Inception

Leonardo Di Caprio stars as an agent of a corporation who specialise in extracting ideas from targets minds whilst they are induced in a dream world. The agents enter into an elaborate constructed world and take private information which can be used for business ventures. However, Di Caprio is made an offer by a very powerful client that could change his life completely, but it involves the previously unheard of – entering the dreamers mind and planting an idea, one which the dreamer must believe arrived entirely organically from their own subconscious (hence the name inception). It’s likely if you struggle with this idea then the first 15 minutes of the film are going to be a baptism of fire for the already boggled viewer. Yet somehow the rules of the game start to make sense, and the plot of the film though difficult to digest at the beginning fast becomes exhilarating and electrifying.

Inception is an incredibly bold and brave film for what is essentially a summer blockbuster. It’s challenging and complex, a far cry from the usual fodder that fills the screen at this time of year. The imagination of a dream state being built before our very eyes opens up a whole new realm of possibility, one which explodes on the big screen and excites the mind. It’s complex and it’s layered, it’s the type of cinema experience that viewer really has to engage with and evaluate. We are treated to some exceptionally grandeur images and concepts (a freight train ploughing through a down town city, a spinning hotel corridor becomes the setting for a gravity free fist fight). It also has a stellar cast lead by a terrific Leonardo Di Caprio, fast becoming the finest actor of our time. Like The Matrix before it, Inception becomes one of those films that must be seen to be believed and it’s a credit to director Christopher Nolan that he could take such a towering concept and present it as a blockbuster with brains, one which may take a few viewings to fully grasp and appreciate, but is no less blow away and impacting on first viewing.

It is in my opinion that years from now audiences will look back at the work of Pixar and come to see how truly monumental the quality of the films it created in the early 21^st century are. Not to derail their early efforts, but it plain to see from last year’s Up to this year’s Toy Story 3 they have fine tuned a formula for film making that includes everything from laughs and actions to heartfelt and sincere. They weave their magic so effortlessly and so enjoyably that it is hard not to view them as anything less than modern day classics and quite simply ahead of what many live action films could ever possibly achieve.  Toy Story 3 is not simply a cash in on an already beloved franchise, but rather the final chapter in a string of films loved by audiences that have probably grown up significantly from the last instalment some 11 years prior. It fills us in on the lives of Andy’s favourite toys; the sturdy and reliable leader Woody, and the outlandish and likeable Buzz Lightyear, who are trying to keep spirits high as a now adult Andy is about to move away from home to college and must decide what to do with his old possessions. After a mix up, the toys are shipped off to a day care centre where at first life seems bliss but soon turns nightmarish. It is then up to Woody to stage a great escape and make sure the gang make it back to Andy safely. Although this is a kid’s film it is as ever laced with very adult emotions, concepts of change and life moving forward. It straddles the line between laugh out loud hilarious (new addition Ken is a particularly camp hoot) whilst also being touching and dare I say to a point heartbreaking. To label this simply as a kids film would be an injustice; it’s a film with themes and laughs for all ages and should be enjoyed by anyone with a heart.

The Twilight franchise seems to go from strength to strength, the first film I found a particularly dry and reserved affair, whilst New Moon introduced an element of friction and developed the story perfectly for the latest instalment, Eclipse. The plot of these films is fairly simple; high school sulk Bella Swan moves to Forks Alaska to live with her father, it is there that she befriends and falls for vampire Edward Cullen, part of a ‘family’ of vampires that control their urges to kill or drink blood. The pair endeavour on a clandestine love affair which attracts the attention of a gang of rouge vampires who the Cullen’s attack in order to protect Bella. Edward kills the vampire, but his lover Victoria swears revenge and promises to one day kill Bella. So far so good. However in New Moon Edward comes to the conclusion that his love affair with Bella is doomed, he being immortal means he will keep his youthful appearance whilst Bella gradually grows older and distant. He and the Cullen’s leave Forks and a heart broken Bella finds Solace in Jacob, the ultra hunky man of the moment Taylor Lautner. Unfortunately for Bella Jacob is also part of a pack of werewolves, sworn enemies of the vampires. The pair strike up chemistry, however Edward is mistakenly lead to believe that Bella has died and travels to Italy to provoke an elite group of Vampires called the Volturi (much like the Vatican of vampires if you will) into killing him so he can be with Bella in the afterlife. Bella reaches him in time to stop this, but the Volturi insist if their romance is to continue Bella must become one of them.

And so Eclipse begins, with Bella torn between the difficult Edward and the hard headed Jacob. A group of ‘new’ tearaway vampires are being lead by Victoria to Forks, with her aim for them to kill the Cullen’s whilst she finally gets her revenge on Edward. This leads to an uneasy alliance between the vampires and werewolves to defend Bella. The central romance is what drives Twilight and the sexual tension between its leads is no doubt what has created an army of die hard teenage fans. The story telling is a lot more concise and the action far more violent and enjoyable in this film than its predecessors. It’s a franchise with a very specific audience, but still entertaining for those outside the bubble.

 Please Give is a hugely enjoyable comedy drama from writer/director Nicole Holofcener which similar to her previous work such as 2006’s Friends with Money, offers a multi-strand narrative sprinkled with wit and humour. The film focuses on two neighbouring families in a plush New York tower block. Behind one door is the fantastic Catherine Keener as affluent Kate, a loving mother to surly teen Abby (Sarah Steel) and a picky wife to her business partner husband Alex (Oliver Platt). Behind the other door is cantankerous 91 year old Andra, an elderly crank who is dependent on her two granddaughters, the sweet natured and caring soul Rebecca (Rebecca Hall), and her self-centred and blunt sister, Mary (Amanda Peet). Tensions exist between the two families as Catherine owns Andra’s apartment with the aim of knocking through the wall and building her dream home – once Andra has passed on of course. This doesn’t seem to deter them from openly talking about their plans in front of battle axe Andra.

The film branches out to show the different issues at play in the various characters lives; Kate struggles with her lifestyle and occupation. She begins to feel guilty about the nature of her business (she and her husband are essentially ‘vultures’ they swoop in dubiously to buy vintage furniture from recently bereaved families who are unaware of the pieces true value, then sell them on for extortionate prices); Rebecca strains from juggling caring for her difficult grandmother with a full time job at the hospital, as well as clashing with her ignorant sister and worst of all, being single; Alex is finding his marriage and partnership to Kate a little restrictive, whist 15 year old Abby struggles with her weight and appearance.

Not a lot happens in terms of plot or dramatic developments, the film simply meanders through the characters lives, there’s plenty of moralizing and philosophising abound but it never ventures too deep or too dark and the humour keeps it buoyant, working to highlight the characters flaws and insecurities. Keener is a particular delight to watch as she wrestles with her conscious. She wishes the world was a better place and issues such as homelessness really do bother her, but the film only serves to illustrate her impotence in solving the matter. It’s also endearing to watch Rebecca who on  the opposite spectrum from Kate is doing her best to make the world around her a better place, starting with the old ‘charity begins at home’ mantra shown through her dutiful nature to her contemptuous grandmother. My particular favourite character though goes to the ruthlessly bitchy Mary, who is openly rude and resentful of her grandmother and completely self obsessed with her looks.  She’s delightfully direct and unbelievably cold. She makes for a good contrast against both the troubled Kate and the sensitive Rebecca.

All in this is a little indie gem packed with great performances and involving characters. It will charm you instantly with its quirky opening sequence (a humorous little folk ditty plays over a montage of various exposed breasts – part of Rebecca’s job of carrying out mammograms) It has moments of gentle humour and biting wit, which leaves the viewer with some food for thought.

4.3.2.1 is a slick and streetwise thriller from kidulthood writer/director Noel Clark. It focuses on four female friends whose lives unknowingly become intertwined with a diamond heist that’s making national headlines. As the four girls separate after a morning coffee, the film splits four ways and traces the girls movements over the course of three days. One of the girls is coming to terms with breakdown of her family, whilst another takes off to New York to meet her internet lover. The crime itself doesn’t really become central to the story, which in itself is refreshingly bold, but the fall out of it drags the characters into the dodgy dealings. There’s plenty of strong female characters and violence, and for the most part the story is intriguing and the action gripping. The fact it cuts between the two iconic cities of New York and London and employs a gritty hand held camera viewpoint makes the film both edgy and daring. However the dialogue does grate at points and the plot line that attempts to thread all the stories together at the end is a bit too flimsy and convenient. That aside though there are shades of Pulp Fiction and I was pleasantly surprised to see a British thriller that I consider to have been on a par with Hollywood.

The Killer Inside Me is a crime thriller/horror set in 1950’s middle America, featuring Casey Affleck as a small town sheriff Lou Ford  who appears every inch the gentlemen and caring soul, but on the inside (as the title suggests) is a scrupulous and damaged sociopath. Concocting a plan to extract revenge on a building magnate who he deems is responsible for his brother’s death, Lou creates a set up making it look like his son has been murdered during a brutal tryst with a local prostitute (of whom Lou has been romantically involved with). Pulling off the murders, Lou then steals the blackmail money he created as part of the set up but leads him into trouble and arouses suspicion amongst his colleagues. Having to cover his tracks, Lou becomes even more twisted and psychotic and stops at nothing to shift the blame. The violence against women in this film is shockingly brutal. Director Michael Winterbottom’s decision to include a lengthy scene of hard hitting violence is  both dark and disturbing. It make for difficult and unpleasant viewing, but certainly makes plain the level of evil at play in Lou’s mind. The film suffers from a confusing ending, but Affleck is mesmerising to watch and absolutely chilling on screen.

Greenberg is a melancholy comedy drama featuring Ben Stiller massively out of his comfort zone. He stars as Roger Greenberg, a neurotic mess of a man who fled from California after college and his band messed up an opportunity to sign to a major record label. Returning several decades later from his hideaway in New York to housesit for his brother he starts up an ill fated affair with his brothers Personal Assistant (practically slave) the sweet natured but lost Florence (Greta Gerwig). Greenberg is a difficult and awkward individual, spending his free time writing letters of complaint to just about everyone possible, whilst shunning social interaction (apart from a stilted friendship with former band mate Rhys Ifans) Greenberg wrestles with his inner turmoil and always seems on the verge of total mental breakdown. His disastrous relationship with Florence makes up the central part of the film and there is something undeniably endearing about their awkward attempts to make love happen. All in though I was left slightly cold by the whole affair; Greenberg is such an unlikable soul, self involved and toxic to those around him. The undercurrent of pessimism and neurosis did not sit comfortably with me and jaded my perception of the film. Much kudos must go to its leads though, Ben Stiller gives a terrific performance a million times removed from the comedies that propelled him to stardom.

Get Him to the Greek is a hugely entertaining summer comedy which acts as a platform for one of the U.K’s most edgy and fun comedians Russell Brand. Starring here as riotous and out of control egomaniac rock star Aldous Snow, anyone familiar with Brand’s form of humour will know that the character is not far off his own stage persona and as such essentially masquerades as himself. The plot involves likeable and put upon record company stooge Aaron Green (played by Jonah Hill, who himself is becoming a staple of these bawdy but fun Judd Aptow comedies) having to baby sit Brand and ensure he turns up at the Greek Theatre in Los Angles for a massive comeback gig. Easier said than done as Brand proves difficult and stroppy at every turn. It’s a truly funny and at times outrageous film highlighting Brand’s strength as a performer. However Get him to the Greek is elevated from run of the mill by the strength of its cameo’s and bit parts (P. Diddy is surprisingly funny as psychotic record company exec Sergio). Get him to the Greek is another string to Aptow’s bow and is certainly worth an viewing for some giggles.

Whatever Works is the latest slice of relationship drama (or love/psycho babble analysis) from director Woody Allen. Ever obsessed with presenting strong and defined characters, this time Allen gives us Larry David as Boris, a supposed genius and one time Noble Prize contender who now sees fit to lord around looking down on everyone around him and treating people in the most condescending and insulting manner possible. He then meets run away southern belle Melodie, a young twenty something, naive but with smarts about her, who has fled her religious life in the Deep South but is now living rough in New York. In a moment of unusual generosity, Boris lets her take refuge in his home, and as she takes a shine to his neurosis and offensive nature, the pair eventually develop chemistry. Just as things begin to get settled between the odd pair that Melodie’s mother shows up with her own baggage, and is eventually followed by her troubled father as well. The film starts out fun and for anyone who’s a fan of Larry David from the hit sitcom Curb Your Enthusiasm, there’s a certain thrill from seeing him portray a similar kind of character on the big screen. There’s plenty of humorous moments and it is devilish watching Boris insult and offend everyone he comes into contact with. Evan Rachel Wood is delightful as Melodie, too dim to be truly offended by Boris, but also intrigued enough by his eccentricities to take his insane musings and theories on board. They make for a good screen couple, him the embittered stuff shirt, and her the joyous and curious wife. Patricia Clarkson is also fun as Melodie’s mother, who upon arrival in New York abandons all her religious beliefs and transforms herself into an artist (or pornographer as he wayward husband sees it). As ever there is plenty of talk about relationships and the dynamics that make romance work. There’s both pessimism and optimism, and a heavy dose of analysis. Boris’s pieces to camera are more jarring than they are amusing and the ending seems all too rushed and nonsensical. There are strong performances to enjoy in this film, but it lacks the bite and fun of last year’s Vicky Christina Barcelona.

One of the reasons that I feel privileged to be a contributor to Cinema without Borders is because it aims to celebrate independent cinema from different nations and cultures, reminding us that although mainstream Hollywood has its place, there should always be another voice that reflects and represents people from all different nations.

Having been born in Scotland and lived here my entire life, I am filled with a particular kind of excitement and pride when I come across independent cinema produced from my own culture. This probably rings true for many cinema enthusiasts who are keen to see how a film maker has encapsulated the issues of their nation and society. Independent cinema shows us something that we are able to relate to, often grittier and hard hitting than what other more commercial films are able to achieve. Such films make me sit up and take notice, I feel like a part of my surroundings, my heritage the current political and social climate that influence my life are being presented to me on the big screen.  I feel like part of my identity has been tapped into and I can have a direct affinity to such films.

Scotland has a long tradition of producing terrific independent cinema. Only a few years ago Andrea Arnold’s Red Road (2006) became the toast of Cannes. Ken Loach has also given the world some of the most iconic pieces of cinema in the form of My Name is Joe, Sweet 16 and Ae Fond Kiss. All these films were shot in areas not far from where I live, using slang vocabulary I hear every day. Their proximity to my life and reality gives them an added significance and meaning to me. Our familiarity with areas and with character types gives independent cinema an air of truth that resonates with us.

Recently a fantastic Scottish Independent film has made its way on to the big screen in the UK and is creating a buzz about it. Crying with Laughter (written and directed by award winning Justin Molotnikov) was the crown jewel of last year’s Edinburgh Film Festival and since then has gone on to receive mass critical acclaim around the world and most recently won big at the Celtic Media Awards.

Crying with Laughter focuses upon aspiring stand up comedian Joey Fisk (masterfully played by Stephen McCole), who whilst king of his local comedy club has many demons to deal with in his personal life. Living a destructive lifestyle of excessive drinking and drug use, Joey’s life begins to unravel. Shunning his responsibilities and commitments Joey quickly finds himself without an ally to stop him sinking into despair.  Joey turns to an old face from his past for help but soon becomes embroiled in a revenge plot set out by his former friend who can’t come to terms with traumas that occurred in their childhood. The drama builds to a thrilling conclusion that shakes Joey into seeing the important things in life.

The film navigates through dark humour to thriller. It is a film full of biting dialogue and cutting humour, juxtaposed with scenes of real sadness and tension.  It gives the feel that McCole really invested a part of himself in playing Joey and Molotnikov’s writing and direction truly give it the edge and the heart that makes the film both shocking and yet endearing. Through daring camerawork it shows a darker side to Edinburgh, a city associated with a friendly front, welcoming the world to its festival and New Year’s Celebrations. It’s a film with twists and turns that keeps you gripped till its dramatic climax. It’s most important element though is the complex nature of Joey, making this film character driven. It is Joey’s journey and turmoil that got me gripped to the drama. His initial recklessness was curiously appealing, it was dangerous and intriguing. But once we realise that Joey is a father our opinions change, he needs to become responsible. We understand the drama through Joey’s transformation.

Whilst watching the film one of the first elements that stuck out for me was Joey’s stand up comedy routine. There was for me something very distinctive about the humour and the delivery; the nature of Joey’s jokes and the story telling form they took evoked in me something I define as characteristically Scottish. Keen to get an insider’s opinion, Cinema without Borders got in contact with writer and director Justin Molotnikov to shed some light on his views towards national cinema and how the film has a distinctive Scottish flavour to it. Molotnikov notes;

‘ We deliberately mined the black comedy in Crying with Laughter because we wanted to truthfully reflect how we as Scots use it deal with tough situations. For me, dark humour is inherent in us. I feel it is used as both a defense mechanism to distance ourselves from dealing with emotion or harsh circumstances, as well as a  bonding tool to disarm people and bring them together in times of difficulty. It’s not always pleasant or tasteful but that is the very reason it works, it balances us.’

However even though independent cinema can really touch upon themes and characteristics specific to certain cultures, there are underlying elements that remain universal, and Joey’s struggle to regain control of his life and make amends for the mess he finds himself in is something that all audiences regardless of nationality can relate to. Molotnikov comments;

‘On a human level I would also really like to think that it is this depth of character throughout the film and the truth with which the cast performed these roles that also makes the film more interesting than the gloss and shine we often see with characters from mainstream cinema. Crying with Laughter is a tough film at times to watch but we didn’t want to make something that was relentlessly bleak, we wanted to connect with our audience and give them something that was thought provoking as well as entertaining, I think we achieved that for the majority of the audience that saw it.’

Quality cinema will always be able to present characters and stories that can relate to all audiences on a emotional level. The mark of a film should rest upon how effectively it has translated emotions to its viewer regardless of background or culture. Independent cinema should act as a voice, both for its culture but also for its art form. It should remind us the importance of representing our culture on screen and the significance of translating emotions and themes and across boundaries and borders.   For me, Crying with Laughter is refreshing in how uncompromised it appears and how boldly it meshes humour with drama. It’s a complex film with a distinctive Scottish feel, it’s both hardy and resilient, both humorous and dark. It is a proud example of how independent cinema should be; challenging, daring and provocative. I thoroughly recommend it and find it to be a shining example of what independent cinema represents. Perhaps Molotnikov summarises it best when he says;

‘Good independent films make us feel more connected to cinema and to other people and cultures, they ask us tough questions and they affect us more personally than the polished and homogenised product of the studios and corporations. The studio films have their place and reflect a different aspect of our culture but they should never be allowed to be the only mirror by which we view ourselves.’

It’s true what they say, Summer is most definitely for spectacle. So as well as looking at a few of my favourite films this month (namely Four Lions, Bad Lieutenant and Streetdance 3D) we’ll take a moment to discuss some of the big screen blockbuster that have got an early lead on the Summer.

Four Lions is a biting comedy about four young, British Asian males (and their deeply confused middle aged white Islamic convert friend Barry) who aspires to carry out a terrorist attack on London in order to achieve martyrdom. However this particular terrorist cell isn’t the type to give 24’s Jack Bauer any sleepless nights – they are more a danger to themselves than anyone else.  Lead by Omar and his halfwit brother Waj (who doesn’t quite get the point of Martyrdom until Oman explains it’s like a fast pass at a theme park) the pair fly to Pakistan to undergo terrorist boot camp, only to be kicked out for causing more trouble than they’re worth. Returning to Britain red faced, Omar concocts a story that they have been set a mission to blow themselves up during the London marathon. What follows is a hilarious caper full of slapstick and darkly comic moments. Four Lions is guaranteed to offend many folk on the grounds of belief and political correctness. But what is undeniable is just how funny the film is, which has less to do with political satire and more to do with the sitcom style dialogue and interaction of its bumbling characters. It lies somewhere between last year’s fantastic In the Loop and ‘Mr Bean goes Jihad’.  Anyone familiar with director Chris Morris’s prior work will no doubt be aware he is a man that goes for the jugular with his humour. His spoof news report on paedophilia caused a massive uproar in the UK a few years back. But rather than just a string of stinging jokes about a subject that many would consider too close to the bone, Morris creates characters that we actually come to like and feel for, in spite of their wayward intentions. It is a film that mixes sensitivity about the subject of terrorism with a comedic dismissal of many ignorant attitudes and falsehoods that circulates in the media.  Waj is a comedic character somewhere between Ali G and Baldrick from BlackAdder. He is thick but loveable. Although plenty of points are made about the confused terrorist’s agenda (Barry sees buying Jaffa Cakes as a symbol of western imperialism) there are more instances of just plain silly slapstick and well written humour. If you can see past the controversy then what’s left is a cracking good comedy.

Bad Lieutenant is perhaps one of the most subversive twists on the cop genre ever to come out of mainstream film making. Director Werner Herzog serves up a trippy film both bizarre and unabashed full of strange hallucinogenic imagery, from imaginary iguanas to a camera view through the eyes of a crocodile and ending up with a drug induced sequence were a spirit break dances its way into the afterlife. Nicolas Cage is the Bad Lieutenant in question, a law man addicted to drugs and an appetite for destructive gambling. The film essentially catalogues his many diverse and outrageous deviances; he blackmails colleagues to steal cocaine from the evidence room, he pimps out his prostitute friend, he physically abuses old ladies, and he mixes with gangsters to get his fix. It’s good to see Nicolas Cage back on top form and really rising to the challenge to play such a corrupt and reckless character without making the whole thing a little too caricature or Disney villain. It’s thrilling to watch the gall of the character and his audacity as he slip slides further into murky waters – an apt comparison considering the film is set in a post hurricane Katrina New Orleans. The city is portrayed as a dilapidated swap land characterised by rundown homes and crime ridden ghettos. It’s unsettling and adds to the atmosphere. All in it’s a rare and out there treat that gives Nicolas Cage a chance to shine.

And finally my own guilty pleasure of the month has to be StreetDance 3D, British cinemas first dalliance into the 3D craze. As we have come to see in the past, the dance ‘flick’ genre is generally limited in its narrative capabilities, and StreetDance 3D is no exception. It’s the tale of an underdog dance crew and their attempts to win the British championships but have to triumph over adversity. Struggling to find anywhere to practice, a local teacher takes pity on them and allows them to use her dance studio on the provision that the street gang allow her ballet dancers to become part of the group. At first sparks fly, but eventually everything comes together and even romance blossoms. Ok, this is nothing new and the acting and story are painfully cheesy in parts, but it does give a platform to show off some spectacular talent and dance routines by the likes of Britain’s Got Talent winners George Sampson and Diversity, and the 3D element was essential to my enjoyment of the film. It’s fluff, but highly energetic and colourful fluff at that. And the 3D scenes of the Notting Hill Carnival certainly raised a smile from me.

Keeping in the spirit of summer, one thing we definitely come to expect is a whole raft of Blockbuster films vying for box office success. Here then is a quick summary of the current releases so far;

Prince of Persia has all the ingredients for a summer blockbuster; a hunky Hollywood lead, big action sequences full of sword fights and stunts, a simmering romance between it’s lead, and a outlandish narrative revolving around a magic dagger. All the ingredients are there, but it’s not quite as thrilling or fun as it could have been. The dodgy accent adopted by Jake Gyllenhaal really grated on me from the start and my blockbuster pet hate is when the already whimsical story line becomes too involved in detail and bogged down in contrite specifics (for a prime example of this, look at Transformers 2). Too much is made of the silly magic daggers grand history, when all we really want to see is some top notch innovative action sequences and perhaps a few gags thrown in for good measure (Alfred Molino is under utilized as a humorous scavenging Sheik out to better himself at any cost). The whole thing becomes slightly too self involved and a little bit like a take on the tiring Mummy franchise.

Iron Man 2 coasts by on the charming performance of Robert Downey Jr. as the egomaniac cum superhero Tony Stark, who in this instalment comes under government scrutiny as the powers that be decree his technology be turned over for national defence operatives. Stark of course flaunts the law and continues on in his belief that he is infallible and indestructible. That is until he comes up against Whiplash, an angry Mickey Rourke with a hammy Russian accent and a massive axe to grind with the Stark family. What follows is the typical hero loses faith, hero finds faith through friends, massive showdown against evil formula. The action is a little too thin on the ground and Starks ego begins to become unbearably smug and self adoring. Sam Rockwell does well as the villain in plain sight but the plot has too many threads to it (why Scarlett Johansson is in this at all is baffling).  Perhaps next time more gags and blowing stuff up.

Many will probably see Ridley Scott’s Robin Hood as genius, a summer blockbuster with some meat on the bone. It focuses very much on the origin of the character leaving out the classic rivalry with the Sheriff on Nottingham which admittedly has been done to death. It’s got story, it’s got a little humour, the action is unforgivably tame and bloodless, but all in it’s a brave and accomplished effort. It wasn’t entirely my cup of tea, I thought the dialogue and pace of the film became quite tiresome, and Gladiator it certainly isn’t. But if you want a Blockbuster with a substance to it then I doubt better will come along this year (just don’t be thrown by Crowe’s meandering English accent).

With summer just around the corner and Blockbuster season on the way, a few little gems still found their way onto the big screen this month, the best of them being Kick Ass, Cemetery Junction, Whip It!, The Ghost, Remember Me and Dear John.

Kick Ass tells the tale of adolescent Dave, who after being picked upon one too many times by small time thugs, decides to don a costume and give being a superhero a go. Going by the alias Kick Ass,  Dave learns is it’s not so easy playing superman, and after becoming a youtube sensation with his crime fighting antics  he becomes the target for a local crime lord who’s keen to put an end to his ‘meddling’. Meanwhile it is father and daughter combo Big Daddy and Hit Girl that are the real superhero deal ( Nick Cage particularly hamming it up as a batman like hero whose raised his daughter to be a world class assassin) , and it’s not long before they find themselves having to clean up Dave’s mess. Kick Ass is one of the most out and out entertainment bonanzas of recent years. Springing from the pages of a comic book Kick Ass’s greatest feature is the fact that it hasn’t gone down the easy route for superhero films to become a family franchises. It’s a very adult affair, like Watchmen or Wanted before it, with some strong violence and graphic violence to boot. But the tone is exactly right, it sends up the superhero blockbusters by being ultra violent and daring. It pokes fun at Toby McGuire’s somewhat weedy portrayal and annoying brattishness of Spiderman. It knows it is a comic book, and it delivers on laughs and action. Nothing can beat Kick Ass for shocks and thrills; there’s something undeniably rip roaring about seeing a foul mouthed ten year old girl with the skills of a ninja dismember a gang of drug dealers using the butterfly knife her father gave her as a birthday present. It’s morally a little messy, completely outrageous, but altogether the finest action sequence of the year to date. With Hit Gir’ls bright purple costume, black wig and pint sized stature the whole massacre becomes like Kill Bill meshed with Kids tv. If Tarantino turned his hand to Lazy Town, he’d be lucky if the outcome was half as fun as this. It should be wrong, but yet it’s just so right to watch. It’s great fun with some teenage angst and gross out humour, mixed with some fantastic fight scenes set to a great pop score. Maybe not one for the kids, but it has cult classic written all over it.

Cemetery Junction is the first feature length film written and directed by Ricky Gervais and Stephen Merchant, the duo who created The Office and Extras. Anyone familiar with their style will justifiably adore Cemetery Junction, it’s full of great characters with flaws and foibles, full of their trademark humour that makes subtle and yet side splitting observations about simple human interactions, and the theme which laces all their projects, the crushing feeling of entrapment and the need to follow ones dreams.  Cemetery Junction is set in Reading during the 1970’s and is essentially a coming of age story about three young lads trying to find their place in the world. For the main character, Freddy, it is about trying to make roads into the corporate world, and not end up working in a factory like his dad. However when he realises the corporate ladder leads to a life of unfulfilled ambition and hopelessness, he begins to dream of escaping the quiet and lazy town for a bigger adventure and take the girl of his dreams away with him. There’s not much in the way of twists and turns in the film, but larking about with your mates and playing childish pranks is something everyone can relate to, and the scenes set in Freddy’s home (in which Gervais plays Freddy’s put upon father) had me in stitches. It’s a sweet film with real warmth and an inspirational message. With a great cast and some hilarious banter to boot, Cemetery Junction has a real sense of Britishness at its core and it’s beautiful and funny observations of friendship and family life is definitely worth a watch.

On the theme of coming of age comedy dramas, Whip It! Starring Juno’s Ellen Page is a fast and fun film that tells the tale of an adolescent girl on the verge of adulthood  trying to find her own identity whilst constantly being under the pressure of her pushy showbiz mum keen for her to be a beauty pageant queen. What follows is her act of rebellion by becoming secretively involved in a dangerous all girls roller derby team. There are some fun names and lightly violent altercations but all in this is a little formulaic; girl joins team, girl has doubts about cutting it, team eventually embrace girl, family finds out, forced to choose between pageant and roller derby. You might see the plot line play out in your mind fairly early on, but with characters called Smashley Simpson and Iron Maven it’s worth a good few chuckles.

The Ghost, directed by the legendary Roman Polansk,i sees Ewan McGreggor take on the job of ghost writer for former Prime Minister Adam Lang, who has holed himself up on a desolate island to pen his memoirs whilst facing scrutiny from the worlds press that he knowingly broke humanitarian laws and brokered an illegal war. Lang, played brilliantly by Pierce Brosnan as a charismatic and enigmatic statesman, would appear to be a none too subtle reference to former British Prime Minister Tony Blair, and Lang’s secretive ways lay the groundwork for this suspenseful political thriller. McGreggor’s character takes up the job purely for the money involved but find himself trapped in a whirlwind of media activity that constantly surrounds Lang. Learning that predecessor was found dead on the beach, creates a dubious air of suspicion as the film gently begins to unfold. As McGreggor’s character begins to dig deeper and deeper he starts to unravel the pieces to a massive conspiracy, and although the film is very dialogue based and lacks any kind of action sequence, it does start to build to a thrilling climax. Polanski uses the island setting to great effect, it’s chilling winds batter the characters, sweeping storms gives an atmosphere of uncertainty and long rain soaked beaches hammer home the isolation of McGreggor’s character. Over all the film is very interesting and relevant to the current political climate. It is a shame though that Polanski’s private life seems to a stolen so much focus from the films publicity.

In some regards Remember Me and Dear John can be grouped together; they are both family dramas, with a romantic entanglement between young attractive leads becoming the central focus, both could be seem as big screen  ‘weepies’, and both use the events of 9/11 as an integral part of the films outcome. Remember Me, starring teen heart throb of the moment, Twilights Robert Pattinson, tells the story of a broody young man at odds with his father and angry at the world for the suicide of his older brother to whom he idolized. It is then that he meets and falls for the daughter of the cop that arrests him for brawling in the street. Through her love he comes to straighten himself out and make peace with his family. It’s a good film with a good turn from a moody Patinson, who lazes about the screen oozing charm. It has a few contrite quirks, and nothing major occurs, but it’s still worth a viewing, perhaps more so if you are still in that rebellious and awkward stage in your adolescence. Dear John on the other hand has been heavily promoted with the tag line ‘from the writer of the Notebook’, with the clear indication it wishes to emulate some of the success and following The Notebook accumulated as being the ultimate ‘chick flick weepy’ of recent years (my mother and sister certainly like to put it on if they are feeling a little under the weather) It tells the story of soldier John who falls for small town girl Savannah whilst on his two week leave from duty. The pair become star crossed lovers all in the space of a fortnight and as John leaves for war the pair agree to stay in touch through letters till John can return home twelve months later. Savannah helps John reach out to his ill father, and generally what we see play out is a rather warm and gentle love story designed to tug at the heart strings. However as the terrorist attacks of 9/11 occur and John must head out to defend the country a little longer, a strain is put on their relationship. The film is nothing challenging but does have some warm moments between its two attractive leads. It maybe everything you expect it to be from a romantic drama but if it’s a weepy you’re after then this definitely trumps Remember Me in that regards.

March was another great month for cinema in the U.K, with a new Scorsese film hitting the screens, as well as two great films inspired by real life events, and a film adaptation of one of the most successful novels of the past decade.

I Love You Philip Morris is a thoroughly entertaining comedy love story based on the true life events of con man Stephen J. Russell, (played by Jim Carrey to excellent effect). It documents his fraudulent crimes and embezzlement in order to maintain a lifestyle of excessive consumption. It is whilst he is in prison he meets and falls in love with fellow inmate Philip Morris. Upon Russell’s eventual release he manages to get the sweet hearted and naive Morris out on appeal, and returns to his con man ways in order to give a blissfully unaware Philip everything he ever wanted. However as the law continually catches up with him, Russell has to scheme a number of imaginative and jaw dropping jail breaks in order to be with the love of his life on the outside. The fact that this is based on real life events makes Russell’s antics all the more shocking and galling, and yet his charm and boldness of character cement him as a thoroughly likeable individual. Carrey’s comic persona works in his favour, but truly flexes his acting ability to give Russell real charisma and confidence. The extent of his efforts to break out of prison (which he achieved an astonishing 4 times) is difficult not to admire, and you begin to speculate on what measures he won’t take to secure freedom. Ultimately though it leads to his downfall, and though the story ends on somewhat of a sad note, it’s a very enjoyable tale with a fantastic and twisted take on a modern love story.

The Blind Side managed to take Rom Com staple Sandra Bullock into the big league and bagged her the Oscar for her portrayal of Leigh Anne Tuohy, a wealthy women and loving mother who takes in a vulnerable teen from a troubled background. It’s easy to see why Bullock took The Oscar, she plays Tuohy as a sassy and straight talking southern socialite, grounded but not snobby, never backing down in the face of adversity and going against the grain by putting her faith in Michael Oher, a sizeable black teen trying to escape his broken home and life of social depravation. She brings him into her home much to the shock of her close friends and family. She tackles issues of race head on and tolerates no prejudices. She nurtures Michael who begins to show potential as a budding Football star. Again The Blind Side is based on a true story, one that is truly quite inspiring. It is Bullocks warmth and determination that really makes this story touching. Oher goes from being a poorly educated homeless boy to landing himself a football scholarship at a top University. More than this though, Tuohy challenges the basis of her society, holding a mirror up to the hypocrites around her who pride themselves on their charitable nature. Bullock plays Tuohy as intelligent and instinctive, almost fearless in reinforcing the importance of reaching out to people. How she comes to be mother for Michael is the most remarkable aspect of this film. It is perhaps a little schmaltzy in parts, but it’s a film with heart and left me with some food for thought.

Shutter Island is a psychological thriller from Martin Scorsese, once again using lead man Leonardo Di Caprio as FBI Marshall Teddy Daniels who is sent to Shutter Island, an off coast lunatic Asylum for the criminally insane, to investigate a mysterious disappearance. The film establishes a tension and sense of menace from the outset with a striking and ominous score set against the storm battered Shutter Island. All this accentuates the mystery; rain soaked frames and edgy, unpredictable characters (such as the nefarious Ben Kingsley almost hamming it up as a head psychiatrist of the institute) help maintain an unsettling and gripping thriller. Sadly though I felt the film spiralled out of control in the last quarter, but Di Caprio is still a joy to watch and as such Shutter Island is an interesting and atmospheric drama well worth a viewing.

The best film of the month is The Girl with the Dragon Tattoo, adapted from the novel by Stieg Larsson. This Swedish crime thriller is a dark and mysterious affair, full of brutal violence and hard hitting scenes not for the faint hearted. The central story focuses upon recently convicted journalist Mikael who has recently lost a libel case against a major tycoon. With his name all over the press, Mikael is hired by an elderly businessman, Vagner, to try and solve a decades old mystery involving the disappearance of his young niece. Little does Mikael know that his laptop has been hacked by private spy Lisbeth Salander who was paid to investigate him during the libelist trial. We learn more about Lisbeth and her troubling reality as well as her abusive past. Still having access to Mikael’s documents, she become intrigued by the case he is working on, and it’s only a matter of time before Mikael rumbles her hacking and approaches her to help him solve the case. Together they form a classic crime fighting partnership and set off down a dark road that unravels some unpleasant truths for the Vagner family. The film is paced just right, mixing mystery and tension with great chemistry from its lead characters. It is a film with depth and slowly releases glimpses of Lisbeth’s secretive history, giving it stability and a side story to the crime solving. It provides action and violence, some of which shocking to watch, but necessary in the context. All in it is a great first film in what promises to be a fantastic trilogy.

Invictus details the attempts made by newly elected South African President Nelson Mandela to sooth the divide between the black and white populations of his country by encouraging the national rugby team to win the 1995 world cup. The testament to how truly involving Invictus is lies in the fact I was able to become completely invested in its plot having only a very basic knowledge of Nelson Mandela, a vague idea about the troubles in South Africa at the time and virtually no clue about the rules of Rugby. In spite of this the film becomes absorbing because its themes are universal. Morgan Freeman was clearly born to play Mandela, and his performance captures the man’s warmth, wit and grace almost perfectly, whilst director Clint Eastwood balances this out by reminding us that Mandela was only human and as such has flaws like all men.  The countries division is made very clear at the beginning of the film, and Eastwood develops the film at a steady pace, showing the mild changes of attitudes towards Mandela and thus towards race. Matt Damon gives a good performance as captain of the rugby team and remains strong when the heavy duty of attempting to take his team from underdogs to front runners is put on his shoulders by Mandela. It becomes a powerful film and the build up to the last game become truly gripping and the last scenes nerve wracking. It may not be what you would expect a biopic on Mandela to focus on, but its own original angle is truly fitting to this inspirational figure.

A Single Man is the debut film from Tom Ford, who although is more famously known as a fashion designer than a film director, does a sterling effort delivering a truly emotional and captivating piece of cinema. Set in the late sixties, the film follows Colin Firth as George, a quiet and sensitive academic who as the film begins loses his lover Jim in a car crash.  What follows is George’s painful but dignified grief, not being allowed to attend Jim’s funeral because of the resentment of his family, to the slow realisation that his world was Jim. The film details Georges slow detachment from the world around him, a world now devoid of the love of his life sends George into a quiet depression as he begins to plan his own suicide. Firth’s portrayal of George is outstanding a truly career defining performance, he shows Georges intelligence, his calm demeanour, his appreciation of life and beauty perfectly, whilst always lacing it with an edge of sadness and despair. Scenes with Julianne Moore who plays old lush Charley are dynamic, whilst scenes with him flirting with his young student played by Nicholas Hoult are exciting and playful.  George’s pain really resonates off the screen and is felt by the audience throughout the film. As you would expect from a fashion designer, every element of the film is meticulous preened resulting in amazing set pieces and decor, realistic costumes and scenery, and a fantastic score to accompany the acting.  The film does not set out to examine attitudes about homosexuality in late 1960’s America, but it certainly does address many of the difficult issues en route. The end result is a very admirable and emotional film with the highlight most definitely coming from Firths vulnerable portrayal of a grief stricken man and the beauty he still finds in life after such a terrible and crippling loss.

The Lovely Bones comes courtesy of Peter Jackson, and is based on the bestselling novel by Alice Sebold. Set in the1970’s it tells the story of 14 year old Susie Salmon and how she is murdered by one of her neighbours. Susie becomes trapped in a place between death and the afterlife, a magical world full of colour and imagination. However, Susie realises she only remains in this place because her murderer goes unnoticed and justice for her death has not been gained.  She sets about trying to give clues to her grieving parents from ‘the inbetween’ world so that she can prevent her killer from striking again and find peace in the afterlife. The Lovely Bones begins as a very bright and fun film, Susie is portrayed as girl with a lot of zest and imagination who comes from a warm and loving family.  The sudden and terrifying nature of her death makes the shock all the more resonant, and the audiences attachment to Susie really propelled my involvement in the plot. Stanley Tucci is really the star of The Lovely Bones, playing serial Killer George Harvey, a quiet and assuming neighbour pleasant to others and totally devoid of suspicion. He conducts himself in such a stiff and affable way to his neighbours and yet in private we see his cold blooded psychotic nature as he sets about planning his next murder.  It’s a truly chilling performance that shows an outwardly friendly and civil man who has a vicious and evil obsession lurking beneath. The imagery of Susie’s world is also spectacularly animated, and although the story has a few kinks, The Lovely Bones emerges as a solid and intriguing piece of cinema.

Crazy Heart stars Jeff Bridges as washed up country singer Bad Blake, a man struggling to make ends meet whilst battling the many demons in his life. He travels the southern states playing whatever venues he can, piano bars to bowling alleys, all the while scrounging for his next drink or one night stand with women who remember him from his heyday. That is until he meets Jean (Maggie Gyllenhaal) and young single mother working as a journalist to whom he takes a shine to. Blake becomes ever entwined in her life, becoming fond of her 4 year old son and through her he starts to take responsibility for his mistakes (being a negligent father) and face up to his drinking problems. He even begins to write music again for his young protégé, with whom he has deep resentment for eclipsing his career. The movie has a laidback pace and no major emotional moments or events, but Bridges performance as Bad Blake is almost effortless, he transforms into this likeable but flawed individual so comfortably on screen and really portrays his charm but vulnerability in a subtle and engaging fashion.  It’s truly Bridges performance you will remember long after the film finished alongside the catch country songs written specifically for the film.