Prisoners

*****
Release Date: September 27th 2013

When Keller Dover's daughter and her friend go missing, he takes matters into his own hands as the police pursue multiple leads and the pressure mounts. But just how far will this desperate father go to protect his family?

Director: Denis Villeneuve (Maelstrom, Incendies)

Starring: Hugh Jackman, Jake Gyllenhaal, Viola Davis, Maria Bello, Terrence Howard, Mellisa Leo, Paul Dano

Prisoners is one terrifyingly engrossing film that puts Keller Dover (Jackman) in a everything to lose situation when his daughter and daughter's friend are kidnapped on Thanksgiving. It's powerful stuff to watch, and more so if you have young kids of your own, as you feel every raw emotion Jackman portrays, from upset to denial; he'll do anything it takes to get his daughter back.

Jake Gyllenhaal's Detective Loki is no average cop either. His unique way of thinking and ability to solve every case (as questioned by Grace Dover (Maria Bello), Keller's wife) is unforgettable. Gyllenhaal has a rare talent that almost puts everyone else to shame. It's easy to feel Loki's pain and fatigue as the case looks rapidly unsolvable.

The weather mixed in with low key lighting set the mood of the film from early on. Just as the two families realise their daughters are missing, it's raining, and constantly, dampening the mood henceforth. The settings reflect the emotions of the characters incredibly well. 

It's a shame that other well known actors don't get a chance to compete with Jackman and Gyllenhaal. While we are always in the company of either actors' character, the likes of Franklin (Howard) and Nancy Birch (Davis) have smaller parts, even though they're the parents of the other missing girl. Howard displays some fine acting when he's pitted against helping his friend and finding his daughter and doing what it morally right. Davis is somewhat similar to Maria Bello's Grace, who's too distraught to do anything except wallow in despair. Melissa Leo may have a smaller part, but seems to find a way of making an impact that means she's remembered. She plays the auntie of the 'not so sure if he's' falsely accused' nephew Alex Jones (Dano). His parked RV outside the house as the kids go missing is too coincidental to not be the killer. Or is it?

A big mention should go to Paul Dano. His acting hasn't been this great since There will be Blood. There's a fine line between being offensive with someone whose 'IQ is like a 10 year old', or pulling off some great acting. Dano does the latter.

This is director Villeneuve's first English film effort, and what a great one too, as he keeps us all guessing and never relaxes on the tension.

Overview: A must see for crime solving lovers. Not for the faint-hearted. 

Starter for 10

****
Release Date: November 10th 2006

Set in 1985, working-class student Brian Jackson (McAvoy) navigates his first year at Bristol University.

Director: Tom Vaughan (So Undercover, What Happens in Vegas)

Starring: James McAvoy, Catherine Tate, James Corden, Dominic Cooper, Rebecca Hall, Benedict Cumberbatch, Alice Eve

Starter for 10 is a surprisingly delightful film about a student's struggle of love, friendship and generally accepted for who he is. McAvoy is incredible as Brian, as he sets his sights on becoming a participant in the years University Challenge team.

A fantastic cast follows McAvoy's lead. Eve is Alice, one of McAvoy's love interests, the more outgoing of the two and the most manipulative. She is also on the members of the University Challenge team. Tate plays Brian's mum, for once showing us all that she can be serious on screen, as she mourns the loss of her husband. Cumberbatch's Patrick largely impresses, an egotistical, insufferable know-it-all, whose purpose is to beat Cambridge Universities team after an embarrassing previous year. Rebecca (Hall, by the same name) is quirky and very lovable compared to Eve. Brian's is blinded by fake affections.

McAvoy is the centre of SF10, leading us along a heartwarming journey that one and all can relate to. The most emotional of scenes that McAvoy captivates is on his first date with Eve, when he ends up crying during a conversation about his deceased Father. 

Small appearances by James Corden (then quite unknown) and Dominic Cooper as Brian's buddies from home add to the pile of stars who are unaware of their own potential.

Those of you who were born in the late 70's/early 80's are in for a treat when it comes to the soundtrack. Ace of Spades by Motorhead, Boys Don't Cry by The Cure, I'm Your Man by Wham! and Teenage Kicks by The Undertones are but a few that will lift spirits and resonate nostalgia.

Do check this film out if you haven't already; it's far more down to earth than Richard Curtis' similar efforts (Four Weddings and a Funeral, Love Actually), and even if problems aren't fixed, this film will still leave you feeling good.

Overview: Perfect for a rainy day. One of those films that's unlikely to grow old. 

Rush

*****
Release Date: September 13th 2013

A re-creation of the merciless 1970s rivalry between Formula One rivals James Hunt and Niki Lauda.

Director: Ron Howard (Angels & Demons, Te Da Vinci Code, A Beautiful Mind)

Starring: Chris Hemsworth, Daniel Bruhl, Olivia Wilde

Rush beats all other racing movies into the ground. All aspects of this film will lead the Oscar front, but let's go in to more detail on why it's superb.

I, like many other non-F1 fans, will not be familiar with the clash between Hunt and Lauda, McLaren's and Ferrari's top drivers in the early 70's (respectively). The history doesn't need to be known in order to understand how bitter someone can feel towards another in a race. James Hunt (Hemsworth), from Suffolk, England tries his hardest to work his way up the ranks from F3 to F1 with raw talent and risk taking. Niki Lauda (Bruhl), from Austria gives up everything and buys his way in with what money he has. He's crafty but accurate and stays by the book.

Opposites don't always attract, especially in their case. They are both lovable and unlikable, our feelings towards them switch from one to the other, never really knowing who to back because deep down, they are as hot headed as each other. There is no good vs. evil, just a relationship we find ourselves wanting to know more about.

Bruhl steals the show, standing out with his struggle with Hunt and the inevitable doom that's to come. Hemsworth's English accent feels a little too familiar with Marvel's Thor, but steps up whenever he's around Bruhl. He still has just as much to deal with, when his model wife Suzy Miller (Olivia Wilde) divorces him for the actor Richard Burton.

The combination of cinematography and Hans Zimmer's soundtrack will leave the audience on the edge of their seats with nerves in the epic race that changes the mood completely. If you don't know the story behind the film or haven't seen the trailer then it's best left unsaid. Even if you know, it'll still leave you sweating and wishing it had never happened.

Rush could have swung either way when it comes to director Ron Howard. The comedy (The Dilemma) genre should be left alone whilst Angels & Demons and The Da Vince Code feel a little stretched, but Rush feels like a vast improvement of Frost/Nixon in terms of strong character relationship.

Overview: Incredibly gripping, helped by the two main characters. The best biopic in years.

Only God Forgives

**
Release Date: August 2nd 2013

Julian, a drug-smuggler thriving in Bangkok's criminal underworld, sees his life get even more complicated when his mother compels him to find and kill whoever is responsible for his brother's recent death.

Director: Nicolas Winding Refn (Drive, Valhalla Rising, Bronson)

Starring: Ryan Gosling, Kristin Scott Thomas, Vithaya Pansringarm

Nicolas Winding Refn and Ryan Gosling's previous collaboration was so impressive and unique (Drive) that this effort had high expectations. I wanted to love this film so much but couldn't. Because of this, it's difficult not to compare to 2011's Drive.

To start with, the story is plain and simple, and it needs to be in order to understand what's taking place around it. The story could have been told in half the screen time. The rest is filled with fixated staring with little to no dialogue. Robert McKee once said that 'action is always more important than dialogue', but in order for this to happen, there needs to be at least some action.

Some may say that Only God Forgives is avant-garde (work that is experimental and innovative) and appreciate it for its artistic values, others, like myself, will be baffled. 

Gosling takes a back seat this time round. Where in Drive he was the sole focus, now he shares the stage with two other characters who dominate every scene they're in. One being Crystal (Kristin Scott Thomas), the egocentric, deranged mother of Julian (Gosling). It's hard to take in how incomprehensible she is; the love for her son that was murdered goes above and beyond the in-denial. "Why?" she asks Julian. "He raped and killed a 16-year old girl" he replies. "Well I'm sure he had his reasons" she says.

At least two or three times the film is broken up by random pieces of karaoke. This might be to signify how much it's loved in Thailand, or that deep down it's second oppressive character, Chang (Pansringarm) is a lovable, down to earth person, underneath his cold, unforgiving ways. Chang is the bad-ass policeman who's responsible for the death of Julian's brother. There are plenty of scenes that show he's not a person to mess with. His expressions never change, even after torturing another human being. 

One thing that goes without saying is the film is beautifully shot. Dazzling lights flash and whizz past, coupled with low key lighting in rooms that give us a sense of woe and suffering. The back streets of Bangkok have never looked so alive. It's music is also incredibly powerful, fitting into moments when least expected. Some pieces of the music are comparable to Philip Glass' Koyannisqatsi.

Overview: You're either going to love it or hate it. Performances are great. Let down by it's tedious lack of action and dialogue.

We're The Millers

***
Release Date: August 23rd 2013

A veteran pot dealer creates a fake family as part of his plan to move a huge shipment of weed into the U.S. from Mexico.

Director: Rawson Marshall Thurber (The Mysteries of Pittsburgh, Dodgeball)

Starring: Jason Sudeikis, Jennifer Aniston, Emma Roberts, Will Poulter, Ed Helms

We're the Millers sets the tone nicely right from the start. We are presented with a reel of Youtube clips (the double rainbow, surprised kitty and the naked dude that runs into a glass door) that are so amusing they make you come back for more.

This is not the same for We're the Millers. It's very sporadic, the big laughs are far and few between, with Sudeikis and Poulter pinching the most, but then again, serious minded characters (Aniston and Roberts) are pivotal catalysts; they are there to be mocked by the funny ones.

The plot is simple: Pot dealer David's stash is stolen and winds up having to shift a load of marijuana over the Mexican border for his Kingpin boss. Knowing full well that it's going to be an impossible job looking like a massive pothead, David decides to enlist the help of stripper/neighbour Rose (Aniston), homeless delinquent Casey (Roberts) and abandoned virgin Kenny (Poulter) to play the members of the family.

Small appearances are made by Ed Helms as Brad Gurlinger, the one whom David owes money to and Nick Offerman and Kathryn Hahn as the Fitzgerald's, a odd but lovable couple that the Millers come across on their journey.

As mentioned before, the big laughs are between incredibly dumb actions or something has been said that makes the situation awkward... for example David being 'fucked in the ear' by Nick Fitzgerald with his finger. These actions or words stretch too far, going from the subliminal to plain weird.

There is big promise in Will Poulter, who steals everyone's thunder with his eyebrows, innocent demeanor and karaoke skills.

Jennifer Aniston is on screen mainly to please the male viewers, leaving us in awe of how good she looks in her early 40's.

Overview: Some great laughs that will be remembered, but as a whole, a little hit and miss. 

You're Next

****
Release Date: August 30th 2013

When the Davison family comes under attack during their wedding anniversary getaway, the gang of mysterious killers soon learns that one of the victims harbors a secret talent for fighting back.

Director: Adam Wingard (V/H/S, V/H/S 2)

Starring: Sharni Vinson, Joe Swanberg, AJ Bowen

The key to a successful horror with plenty of characters is to have a fairly unknown cast so as not to side with anyone that the audience already knows (e.g an A-list celebrity).

This is top notch with You're Next, as the Davison family slowly turn up one by one at a country home for a reunion. We at first follow ne'er-do-well Crispian (A.J. Bowen) and Australian girlfriend Erin (Sharni Vinson), leading us to believe that these will be the ones to focus on, the ones that we will be routing for their survival. This is upset by the switch of restrictive narrative (following the family) to omniscient (seeing the events of all participants) halfway through the film. This works in our favour because You're Next offers us the mystery thriller genre followed by survival thriller; what are the intentions of the killers... is it a random attack?

'I just want you all to know, how much it means to us that you're all here' says the mother, knowing full well the rifts already set between (mainly) the brothers. The irony of it is part of a vast list of generic codes and conventions horror/thillers have to offer. The most notable are decisions built from quick thoughts (the Dad letting the daughter out of the house on her own), people screaming SO loud, making them easier to find, and the Scooby-Doo classic, splitting up.

All of this is done with a pinch of dark and dry humour. The use of a blender as a weapon is both gory and funny.

The biggest cliche of them all arises mid point when the audience finds out one of the characters isn't as useless as the rest. An unexpected heroine appears, popping out as the femme fatale.

You're Next is always a step ahead of the audience, just when you think you're done working it out, another unpredictable hand has been dealt.

Overview: Plenty of gore, plenty of slapstick foolery. Keeps you guessing until the end.