Criticising the Critics!

A brief guide on where to get the best film criticism:

Podcasts

Filmspotting
Chicago based podcast written and hosted by amateur critics Adam Kempenaar and Matty Robinson. The fact it is only able to run due to audience donations from all over the world not only demonstrates its popularity but how the love of film alone can be a rewarding and satisfactory wage. With each show lasting up to an hour and a half, plenty of time is spent deconstructing the art cinema. It is also extremely educational as each week their regular top five list slot is bound to contain some films you won't have heard of.



Mark Kermode and Simon Mayo's Film Reviews
What lacks in Filmspotting can be found in the professional Radio 5 live show run by partners in crime Simon Mayo and Mark Kermode. The only reason it works is down to Kermode and the chemistry that flows between him and his friend. His fast but clear and witty rhetoric combined with hilarious impressions are frequently played off by his host. With a run down of the box office top ten, reviews of the latest films, lots of banter and audience participation being an integral part to the show it grabs your attention for a very entertaining 50 minutes and never lets go. As Skilled as Filmspotting is, Adam and Matty are just too nice to each other, frequently complimenting one another and treading carefully when they disagree you need a bit of good old English sarcasm and bickering. The energy and enthusiasm that runs through the proclaimed Kermodian rants are untouchable by any other critic working today. Broadcast every week at Friday at 3pm, Radio 5 Live it is worth waiting all week for. That is of course unless Andrew Collins is standing in for Kermode which means this entire formula simply falls apart, but at least he is better than the God awful Hardip Singh-Koli.

The Film Programme
Radio 4 does film criticism! Interviews with current and past film directors are bound to send you to sleep. Usually the format to such a show would work and be sufficiently intriguing but the extreme density that comes with Radio 4 hosts is just unlistenable.

Guardian Film Weekly

An improvement on Radio 4's show, basically the same concept but at least the somewhat freaky Jason Solomons seems to have passion and enthusiasm for what he is talking about when he interviews his guests. His reviews and debates with fellow critic Sam Brooks is also worth a listen.

James King, Radio One

Short snappy reviews designed to appeal to today's teenage generation, it is a shame the ACTUAL Film criticism is left behind somewhere. He described Role Models as 'genius 'recently, enough said!

Magazines

Sight & Sound
The best way to sum up this magazine is to refer to a conversation that took place between Frost/Nixon actor Michael Sheen and Director Ron Howard. Sheen told Howard he must read S&S as it is 'the best magazine of film criticism written in the English language' to which Howard replied, 'Oh really, I've never heard of it'. The most underrated film magazine out there, the BFI funded publication is far superior to its rivals as it is the only one to provide every film release of the month, no matter how commercial, full analytical page long reviews. Critics from all over the country get to together to write reviews for this publication without subduing to the star rating system. Similarly the news segments do not only focus on A list stars or the latest blockbusters but have the freedom to provide insight into any interesting film movement going on around the world. You will also never find a regular column as skilled or as brilliant as Nick Roddick's.

Empire/Total Film
Although not as good as Sight & Sound and a little mainstream for people's liking there is still always room on my shelf for these publications every month. Jam packed with films and stars to look out for in western cinema with well written features that change every month, reviews and extensive interviews with the greats these mags are what initially got me into film criticism. You will never find such well written content in mainstream magazines.

Fangoria
For those who like their Horror films this is an essential read.

Film Review
Proclaims itself as 'the movie Bible since 1950' but I severely disagree. Its news segments are pitiful as they are basically big pictures with little words taking up one half of the magazine with the other half simply containing film reviews that are too generous with their stars.


DVD & Blu Ray Review
If you are passionate about your DVD collection then this is essential. With over 200 reviews a month you know what is worth buying.

DVD Monthly
Like DVD & Blu Ray Review but if you were to take it seriously you would be buying every DVD released!

Radio Times
More of a listings magazine, if you already buy this publication then the great Barry Norman's regular column is always worth a read. Andrew Collins is also worth some attention to, he may not be as skilled on the radio as Kermode but his articles are always a good read!

Newspapers
Pick up any Broadsheet and are you are guaranteed to read worthwhile film criticism. Throughout the week The Guardian's entertainment magazine G2 is my favourite read of all things in wittertainment but Philip French's column in The Observer is worth waiting for every Sunday!

Websites

IMDB
Mainly user uploaded reviews means this isn't the most reliable site for film criticism but who can blame the sight that holds every single fact according to film.

Rotten Tomatoes

A brilliant film search engine. Type in the name of the film you want a review of and several professional critic reviews are presented before your very eyes!

Metacritic

Similar to Rotten Tomatoes although it is not exclusively a film site and all the reviews are extracted from mainly American publications. Only really deals with films realised in the last couple of years too.

Empire/Total Film

Both websites are worth looking at for regularly uploaded news, reviews and features not seen in their magazines. It is also enjoyable joining in with the varied debates on their forums.

Kermode Uncut
Mark Kermode's video blog is the essential companion to his podcast.


blog.spout.com/

The hottest site for film news

http://www.filmspotting.net/
Not much here in addition to the podcast, but worth visiting to take part in the regular polls.

Television

Film 2009
Hopefully Jonathan Ross will be able to return to his role as film critic in the new year given recent events. Often given a lot of stick this show is nevertheless the best television show out there for film criticism. Ross may not compare to the great Norman but his reviews are well written with real enthusiasm and insight for a foul mouthed television host.

The Culture Show
A show which never actually deals with culture, there is sometimes an interesting Kermode segment where he interviews one of his favourite directors.

Newsnight Review
Offers very deep and insightful debates on the current more predominately artistic releases.

ScreenWipe
OK, so it isn't really about films but Charlie Brooker's masterstroke deserves to be watched by everyone!

Films to avoid in 2009

As our economic turmoil looks set to turn even bleaker, do not worsen your situation by paying to see these potential turkeys.

Sex Drive
The latest teen sex movie kicks off the new year. Probably the only comedy trailer I have ever seen where the entire audience has not made so much as a titter. If these are the best jokes and set pieces the trailer could offer then avoid like gonohreah!

Ice Age: Dawn of the Dinosaurs
How many times can people find a squirrel chasing an acorn THAT funny?

X-men Origins: Wolverine
Without Bryan Singer behind this prequel, I can sense yet another abysmal depiction like Ratner's X-Men 3. Is there really any need for learning about Logan's past after the stunning X-2?

The Brazilian Job
The most overrated actor, former rapper, Mark Whalberg no doubt steals some gold again. Bearing in mind The Italian Job remake was never actually set in Italy hopefully this film will have the decency to do what the title says. As this franchise gets progressively worse like that of Ocean's 11 hopefully the minimal box office takings will put an end to a potential trilogy.

Underworld: Rise of the Lycans
Oh well, at least Kate Beckinsale will be scantily clad in tight Lycra again, nice.

Night at the Museum 2: Battle of the Smithsonian
A series of seasonal films that only take in a decent profit due to their release dates. If I were to put money on a film that would be the greatest flop of 2009 it would be this one. Scheduled for a May release, people will fail to embrace it outside the season of goodwill. Expect yet another unfunny film full of talented comedians all worthy of far better material. It seems the Frat pack have lost their grip on the pulse of modern edgy comedy.

Transformers: Revenge of the Fallen

As visually striking as the prolonged original was, there is just no real call for a sequel.

The Fast and the Furious 4

Vin Diesel finally gets some work again by succumbing to a franchise he vowed never to return to. This bodes really well.

G.I. Joe: The Rise of Cobra

Is there any heroic figure left in American society yet to be dramatised? Brendan Frasier continues to revive his dismal comeback with yet another dire film that no one has ever expressed any demand for.

Final Destination 4: Death Trip 3D

The only reason this film has been made is due to its 3D gimmick. Get ready for another film full of annoying teenagers predictably being killed in a string of OTT set pieces.

SAW VI

Expect a sequel to be released every Halloween until people stop paying to see them, which doesn't seem like any time soon.

Sherlock Holmes

Guy Ritchie gives us a contemporary Kung Fu fighting Sherlock Holmes played by Robert Downey Junior. He could in fact surprise us with an entertaining film, but I very much doubt it.

Alvin and the Chipmunks 2: The Squeakuel

The original proved that the film's plot cannot be carried by a bunch of annoying chipmunks squeaking their way through proceedings. Only having this one joke to work with, it seems to have now worked its way into the actual title.

Angels and Demons

A long haired Robert Langdon returns! Without Ian McKellen this sequel is bound to be even more lifeless and droll.

The Chronicles of Narnia: Parts 3-5
Luckily Disney announced they have no intention of releasing any further Narnia books. Hopefully the same will happen for Pullman's equally massacred His Dark Materials.

Films to seek out in 2009

Here are some worthwhile future releases to accompany our developing world of political change:

The Wrestler
Tipped as Mickey Rourke's greatest ever performance, an Oscar win is certainly on the cards. Hopefully grossly underrated director Darren Aronofsky may finally get the recognition and success he truly deserves.

Che, Parts One and Two
Already screened at Cannes, Benicio Del Toro's stunning performance as the revolutionary icon Che Guavara could provide one of the closest races for the Best Actor Oscar in living memory. Although if he loses out to Mr. Rourke, he could always pick up a statuette next year with part two!

Tooth Fairy
Funny man Stephen Merchant and Dwayne Johnson (A.K.A. the Rock) starring together in a Hollywood Film! What isn't there to like!?!?!

Public Enemies
Already known as Heat 2, Michael Mann gives us an adaptation of Bryan Burrough's book, Public Enemies: America's Greatest Crime Wave. Set against the Great Depression of the 1920's Christian Bale will play FBI agent Melvin Purvis hunting down criminal John Dillinger played by Johnny Depp. Expect an epic!

Crank: High Voltage
Considering Jason Statham's character Chev Chelios died after falling out of a plane in his last film it is hard to predict how the next film will overcome this narrative problem. But if it is anything like the original get ready for a high octane, albeit cheesy, action thriller. After all, Statham is the only man who really seems to be filling Schwarzenegger's shoes.

Star Trek
With J.J. Abrams at the helm, this prequel may well be worth catching after all.

Avatar
Over ten years since James Cameron has written and directed a movie, he is back to what he does best with a dystopian and action filled sci-fi.

This Side of the Truth
A dip in form with Ghost Town, Ill give Gervais the benefit of the doubt for his first self scripted and directed full length feature. A comedy set in the future where people are unable to lie it could turn out to be a comedy with real substance.

The Imaginarium of Doctor Parnassus
Heath Ledger's last role has been kept alive through the perseverance of his thespian friends Johnny Depp, Jude Law and Colin Farrell. Combined with the sheer determination of director Terry Gillingham I believe there to be one last masterpiece left in the both of them.

The Curious Case of Benjamin Button
David Fincher and Brad Pitt's third collaboration. A depiction of a boy who is born old and progressively grows younger this strange and somewhat quirky film will hopefully do better than the overlooked although brilliant Zodiac.

Frost/Nixon
A gripping drama that depicts the monumental moment in history where underdog David Frost managed to combine television with politics with the larger than life and villainous figure of Richard Nixon. If you see one Ron Howard film this year make sure it is not The Da Vinci Code 2!

Revolutionary Road
American Beauty Director Sam Mendes is back on familiar ground with his adaptation of Richard Yates's novel of the same name. Leonardo Di Caprio and Kate Winslet are back together again although this time fighting against the restrictions of a 1950's American, suburban marriage.

Terminator Salvation
Although Arnie may not be involved, this sequel should not be dismissed just yet. Approved by James Cameron himself and starring Christian Bale as John Connor it may just work. Set during the war between man and machine, which we have only previously seen through flashbacks, I am intrigued to see how it all plays out. Perhaps Bale can bring to life yet another dead franchise.
Inglorious Basterds
Long awaited Quentin Tarantino WW1 tale is finally scheduled for release at some point next year. After several years in development we can forgive his Death Proof glitch and pray for his return back to form. Although don't be surprised if it is delayed once again.

Valkyrie
Tom Cruise and Kenneth Brannagh as Nazi agents being directed by Bryan Singer, I am already sold!

Watchmen
Commonly known as the Citizen Kane of the comic book world this is one of the greatest novels ever written. I doubt Zack Snyder can recreate the atmosphere, philosophy, politics and raw violence envisioned by Alan Moore but I am remaining positive. After all he may have directed the terrible 300 but I admire someone who is willing to take on a project previously turned down by the cinematic greats Terry Gillingham and Darren Aronofsky.

Slumdog Millionaire
Already receiving much critical praise, Full Monty scriptwriter Simon Beaufoy and Trainspotting director Danny Boyle should pick up a BAFTA or two for their gritty tale of a Mumbai street kid seeking a better life through the Hindi Who Wants to be a Millionaire.

Harry Potter and the Half Blood Prince
Originally scheduled to be released amongst the mediocre films this Christmas, this potential family film of the year was sorely missed.

Bronson
An adaptation of the warped Charles Bronson's life should provide plenty of controversy, drama and violence!

The Descent Part Two
As Neil Marshall's talents are blinded by the bright lights of Hollywood he is only credited as an executive producer for this sequel. As he directs actioner Drive with Hugh Jackman a lack of involvement may turn out to be a good thing.

The Road
If done properly Cormac McCarthy's best written novel of a father and son trying to survive in a post apocalyptic world could be a valid contender for film of the year.

Vicky Cristina Barcelona
Riding off the back of four Golden Globe nominations this is said to be writer and director Woody Allen's return to form. Having said that, anything would be an improvment on Cassandra's Dream.

Milk
Gus Van Sant directs Sean Penn who depicts the first overtly gay man elected into American office, Harvey Milk, who is assasinated a year later. This could mark Sean Penn and Gus Van Sant's most intriguing film for a while.

Rachel Getting Married
I have been fortunate enough to have already seen this brilliant film. For my review read my London Film Festival article.

Eddie Murphy as The Riddler?

Holy Beverly Hills Cop Batman!

The rumour mill has certainly been in full swing where the casting decisions for the next Batman project have been concerned. Well established character actors such as Philip Seymour-Hoffman and Johnny Depp are but a few to have been name dropped.

But undoubtedly the most surprising to surface is Eddie Murphy supposedly being the front runner for Batman's nemesis; The Riddler. This may initially seem a little off but it could in fact develop into a stroke of genius. Eddie Murphy has never been the most likeable or charismatic screen presence to grace Hollywood. His fast mouthed annoying freakiness is one which may in fact work in his favour for a rather difficult role. Jim Carrey captured the insane madness perfectly back in Batman Forever (1995), but what he missed out on was the underlying evil and violent aspect to his character, one which may well be within Murphy's grasp.


Overall this may be a gamble but if true I remain confident in whatever casting decisions Christopher Nolan agrees too. I would be lying if I was one of the vocal sceptics who was proved drastically wrong when it came to Heath Ledger!

The 10 Most Overrated Films of 2008

All worthy of Razzies in my opinion:

1. Mamma Mia! (July)
A load of middle-aged actors babysitting a couple of annoying sprogs who cannot sing or dance try their best anyway in a musical that incoherently shoehorns all the best selling ABBA songs into one lengthy inconsistent plot. Well at least it provided all the brainless masses of the world a Tesco induced DVD bargain of £7 which further enabled them to whither away their remaining brain cells as they watch it infinitely for the rest of their miserable lives. People seem to have forgotten that Tim Burton's Sweeney Todd was by far the best musical of the year.

2. Sex and the City: The Movie (May)

Four independent women living the city life prove that you can have fun after reaching the big five-o. That is of course if you douse yourself in buckets of make-up, have a bitchy attitude to life, spend all your money on the latest fashion accessories and generally whore around.

3. RocknRolla (September)

Guy Ritchie back on form???? Piss owf govna! This was nothing other than rehashed material under the guise of a contemporary The Long Good Friday. Personally dreading the sequel, The Real RocknRolla, I can guarantee the script will be as unimaginative as the title.

4. Tropic Thunder (September)

Too much money spent on explosive set-pieces and A-list stars meant the actual comedy was left behind somewhere along with the controversy that failed to surface despite it being at the forefront of its pricey marketing campaign.

5. Ghost Town (October)

I have no idea what the majority of critics were praising. Gervais well and truly took his finger off the pulse of innovative, racy comedy when he decided to star in this unoriginal, over-sentimental rubbish. Still, given that he is rumoured to someday host the Academy Awards means it didn't harm his overseas status though.

6. Quantum of Solace (October)

The eagerly awaited sequel to the rejuvenated Bond franchise was ruined in a swift 106 minutes. Marc Foster may be able to stage impressive action set pieces for the Bourne franchise but he cannot hold together a film, especially whilst enduring a CGI overload thus taking the focus away from Craig's Bond.

7. Rambo (February)

Truly the most morally bankrupt and exploitative film ever made. As 62 year-old Sly pumped himself full of his last batch of steroids he well and truly put an end to his career as well as his clean bill of health.

8. Star Wars: The Clone Wars (August)

Look up 'Gluttony' and 'Greed' in the dictionary and you will find a picture of the beardy mess that is George Lucas, determined not to let his cash cow die.

9. Indiana Jones and the Kingdom of the Crystal Skull (May)

Trey Parker and Matt Stone provided the best critique to this film in their South Park portrayal of Indiana Jones as being 'raped'. The sooner this fourth instalment is brushed under the carpet the better.

10. Righteous Kill (September)

If the senile Bob and Al were not in the main role, this boring tiresome trash would have never been granted worldwide release and would have deservedly been released as a straight-to-DVD B-movie.

Similarly avoid at all costs: 88 Minutes, What Happens in Vegas, Never Back Down, The Happening, Doomsday, The X-Files: I Want to Believe.

The 10 Best Films of 2008

The Gospel according to Ben Lamb:

1. No Country for Old Men (January)
The Coen Brothers were back on artistic form as they were able to improve Cormac McCarthy's gripping novel through the medium of cinema. Truly deserving of its Best Picture Oscar at the 2007 Academy Awards; Javier Bardem along with Tommy Lee Jones and Josh Brolin all collectively gave the performances of their careers. A must see!

2. There Will Be Blood (Februrary)
Not many modern releases can rival Citizen Kane, but auteur Paul Thomas Anderson did so with ease. Subsequently redefining the language of modern cinema with his original epic, the performance he got out of Oscar winner Daniel Day-Lewis was simply a stunning portrait of a man's greed and rage driven downfall.

3. Waltz With Bashir (November)
The most emotionally powerful and iconic film of the year. This rota scope animated docudrama on a soldier trying to rediscover his lost memories of the First Lebanon War in 1982 should win the best foreign film Oscar.

4. Gomorrah (October)
An enthralling and gritty insight into the contemporary Italian gangster underworld.

5. The Dark Knight (July)
Now officially the 4th best grossing film of all time it's encouraging to see the Nolan brothers producing a superhero franchise with real substance and atmospheric darkness as they continue to rewrite the conventions of the genre. Heath Ledger stole the limelight away from Christian Bale and outshone Jack Nicholson, to produce the best portrayal of a superhero villain ever. To deny him the best supporting actor Oscar would be a crime against humanity. Rest in peace Heath, your legacy shall never be forgotten.

6. Wall-E (July)
Possibly Pixar's greatest film barring Toy Story 1 & 2. Beautifully shot and full of heart this affectionate tale is more than a entertaining children's film but a dystopian vision that reminds us how beautiful the human condition really is that we all take for granted.

7. Changeling (December)
Clint Eastwood continues to reign as the master of old school cinema. A unbelievably true story where Independent single mother Angelina Jolie takes down the whole police force all on her own in an extremely sexist 1920's L.A. means an Oscar win for best actress is a dead cert.

8. Taxi to the Dark Side (June)
An essential, eye-opening and well researched documentary that unearths what actually goes on behind closed doors in Guantanamo Bay. Effectively told through guards, prisoners and insiders alike you have no idea how corrupt American foreign affairs really are.

9. Persepolis (April)
The restrictive Iranian regime imposed upon a typical maturing young girl is truly heartbreaking.

10. King of Kong (June)
The most overlooked film of the year. Forget Man on Wire, getting to the final level of Donkey Kong is surely a better achievement than tightrope walking between the twin towers. This charming documentary awakens a cult that you had no idea existed.

Also worth your attention: Hellboy II, Juno, Eden Lake, Gone Baby Gone, The Baader-Meinhoff Complex, Iron Man, The Mist, In Bruges, The Boy in Striped Pyjamas, Son of Rambow.

A miniscule literary review

My short text message which contributed to the debate on Simon Mayo's weekly book panel, BBC Radio 5 Live.

The debate addressed the issue as to whether novellas can still be considered as significant as lengthier novels in the great literature cannon:

Charles Dickens's A Christmas Carol is without doubt his greatest work as well as his shortest. Scrooge has the most influential character development of all time within some of the spookiest atmospheric imagery ever written. Not to mention its good old fashioned heart warming promotion of good values. Our contemporary image of christmas would not be the same without it.

Ben Lamb. Hull

Another Way To Die

My second letter read out on Kermode and Mayo’s Film Reviews, BBC Radio 5 Live:

Dear Mr. Wint and Mr. Kidd,

Could someone please explain to me EXACTLY what is wrong with the Question of Sport theme tune; Another Way to Die?

For me it was the highlight of the entire film. The Hendrix of our generation Jack White has successfully written and produced the first ever memorable blues rock Bond song. His innovative collaboration with the very sexy and talented Alicia Keys has gelled together three genres of music and is far more listenable than Chris Cornell's generic You Know My Name. Also let's face it, Amy Winehouse couldn't have done any better.

I have been listening to the song on repeat all day whilst doing my dissertation as it is nothing other than an awe inspiring and ruddy good tune!

Perhaps Mr. Mayo would be more suited to answering my question as his musical knowledge is not limited to the boundaries of skiffle, which would certainly not be suitable as a Bond song!

Ben Lamb.
Hull University, 3rd year film studies student (1st grade degree pending)

The State of Mainstream Horror

Fancy a rant at current horror releases and a brief history of the genre's development? click here

The Times BFI 52nd London Film Festival

It has been a while since I attended the press screenings, but my thoughts have finally been published. Click here to take a look

A Month In Film: October 2008

Click here to read my longest cinematic review for the monthly Studentbeans zine thus far.

Roger Corman Collection

The most epic piece of work I have written to date! Click here to read my review of the entire Roger Corman boxset which I watched and wrote in the space of two days intertwined with nine hours of work and some university lectures!

The Edge Of Love

Click here to read my review of Dylan Thomas biopic, The Edge Of Love

Burn After Reading

But do not burn after watching


DETAILS:
Released - 17 October 2008
Certificate - 15
Running Time - 95min
Directors/Screenwriters - Ethan Coen and Joel Coen
Producers -Tim Bevan, Ethan Coen, Joel Coen
Cinematography- Emmanuel Lubezki
Editing - Ethan Coen and Joel Coen (as Roderick Jaynes)
Music - Carter Burwell
Theatrical distributor - Universal
Country - USA



SYNOPSIS:
Osbourne Cox (John Malkovich) is let go from the CIA due to his drinking problem. Upon his reitrement he decides it is time to write his memoirs. However, his wife Katie's (Tilda Swinton) attorney loses the word files on a disc at the local gym. Stupid fitness instructors Chad Feldheimer (Brad Pitt) and Linda Litzke (Frances McDormand) feel the disc has political significance and can be bought off to the Russains for a high sum of money. At the same time seedy Harry Pfarrerr (George Clooney) is seeing all the women in the film behind everyone's backs. Before long all the stupid characters find themselves caught up in a wild goose chase.


REVIEW:
If you were to classify the Coen Brother’s career you would have to split their work into two categories. On the one hand you would have their Oscar nominated critically acclaimed contemporary works of art such as No Country for Old Men, Blood Simple, Miller’s Crossing, The Hudsucker Proxy, Barton Fink and Fargo. But on the other hand you have a very hit and miss quirky comedy side that includes The Big Lebowski (hit), The Man Who Wasn’t There (hit) O’ Brother Where Art Thou (hit), Intolerable Cruelty (miss), Raizing Arizona (miss) The Ladykillers (extreme miss). But as far as Burn After Reading goes, in regards to their comedic side, I think this lies somewhere in the middle between hit and miss.

When Burn After Reading wants to be funny, the humour absolutely hits the mark. It may be a film full of idiots but it is essentially a comedy with brains and is a political spoof with a lot to express about modern day American culture and the idiocy that comes with it. It is much more difficult to produce an offbeat comedy with substance and awkward situations than a laugh- a-minute, punch-line rubbish. The Coen’s comedy once again produces something far funnier and poignant in the long run. With the US lapping up Adam Sandler the Coen’s comedies puts my faith back in humanity. With a talented A-list cast to die for you could not dream for anything better. Hopefully with the likes of Brad Pitt and George Clooney at the helm it will attract a mainstream audience who will agree with me.

However, my main criticism of this film is that the Coen’s didn’t quite reach their full potential. Not as coherent as The Big Lebowski, with an equal amount of various characters, the film feels a little confused as to who deserves most of our attention. Ultimately each character has too brief a screen time and the film overall feels like a collection of sketches rather than one overall piece of work. Instead of being a layered script with one goal this certainly has layers but they are only seen individually rather than alongside each other. Also the humour at times could do with a little more pace, not too much as this would take away the Coen’s quirky charm, as it just feels like there is not enough confrontation to bring out consistent humour. We want to see more of John Malkovich completely losing his mind! Burn After Reading has an indecisive, incomplete, up in the air, feel about it. It does develop but a bit too slowly but I assure you it is worth watching for the ending where everything comes together.

TO SUM UP:

In relation to the Coen’s back catalogue of out and out comedies this does not equate to The Big Lebowski (my personal favourite) or Fargo, the only film of theirs to bridge the gap between quirky offbeat comedy and Oscar winning art. Although I do not think it is too far off the mark. There was perhaps a better film at the root of the script but nevertheless I think Burn After Reading will be remembered in the Coen’s back catalogue as one of their stronger works. In the context of recent times it still remains one the most original, thought provoking comedies currently out there.

Why Malcolm in the Middle deserves a DVD release

Malcolm in the Middle was was one of the best sitcoms ever produced in recent years. It was the only sitcom at the time that truly captured the essence of family life in American suburbia and in turn could collectively appeal to families the world over. Usually this is a show's downfall as all the material is watered down to avoid offence which in turn creates punch line based, canned laughter filled throwaway nonsense; My Family anyone? But somehow Malcolm didn't fall into this trap. It had one of the most original, inventive and culturally precise scripts of recent times. Every episode, including the weaker ones, was pure gold creating six series of essential viewing. It achieved the impossible by somehow having the ability to combine Curb Your Enthusiasm’s edgy humour with Peep Show’s cult appeal along with harmless, wholesome family entertainment. It was a rare show that teenagers could comfortably watch with their parents and enjoy together.


At his peak Malcolm was being aired on BBC2 primetime and attracted audiences everywhere. It was one of those unique shows like Friends and Third Rock from the Sun that actually became funnier as the series progressed. Similarly the characters and their relationships really started to develop as the show began to deal with the problems of family life and growing up and how to deal with such issues. Underneath this humour lied a drama with serious worthwhile messages.

However such a series has been overshadowed by the brilliance of The Simpsons. Although unlike Matt Groening, Linwood Bloomer created a string of consistently funny episodes and did not overstay his welcome by embarrassingly running his show for ten more years. The Simpsons was the show of the ninetees but has long since lost its identity in its desperate attempts at trying to attract fans from the Family Guy bandwagon with its new found zany humour. Malcolm in the Middle may have only been able to run due to the yellow family’s legacy but it is one of the only shows able to rival such a landmark series.

A few years later after its sad demise a Malcolm in the Middle DVD box set is nowhere to be seen. It angers me knowing that there are countless amounts of rubbish family based sitcoms out there being produced, not worth the disc they are burnt on, but the show which at one point was the epitome of such a genre remains unavailable. It is sad to think this timeless work of genius could be missed and unheard of by future generations.

Never Back Down - DVD Review

This review will be published in the best selling UK DVD publication; DVD & Blu Ray Review. Available in shops from 16th October:



What Never Back Down wanted to achieve was a watered down Fight Club for adolescents, basically a film with nothing other than the adrenaline pumping fighting scenes. Although instead of being Tyler’s days at school this is instead Fight Club without any originality, political significance, or any skilled filmmaking whatsoever. Apparently all ‘cool’ American adolescents should fight each other to gain respect and win over women. With a constant plugging of happy slapping on computer screens and mobile phones the filmmakers insultingly seem to think they are being culturally observant and appealing to today’s youth culture, they couldn’t be anymore deluded.

Filled to the brim with offensive messages the whole film rests on its stylised fighting scenes. However Jeff Wadlow’s direction of such set-pieces distinctly lacks any real punch or intensity that a BluRay disc could never salvage.

All the characters just have no real likeability. Ryan McCarthy (Cam Gigandet) has no reason to be evil and beat up innocent people. With Jake Tyler (Sean Farris) so determined to win such an idiot’s respect there is no way anyone can empathise.

Overall, Never Back Down is just overloaded testosterone filled rubbish that none of the self indulgent special features can disguise, no matter how hard they try. With a constant focus placed on the greased up half naked male leads over any real resonance, the only thing going for this film is its pro gay rights subtext.

Movie ** Extras **

Robot Chicken: Star Wars

For my review of Robot Chicken's take on Star Wars Click Here

Red Riding Hood

Click Here to read my review of straight-to-DVD horror Red Riding Hood.

A Month In Film: September 2008

Click Here for my monthly Student Beans article summing up the months film releases

Rock n Rolla

Ritchie has proverbially Swept Away Revolver under his carpet.

DETAILS:

Released - 5 September 2008

Certificate - 15

Running Time - 114min

Director/Screenwriter - Guy Ritchie Producers -Guy Ritchie, Joel Silver, Steve Richards, Navid McIlhargey

Cinematography- David Higgs

Editing - James Herbert

Music - Steve Isles

Theatrical distributor - Warner Bros

Country - UK

SYNOPSIS:

Some souferners go 'round being all threatening and shooting fings.

REVIEW/RANT:

In an industry which is all about profit and returns, second chances are rare. This is certainly Ritchie’s last chance.

Obviously when I went to see Rock n Rolla I was not expecting a masterpiece. But since Ritchie was now on familiar ground I nostalgically thought he would be able entertain me like he used to when I was a young, naïve and rather spotty teenager. The problem is that he is on too familiar ground. Once again he has remade Lock Stock and Two Smoking Barrels. Here Londoners with stereotypical voices and no real names; One Two, Mumbles, Tank etc. take proceedings and not a single one is believable or threatening. The gang ‘The Wild Bunch’ have no real chemistry, comradeship or banter. I am a great fan of the very talented Tom Wilkinson but here his impression of Bob Hoskins throughout is wincingly irritating.

Rock n Rolla is an attempt at remaking The Long Good Friday in a modern day context but to no avail. Ritchie’s script is nowhere near as witty as it thinks it is as all the jokes are based around homophobia and his desperate attempts at punch lines fall flat on their face.

Basically the best way to describe Ritchie’s direction is ‘flashy with no substance’. He should go back to music video direction where he started as this seems to be his true calling. Perhaps he should do a new video for the subways as the song ‘Rock n Roll Queen’ is played annoyingly too often.

Whereas the plot in Lock Stock was well structured and consistent the narrative here has too many different inconsistent storylines and is very confused. Ritchie had one entertaining film in him and people are starting to cotton on to the fact he is simply rehashing the same concept every time.

It is worth mentioning that Ritchie’s old producer Micheal Vaughn has gone onto great success with Layer Cake, Stardust and the opportunity to direct X-Men 3. Perhaps this was where the real talent lied. Ever since they stopped collaborating Ritchie’s work has desperately declined whilst Vaughn’s status has reached dizzying heights. It is also reported that Vaughn would take over direction duties when Ritchie couldn’t be bothered turning up for work.

As the credits arrive Ritchie advertises his planned sequel; The Real Rock n Rolla. Although such a film will not be made if this feature does not make enough money. Please do not put your hand in your pocket to fund this abomination. Unfunny, rubbish and unimaginative action proves he is only interested in the money. Help me prove to him that the movie going public are not stupid and make this fail.

TO SUM UP:

Let’s make no bones about it, Ritchie is not a skilled filmmaker. He made a sparkling humorous debut and a solid second film which was more or less the same but it had just enough minor differences to get away with it. Three flops in a row, he has well and truly sold out!

The Wire

My question pitched to David Simon, creator of ground breaking TV Series The Wire on Simon Mayo, Radio 5 Live:

I don’t want to praise your show like everyone else. You know it’s good. What I want to know is where does the inspiration for your characters come from? Specifically Omar, does such a cool psychopath exist?

Ben - Middlesbrough

(To cut a long well thought out answer short, yes)

Man on Wire

Click Here To view my review of Man on Wire for Nottingham University student newspaper; The Sanctuary

A Review of August

To read my latest revamped Student Beans column, click here

The Cottage

My brief hatchet-job sent to DVD Monthly review:

It is extremely difficult to find a coherent balance between humour and horror. Only a few filmmakers have successfully gelled the two together. Although ever since Shaun of the Dead we have had numerous amounts of copycat filmmakers trying to cash in on its success. But The Cottage has to be the least effective attempt to date.

The main problem is that the film is neither genuinely funny nor scary. Where most filmmakers trying to tap into this comedy/horror genre usually only achieve one requirement or the other, The Cottage misses both completely.

In the first, supposedly comedic, half of the film, Serkis and Shearsmith endlessly bumble around trying to keep the feisty Ellison under wraps. Constantly making mistakes events are far too repetitive. Each character just emphasises their stereotypical characteristics; Shearsmith is a weak coward, Serkis is a hard man and Ellison is a tough babe. The dialogue itself is not witty by any means and just involves a lot of people shouting and swearing at each other. So by the time the horror arrives we couldn’t care less about what happens to anyone. In a sudden stark contrast of events with no sense of development the atmosphere is nowhere near as chilling, shocking or repulsive as it wants to be.

Obviously The Cottage was never going to be ground-breaking as a horror or as a comedy but even as a throwaway piece of entertainment it just isn’t that good. Director/screenwriter Paul Andrew Williams should stick to what he is best at which is realistic gritty drama, as proven with his brilliant hard-hitting debut London to Brighton.

In a few brief extras a great deal of emphasis is placed on how the horror and humour were successfully meshed together. This couldn’t be any further from the truth and suggests how all those involved weren’t really paying attention to the film they were actually making.

Overall: Lasting only a brief 87minutes, this is nothing other than an instantly forgettable Shaun of the Dead bi-product.

David Icke: Live At The Oxford Union Debating Society

For my reivew of David Icke's filmed lecture click here

Courtesy of VideoVista.net

Buried Alive

For my reivew of the straight to DVD Buried Alive, Please Click Here

Courtesy of VideoVista.net

Hellboy II: The Golden Army

The devil spawned Ron Perlman is back

DETAILS:
Released - 20 August 2008
Certificate - 12A
Running Time - 119min
Director/Screenwriter - Guillermo del Toro
Executive Producer -Chris Symes
Cinematography- Guillermo Navarro
Editing - Bernat Vilaplana
Music - Danny Elfman
Theatrical distributor - Universal
Country - USA


SYNOPSIS:
It has been centuries since the indestructible Golden Army has been active. Left dormant due to its inhumane massacre of the humans by order of King Balor (Roy Dotrice) a treaty was reached to keep the peace between both races. But cut to the present day and his son Prince Nuada (Luke Goss) still has a bitter taste in his mouth. Angered by the human's everyday naivety and arrogance he rebels against the long established treaty and is determined to up rise and kill all humans with the assistance of the army. Determined to bring out all mythical creatures from hiding and reassert their greatness all that stands in his way is the Bureau for Paranormal Research and Defence run by Agent Tom Manning (Jeffrey Tambor). Here he has such employees that include human torch Liz Sherman (Selma Blair), amphibian Abe Sapien (Doug Jones), German gas bag Johan Krauss (James Dodd, John Alexander, Seth MacFarlane) and the man himself, Hellboy (Ron Perlman).

REVIEW:
Mexican auteur Guillermo del Toro has a somewhat peculiar scheduling system when it comes to making his films. Unimpressed with Hollywood duming down his work to make it more mainstream he now consistently swaps between making his own foreign films and his films for Hollywood. He makes one film for himself and once this is finished he will make one for Hollywood in a recurring pattern. Therefore he has the ability to be commercially successful as well as critically acclaimed which only a few filmmakers can rightly claim.

After his instant classic Pan's Labyrinth (a film for himself) his next film for Hollywood comes in the form of Hellboy II: The Golden Army. However, this seems to have instantly broken his articulate system of filmmaking. Distinctly alternative for a supposedly mainstream film it appears the studios have had little input into his latest masterpiece. If you prefer his foreign work you will be pleasantly surprised. Guillermo del Toro’s talent to switch between fantasy and reality is just so coherent. In a similar plot structure this is without a doubt the American Pan's Labyrinth.

For a superhero film Hellboy II has so much atmospheric and visual identity. It is more gothic than Batman and layered than anything else. One particular confrontation with flesh eating ‘tooth fairies’ lifts off the screen and is simply astounding to sit back and watch. But most importantly aside from his extravagant set pieces and visually inventive fighting the characters morals are at the films heart. Despite my earlier enthusiasm for Iron Man and The Dark Knight, Hellboy is a lot bolder in distancing itself away from typical Hollywood.

The key to Hellboy’s individuality is in its European aesthetic. In a reversal of roles, the token antagonist Prince Nuada actually has a moral posture. He has a legitimate cause to fight for with every right. This in turn changes Hellboy who slowly comes to realise he has no reason to defend the humans who keep him hidden and are starting to turn against him. This is what gives the film its edge. Hellboy has no legitimate reason to save humankind and we do not know whether he will necessarily save the day which completely defies the conventions of the superhero genre.

Although there would be no Hellboy if it was not for Ron Pearlman himself. Born to play the character his massive haggard and expressive face means the make-up department have little work to do. First and foremost a character actor, he uses the make-up as best to his advantage. Not just anyone could play Hellboy like other heroes e.g. Batman.

But if all this wasn’t enough there is a surprising amount of humour and light heartedness about this feature. Either visual or verbal there is no language barrier when del Toro’s knack for humour is evident. Twinned with Perlman’s loveable rogue lack sure attitude his rendition of ‘cant smile without you’ by Barry Manilow is guaranteed to light up any audience.

TO SUM UP:

The underdog of comic book adaptations seems to have bridged the gap between a blockbuster hit and artistic cinema with its latest instalment. A feat that was often considered impossible I eagerly await del Toro’s future project, The Hobbit.

Click Here to see a better edited version of my review for Nottingham Uni paper, Sanctuary

Pinewood Vs. Hollywood

For my brief analysis of the British film industry in relation the American film industry please click here

A Review of July

Here is my monthly summary

Angus, Thongs and Perfect Snogging

My brief rant to Empire magazine:

After recently handing my girlfriend the August issue of Empire she was appalled to find such blatant misogyny in William Thomas’ review of her favourite childhood book; Angus, Thongs & Perfect Snogging. Several outrageous statements which in one instance referred to women as a separate ‘species’ demonstrated Thomas’ lack of insight and empathy towards the films aimed demographic. As a magazine you take great pride in being the best selling film publication in the UK. I feel this will be a title you will struggle to maintain when you purposefully alienate half the public. I expected better of such an established work. What is this? Nuts magazine or something?

WALL-E

Where's WALL-E?


DETAILS:
Released - 18 July 2008
Certificate - U
Running Time - 102min
Director - Andrew Stanton
Screenwriters -Andrew Stanton and Jim Reardon
Producers -John Lasseter, Jim Morris
Production Design - Ralph Eggleston
Editing - Stephen Schaffer
Music - Thomas Newman
Theatrical distributor - Buena Vista
Country - USA


SYNOPSIS:
The last robot of his kind, WALL-E, has been accidentally been left behind on earth for seven hundred years. All alone he is still doing what he was initially assigned to do; cleaning the planet of its rubbish which has polluted the atmosphere. Longing for companionship he is overwhelmed when a robot from space named EVE appears. Although before long they are both whisked away onto a spaceship where all the surviving humans have been living. Here they must convince everyone that their planet is now hospitable as well as coming to terms with their true feelings for each other.

REVIEW:
There are several reasons as to why Pixar continues to dominate the children’s film market. At times their biggest rivals Disney and Dreamworks Animation Studios come close with the odd success but neither really threaten Pixar’s dominance. It is not just the skill of Pixar’s animation which is the key to their success but it is the fact their films have a heart. They are not primarily concerned with cheap childish jokes as they are more concerned that their films are touching as well as amusing on a level that appeals to both adults and children. This was true of Disney but it has since lost its identity that it has desperately tried to recapture through old franchises. Exploiting its legacy with countless sequels Disney are a shadow of their former selves. When Pixar first started they required Disney’s funding to function but now the tables have turned as without Pixar, Disney would not have as many successes affiliated with its name. With a huge boost in the amount of CGI animation films being produced and subsequent flops, CGI itself is not a guaranteed success. As Pixar continue to prove, it is in the quality of the storytelling that goes with it.

In this sci-fi, romance, Macguffin, comedy; Wall-E is a prime example to demonstrate such a theory. To begin with no dialogue is for uttered for forty minutes. In a nod towards silent cinema Wall E’s feelings are conveyed through nothing other than simple movement. A masterclass in animation Pixar have brought filmmaking back to its essential roots. Despite Wall E’s relatively basic features they are capable of conveying a whole world of emotion that dialogue never could. Despite such breathtaking cinematography such as Wall-E traveling through Saturn’s rings this merely comes second to Wall-E’s animation. It appears Pixar know they can produce the best CGI effects and subtly prove this now and again, but they are more concerned with Wall-E’s character over the extent of their animation skills.

But the greatest achievement of this film is in its underlying message. Despite its light hearted feel there is a serious recurrent message that lies beneath. I guarantee once you have seen this film you will begin to appreciate the small things in life we take for granted. No “children’s” film has ever been so powerful or touching for children and adults alike. Its messages about the environment and basic human emotions put things in real perspective without ever getting preachy. In a scarily dystopian vision the human race has become overweight and lifeless. Despite their power of speech they have become transfixed in a world of technology and are ignorant slobs who took their world for granted. This is a slight dig at American society and technology itself, both factors which allow Pixar to make these films in the first place. Therefore is a big risk of Pixar but it has paid off. They have really gone out on a whim and taken severe risks where they are not guaranteed profit which is the sign of true art.

TO SUM UP:
Pixar themselves are the real star of the film. Every single member of staff has contributed to this work of art that rightly deserves a best picture nomination. There are no self indulgent egos here begging for awards, just what Pixar want to do best. Wall-E is without a doubt the most likeable and selfless character to grace our screens. In a journey from pure innocence to experience, with the only ability to move his hands and eyes and speak three words maximum, nobody has ever felt this much for an inhuman species since Spielberg’s E.T.

The Dark Knight

Nolan's Caped Crusader Returns

DETAILS:

Released - 24 July 2008

Certificate - 12A

Running Time -152min

Director - Christopher Nolan

Screenwriters - Jonathan Nolan and Christopher Nolan

Producers - Christopher Nolan, Charles Roven, Emma Thomas

Cinematography - Wally Pfister

Editing - Lee Smith

Music - James Newton Howard and Hans Zimmer Theatrical Distributor - Warner Brothers

Country - USA

SYNOPSIS:

A year has passed since the vigilante named Batman (Christian Bale) first emerged on the dark streets of Gotham to strike fear into its criminals and maintain order. With the public in full support, and some dressing in bat suits of their own, the people’s faith is questioned when the Joker (Heath Ledger) comes to town. Uninterested in money his plan is to reaffirm the mob’s power and force Batman into publicly revealing his true identity thus plunging Gotham into sheer chaos. Batman’s allies; attorney Harvey Dent (Aaron Eckhart), lawyer Rachel Dawes (Maggie Gyllenhaal) and Commissioner Gordon (Gary Oldman) team up to put the leading criminals behind bars and end the Joker’s reign of terror. However the Joker’s master plan is far superior than initially thought as all involved are individually targeted putting their relationships under great strain which just proves too much for some.

REVIEW:

Batman is a cultural icon. Ever since Bob Kane wrote his first Batman story in 1939 as part of the Detective comics his figure has been kept alive through various other comic books, cartoons, television shows and films. It was Tim Burton in 1989 who realised the darker potential of a cinematic adaptation and made a couple of landmark films. Sadly this was subsequently ruined when Joel Schumacher was given the role of continuing the series and thus brought it to an immediate standstill.

Years of development hell later including the idea of a Batman vs. Superman being thrown around the Warner Brothers studios Christopher Nolan brought the franchise back to its roots. What made Batman Begins so fantastic was the fresh look into Bruce Wayne’s origins, what actually compelled him to become the Batman? Nolan gave us an explanation that so many other works have glossed over. Bruce Wayne’s transformation was at the heart of Nolan’s film. It was groundbreaking in the sense that it proved comic book adaptations should not be judged by the amount and size of action sequences that can be crammed in. Thus a franchise was saved and a sequel was inevitable.

Usually a blockbuster or comic book adaptation is driven by its action finale. More often than not the entire film is a big build up waiting for a tet a tet between the protagonist and antagonist. This is not the case with The Dark Knight. It is the individuals themselves along with the people of Gotham who are central to the plot. Instead of an all guns blazing action finale the very minimal action set pieces only occur every now and then. This must be the closest you can get to having as little action sequences as possible in a blockbuster which still manages to grip you for 152 minutes.

The main difference between Batman Begins and The Dark Knight is that Batman now has met his match; someone with an ego far bigger than his own. The joker completes Batman. He may be the opposite but he is there to compliment his attributes and emphasise his inevitable flaws. His colourful antics are there to counterbalance and feed off the grim darkness and seriousness that encompasses Batman.

When Heath Ledger was initially confirmed to play this role I was a tad sceptical to say the least. Typecast as romantic heart throbs how could he possibly rival Nicholson’s take on the character? Well he has silenced all scepticism with this monumental performance. Twinned with the work of the films make-up team ledger’s joker is the most effective evil character in cinema since Darth Vader and of all time. His performance is just so layered and when he leaves the screen we miss him. He is an unnerving, on the edge, amusing, troubled, brutal, sadistic, but believable character. We feel for him but at the same time we cower in fear at his presence. He has countless scenes which will go down in film history; in one particular case he dresses as a nurse which is so memorable in its disturbing but strangely hilarious feel. As good as Nicholson’s daft, camp and humorous comic Joker was, we soon realise that he has in fact been surpassed. Where Ledger brings the term ‘freak’ to a whole new inconceivable level, Nicholson was in fact really playing an emphasised version of himself.

Although with such attention on Ledger it is worth mentioning Oldman’s often overlooked performance. With a far more extensive part than in Batman Begins we see more of his talents. He adds a certain gentle humanism in amongst the colourful characters. He keeps the film firmly rooted to the grounds of reality. With his subtly emotionally charged performance he is definitely the character we feel for the most. With so much attention grabbing joking around it is just too easy to miss.

With so many main characters to focus on the film is essentially an ensemble piece. In order to explain each main character and maintain your interest each scene moves at such fast pace it is difficult to keep up. There is certainly an awful lot to take in before the film quickly cuts to the next scene or character. It does not breathe for a minute, you will have no chance to sit back and take things in. At first it feels a bit rushed but around half an hour in you become used to this unique form of blockbuster cinema. You just have no idea how events will develop as the plot flits between people. For a fairly long 2 ½ hours running time you never feel restless or bored. The time flies by and is just about right to fit everything in. There is just so much more substance and ideas to this epic than ever seen in any comic book adaptation before. The script itself is full of memorable and iconic lines offering questions open to audience interpretation. As soon as you have left the screen you will want to turn right round and go back into pick up on the things that you will definitely have missed.

With such a vast amount of ideas floating around there is not necessarily as much emotional engagement between the characters and the audience as the Nolan brothers would have liked. There was a real connection with Batman in the original but here with so many other characters I feel a bit has been sacrificed to fit them all in. There is just an ever so slight sense of detachment from everyone involved. I felt more admiration for the skilled filmmaking than perhaps real engagement with it.

Also with lots of new and more interesting characters than the Batman he is no longer the centre of our attention. The film might as well have been called ‘the rise and fall of two face courtesy of the joker’. The dark knight himself is overshadowed as he is just not exciting enough in comparison. Now we have seen enough development of him in the first film it is time to focus on his enemies. But it still all works though, it is all 'part of the plan’. With as many characters as Spiderman 3 this is certainly not as all over the place and remains focused on the vision, development and direction it is taking.

TO SUM UP:

This is certainly the best a blockbuster can get. Nolan has continued to save a franchise which was considered long since dead. However I wouldn’t mind seeing the brothers doing a more artistic production to let their talents go wild without the constrictions or limitations of mainstream cinema. Having said that they have certainly raised the bar and continue to change the super hero genre leaving marvel with a sold-out Sam Raimi and no Bryan Singer to slowly try and keep up. With the sheer amount of films they have planned I doubt any will fair against such an epic.

A Review of June

Please click here for my summary of the cinematic month gone by. Courtesy of Studentbeans.com

The Incredible Hulk

Ed Norton is out to prove he is more than Ang Lee

DETAILS:
Released - 13 June 2008
Certificate - 12A
Running Time - 112min
Director -Louis Leterrier
Screenwriter - Zak Penn
Producers -Avi Arad, Kevin Feige, Gale Anne Hurd, Stan Lee
Cinematography - Peter Menzies Jr.
Editing - Rick Shaine and John Wright
Music - Craig Armstrong
Theatrical distributor - Universal
Country - USA

SYNOPSIS:
After a military scientific experiment goes wrong, Dr. Bruce Banner (Edward Norton) is infected with gamma radiation and is classified a fugitive of the American government by order of General Thaddeus 'Thunderbolt' Ross (William Hurt). After years of living secluded in trying to come to terms with his disease it is time for Bruce to come back into the open to find a cure for his Hulk symptoms. Whilst trying to meet with a scientist samaritan under the pseudonym Mr. Blue, Bruce has to deal with the pursuing armed forces, his love for the general’s daughter Betty Ross (Liv Tyler) whilst not forgetting the biggest threat of all; evil rogue marine Emil Blonsky (Tim Roth), a megalomaniac who is determined to hunt him down.

REVIEW:
The story of the Hulk is a problematic narrative to translate to the big screen. It is extremely difficult to find a coherent balance between emotionally engaging characters and testosterone filled carnage. This problem does not concern the comic books as the narration of Bruce’s inner thoughts lets the emotion flow easily through both sides of Jekyll and Hyde to maintain one fluent plot. But without these soliloquies the darker side of Bruce cannot be as effectively portrayed in a more visual medium. The Hulk just becomes a big green piece of CGI, an angry Shrek or jolly green giant with a frown which is not as threatening. Such difficulties Ang Lee tried to avoid with an art house approach are just as present here. Once again the CGI takes the spotlight over the actual story. In an attempt to find a balance between a plot and bashing things a vague love interest makes us mildly care but ultimately the only way to end things is to introduce a bigger and meaner creature for Hulk to bash to bits.

Despite this, Louis Leterrier’s Hulk is a vast improvement on Ang Lee’s depiction which proved that art house cinema and blockbusters do not mix. In simple terms Hulk fans are into action and uninterested in art house whereas Ang Lee fans are generally not into blockbuster cinema. After marvel’s hiccup this time around the action film the fans wanted originally has arrived. A plot which puts Bruce Banner on the run adds more urgency and intensity to proceedings. The main problem with the original was that we were waiting too long for Bruce to realise that he was the Hulk and begin to turn into it. The initial wait is not as long this time around as Bruce’s transformation is summed up in an extremely brief opening montage that lasts the best part of a minute. This is all that was needed in the first place. Similarly an action director is integral to the film and who is better for the challenge than the Transporter 2’s Leterrier. What he has proved in places is that Bruce Banner does not necessarily have to be green for the action to take place. The first chase scene where Bruce runs from Marines over favela rooftops is derivative of Paul Greengrass’ Bourne franchise and almost as heart pounding. Plot tools include a pulse monitoring watch which enhances the tension. Also a humorous reference to where his purple stretchy pants came from shows how Leterrier has the fans best interests at heart.

Ed Norton is the perfect casting for the role. He has proved in the past that he can play a calm collective and likeable character with the ability to switch on a convincing rage driven monster particularly in his Oscar nominated role as murderer Aaron Stampler in Primal Fear. Although here there is not much for him to do except run and look scared. He has done what he has been told perfectly but he is unable to explore his vast talent. Also Roth just has to look mean, but he is the right person to play a psycho.

As Marvel enters its second phase of dominating the comic book cinematic market more critically established actors are taking on the Superhero limelight which is beginning to add a certain integrity to this genre. But is this also a step backwards that means in order to get noticed more such actors are turning down better less blockbuster type roles? Ultimately superhero movie characters are caricatures and nothing more. At the end of the incredible hulk another reference is made to the Avengers project as Tony Stark cameos at the end. Here we are reminded how Marvel are going mental in the future with a vast amount of further releases. Hopefully the quality will not slip through their fingers as they become overloaded with too many projects to handle. In the Avengers will too many chefs spoil the broth? Only time will tell.

TO SUM UP:
Overall the Hulk is a far better film than Ang Lee’s initial attempt. Having said that it suffers from the same problems, the intense action and emotional side story do not seem to gel well together proving that the Hulk is best left in the comics.