SIN CITY: A DAME TO KILL FOR

Basically…

Continuing on from the first installment nine years ago, we return to Sin City as some of the town’s toughest citizens cross paths. Based on Frank Miller’s graphic novels and heavily influenced by film noir, Nancy (Jessica Alba) struggles without Hartigan (Bruce Willis), Marv (Mickey Rourke) gets into more bother, while new characters Johnny (Joseph Gordon-Levitt) and Ava (Eva Green) take on the dark, cruel town that doesn't forgive.

In other words…

Cinematic beauty in all its glory.

The main men and leading ladies…

Returning favourites Rourke, Alba, Willis and Rosario Dawson continue where their characters left off almost a decade ago while fresh faces spark new life into the community.

Super Joe continues to be perfection, Green continues to ooze sexy power while Ray Liotta does, well, he does what Ray Liotta does best. Josh Brolin meanwhile takes on the role Dwight, replacing Clive Owen.

In the chair…

Robert Rodriguez, and creator Frank Miller, waited patiently for things behind the scenes to click back into place before putting together another Sin City masterpiece. Relying so heavily on the use of green screen was rare back then, but with technology, equipment and even the acting improving over nine years, the double act made this sequel look easy. 

So…?

Some critics say this is noting more than a carbon copy of the first – it’s not – it’s a seamless continuation. And even if it was a replica of the 2005 movie, what would be the problem? Why change something so perfect? Instead of killing the franchise with an extreme change in direction, Miller and Rodriguez have taken another step closer to making it a cult classic. It’s sexy, it’s sassy and it’s uniquely liberating. A film with real punch and attitude, it’s both powerful and daring in equal measures. I challenge you to find a more aesthetically pleasing film this year as even behind the scenes, with it’s graphic novel storyboards, this production was blowing everything else out of the water. The only criticism would be the lack of emphasis on colour compared to the first one. The flashes of red from the shoes, or the ball gown were a lot more striking and memorable in the first movie, but then that may have been because it was more surprising back then.

Worth the money? 
Yes, films like this were made for cinema. 

LUCY

Basically…

Lucy (Scarlett Johansson), a traveller in Taiwan, is forced into transporting a rare and highly dangerous drug in her stomach. But when the bag opens the drug is quickly absorbed into her bloodstream, subsequently increasing her brain capacity. Exploring the notion we only use 10% of our brain, she evolves beyond human logic.

In other words…

The prequel to Under the Skin…and Her.

The main men and leading ladies…

Scarlett Johansson makes it a sci-fi treble this year, playing powerful woman that bend the rules of society. In Lucy the CPH4 drug transforms her from victim to Lady Vengeance with mind blowing intelligence. Her distance from reality continues into Under the Skin until she makes the full circle transition into a computer operating system in Her. Unfortunately these films came out in reverse order though so don’t expect the ‘Scarlett’s boxset of Intelligence’ anytime soon. Meanwhile, Morgan Freeman plays a clever man with a voice of authority – must have been a challenge for him.

In the chair…

Writer and director of Leon, writer of Taken and the brains behind Nikita, Luc Besson gifts us another no-nonsense shit-stirring thriller. He’s not made the impact on the 21^st century he would have liked until now, but with a Leon sequel high on his fans’ wish lists, he’s at least hit home with another artistic, ambitious and gutsy creation. 

So…?

Besson described Lucy by saying “The beginning is Leon The Professional, the middle is Inception, the end is 2001: A Space Odyssey.” While this shows he’s aware of how familiar his concepts are, it also emphases the bold risks he took in tying them all together. There are hints of many films in Lucy – Limitless (only Besson is adamant his script came first), The Matrix (only less of a headache) and Tree of Life (only a whole lot better). But while cutting and pasting from a number of sci-fi thrillers, what makes this experimental product work is the fact it doesn't take itself too seriously. It knows it’s ridiculous, extravagant and a bit nuts, but it still maintains a straight face throughout. That charm, mixed with its kinetic energy makes it easy to get lost in and wholeheartedly buy the concept too.

Worth the money? 
As one of the stand outs of the year, yes. 

DAWN OF THE PLANET OF THE APES

Basically…

A decade has passed since the apes broke out of the testing lab and set up camp on the other side of the Golden Gate Bridge. But their freedom is threatened by a group of survivors of the resulting virus and they take them to the brink of war to determine who will emerge as the dominant species.

In other words…

Human, animal and political rights all rolled into one blockbuster.

The main men and leading ladies…

Andy Serkis has owned performance capture since his Gollum days but his depiction of Ceaser is as equally, if not even more, outstanding. Jason Clarke plays Malcolm, the James Franco role of the sequal, providing a trusty ally for Ceaser. Both have their frenemies though, Gary Oldman being well fitted to the role of Dreyfus, the no nonsense jobsworth, while Toby Kebbell hits a nerve playing Koba.

In the chair…

Director of Cloverfield and Let Me In, Matt Reeves takes over from Rupert Wyatt who walked away from the hugely anticipated sequel because of creative differences. With a darker edge he makes the franchise grittier and sets us up well for the next instalment.

Pic: Reuters

So…?

It’s a sign of the times, and possibly Andy Serkis, that a film about talking apes rising to power is such a popular concept and taken so seriously. But while it’s hugely gripping and entertaining, Dawn also acts as a reminder that sadly war is the default solution to life’s problems. A challenge should be faced with a sensible head, but evidently as soon as guns enter the fray, things turn nasty. The special effects are excellent, the character depth is moving and with an even blend of action and a heartfelt storyline, we yet again find our sympathies lying with the apes. Tender, tense and morally complex, it entertains at a brain-dead level as well as ask deeper questions and leave a lasting impression long after you’ve left the cinema. Surely in with a shout for some Oscars?

Worth the money?

Yes, yes and yes again. 

X-MEN: DAYS OF FUTURE PAST

Basically…

When mutant-fighting robots - known as senetals - threaten to wipe out their species, the X-Men send Wolverine (Hugh Jackman) back in time to change the course of history. He has to stop the creator of the senetals from collecting the vital research that will make them strong enough to rid the world of what they deem to be dangerous creatures.

In other words…

Superheroes take on Skynet.

The main men and leading ladies…

A star studded cast sees Ian McKellen and Patrick Stewart team up as unlikely friends in the future. Hugh Jackman plays the never aging Wolverine while back in their younger days James McAvoy and Michael Fassbender are the younger Professor X and Erik Lehnsherr. Real-life couple Jennifer Lawrence and Nicholas Hoult return, while Ellen Page’s role is small but vital to the storyline. 

In the chair…

He’s been hitting the headlines for the wrong reasons lately, but Bryan Singer is finally making us talk about him for his films once again. For the first time since 2003’s X2 (X-Men United), the Usual Suspects director returns to the franchise and avoids what many feared – making Wolverine the central character.

So…?

Haven’t seen any of the previous X-Men films? Do a quick search on YouTube for a round-up and you’ll be ready to go within minutes. It’s a fairly easy storyline to follow if you keep thinking of it along the Terminator premise, and if you manage to remember who’s who in their elder days and not get the actors round the wrong way. (Thinking Patrick Stewart is playing an old Michael Fassbender will hurt your brain). Singer makes sure the door is kept open for those of us who aren't keen on the whole superhero /saving the world movies deal. It’s entertaining and ambitious without relying on braindead special effects to carry the plot. My main grievance with action sequels and such like is the plot and characters have already been established so you’re thrown straight into the action before the opening credits have even rolled. But despite this, Days of Future Past manages to strike a balance between mutants battling robots, a storyline with real substance and characters with real personalities and emotions. Time travel certainly adds a welcome dimension to a typically standard superhero franchise.

Worth the money?

One of the better superhero movies, so yes. 

WALKING ON SUNSHINE

Basically…

Set to the music of big ‘80s hits, Taylor, (Hannah Arterton), visits her sister Maddie, (Annabel Scholey), who’s away ‘finding herself’ in a beautiful coastal Italian village. On finding out she’s engaged to Raf, (Giulio Berruti), her holiday romance from three years ago, though, Taylor decides to bury her feelings and not to tell Maddie about the past.

In other words…

An eye opener for anyone who thought Mammia Mia was cringy.

The main men and leading ladies…

Giulio Berruti, Annabel Scholey and Hannah Arterton (yes, sister of Gemma) all star in their first major movies. Sense and Sensibility’s Greg Wise plays the sleazy ex-boyfriend who can’t keep his mouth shut, and comedian Katy Brand returns from her 2010 work in Nanny McPhee. X-Factor winner, Leona Lewis, is apparently an actress now too – and is shown up for having the worst voice out of the leading stars. Awkward…

In the chair…

You have directing duo Max Giwa and Dania Pasquini to blame for this outrageous explosion of cheese. After doing so well with StreetDance 3D, they’ve stayed committed to producing feel good musicals that’ll get us itching to move.

So…?

The acting is over the top, the songs are predictable, the script makes your toes curl and plot is like something out of an ironic soap spinoff. Not a single word of dialogue is spoken before the first hit is belted out and it immediately sets the tone of this Mamma Mia wannabe. It’s cringy, it’s awkward to watch and at points the audience were laughing at how ridiculous it is rather than its intended humour. Despite a similar setting and plot path, it lacks the warmth, elegance and soundtrack of Mamma Mia. The ABBA classic was unusual because the actors performed ‘live’ but you definitely notice the difference when they don’t. It also makes the theatrical acting in 90210 look Oscar worthy.

But in saying all that, it’s epic.

It’s fun, it’s joyful and it doesn't take itself seriously. If you take it with a pinch (maybe a fistful) of salt, and embrace the cheese that is oozing out of every scene, you’ll be captured by the overly choreographed dances and wish you were in one of those mass choruses. While other screens are showing films about cancer struck teenagers, transforming machines and an Irish tranny who’s as funny as a funeral, this is the sort of escape that will light up your day and put a smile on your face. It’s infectious so don’t bother fighting it.

Worth the money? 

Every single penny.

DEVIL'S KNOT

Basically…

Based on the true story of the West Memphis Three, Damian Echols, Jason Baldwin and Jessie Misskelley are arrested for the murders of three young boys. But as more and more evidence is discovered it becomes clear they weren't involved in the crime, and their satanic interests make them easy scapegoats for the Bible belt police.

In other words…

If the police want a solution, they’ll invent one.

The main men and leading ladies…

Reese Witherspoon plays mum of murdered Steven excellently, capturing the emotions of a grieving, suspicious and intelligent sufferer. Alessandro Nivola is chilling as her husband, Terry, while Kevin Durand accurately depicts John Mark Buyers, the sinister dad of murdered Christopher. James Hamrick (Echols), strikes a challenging balance between the messed up teenager and the unfairly targeted victim he is, and manages to win the audience over despite his cold attitude. Colin Firth is just Colin Firth, again, and as ever, Dane DeHaan is perfect.

In the chair…

Specialising in cold, clinical thrillers this story about sacrifice and loss is almost an inevitable path for Atom Egoyan. He chooses not to focus on the detective aspect but instead the suffering and frustration of so many people involved in the tragedy.

So…?

There’s been four documentaries (Paradise Lost I, II III and West of Memphis) made about the deaths of the three school boys, the wrongful arrests of the three teenagers and the conspiracies surrounding the murders in 1993. There’s a lot to fit into one movie, but at just under two hours long this captures the hurt, confusion and desperation from all the victims involved. At the same time, though, including so much means it loses a cinematic feel and ends up more like a docudrama, basically taking us through a factual narrative. Egoyan’s choice to make it more about how different people dealt with the emotional challenges rather than the contradicting evidence that pointed towards two of the fathers, meant he missed an opportunity to turn the third act into a gripping court drama. Sticking so strictly to the facts and refusing to fabricate a cinematic ending, also frustratingly leaves us without a conclusion - as it is in real life. 

Worth the money?

I’m biased because I was hooked on each of the documentaries – but as one of the films of the year, don’t miss out.

FRANK

Basically…

Young wannabe musician, Jon, (Domhnall Gleeson), joins an eccentric and mysterious band as they set up camp in a cabin in the woods to record an album. The group is fronted by Frank, (Michael Fassbender), who wears a giant fake head. Tensions mount as the troubled band members try to find their sound and make an impact on the market.

In other words…

Taking the term head case to a new level.

The main men and leading ladies…

Fassbender plays the genuine, disturbed Frank, bringing personality and soul to a character who hides away from the world behind a mask. Maggie Gyllenhaal is excellent as the psychotic and possessive Clara while Gleeson takes a completely different direction from last year’s About Time. Speaking from the perspective of the audience, he shares their confusion and often disbelief at some downright odd situations.

In the chair…

Lenny Abraham is probably best known for helping Transformers’ star, Michael Bay, make a career for himself, having given him $40 and setting him on his way to LA. That was after he’d worked with him on What Richard Did, another film about misfits and complex characters.

So…?

Set in a chilled, melancholic mood, Frank focuses on changing group dynamics when a collection of socially awkward artists come together and minds start to clash. It’s creative and quirky, while also showing how powerful a marketing tool Twitter is in this day and age. But at the same time it’s awkwardly serious about mental illness and as a result makes it’s an intense and unsettling viewing experience. So much of Fassbender’s performance relies on body language while the personalities of the other diverse band members carry the sad and frustrating plot along. Much of the story is based on writer, Jon Ronson’s, experiences playing in the ‘Oh Blimey Big Band’ while  the character of Frank combines elements of Captain Beefheart’s Daniel Johnston and Chris Sievey, from ‘The Freshies’.

Worth the money?

If you feel like a trippy road trip, then yes.