Delivery Man

***
UK Release Date: January 10th 2014

An affable underachiever finds out he's fathered 533 children through anonymous donations to a fertility clinic 20 years ago. Now he must decide whether or not to come forward when 142 of them file a lawsuit to reveal his identity.

Director: Ken Scott (Starbuck)

Starring: Vince Vaughn, Chris Pratt, Cobie Smaulders

Vince Vaughn is a born practical joker, one that acts younger than his 40+ years. Delivery Man may have the recipe for disaster, or potential to suck, but surprisingly it holds its head up high. Vaughn's David Wozniak is a fuck-up trying to make amends to all his problems. He's a rubbish truck-driver who's constantly badgered by his father. He owes a lot of the wrong people money, and his police officer girlfriend Cobie Smulders wants nothing to do with him. Out of luck. Punching above his weight with a pissed off other half and learning a set of life lessons are a forte of Vaughn's. 

Wozniak is different to Vaughn's other characters. Instead of coming to terms with his problems, he knows he has them. When he finds out he's the father to 533 children because of a mishap at the fertility clinic and over 100 wish to know who he is, Dave takes a roundabout turn and sees this as an opportunity to do right.

The story is a complete farce, but a comical one at that. It treads ever so lightly in to ridiculousness, without losing a touch on reality. The chances of this happening are slim, but not impossible.

Vaughn is the most predictable of type casts. He shrugs it off somewhat in Delivery Man, but the tantalising performance comes from Chris Pratt's Brett. He's Dave's lawyer and friend, taking control of every scene he's in with some great one-liners.  

The Maze Runner

****
UK Release Date: October 10th 2014

Thomas is deposited in a community of boys after his memory is erased, soon learning they're all trapped in a maze that will require him to join forces with fellow "runners" for a shot at escape.

Director: Wes Ball

Starring: Dylan O'Brien, Aml Ameen, Will Poulter, Kaya Scodelario, Thomas Brodie-Sangster, Ki Hong Lee

Young adults of the world are being spoilt by Hollywood. First came The Hunger Games, then Divergent, and now The Maze Runner. All are dynamic and virtuous in their own ways, with TMR sticking out with plenty of worth.

It smacks you hard in the face from the moment it opens its doors. It starts with a teenager in a dark lift, on his way up to no one knows. The suspense kills already as we're just as isolated as he is. Tensions continue to soar as the lift's doors eventually open to a wide, open glaze surrounded by high walls. Staring at the newcomer are a bunch of other youngsters (all of which are male). He can't remember a thing, apart from later on his name, which turns out to be Thomas (Dylan O'Brien).

Like all the others, Thomas has to start life without memories, just as we have no choice but to find out the answers when he does. The unveiling of the narrative as time stretches on is what makes The Maze Runner so successful. We aren't spoon fed; début director Wes Ball believes we have what it takes to work it out, just as Thomas eventually does. 

All the problems that Thomas faces are questioned from beginning to end (why are we here, what's beyond those walls?), but not all of them are fully answered. That's because, just like The Hunger Games and Divergent, it's the first in a number of films to come, but maybe not exactly as the books/authors intended them to be. Its success may lead to a two part finish.

Part of The Maze Runner's success is down to the actors. Some are relatively known (Will Poulter in We're the Millers and Thomas Brodie-Sangster in Game of Thrones) but others not so much. We're given the chance to see everyone as equals. This means no one's safe. Performances are greatly enjoyable. The only downside that effects their deliverance is those minor parts we see coming. They take a fistful of emotion out of the experience. 

Far grittier than other YA films, The Maze Runner is one to keep a keen eye on. Once The Hunger Games has been and gone, this will be the leader in the ever expanding genre.

Here Comes the Boom

***
UK Release Date: November 9th 2012

A high school biology teacher looks to become a successful mixed-martial arts fighter in an effort to raise money to prevent extra-curricular activities from being axed at his cash-strapped school.

Director: Frank Coraci (Zookeeper, Click, The Waterboy)

Starring: Kevin James, Selma Hayek, Henry Winkler, Bas Rutten

Any film starring Adam Sandler or Kevin James is usually a Happy Madison Productions film. Director Frank Coraci has worked with both before, so what does Here Comes the Boom bring to the table? It's got a high feel-good factor which you'd think wouldn't go well with MMA fighting. Just when it gets too serious, Kevin James and co. (but especially James) bring it back down to an equal level with slapstick humour. Projectile vomiting after a fight isn't something you see every day.

HCTB may bear cliché characters and a predictable storyline but it is an above average film that's full of warmth. James is the one to connect with. He fills his life with ambition, no matter how small. He's a biology teacher with little motivation, living in past successes. A meeting with the other teachers turns sour when budget issues are raised and jobs are at risk. Henry Winkler's lovable but slightly irritable music teacher is one of those. Scott Voss (James) takes it upon himself to raise the money they need by becoming a mixed-martial-arts fighter. 

It sounds ludicrous but it truly works. The thought of winning money even if Voss loses a fight has him believing he can complete his mission. 

Here Comes the Boom wouldn't be as entertaining as it is without it's characters. Amongst the Kevin James's, the stereotypical head-teacher and fighting coach, you'll find some greats, including Selma Hayek's school nurse who constantly declines Voss's dinner invitations, and Bas Rutten's Niko, Voss's comical friend and trainer. 

Taking the best bits of Rocky and 2011's Warrior, Here Comes the Boom doesn't show anything we've seen before. It is however, worth watching James take a hit or two, as the fight scenes pack a punch. 

Gone Girl

*****
UK Release Date: October 2nd 2014

With his wife's disappearance having become the focus of an intense media circus, a man sees the spotlight turned on him when it's suspected that he may not be innocent.

Director: David Fincher (Se7en, Fight Club, Zodiac)

Starring: Ben Affleck, Rosamund Pike, Neil Patrick Harris, Tyler Perry, Carrie Coon

Every three years or so David Fincher storms the film industry like a hurricane. He's up there with other directing legends like Spielberg and Ridley Scott. From Alien3 all the way to The Girl with the Dragon Tattoo, Fincher thrives on character driven narratives with troubled pasts or psychological burdens. Gone Girl is yet another masterpiece added to his illustrious career.

Lovers of Gillian Flynn's book won't be disappointed in Fincher's adaption. Flynn wrote the script, and like most adaptations there are small differences and very few pieces missing. I didn't have the pleasure of reading the book myself, my fiancée did and said she was happy with the film's outcome.

Ben Affleck's career has been full of highs and lows. Fans and critics alike are ready to pounce on him if his next performance is below their standard. When it comes to Batman v Superman: Dawn of Justice, I say give him a chance. He's proven himself in Argo and The Town, and his acting is superb in Gone Girl.

The opening shot sets the tone uncomfortably, and proceeds like this for the duration. A brilliant close-up of Rosamund Pike's head from Ben Affleck's point-of-view coupled with his inner-monologue ("what are you thinking?", "what have we done to each other?") brandishes married life as a constant journey full of questions and answers we probably don't want to know. Do we fully understand each other? How far are we willing to go to make this work?

When the investigation of Amy Dunne's (Pike) disappearance starts to unfold, all fingers point to her husband Nick (Affleck). The media gets involved and doubts are pressed on Nick. Who do we trust? Nick? The media? Fincher gives nothing over to speculation. Another cause for concern that David raises is our ability to believe consumerism. We are bombarded with news and facts everyday, but is it all gospel? In Nick's case we can never be too sure.

The narrative unravels like chapters in a book. Gone Girl switches between past and present, between Amy's diary entries accounting her thoughts on Nick (and her growing assumption that he's not all he seems) and Nick's inability to deal with the situation at hand. All interior and exterior shots are chock full of grey hues, dark colours and a melancholy ambience, reflecting the tone exceptionally.

When all those questions are finally answered (there are some truly shocking twists), we're left feeling quite damaged, as if our own relationships are at risk. There's little else I can say without spoiling it. Go and see this film. It's not as dark as some of Fincher's previous work, but on the surface it has everything a psychological drama needs; tension and catechisation.  

Parental Guidance

**
UK Release Date: 26th December 2012

Artie and Diane agree to look after their three grandchildren when their parents need to leave town for work. Problems arise when the kids' 21st-century behaviour collides with Artie and Diane's old-school methods.

Director: Andy Fickman (She's the Man, The Game Plan)

Starring: Billy Crystal, Bette Midler, Marisa Tomei

It's been a while since Billy Crystal has graced our screens. He fits the childish and silly humour that befits Parental Guidance. Although the results are mediocre and soft, there's something for everyone. It's one of those films that contains gags the oldies like Crystal will understand but the young audience will not.

It's laborious to watch the pesky trio that Artie (Crystal) and Diane (Midler) have to look after. They're highly annoying from the moment they're introduced. They all have health issues because their parents suffocate them with 'over-parenting'. Marisa Tomei's fruitless role as the mum who's mistrustful of her parents is also aggravating. Surely the people you can trust the most to look after your kids are your own parents. Not in this case.

The script is developed around Billy Crystal's ancient cracks and Bette Midler's life lessons and obvious point-outs, with the moral (or morals) of the story slapped in our faces as if we're too senseless to see it without help.

Parental Guidance has all the ingredients that make up a good family film, but it's unfortunately delivered in a way that makes it barely watchable.    

The Equalizer

***
UK Release Date: September 26th 2014

A man believes he has put his mysterious past behind him and has dedicated himself to beginning a new, quiet life. But when he meets a young girl under the control of ultra-violent Russian gangsters, he can't stand idly by - he has to help her.

Director: Antoine Fuqua (Training Day, Shooter, Olympus Has Fallen)

Starring: Denzel Washington, Chloe Grace-Moretz, David Harbour, Bill Pullman, Melissa Leo, Martin Csokas

Denzel Washington has taken a different turn with The Equalizer. His performance is no less enticing but his ex-CIA operative Robert McCall is exactly what a balls-out action needs; a ruthless man with the power to play moralistic vigilante. 

McCall's daily routine is regimented, pinning him as an obsessive compulsive. If someone were to hurt those around him, or disturb his routine, they're lifespan would be terribly shortened. 

Moretz's escort Teri falls under a bad case of misused potential. She's barely seen after being assaulted by the gangsters that 'own' her. McCall befriends her in the diner he visits every night, and his odd effection for her starts this chaos. He's upset the wrong people, and they just happen to be the Mafia. Washington claims the spotlight, dazzling the crowd with surprisingly intense action and a cool demeanour. There's little time spent with anyone else.

There are moments that come across as funny when they shouldn't be. One is Csokas's hired assassin. His dialogue is ropey, stripping him of his heinous edge. The second is McCall's last stand. He takes down his enemies with any tools or implements within in reach. Some are effective, others questionable (and laughable), siphoning the proposed emotion out of the scene. I guess we might do the same if we were in his shoes, or merely squirm like a coward. 

The Equalizer isn't a film that Denzel usually goes for, but his partnership with Fuqua has proved eloquent (Training Day). TE is less character driven than Training Day but highly plot driven. We get nothing out of McCall, no back-story and no emotional connection. Vengeance is the main dish, and it has been served well.