Gone in Sixty Seconds - 2000 - Nicolas Cage, Angelina Jolie.

Needs to look back at the classic car chase movies.

A remake of the 1974 indie hit, Gone in Sixty Seconds follows the life of master car thief Randall 'Memphis' Raines (Nicolas Cage). After a successful career as a car thief Memphis decides to give up the criminal lifestyle, knowing there is no long term future in the game. However, when his younger brother Kip (Giovanni Ribisi) gets on the wrong side of Brit crime boss Raymond Calitri (Christopher Eccleston), Memphis has no choice but to get back into business and style 50 luxury cars in 24 hours. With the help of his team, can Memphis save his brother?

Director Dominic Sena's big budget re-do of the 1974 movie is quite frankly a let down. Not to say the 1974 production was quality, it wasn't, it lacked real character depth and invested too much into its action, but it seems that Sena's Gone in Sixty Seconds is attempting to make up for those mistakes but instead focuses too heavily on the characters and plot and only allows for a small amount of car action. The film, released in 2000, lacks any real spark or suspense, which is a shame as I feel Gone in 60 Seconds (1974) was a good film to remake.

The acting throughout the movie is what saves the film to a degree, when you realise that you cannot attempt to take the film seriously you can sit back and enjoy the extremely watch-able Nicolas Cage and an impressive supporting cast which includes Angelina Jolie, a favourite of mine, Giovanni Ribisi, Robert Duvall and Will Patton. The character who stood out most for me was The Sphinx, perfectly played by Vinnie Jones. The Sphinx is a tough guy mute, who does not suffer from any of the poor dialogue.

Quite disappointing, but a good film if you need something to pass the time.

J.Henderson.

5/10.

Midnight Express - 1978 - Brad Davis, Randy Quaid, John Hurt.

Harrowing and brutal.

Director Alan Parker brings us Midnight Express, a film outlining the true story of young American Billy Hayes (Brad Davis), caught attempting to smuggle 2 kgs of hash back into America from Turkey, resulting in his sentence at a Turkish prison. After originally being sentenced to four years, the Turkish officials decide to make an example of Billy, increasing his sentence to thirty years. This pushes Billy over the edge, and with prison life becoming too hard to handle he, along with Max (John Hurt) and Jimmy Booth (Randy Quaid), decides to catch the midnight express out of the hell he's been living in.

A friend of mine told me before watching this film that it was horrific, and he wasn't wrong. Midnight Express is a harrowing portrayal of a foreign prison, with every element of the film making contributing to the terrifying feeling you receive when watching this picture. From the beginning of the film the sound adds tension, adds to the fear and allows you to get a little closer to feeling what the characters are going through. I have never witnessed the use of a pulsing heartbeat being so effective than in the opening airport scene of the film. As the film progresses the eerie use of sound subtly changes to accommodate the setting, something which ensures the viewer will stay connected.

The trio of Billy, Max and Jimmy create short breaks from the tension and hardships due to the great clash of personalities. Randy Quaid plays Jimmy Booth, a hot-headed American putting everything he has into finding a way to get out of the nightmare he finds himself. John Hurt gives a fantastic performance as Max, a stoner who is simply too lethargic to have bothered attempting to escape. Hurt's portrayal is utterly convincing and you just can't help but find yourself loving the character, deserving of his Golden Globe and BAFTA.

Although a familiar plot, Oliver Stone's screenplay allows the film the lay low and be quite understated, creating a hugely fact based film that feels extremely real.

A must-see film that will stay with you for a while.

J.Henderson.

9/10.

As Good As It Gets - 1997 - Jack Nicholson, Helen Hunt.

An extremely memorable romantic comedy.

James L. Brooks directs As Good As It Gets, a rom-com which follows the life of Melvin Udall (Jack Nicholson), a verbally vicious writer who suffers from obsessive-compulsive disorder. When local waitress Carol Connelly (Helen Hunt) has to take time off work (due to her son's chronic asthma) from Melvin's favourite eating spot, Melvin's necessary routine is all but ruined with his main priority centring around getting things back to normal. Things get worse for Melvin when his neighbour, gay artist Simon Bishop (Greg Kinnear), ends up hospitalised, meaning Melvin is required to take care of Simon's dog Verdell. Will these new relationships change things for Melvin? He hopes not.

As Good As It Gets is filled with quick, hilarious dialogue and great character acting, but in terms of direction and writing, it is too long. With a great opening and ending, the middle third of the film, especially the segment surrounding Simon being forced to go and ask his parents for money, slows down the whole pace completely; and with a solid finish lined up at around 80-90 mintues, it seems that it just indulges itself and carries on for another hour, magically allowing each of the main characters to have moments of self-discovery.

Although overlong, Jack Nicholson and Helen Hunt rightly win Oscars for their phenomenal performances. Jack is unrelenting in his verbal attacks, completely self indulgent and utterly convincing. Helen Hunt portrays the working class single mum superbly, delivering a character that seems so knowledgeable about the world yet so frustrated with it. The pair light up the screen when acting together. Greg Kinnear also gives a solid performance, showing that he is a great character actor.

Phenomenal acting performances in a film that could easily finish at 90 minutes.

J.Henderson.

7/10.

Hunger - 2008 - Michael Fassbender.

Dark and completely moving.

Hunger is a film that shows the final months of IRA activist Bobby Sands, who protested against his treatment by the British prison guards in way of a hunger strike. IRA volunteer Davey Gillen (Brian Milligan) is sentenced to Maze prison, Belfast. Like many IRA prisoners, Gillen is subject to countless beating by the guards, who in turn are constantly under threat of assassination by the IRA in their time off. As protests against Britain's refusal to note them as political prisoners begin to fail, IRA activist Bobby Sands (Michael Fassbender) starts a new protest. Sands begins a hunger strike that will not end until the IRA are seen as a legitimate political group.

Steve McQueen's Hunger is dark and completely moving throughout, highlighting the horrific conditions and punishments inflicted on the IRA prisoners as well as the constant threat for the British guards. McQueen's use of camera shots and editing are elements of the film making that stand out during the film. Not being afraid to, at times, let the action do all the taking and leaving the camera static. Contrary to this, at points during the film the sound and camera compliment the action perfectly, such as a scene where Sands has started his hunger strike and his physical pain is matched by the wavy motions of the camera and the sound of birds swooping ring out. McQueen creates an horrifically bleak and tormented atmosphere due to his superb film making.

McQueen could have very easily shown all guards in a terrible light, possibly portraying them as faceless brutes who want to take full advantage of the opportunity to beat the weak and imprisoned. Instead, the first time feature-film director chooses to highlighted the wounded and terrified nature of some of the guards, such as that portrayed by the harrowing Stuart Graham. This adds another dimension to Hunger, one which shows how these actions deeply effect a countless amount of people.

The film is haunting, and Michael Fassbender's performance sends it on its way to being so. Fassbender is magnificent, putting everything into the role, shown by his dramatic weight loss of 170 pounds down to 130. Hunger just shows what makes us human.

J.Henderson.

8/10.

Heat - 1995 - Al Pacino, Robert De Niro.

One of the great crime movies.

Michael Mann writes and directs Heat, an incredibly smart crime thriller which follows a hugely successful criminal looking to get out of the game after one last hit, and an obsessive cop hunting to get him behind bars. Robert De Niro plays Neil McCauley, an experienced robber, known for tackling banks and armoured vehicles. McCauley's success has cost him a personal life, not allowing himself to get distracted by any relationships. Al Pacino plays Vincent Hanna, an L.A.P.D. cop putting everything he has into finding McCauley, which also results in a lack of family life. Divorced twice, Hanna is absent in his third marriage. Which of these lonely men will succeed?

My brief synopsis doesn't even begin to tap into the huge amount of detail and characters in this near 3 hour film. Mann's Heat is definitely one of the best crime thrillers of the past 20 years with action scenes worthy of Tarantino and the use of location and camera shot is simply superb. Although the film is so very long and nothing immensely new is done, Mann delivers a truly great crime movie.

When you see that the stars of the film are Pacino and De Niro, you can't help but want to watch the film. However, Mann only puts the two together in a few scenes with both putting in solid individual performances. Pacino over-acts his way through the film, which is not a bad thing as it surprisingly works. Much of his time is spent shouting at people and delivering orders, which allow the more dramatic scenes to add more to Pacino's character.

Purposely opposite to Hanna is De Niro's McCauley whose calm and and restricted demeanour creates a character that just breaths lonesome determination for the job at hand. Heat also has a stunning supporting cast which includes Val Kilmer, Natalie Portman, Hank Azaria, Jon Voight, Tom Sizemore and William Fichtner.

Stunningly brilliant crime thriller although very very long.

J.Henderson.

8.5/10.

Mississippi Burning - 1988 - Gene Hackman, Willem Dafoe.

Well acted but could be a lot better.

Brit director Alan Parker's 1988 film Mississippi Burning is the dramatization of a 1964 criminal case where three civil rights workers were killed by the Ku Klux Klan. Rupert Anderson (Gene Hackman) and Alan Ward (Willem Dafoe) are the FBI agents sent to investigate. Anderson is a more traditional, older agent who believed that in order to catch the scum, you had to sink to their level. His partner Ward was the complete opposite, young and played by the book. The pair soon realise what they are up against in the south.

Although based on a true case, it couldn't be more of a mainstream film. In the true Hollywood style the two agents assigned to the case are completely different, and nothing like the agents actually in charge of the case. Furthermore, Mississippi Burning chooses only to portray the white in the south as rednecks, which resulted in white southerners claiming the film to be prejudice. However, the worst part all of this for me is how Parker doesn't even attempt to show the effect the KKK had from a black perspective. For a large portion the blacks are seen as silent victims and nothing else, mostly only present for the most violent scenes.

After saying all of this though, some of the scenes where visually exceptional. The scene which involves the terrorisation of a black church by the Klan is extremely powerful, and also the sub-plot involving Mrs. Pell (Frances McDormand), the wife of a Klan member who is regularly beaten, is at times simply horrific.

Acting throughout the film was overall excellent, with both Gene Hackman and Frances McDormand receiving Oscar nominations. A good visual and stylistic film, but content-wise it is just wrong.

J.Henderson.

5.5/10.

Requiem for a Dream - 2000 - Ellen Burstyn, Jared Leto.

A hugely intense, grim look on drug culture.

Requiem for a Dream is the second film from director Darren Aronofsky and the film is centred around Harry (Jared Leto) and his mother, Sara (Ellen Burstyn). Harry and his best friend Tyrone (Marlon Wayans) are heroin addicts looking to score a pound of the stuff in order to make it to easy street. Harry's girlfriend, Marion (Jennifer Connelly), is also in on the venture; wanting to distance herself from her wealthy family. Sara is a lonely widow, way past her prime, spending her days watching television. When she gets asked to appear on her favourite show she puts all focus on dieting in order to fit into a special red dress. In order to drop the pounds quickly she gets prescribed amphetamines from a dodgy doctor, resulting in her own downturn due to her new-found addiction to these pills.

This film is more than just another "drug movie". Requiem for a Dream shows how addiction can come in many forms and can affect anybody. Whether it be Sara and her addiction to television, or her addiction to amphetamines. These addictions could be fuelled from many things; her loneliness? her desire to loose weight? Also, Harry's addiction starts from wanting to becomes wealthy, simply sampling the product leading to a fierce addiction. Harry's girlfriend Marion doesn't want to be associated with her rich family so rebels, resulting in her addiction.

Aronofsky highlights how addiction can be caused by anything and affect anyone, and he does so using the technical flair and innovation that you expect from an Aronofsky picture. However, at times it seems that the director gets so caught up in his own style that the narrative suffers; with the story becoming disappointingly predictable.

The acting from the leading and supporting cast is superb throughout the film, with all the plaudits going to Ellen Burstyn. Her mental and physical degeneration is truly shocking to watch. She delivers such a vivid portrayal of loneliness, of suffering, that you can only look at with sadness.

Not a film for the faint hearted, with scenes that will truly shock. Aronofsky's style is out in full force in this grim film.

J.Henderson

7/10.

Hitchcock - 2012 - Anthony Hopkins, Helen Mirren.

Not Hitchcock.

Alfred Hitchcock (Hopkins) is in a tough situation; he has bet everything on Psycho, Hollywood doesn't like the idea, and he's starting to loose his mind. Furthermore, tiring of her lack of credit, his wife and creative partner, Alma Reville (Mirren), is looking to go her own way.

From watching Hitchcock I was left unsure of what the film was actually about, the daring notion of killing off your heroine in the first thirty minutes was the brain-child of Alma, not Hitch. Very little credit was actually given to Hitchcock, with the spotlight falling on his wife who assisted in the editing room, the script and even directing (when Hitch is ill). All I can see from this picture is that Hitchcock's main aim was to give Alma the credit she deserves, that's if what is depicted in the film is accurate.

Hopkins' performance as Hitch is fun but not entirely convincing. The main issue surrounding the portrayal of the Hollywood director was Hopkins' speech, which was too fast and agitated for Hitch's dawdling delivery. The same could be said for the film as a whole, quick, pleasurable at times; watching the squabbles between studio and film-maker, the relationship between Hitch and Alma, Hitch and his blonde leading lady. This is all good but director Gervasi only manages to tap into the surface, not focusing on one issue in enough detail.

Ultimately Hitchcock is very disappointing, "A nice, clean, nasty piece of work," is how Hitch describes the film within a film. Gervasi's movie is just too nice and slight and that's not nearly worthy enough of the man whose name carries the film.

J.Henderson.

5/10.

Salmon Fishing in the Yemen - 2012 - Ewan McGregor, Emily Blunt.

Very likeable but awkward.

Chocolat and Dear John director Lasse Hallstrom brings us Salmon Fishing in the Yeman which sees Dr. Alfred Jones (Ewan McGregor), Britain's leading fishery expert, being approached by consultant Harriet (Emily Blunt) in order to help a Sheik (Amr Waked) to bring his vision of having the sport of fly-fishing in Yemen. Pressure begins to build throughout the project as the Prime Minister's press secretary (Kristin Scott Thomas) gets involved. Can they pull it off?

Salmon Fishing is based on Paul Torday, the film never does enough to take you away but Ewan McGregor, Emily Blunt and especially Kristin Scott Thomas manage to keep you involved. Possibly giving her funniest performance since Four Weddings and a Funeral, Scott Thomas delivers the dialogue given to her perfectly and will have you laughing out loud in almost every one of her scenes; definitely the performance that keeps the film rolling. The film quickly becomes a story of relationships and love with all the loose ends waiting until the last possible moment to sort themselves out. 

Ewan McGregor and Emily Blunt are also on good form. McGregor plays shy, rule-orientated Dr. Fred Jones, who reluctantly has to take the job; believing that it is absurd to even contemplate putting fish in the desert, never mind actually going forward with it. Blunt plays Harriet, the representative of the Sheik on the project, whose job it is to get all of the Sheik's ideas and plans across to Fred. Together the pair keep things interesting, with Blunt's vulnerabilities and McGregor's inability for emotion creating some very awkward humour.

An extremely likeable comedy that just about manages to keep you hooked.

J.Henderson.

6.5/10. 

Shame - 2011 - Michael Fassbender, Carey Mulligan.

Emotional and compelling.

Steve McQueen's follow up to his 2008 hit Hunger is the utterly provocative Shame. The film reunites Fassbender and McQueen in this film that follows the life of New Yorker Brandon (Michael Fassbender), a man seemingly incapable of intimacy with women, only using them to fulfil his addictive sexual desires. The arrival of Brandon's younger sister, Sissy (Carey Mulligan), forces old memories to surface, resulting in Brandon's life to fall apart.

Steve McQueen delivers a hugely provocative and compelling film, using image over dialogue throughout most of the first third of the film. He uses the opening third to outline Brandon's routine before the arrival of his younger sister; something which allows the audience to see the full effect that Sissy has on Brandon's compulsive addiction.

McQueen shows an interesting side of New York, a side which plays to the addictive nature of Brandon. Brandon can always satisfy his need, whether that be through prostitution, night clubs or just on the subway. Brandon's professional life is only seen in brief spurts, possibly highlighting how holding a job is not the main priority to Brandon; frequently bringing his addiction into work.

Michael Fassbender shows what a top actor he is as he goes the extra mile and beyond in Shame. He exquisitely portrays a man troubled by his addiction, ruled by his impulses. He delivers darkness and need in an extremely believable way. Fassbender highlights his talents throughout this film as his use of gesture and facial expression  play as his primary way of getting his obsessive seductive charms across to his target.

One of the most provocative films in recent years. Quality acting and direction.

J.Henderson.

8/10.

The Green Mile - 1999 - Tom Hanks, Michael Clarke Duncan.

Completely moving.

Frank Darabont (The Shawshank Redemption) directs his second film and second Stephen King adaptation with The Green Mile. The film centres on Death Row at the Cold Mountain Correctional Facility, something known as 'the green mile' due to the dark green floor. Paul Edgecomb (Tom Hanks) is the head guard on the Green Mile when the towering new inmate John Coffey (Michael Clarke Duncan), convicted of murdering two young girls, is brought into custody. Despite his huge figure and supposed horrific crimes, Coffey seems to be of a more gentle nature, resembling that of a child, not a child killer. After some time Edgecomb starts to notice miraculous things coming from Coffey's cell, leading to questions surrounding whether Coffey would be capable of the terrible things to which he has been convicted.

Frank Darabont definitely doesn't rush this film, which clocks in at three hours long. It feels a lot more like watching a TV series in one big hit, which is not necessarily a bad thing, it just means that patience and stamina is needed. Although very long, Darabont delivers precision in his direction. Darabont manages to immerse the audience in the death row setting, using the flashback device to ease into the story. Plenty going on during the film which flows very well.

The acting throughout this film is overall very solid with Tom Hanks leading the way, allowing the film to flow in the way it does; keeping the audience listening which is definitely needed due to the length of the movie. Michael Clarke Duncan perfectly portrays the friendly giant John Coffey, successfully giving off a  combination of innocence and intimidation. Furthermore, the supporting cast, which includes Barry Pepper, David Morse and James Cromwell, are also on good form.

A top film that will definitely not disappoint, providing you can stick it out.

J.Henderson.

7/10.

In Bruges - 2008 - Colin Farrell, Brendan Gleeson.

Hilarious with a great cast.

Martin McDonagh's In Bruges is the story of two Dublin hitmen Ray (Colin Farrell) and Ken (Brendan Gleeson). After a messy hit in London, Ray and Ken are forced to go lay low in Bruges, Belgium, as they nervously wait to hear from their boss, Harry (Ralph Fiennes). Whilst in Bruges, Ray is struggling to deal with the guilt of what happened in London, yet still having enough time to comment on the state of the architecture, the tourists and a particular dwarf.

In Bruges is an interesting take on the life of a hitman, with much of the film consumed with these two burly guys trolling aimlessly around Bruges. The city becomes a running joke throughout the film, with both men frustrated with the lack of information from back home and being stuck with each other for a prolonged period of time. Colin Farrell is back to something of his best as he portrays a man consumed with paranoia and frustration, giving a highly believable performance. Brendan Gleeson is also on good form as the interplay between the two lead actors creates moments of great comedy.

What makes this film more than just great acting performances is the great script. Martin McDonagh produces dialogue worthy of Tarantino in this quick and snappy comedy-drama. He creates comedy that looks so easy with his main characters spending much of the film simply walking around Bruges.

An hugely entertaining comedy but strongly based in its dialogue.

J.Henderson

7.5/10.

A Beautiful Mind - 2001 - Russell Crowe, Ed Harris.

Not quite the biopic it set out to be.

A Beautiful Mind is the story of John Forbes Nash Jr. (Russell Crowe), a mathematician searching to create his own unique and original idea. As life goes on Nash settles down with wife Alicia (Jennifer Connelly) and manages to get a job. However, as times passes it becomes clear that Nash's perception of reality is misguided to say the least, leading to a diagnosis of schizophrenia. Can he succeed  whilst battling such an illness?

Apparently based on a true story and the life of John Nash Jr. when watching A Beautiful Mind you can't help but feel as though you're not watching a biopic but some Hollywood spectacle. If this were a work of fiction, it would be one of the top pieces of storytelling. Furthermore, many aspects of Nash's life are missing from this so-called biopic, such as his divorce and his bisexuality; two major incidents that I'm sure would effect anybodies life, let alone a schizophrenics.

However, this is not to say that there aren't good things in this film. The general acting is very strong with Crowe leading the way with his stunning performance as the schizophrenic Nash, earning him a third straight Oscar nomination. The supporting cast are also in good form especially Paul Bettany as schizophrenic delusion Charles Herman. Furthermore, Jennifer Connelly gives a strong performance as Nash's long-suffering wife, a performance which won her the Oscar in a supporting role.

A very simple drama that does thrill. At times A Beautiful Mind is very entertaining but nothing like the biopic it presents itself to be. Russell Crowe is the films strong point.

J.Henderson.

6.5/10.

Hugo - 2011 - Ben Kingsley, Chloe Moretz.

Phenomenal use of 3D.

Hugo is the first 3D film from cinematic genius Martin Scorsese. The film is set in 1931 Paris and follows the life of young Hugo Cabret (Asa Butterfield). Hugo lives in a train station and manages the clocks, making sure he stays clear of the station inspector (Sacha Baron Cohen), who wants to send him to an orphanage. With the help of friend Isabelle (Chloe Moretz), the pair manage to get an automaton, left by Hugo's late father (Jude Law), working; the result of which leads Hugo and Isabelle into a mystery surrounding moody shopkeeper Georges (Ben Kingsley).

Hugo will entertain all. It's characters highlight a mix of turmoil and comedy, with Sacha Baron Cohen's station inspector being a stickler for the rules yet also vulnerable which at times adds humour due to clumsiness caused by a metal clasp on his leg due to a war injury. Ben Kingsley gives us a perfect portrayal of hurt pride with Georges Melies, a magician turned cinematic innovator whose 500 plus films are nearly all destroyed. With the discovery of Georges' past comes a new dynamic to Hugo, becoming much more than just a children's film, becoming a film that highlights the importance of cinema and film preservation.

Scorsese does more with 3D than most have done before, with his innovation behind the camera clear for all to see. Not only does the director use 3D to show excellent shots of the station and of Paris, but it's used to perfection on facial expression. The best use however is with the showing of vintage cinema. Scorsese attempts to create the same astonishment that early film viewers would have experienced, coming as close as he possibly could to achieving it.

Not a typical Martin Scorsese film but a masterpiece in 3D filmmaking.

J.Henderson.

8/10.