21 Jump Street

21 JUMP STREET ***

Comedy fans can breathe a sigh of relief…He’s back! After branching out and starring in oscar-nominated biographical drama, Moneyball earlier this year, Jonah Hill has returned to the comedy screen. Our much-loved Superbad actor buddies up with Channing Tatum in the latest comedy flick which promises over a hundred minutes of fun, laughter and heaps of silliness.

Newly-assigned police officers Schmidt (Hill) and Jenko (Tatum) are far from satisfied with riding their pushbikes around the park rescuing kid’s balls from the lake. The incompetent officers fail to successfully undertake their street duties and are sent to 21 Jump Street on an investigation to find out who is supplying a popular drug being used in a nearby high school.

Desperate to make their first arrest, the two move back into Schmidt’s parents house and “cool” it up ready to return to school and “bust some ass” to prove their worthiness in the force. But on their first day they find that school has changed- in the first few minutes of entering the gates they find themselves enemies of the fellow students (Dave Franco being one of them, starring as the high-school alpha male), in the principles office being threatened to be expelled, and accidentally switching their undercover identities. Tatum- now science-geek enrolled in Chemistry, and Hill- now athletic popular kid enrolled in Drama/art, the couple find themselves reliving each others past lives as teenagers in school. Chuck in a hallucinogenic drug in the mix and we have comedy gold just waiting to unfurl.

As the unlikely heroes become torn between their investigation and new life at high-school their brotherhood is tested and their future as policemen put on the line. A simple, predictable plot but nevertheless providing exactly what it says on the tin- a fun-filled and laugh-out-loud tale of what happens when you throw two grown dummies back into high school. For instance, picture this: Tatum dressed in a science bauble jumper and Hill dressed as Peter Pan in a pink Volkswagen Beetle chased by a mob gang of angry bikers down the highway- certainly not your average Hollywood car chase!

Jonny Depp (that’s right, the Jonny Depp) even makes an unlikely five-minute appearance as the bike-gang member reveals himself as an undercover cop too. Who knew Depp was capable of going un-noticed on screen for that long. His cameo is tribute to the 1987 TV series of the same name in which he starred in over 80 episodes.

With a naturally comical on-screen presence both Tatum and Hill are a lovable duo that keep us laughing till the very end.

The Best Exotic Marigold Hotel

THE BEST EXOTIC MARIGOLD HOTEL ****

John Madden brings us this year’s feel-good movie as a bunch of British retirees travel to India in search of redemption and a new start. But the assumption that their booked accommodation is a plush and “exotic” hotel could not have been more wrong. With dusty drapes, incomplete décor and broken (or even absent) furniture- far from the luxuriousness visualised in its advertisement- it is down to unorganised but happy-clappy hotel manager Sonny (Dev Patel) to maintain the stay of his first residents. While each character unravels their story, the hotel unravels its charm to create a fresh tale of enlightenment, friendship and self-discovery.

With the likes of Judie Dench, Bill Nighy, Tom Wilkinson, Maggie Smith and Penelope Winton at the helm, this star studded cast could not have been more perfect as the residents of this hotel for the ‘elderly and beautiful.’ With a fine balance of witty humour and deep emotion, Madden delivers a story of magic and wonder as each resident celebrates, or indeed struggles with, the transition from their complicated or rustic lives on British soil to the colourful and vibrant domains of Indian culture.

True, the plot is predictable and doesn’t exactly stretch the imagination but it is believable and original. Cliches are plenty with Dench failing to get her head around how the internet works and Dev battling with his mother about arranged marriages. Maggie even gets in her infamous politically incorrect one-liners that allow us to roll our eyes but chuckle all the same. But this all adds to the films inexplicable charm and delight that is well carried throughout the whole two hours.

A must see sunday-afternoon flick for all those who are seeking inspiration, or simply wish to be humoured.

The Raid

FILM4 FRIGHTFEST GLASGOW PRESENTS THE RAID *****

The spring edition of the horror festival, Film4 Frightfest, celebrated its seventh year at Glasgow’s Film Festival last month with a schedule of 11 film premieres- the biggest of their weekenders yet with an additional 3 films in the line-up than in the previous year.

The UK’s favourite horror and fantasy film festival did not disappoint as it boasted a firm line-up of horror mayhem, among which was the UK premiere of CRAWL from the China brothers (Paul & Ben) and the newest instalment from director/producer/writer of 2009’s DREAD Anthony DiBlasi with CASSADAGA. The festival hosted some of its favourite masterminds of the genre; Italian madman and director of SHADOW Federico Zampaglione came to jump around and shout about (literally) his new movie TUPLA which he showcased a clip from for the very first time. Alan Jones, co-director of Frightfest, recognises that it’s important for the audience to meet the “talent behind the terror.”

After two days and 10 movies down, the festival sure ended with a bang as the film theatre had to hold onto its roof tightly during Gareth Evans’ eagerly anticipated The Raid.

You will be sure to reach an adrenalin-high after watching this super-exhilarating, blood-pumping action film by welsh director of MERANTAU, Gareth Evans.

Rama (Iko Uwais) is part of a SWAT team who are sent to raid a building full of degenerates. As the team are quickly picked off in several shoot-outs and bare-knuckle fights of the most brutal and spectacularly visual kind in their attempts to reach the ‘gang leader’ on the top floor, Rama is determined to complete his mission- to fight his way through whatever or whoever stands in his way.

Uwais, who has before only ever starred in Merantua as Yuda, has been learning Silat (an Indonesian traditional martial art) since he was a young boy and his extreme talents as a fighter, stunt artist and choreographer are overwhelming in what has to be a career defining performance. Himself and Yayan Ruhian, who did the majority of the choreography work, have to be credited for the range and diversity, not to mention the complexity, of the fight sequences some of which last minutes without cutting. [Most notably, the ultimate fight between Rama, Jaka (Joe Taslim) Mad Dog (Yayan Ruhian) is visceral eye candy for those who wish to witness an endurance match of utter viciousness and brutality; a jaw-dropping combat of precision, intensity and power between three true masters of the arts.]

Acting as the core of the movie, the numerous fight scenes are mind-blowingly imaginative and innovative; Powerful and pacing. The way in which Evans directs the camera is intimate enough for you to get close to the action- to feel the stabs, the bullets, the punches. Though he spares the audience at times, much to his credit, by taking a few steps back to allow us to see the scope of the action. Even when the combat is hammered off-screen, you are still able to grasp the impact of the unseen. While some directors fall into, and arguably overuse, the ‘video-game’ style of camera work when creating a piece of this disposition, Evans does well to avoid this by instead exploring a diverse range of camera angles mixed with both quick-cutting edits and suspense-building sequences.

But don’t think that this is an action film of just action. The direction of the film is slick and the back story to the character of Rama which comprises his obstacles are moving and fits into the narrative superbly.

Now firmly embedded into the Indonesian film industry since becoming a resident there, Evans mixes his western roots with his flare for eastern techniques to create this unique piece. He celebrates the raw talent of the East by providing a fresh reminder of what can be achieved with cleverly designed special effects and a firm ignorance of CGI. The post production of visual and sound effects fit incredibly well with the pulsating soundtrack by Aria Prayogi and Fajar Yuskemal, doing justice to, and completing, the genius work of the film’s cast and crew that I sense will be long celebrated- and not just by enthusiasts of the genre.

 The Raid is to receive a UK release in mid-May and is certainly an experience not one to be missed on the big screen.

The Woman In Black

THE WOMAN IN BLACK ***

Daniel Radcliffe breaks out of his childhood star role and into a less ‘spellbinding’ one in Eden Lake director Watkin’s recent film adaptation of Susan Hill’s 1980’s spine-chilling novel, The Woman in Black. Radcliffe puts on his best ‘adult’ face as Arthur, a lawyer struggling financially and emotionally too following the death of his wife in childbirth years prior. In the attempt to avoid financial ruin and to provide for his young son Joseph (Misha Handley), he goes to a remote village to sell a derelict property. But little does he know the history of the house and its former residents, not to mention the curse hidden in its walls. Radcliffe soon finds himself in much darker territory… and there is no Rupert Grint to help him this time!

The narrative begins promisingly with Arthur being greeted by a number of estranged locals when he arrives into their town. Distraught by loss and fear, as victims of the curse, they unsuccessfully try to deter Arthur away from the house. When inside the house the narrative gets lost somewhere in the middle in the directors over attention to cheap scares. Using what seems like all of the genres classic cliché’s from child’s footprints to looking through keyholes to shaking doorknobs, Watkins uses all the tricks in the book to create suspense and instil fear into the audience. Hand-in-hand with the perfect embodiment of a spooky haunted house and we wonder how anyone could have gone further than the tall iron gates. But Radcliffe does his best to rummage through every room in the house, comprising numerous scenes of peering round corners with creaky floorboards and the bare light from a candlestick (Daniel no longer has access to wands and ‘lumos’ light charms.) The middle hour is certainly exhausting to sit through. But we cannot help but sense the films ‘over-the-top-ness’ as a mud-boy rises up through the bed and Arthur pulls a perfectly formed, seemingly clothed corpse out from a swamp who had supposedly been lost in there for years. By this point the narrative loses its credibility. The overall charm of the film’s tension and Radcliffe’s ability to remain a face-numbingly terrified expression for most of the 90 minutes however somewhat overlooks this and allows you to enjoy, and simply ‘be scared’ as, the screaming banshee wails towards the camera.

Watkins’ adaptation is never going to be one of the most acclaimed ghost flick but, with the certification given age 12 (which I thought largely sat on the borderline of a 15,) it will surely please young teens who will undoubtedly get the screams that they paid for- any many more.

The Darkest Hour

THE DARKEST HOUR *

The Darkest Hour is a story of five tourists who become one of the few people left in the city alive after the invasion of an unknown alien-type. Sound familiar? That’s because it is.

Business partners Sean (Emile Hirsch) and Ben (Max Minghella) travel to Moscow in the hope to sell their social networking software. When they are cheated out of their business scheme, the only thing left to do is to commiserate drink at a bar, at which they meet two young women Natalie (Olivia Thirlby) and Anne (Rachael Taylor.) The foursome and the rest of the party-goers are soon interrupted by an illumine apparition that appears from the sky. The first inclination of wonder and anticpation is quickly turned to destruction and anarchy as the city of Moscow comes abruptly under attack. Locking themselves (and coincidentally the Swedish businessman who cheated the partners out of their chance of success) in an underground space of some sort, it is up to them to find help and ultimately, survive- yawn!

While the special effects are impressive (and easily the most credible aspect of the 3D movie) as you watch the aliens disintegrate the human life form limb my limb, there isn’t much in the way of ‘variety.’ You do start to wonder after the twentieth-something killing of this nature whether or not the aliens have another trick up their sleeve- or the film makers!

Just as you think the movie can’t get any more predictable, we are hit with a surprise! The now-three clan bumps into what I can only describe as the three Russian musketeers, one of who is wearing a prehistoric Roman Knight’s outfit and riding a horse. Apparently they are policeman. As they parade around waving doctor-who-like armory which zaps the invisible enemy, they propose some sort of reasoning to the alien’s motives as an attack on Earth’s metal resources. Although the movie at least attempts to offer a justification of the attack, it couldn’t have been done in a more comical and goofy way. 

The acting and depth of the characters is lame and you end up on the aliens side, hoping they kill everyone quickly so as to end the movie quicker. At least then they could claim some originality. Unfortunately they don’t, and Sean and his now love interest boards a ship to aid the rest of the world in fighting these martians and restoring world peace. Hirsch mutters out the phrase, ‘This is how it starts,’ but thankfully for us that is how it ends. Despite being easily the strongest member of the cast, Hirsch still pulls off a weak, less than convincing performance somewhat tainting my memories of the impeccable talent he showed in his leading role in Into the Wild five years prior.

So if you want to see a 3D movie purely for the one effect or to see a glimpse of the attractive sights of Moscow go ahead. But for any other reason, and for film buffs who like to be entertained by a decent picture, avoid this disaster noise at all costs.

Road to the Oscars

ROAD TO THE OSCARS

With the nominations of the 84^th Academy Awards released yesterday morning, a few people were left scratching their heads as Scorceses’ Hugo swept the board with a dominating 11 nominations. Critic’s favourite The Artist met expectations and closely followed with an impressive 10 but its suggested rival The Descendants fell drastically behind with only 4. Speilberg was surprisingly overlooked in the Best Directors category for his dramatic and compelling adaptation of War Horse, not to mention the exclusion not only of Leonardo Di Caprio in the Best Actor category but J.Edgar’s overall dismissal. Instead, Bichir received this nomination for his role in A Better Life (perhaps not expected, but deserved) -surprisingly left out of Best Foreign Film alongside A Separation. No stand-outs appear to be headlining the Best Animated Picture and Bridesmaid’s 2 nominations appear a distant hope for success.

A big cheer for film fans was the announcement of Gary Oldman’s Best Actor nomination for his leading role in Tinker Tailor Soldier Spy. Oldman, never to have received a nomination previously- a shocking revelation in itself- and left our of last month’s Golden Globes is reported to have been shocked but overwhelmed by the news- ‘It is extremely humbling, gratifying and delightful to have your work recognised by the Academy.’ Fingers crossed for his long-awaited triumph!

However, where there’s revelations, there’s always the certainties that pull through! Meryl Streep’s genius performance as Margaret Thatcher in The Iron Lady gained a firm nod for Best Actress and favourite Jean Dujardin’s history-making role in silent movie, The Artist, met its “dead-cert” expectations for Best Actor. Best Picture is a tough category this year. With the rules changed this year meaning that anywhere between 5-10 pictures could be nominated, the competition is rife for the chosen 9- no shocks there in particular regarding chosen nominees. The Harry Potter series picked up its usual nominations for Best Art Direction & Best Visual Effects with its Deathly Hallows Part 1 and the latest Transformer franchise (Transformers: Dark of the Moon) picked up similar recognition for its artistic and visual success.

Also seeming to be welcomed with good reception is the nominations picked up by Stephen Daldry’s Extremely Loud & Incredibly Close (one of the few films nominated that I have not seen yet) who is up for Best Picture. Are we in for an "extremely loud" upset? Critics however have panned this movie since its release and it could be equally up for, and perhaps more likely to succeed in, the film worse reviewed that has achieved an Oscar nomination (or so the rumours say!)

Below, the Academy nominations across the board (as on BBC website):

BEST PICTURE

War Horse

The Tree of Life

The Artist

Moneyball

The Descendants

Midnight in Paris

The Help

Hugo

Extremely Loud and Incredibly Close

BEST DIRECTOR

Michel Hazanavicius - The Artist

Alexander Payne - The Descendants

Martin Scorsese - Hugo

Woody Allen - Midnight in Paris

Terrence Malick - The Tree of Life

BEST ACTOR

Jean Dujardin - The Artist

Demian Bichir - A Better Life

Brad Pitt - Moneyball

George Clooney - The Descendants

Gary Oldman - Tinker Tailor Soldier Spy

BEST ACTRESS

Glenn Close - Albert Nobbs

Viola Davis - The Help

Rooney Mara - The Girl with the Dragon Tattoo

Meryl Streep - The Iron Lady

Michelle Williams - My Week With Marilyn

BEST SUPPORTING ACTOR

Kenneth Branagh - My Week With Marilyn

Jonah Hill - Moneyball

Nick Nolte - Warrior

Christopher Plummer - Beginners

Max von Sydow - Extremely Loud & Incredibly Close

BEST SUPPORTING ACTRESS

Berenice Bejo - The Artist

Jessica Chastain - The Help

Melissa McCarthy - Bridesmaids

Janet McTeer - Albert Nobbs

Octavia Spencer - The Help

BEST FOREIGN LANGUAGE FILM

Bullhead - Belgium

Footnote - Israel

In Darkness - Poland

Monsieur Lazhar - Canada

A Separation – Iran

BEST ORIGINAL SCREENPLAY

The Artist - Michel Hazanavicius

Bridesmaids - Annie Mumolo and Kristen Wiig

Margin Call - JC Chandor

Midnight in Paris - Woody Allen

A Separation - Asghar Farhadi

BEST ANIMATION

A Cat in Paris

Chico and Rita

Kung Fu Panda 2

Puss in Boots

Rango

BEST ADAPTED SCREENPLAY

The Descendants - Alexander Payne, Nat Faxon and Jim Rash

Hugo - John Logan

The Ides of March - George Clooney, Grant Heslov and Beau Willimon

Moneyball - Steven Zaillian and Aaron Sorkin. Story by Stan Chervin.

Tinker Tailor Solider Spy - Bridget O'Connor and Peter Straughan

BEST ART DIRECTION

The Artist

Harry Potter and the Deathly Hallows part 2

Hugo

Midnight in Paris

War Horse

BEST CINEMATOGRAPHY

The Artist

The Girl with the Dragon Tattoo

Hugo

The Tree of Life

War Horse

BEST SOUND MIXING

The Girl with the Dragon Tattoo

Hugo

Moneyball

Transformers: Dark of the Moon

War Horse

BEST SOUND EDITING

Drive

The Girl with the Dragon Tattoo

Hugo

Transformers: Dark of the Moon

War Horse

BEST ORIGINAL SONG

Man or Muppet from The Muppets - music and lyrics by Bret McKenzie

Real in Rio from Rio - music by Sergio Mendes and Carlinhos Brown and lyrics by Siedah Garrett

BEST ORIGINAL SCORE

The Adventures of Tintin

The Artist

Hugo

Tinker Tailor Soldier Spy

War Horse

BEST COSTUMES

Anonymous

The Artist

Hugo

Jane Eyre

W.E.

BEST DOCUMENTARY FEATURE

Hell and Back Again

If a Tree Falls: A Story of the Earth Liberation Front

Paradise Lost 3: Purgatory

Pina

Undefeated

BEST DOCUMENTARY SHORT

The Barber of Birmingham: Foot Soldier of the Civil Rights Movement

God is the Bigger Elvis

Incident in New Baghdad

Saving Face

The Tsunami and the Cherry Blossom

BEST FILM EDITING

The Artist

The Descendants

The Girl with the Dragon Tattoo

Hugo

Moneyball

BEST ANIMATED SHORT FILM

Dimanche/Sunday

The Fantastic Flying Books of Mr Morris Lessmore

La Luna

A Morning Stroll

Wild Life

BEST LIVE ACTION SHORT FILM

Penecost

Raju

The Shore

Time Freak

Tuba Atlantic

BEST VISUAL EFFECTS

Harry Potter and the Deathly Hallows Part 2

Hugo

Real Steel

Rise of the Planet of the Apes

Transformers: Dark of the Moon

BEST MAKE-UP

Albert Nobbs

Harry Potter and the Deathly Hallows Part 2

The Iron Lady

Certainly an interesting and anticipated line-up with plenty of room for further bomb-shells to be dropped! The live broadcasting of the 84^th Academy Awards will be held on the 26^th February.

Another Earth

ANOTHER EARTH ***

On the eve of the discovery of a duplicate planet, the lives of young, bright student Rhoda (Brit Marling) and successful composer John (William Mapother) tragically cross paths in a fatal car accident and are irrevocably intertwined. Four years from the accident and Rhoda leaves prison a felon; an outsider in society desperate to make amends to the bereaved man whose life she ruined four years prior.

When granted a once in a lifetime opportunity to start a new life on ‘Earth 2,’ Rhoda is finally met with a way out, a route to escapism that she has so longed for. But with the development of her strange relationship with John riddled with complications and guilt, and as the truth precariously unravels, it becomes a route she has difficulty in seizing.

 The running plot of a duplicate planet which all too suddenly appears visible to Earth is a flimsy one and a poor claim to label the film a sci-fi. The population’s apparent mass hysteria is revealed through a small cast and connections between the two planets are even less believable. But as a plaintive drama and a coming-of-age-tale of redemption and salvation wrapped around the cosmic relationship between two people disorientated in the world they inhabit, director Cahill (and co-writer & leading actress Brit Marling) has created a compelling debut story of parallel lives and second chances.

The pulsing soundtrack effectively engages with the charging emotion between the two leading characters as well as with Rhoda’s disengagement with the earth she knows paralleled with an over-hanging hope of a more promising one. With films of generic sci-fi elements often calling for huge CGI effects to spark explosive apocalyptic crashes, Another Earth’s use of digital-video relies on it’s fresh indie roots, mirroring what is still a rare placement of ideas over actions in films today.

Wuthering Heights

WUTHERING HEIGHTS *

Not surprising is the release of yet another re-telling of a classic novel that has made its way into our cinemas.

Andrea Arnold’s brave adaptation of Bronte’s novel can certainly be credited for its originality and ambitiousness. In this version, Heathcliffe is a black runaway from the urban grit of Liverpool whose been picked up by the Earnshaws and raised on their country farm in Yorkshire. As youngsters, Healthcliffe (Lee Shaw) and Cathy (Shannon Beer) form a stiff but compassionate relationship, existing as a sort of innocent hybrid between siblings and lovers. As they spend their endless days playing together on the moors, they live harmoniously within their passionate childhood romance.

While the vision of oppression is still apparent, the casting of a black actor as Heathcliff as a spin on Brontë’s “dark-skinned gypsy” diverts the tale’s initial theme of social class as a barrier between the characters relationship and instead is replaced with racial obstacles. Healthcliffe spends his early years subject to Cathy’s racist and vindictive brother, victim to his malicious treatment and cruel humiliation (“He ain’t my brother, he’s a nigger.”) Although we see the isolating life of an Afro-Caribbean in mid 19^th century England through his eyes, we know very little about his past and background.

The characters in their younger form effectively embrace a kindled and instinctual love and friendship, most memorably characterised in the touching scene whereby Cathy tenderly soaks and licks the blood off Heathcliffes slave-whipped back. However as adults (Kaya Scodelario & James Howson) the characters and actors become less convincing and more distant, both with one another and with the audience. As Heathcliffe returns to the farm wealthy, accomplished and still yearning for Cathy, his ongoing battle for her love is considerably diluted by their thin presences and seemingly disinterested and emotionally absent selves. The lack of a finite tragedy in the films conclusion is disappointing; with a lack of emotional build up from the aging transition and a missing dramatic edge, we are left just as disillusioned from the world as Healthcliffe becomes.

Typical of many modern-day adaptations of novels is the reliance of visual images and sounds over literary dialogue. With superb camera work and a plausible soundtrack that catches the ambience of the bleak moor, we rather wish dialogue had been cut altogether. With repeated use of the words ‘cunt’ and ‘nigger’ being spat around between the characters (with “fuck off, you cunt” being Heathcliffe’s initial greeting to the Linton’s over dinner) we severely doubt much use of Bronte’s literary reference. The dialogue appears effective in highlighting how the brutal world and harsh environment has sucked the residents into its lair; however we cannot help but feel shocked and uneasy as we are vastly stricken from our ordinary cosy period drama.

Arnolds focus on camera work sweeping the bleak and desolate moors and zooming in on nature’s wilderness is an effective depiction of the gritty moors and perhaps the highlight of the film. While this superbly homes in on the harsh environment in which the characters live, we are still discontent with the lack of attention, description, and even reference to, the building and grounds of Wuthering Heights which we are so intimately connected to in Bronte’s novel and in previous film adaptations.

Arnold has without a doubt completely re-energised the story for a new generation in her austere, elemental version but the fact that it severely lacks reference to its original roots regarding characters, plot and literary dialogue and disregards the novel’s intensely emotional disposition, almost to the point that Bronte herself would perhaps not recognise it as her own work, struggles to place Arnolds work as a homage to its origin.

Perfect Senses

PERFECT SENSES ****


Ever wondered what it would be like to smell nothing? ...hear nothing? …taste nothing? …see nothing? How about if all this happened at once? Perfect Senses is an original and touching story which endeavours to show us just this.

Susan (Eva Green) is a epidemiologist monitoring a mystery case patient who has lost his sense of smell. We soon learn that this is happening to people all over the world and, as the epidemic vastly spreads, people are gradually being deprived not only of their smell but one by one their other senses too. Before parting with each sense a person is first stricken with an outburst of emotion upheaval (profound grief before losing their smell, frantic hunger before losing their taste and so on…)

The film is shot well. Although the film is predominantly shot on location in Glasgow, projecting an unsettling ‘close-to-home’ feeling, Mackenzie uses a concoction of montages of worldwide images, news reels and voiceovers to depict the widespread chaos and anarchy in this uncontrollable apocalyptic world.

Director David Mackenzie has undoubtedly created a beautifully unique picture different from other ‘end of the world’ depictions but, although it still neatly fits into the field of scientific fiction, the actual science behind the concept is weakly supported. There is no attempt made by Mackenzie to neither explain nor offer any theory into why or how this is happening and throughout the film the outbreak remains an unexplainable mystery; one which we see is hardly resisted but largely accepted by the population affected. It seems bizarre how we follow the life of a scientist (Susan) yet Mckenzie allows her character to show little interest or effort in trying to explore the illness or revive the population.

Similarly approached by Gareth Edwards’ in his 2010 Monsters, the focal direction of the plot instead lies in the passionate affair between the two central characters, Susan and talented chef, Michael. Meeting for the first time outside Michael’s restaurant just as the plague enters its first phase, the plot essentially follows the couple’s journey to survival as they slowly watch the world around them turn to disaster and disorder, as well as- at times- each other. Despite their ups and downs as we see the plague taking its toll, they learn how essentially all they need to survive are each other. Although this may seem like an all too familiar happy-ending romance story, Mckenzie effectively delivers a realistic depiction of humanity in desperation as it gradually dissolves into helplessness, crumbling into the hands of the merciless disease… and the conclusion isn’t quite as blissful and conclusive as one might expect.

If you go to the cinema with the expectations to see a well-informed apocalyptic sci-fi thriller like District 9 or The Day After Tomorrow you will be disappointed. However, if you let yourself engage with this beautifully executed spin on human relations in a time of turmoil, this really is a film worthy of a watch.

Red, White & Blue

RED, WHITE & BLUE *****

Although the UK Premiere of Red White & Blue screened over a year ago at Film4 Frightfest 2010 it has been a long journey for British Director Simon Rumley’s psycho-sexual horror to receive an official UK release date. On the 30th September Red, White & Blue will finally reach cinemas across the country.

 Erica (Amanda Fuller) is a disaffected young woman who spends her time being generally unpleasant- swearing, smoking and having meaningless sexual encounters with the strange men in her home town of Austin, Texas. Emotionally withdrawn and tragically damaged, the nymphomaniac does whatever she can to distract her from, what is later revealed as, her haunting past of sexual abuse as a child; losing her virginity at the age of four…to her mother’s boyfriend. The opening montage of scenes which demonstrates her promiscuous revenge is cleverly manipulated by Rumley, neither condemning nor glorifying Erica’s actions. 

Enter Nate (Noah Tyler), an Iraqi war veteran who received an honourable discharge (the reason not made known), but more importantly a neighbour to Erica in a boarding house in Austin. He too appears secluded and withdrawn, even creepy at times, but despite this Rumley creates a likeable character who genuinely tries to help the unreachable Erica, whether she wants it or not. Although his efforts are instantly rejected by the fact that she doesn’t ‘, he insists on building a protective aura around her. When she gets fired from her job of mopping floors at a local restaurant, Nate finds her employment at his workplace in a DIY warehouse where we gradually see their relationship bloom into a fragile but tender friendship.

 Meanwhile, the story skips to young wannabe rock star, Frankie. Despite the band member’s aggressive and sulky attitude, we are conflicted in our opinions as we learn that Frankie is in fact a full-time carer for his beloved mother who has been diagnosed with cancer. 

While Rumley dedicates a considerable amount of plot to the character development of these central figures, this slow-burn thriller is quickly turned on its head when Frankie receives some terrible news. As the stories intertwine and the lives of the trio become tangled in a second-revelation that proves life-changing for all three, the movie quickly spirals into a heart-racing and disturbing tale…with one dominating theme: Revenge. All of a sudden, things get nasty. The calm and tranquil atmosphere carefully crafted by Rumley in the first two-thirds of the movie loses all inhibition as we are thrown into several unsettling torture scenes.

Rumley obviously didn’t hold back in this one. The artistic but brutal approach in these scenes are nothing less than harrowing, and are vivid reminders of the extreme violent techniques adopted by Gaspar Noe’s in his 2002 release Irreversible. As the mental instability from Nate’s war-time past resurfaces, we see less of his seemingly-gentle natured self and instead witness the actions of a cruel and calculated machine; actions that Rumley guarantees to be explicitly unnerving.

Not to be ignored is the use of the music score by Richard Chester (who also worked on the score for Rumley’s ‘The Living and the Dead.’) Although absent for most of the film, it plays for the first four minutes in the opening scenes, setting the tone superbly for what is to come. It proves pivotal in the latter scenes where it’s contrasting composition is used as the primary tool for heightening emotion and suspense- notably effective in one of the final scenes where Nate is able to finally feed his hunger for revenge….and boy was he hungggrryyyyyyy!