BAD NEIGHBOURS

Basically…

When a frat team move in next door to new parents Mac and Kelly (Seth Rogan and Rose Byrne), they try and deal with the situation by being a sensible…but end up just realising how much they've left that generation behind.

In other words…

A harsh reminder youth is wasted on the young. 

The main men and leading ladies…

Can Seth Rogan do anything wrong? Well no, not if you consider his already glistening CV and the fact he just added to it with yet another compelling performance in yet another original comedy. His contribution is effortlessly believable as the Dad who’s not quite sure if it’s time to grow up.

Zak Efron follows up Parkland and That Awkward Moment with another strong performance and is perfectly cast alongside on-screen best friend Dave Franco who is equally super cool, uber hot and insanely popular. A third consecutive comedy, though, could see Efron typecast after doing so well to break away from his teen heartthrob status with Paperboy and Parkland.

In the chair…

Considering Nicholas Stoller’s previous work with Russell Brand and Jim Carey on films you really wouldn’t want to shout about from the rooftops (Forgetting Sarah Marshall, Get Him to the Greek, Fun With Dick and Jane, Yes Man…oh and The (awful) Five Year Engagement too) you wouldn't be blamed for expecting the worse (again). But Rogan and Efron manage to pull him through on this occasion – he owes the casting director a lot.

So…

If you’re googling this film and can only find ‘Neighbours’ don’t be confused – that’s what it’s called in America. The title was only changed for the UK and Australia to stop us confusing it with the soap (is that even still going?!) Bad Neighbours isn't one of the funniest films of the year, let’s settle that now, because with the actors and plot it could have got the sides hurting a lot more. At times the humour is even more immature than previous Rogan films so in that sense it lets itself down. But on the plus side it has the energy to keep you hooked and conveys the depth and growth of the four main characters. It’ll leave you missing the freedom of your student days but at the same time make you appreciate going home to that pile of ironing.

Worth the money? 

It’s another one you can leave your brain at the door but where’s the harm in a fun night out with mates.

THE AMAZING SPIDERMAN 2

**Spoiler alert: My undying love for Andrew Garfield may become slightly obvious**

Basically…

Peter Parker (Andrew Garfield) continues his quest to discover the truth about what happened to his parents and how they’re connected to Oscorpe’s hidden secrets. This in turn creates more villains for him to face as Spiderman at the same time he unexpectedly welcomes old friend Harry Osborn (Dane DeHaan) back into his life.

In other words…

If all spiders looked like Andrew Garfield the world would be a much better place.

The main men and leading ladies…

Whether you prefer the nerdy Tobey Maguire or the isolated Andrew Garfield depiction of Peter Parker, the Amazing adaptations work in an entity of their own. The latest arachnageek may be bordering on 31 but he still passes as the uncomfortable teenager trying to settle into the big bad world after high school. His adorable nervousness around Gwen (Emma Stone), shyness around adults and awkwardness in any sort of social situation compliments the entirely opposite traits he possesses while in the lycra and hiding behind a mask. The unquestionable chemistry between him and his real-life girlfriend is to be expected and is extremely satisfying, natural (and enviable) at the same time.

In the chair…

Maybe it was the incredible irony in his surname that attracted Marc Webb to the Spiderman franchise but regardless, it was a huge challenge trying to reboot the already flawless Sam Raimi trilogy from just a decade earlier. With that success still fresh in everyone’s minds he had to take a different path and introduce new challenges for the hero to face. And while the first failed to do that in many ways, taking the viewer on a very similar path to the original, the sequel doesn’t. Webb successfully left Spidey geeks questioning how and when events would occur while those watching it blindly were entertained by the unknown.

So…?

Spiderman as a movie ticks all the boxes for superhero and special effects fans just as much as it does for those looking for a sentimental, heartfelt story about love, loss and confused teenage angst. But as expected, the sequel loses what it’s really about and becomes a mess of action packed drama with too many characters and too much happening. At least with the first movie in a superhero franchise most of the plot is dedicated to introducing the story and developing their transformation. With sequels though, he’s saving the world (again) before we’ve barely taken our first handful of popcorn. And Webb? You’re guilty as charged. If CGI shots of Spiderman swinging through the streets of New York and lifting cars with one hand is what you want then you’ll get your money’s worth. Those looking for more of Peter Parker’s journey away from the mask will feel short-changed though. This isn’t a classic, it’s just a continuation.

Worth the money? 

For two hours of Andrew Garfield...?

THE OTHER WOMAN

Basically…

Wife Kate (Leslie Mann) and bit on the side, Carly (Cameron Diaz), become the most unlikely friends when they discover they’ve both been played by the same man (Nikolaj Coster-Waldau). But when they then realise Mark’s been cheating on them both with a third girl (Kate Upton), the trio unite to hit him where it hurts the most.

In other words…

Crazy chicks unleash the girl power.

The main men and leading ladies…

Diaz is perfectly cast as the sexy, independent and cold hearted bitch who fights the affections of her boyfriend’s wife when they first meet. She’ll never be Mary again but she still knows how to pull off the hot plumber outfit.

Mann for once doesn’t play the highly-strung parent and instead takes on a more childlike persona which unfortunately borders on annoyingly irritating before not too long. Despite Mann’s character facing the biggest journey of all three women, it’s Diaz who makes sure hers pulls off the most emotional and life changing transformation.

In the chair…

After the likes of My Sister’s Keeper and The Notebook it’s nice to see Nick Cassavetes take on a less emotional tearjerker and encourage laughter. He approaches the direction in a predictable and simple manner though, and doesn’t leave much to the imagination.

So…?

As original as the plot is for a typically mundane braindead chick flick – it fails to remember its target audience. If the majority watching the movie are women, why fill it with dated clichés and sexist attitudes? In fact adding together the sultry Diaz, boobalicious Upton and severe lack of eye candy for the ladies, it feels like it’s directed at completely the opposite group of people who will actually pay money to see this film. It had potential but it’s lack of laugh out loud jokes made it no more than a far fetched story with little for the female audience to relate to. Like Bridesmaids it’s a mean-spirited revenge flick…but it’s just not as witty (and Bridemaids isn’t even that funny so that’s saying something).

Worth the money? 

Paying not to laugh? You work it out…

THE CALVARY

Basically…

During confession, Father Lavelle (Brendan Gleeson) learns that one of the locals is planning to kill him in an act of revenge against the Catholic Church. He then spends the next seven days dealing with a range of people in his village who each have their own reasons for disliking his religion and piecing together who is preparing to take his life.

In other words…

Father Ted is Father Dead.

The main men and leading ladies…

Brendan Gleeson is cast to perfection as the craggy and burdened – yet devoted priest – and makes this film what it is. But without the correct tone we don’t see him fulfil his potential. Had he brought his cynical humour from In Bruges it would have worked perfectly, but instead John Michael McDonagh cast him without the same wit or sarcasm – traits that wouldn’t have been out of place here. Chris O’Dowd is more than your lovable idiot for a change, and is back playing to his strengths again after some questionable roles in Girls and Cuban Fury. Dylan Moran is as excellent as ever and Kelly Reilly plays the troubled daughter well.

In the chair…

McDonagh follows up The Guard with a similar dark and subtle humour – and as much as that’s great, he still fails to live up to his brother Martin’s work. Had he been less subtle with the black comedic tone like his brother’s In Bruges and Seven Psychopaths, both his movies would be rivaling them on the cult classic scale.

So…?

It’s refreshing to see a film cast a priest as the innocent good guy for a change, but is the dying genre really something we’ve missed? In this case it feels like something's missing, and while the acting is immense, the plot is powerful and the atmosphere is intense, the tone could have been darker. The storyline merited more black humour than just the odd one liner, and had the scope to use the mystery element and subtle detective work to greater depth. And not that I’m one for plot spoilers, but seeing an unnecessary shot of a murdered pet Labrador is deplorable. Get that sorted McDonagh. 

Worth the money?

Nope.

THE DOUBLE

Basically…

Government office worker, Simon, (Jesse Eisenberg), makes so little impact on the people around him he goes by completely unnoticed on a daily basis. But when new employee James, (also Eisenberg), starts the same job he grows increasingly disturbed by how identical in appearance, yet how different in personality they are. Facing a battle, both in his career and love life, he fights to stop James completely stealing his identity and taking over his life.

In other words…

Two Eisenberg’s for the price of one. What more could you want?

The main men and leading ladies…

The Social Network, Now You See Me, even his brief appearance in Modern Family – Eisenberg is quickly becoming typecast as the irritatingly, arrogant, cocky little shit you would love to put your fist through. But at the same time you can’t help but love him for it. Like a young Benedict Cumberbatch he possesses the same conceited attitude that shouldn’t make him endearing, yet it does, to a tee. In The Double we’re treated to two sides of Eisenberg though – the timid wallflower, and the Tyler Durden-esque opportunist who wings his way through life - both of which he pulls off effortlessly and to perfection.

In the chair…

Richard Ayoade, (yes, that guy from the IT Crowd) follows up Submarine with yet another edgy and dark cult feast. He continues to use a deadpan tone well and is already developing a reputation for a distinct style behind the camera.

So…?

It’s a bleak and claustrophobic world Simon suffers in which makes viewing a pleasantly uncomfortable experience. As he becomes increasingly paranoid at the arrival of his doppelganger, resentment grows and tensions rise. The intriguing and mysterious Mia Wasikowska is perfect for the role of Hannah, who is sucked into the charismatic ways of James, much to the agony of Simon. His sheer disbelief at his colleague’s inability to notice the resemblance is one thing, but losing the girl he loves to the same face but different personality sparks a different type of psychological struggle. The cinematography is stunning, the tone is chilling and the underlying message of identity is a powerful one.

Worth the money?

If you’re in the mood for something dark, yes. 

A LONG WAY DOWN

Basically…
When ex-TV presenter and convicted sex offender, Martin Sharp (Pierce Brosnan), goes to Toppers House, the most renowned spot for people jumping to their death, he meets three like-minded lost souls. In doing so he forms an alliance with Maureen, (Toni Collette), Jess (Imogen Poots) and JJ (Aaron Paul) as the four learn to ease the pain of each other’s problems.

In other words…
“A bunch of desperate people doing desperate things to try and look less desperate” – JJ. 

The main men and leading ladies…
Pierce Brosnan plays the disgraced celebrity, who is yearning for another chance at fame, convincingly but his character is the least developed of the four. 
Reserved and lonely Maureen is portrayed well by Toni Collette and she does well to show how isolated her life is because it's devoted to caring for her disabled son.
The movie may not go into detail about JJ’s heartache as he suffers the break up of both his relationship and his band, but Aaron Paul still captures how lost and painful his life has become.
But saving the best to last, there aren't many actresses who could play big-mouthed Jess - and not be irritating - as well as Imogen Poots. Silently suffering the disappearance of her older sister, she compensates her pain by being shamelessly outspoken and despicably endearing...making this film the gem that it is. 

In the chair…
French director Pascal Chaumeil takes on the challenge of not only making a film in English but adapting Hornby’s novel as well. And he successfully moves the book to the big screen while ensuring the vital character depth isn't lost in the transition. 

So…?
It’s a story that shouldn't work, but unapologetically does. You have to admire Hornby for his original approach to a typically taboo subject. As much as it’s in bad taste, this black comedy has as many funny lines as it does touching moments. There was still room for more dark humour though, and if it had been utilised, it could have had an even longer lasting impact. Never the less, it’s an inspiring and heartwarming story of unlikely friendships and in a twisted way, it’s also a poignant coming of age movie. The casting is done to perfection and the added chemistry between Jess and JJ, which isn't in the novel, is welcomed on the big screen because of the believable underlying sexual tension between the actors.

Worth the money? 
Yes, even if it’s just for more of the Paul ‘n’ Poots collaboration. 

THE ZERO THEOREM

Basically…
Set in the future, Qohen (Christoph Waltz) dedicates his days to waiting by the telephone for the call that will reveal the meaning of life. His job, however, is getting in the way, as he’s expected to number crunch his way to proving the zero theorem formula and show that life has no purpose.

In other words…
George Orwell on acid.

The main men and leading ladies…
The utterly faultless work of perfection that is Christoph Waltz steps away from the unnerving silent assassin roles we saw him play in Django Unchained and Inglorious Basterds to play a character which perhaps would have suited John Malkovich to a tee. But he doesn’t for a second do a substandard job conveying the eccentric and anxious character of Qohen. His distractions come in the form of love interest Melanie Thierry and son-of-the-boss Lucas Hedges. Tilda Swinton is excellent while Matt Damon strikes a remarkable resemblance for a young Philip Seymour Hoffman.

In the chair…
Many have linked The Zero Theorem to Brazil and 12 Monkeys, calling this the final part of a loose trilogy but Terry Gilliam himself denies that was the thinking behind the film. His latest work of art is yet another mesmerising insight into what goes on inside his mind, with the only fault being it doesn’t feel as tight as some of his previous masterpieces.

So…?
If this is anything to go by the future is a candy coated multicoloured paranoid nightmare. With a feel of 1984 and A Clockwork Orange, you’re caught up in Qohen’s tangled web of thoughts. The fast paced and breathtaking scenes take the viewer on a journey where you could literally blink and miss something both picturesque and delightfully hypnotising. It’s a movie with as much style as it does substance, coupled by the important message – the longer you spend searching for the meaning of life, the longer you waste living your life. Dazzling, thought provoking and outrageous…did you really expect anything less from Gilliam?

Worth the money? 
Yes, but you might need to save some for a second visit to help you digest what you just witnessed.