spurt a pair of pellets each and to exemplify how unprofessional and uneconomical acts such as The Cold Light of Day can be. This is very frustrating, we are supplied with two celebrated names in front of the camera and our future Super-man and yet again nonentity exists. Monotonous and dull can be used as a polite description.

The synopsis offers hope upon its initial read. A young, newly bankrupt businessman visits his beloved relations in Spain to reunite an ember of sparkle beyond his distressing life elsewhere. Shortly following his arrival, Will Shaw's (Henry Cavill) family are abducted due to the mystifying nature of his father's (Bruce Willis) profession and a stolen briefcase. Instead, the plot's impact offers an atomic effect as we experience tiresome family feuds and beleaguer pursuit sequences that fail to penetrate our motions of titillation. The wildness of these thrill rides are becoming a rhythmic bore, lacking stimulation and trepidation as time passes by. Over countless episodes of identical outtakes this genre is sadly plummeting into a cycle of banal melodramas with typical hysterics that ultimately leave our viewing experience in turmoil due to the lack of impulse from creators to formulate a new form of excitement. There is a discrete unwillingness to be a little more inventive, industrious and courageous and rather discouragingly Mabrouck El Mechri's efforts plummet directly into that category.

Abominably, astray from the collapse of chaotic clutter, this summer vacation fails to elucidate and expand upon Will's (Cavill) fateful breakdown of events. El Mechri ability to give an explanation is pitiable. We comprehend with the notion that Bruce Willis has deceived his son's intelligence by perverting his trust as a father and the truth behind his vocation, and despite the unsolved nature of a briefcase El Mechri fails to invite us into any inkling as to why the case bares such importance. Therefore, we experience a game of connotations which can barely last for so long.

It could be implied that Sigourney Weaver and Mr Willis encountered a lively affair by means of their opinion. Replicating Willis' Die Hard days must have been refreshing and granting Weaver a permit of fun with the appalling habit of providing someone with trigger delight infirmity once given ammunition to squander. As for Cavill, a little therapy and guidance is a necessity as it will dictate his success whilst costumed in an illustrious red and blue leotard and leggings.

Taken 2 (2012)

Taken 2 far or just a case of sequel syndrome?

[6/10 · 14 October 2012]

Following the recapture of his estranged daughter from Albanian mutineers in Paris, Bryan Mills (Liam Neeson) recalls his lively encounter on the hunt for the radical captors in the French capital, but this time in Istanbul. Mills invites his former wife, Lenore (Famke Janssen) and daughter Kim (Maggie Grace) in an attempt to gather some family bonding following Lenore's divide from her affluent partner. Mills subsequently becomes the target due to his escapades from emancipating Kim from the productive sex merchants in Paris. Categorically, as the adversaries seek revenge for the death of their sons and brothers, they track the trio, detaining Bryan himself and the rather volatile Lenore. This outing sees Kim's ripeness and maturity flourish, listening to the former C.I.A. practitioner by locating her father, but at the expense of her mother welfare. As Lenore is taken captive, Bryan conducts the ultimate rescue, as seen in part one to bring his family to safety.

Although the arrival of Taken's second instalment has been accompanied with plenty of publicity and prospect, audience's before now are fully aware of Bryan's past and his capacity to subjugate the opposition and fittingly becoming the saviour off those who mean dearly to him with narrow assistance from influences above. Therefore, Taken 2 is plainly repetitive, opting to continue in comparable fashion to outings in 2008. We are invited to tireless hand combat skirmishing and multiple handgun confrontations. Mills is a polished armament and the sound effects are utterly deafening, wish ravishing and piercing gunshots. The combat seems pragmatic, with intense unpredictability in movement and the usage of each environment. Mercifully, Taken 2 continues with the trend of original cinematography with a nucleus of suspense and continuation. Regrettably, Neeson's character lacks components of interrogation and carefully intriguing us with his masterful tools as seen in part one. Maggie Grace seems to have snooped counselling from her peers, although her galloping in front of the camera continues, Grace performs with more direction, portraying authority and ownership by making decisions that indubitably construct the beginning of the family's fortuitous flee from separation at the hands of their opponents. Although, one would be propose not to supply her with several hand grenades due to her lack of site awareness, but neither do the community of the Turkish capital as they seem excessively unaware of the impact of the detonations around them.

The essence of security and shelter is Taken's most profitable message. As the plot fails to add further direction to the first outing, the film's memorandum provides hope by considerately inserting the importance of family values and the wave of emotion a family in jeopardy suffers throughout countless episodes in its lifetime. While the climax of this outing undergoes a great deal due to its precipitate and sudden finish, it places a new equilibrium for further relatives to stomp and fail at the feet of Neeson's most hard-hitting disposition. The quintessence of family values overshadows Besson's and Megaton's lack of profundity. If you are looking for a parallel story, Besson is quite simply man you require. With poor outings previously this calendar year, one would hope that the anticipated third chapter grants us with more conviction, with a master class of changeability rather than opting for another destination for the Albanian's to capture this tired and capricious family. Although Neeson supplies us with blissful talent and warrants masses of acclaim, leaping around metropolis locations can only continue for a limited time.

Lockout (2012)

Peculiar plot, giving example of how straightforward travelling to the stars and back it is.

[3/10 · 8 October 2012]

From the producers of Taken, Europa Corp's latest resurrection, Lockout provides us with a farcical excuse for using left over film tape. The trailer offers potential, the idea of firm criminals becoming magnetised to the depths of space imprisonment seemed a little embracing. Its protagonist, Mr Guy Pearce (The Hurt Locker) amplified in the spotlight as a strong choice to fulfil the lead, and Maggie Grace seems to have matured from her habits of endlessly galloping around the street of Paris in Taken. Indisputably it proffers nothing but a tasteless imagination from its co-writers and directors under the influence of Taken's principal instructor Luc Besson and injudiciously accomplishes its place in the boredom category.

The plot is inspiring to say the least. The president of the United States is informed of his daughter being held captive by a group of unchained detainees whilst venturing around a penal complex in the stars. Lockout is simply comic book material with poor digitalisation, providing the image with a graphic that can be seen in the iridescent of the arcades of premature gaming. The film attempts to impose itself by attempting to be more impressive then it essentially is.

The only positive comes from the lead himself. Guy Pearce charismatically carries the weight of this films' cynical and exhausting plot by implementing an interesting turn on the personality of his character Snow. Sure, there's the odd blip and dodgy choice of dialect from the writers, but Pearce uses the protagonist feature to his advantage. He has pounded on the mass of his body weight, implements a defiant witty characteristic, becomes the hero and gets the girl.

Overall, Besson and his co-buddies failed dejectedly; let's now foresee the reawakening of Liam Neeson's character in Besson's screenplay Taken 2, a motion picture with high expectation which will hopefully relieve Besson of his respectable reputation gained in former projects such a Nikita and The Fifth Element.

Avatar (2009)

Paradise and ecstasy, all through Cameron's imagination.

[8/10 · 8 October 2012]

James Cameron's virtual creation deserves it formidable success due to our recognition of it. Avatar changed the perception of film, enlightened the use of 3D technology beyond any other film and placed us in a wonderful landscape. It has acquired multiple criticisms, this a considerable amount with regards to the films topical depiction and suffering with a poor narrative. In response, James Cameron's biggest challenge paid off, the narrative was never a key component. Taking the audience to a new world exhumes spectators; we are intrigued by the possibility of the discovery of an alternative to Earth. Although every film employs a critique, Avatar is equally a sign of and an active influence with regards to our existing culture.

Cameron's virtual world can be rectified as the interpretation to the limits of technology. There is the possibility of the human race entering such a fundamental experience in the near future with the launch of four dimensional cinema and the vast increase in picture releases in 3D. Maybe Cameron's Avatar's are a preview of the future. This seems a little extreme, but altogether possible with the likelihood of technological expansion. The protagonist, Jake (Sam Worthington), is a deliberate example of the prospect by transferring himself from a disabled fragile body to a secondary being that promises potential and accompanied with a strong nature.

Avatar adopts and reinterprets a range of genres and styles. It is incontestably a produce of post-colonialism; it portrays the Na'vi as a non detrimental tribe who are environmentally friendly and dedicated to protection. Meanwhile the military exist as a careless regime, digging for supremacy with the intent of seizing all intelligence with an overwhelming display of events, continuing to disseminate the myth of the unyielding fighter.

Also in this film, gender seems to go unnoticed without drawing these from a critical point of view. The protagonist, Jake Sully, although immobilised implements a strong will and is blessed with a mentally tough attitude. He is the only character with the capabilities to negotiate with the Na'vi by building a structure for them to understand his prowess and for him to comprehend with the 'savage' way of living. His love interest is fascinating to say the least and provides us with a mixture of both male and female characteristics. Neytiri (Zoe Saldana) is firm, naïve to fear but loving and loyal to the principle of family. Sigourney Weaver's intelligent biologist personality, Grace, enables us to understand the hypothetical dedication of the military visit to the native paradise. She incorporates an interactive measure to the film by reminding us of the reason behind gaining intelligence. She is the interpretation of Jake's mother or guardian, reminding him of the commitment he must endure due to his incapacity as he frequently loses himself by playfully trotting through the wonderment of the native world. He is portrayed as the avatar of the viewers, guiding them through Pandora as both he and they learn about it. Although, at first, Jake is characterised in this manner, he soon becomes our saviour character, the most competent and capable. The narrative is indicative of most Hollywood films that portray the implementation of a lost sole, by placing him into an unknown world, but developing him, therefore choosing to be one of the Na'vi.

The elegance of the Na'vi's wonderful physical and mental connection with nature emotionally ties us to Pandora's cognitive components and landscape. The narrative couldn't support this entirely without the influence of Cameron's fanatical technological thesis. Any story can be imaginable, but arguably without the influence of hi-tech expertise the narrative is extremely predictable even though it possesses some moral and race related themes. We have seen Avatar's narrative countless times elsewhere without the wonderful tones and magical images. James Cameron was able to build a project that has potential to become the highest grossing film of all time. This exemplifies that cultural surroundings have altered as the ideology the environment has developed into becoming mainstream. Avatar illustrates that the perfect world exists only through the influences of mediation. The film relies on this concept to a great deal, often deteriorating the importance of the tale and the audience's recognition of it.

Horrible Bosses (2011)

Do not notify your supervisor you've watched this one!

[7/10 · 7 October 2012]

Ever reviled your boss that much, to an extent that you actually wanted to be the cause of their death? Hold on; don't put that into practise quite yet, let Horrible Bosses lead by example first. Nick (Jason Bateman), Dale (Charlie Day) and Kurt (Jason Sudeikis), three dejected, gloomy, non-promoted, abused and sexually tormented gentlemen plan the ultimate crime after a drunken discussion and the employment of an execution adviser. Before they know it they are committed to putting their words into practise.

Bateman, Day and Sudeikis act together as a splendid trio as they blissfully drift through the film through numerate altercations with the authorities and each other. In particular, Day's formidable sense of humour helps this comedic experience become a continuous hell raiser. Although the film consistently and dangerously flirts with many offensive quarrels that many viewers may criticise director Seth Gordon's film for, the three protagonists strive to make their changes for the better. The material here may not be admirable to the masses due to its loud-mouth approach and disrespectful tone for the disabled, alcoholics and in particular those who work in dentistry, as this profession is usually tailored with a strong and positive sense of care and precision. Therefore, some may suffer to understand why such a film requires implementing such bad behaviour amongst middle-aged characters. But, as the genre of humour often mimics those who take life too seriously, this film offers an escape route for those who believe that they should be noticed for the commitment or difficulties they face during their daily shift.

With multiple recognisable characters amongst the casting, the film offers various pointers of interest. The cast choosing is obvious due to the actors and actresses genre preferences, but to counter-balance this, the film offers comfort as we know what to expect from the faces on screen.

Paranormal Activity 3 (2011)

Paranormal excellence with a demon in the closet.

[7/10 · 7 October 2012]

The third instalment of the Paranormal Activity franchise takes us back to 1988, giving us an historical insight to the peculiar antics of the invisible demon that has haunted our screens since it mammoth low-budget hit in 2009. Through our freaky voyeurism's we become educated a little further here as Toby (revealed as the demon's name) gives us an incite to his presence through Dennis' (Christopher Nicholas Smith) tireless study of Toby's movement, possible connections and extended family ties that hint Toby's relationship with the family for generations.

One thing we have learnt is that Toby loathes the video-tape, but arguably the franchise would not offer the same effect if it implemented multiple camera angles and sharp Hollywood methods that we have become immune to. Therefore, our demon friend uses this to his advantage to leave the audience in suspense, flirting with their emotions as they await his next move. Although we anticipate his arrival, this third addition enhances the experience with panning cameras, additional point-of-view movement shots as the discovery moves us around much more frequently and vigorously. However much the horror genre follows its distinctive predictive nature, the paranormal experience cherishes our emotions by leading us to believe that this unearthing discovery hasn't quite reached its full blown conclusion.

Paranormal devotees won't be disappointed as Toby's loyalty to his adopted family continues to mount. His relationship with Katie and Kristi Rey becomes clearer and the demons' viscous display continues to torment all of those who dare to make contact with him. On a rather disruptive note, the setup up and principle of the film is very familiar. Events become predictable and the matter of pick-pointing the victims is effortless to discover, but isn't that why horror fans continuously return to the genre?

In Time (2011)

Keep an eye on the time Timberlake!

[6/10 · 7 October 2012]

Set in the future outlook, In Time, replaces money as a source of living, authority and prestige with time. Niccol's alternate perspective on life reveals how from your 25th birthday, everything you do, every step you take and every decision you implement takes time, time which results in life or death. Will Salas (Justin Timberlake) struggles through life in Dayton, waking up looking at his left forearm knowing that sacrifice or a life of stealing is his only way of staying alive. A drop of fortune, after rescuing a feeble Henry Hamilton, a man of many years who donates his digits to Will after revealing his ennui of immortality takes Salas on a small, expensive excursion to the fortuitous side of the city. Hamilton's death draws the attention of The Timekeepers led by Cillian Murphy, as Raymond Leon, who attempt to blame Will for the bereavement of 105 years of life. After passing through the zones know for being the neighbourhoods of time, Salas finds himself in the elegance of New Greenwich, a place where people walk through life without urgency as they have all the time in the world as Niccol emphasises in an artistic fashion. Here, Will catches the attention of Sylvia (Amanda Seyfried) a doll-like figure, whose father plays a major role in implementing the global time market. After a short confrontation with The Timekeepers at a graceful house revelry, Will grabs the girl and makes a run for it in an attempt to even out the costs, or in this case, time.

The purpose of Niccol's stylish alternative outlook on life gives the film urgency, freedom and also lucrative tones of darkness once the truth of greed is revealed as the film's progression moves along quite convincingly. The film employs countless themes as we pass through the neighbourhoods which reflect concerns of class and honour in today's global financial climate. Although Timberlake and Seyfried's impressive growth and transformations on the big screen continues, the film does endure a repetitive nature as expected due to characters trading, stealing, begging and surveying of time and the constant lack of it in most cases. One way of looking at it is to reflect how much the price of a ticket for the cinema is and to determine whether you would trade in your "time" for the Niccol experience.

Conan the Barbarian (2011)

Conan the Barbaric and awful!

[2/10 · 7 October 2012]

Every time the Barbarian, Conan is mentioned most would relate their experience's to the Arnold Schwarzenegger 1982 original. Regrettably, Marcus Nispel's efforts fail to add any clarity to the remake. The pitch of the movie is dull and not even appearances of Rachel Nichols and Rose McGowan fragrance much stimulation this time around. If you're a visceral buddy then this one's for the collection but regrettably you are not required to be packaged with much intellect with Nispel's exertion here.

This addition ponders around with repetitive and many comparable dog fights between Conan and his foes. If this was a computer game we would have experienced more stimulation but this stab fails to qualify as its monotony becomes a little wearisome after a short stint of the action. Furthermore, the dialogue pitches within the wrong time period, seeming too modern for the ancient walls it strives to sell itself within. And Momoa's ten or so words seem to resonate discomforting grunting more so then any language known to man.

Jason Momoa is a fine choice to emulate the visual quality of a barbarian character, apart from the lack of poetry in his speech. He is bold, fearless and comprehends with the term barbaric to a stance. His visceral approach fits impeccably with the tone of the film. Following Arnold Schwarzenegger was more than a pumped bicep in itself, although the former governor was perhaps about as good at acting as sitting behind Californian counters. Stephen Lang delivers another average performance, gluing himself to the villainess nuisance role, which is obviously safe to say the least, as seen as Colonel Quaritch in Avatar.

Conceivably the most impressive, and only imposing feature are McGowan's ingenious earth bursting and exploding digital sandmen who she convenes to battle Conan. That is all I'm afraid.

Sherlock Holmes: A Game of Shadows (2011)

Sensational Sherlock!

[8/10 · 7 October 2012]

Sherlock Holmes' intellect and kudos appears to be challenged, from his judgement, to an extraordinary degree. Holmes (Robert Downey Jr.) disturbs Watson's (Jude Law) Brighton honeymoon by venturing around the gates of France, Germany and the Alps in Switzerland in an investigation behind the mastermind and equally academic Professor Moriarty (Jared Harris). His remarkable sense of empathy and wit prove indispensable in this impressive sequel due to Moriaty's sadistic and charismatic volume. In this ravishing sequel, Holmes undertakes the hero role beyond any extremes of the first movie of the Guy Ritchie franchise.

The complex plot and swift nature of moving through discovery and intelligence is balance astonishingly well due to Guy Ritchie's camera and technological advancements and his visualisation for the scene. The music is delicate and remedies with the situation with such beautiful tone and timing. This replicates Holmes' movement and motive as he attempts to form an understanding of the motivation behind his arch rival's menacing path. There is a wonderful scene that depicts the whole scenario that the film plots out for us, the Chess game. Here, ideology demonstrates themes of death, fate and the suspense of making the correct decision whilst attempting to countermand your opponents every thought of conquering the world.

Despite the element of mystery that the Sherlock Holmes franchise has possessed, so far Guy Ritchie has introduced a vast amount of intense action which works notably in comparison to the rest of the narrative. Not only does it reveal an additional coating to Holmes' manner, but, it modernises a series that critically needed freshness in a fashionable sense if the Sherlock Holmes brand was to continue to exist and platform itself in the modern arena that Hollywood imposes. The third instalment unquestionably has a mass of expectation to topple this second chapter.

Cars 2 (2011)

Rustiness overhauls the glimmer.

[6/10 · 7 October 2012]

Instalment two of the lightning quick, ferociously outrageous, family orientated Cars franchise sees Lighting McQueen (Owen Wilson) and his compatriot Mater (Larry the Cable Guy) come together again to compete, but on a slightly, only somewhat generously proportioned scale, in a World Grand Prix race. The road to success in this outing concentrates the majority of its filming on Mater. Whilst attempting to support his best buddy racer McQueen we see the productive pick-up truck becoming distracted by a top secret covert mission: international surveillance, hired by Finn McMissile (Michael Caine).

With a new adventure on the cards for the lovable duo beyond the South-western desert of Radiator Springs, Mater and McQueen embark on a perilous journey of cooperation, a break-up and an identity crisis. The protagonist role takes a twist with Mater being registered as the hero in place of McQueen. Although McQueen is recognised for his high speed chases around the globe, Mater's role sees the dusty, rusty articulated vehicle bind all the pieces together giving this second addition of the Cars franchise a heart-warming appeal that all the family will draw an ounce of pleasure from. With an incursion of a number of opposing rivals including Francesco Bernoulli, played by John Turturro, this version will certainly tamper with the nerves, but since when hasn't Pixar taken us aboard its roller-coaster of adventure.

Pixar never seems to disappoint, providing consistent and successful family entertainment that children will solicit for parents to take them to the movies. Once the credits role they'll be accelerating out of the screen deeming themselves to be a metaphor racer of Lightning McQueen and finally, ultimately requesting for the merchandise products to re-enact the movie. Whether Cars 2 topples the first instalment, Cars, only audiences will determine. It cannot be denied that Pixar is consistent and they'll be more to follow.

Crazy, Stupid, Love. (2011)

A smart insight into the middle-aged man.

[7/10 · 7 October 2012]

Crazy, Stupid, Love is a poise between perfect love and the perfect heartache. Glenn Ficarra and John Requa's movie is toned with a blessing of an appealing cast and a catalogue of emotions, accompanied by a sentimental description. The narrative is smart, counteracted by the bizarre irrational, dealing with love cheats, the self-pitying and the young and the wild. Steve Carell's role exploits the confusion of the male bearing. His wife Emily (Julianne Moore) declares her unfaithfulness due to her exasperated feelings of their long serving marriage. Cal (Carell) moves out in an attempt to clear the air, or in his case languish in his broodiness, wandering how his perfect suburban marriage crushed before his very eyes. Whilst in this fragile, yet sympathetic frame of mind he takes the time visiting a lustrous modern bar where he meets lady's man Jacob (Ryan Gosling). Jacob is a people watcher, a male spectator, inviting his services to help a man revitalise his sense of masculinity in an attempt to whisk the ladies off their feet and prize a night under the covers. Cal represents the typical middle-aged male stereotype, a lack of fashion sense, appalling hairstyle and a list of terrible handbook jokes. With Jacob's tuition Cal sets out on an operation to tangle with as many women as possible in a stab back at his unlawful and dishonest wife.

The film's ending cunningly weaves all our lead characters together in an unexpected round up of commotion and revealing confessions. Although we are familiar with Carell's usual role as the family sweetheart or the exile trying to bind his way into the mainstream, his usual temperament is recognised with mischievous tones that we adore him for.

Shutter Island (2010)

A weary but gratifying experiment.

[9/10 · 7 October 2012]

Shutter Island exemplifies Martin Scorsese's wonderful intelligence and illuminations of motion picture art as an performer and now director. The mystery behind the fogginess suggests a bleak elude eeriness with this film, revealing an unexpected yet incredible finale. The camera also adopts feelings of apprehension, giving it a frantic feel and a true crime investigatory mind set. In addition, we see how DiCaprio's acting capabilities have become more convincing and have improved through age since his heroics in Titanic. This is potentially one of Scorsese's most experimental pieces of film making. His delicate perception of how sound and camera movement blend quite beautifully to create significant meanings and tempers, covering the picture with a blanket of vagueness and trepidation.

Set in 1954, U.S. Federal Marshal Teddy Daniels (Leonardo DiCaprio) embarks on an investigation into the mysterious disappearance of a patient by the name Rachel Solando, who has escaped or been potentially slaughtered at an asylum institute for the criminally insane. As Teddy tip-toes around the derelict Island he discovers more than he would have wished for, including a few home truths that reveal themes of true identity and false recognition of the enemy. Teddy's character recognition and re-acknowledgment of haunting images from his time serving during the Second World War, with visionaries of his army unit releasing free a Nazi concentration camp and the death of his wife and two children truly capture the emotion that Scorsese, Kalogridis and Lehane attempt to reveal to the narratives admirers. He begins to have reservations with his own memory, his wife and even his personal wisdom due the experience of radical experiments put in order by the mental institute, causing confusion and a host of suspects. As Terry and Chuck (Mark Ruffalo) find themselves marooned on the island, Teddy begins interrogating the internees, finding a haunting and unexpected hidden secret relating to Shutter Island.

DiCaprio's notions of confusion, conspiracy and misplaced sense of direction really give his character an incredible unbalanced movement, especially considering when detectives are supposed to steer from paranoia. Although his temperament is full of perplexity, Teddy fails to realise he has become the mechanism of a psychological experiment. This truly illustrates DiCaprio's maturity as a performer, feeding upon Scorsese's filming intelligence, congratulating the late 1960s psychological terror era on influence on tails such as this.

Mission: Impossible - Ghost Protocol (2011)

Another day another Mission too far?

[4/10 · 7 October 2012]

As the franchise has previously portrayed, Ethan Hunt (Tom Cruise) embarks on a fanatical trail around the world in an attempt to salvage the planet from war intent or total terrorism. Although producer Cruise has succeeded upon his previous effort with Cameron Diaz, one cannot help to think that the Top Gun Maverick is running out of formidable roles to play. Playing it safe despite performing his own original stunts. Ghost Protocol achieves spectacular visualisation but the narrative suffers at a dispense of this. Although MI4 glamorises the beautiful nature of Budapest, Moscow, Mumbai and the heavyweight Burj Dubai, in correspondence to the efforts of the previous two outings for Ethan Hunt this 'mission' achieves supplementary recognition. Impressive gadgetry and high flying action sequences do relieve Bird's first non-animation outing of total embarrassment as it achieves an average viewing.

Simon Pegg's position as the technology nerd degrades the roles played by Jeremy Renner and Paula Patton, for who have bright career prospects, suggesting that Pegg doesn't fit the bill of being a recruit of the government within the secret service field. His performance consists of dry humour, possessing an overrated tone that distinguishes all motive of seriousness despite the film's cheesy overtones.

MI4 implements regular inductions of the twisting and turning techniques, keeping you engaged within the plot, diverting itself away from any potential deviances that may complicate the narrative whilst you're completely indulged by the re occurrence of Tom Cruise leaping from brick to brick. In comparison to Ethan Hunt's counterpart, Mr Bond, Hunt possesses a vulnerable tone which elevates the film to a new level. His team also band together their feelings; in particular William Brandt (Jeremy Renner) of who possesses a dark secret that has been bullish on his personally but ironically connects him to the central character. Hunt's nemesis Hendricks delivers an adequate act in contrast to Philip Seymour Hoffman's threat in MI3, perhaps of no fault of his own as the camera scarcely captures Michael Nyqvist characteristics as the rival protagonist.

Overall, despite MI4's triumphant first few weeks since its release, Tom Cruise's new blockbuster lacks multiple components to be remembered as one of the greatest foundations of the Spy-hero genre. Although Bird's effort possesses and encapsulates the characteristics of the genre and employs a relatively reliable cast, it somehow reminds us of one of those releases when placed onto the market on DVD format it perches itself on the shelf with moviegoers having difficulty contemplating whether or not it is an essential buy to add to their ultimate film collection.

Immortals (2011)

Polished locations, spectacular scenery, but gallingly arcane and fragmented.

[5/10 · 7 October 2012]

Yet again the legendary saga of Theseus, the mortal elected by the King of Gods, Zeus, yet again reappears through another form of scripture and filming. As legend tells us Theseus was under the perception that his father was a god in his existence, and for him to demonstrate his significance as a gracious offspring of the kingdoms in the firmament, is set the challenge of serving those he loves, those who cannot shield themselves and to inhale the air between slavery as a peasant and spare his blood for the Greek terrain.

Here, the producers of 300 have partnered the prodigy with Henry Cavill (Stardust & Red Riding Hood), a ruthless performer who is set the almighty task of facing up to the sturdy posture of Mickey Rourke as King Hyperion in a storm to obtain a potent crossbow that has the competence to devastate those who entitle themselves as gods. Cavill provides us with a muscular stance with a positive visionary of the various fighting styles educated by Zeus. This is a man with idyllic talent in front of the camera but will have to improve on certain key tones if he is to make an authoritative stance as a protagonist in front of Hollywood's moving photographic maker. On the other hand Rourke is quite convincing as yet another villainess psychopath despite his volatility and pre self-destruct push button. Praise must be given to Rourke for his reply his historic preferences by booking himself a catalogue of impending post and pre-production ventures through 2012 and 2013. Frieda Pinto never fails to project herself as an attractive female body. With a startling gaze and an arresting pose, the up and coming pin-up certainly grants her position as the Oracle, Phaedra, with an alluring appeal as a resistant from the temptation of filthy shoulders and bloody arms of steel.

With a respectable budget, Immortals looks visually startling when not pitched in darkness, as the lighting is very dull, placing us in complete dimness. This suggesting pessimistic overtones on the 3D spectacular to draw blank as you simply cannot see anything at times. Alas, the script is dreadfully monotonous and the synopsis could be given by Theseus in his sleep. There are too many illogical gaps that fail to explain the epic of Greek history, but fails to convincingly place its stance on the classic apart from adding a shiny bow and lavishly awful gold uniforms for the gods. The semantics are poor, on occasion straying away from the traditional speech known to be spoken in precedent adaptations of Theseus' tale. Although Cavill's position is sturdy, the rest of the choreography seems a little spontaneous with unexplained pitches of visceral immaturity giving the film an edge of repetitive throat slashes and tiresome associations with glorified fanatical sequences that can only be described as inputs of excitement as Singh's series of battle royal scrambles are too frequent and exasperating. Despite Miss Pinto's appeal, Singh thrusts the boundaries of the sexual application too far. It is an atrocity of domination and glorified images of flashing the body with too many high key lighting usages. If you listen vigilantly, you will also eardrop a few dubious grotesque wordings of voyeurism that are simply objectionable and a little emphatic. Singh's efforts dishonour Immortals' potential to unleash a powerful take on a story that although having been continuously readdressed, does provides glamour and passion on the battle of iron combat. This is an outtake that is frustratingly enigmatic and incomprehensible.

Jack and Jill (I) (2011)

Sad, sad Sandler.

[1/10 · 7 October 2012]

Categorically twins have an interesting nature about them. Similarities no single born child will endeavour. Although Adam Sandler continuously pumps out farcical acts, literally playing the same character time and time again, a brief interest rose due to Sandler acting fifty per cent male and fifty per cent female. Back in the 90s Sandler's infantile belligerence was fresh, devilish and entertained the masses, fitting in with the era of bratty youngsters. Regrettably as Sandler has aged this has morphed into an irritable middle aged bore. Therefore we experience no distinctive change in this feature from characters played in Grown Ups and Funny People.

Jack and Jill is painfully shoddier than any of his recent attempts at comedy. Sandler's female character is simply a high-pitched version of Jack with the same motives and attitude to characterisation. Jack is poor and dull whilst Jill's squealing is agonisingly uncomfortable to listen to. If we were expecting Sandler to make an adaptation of Robin Williams' splendid Mrs Doubtfire, it would be recommended to stray away from these twins. Finding your father prancing around in your mother's garments would be far more amusing, although in reality this would drive most into a tender mental rehabilitation. The most entertaining spectrum is the temperament of Jack's adopted son who marvellously straps haphazard objects or animals to himself in an attempt to stamp his cultural disparity from the luxurious directorship lifestyle that Jack has built. Katy Holmes is bland and takes a short hit with reference to her late husband attempting to encourage her to follow a cult which is particularly clever and snappy.

A short cameo from Johnny Depp can go unrecognised. He seems to spend more time featuring in other people's films rather than prancing around as Jack the pirate. I suppose this is what starring in a lacklustre, pitiful garbage with Angelina Jolie does for you. Al Paccino also stars as himself, rather comically falling for Jill and although only standing at four foot he certainly gives a healthier presentation of himself than Sandler's double act. I beg of you not to expect too much from him though as he characteristically fails to reach the heights The Godfather series and the epic Scarface. Although a change of genre can occasionally bring out the worst in some performers. See Sandler's commercial starring Pacino and you'll want to curl up in a corner and weep.

Unless Sandler retires a change of performance is regrettably not on the cards. His inability to adapt to varying types of characters will be remembered more so than his moody and juvenile temperament. He is simply not pragmatic when it comes to variety.

Harry Potter and the Deathly Hallows: Part 2 (2011)

J.K's grand finale, Harry's final frontier.

[8/10 · 7 October 2012]

J.K. Rowling must be a woman of overriding emotions. Beginning by scribbling in those coffee shops paid off into blockbuster magic. Harry Potter's final instalment is a fitting tribute to J.K's beautiful, eccentric imagination, pursuing the world of magic in a tone that replicates every living soul's beliefs of wizardry. The tone of the magic becoming dark and disconcerting was foreseeable as legend has it that there are those who experiment beyond a devilish level. Those desirable Potter fans that have travelled throughout the world of Hogwarts, having been given an illustrated ending full of emotion and power that encourage those devotees to support Harry and his compatriots on their route towards Voldermort's destruction.

The characters have matured and materialised as have the actors, becoming older and more professional towards their dedication throughout their prolonged Potter endurance. One can only envisage the depth of sadness of the franchise reaching its climax. We have endured a figurative and wonderful relationship between Harry, Hermoine and Ron. They have characterised the film and developed Rowling's paperback into a picturesque reality as they visualised the potential of the series and knew cinema has never and will never experience cinema again like this. The sheer emotions of the actors during the premier exemplified the devotion and commitment to something that will live with them and characterise them for the rest of their careers. The question is whether the trio can reach the heights of the Harry Potter franchise in future projects.

This final adventure encapsulates the nature of the relationship and feud between both Harry and Voldermort. Giving us a deepening explanation of the events that have unfolded in the previous seven outings. Voldermort's determination to siege power and defeat the brave Harry brings the pair closer than we have ever seen, giving us a true picture of how J.K. Rowling has attempted to encompass one of the greatest battles between two individual in cinema history.

This Means War (2012)

This is when threesomes stray away from fantasy!

[5/10 · 7 October 2012]

It's a woman's dream to be swept off her feet by a strong, physically handsome, money earning man. Lauren (Witherspoon) is indecisive when it comes to the opposite sex. She likes some assets in some men but then not so many in others. Frank (Pine) and Tuck (Hardy) are partners in crime, the top of their division. One suffers a split from an ex love with whom he has an infant to be responsible for and senses love from another woman to end his heartache love-split. The other is someone who has no desire to find a woman sooner than his associate in crime. After a brief coincidence, revealing a picture to each other of the same woman they have been dating, they find themselves in direct opposition and bitterness with one another to win Lauren's 'sweet' and 'innocent' heart.

The story is exceptionally uncomplicated and undemanding on its audience. Glorified action sequences and over-enthusiastic dates between the trio, from explosive paint-balling to employing an expert team feeding information through ear devices on a 24 hour watch, used as a tool to feed information through to the male hero to make him seem articulate. All of this is done in comedic fashion in the interest of Witherspoon's pretty-to-hide-the-dim-ness-blondeness (although she claims to be a scientist of some kind). On the bounce of this the relationship between the trio works intriguingly. This feature provides a bit of everything for everyone, romance, action, conflict, ostentatious cars, muscles, a blonde & stacks of comedy round-ups, particular strands of this come from Chelsea Handler and her amusing sense of personality and tone as Witherspoon's devoted and honest friend.

Contagion (2011)

Never mind 3D glasses, this film requires a full body masking suit.

[7/10 · 7 October 2012]

Oscar winning performers and a director with a professional know-how, this film already pounces on us with potential.

A deadly virus circulates the globe to devastating effect by the touch of a hand or a harmless sneeze, attaching itself to Beth Emhoff (Gwyneth Paltrow) in Hong Kong only for her to bring the virus to Chicago. It soon begins to infiltrate the world's wall, entering all countries making people feel woozy, twitchy and soon after pitching on the ground with foam escaping the mouth. The intriguing aspect here is the pace of the movie, it moves hastily, rather symbolic of the disease spreading at a haunting rate. The narrative becomes investigatory, inviting us to become members of Ellis Cheever's (Laurence Fishburne) and Erin Mears' (Kate Winslet) specialist detection squad. Throughout Contagion's duration we our questioning what, where and why this has occurred, until we arrive at a rather apprehensive and potentially pragmatic culmination. Jude Law's Alan Krumwiede adds a variety controversy with his journalistic tricks and publishing of a salubrious Chinese alleviate called Forsythia.

The film is vastly intellectual, using repetitive jargon and scientific theories way beyond the academic level of an eighteen year old. For once we are fed a virus that doesn't involve the trotting deceased. The germ becomes a bit of a cult throughout. It begins as a small everyday microbe and turns lethal within days. It's like gentleman's flu but more dynamic in its willingness to eradicate its victim. In turn of its intelligence it also projects the denial of science, attempting to illustrate the awareness of the disease but ultimately taking too long to find a cure. Although Forsythia drops in to aid its effect is of minuscule proportions, too little, too tardy and merely not enough to go around for everyone.

Soderbergh's imagery of the influenza harassment is rather scholarly. We visualise loneliness before death, the absent-mindedness to cover your mouth with your hands, the burning rage of ignorance to wash your hands and Soderbergh's point of view of the blurriness of death whilst lying in stillness waiting for the delusion of the light at the end of the tunnel to fade. Contagion's sense of panic emotionally intertwines itself within the viewer, leaving us restless and conceivably wandering if one day something as simple as not bathing your hands for a few ticks could become peril.

30 Days of Night (2007)

Bloody encounter is violent revelation of the Vamp.

[6/10 · 3 October 2012]

This is a very stylish encounter, film committees have revised the history of the vampire from days of silhouette filming, throughout film noir and constantly reviewing the innovative alterations of the parasite ever since. Adapted from Steve Niles and Ben Templesmith's graphic novel comes perhaps the most enhanced and startling vampires to date. Even surpassing the malicious Frostbiten as possibly the most cruel and ferocious nightmare to date. 30 Days of Night is based on the factual nature of Barrow, Alaska, falling to thirty days of unreserved gloom, but with the visit of a few uninvited fictionalised guests. Although the narrative is as simple as watching meat fall off the bone this service does not offer any smiles. No knife and forks and no table reservations are made whilst this tribe are in town. This is a tale that follows the survival of the fittest, led by Josh Harnett and Melissa George, against the most enhanced bloodsuckers to date, in the wilderness whereby the cold feeling isn't the artic ambiance, its death approaching.

These vampires, led by chief vamp Marlow (Danny Huston) can be labelled as heartless, menacing monsters; moreover these creatures lack distinct levels of emotion. Marlow's mob escort themselves with idiosyncratic shrieks, at scintillating speeds. These spongers offer no radiance, they are carcasses with extremely pale skin who stick around like leeches nourishing off every living essence until every last drop has been inebriated dry. It is remarkable, however that these foreign exports choose to haunt the fields of derelict ice sheets where the meat is rare and civilian blood is bitter. Common logic would propose to lope around the streets of boarders beyond the glacial landscape of Alaska and venture into the metropolis. But as the narrative would suggest, a second instalment is likely to be on the cards due to Niles and Templesmith's fictional continuation. One would only imagine these insects to whisk on from the wintry wasteland and vanquishing in city depths for feeble fresh meat.

There is a discrete affiliation that the nation has with the vampire, a careless one actually. They are predictable, sometimes temperamental but an addictive creation. They are our departed cousins and instrumental body, demonstrating how life could be if other forms of meat and vegetation were not so widely obtainable in the common market for us to consume. Fans of revulsion and visceral photography will be in their element. The crimson is rich, sending shudders of emotion down your spine. The cinematography is sharp and its presentation is also rather conceivable. Some will uncover Slade's motion picture as unnecessary and lacklustre, but as always it's a virtue of taste. Romantic comedy aficionados will not endure passion from this love bite fest.

12 Rounds (2009)

Chasing circles and killing time . Waste of a ticket!

[5/10 · 3 October 2012]

As the World Wrestling Entertainment lease out their luminaries to the big screen, we are seeing further additional faces from the ring taking the time to tell stories in front of the film camera. John Cena's categorical success in front of the WWE universe has provided him with prospects elsewhere, following in the footsteps of former wrestling heavyweight Dwayne 'The Rock' Johnson. Cena enables himself to balance between filming and hurling himself around the professional brawling courts around the United States. Cena is comparatively convincing between the camera lens as Danny Fisher, a police officer who undergoes a challenging ordeal to rescue his beloved girlfriend from the hands of Miles Jackson (Aidan Gillen). Following being bolted behind bars by Fisher, Miles seeks reprisal by following is altercations with the American cop with the death of his lover-come-accomplice. To unshackle his girl, Fisher undergoes a tribulation of twelve rounds, chasing clues, causing un-wanted damage and making ruthless but repentant decisions along the way.

Renny Harlin's action flick is occupied by unqualified nonsense but does have an exhilarating feel about it. We are relentlessly on the go with 12 Rounds, exploring many areas of the city locations of New Orleans, glorified explosions and heaps of sweaty t-shirts. Considering Cena's bodily fluids are typically exchanged mutually with his fellow contestants, posing in full attire must have been a tricky and confusing trial for the champion. There are more detonations than dialogue which after a short while laments the monotony of the cat and mouse adrenaline rush. One will only ramble in search for the puffed up sequel involving thirteen knockout blows before our hero rescues his sweetheart from his menace foe. As a villain Miles Jackson is a week character, persistently on the run himself, whisking up trickery of poor imagination, using banal forms of criminal injustice to get his own way.

Of course these in-ring 'athletes' are actors themselves, predominantly more than they're puffed up heroes. Unfortunately the calamitous material they quote on a weekly basis to the American nation has propelled itself to the big screen. Let's just hope this campaign of non-money-making futile reel usage doesn't pull off to be as successful as the acrobatic floor mattress arm-bars and headlocks have done.