FILM: You're Next (dir: Adam Wingard, 2013)

"It's just a creaky old house...."

You're Next is good fun for horror fans, but it is not as smart or ground-breaking as the hype or the well-edited trailer suggests.  All the ingredients are there - tight and knowing direction, some beautiful black humour, homages abound (Carpenter, Bunuel, Haneke, etc), a strong Final Girl, great gore gags - and the film has energy, but ultimately it does little that is new or unexpected.  There is entertainment to be had from the subversion of the old cabin-in-the-woods-full-of-dumb-teenagers formula, as supposedly wealthy and educated adults in a sprawling country pile fall into the same Idiot Plot traps in a good mix of 80s slashers and contemporary home-invasions.  Mercifully the bane of modern horror - digital blood and splatter - is conspicuously absent, with frequent and very effective physical gore effects helping to keep some sense of real grounding to events. Adam Wingard and his film may prove to be this generation's equivalent of Raimi and the original The Evil Dead; for seasoned horror fans, it proves to be a strongly-made and entertaining update on familiar territory.

DVD: The ABCs Of Death (various directors, 2013)

"Better a cruel truth than a comfortable delusion."

This is an interesting idea - 26 directors, each creating a very short film on death for a given letter of the alphabet - and inevitably the quality is variable, with a fair balance between good, mediocre and weak entries.  Everyone will have their own favourites, but there are clearly some segments that have more flair and invention than others, although a leading criterion for success does appear to be the quality and ability of the performers on display.  There is fun to be had trying to 'guess the word' for each letter as each short is played out, but even this starts to wear thin over the rather long overall running time.  The international dimension creates interest (and explains some of the more bizarre entries), many pieces display woeful misogyny, a couple definitely cross over the bad taste line, and there is often the feeling that these are extracts from bigger films or ideas.  Nevertheless, The ABCs Of Death is a brave experiment and for the most part an interesting one.

FILM: The Way Way Back (dirs: Nat Faxon and Jim Rash, 2013)

"Cut your own path."

The Way Way Back is an absolute treat.  Directed and written by the writers of The Descendants - compared to which this film is considerably better - this Summer-by-the-sea coming-of-age tale offers little that is new but it is impeccably written, superbly played by an amazing ensemble and quite simply makes you want to applaud at the end.  As fourteen-year-old Duncan, Liam James is wonderfully emotionally sincere, awkward, introverted and at times heartbreaking as he finds himself on the fringes of a broken marriage (his mother showing another pin-sharp performance by Toni Collette, whose new partner is given a terrifically heartless reading by Steve Carell) and the adult world that he cannot yet access.  Salvation comes in the form of a secret job at a local park and his developing friendship with the awesome Sam Rockwell's park attendant, whose whip-smart delivery and joyful character is immensely enjoyable.  Even subsidiary characters are written precisely and played beautifully, such as Allison Janney as their drink-sozzled neighbour who instantly lifts the film from her very first appearance and Maya Rudolph as Rockwell's possible love-interest.  Metaphors are not laboured, direction and cinematography are confident and effective and the simple score works well.  The Way Way Back is a delightful movie, and it is perfectly pitched for late Summer.

FILM: We're The Millers (dir: Rawson Marshall Thurber, 2013)

"F**k off, real-life Flanders!"

Mercifully this drugs-based comedy avoids the stoner angle and gets considerable mileage out of skewering the concept of the classic American family. The comedy is largely consistent in this pacy film which has many well-placed lines and effectively-delivered gags, and which also benefits from a well-managed narrative.   Jason Sudeikis and Jennifer Aniston are seasoned pros at this type of material and both perform well, Emma Roberts is suitably snarky, but the revelation here is Will Poulter's beautifully-played callow youth.  We're The Millers is an unusually well-constructed broad comedy that has sufficient wit and surprising heart to entertain throughout.

DVD: Aftershock (dir: Nicolas Lopez, 2013)

"Next!"

'Eli Roth presents...'...and co-writes, co-produces and effectively stars in this rather weak horror throwback, giving probably the best performance in a roster of unappealing characters and limited characterisations.  There are a couple of effective black-humour gore gags, but the plot mostly staggers uninterestingly from one victim to the next.  The party at which the earthquake hits is clearly studio-bound, but there is some interest to be found in the actual location shooting.  Aftershock also boasts the most staggeringly predictable final shot in memory, confirming that this is not a memorable viewing experience.

DVD: American Mary (dirs: Jen and Sylvia Soska, 2012)

"We just don't torture people like we used to."

American Mary is essentially a contemporary update of the rape-revenge genre with a side order of the body-modification scene.  It has the curious, dislocated feel of a David Lynch movie, creating a scenario on the edge of society but also seemingly self-enclosed, and giving the sense that it is barely touching the edge of the world of body-modification.   As the wronged medical student whose career takes a successful but disturbing turn into the underworld, Katharine Isabelle confidently creates a powerfully dissociated character who is on-screen for almost all of the film.  There are some effective points raised about body image and gender politics, a very fine line is walked between body horror for the gore fans and representing body-mod in a positive way, and even if the pace is at times too deliberate and slow, American Mary is bold and interesting but not necessarily easy to enjoy.

FILM: The Mortal Instruments - City of Bones (dir: Harald Zwart, 2013)

"She looks like her phone number should be on a bathroom wall."

This is a lively, daft but competent franchise-starter that is easily one of the strongest post-Twilight Young Adult book adaptations, if that is not damning it with faint praise, and considerably more interesting than recent efforts such as Beautiful Creatures and The Host.  There is a real attempt to create mood and atmosphere, there is some very pleasing design work, and there is a reasonable amount of story development which is often lacking in this genre of film.  The movie pretty much hits its intended female-young-teen audience squarely, with its fashionable Goth-lite stylings, all cheekbones and eyeliner (and that is just the male characters!), and a pleasingly tough and sensible heroine.  As well as Lily Collins making for a strong central character, casting is good - Robert Sheehan stands up well on the big screen, the amazing CCH Pounder is fun as the downstairs neighbour, Jonathan Rhys Meyers chews the scenery villainously, Lena Headey gives the movie an emotional grounding at the start, Aidan Turner's character is a nice twist for Being Human fans - but Jamie Campbell Bower only convinces occasionally as eye-candy love-interest Shadowhunter Jace.  The first half would benefit from more action and less info-dumping, but in general the film just about has enough wit and energy to sustain interest for the spirited everything-but-the-kitchen-sink finale.

FILM: Elysium IMAX (dir: Neill Blomkamp, 2013)

REVIEW No. 400!


"Why can't I go there?"

With expectations sky-high for the follow-up to District 9, Blomkamp delivers for the most part.  The scale and detail of the world-building, both Earthbound and on the Elysium spacestation, are superbly realised both as physical locations and CGI work, which particularly impress in IMAX.  Matt Damon is very strong here in an invested and convincing performance, and Jodie Foster creates a good female counterpoint (in what was written as a male role) as the icy, focused 'protector' of Elysium.  Blomkamp is an excellent director, his incredible planning and filmic vision fully evident in both execution and editing of scenes, especially the visceral action set-pieces.  Disappointment comes with the very simplistic social/political allegory which gives rise to rather thin plotting, but this is compensated for by the sheer energy and drive on display.

FILM: Alan Partridge Alpha Papa (dir: Declan Lowney, 2013)

 

"A year after that was taken, the angels took her."

"Must have been a few of them."

Not only is the Alan Partridge movie true to the TV incarnation, it is also - thankfully - wonderfully funny.  By taking on the Hollywood siege genre and applying it to the relatively mundane settings of Norfolk and North Norfolk Digital Radio (rather like Shaun Of The Dead's take on zombie films), it allows the Partridge character to be his recognisable self as well as enabling some inspired takes on conventions, such as Alan becoming the police/hostage go-between and the car chase at the end.  The regular characters are also wonderful: Felicity Montagu is as always a true delight as Alan's PA Lynn, and although Simon Greenall's Michael gets disappointingly little screen time, what is there is hilarious.  Colm Meaney was cast well as the sacked-DJ hostage-taker, providing an effective mix of menace, pathos and comedy to play against Partridge.  It is however entirely to Steve Coogan's credit that he sustains the character over a whole movie with a confident and nuanced performance that is immensely enjoyable to watch.  There are so many funny lines, visual gags and ridiculous set-ups that keep on coming right to the end that makes Alan Partridge Alpha Papa one of the best comedies of this year.

FILM: Percy Jackson - Sea Of Monsters 3D (dir: Thor Freudenthal, 2013)

"Extreme makeover alert!"

Starting like I Am Number Four and TV's Total Wipeout, and ending like Raiders Of The Lost Ark, this unexpected sequel to 2010's moderate franchise-starter is unashamedly Potter-lite but it certainly aims to be more entertaining than the first film and for the most part succeeds.  There is plenty of story, and Freudenthal wisely keeps things moving briskly from one action set-up to the next, but its necessary simplicity of character and plotting makes it relentlessly predictable and uninvolving.  The CG work is never less than ambitious (although not always quite hitting the mark), and there is an impressive sense of scope for a mid-budget movie, even if Sea Of Monster would have been perhaps a more appropriate subtitle. Logan Lerman remains adequate but bland as the eponymous hero, but the addition of Tyson Smith as Percy's newly-discovered guileless half-brother is welcome, as is a wonderfully-played cameo by the mighty Nathan Fillion.  Overall, Sea Of Monsters is harmless, efficient and will play well with the younger audience.