NEED FOR SPEED

Basically…
After being framed by wealthy businessman, Dino, (Dominic Cooper), Tobey, (Aaron Paul), is released from prison with a hunger for both revenge and justice. Embarking on a cross country race he heads to California for the ultimate clash of minds, morals and wheels.

In other words…
A car chase with equal measures of sexiness and real emotion.

The main men and leading ladies…
Playing the likable Tobey, this feels like an easy role for Aaron Paul, the nation’s favourite following his Breaking Bad escapades. But then again, he can do no wrong and the audience was rooting for him before the film had even begun. Dominic Cooper is well suited to the role of the bad guy, while Imogen Poots continues to make a real impact. Having been around for ages, the daughter in 28 Weeks Later never really sprung onto the scene properly until featuring in Filth and That Awkward Moment in recent months. She starts off as the annoying English girl with attitude but you grow to love her quirky side quickly, and there’s a real chemistry between her and Aaron Paul.

In the chair…
Scott Waugh is still a newbie when it comes to taking to the chair as he’s obviously a lot more comfortable getting caught up in the heat of things. Surprising as it this stunt man has turned to work behind the camera, it’s not so much of a shock his biggest work to date is a pulsating all-action experience. He did stunts for the original Spiderman movies, Batman Forever too, and even turned up as a terrorist in 24 during his acting days. 

So…?
Some reviews have deemed this the worst video game adaptation of all time – but let’s face it – has there ever been a good one? There’s only so much you can do with a two minute car chase when adapting it into a two hour film. It does enough to make sure it doesn’t alienate the non-car people, but has clearly done its research into recent drift trends to entertain those in the know. It might take itself more seriously than the Fast and Furious films but in terms of entertainment value this has it all. There’s an actual plot! A real storyline - that as daft as it may be - adds meaning to the chase scenes and a reason for willing them on to succeed. The action and effects grip you so much you don’t realise you've stopped scoffing your popcorn and it's also unusual to connect so deeply with characters in this sort of movie, feel real empathy for them and leave wanting more.

Worth the money? 
For a bit of fun with friends? Definitely. 

UNDER THE SKIN

Basically…
A creature of unknown origin takes the form of a human body and drives around Glasgow preying on men. But as she embraces the human experience and ‘grows’ into her adopted skin a bit too comfortably, she soon finds out the true complexity of her new form.

In other words…
A surreal drive around Glasgow with a sexy confused murderer.

The main men and leading ladies…
Scarlett Johansson draws parallels with her most recent hit, Her, as her unnamed character adapts to a new human form and begins to develop feelings and emotions – only this time we can see and not so much hear her. Her targets are innocent Glaswegians flirting with a hot, but unrecognisable Hollywood star, and that becomes an entertaining aspect in itself. Only Paul Brannigan, who follows up his excellent debut in The Angel’s Share, was aware of what was going on, as they secretly filmed unsuspecting victims. And Brannigan, as short as his part may be, does get to boast one of the most chilling and unforgettable scenes in the entire film…

In the chair…
Best known for Sexy Beast, this is a far cry from the crime genre Jonathan Glazer mastered in the 2001 film. The surreal dream sequences, though, share the same tone as Under The Skin, so in some ways there are some similarities. Sexy Beast made him look like a commercial director, but he’s back to his roots with this one, producing artwork as striking as his famous Guinness advert, ‘Surfer’. 

So…?
For a movie that explores human emotions – or lack of – it’s strangely touching and warm. Fewer films will manage to get under your skin like this one, not only because of its chilling soundtrack and gripping plot but also the hypnotic scenes that refuse to spoon feed the viewer the answers they will no doubt be asking the whole way through. The final act is as haunting as the earlier beach scene, as you get an insight into how a human mind develops with emotion. It received mixed reviews at the festivals but it’s fair to say it's deeper than you first expect, and unlike anything else getting released this year.

Worth the money? 
Yes, if you go in with in an open mind. 

THE GRAND BUDAPEST HOTEL

Basically…
The adventures of Gustave H, (Ralph Fiennes), the concierge of a legendary hotel during the wars. He teams up with Zero Moustafa, (Tony Revolori), the trusted lobby boy, as he fights to prove his innocence after being framed for murder.

In other words…
Faulty Towers…the silent movie…with too much sound…

The main men and leading ladies…
Fiennes takes top billing on the poster but he has a host of big names keeping him company. Adrien Brody, Willem Dafoe, Jeff Goldblum, Bill Murray and Tilda Swinton are just some of the Hollywood A-listers on parade here. Special mention to Edward Norton as it’s becoming a rare treat to see him back on our cinema screens, and still not looking a day older either. An impressive debut for Revolori too, who will have learnt the a thing or twenty from the experienced heads around him.

In the chair…
With the likes of Fantastic Mr Fox, Rushmore and Moonrise Kingdom in his back catalogue you’ll know by now that to get a Wes Anderson film you have to have crawled inside his head and understood what’s going on. You either love him or you hate him, and if you’re still sitting on the fence, The Grand Budapest Hotel will probably sway you one way or the other.

So…?
Find me a film this year that drowns in its own desperation to be witty and unique more than this one and I will be amazed. If Budapest was a cake, it would firstly be large, sweet and extremely pink, and secondly, it would have eaten itself before the second act had kicked in. Anderson is all about style over substance, yet remarkably he still manages to make it feel cold and detached. There’s no depth to any character, they come and go in a blink of an eye as he tries to squeeze as many stars into the cast list as he can, and there’s no time to form any sort of bond with anyone, let alone emphasise with them or their emotions. There’s a lot crammed into this film, very few of them worth singing and dancing about, but with the characters almost laughing at their own jokes there’s a strange gaping hole for some canned laughter. And don’t even get me started on the scratchy backing music that’s played over every second scene, its repetitive dying-violin drone will haunt you in your sleep.

Worth the money? 
Do I need to answer that?

NON-STOP

Basically…
An air marshal, (Liam Neeson), springs into action mid flight across the Atlantic when someone taps into the secure phone network and taunts him with threats. He’s to transfer $150 million to this stranger’s account or else a passenger on the plane will die every 20 minutes.

In other words…
Murders on a motherfuckin Plane.

The main men and leading ladies…
Neeson is no stranger to the beaten down action hero role, but let’s face it, he’s still no Jack Bauer. With suspense thrillers coming thick and fast in recent years he's well in his comfort zone with this one. But while he likes to threaten his enemies with the trademark cinematic voiceover tone, he’s never been able to convincingly be the intimidating leader. Julianne Moore, meanwhile, is as reliable as ever.

In the chair…
Juame Collet-Serra has done the orphanage horrors, Roy of the Rovers football stories and Liam Neeson revenge hunts – but he’s been second to them all and will forever be haunted by the fact it wasn’t his Liam Neeson revenge hunt that’s being quoted to the moon and back. Director of Unknown, Orphanage, House of Wax and Goal II, Collet-Serra needs to break away and come first for a change.

So…?
It’s been almost a decade since Red Eye and Flight Plan but for a brief spell it starts to look as though Non-Stop is going down a similar road. It takes a few twists and turns, failing to avoid a few plot holes along the way, but if you suspend belief and don’t take it too seriously, it’s just another harmless gun-pointing thriller. The plot is captivating, the effects are chilling and it successfully leaves you suspicious of everyone around you – both in the film and once you leave the cinema - but the last act is weak. It barely makes sense and is instantly forgettable. A film with potential but just doesn't really go anywhere…well, except half way across the Atlantic.

Worth the money? 
If you want a brain dead action film with your friends on Orange Wednesday then sure, but don’t expect a classic.

THE BOOK THIEF

Basically…
Viewed through the eyes of Liesel, (Sophie Nelisse), a young girl beginning a new life with foster parents, we see her trying to make sense of World War II. From her new small town she learns how to read and seeks solace in books. Meanwhile, her strict stepmother, (Emily Watson) and kind hearted stepfather (Geoffrey Rush) take in a young Jewish boy who hides in their basement.

In other words…
Anne Frank through the eyes of a Nazi youth.

The main men and leading ladies…
Looking like a young Drew Barrymore, Nelisse is certainly one to watch out for. Her delicate yet strong portrayal of Liesel conveyed just how confusing and challenging life was like for a young girl in Germany at that time. A typically excellent performance from Watson showed Rosa as the callous woman she was on the surface, and the touching show from Rush was lump of the throat stuff…even if you’re not a daddy’s girl.

In the chair…
Brian Percival is best known for his work on Downtown Abbey and was still working on the TV series when he began his first major cinematic offering. In fact, he was so much involved with the show he read the script to the movie before the novel and was instantly captured by the plot.

So…?
Being based on the novel it was always going to lack the depth of some characters – in this case Max being the main victim, but arguably Liesel’s friendship with her next door neighbour Rudy is even more touching. To view this era through the eyes of a German child is a refreshing take on a storyline that’s both deep and emotional. Interestingly narrated by Death (Roger Allam), the storyline immediately takes you on a tense journey. But despite the tears you’ll be choking back by the end, it will be remembered for its heart, soul and ultimate warmth through such a dark and chilling period.

Worth the money? 
Yes, yes and yes again.

HER

Basically…

Set in the near future, heart broken and vulnerable Theodore (Joaquin Phoenix) makes a new friend in the form of a computer. He quickly begins to develop feelings for ‘Samantha’, (Scarlett Johansson), the individual personality created by the operating system, and in turn, she grows as a result of his affection and begins to form human emotions for herself.

In other words…

A love story between one man and Siri. 

The main men and leading ladies…

Phoenix stars in his first major role since 2012’s The Master, playing the complex, soulful and socially awkward man who is visibly hurting from his divorce. Johansson’s sexy husky voice makes her ideal for the sound of Samantha, which makes you wonder why she wasn’t first choice for the role, and was in fact a last minute substitute after filming had initially finished. 

In the chair…

It’s a shame Spike Jonze couldn’t live up to Being John Malkovich but a similar tranquil and haunting tone is underlying here. His most recent cinema venture, Bad Grandpa, however, is absolutely everything you won’t find in Her...so don’t expect many comparisons in that sense.

So…?

I’d like to say this was unrealistic but with the speed of technology advancements it’s daunting to think this could soon be a true story. In a disturbing way, Her is similar to Lars and the Real Girl, only you aren’t treated to Ryan Gosling’s mysteriousness, instead you get Phoenix’s tash for two hours. And yes, that’s too long for any sort of dodgy facial hair never mind a slightly predictable warning about strangers you meet behind a computer screen. Yes it’s a thought provoking and original tale, but it’s too placid, claustrophobic and at least half an hour too long. The over powering desire to shake some sense into Theo and wake the tone up is equalled only by how horribly awkward the ‘phone sex’ scenes were. 

Worth the money?

Unless you’re into psychology give this one a miss.

And if that's not enough to help you make up your mind, check the trailer out as well. 

ACADEMY AWARDS SPECIAL: OSCARS PREVIEW

Whether it's the cringy acceptance speeches, incredible outfits or quite simply commemorating some of the best films of late, what's not to love about Los Angeles’ most prestigious night.

Hollywood's finest will be taking to the red carpet on Sunday for the 86th Academy Awards and I'm not going to even try and pretend I'm not knickers-in-a-twist excited. 

This is who I think will win the six major awards...and who should actually walk away with the wee gold man instead.

BEST PICTURE
American Hustle
Captain Phillips

Dallas Buyers Club
Gravity
Her
Nebraska
Philomena
12 Years a Slave
The Wolf of Wall Street

What will win? 12 Years a Slave
What should win? Wolf of Wall Street
Why? Captain Phillips was a surprise stand out last year, so along with Dallas Buyers Club, they both deserve their nominations. Nebraska, American Hustle and Philomena were excellent don’t feel up to the status of the Academy Award’s best picture. Her was an insult to cinema (review to follow, you have that to look forward to) and 12 Years a Slave was nothing but Oscar bait. As impressive as it was, it screams desperation for Hollywood gold. The Wolf of Wall Street, however, was yet another Scorsese masterpiece - original, charming and as gritty as it was crass.

BEST ACTOR IN A LEADING ROLE
Christian Bale (American Hustle)
Bruce Dern (Nebraska)
Leonardo DiCaprio (The Wolf of Wall Street)
Chiwetel Ejiofor (12 Years a Slave)
Matthew McConaughey (Dallas Buyers Club)

Who will win? Chiwetel Ejiofor
Who should win? Leonardo DiCaprio
Why? It’s a travesty in itself that Leo Di hasn't got a Hollywood star never mind an Oscar in his long and glittering career, but that injustice doesn't look like it will be ending anytime soon. I can’t see them commemorating his work for portraying someone who relies on drugs for the high life, over someone who relies on them to live. But I doubt McConaughey will win either, despite him and Bale deserving special praise for their significant changes in weight – all for the sake of entertainment. Instead, the inevitable win for Ejiofor proves the theory that this award goes to who acts the most, and not the best.


BEST ACTRESS IN A LEADING ROLE
Amy Adams (American Hustle)
Cate Blanchett (Blue Jasmine)
Sandra Bullock (Gravity)
Judi Dench (Philomena)
Meryl Streep (August: Osage County)

Who will win? Cate Blanchett
Who should win? Amy Adams
Why? Dench’s role felt like an easy, and predictable character for the 79-year old, while panic screams shouldn't be enough to merit Bullock the gong. Gravity should be commemorated for its effects, but little more. Streep was outstanding as the troubled and tortured mother in August, but it will be the Blanchett’s troubled and tortured portrayal that will tip it her way. (I see a pattern emerging). Adam’s hurt and anguish was kept from the surface but deserves the credit for taking on the complex con artist role sublimely.


BEST ACTOR IN A SUPPORTING ROLE
Barkhad Abdi (Captain Phillips)
Bradley Cooper (American Hustle)
Michael Fassbender (12 Years a Slave)
Jonah Hill (The Wolf of Wall Street)
Jared Leto (Dallas Buyers Club)

Who will win? Barkhad Abdi
Who should win? Jared Leto
Why? A tough category and it’s difficult to fault Hill, Fassbender and Cooper, but Abdi and Leto left a lasting impact. Abdi came from nothing to win the BAFTA for this category and even though it’s a difficult one to predict, he could make it a double. Leto’s heartwarming transgender performance would have melted an iceberg though, and deserves credit for the challenging and original performance he treated us to.



BEST ACTRESS IN A SUPPORTING ROLE
Sally Hawkins (Blue Jasmine)
Jennifer Lawrence (American Hustle)
Lupita Nyong'o (12 Years a Slave)
Julia Roberts (August: Osage County)
June Squibb (Nebraska)

Who will win? Lupita Nyong’o
Who should win? Jennifer Lawrence
Why? You can rule Squibb and Roberts out already, and probably Hawkins too despite her delightful performance as the tolerant, yet naive sister in Blue Jasmine. It will come down to a battle between Lawrence and outstanding newcomer Nyong’o with most expecting the 12 Years’ youngster to take the glory. (And to be fair, she was the best thing about the film). Lawrence’s BAFTA victory in the same category, however, keeps the race open and rightly so considering she bettered her performance in Silver Linings Playbook – the one she won the Best Actress award for last year. 

BEST DIRECTING
American Hustle (David O. Russell)
Gravity (Alfonso Cuarón)
Nebraska (Alexander Payne)
12 Years a Slave (Steve McQueen)
The Wolf of Wall Street (Martin Scorsese)

Who will win? Alfonso Cuarón
Who should win? Martin Scorsese
Why? Russell and Payne both provided us with highly entertaining and captivating movies but I don’t think either will come within touching distance of this award. McQueen stands a good chance but is probably the least likely 12 Years winner from the top categories. Scorsese won’t win, but any director who is able to take a story about finance and turn it into a three hour epic deserves some form of golden high five. Cuarón’s wins at both the Golden Globes and the BAFTA’s however, makes this one a predictable category. 

There may be some glaring absentees from the big categories – Emma Thompson (Saving Mr Banks) and Matt Damon (Behind the Candelabra) being the two that spring to my mind, but nevertheless, enjoy the show fellow cinema lovers and let me know what you think too.