Listings: 06.03.09-12.03.09

[Web exclusive]

Listings: 06.03.09 - 12.03.09

Friday 6th March

Film: Surveillance
Where: Odeon & Cineworld
Ticket Price: Odeon student: £4.60, Cineworld student: £5.10
Rating: 18
Director: Jennifer Chambers Lynch
Starring: Julia Ormond, Bill Pullman, Pell James, Michael Ironside
Preview: Jennifer Lynch directs this thriller 15 years after the release of her first film Boxing Helena. The film follows the investigation of a murder in which the three eye witnesses are all giving contradicting stories. As the drama unfolds one wonders how much the witnesses know.
Trailer: http://www.youtube.com/watch?v=UPx_fC6Mjqc

Film: Watchmen
Where: Odeon, Cineworld & Vue
Ticket Price: Odeon student: £4.60, Cineworld student: £5.10, Vue student: £4.70
Rating: 18
Director: Zack Snyder
Starring: Carla Gugino, Patrick Wilson, Jackie Earle Haley, Jeffrey Dean Morgan, Malin Akerman
Preview: Watchmen is the film adaption of Alan Moore’s graphic novel. The film is set in an alternate 1985 America and sees the vigilante Rorschach’s investigation into the murder of one the former heroes uncover a conspiracy.
Trailer: http://www.youtube.com/watch?v=E4blSrZvPhU

Film: The Young Victoria
Where: Odeon, Cineworld, Vue & Showroom
Ticket Price: Odeon student: £4.60, Cineworld student: £5.10, Vue student: £4.70, Showroom student: £4.30
Rating: PG
Director: Jean-Marc VallÈe
Starring: Mark Strong, Emily Blunt, Rupert Friend, Miranda Richardson
Preview: The Young Victoria, written by Academy Award-winning screenwriter Julian Fellowes, follows Queen Victoria’s (Emily Blunt) rise to power at the age of just 18 and the early years of her reign centering on her marriage to Prince Albert.
Trailer: http://www.youtube.com/watch?v=dpVazl3Khws

Film: Flame and Citron
Where: Cineworld & Showroom
Ticket Price: Cineworld student: £5.10, Showroom student: £4.30
Rating: 15
Director: Ole Christian Madsen
Starring: Thure Lindhardt, Mads Mikkelsen, Stine Stengade, Peter Mygind, Christian Berkel
Preview: Box office hit in Denmark, Flame and Citron is a World War Two drama based on true events. The film depicts the journey of Flame (Thure Lindhardt) and Citron (Mads Mikkelsen) two assassins of the Holger Danske resistance group.
Trailer: http://www.youtube.com/watch?v=aRkb5jlVXDs

Event: Interrogating Okinawa
Where: The Showroom, 12.30 – 19:00
Ticket Price: Free
What: The School of East Asian Studies University of Sheffield presents a free, public conference on the film, music and politics of Okinawa, a southern Japanese island occupied for 27 years after the Second World War by the American military. The day will include a screening of Untamagiru, with director Takamine Go in attendance.

Film: Somers Town
Where: Student Union Auditorium, 19:30
Ticket Price: £2
Rating: 12A
Director: Shane Meadows
Starring: Piotr Jagiello, Thomas Turgoose
Preview: The stars of the 2008 film shared the award for Best Actor in a Narrative Feature Film at Tribeca and at the Edinburgh Film Festival it won the Michael Powell Award, the festival's highest award. Tomo (Thomas Turgoose), a runaway teenager, and Marek (Piotr Jagiello), a polish immigrant living with his father, form an unlikely friendship and Marek hides Tomo in his flat unbeknown to his father.
Trailer: http://www.youtube.com/watch?v=TuzqHIshhrk


Saturday 7th March

Film: Changeling
Where: Student Union Auditorium, 19:30
Ticket Price: £2
Rating: 15
Director: Clint Eastwood
Starring: Angelina Jolie, Michael Kelly
Preview: Drama mystery directed by Clint Eastwood, the film is based on a tragic true story. Single mother Christine Collins (Angelina Jolie) has her son kidnapped. When the LAPD find him and bring him home, it is revealed that the boy is not her actual son. The film portrays Christine’s subsequent battle against the LAPD and fight to find her true son.
Trailer: http://www.youtube.com/watch?v=57_t2BFZaK8

Sunday 8th March

Film: Back to the Future II
Where: Student Union Auditorium, 19:30
Ticket Price: £1.80
Rating: PG
Director: Robert Zemeckis
Starring: Michael J. Fox, Christopher Lloyd
Preview: Sequel to the much loved family classic Back to the Future II takes you on a journey... back to the future, only when they go back, again, an alternate 1985 exists.
Trailer: http://www.youtube.com/watch?v=rRrSp6Pqlz4

Monday 9th March

Film: The Man Who Would be King
Where: Showroom, 18:30
Ticket Price: Full Price: £6.50, Student Tickets (Monday & Tuesday): £3.00 (£4.30 all other times)
Rating: PG
Director: John Huston
Starring: Sean Connery, Christopher Plummer, Michael Caine
Preview: The film originally released in 1975 is based on the story by Rudyard Kipling. The film tells the story of two ex-soldiers (Sean Connery & Michael Caine) in search of adventure in India.

Event: Monday Classics
What is it: Cineworld have launched Monday Classics so that you get a second chance to see classic films best seen on the big screen.
This week’s Monday Classics film: The Great Escape
Where: Cineworld
Ticket Price: Cineworld student: £5.10
Rating: PG
Director: John Sturges
Starring: Charles Bronson, Richard Attenborough, Donald Pleasance, Gordon Jackson, James Garner, James Coburn, David McCallum
Preview: A film which truly needs no introduction. Everyone should see this film at least once in theie lifetime.
Trailer: http://www.youtube.com/watch?v=xkwmIDx9RwQ

Wednesday 11th March

Film: Der Baader Meinhof Komplex
Where: Student Union Auditorium, 19:30
Ticket Price: £1.80
Rating: 18
Director: Uli Edel
Starring: Martina Gedeck, Moritz Bleibtreu
Preview: Based on the non-fiction book by Stefan Aust the film depicts the early days of one of the most prominent terrorist groups in post-war West Germany, the Red Army Faction (RAF). In particular the film portrays the story of Ulrike Meinhof (Martina Gedeck) a journalist who progresses from following the group to effectively joining them.
Trailer: http://www.youtube.com/watch?v=WaSDiAwuEdc

Lost & Found: Clueless

[Web exclusive]

Lost & Found: Clueless

Released in 1995 Clueless is a modern-day version of Jane Austin’s novel Emma . The protagonist of the film is the beautiful Cher Horowitz who, despite being spoilt, rich and the most popular girl in her school captures our hearts with her charm, wit and intelligence. The plot follows her struggles with relationships, friends, family and school against the beautiful backdrop of Beverly Hills. If you’re a fan of the new series of 90210 or Mean Girls, Clueless will not fail to entertain you! Clueless stars Alicia Silverstone as Cher, who was picked for the role by director Amy Heckling after she appeared in Aerosmith’s music video for their song Crazy! The film also stars a young Britney Murphy on the edge of stardom as the ‘new girl’ at school who is plucked from the crowd by Cher and best friend Dionne as they decide to become ‘better’ people by improving the life of the ‘clueless’ Tai by moulding and training her in the ways of a Beverly Hills teen. However the naive Cher is left feeling bewildered and lonely as her new friend Tai turns into a bitchy ‘monster’ and all her other friends are loved up and she realizes that she is in fact ‘totally and utterly clueless’. As she seeks comfort in her ex-step brother Josh, played by Paul Rudd of Friends and Superbad fame, she has a sudden epiphany!

This film was so successful when it was released that it had its own spin off TV series and although the fashions have changed teen tribulations of life and love haven’t and never stop amusing us!

Victoria Shaw

Listings: 27.02.09-05.03.09

[Web exclusive]

Listings: 27.02.09 - 05.03.09

Friday 27th Feburary

Film: The Boy in the Stripped Pyjamas
Where: Student Union Auditorium, 19:30
Ticket Price: £2
Rating: 12A
Director: Mark Herman
Preview: Bruno (Asa Butterfield) is uprooted from his home and friends when his father is promoted and becomes the commandant of Auschwitz. Too young to understand the reality around him, Bruno forms a touching friendship through the fence with a camp prisoner Shmuel (Jack Scanlon).
Trailer: http://www.youtube.com/watch?v=sBdalsgNHsM

Film: The International
Where: Odeon & Cineworld
Ticket Price: Odeon student: £4.60, Cineworld student: £5.10
Rating:15
Director: Tom Tykwer
Preview: Agent Louis Salinger (Clive Owen) attempts to take on one of the most powerful banks after discovering money laundering and arms trading. Gripping thriller looks worth a watch.
Trailer: http://www.youtube.com/watch?v=ILj3HlaoOCg

Film: New in Town
Where: Odeon & Cineworld
Ticket Price: Odeon student: £4.60, Cineworld student: £5.10
Rating: 12A
Director: Jonas Elmer
Preview: Romantic comedy which follows the journey of Lucy Hill (Renée Zellweger), who learns there’s more to life than career ambition when she moves to a small town in Minnesota.
Trailer: http://www.youtube.com/watch?v=H5BiBn91Ag0

Film: The Unborn
Where: Odeon & Cineworld
Ticket Price: Odeon student: £4.60, Cineworld student: £5.10
Rating: 15
Director: David S Goyer
Preview: With even the trailer being even to get you looking over your shoulder this looks like the one to watch if your into horror. Casey Beldon (Odette Yustman) is haunted by the ghost of her unborn twin.
Trailer: http://www.youtube.com/watch?v=sc3Cba0qOco

Film: The Class
Where: The Showroom
Ticket Price: Full Price: £6.50, Student Tickets (Monday & Tuesday): £3.00 (£4.30 all other times)
Rating: 15
Director: Laurent Cantet
Preview: The Class, winner of the Palme D’Or at Cannes last year, is based on the novel by novel by Francois Begaudeau about his experiences as a teacher. For a more detailed review see the latest Forge Press.
Trailer: http://www.youtube.com/watch?v=Wo_LYkn88o8

Event: Shaff
Where: The Showroom
Ticket Price: Full Price: £6.50, Student Tickets (Monday & Tuesday): £3.00 (£4.30 all other times)
What: Shaff, The Sheffield Adventure Film Festival, is the main event this week at the Showroom. The festival is a weekend of the best adventure films around. For more information see www.shaff.co.uk


Saturday 28th Feburary

Film: Madagascar 2
Where: Student Union Auditorium, 19:30
Ticket Price: £2
Rating: PG
Director: Eric Darnell, Tom McGrath
Preview: Sequel to the much loved initial Madagascar film, Madagascar 2 picks up from exactly where the previous film left off. The animals build a plane to leave New York City zoo but it crash lands in Africa where many of the animals are surprised to find others of their kind. Starring Ben Stiller and David Schwimmer this is a film anyone could enjoy.
Trailer: http://www.youtube.com/watch?v=-XO2kjjlKrM

Sunday 1st March

Film: Groundhog Day
Where: Student Union Auditorium, 19:30
Ticket Price: £1.80
Rating: PG
Director: Harold Ramis
Preview: Old favourite, Groundhog Day sees Phil Connors (Bill Murray) having to live through the same day over and over again. Although initially frustrated he realises he can take advantage of the situation but after his attempts to get closer to Rita fail he begins to reassess his life.
Trailer: http://www.youtube.com/watch?v=T_yDWQsrajA

Film: Che: Guerrilla
Where: The Showroom
Ticket Price: Full Price: £6.50, Student Tickets (Monday & Tuesday): £3.00 (£4.30 all other times)
Rating: 15
Director: Steven Soderbergh
Preview: The antipcated sequel of Che, this film depicts the final campaign of Ernesto Che Guevara in the Bolivian rainforest.
Trailer: http://www.youtube.com/watch?v=zV2nHnQK6U8


Monday 2nd March

Film: Tokyo Sonata
Where: The Showroom
Ticket Price: Full Price: £6.50, Student Tickets (Monday & Tuesday): £3.00 (£4.30 all other times)
Rating: 12A
Director: Kiyoshi Kurosawa
Preview: Showing as part of The Showroom’s Japanese month, Tokyo Sonata is a gripping family drama and was the winner of the Certain Regard Jury prize at Cannes last year.
Trailer: http://www.youtube.com/watch?v=Jv9WS0aouIY


Wednesday 4th March

Film: Hunger
Where: Student Union Auditorium, 19:30
Ticket Price: £1.80
Rating: 15
Director: Steve McQueen
Preview: Hunger premiered at the 2008 Cannes Film Festival, winning the prestigious Camera d'Or award for first-time filmmakers. The film explores the Irish hunger strikes in Maze Prison in 1981. This dramatic film is most definitely not to be missed.
Trailer: http://www.youtube.com/watch?v=ZipYYoUteCw

Lost and Found: Chicago

[Web Exclusive]

Just another film adaptation of a stage musical or show stoppingly good?

Lost & found: Chicago

Released in 2002 and featuring an all-star cast Chicago blew away viewers with its raunchy characters, audacious plot and fabulous choreography. Winning six academy awards in 2003 the musical film adaptation has gathered prestige over the years and grossed over one hundred and seventy million dollars portraying public approval. Seven years on, is popularity dwindling for this dazzling spectacle or does it stand out in the crowd as a memorable production? I would have to say that with the recent release and huge success of Mamma Mia, musical film adaptations are on the comeback. The catchy songs and glamourous representation of 1920s America leaves the audience feeling upbeat and inspired.
The plot tells the story of stardom-seeking Roxie Hart (Renée Zellweger) who finds herself on Chicago’s infamous Murderess Row. Alongside her is one half of an acclaimed double act, Velma Kelly (Catherine Zeta-Jones). Both are accused of murder and the struggle for lawyer Billy Flynn’s (Richard Gere) service ensues. At times the plot appears to be flawed, for example the vulnerable character of Amos, Roxie’s estranged husband played by John C. Reilly, appears feeble and leaves little to be inspired. However, the light hearted nature and playful register of the film results in a fantastic satirical depiction of the Jazz Age.
Adding to the beauty of the film is the fact that the unforgettable songs are sung by the stars themselves. We can forgive Gere’s weak voice due to him being such a smooth character, whilst Zeta-Jone’s rendition of "And All That Jazz" sends shivers through even the most heartless viewer! Not only do the leading characters belt out the wonderfully jazzy tunes, but Queen Latifah, playing Matron "Mama" Morton busts a few womanly moves in "When You're Good to Mama", which certainly gets those toes wiggling to the music.
I would say a word of warning, this film is a lot like marmite…you will either love it or you will hate it. But boys – do not be put off by the fact that it is a musical. The glamorous quality of the film and the chemistry between Gere, Zelweger and Zeta-Jone’s makes it an appealing option for anyone.


Lauren Hart

Review: He's Just Not That Into You

[Web Exclusive]

Review: He's Just Not That Into You

Based on the book by Greg Behrendt and Liz Tuccillo, comes a romantic comedy with a star-studded cast. Set in Baltimore, He’s Just Not That Into You is loosely about the communication or, as we soon begin to realise, the miscommunication between the opposite sexes when it comes to dating. The film follows the lives of several characters who are all in different stages of their lives in terms of relationships.
This multi-strand romantic comedy brings many complexities along the ride and is performed by an ensemble cast, including the likes of Jennifer Aniston, Ben Affleck, Scarlett Johansson and Drew Barrymore among many others, who are guaranteed to bring in a massive audience. The characters involved in this turmoil of the dating game vary from a single woman desperately seeking love; a couple who are happily married (or so it seems); a couple who are in a long-term relationship but still no sign of marriage; a single woman who is struggling with the use of technology to get a date; a man who is desperately seeking a yoga teacher who is not in love with him; and a bar manager who is a player. From this extensive list of characters it would be as easy assumption to make that these interwoven lives could rapidly confuse the viewer, surprisingly though, it is pleasantly easy to follow - probably because of a well-developed script and talented actors.
It is important to realise that if it is a simple romantic comedy with an easily predicted outcome that you are after then this is not the film for you. With a running time of just over two hours, this rom-com’s narrative does not play out as simply as what has become normal for this genre and with such a long running time the film actually passes quite quickly. This film seems to follow a similar route as Love Actually. With a mixture of incredibly likeable characters and others who follow a less moral path who are a lot more difficult to like this seems to take a more realistic path than more conventional romantic comedies.
As the narrative evolves you soon begin to get the feeling that the film is trying to give advice on dating and relationships. He’s Just Not That Into You is a more unconventional romantic comedy which immediately engrosses the viewer into the characters lives and takes you for a more realistic look at the dating world, packed full of blessing and many, many mishaps.

Julia Wong

Review: The Class

[Originally published in the Forge Press 20.02.09]

Top class act
Review: The Class

Winner of the Palme d’Or at the 2008 Cannes Film Festival, French director Laurent Cantet’s The Class forces you to walk out of the cinema with the feeling of having just spent two hours in the most lively, and stimulating class of your life.
Based on the novel by co-screenwriter, lead actor and real life teacher Francois Begaudeau, The Class presents an absorbing journey into the course of a term at a secondary school in Paris, looking at the present and culturally diverse future of France, through the interactions of a teacher and his students. Francois is a liberal and sympathetic teacher, constantly challenged by the questions and often crass attitudes of his class. But tensions rise when a slip of his tongue fuels a debate into political correctness, resulting in an act of violence, and the expulsion of one of his pupils.
The film does not develop dramatically; it is literally two hours of classroom banter, rendering it tedious at times, yet you still cannot help but like it.
Shot on just three HD cameras that never leave the boundaries of the school, Cantet blurs the lines between documentary and drama, as we are given a fly on the wall perspective, allowing an audience to feel intimately aligned with the action.
All aspects of the class are acutely examined as we witness them giggling, whispering, and daydreaming. Their performances are so subtle and remarkably convincing that it gives the film a strong sense of realism.
The authentic vibe of this class must be due to the fact that the young cast are predominantly played by non-professional actors, allowing them to deliver questions and answers naturally.
Each student realistically portrays a character that each of us would have known at school. We can identify with each and every one of these youngsters, from the misunderstood trouble maker, Souleymane, at the back of the class; the confused Goth in the corner; to the unheard voice of the international student, Wei. Yet no characteristics are ever heightened, they are performed effortlessly and with delicacy.
Similarly, Cantet breaks down the stereotypical lifeless mould that teachers are often placed into, and creates believable characters.
Francois Begaudeau plays the compassionate role of the teacher that everyone admires and respects, while others are shown to be on the edge of a nervous breakdown.
Cantet also offers us an exploration into the secret world of the teachers’ common room, where the more humorous scenes of the film are played out, where teachers discuss who is “nice” and “not nice at all” against a long list.
It is these subtleties of humour, combined with the boisterous energy and realism of the class, that create a refreshing film consistently true to real life.

Melissa Gillespie

Review: Notorious

[Originally published in the Forge Press 20.02.09]

The Laborious L.I.E.

Review: Notorious

Notorious, the story of Christopher Wallace a.k.a. Biggie Smalls/the Notorious B.I.G., presents a version of the rapper’s life which some may find a little hard to swallow.
Perhaps it has something to do with the fact that the team behind the movie consists of his mother as producer, Sean ‘P Diddy’ Combs as executive producer, and Wallace’s son as the young version of himself. Clearly, we aren’t going to be getting the most objective of biographies.
While Biggie hasn’t exactly been portrayed as an angel, one gets the impression that certain aspects of his life are being deftly swept under the carpet just as the camera swings in their direction.
Take for instance his rivalry with Tupac and the latter’s subsequent drive-by shooting. Sure, a film made by Biggie’s mother is unlikely to paint him as a potential murderer, but the fact that any whiff of controversy is sharply steered away from unfortunately robs the film of doing the legendary rapper any real justice.
What we have instead is a relatively by the numbers rags to riches tale which could have been far more interesting had those involved not so obviously been watching their backs.
Take for instance Sean Combs, portrayed here as an unerring, saintly presence to such an extreme that you’ll be surprised they forgot to add some sort of heavenly glow.
While some of the less attractive aspects of Biggie’s persona are touched upon, take his selling of drugs to a pregnant woman for example, the film just doesn’t feel at all honest.
Perhaps the main saving grace is the suitably super-sized newcomer Jamal Woolard in the lead role, who arguably saves the picture from being an absolute exercise in tedium.
A solid sound track is another plus point if you’re a fan of gangsta rap; if not you might be hard pressed to find much here to love.

Jamie Cusworth

Review: Revolutionary Road

[Originally published in the Forge Press 20.02.09]

Mendes on the road to glory

Review: Revolutionary Road

Based on Richard Yates’ first novel, Revolutionary Road is the bitter tale of a couple who – in the apparently thriving and innocent 1950s – struggle to cope with their collapsed American Dream and battle to survive their unhappiness.
The tension between the two characters is immediately apparant, Sam Mendes carefully illustrates the strain in a tough-to-watch argument by the side of a highway.
Frank Wheeler (Leonardo DiCaprio) is, or was, a confident man. Spurred on by a love for life, his ambitions to travel and to “feel things” are restricted greatly by the setting he is currently in.
He works a repetitive job, despises his employers, moans about his workmates over frequent Martinis and seduces his secretary – an act which seems almost out of pure apathy for his life and his marriage.
April Wheeler (Kate Winslet) on the other hand is aware of the cracked marriage. An aspiring yet failed actress, she sees their life now as resignation from adventure. And she is right.
Everyone on the street has the same house, similar family situations and even the same routine (which Mendes depicts beautifully with a pivotal scene of April taking out the rubbish to find everyone else has done exactly the same).
April dreams up a plan to escape their entrapment and proposes a move to Paris. Frank agrees.
The Wheelers’ decision to move is not greeted entirely with happiness. The neighbours think it is childish. The local estate agent, Helen Givings (Kathy Bates), will obviously be sad to see them go too.
Yet the Wheelers form a fragile bond with the son of Helen Givings, a mentally damaged mathematician named John (Michael Shannon), who appears to understand their strain.
Shannon’s performance deserves monumental praise. His character is one who, although damaged, is extremely observant. He recognises the reasons as to why the Wheelers want to move. He is the vehicle for the Wheelers’ unspoken feelings: a role which is not always beneficial. Mendes has managed to portray the tension and psychological turmoil of a couple who, blinded by their initial love, have resigned themselves to a life of mundane and tedious actions. If you ever needed a film to make you realise how not to turn out, this is it.
The characters in this film are polarised from the previous collaboration of Winslet and DiCaprio. I do not think I’ve seen a film with more arguments between two main characters. They are miserable, angry, hateful – a couple driven by disappointment, regret and loathing.
Praise must be given to Thomas Newman. The similarities between this score and his work on The Shawshank Redemption are evident, and that is a good thing. A simple piano lead motif again runs throughout the film, before culminating in an orchestral peak towards the final scenes.
Newman’s scores seem to have a way of tapping into a dark, hidden depth of your imagination. They can find that tense heartstring and give it just a little tug, or at times a mighty yank.
Sam Mendes has once again created a film of beauty. His observant ability to capture the small nuances of light, sound and setting are unparalleled. There is one scene in which April stands outside smoking, watched – unbeknown to her – by Frank. The light in this scene is haunting. And that is where Mendes shines. What most of us find hard to describe, he can show.
Mendes has created a chilling and absorbing film of desperation, disappointment and disillusionment that adds another deserved feather to his already crowded cap.

Ashley Scrace

Review: Gran Torino

[Originally published in the Forge Press 20.02.09]

Eastwood’s poignant powerhouse

Review: Gran Torino

Not long after the critically acclaimed Changeling, Clint Eastwood has made another film that will add to his shining legacy as a director, producer, and actor in what could well be his last acting role.
If this turns out to be the case, then this is a more than adequate send off.
Gran Torino is a drama about one man’s reluctance to let go of his past and his stale prejudices that separate him from the community.
Walt Kowalski (Eastwood) is a racist, bigoted, beer-drinking Korean War veteran, working as an automobile assembly line worker in a Michigan neighbourhood with a high immigrant population.
He has no patience for his family, who he frequently refers to as self-absorbed, especially his two distant sons and his greedy granddaughter.
But he has far less time to accept the rising Hmong population in what he calls his neighbourhood.
That is until some Hmong people move in next door. At first, Walt despises them, continuing to spew his racist generalisations over the whole family.
His hate grows when the boy, Thao (Bee Vang), is pressured by a gang into stealing Walt’s prized possession – his Gran Torino.
This failed attempt angers the gang. And so, the customary house visit beckons in which Thao and his feisty sister Sue (Ahney Her) get into a scuffle with the gang.
This would normally go unnoticed. But not on Walt’s lawn, as he comes out brandishing a gun to scare the felons away.
It is from here on in that Walt vows to protect his neighbours from the gang, despite continually ignored pleas from the local priest Father Janovich (Christopher Carley) to call the police.
The fact that Walt eventually comes to realise that violence isn’t always the best policy might come across as typical Hollywood cheese to some; however, Eastwood’s subtly powerful performance more than adequately banishes such fears.
Gradually Walt warms to the community, building a strong relationship with Thao, who also wants to help in taking out the gang.
To see Eastwood still dealing the damage at his age is incredible. He is still a maverick, with every scowl and rude remark dredging up from a deep, dark place. When he talks, you listen.
He looks hard. He is hard. Cut the racism and you have a pretty cool Granddad.
Praise must be given to the unknown Hmong cast. Ahney Her and Bee Vang are particularly refreshing young talent that will surely go onto further roles.
It must also be pointed out that Gran Torino is not the story of Dirty Harry with a pension.
The spirit of Harry Callahan still rests within Eastwood because it is inseparably iconic, in the same way that Harrison Ford will always be Indiana Jones at heart, or Sean Connery will be James Bond.
Luckily, Walt is not a simple reincarnation. He is a far more complex individual. He is apparently horrible but is really just an inherently troubled soul – the perfect anti-hero.
The ending is succinct and definite. While this may have attracted criticism, it is arguably a good thing.
I’d more rather see a certain end than a clichéd, reformed main character who looks as if he or she has just experienced some form of epiphany. Fortunately, Eastwood’s latest work is above such predictability and benefits enormously as a result.
The Gran Torino was a powerhouse of a car. And, fittingly, this is most definitely a powerhouse of a film.

Ashley Scrace

Feature: Skins Series 3

[Originally published in the Forge Press 20.02.09]

Just Skin Deep?

Feature: Skins Series 3

Returning for its third series is E4’s flagship teenage drama series, Skins. However, in a bold move, all but two of the previous cast have been completely jettisoned, paving the way for a new bunch to fill their shoes.
Will the new characters compare to the likes of Tony, Michelle and Maxxie from the previous two series? Or will the decision to do away with an established cast who proved popular with audiences prove to be a fatal error?
Series Three directors Charles Martin and Simon Massey certainly hope not.
After watching the first few episodes, it seems the new gang are a mixed bag, with some interesting additions and some who may take considerably longer to warm to.
Firstly, and incidentally most irritatingly, is Cook (Jack O’Connell), a loud-mouthed idiot who takes ‘being a dick’ to a ridiculous extreme.
The fact that the first two episodes of the new series focus largely on this reprobate means the creators have taken the undesirable risk of completely alienating the original fan base, as the character displays none of the appeal of previous characters, such as Sid and Chris.
Filling the roles of Cook’s best mates are Freddie (Luke Pasqualino) and JJ (Ollie Barbieri), Freddie being the sensible, sensitive one and JJ being the loveable loser (theoretically at least).
Freddie is constantly there to pick up the pieces when Cook’s latest scheme inevitably goes awry, and JJ relies on his awkward magic tricks as a substitute for chat-up lines, often to disastrous effect.
The new female cast members are led by Effy (Kaya Scodelario), the key returning character who has evolved from a silent background character in Series One to established group leader in Series Three.
Effy is easily the most interesting out of the bunch, despite the fact that she doesn’t say much. Her sultry, bored-by-everything persona and seemingly jaded outlook on pretty much everything typifies the teenage stereotype.
If the fourth episode is anything to go by, the cracks are already beginning to show, hinting at an interesting series should the focus swing back her way.
Also returning is Pandora (Lisa Blackwell), the nice but dim best friend whose inadvertent potty mouth provides much of the humour, and her comparative innocence suggests an exciting opportunity for character development.
Finishing off the main cast are polar opposite twins Katie and Emily (Megan and Kathryn Prescott), one of whom provides this year’s gay storyline, token outsider Naomi (Lily Loveless), and Freddie’s elder sister Karen (Klariza Clayton), who dreams of pop stardom.
From a general perspective, the most compelling thing about watching Skins has always been attempting to work out where exactly the show is coming from, and this is perhaps even more significant considering the extremes of the new series.
Is it supposed to be a satire related to adult views of the youth of today, or is it actually how a bunch of middle-aged writers think kids behave?
In some ways, it’s arguable that they may have hit the nail on the head, provided all kids have ADHD.
The show often tries to deal with ‘teenage issues’, namely sex, drugs, school and a screwed up home life.
In this respect, Series Three has so far been no different to the previous series, as pretty much every one of the above has so far been touched upon.
As a result, it seems the writers have gone for the shock factor to win over the former fans, with Cook’s first day at college being a prime example.
However, the show’s frequent forays into the realm of the completely and utterly ridiculous suggest a more tongue-in-cheek approach.
The portrayal of adults is perhaps a point of higher contention, consisting of several ‘who-the-hell-would-ever-do-that?’ moments.
Again, this is arguably satirical in nature, due to the often perceived teenage attitude that adults are stupid, insensitive and completely out of touch with the modern world. Despite such criticisms, the show remains oddly compelling, if only to see what they’ll do next.
Skins is undeniably entertaining; however whether or not it is actually a clever satire of teenage life or merely an excuse to include gratuitous use of the word “fuck” on television remains to be seen.

Jamie Cusworth

Review: Slumdog Millionaire

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Review: Slumdog Millionaire

Despite some of the controversies surrounding Slumdog Millionaire, this Indian fairytale is one of the most moving and provocative films I have seen for some time. Directed by Danny Boyle, famous director of Trainspotting and several other classics, it is sure to be winning some awards in the near future.
Based on the book Q&A by Vikas Swarup it depicts the life of Jamal Malik. Opening on a scene of Jamal being interrogated to determine how he has cheated to get so far on the game show Who Wants to be a Millionaire, it goes on to show, through a series of flashbacks, how each answer he has given so far has had a special meaning to him due to his life experiences.
As these flashbacks include horrific episodes such as the blinding of children in order to increase their value as beggars, the term ‘feel-good film’ has been debated. In my opinion these appalling scenes serve to increase its merit as a feel-good film when you reach the happy ending, however boring it may be of me to praise happy endings in films. However, before you reach the end the film evokes an array of varying emotions and asks questions about morals I would not like to answer, and this is part of what makes the film so striking.
This is not all the film achieves; it is also visually stunning. With India as its backdrop the film creates some truly beautiful images. Furthermore it has a soundtrack which is good enough to be listened to on its own.
In my eyes there is unfortunately one drawback, the believability of the relationship between Jamal and Latika is harmed by the fact that the actors playing their grown up versions look as if they have about ten years separating them. Jamal looks like he belongs in school rather than rescuing a beautiful grown woman and building a life with her. This factor however does not take away from my enjoyment of the film as its other merits more than make up for this small hiccup.
As for the controversies surrounding the film the main accusation levelled at Slumdog Millionaire is that it is India seen through Western eyes, and it is unrealistic. Surely though, India seen through Western eyes is better than India not seen at all, and this film certainly makes you look and think about India and India’s slums.
All in all this is a film not to be missed.

Frederica Dixon

Information on the film: http://www.imdb.com/title/tt1010048/

Trailer: http://www.youtube.com/watch?v=AIzbwV7on6Q

Review: Valkyrie

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Review: Valkyrie

Well, how excellent and disconsolate was that? First of all, Valkyrie (or, ‘The film in which the most evil man in history triumphs over the protagonists, effectively ensuring the further deaths of millions of people worldwide, hooray’) heralds the return of the indubitably talented Tom Cruise in his first role worth watching since 2004’s Collateral. Secondly, Valkyrie is directed by Bryan Singer, who after purposely destroying most of Superman Returns remembers that he is actually a brilliant director, not a terrible one, and drops the comic books in favour of exploring the original man influenced by the idea of Nietzsche’s Übermensch, Adolf Hitler. Thirdly, there is no happy Hollywood ending. Hitler is not killed, the war does not end, and none of the conspirators get away with it. They are all unceremoniously executed. How refreshing.
The story is everything in Valkyrie. The plot concerns Colonel Claus von Stauffenberg (Cruise) and a resistance of like-minded civilian and military persons who conspire to assassinate Hitler and place a new government in power before any of his inner circle can seize control. Obviously this fails. You might think that knowing what happens at the end would spoil it, but actually quite the opposite is the case. Despite knowing the outcome, you still find yourself hoping that their plan will succeed and for maybe five minutes it seems to the audience, and to Stauffenberg, that the impossible has been achieved; the coup d’etat has been successful, Berlin is under resistance leadership, and contingents of SS soldiers are being arrested all over Europe. Sadly, the dream crumbles, everybody is put to death, and the audience eat their popcorn somewhat slower than they did a moment ago (although, who still has popcorn at the end of a film? The human/idiot behind me.) What is truly interesting about Valkyrie are the butterfly-effect instances which interfere with Stauffenberg’s plot. For instance, the sunny weather means that the room for Hitler’s military conference is moved to a place not as susceptible to a bomb blast. A couple of degrees lower in temperature and he would almost certainly have been killed. Similarly, the hesitant decision by the officer in charge of the station which relayed military orders across Germany to side against Stauffenberg and therefore cut off any communication from his headquarters destroys any chance the resistance have of maintaining control. This may or may not be the worst decision of all time (except for that entirely unrelated one in 1933.)
Thankfully, the usually espiègle Cruise plays Stauffenberg as entirely serious, a tortured man who can see how Hitler’s actions will cloud the world’s judgement of “unser heiliges Deutschland” for generations to come. Cruise particularly shines following Stauffenberg’s realisation that his plot has failed, as you can see the hope literally draining from his face to be replaced by abject resignation. Bill Nighy as General Olbricht is likewise fantastic, not only because he looks like a zombie, but because he highlights Olbricht’s questionable actions during the coup and does not try to paint his character in a sympathetic light, despite his position as a key member of the resistance.
Only a couple of trivial factors detract from Valkyrie. Firstly, why does Albert Speer only receive a one second cameo? “Because he has nothing to do with the film.” Fine, but the actor playing Speer looked more like him than the actor portraying Göring, and Göring had numerous close-ups in the Berghof scene. Secondly, which is more of a continuation of the first point, why didn’t the casting crew cast the sergeant in the relay room, who played Göring in Hitler: the Rise of Evil, as Göring? “Because you’re literally the only person in the world who cares, that’s why.” Fine.
Overall, everybody should see Valkyrie because it is an important film that does not shy away from telling the truth about a number of Germans who actively opposed Hitler’s totalitarian regime. As some colonel says, “Every second we stand here is a second lost!” So...go and see it quickly.

Grant Price

Review: Garbage Warrior

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Review: Garbage Warrior

Michael Reynolds’ hero is Noah (of the ark fame). Michael Reynolds is going to save the world. If you don’t know who Michael Reynolds is yet, then watch Garbage Warrior.
Garbage Warrior follows the architect on his quest to make people see beyond the rule book and grasp a new perspective based on open-mindedness and self-sufficient houses made out of beer can building bricks and tyres filled with mud. His hair is reminiscent of ghost train cob webs and his home brings to mind the Teletubbies hill house set on the moon. It’s fair to say that he tightropes right near the edge of falling into loon land. One thing sets him apart from your average dippy hippy though: he talks sense.
The houses that Michael builds are undeniably strange. They are strange though entirely because they are at odds with the norm and after the camera has snooped around a few of these houses, the beauty overtakes the weirdness. Coloured bottles set into the walls create jewelled patterns and together with the curvature of the constructions and use of circles, the final effect is magnificent in a Gaudi way.
The science behind the structures is even more impressive. Tyres packed tight with mud are used in sun-facing walls and this thermal mass stores the heat. There is no need for heating, even in a minus 35 snowy winter. This lack of reliance on outside resources is the key to Michael’s background philosophy. Not having to pay for power, growing his food and using internal sewage systems leads to happiness because, as Michael gushes, it means “I am free and I own my own life”. Not tied to bills, Michael can get up in the morning and do whatever the hell he likes.
At times the documentary does veer into slightly dubious utopian dream territory as flowing locked ladies explain how they were “inspired to build my own earthship”. However, this does not leave the film lacking and instead provides excellent comic fodder.
Unlike a lot of documentaries based around environmental issues, the vibe of Garbage Warrior, directed by Oliver Hodge, is that of hope not doom. Michael’s optimism is hard to resist and despite the difficulties that he faces battling bureaucracy, one of his greatest strengths is his own belief in his power to change building for the better. One to watch if you’re struggling to get past post-Inconvenient Truth depression.

Natasha Lewis

4 stars

Review: Cloverfield

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Review: Cloverfield

“I can just see this ending up on the internet”. This deeply ironic early comment in the film, especially when bearing in mind where the root of this ‘disaster movie’s premature popularity stemmed from. When it first appeared as a short teaser trailer of ‘something’ attacking New York City in US cinemas, it sent incessant bloggers and fanboys into a mouse-clicking frenzy. Not since The Blair Witch Project had a film gained so much popularity through such an outlandish marketing strategy. Prospective fans could not wait to hop online and set cyberspace ablaze with all sorts of conspiracy theories about what the ‘monster’ could be, some more accurate than others.
Also the aesthetics of this film, (sustained hand-held camera throughout) lends itself to the rising popularity of today’s YouTube culture. It would not look out of place, or be the only one if its kind, if such a calamity were to hit any major city today. The film is peppered throughout with anxious onlookers running scared, but not before they have captured priceless footage on their mobile phones that will no doubt find its way onto the video-sharing site.
So could this somewhat avant-garde film ever live up to the expectation and hype that it sought out? Well the good news is it is, without doubt, the most original, captivating piece of cinema you will see probably this decade. The imaginative way in which it is shot will mean you will almost certainly not lose interest for literally a second, surely something every filmmaker begs of their audience. It moves at a break-neck speed, with constant erratic cuts and flashes of the camera’s memory. The survivors stumble through something of a makeshift plot, but clearly narrative is as important to this film as it is in Transformers: it just isn’t why you turned up. The sheer originality of this picture will carry you through the succinct running time easily. The improvised texture of the film also works perfectly, with the cast of unknowns realistically jabbering and bantering away like a group of friends are prone to do.
It is not until the monsters make their appearance that the film starts to wane somewhat. The first encounter the gang have with said baddies descends into usual horror movie fodder, with our heroes managing to bat them aside with a scream and a stick. Moreover, the fundamental strength of this film, from its early marketing through to its concluding moments, is the power of mystery. So when the protagonists are faced with the hellish creatures in close quarters, and we see the CG monsters spawn as if from nowhere, the sense of mystique disappears. On top of which, the conveniently placed lighting and the fact the camera stays switched on even when the characters are in mortal peril, starts to wear thin after a while.
However, these are minor blots on an otherwise captivating, truly astounding canvas. The performances from the cast of complete unknowns manage to maintain the audiences’ emotional connection with the characters throughout, which segues into an incredibly powerful epilogue.

Adam Jelley

Review: The Dark Knight

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Review: The Dark Knight

Often when critiquing a film, it is ostensibly hard to sidestep the external hubbub that builds around summer blockbusters. With The Dark Knight emerging just months after the tragic passing of the late Heath Ledger, the film will only ever be mentioned in the same breath as the erstwhile star. This, however, is no criticism. More on his performance later.

2008 has not gone begging for summer tent-poles. The likes of Robert Downey Jr. as Iron Man, and Edward Norton as The Incredible Hulk have casually propped it on their capacious shoulders. However, both of these have spliced the critics down the middle, and have left audiences somewhat lukewarm. Cue for a Caped Crusader to enter stage left then, no?

Christopher Nolan-as many would maintain-has not once put a foot wrong throughout his thoughtful career. Memento, adapted from a novel written by his brother Jonathan, who is on script writing duties here, was a groundbreaking hit, whilst Insomnia and The Prestige were swept with praise. Then came his fresh outlook on one of DC Comic’s most treasured creations with Batman Begins. Though, he was not without his critics. Die-hard fans questioned his ability to helm such a project, with his filmography and experience rooted in intimate arthouse. Nolan hushed the doubters with a film that was universally treasured by all, bringing together a sensational blend of tour-de-force action, with unquestionable political allegory. With not a whiff of camp, tight-shorted fodder in sight, once seen in the original 60’s TV series, Nolan had tuned into the darkest side of the dark knight. Unsurprisingly then, no less can be said of his much anticipated follow up.
Thankfully, Nolan has not dropped the ball with this installment, cranking up the action set pieces to 10, and shipping in a monumental ensemble cast. Picking up minutes after the playing card teaser, the action starts minutes into the running time, and doesn’t let up for the better part of 2 hours. Action sequences that traverse the glove, taking in Hong Kong to, er, Gotham City will please the thrill seekers. One in particular freeway sequence makes anything you saw in Transformers last year look like two teddy bears playfully wrestling in a meadow.

The response to Ledger’s interpretation of The Joker can be contained no longer: it is no less than sensational. We can only be thankful that Ledger engrossed himself more than ever into the development and interpretation of this character, as it acts a beautiful tribute to his premature career and memory. He sizzles with charisma in every frame that is graced with his presence, managing to be both despicably callous and yet strangely witty and charming. The fact that he is a villain that is not motivated by anything so puerile as money or vengeance only makes him even more invigorating to watch. This is not a film that lends itself to the origins of The Joker; he emerges fully formed and without any ulterior motive or hidden agenda. He simply revels in watching chaos erupt around him for pure twisted kicks. His tongue waggling like a rabid dog, Ledger plays him as something that is utterly sub-human. The citizens of Gotham, along with the preying audiences, are never meant to understand this villain: he is not given a twisted moral code that is usually shoehorned into many villainous roles. He simply is.
However, he is dubbed a ‘terrorist’ on more than one occasion, which seemingly reeks of post 9/11 unsubtle subtext, as does a lot in the film. Harvey Dent/Two Face, played convincingly enough by Aaron Eckhart, can easily be likened to one particular political figure: a knight in shining armor riding into to save the people after years of political turmoil…Barack Obama anyone?
It says a lot about the film that is not our caped hero that we see first, but the oddly jarring grin of the anti-hero. Nolan, and indeed Ledger, has achieved/slipped up in exactly the same area Burton and Nicholson managed to do nearly 20 years ago in the original film adaptation. The Joker, ironically suited to his character, steals the show, with Ledger putting in a considerably more alluring and thrilling turn than the main man himself. It almost pains me to say it, but every minute Bale is not in his infamous suit, whizzing around on the coolest bike you will see all year, he is taking up frames that can be filled by that of The Joker. Every second he is not on the screen, you will crave his presence just so you can stare into those mad eyes and watch him reek havoc. With the blogosphere near collapsing under the weight of expectation about Ledger’s role, aside from the publicity that arose from his death, it was inevitable Bale only needed to phone in his performance here. This is a crying, and yet thrilling, shame. But that doesn’t mean to say he does. Bale, with his smoldering looks on screen, puts in a very credible performance, and is still the best Batman we have seen since the inception of the characters’ many famous faces.
As for the rest of the cast, it goes without saying that Michael Caine and Morgan Freeman, playing Bruce Wayne’s diligent employees, turn in sterling performances, as does Maggie Gyllenhaal, who took up the reigns as Wayne’s squeeze after Katie Holmes so thoughtlessly dropped them.
Now for the very slight grumble. You may be surprised to find that Batman has returned, but with a big red censor sticker over him. The film has been rated as a 12A. It may be harsh to deem this as a criticism that can be leveled at the filmmaker, which it wouldn’t be if audiences could be assured the mighty studio fat cats and the marketing execs did not have their greasy fingerprints over this slight let down. It is not in Nolan’s image to be cajoled into making a film he does not want to make, and lets hope his hand was not forced into softening the edges and child-proofing his career defining picture. Even though the film has emerged an incredible cinematic success, it may be closer to perfect if it was bumped to a 15 and a little claret was spilled here and there.
Aside from this somewhat minor oversight, the film remains in tact as Nolan’s best piece of work to date. He has cemented his place as one of the best directors working today, proving he can thrill popcorn audiences with intelligent, engrossing cinema whilst sending cash registers ringing. Much has been said of the slightly flabby running time, but those who say that are missing the point. Every minute you are in the hands of this true auteur, and every second you stare wide-eyed at Ledger’s Joker is a gift. It may be 152 minutes of your life, but you won’t be getting more for your ticket price anywhere else for a long time to come.

Adam Jelley

Review: Juno

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Review: Juno

Now all the Oscar haze surrounding this ‘sleeper-hit comedy of the year’ has finally settled, a clearer picture of Juno has finally come into view. And unfortunately it doesn’t seem to be as flawless as those that sung its praises from the highest rooftops claimed it to be. Critics, more than anything, love to try and champion a trendy indie flick, whipping up mainstream attention. And Juno, the story of a mid-teen, who having fallen pregnant seeks a couple to adopt her newborn, is no different.
The drawback to all this attention is it creates a manufactured hype for a movie that will never manage to live up to it. Scribed by stripper-cum-blogger-cum-screenwriter Diablo Cody, is admittedly a refreshingly original take on a premise that has all the potential to be crushingly dull in the wrong hands. However, her lack of experience sometimes shows in the somewhat wafer-thin plotting.
Moreover, the eponymous adolescent, if believed, is the smartest 16 year-old this side of a child prodigy. Admittedly a finely observed performance by Ellen Page, she is crammed with quips that tumble out of her mouth every other line, which becomes tiresome after the first hour. This, coupled with the fact she, along with her parents, seem to think accidentally falling pregnant after a bout of clumsy sex is slightly mundane, and can be concluded with a witty remark (“I am for shizz up the spout”).
Even more troubling for this film, it was released to a post Knocked Up audience. So, was Tinseltown really big enough for two ‘bun-in-the-oven’ based comedies in 2007? Maybe, but we will never really know as it would be hard, and very nearly a falsehood, to brand Juno an out-an-out comedy. Compared to its obvious bedfellow, which rolled off the Judd Apatow production line last summer, it contains a surprisingly sparse amount of knee-slappers. As mentioned, it has more intelligent wisecracking than you can shake a stick at, but contains not one solitary sure-fire belly laugh.
And this is its fundamental problem over all others. Seth Rogan et al mange to strike the balance between quotable one line zingers, gross out visual gags, whilst still maintaining a thumping heart at its core. Juno, while still possessing an emotional string to its bow, does not manage to play with it way into the third act. By which time it has long since forgotten to be funny. This could, in part, have something to do with the painfully underused new comic talent, Superbad’s Michael Cera. Although he is playing more of the straight man here, he manages to be just a blur over the short running time.
However, to ignore the highs of this film would be doing it a complete disservice. As mentioned, the star and supporting cast all submit very watchable performances. Arrested Development’s Jason Bateman puts in an incredibly good performance as the wary father to be. But more importantly, the film, although having somewhat of an identity crisis, has a hugely heart-warming feel to it, contributed not least because of the light, whimsical soundtrack.

Adam Jelley

Review: Defiance

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Review: Defiance

The story of Oskar Schindler, the industrialist who saved the lives of roughly 1200 Jews during the Holocaust, timelessly depicted in Steven Spielberg’s 1993 epic, is a somewhat celebrated one. The tale of the Bielski Partisan group, who salvaged even more lives than Schindler and his famous list, is relatively unknown. But that is inevitably about to change with Ed Zwick’s latest historical adaptation.
The film is based on the book by Nechama Tec, which charts the little-known true story of Tuvia Bielski and his brothers, who helped more than 1200 Belarusian Jews escape the Nazi’s by leading them into the depths of the Naliboki Forest. It is an extraordinary story that one would have assumed would have been snapped up, and adapted for the screen long ago. Also one would hope it was a story that would get the big screen treatment it so clearly deserves. Disappointingly, Zwick’s film is unlikely to become a classic Holocaust picture that can rightfully hang itself in the Hollywood-Holocaust-Film Hall Of Fame.
This is evidently not due to a lack of a good premise. This over-shadowed story could have been a perfect set-up to a brilliant war epic. But somehow Zwick’s attempt fails to feel any more than hollow.
Again this has nothing to do with the performances that come out of this film. Craig, in a film he signed on to BB (Before Bond) not AB (After Bond), puts in a somewhat believable performance as the revolutionary leader, even if an English accent sometimes hijacks the Russian one he adopts for the role. Similarly Jamie Bell and Live Schrieber put in convincing turns as the 2 remaining Bielski brothers.
It just so happens that the film has been fairly Hollywoodised, not least because of the director’s keen eye for action that can be seen in his earlier work, most obviously with Blood Diamond. He seems to put action before the sake of the character or developing anything other than narrative conventions. This is not to say we are looking at a Michael Bay Holocaust film, nor someone who doesn’t whole-heartedly believe in his theme. However, Defiance, like Blood Diamond, is as much education as entertainment, and until he falls in love with people as much as issues, he will remain undone by his desire to make a difference.
This coupled with the fact those action sequences that give the film any important credence, are free of any bloody violence. This neutering of the film again creates this sense of a vacant story that does not reflect the setting. This, coupled with the fact the film is 30 minutes too long and cannot find an appropriate conclusion adds up to something that had the potential to be astounding, and ended up being only reasonable.

Adam Jelley