DVD Reviews - August 11th

IN BRUGES

I have a theory that I'd like to put forward, and that is that everything immediately becomes funnier when said in an Irish accent. My theory bodes well for Martin McDonagh's comedy 'In Bruges', his first full length feature following Oscar winning short he directed, 'Six Shooter'. It follows two hitmen, Ray (Colin Farrell) and Ken (Brendan Gleeson) who are sent to hide out in Bruges by boss Harry (Ralph Fiennes) following a hit gone awry for Ray. What follows is a deviously dark comedy that is charmingly offensive in the hands of the two leads as it pokes fun at Belgium, Americans and racist midgets (although they prefer to be called dwarves) amongst others.

Farrell is perfectly cast as the juvenile Ray who is bored stiff in the Flemish city (albeit still tormented by the enormity of accidently killing a child during the hit) and he strikes a marvellous chemistry with Gleeson's more willing tourist Ken, catalysed by a superbly sharp witted script. The jokes are superb and the characters are so well forged that there are some truly touching moments between them towards the end. On the flip side there isn't a huge amount of plot to speak of and Fiennes' character is merely a watered down version of Sir Ben Kingsley's iconic role in 'Sexy Beast'. This can all be forgiven thanks to the consistent laughs and unique brand of morbid comedy that provides a welcome change to the standard Hollywood fare.

Verdict: Probably not for the easily offended but definitely for anyone with a good sense of humour, it's one that will grow and grow on you.


[REC]

Jaume Balguero's Spanish horror flick has been successful enough that not only has it secured a sequel but also an American remake, entitled 'Quarantine' which will be released later in the year. It utilises the (now surely exhausted) device of filming on handheld cameras, this time it's a news cameraman doing the filming and he is following television reporter Angela Vidal (Manuela Velasco). The news duo are following two fire-fighters for a night, when they are called out to an apartment building and a fireman and a policeman are viciously attacked the health authorities seal off the building with them and the residents trapped inside.

There was once a time when filming using a handheld camera would set your film apart from the crowd but there has now been a glut of such films and it would require something special to stand out from the crowd. '[REC]' doesn't really stand out but establishes itself as a solid example of the handheld-horror sub-genre. There are a good amount of scares and the tension is maintained throughout. Velasco's engaging reporter is the character we're supposed to root for and her endearing performance makes it hard not to, however there aren't any other character's developed enough to warrant a mention. The ending however is disappointing and the final shot almost laughable but it's short running time means that there's rarely a dull moment.

Verdict: It's fairly average and there's certainly nothing new on show but it's still a decent watch. For those who don't like subtitles, 'Quarantine' arrives in October.


SON OF RAMBOW
Fear not, this is not a spoof of Rambo, but the tale of two young boys who set about making a home movie sequel to 'Rambo: First Blood' and along the way forge an unlikely friendship. It's set in the glamorous location of Plymouth (circa the early 80's) and our protagonists come in the form of Will (Bill Milner) - a shy boy from a deeply religious family - and Lee Carter (Will Poulter) - the bad boy of his school but bullied by hid older brother. The two connect when Will (whose religion forbids him from watching television, listening to music etc) sees First Blood for the first time and his imagination runs away with him, Lee Carter borrows his brothers video camera and they set about making their own version.

The two boys as leads are fantastic, the performances are touching and their interaction together is fantastic. The way the two characters' relationship grows throughout the film is in no way artificial, they become friends without really realising and it is this friendship that underpins the entire movie. It's easy to scoff at the premise and ponder how sickeningly cheesy it may be, but upon viewing there thankfully isn't a whiff of this. So much credit must go to director Garth Jennings the story is based on his own childhood and one senses that this is how the youngsters are so easy to relate to. The scenes of the home movie being filmed are a hoot (the casting of Rambo a particular delight) with the humour glistening through even the more subdued scenes. And even the man himself Sly Stallone is a fan, calling it "heart-warming", now who can argue with that?

Verdict: A huge improvement for Jennings whose previous picture 'The Hitchhiker's Guide To The Galaxy' was very disappointing. Think 'Be Kind Rewind' but with a lot more heart and substance.

DVD Releases - August 4th

VANTAGE POINT

The president has been shot...or has he? The filmmakers are employing an inventive storytelling device...or are they? All is not as it seems in this star-studded mystery thriller which utilises the Rashomon-esque technique of telling the story from a multitude of character perspectives, which serves to slowly reveal the true nature of the terrorist attack/assassination attempt at a Spanish summit. The different perspectives we experience are from a news producer (Sigourney Weaver), secret service agents (Dennis Quaid and Matthew Fox), a police officer (Eduardo Noreiga), an American tourist (Forest Whitaker), the president (William Hurt), and the terrorists - and it's at this point that the film relinquishes it's gimmick and turns into a by-the-book action movie.

When the various POV route is abandoned in the final act the film descends into what can only be described as an overlong episode of 24 (and Quaid isn't no match for Kiefer). The plot may include various twists and turns but they're not all that interesting and the carefully layered revelations are rendered useless by the chaotic final scenes and the dull finale. Forest Whitaker's presence is puzzling, his character has a very minor role to play in the larger story and one suspects he may have only been cast so the phrase 'featuring Oscar winning actor' could be used on the poster. The major cast provide solid but unremarkable performances but none of them can save the film from it's silly plot and a lack of willing to see an interesting device through all the way to the end.

Verdict: It could have been so much better, a good idea badly executed. Massively disappointing, even the action's not all that.

DVD Releases - July 28th

27 DRESSES

Jane Nichols (Katherine Heigl) is always the bridesmaid but never the bride...hmm, I wonder how this one's going to end. But not only that, her boss - who she also happens to be in love with - is set to marry her younger sister Tess (Malin Akerman) whilst she's being harassed by handsome (the film takes the time to even tell us how handsome he is) wedding journalist Kevin Doyle (James Marsden). So things aren't too rosy for Jane and naturally her frustrations lend to a lot of humorous situations. It's your typical rom-com and delivers exactly what you'd expect; a mixture of laughs and romance with an overwhelming feeling of pleasantness.

The concept is simple and at times the script is far too simple as well and it is left to Katherine Heigl to effectively carry the piece on her shoulders. In all fairness she does it fantastically well and confirms her capability as a leading lady after impressing in last year's 'Knocked Up'. Heigl possesses the charm, likability and comedic potential to turn what could be have very dull into something just about watchable. Malin Akerman also provides sturdy support which makes up for James Marsden's galling love interest. It's thoroughly inoffensive fair which will satisfy the ladies and is a bearable enough chick-flick for the men to sit through too.

Verdict: Very much Heigl's movie, she alone secures the third star which without her it would have struggled to achieve.

FUNNY GAMES

Effectively a shot for shot remake of the 1997 German original, 'Funny Games' is Michael Haneke's attempt to bring the message of the original to a wider audience. So this time around it's English language and with big name actors; Naomi Watts, Tim Roth and Michael Pitt being the most recognisable. The attempt is to examine the sanitisation of violence in cinema and it's subsequent effects on society through devices such as character's directly addressing the camera, turning the camera from the violence or even rewinding events to erase the effects of violence. The situation Haneke uses to demonstrate this is two young men (Pitt and Brady Corbert) arrive at the house of George (Roth), Ann (Watts) and son Georgie (Devon Gearheart) and embark on tormenting and torturing the family.

The problem is that the kind of people who are likely to see 'Funny Games' are unlikely to be the same audience who went to see 'Saw', 'Captivity' or 'Hostel' and Haneke will likely find himself preaching to the converted. His point is undeniably very well made and fantastic casting provides a bleak and hopeless sense to proceedings which is largely lacking from standard Hollywood fare. Overwhelmingly though you can't help but feel you're being preached at and looked down upon if you have ever enjoyed a piece of Hollywood horror. It often forgets it also has to maintain audience attention and some sections are tediously slow - it may work as a protest piece throughout but it wobbles considerably as an entertaining film.

Verdict: We get the point, violence in cinema is often handled very badly. But if you want our money Herr Haneke you have to make the point in a more interesting way.

DVD Releases - July 21st

ALL THE BOYS LOVE MANDY LANE

Seeing as all the boys love Mandy Lane, you would expect Amber Heard's character to be the most interesting and exciting character in Jonathan Levine's horror flick...but it turns out she's just as dull as the film itself. Mandy (Amber Heard) and her friends are spending a weekend away on a secluded ranch and after the group get through the standard mix of sex, booze, drugs and nudity they begin to be picked off by a mysterious killer. I say mysterious, but in reality the identity of the murderer is agonisingly obvious within the opening ten minutes and is even revealed fully at the midway point of the movie.

Such is the repugnance of Mandy's friends it's strangely satisfying to see them picked off one by one - if only for the knowledge that you no longer have to put up with watching them. However any actual entertainment value in the killings seems just as absent as an interesting plot, this is simply a by the numbers slasher death-fest. A small twist is delivered right at the end but it does little to salvage any shred of interest you have left in the film. Ultimately, at least the question of why the boys really do love Mandy Lane is answered. When you see what their other female friends are like...I think we'd all pick dull but pretty over detestable, brain-dead bimbos any day of the week.

Verdict: I can quite comfortably guarantee that all the even though all the boys love her, a vast majority of viewers will not!

THE ORPHANAGE

Comparisons to 2001's 'The Others' are flattering but possibly do not do the Spanish language 'El Orfanato' justice. With Guillermo del Toro's name attached in both presenting the movie and as a producer Juan Antonio Bayona will have found it a lot easier to distribute his debut feature to a wider international audience - which is what a film of this quality absolutely deserves. The creepy old house setting may at first strike of horror cliché but when it is used to such great effect one can hardly complain. The Orphanage truly is a psychological horror, scares do not come from darkness but what you fear may emerge from it. And whilst jumps are few and far between, the terror that builds through apprehension is immense (it does however remain to be seen if this can be recreated as well on DVD as in a dark cinema).

The story follows former orphan Laura (Belen Rueda) whose HIV-positive adoptive son Simon (Roger Princep) disappears not long after he makes a new imaginary friend, Tomas. Laura's love for Simon and her desperation to find him are what drives the film and you can't help but sympathise with her. Rueda's gutsy performance is the linchpin of the piece, Laura's emotional torment raising the question of whether this is a legitimate ghost story or one woman's descent into madness. Sadness oozes throughout the tale and it's hard not to become emotionally involved, which is probably why it is so chilling to watch. The final scene is monumental and is probably the perfect climax, one that leaves you with just enough answers and a bit of room for your own interpretation.

Verdict: Del Toro's magical touch is apparent in a wonderfully eerie tale. I'll openly admit I was terrified, hopefully you will be too!

DRILLBIT TAYLOR

Sooner or later Judd Apatow's revenge of the nerds movies had to take a turn for the worse, 'The 40 Year Old Virgin', 'Knocked Up' and 'Superbad' were all successes but with 'Drillbit Taylor' Apatow may have gone one geek too far. Each time the geeks seem to get younger and this time in the form of Ryan (Troy Gentile), Wade (Nate Hartley) and Emmit (David Dorfman) and they're just starting high school. After finding themselves the victims of bullying they hire bodyguard Drillbit Taylor (Owen Wilson) who unbeknownst to them is little more than a thieving bum. Somehow Drillbit manages to get inside their school by posing as a substitute teacher and hilarity ensues...or at least it should.

Although there are some genuinely funny scenes (Ryan's rap-off being the pick of them) there are barely enough laughs to warrant a watch. Owen Wilson as we all know can be hysterically funny but he is given no opportunity to be here, his brand of comedy just doesn't work with the kidlets and Drillbit should be far funnier than he is. The entire production just seems lazy, the characters are all rip offs from earlier Apatow works and the plot is distinctly lacklustre. Perhaps 'Drillbit Taylor' was looking for a younger audience, hence the younger cast, but surely there was space for another significant adult role to bring out Wilson's best. The children aren't terrible but for the most part they're irritating - by fault of the script, not performances. It's the kind of disappointing effort that is the direct result of a lot of laurel resting.

Verdict: A very much forgettable piece of cinema that proves having an overweight character with curly brown hair isn't automatically funny.