mjsinclair Reviews

Gone Baby Gone (2007)

Wretched and miserable.

[1/10 · 4 April 2011]

I must admit, I have never rated Ben Affleck as an actor, but at least he does manage to speak in an intelligible manner. This is not the case with his little brother Casey, who is so urgently in need of diction lessons that I had difficulty understanding anything he said. Such was the extent of his ineptitude, that I was obliged to read the subtitles in French so that I could decipher his incoherent, garbled mumbling.

This dirty, seedy, depressing film, peopled with unpleasant individuals and peppered with foul language left me feeling sullied, and debased. The script, which felt contrived, was far too steeped in crude, base American "gutter talk" and contained more gratuitous expletives than I can remember in any film, even surpassing "Goodfellas", for example.

An "in your face", graphic representation of the low-life culture of Boston's seediest neighbourhoods; it makes for a miserable film which should be immediately consigned to the garbage bin, never to re-emerge. The only saving graces were the solid performances by Ed Harris and Morgan Freeman, who can always be relied upon to produce the goods.

Watching this film, and also Affleck's last film, Smokin' Aces (which was also atrocious to my mind) it is hard to believe that this is the same person who gave us such a magnificent film as Good Will Hunting in 1997, for which he wrote the script (together with Matt Damon), and for which he rightly received an Oscar.

Whereas Good will Hunting was a film to raise the human spirit, to restore faith in human nature's triumph over adversity, Gone Baby Gone is the exact opposite. It debases the human sprit, dragging us down to the lowest common denominator, where phrases stuffed with foul expletives are the height of eloquence; where the main characters have a vocabulary of no more than a few hundred words, and where depravity, cruelty and perversion are the norm.

Having swallowed the hype surrounding this film, I had been really looking forward to seeing it. The great Ben Affleck's directing debut, the coincidental parallels with the "Missing Maddie" case in Portugal, etc. However, it didn't take long for disappointment to set in - closely followed by disgust.

No, I didn't like this film very much, and the sooner Hollywood stops making films like this, the better. I suggest that you spend your money on a bite to eat and a beer instead. I for one needed a drink afterwards to wash away the foul taste that this film left in my mouth

The Kite Runner (2007)

Can honour be redeemed?

[10/10 · 4 April 2011]

A powerful, moving story which packs an emotional punch. The ordinary Afghani peoples' innate moral code of honour, dignity, and respect is usurped by the tyrannical, hypocritical religious zealotry of the Taliban. The director Marc Forster, with great skill, succeeds in capturing all the horror of their regime with just a few well-chosen scenes.

He shows us the Afghanistan of 1978, where family bonds are strong, where food is plentiful and children play happily in the streets, their eyes riveted on their kites as they crisscross the sky.

By 2000 things have changed. Afghanistan has been devastated firstly by the Soviet invasion, and secondly by the ruthless imposition of extreme Islamic law under the rule of the Taliban. Even kite flying has been banned and there are regular "beard patrols" to ensure all men retrain their face hair. The desperate plight of the local people, especially the children is strikingly depicted in the harrowing orphanage scene, where the full extent of the damage hits home.

But this is not a film about Afghanistan. It is the story of two inseparable boyhood friends whose difference in social standing is not reflected in their individual moral codes. One (Hassan) is brave, loyal and respectful, the other (Amir) is cowardly, fickle and devious. The servant is more worthy than the master Moreover, Amir's own weaknesses are thrown into sharp relief by the outstanding courage of his role model, his father, who bravely stands up for what is right, with no concern for his personal safety. Haunted for over twenty years by the secret shame of betraying his friend, Amir eventually gets a chance to redeem his honour, but to do this he must return to Kabul. The journey is dangerous and will demand great courage - not a quality he has demonstrated much of so far.

Will Amir succeed in his quest? Will he succeed in being like his father and stand up for what is right? Will he finally prove himself worthy of the respect and loyalty bestowed upon him by his boyhood friend?

This is real-world cinema at its best. There is none of the glitz and glamour of Hollywood. There are no big name movie stars and the film is the better for it. This is a real-life drama; a strong, human story told superbly well. The direction from Marc Forster is outstanding, The casting is perfect. The acting is utterly convincing. The script from David Benioff is first-rate.

A magnificent, compelling film of a prolonged emotional intensity, this is one not to be missed.

Give it an Oscar? I would if I could. Give it 10/10? I can, and I do!

Hereafter (2010)

A film with nothing to say and too much time to say it

[3/10 · 19 January 2011]

The opening ten minutes are captivating, with an almost too realistic experience of a Tsumani from the victims' point of view.

From then on, things go slowly, slowly, slowly, and inexorably downhill.

Adjectives to describe this film? Featherweight, shallow, ponderous, superficial. Need I go on?

Life after death is explored from the experiences of three people in different countries who at the end, all just happen to end up in London at the same event. There is no intrigue, no mystery, no real story, no real information.

If you know anything at all about life after death, you will already know more than the filmmakers. If you know nothing, then you will be none the wiser afterwards, because the film really tells us nothing about the hereafter, save that nobody likes talking about it, and that really, well nobody really knows do they? That's it folks. That's the film's statement in a nutshell

True, we are shown vague, fleeting, misty images of a supposed Near Death Experience (NDE), but if anyone has either experienced or read about an NDE, this is in no way an adequate representation. Did the scriptwriter and director read anything about NDE, or talk to anyone who has experienced it? It seems not.

The film is far too long at two hours and nine minutes, and apart from the excellent Tsunami scenes at the beginning, there is no real action.

The storyline is weak but just engaging enough to keep you thinking that something will happen to redeem the otherwise numbing boredom - but nothing really does.

And the ending? Yawn of yawns, the two central characters fall in love, with (I kid you not) soppy violin music serenading them. Sorry Clint but the old tried and tested happy ending formula is completely misplaced here. It made me quite literally squirm in my seat. If I had watched this ending in an airplane I would have been reaching for the sick bag.

If this is the best you can do Mr Eastwood, then there really will be no more "hereafter" for you, at least not as far as making films goes.

P.S. I Love You (2007)

Irish don't say « Baby »

[2/10 · 25 February 2008]

Oh so clichéd, oh so contrived, oh so predictable. We've seen it all a hundred times before.

The film begins with our "loving" couple having a raucous, protracted argument; the vehicle chosen (curiously) by the director to convey the depth and sincerity of their relationship, and during which, on several occasions our Irishman calls his wife "baby". Irishmen don't say "baby". This unconvincing beginning sets the tone for the rest of the film.

What a disappointment; and from the same writer/director and leading lady who gave us the excellent Freedom Writers. What happened here?

Hilary Swank looks uncomfortably miscast in this role, she turns in a flat, mediocre performance, and there is a palpable lack of chemistry between her and her on-screen husband Gerard Butler. They really are the most unlikely couple. Added to which, neither of the two supposedly Irish men (Gerard Butler and Jeffrey Dean Morgan) can manage a proper Irish accent.

The script is weak and pretentious and the storyline lacks authenticity. Billed as a romantic comedy, it is neither romantic nor funny. It simply does not work.

This film is coated with a wafer thin veneer of pathos, humour and romanticism; a veneer which cracks under the slightest examination to reveal the emptiness within.

If there were a category for "cringe" value it would score 10, but for spectator value it just scrapes a 2.

Atonement (2007)

Watery wartime soup

[8/10 · 18 February 2008]

Just as food was rationed in World War II, the watery-thin story line of this film is strung out and made to last for 130 minutes. There is simply not enough meat here, not enough to get your teeth into and I left the cinematic table still feeling hungry.

But setting the story aside, there is much to appreciate. The casting is perfect. Although good in the role, Keira Kightley's character doesn't have enough to do, and not enough to merit her Bafta nomination. James McAvoy is excellent, and a worthy contender for his nomination. But he has no chance against the towering performance of Javier Bardem in "No Country for Old Men" this time around – his time will surely come. Vanessa Redgrave makes an appearance at the very end of the film, and spends 10 minutes or so in close up. Using every nuance of her facial expression, she is wonderfully moving.

Wartime England is fastidiously recreated, with meticulous attention to detail, and with remarkable authenticity. I really felt like I was there. The cinematography and art direction are exquisite, as are the costumes, and easily merit their Oscar nominations.

It seemed to me as though 90% of the budget was spent on one scene; on the beaches of Dunkerque, an enormous sprawling set with thousands of extras, where the camera wanders around and through the activities of the soldiers (not sure why?). it goes on forever. Perhaps they had some cash left in the budget and so decided to splash out on a "big" scene. Big it is, and painstakingly created, but it is to my mind also superfluous; visual padding to compensate for the inadequate storyline.

There was a wartime joke in England: "If this is chicken soup, then the chicken must have walked through it on stilts". That just about sums it up.

This is watery soup served in an exquisite hand-painted porcelain bowl

No Country for Old Men (2007)

His killing ways . .

[9/10 · 18 February 2008]

I once heard Alain Delon give a definition of the difference between "un comedien" and "un acteur". The former, he said, interprets a character, whereas the latter becomes the character. By this definition, Javier Bardem is a great actor. Others who spring to mind are Daniel Day Lewis and Gary Oldman. This is rarefied company indeed, but yes, Bardem belongs here, as anyone who sees his performance in this film as Anton, the cold-blooded automaton of a killer, who dispenses death indiscriminately and without feeling, can testify.

Bardem turns in a towering, unforgettable performance which will probably win the Oscar in 2008 for best supporting actor. His impact is immediate, and he completely overshadows the rest of the cast. Tommy Lee Jones (Ed Tom Bell) is himself, as he always is, and Josh Brolin (Llewellyn Moss), turns in a professional, but unremarkable performance in the lead role. I liked him better as Detective Trupo in American Gangster.

This is a violent film; chock full of indiscriminate, mindless killings. In Anton's world, human life has no value, to live or die is a random game of chance, decided upon a whim, a chance remark, the flip of a coin. He strides through this world with impunity, invincibility, devoid of the slightest hint of conscience or responsibility for his actions. He really doesn't give a damn, and yet he has his own, personal code of honour. He does take pride in his work, and always gets his man.

But beware, once you have allowed the images of Anton to imprint themselves on the back of your retina, they will be indelible. You will never forget him. The character he creates is that powerful. The haircut, the clothes, the walk, the mannerisms, the voice, and his manner of killing, all combine to create a chilling, soulless, remorseless individual, devoid of saving graces.

True to expectations, with their pedigree, the Cohen brothers have produced a sharp, atmospheric, potent and original film, and there are many surprises in store in this three-way "catch me if you can" chase across the USA and Mexico. There is almost no music, but I am sure that hardly anyone will notice, such is the strength and quality of the script, the direction and the sheer momentum of events.

Into the Wild (2007)

A film with more messages than Hotmail!

[10/10 · 24 January 2008]

This is a noble and intelligent film for the thinking person; a real film about things that really matter. I would even say that this is an important film, and it is quite simply magnificent.

Our hero goes off to the farthest reaches of the Alaskan wilderness, into the wild, to escape from everything; to be alone in nature and to find himself, his true identity and happiness. En route, he is warmly welcomed, even loved by everyone he meets, but turns his back on them all to continue his quest alone. It takes him a long time and many adventures, before his persistence pays off and he arrives at his destination. But he becomes trapped by, and a victim of, the very wilderness that he so ardently sought. He has gone too far down the road of isolation and solitude and he cannot get back.

Eventually, but too late, the realisation hits home that, in fact, living in isolation, we have no identity. Indeed it is only by interacting with others that we are able to define who we are, and find our true self. Human beings are not meant to live alone. We are gregarious by nature and we need relationships.

Like all of us, the main character is flawed and contradictory. He is at once intelligent and naive, brave and reckless, honourable and cruel. In short he is human.

Before he goes to Alaska, he believes that happiness has nothing to do with our relationships with other people. At the end of his time there, he writes in his journal "happiness is only real when shared".

Before arriving in Alaska he tells a friend that it is not good for him to live alone, in isolation, then he goes and goes off and does exactly that himself.

Before leaving, he gives all of his money away to charity, even setting fire to his last remaining banknotes, but then has to work in a burger king to earn enough money to complete his journey.

This is an intensely human film which won my admiration. Although dealing with such philosophical issues as what is real, what is happiness, and our need to find ourselves and give meaning to our lives, Sean Penn (who produced, directed and wrote the screenplay) does not set himself up as the next Nietzsche. No he throws out various possibilities, but leaves the answers open to personal interpretation. He provides the food for us to chew on, but leaves us to decide what we choose to swallow.

If you have ever felt like running away from life, or pondered the question of happiness, then you should go and see this film. Even if you haven't, one day you probably will, so go and see it anyway!

The verdict: a rare pearl of a film, with, dare I say, a touch of wisdom?

Love in the Time of Cholera (2007)

Unrealised potential

[7/10 · 17 December 2007]

Set in Columbia in the 19th and 20th centuries, this is a tale of unrequited romantic love. An unwavering love which stands the test of time, and becomes, in itself, enough to justify an existence.

This is a wonderful story which should have made a wonderful film, but it rarely manages to fire on all cylinders. There are a couple of scenes with some deliciously subtle humour, others of poetic beauty, and yet others of touching sensitivity, but somehow this is just not quite enough. When true love finally triumphs, I expected the emotional tug which would make me reach for my handkerchief but it never came, and in the end, I felt deflated; as if I had been short-changed.

Looking through the credits, it appears that the main criterion for appearing in this film was to be of South American (preferably Columbian) or Spanish descent. As a result, many of the performances in the minor roles are rather weak, if not downright bad. John Leguizamo who plays Fermina's father, comes across more as an inept, juvenile, jealous husband, and Angie Cepeda, beautiful as she is, really "hams it up" as Widow Nazareth. Even Giovanna Mezzogiorno (Fermina) was, in my opinion, miscast. She is made to look very plain, as she is constantly surrounded by women more beautiful than her, and she is unable to carry the part adequately as she ages from 20 to 72 without adapting her voice or movement. I was surprised to see that Susie Figgis was the casting director. With her pedigree I would have expected better.

Xavier Bardem (Florentino) does successfully carry the ageing required of his character, He has great screen presence, but his interpretation of the character is suspect. To me, a consummate seducteur of women, and a shy, stooped old man who shuffles along in his ill-fitting bowler hat, are incompatible.

But the film is almost destroyed single-handedly by the make-up department. They make Femina at the age of 72 look like a tired 30 year-old wearing too much "slap", and they somehow overlook the fact that 72 year old women generally do not have hands that are creamy-white and wrinkle free. Add to this, moustaches that don't quite fit properly and I think you get the picture.

When Florentino junior (Unax Ugalde), is suddenly replaced by Florentino senior (Xavier Bardem) many years older, I expected the other characters to have aged accordingly, but not so. Surprisingly, and disconcertingly, none of the other characters seem to have aged a day. They were aged later, but at different, inconsistent rates.

Apart from Bardem, there are good performances from Hector Elizando, who plays the part of Don Leo with great panache, and Fernanda Montenegor as Florentino's mother, who invests her character with a strong emotional authenticity. These two stand head and shoulders above the rest of the cast. Full marks too for the atmospheric sets, the beautiful shots of the Columbian countryside, and the music.

Considering that the producer Scott Steindorff apparently spent over 3 years to persuade Gabriel García Márquez to give him the rights to the book, he could have done better with the material, and he should be disappointed, as I was, with the resulting film.

I'm Not There (2007)

He who shall not be named

[7/10 · 11 December 2007]

As I left the cinema, there was a question burning a hole in my mind. Did Bob Dylan really have long, manicured finger nails, and did he really walk Just Like a Woman?

Although I am of the generation who grew up with Bob Dylan, I was always indifferent to him, as I preferred music to songs. I listened to Jazz, Classical, and Rock music; music where words were either absent or merely incidental. You see, for me, Dylan was a wordsmith, and he should have stuck to poetry. For my personal taste, his voice was monotonous, and his music was too simple. I never listened to the words. I therefore managed to grow up in total ignorance of the man, the legend, the myth that is Bob Dylan.

Of course over the years, despite my valiant efforts to resist, the media bombardment has ensured that his songs have seeped into my subconscious forever to remain. I have come to acknowledge him as an important figure in contemporary music, and his songs have become part of our culture, even defining the times in which we live. I still however, remained essentially ignorant of the man himself, his background, his motivations, and the major events of his life; in short, what made him who he is. Billed as a biography, I expected this film to enlighten me. Not so.

The film is not a biography as such, and does not run in chronological order. No, it is more of a multi-dimensional portrait, depicting the many sub-personalities of this enigmatic, misunderstood, protean artist, in a revolving melange of folklore, fiction and fact.

The director paints his subject (whose name is not mentioned once throughout the entire film) as an unknowable, radical egocentric, resisting every attempt to be pigeon-holed. Artistically, he has succeeded in great measure. However, unless you already know a lot about the man, and his life influences, you might, like me, miss a lot of the references, and so find it all a bit confusing.

Cate Blanchett does a fine impersonation of his more publicly recognised persona; so good in fact that I found myself scrutinising her performance for the slightest imperfections. She convincingly captured his mannerisms and voice, but her walk was still a woman's walk - even with a sock pushed down the front of her trousers (apparently) – and too feminine. As for the long, manicured finger nails? Was this an oversight, a deliberate "faux pas" by the director, or did the man have a strong effeminate side? I didn't know the answer in advance, and the film failed to provide it.

So, if you are already a Dylan fan, then I suspect that this film will delight you. Even if you are not, but you can admire its originality and its artistic virtues, then you will probably enjoy it too. However, if you prefer your biographies straight and true, then it is probably not for you.

Although this film is unlikely to be a hit at the box office, it will stand as a testament to the film making skill and creativity of Todd Haynes. It made an impression on me, and I for one, will not forget it in a hurry.

Youth Without Youth (2007)

Born again Coppola !

[9/10 · 30 November 2007]

Don't pay too much attention to the press résumé for this film. It has nothing to do with Nazis and American agents. Although they do appear in the film they are not central to its plot, and this is certainly not a spy drama. If this is what you are expecting you risk being severely disappointed. This film will never be a box office smash hit.

No, this is a film which explores the concepts and possibilities of Reincarnation, Karma, Mysticism, Spirituality, and Time. What if time is not linear? What if reincarnation is real? What if human potential could be exponentially enhanced, scientifically? If like me, you are fascinated by these esoteric subjects anyway, and you can forgive the quirks such as "upside down" camera shots, and occasional weak dialogue, then I suspect that you will love this film. It tackles these timeless questions, whilst always managing to be engaging, and entertaining - and it is beautifully shot. At no time did I feel that the film lacked pace or interest.

Bruno Ganz is becoming one of my favourite actors. After Vitus, he turns in another great performance here as the doctor who treats Dominic (Tim Roth) after he has been struck by lightening. A brilliant academic who has sacrificed his entire life to the study of the origin of languages, Dominic knows that, at the age of 70, he will now die without achieving his goal, his life purpose. The lightening bolt burns him to a crisp, but instead of killing him instantly, it gives him a new lease of life, regained youth, super-human brainpower and thus a second chance to complete his life's work.

He also regains the love of his life, now reincarnated as Veronica. Under his power, Veronica regresses back through the ages, each time speaking an older language, until, as she nears the origin, and his work nears completion, he realises that he can have his life's desire, but first there is a test, and a choice to be made.

This fascinating film which Coppola wrote, directed and produced is well constructed and satisfying. It really made me think, and hours after the end, the pennies were still dropping.

In what it sets out to do, for me, it is a great success.

Elizabeth: The Golden Age (2007)

Magnificent! A visual feast!

[10/10 · 30 November 2007]

There is quality and excellence wherever you look. It's all here. The acting, the sets, the music, the script, the direction all combine to create an outstanding visual and aural cinematic experience. The costumes are vibrant in colour and rich in texture; perfect down to the smallest detail.

In the first film made 10 years ago, Cate Blanchett played an Elisabeth who transforms from an innocent young girl in love, to a young queen "married" to her country. In that film she was good, but in this film she gives a truly remarkable performance. Geoffrey Rush is also retained from the first film as Walsingham, and has now become her cunning, personal counsel who has created the 16th century equivalent of the secret service.

Now Elisabeth is a strong, mature monarch, confident of her abilities after many years on the throne of England. She is still a woman though, despite her being known throughout history as the "virgin queen", and the film explores her feminine side, as she falls in love with Sir Francis Drake (Clive Owen) and then her humanity, as she pardons the two people she loves the most after they have deceived her. We are shown her great dignity and strength as she dons full battle armour and rides out with her army to confront the forces of Philip of Spain, as they approach the English shores.

There is a gradual and constant build up of tension leading to the arrival of the Spanish Armada. However, the director has thankfully avoided the temptation to impress with vast, sweeping, battle scenes, as indeed, this is not a film about war or military achievement. It is about a woman; a woman who sacrifices her own happiness for the good of her country, a woman who succeeds in commanding respect in the world of men, and a fearless queen who leads her country from ruin to greatness - into the Golden Age.

Could this also mean a golden statute for Cate Blanchett? I would not be at all surprised to see this film win the 2008 Oscars for best actress and best costumes.

An outstanding film. Don't miss it!

My Blueberry Nights (2007)

A mixed bag

[7/10 · 20 November 2007]

This is a film of contrasts. A good story let down by poor dialogue; some great acting as well as some mediocre and good direction marred by irritating and indiscriminate "motion blur" filming.

The film has the elements and sometimes the feel of a charming love story, a modern-day fairy tale. The gentleness and innocence of the two main characters is in sharp contrast to the world inhabited by the secondary characters, where addiction to alcohol, gambling, desperation and suicide are the order of the day.

Jude Law as Jeremy seems to have lost the plot. His half-hearted attempts at a Manchester accent are woeful. Why bother with the accent anyway? He is a coffee shop owner in NY, and his origins have no bearing whatsoever on the storyline. However, his natural charisma and his gentle demeanour do suit the role, and he pairs well with Norah Jones as Elizabeth.

As for the flaws; is there ever total silence outside in the street in NY at night? And would customers really give their house keys to the person behind the counter in a coffee shop, to be kept in a glass jar? And would customers ever be known not by name, but by what they eat? And is there anyone in Manchester actually called Jeremy? As for Norah Jones, although she is on screen for most of the film, she does not have a lot to do or say – which is just as well really. She spends most of her time watching in silent, doe-eyed admiration, as she is given a master class in acting by the "real" actors.

The *real" actors here are David Strathairn and Rachel Weisz. Strathairn gives a memorable, finely crafted performance as Arnie, who is a cop by day and an alcoholic barfly by night. Rachel Weisz as Sue Lynne his beautiful, wild, estranged wife makes full use of her short time on screen to create a wayward, tumultuous character at once sensuous, and sensitive. Between them they steal the show.

But gripes aside, the director does manage to create an appealing, if flawed, film. It's a mixed bag. It's good in parts.

99 Francs (2007)

Excessively good!

[8/10 · 19 November 2007]

This is a satirical black comedy about the hedonistic excesses of the prima donnas of the advertising world. Octave (Jean Dujardin) is the king of this world, feted and pampered, idolised by his entourage, showered with drugs, women and money, his life is one long over indulgent party, punctuated by the occasional brush with reality.

He comes down to earth with a bump when his girlfriend announces that she is pregnant, but unable to deal with the consequences of this real life problem, he takes flight into even more excessively decadent diversions. More parties, more drugs, more indolence. However his body inevitably calls "time out" from this constant abuse, and when he is hospitalised with an overdose, he begins to take stock of his life.

The film is full to bursting, overflowing with creative ideas. The imaginative, highly original and sometimes shocking imagery is rivetingly good. There are psychedelic graphics, animations, dreamlike fantasies, and collages of advertising slogans and magazine clippings all used to great effect.

Billed as a comedy, there is little humour, and what there is is very dark indeed. Whilst this film excels in raw creativity and inventiveness, it lacks a story. This probably explains why there are two endings, neither of which, in my opinion, works adequately. But it doesn't really matter, as there is so much on offer visually, that I was completely transfixed.

The name of the yoghurt manufacturer "Madone" is coincidentally similar to another well-known yoghurt "Danone" but also reads in English "Mad One". A tongue in cheek parody of the absurdities of the modern world of advertising which regrettably rings true on many fronts.

A clever, thoroughly modern film, which even a grumpy old man like me could enjoy!

Eastern Promises (2007)

Promises more than it delivers

[8/10 · 19 November 2007]

The Russian Mafia in London, at its most ruthless – throat slitting appears to be their favourite pastime. This is a violent film which does not pull its punches. Reminiscent of "A history of Violence", but without the tension, without William Hurt, and without the superb climax. There is only one real fight scene, which takes place in a sauna, but it is worth waiting for, as it is of a rare pulsating, originality.

Viggo Mortensen is marvellously, mysteriously menacing as Nikolai, the apparently inconsequential chauffeur, and Vincent Cassell puts in an enjoyable but inconsistent performance as Kirill, the drunken, inept Mafiosi's son. The "grandfather" mafia figure however, is unconvincing. I'm sorry, but one character saying "you scare me", does not make someone who looks and acts like everyone's favourite "pappy" into a ruthless Mafiosi boss.

A good thriller nevertheless, which just falls short of expectations, let down by a script which doesn't do enough. Who is Mortensen's character really, and what motivates him? What was the fate of the Mafiosi grandfather? We never find out. OK, so mystery is part of the recipe, but sometimes it doesn't help to over-bake the cake.

Cassandra's Dream (2007)

A Tale of Two Brothers

[7/10 · 19 November 2007]

Woody Allen has a genius for creating fully fledged characters in minimum time. A few minutes into the opening scene which shows the two brothers buying a boat that they cannot afford, we already understand that theirs is a genuine, close and mutually supportive relationship – a relationship which will be severely tested later on.

Two brothers aspiring to improve their lives in very different ways: one hoping to win enough money through gambling on dogs and poker, the other through investing in restaurants and property in Los Angeles.

Two brothers who both need money for very different reasons: one to escape the clutches of loan sharks who would break his legs, the other to escape to LA with the beautiful, sophisticated woman of his dreams.

Two brothers dealing with guilt and remorse in very different ways: one suffering ever deepening mental anguish and sleepless nights, the other pragmatically shrugging off "the past" as he ambitiously plans his future.

Shot in London, with an all British cast, the standard of acting is of the highest quality. The brothers' contrasting personalities are played to perfection by Colin Farrell and Ewan McGregor. Hayley Atwell (who like McGregor, also trained at the Guildhall School in London), would give Scarlett Johansson a run for her money as the sexy, sultry, siren, while Sally Hawkins shines as Farrell's homely, happy girlfriend.

With unremarkable, minimalist music from Philip Glass, matched by minimalist opening and closing credits, and editing which leaves-in scenes which should have been taken out, the film gives the impression that it was made in a hurry.

Yes, this is a film from a Woody Allen, who is not at his very best. However, at nearly 72 years of age and after writing and directing over 40 films, receiving 3 Oscars and over 77 other awards, his genius is surely entitled to a day off. This time it is the actors who carry the day.

Mr. Brooks (2007)

A script to die for!

[9/10 · 19 November 2007]

Every once in a while a script comes along that is just stunning, and this is an example. As the scriptwriter is also the director, then there is no room for misinterpretation in this department either. Make no mistake; this is a slick, polished, professional piece of work. Kevin Costner and William Hurt work wonderfully together, the dialogue is crisp and precise, the direction is fluid, and the characters are well developed and entirely believable.

Mr Brooks (Kevin Costner) is a highly respected and successful business man with a secret addiction. He is addicted to murder, and in fact has another life as a renowned serial killer who has gone undiscovered for many years. William Hurt is his dark side personified who incites him to plan and commit another murder after Mr Brooks has been "on the wagon" for two years. As fastidiously prepared and executed as always, this time Mr Brooks is observed and is later confronted by his observer. Events then take an unexpected turn.

There is nothing to disappoint here. From the first scene to the last, everything works. Mystery, intrigue, and suspense; the ingredients of a good thriller, are here in spades.

This is quite simply a very good film made from a very good script.

A Mighty Heart (2007)

A factual history worthy of the Wall Street Journal

[5/10 · 19 November 2007]

Factually accurate it probably is, but entertaining it certainly is not. Dealing with the true story of the kidnapping of an American journalist in Pakistan in 2002, this film feels as though it was written and directed by one of his journalist colleagues. Lost in a myriad of names, figures, faces and places, and with fastidious factual coherence, this film has all the ingredients of, and would have been better as, a one hour documentary.

The fundamental essentials of good cinema are simply absent. That is: an engaging story, with some intrigue and suspense; believable characters; put together in a package which moves us in some way, be it thoughtful introspection, laugher, tears, joy or sadness. This film does none of these.

Half of the film shows shots of the crowded, bustling streets of Karachi from inside a car as, time and again, it criss-crosses the city. For the other half we watch and listen as the latest developments in the search for Mr Pearl are discussed by all involved parties around the table at their house. Yawn.

The relation ship between Mrs and Mrs Pearl is not developed at all, save for a few scenes from their marriage, thrown in at the end, as an afterthought. We are given no chance to empathise with any of the characters due to the atrocious editing. The camera shots change every 3 seconds, in what amounts to a crude and irritating attempt to introduce some pace into a lethargic, uninteresting scenario As a journalistic representation of events, it succeeds admirably. As a feature film it fails dismally.