Films of the Year - 2013

I suppose the first thing I can say about film in 2013 is that the year itself will always be memorable. In a year that seen the Superman return to the silver screen (Man of Steel), Edgar Wright's Cornetto trilogy come to a satisfying close (The World's End), Ron Burgundy attempt to make a difference (Anchorman 2) and former Disney princesses go wild with James Franco (Spring Breakers), above all else I'll always remember 2013 as the year I first got paid to review film. 

However none of the above made this, my first, published (hopefully of many) top ten of the year list. 

Of course, if you haven't already skipped ahead, you'll notice some other glaring omissions. As the first film I was paid to review, Spielberg's Lincoln will always have a place in my heart for that reason, but not for the three-hour historical epic that is sadly lost in translation for a European audience. And is rather boring on second viewing.

Blockbusters such as Iron Man 3, Star Trek Into Darkness and The Hunger Games: Catching Fire all surprised me, particularly when you consider the general rule surrounding Hollywood sequels. However, they didn't strike a nerve with me on a personal level. Great explosive fun, but not quite as challenging as one could have hoped. 

There's also the fact that I'm yet to see Alexander Payne's Nebraska which, if I'd had the time to see it, could have snuck it's way into this top ten. This probably applies for quite a few other films this year (replace Nebraska with The Selfish Giant, Frances Ha, Blue is the Warmest Colour et al. and you'll catch my drift) so I've a bit of homework to do while I'm still off for the holidays. 

Anyway without further ado, here are my own personal top ten films of the year:

10. Alan Partridge: Alpha Papa

When a beloved television series attempts to take the big leap onto the silver screen, more than often something gets lost in translation. So when the announcement was made that dear old Alan was going to forfeit a second series in favour of a feature film, I was naturally skeptical.

However, Alpha Papa treats it's television roots with respect, making it one of the funniest films of the year. The storyline surrounding a hostage situation at North Norfolk Digital may be the failed chat show host's most unorthodox adventure to date, but by keeping the film firmly rooted in East Anglia, the humour throughout the film is very much "essential Alan".

True to form, Alan seizes the the opportunity by becoming the face of the siege in an attempt to raise his celebrity profile and I for one hope that Armando Iannucci and Steve Coogan use the film as a springboard to bring Mr Partridge back on to the small screen.

9. Captain Phillips

When handed the directorial reins of a delicate real-life event, Paul Greengrass can be trusted to bring out the human story above all else. Both United 93 and Bloody Sunday cut through personal grudgery and political agenda in order to capture an impartial dramatization of the events in real time. Captain Phillips is no exception.

Newcomer Barkhad Abdi may not share the top billing with Hanks but he certainly should, in keeping with Greengrass' keen desire to present both sides of the story in a neutral, equal manner. His portrayal of the pirate leader Muse shouldn't be overlooked by the judges when it comes to award season early next year. 

Even as the film hurtles towards its suspenseful conclusion, neither Somali nor American come across as the heroes or villains of the piece, an encouraging worldly view perhaps shaped by the post-War on Terror era.

For Greengrass, the effects of Globalization maybe the burning issue in Captain Phillips, but even drudging up this political insight doesn't distract audiences from experiencing one of the most climactic finales in cinema this year. 

Reviewed for The Big List - Captain Phillips

8. Upstream Colour

The strangest thing about the recent DVD release of Upstream Colour is that the cover gives the impression that Shane Carruth's long awaited to follow up to Primer is somewhat of a Cronenbergian body horror. Whilst that is true of one particularly itchy sequence, there's far more going in within the life-cycle of the film.

Part romantic drama, part revenge thriller, Upstream Colour examines the chemistry behind relationships on both biological and metaphysical levels. On top of directorial duties, Shane Carruth stars, edits and even acts as composer for this hallucinogenic, intoxicating film that sacrifices the basics of narrative in favour of creating a sensory experience unlike any other. 

Reviewed for OneMetal.Com - Upstream Colour

7. Only God Forgives

A quick look at Rotten Tomatoes will give you a thermometer reading of how the critic population worldwide views Nicolas Winding Refn's follow up to 2011's Drive. Booed and jeered by many after it's initial Cannes premiere, Only God Forgives was criticized for putting "style, over substance," and for being "gruesomely grotesque."

Yet I found this brooding tale of American gangsters heavily embedded in a dark, Thai criminal underworld totally engrossing. Visually stunning, every scene could be paused, printed and proudly hung on the wall as a striking piece of art. Even scenes of violence are choreographed in such as way to make them hypnotically mesmerizing. 

Only God Forgives also features two of the most extraordinary film characters of 2013. Vithaya Pansringarm's karaoke loving sadistic cop provides some of the goriest action sequences of the year while Kristen Scott Thomas' emasculating gangster mom is so wicked and venomous that she gives even Lady Macbeth a run for her money.

6. Filth

While we're on the subject of 2013's most despicable players, perhaps the biggest C U Next Tuesday of the lot was James McAvoy's manipulative Edinburgh cop in the film adaptation of Irvine Welsh's Filth. 

Fuelled by sex, drugs, fags and booze, the film charts Bruce's descent into madness as he plays 'the games' in order to steal promotion from right under his colleagues noses. The comedy may be black as tar and just as difficult to swallow, but for me that's what made the film so interesting.

Certainly the darkest role on McAvoy's CV, there's something dangerously fetishist in seeing just how long this right bad bastard can get away with it before he finally is forced to see the errors of his ways. And that's not something I've felt watching a film in quite some time - Pure filth. 

5. Good Vibrations

I have a confession. Despite being lauded by critics, championed by the local music scene and even after getting a personal recommendation from my hero, the good doctor Kermode, I resisted seeing Good Vibrations for quite some time. Perhaps the trademark Northern Irish cynicism in me is to blame.

Finally, I caved and caught an early evening screening on my own on a rainy springtime afternoon. Even if you see the film as a somewhat romanticized version of Terri Hooley's impact on punk music during "The Troubles" it's impossible to deny that the film boasts a pleasurable feel good factor that is impossible even for the most cynical Norn Irish man to deny. 

4. Saving Mr. Banks

I have a soft spot for stories that give a glimpse behind the scenes of some of cinemas most iconic films. Saving Mr Banks details the difficult process Disney had to go through in order to acquire the rights to Mary Poppins from the novel's author, P.L. Travers (Emma Thompson).

Flashbacks give insight into the childhood of Travers and in particular her relationship with her father (Colin Farrell), a lovable whimsical man who succumbs to alcohol and inevitably becomes the inspiration for the Mr Banks character in Mary Poppins. 

These flashbacks not only show us the inspiration behind Mary Poppins herself, but give us an understanding as to why Travers comes across as so cold and unmovable. She is so protective over her characters out of fear that Uncle Walt (Tom Hanks) will 'Disney-fy' them. It's a lovely tale that still keeps the warm Disney spirit alive, without putting the real story in jeopardy. 

3. Zero Dark Thirty

During the award buzz early on in the year, Kathryn Bigelow's Zero Dark Thirty was without a doubt the winner of the "most controversial" award. Graphic scenes of torture and violent coercion caused quite the stir in the run up to the 2013 Academy Awards with some commenting that the film actually promotes the use of these violent coercive methods - Not something I wholeheartedly agree with, particularly given its somber ending.

Starring Jessica Chastain, the film follows the hunt for Osama Bin Laden through the eyes of a young CIA operative. Even with the news of Bin Laden's death still fresh in our minds, Zero Dark Thirty maintains a tense, gripping atmosphere throughout, particularly during the storming set-piece siege on Bin Laden's compound towards the end. 

2. The Kings of Summer

Blink and you may have missed it, for The Kings of Summer barely had time to reign before being dismissed in favor of the next film. If not for the championing review from just one critic (you can probably guess who that was), I would never have even heard of it. It became my mission to track down this film and see what the fuss was about. 

A comedic tale of misspent youth, teenage revolt and falling in love may not sound like anything out of the ordinary, yet thanks to idiosyncratic characters, charming story-telling and the always welcome Nick Offerman appearance, The Kings of Summer was even more surprising than I could ever have imagined. 

Since watching the film, I've passed it around a few friends who have all been surprised by just how entertaining it was (there's that Norn Irish cynicism again). And just as the characters will have that shared memory of spending their summer in the woods, my friends and I will always have that shared memory of just how heart-warming and funny the Kings of Summer is, especially for a film that almost slipped by us all unnoticed. 

1. Gravity

Not only does Alfonso Cuarón's sci-fi thriller give us cinephiles a reason to finally care about 3D cinema, but it also gives the lost genre of pulp space drama a much needed rejuvenating thrust.

Stranded above the Earth's atmosphere with absolutely no contact with ground control, a grizzled veteran and a nervous rookie must work together in order to navigate the dangers of space and find a way to get back home. 

Bringing together both the wondrous beauty and horrifying perils o space travel, Gravity is a self contained space oddity that packs in visually stunning cinematography, a brooding soundtrack and an emotionally engaging roller-coaster ride all in just ninety minutes. My favourite film of the year. I only hope I get the chance to see it again on the big screen. 

Reviewed for The Big List NI - Gravity

Itchy Fingers #12 - The End of an Era (Games of the Year 2013)

2013 may have marked beginning of the end for our beloved current gen consoles, but the Xbox 360 and PlayStation 3 were never going to disappear into silicon heaven without one last hurrah. Amidst the usual spat of sequels, reboots, it’s hard to believe that some of the most important moments in gaming history were forged this year, all against the backdrop of the new console war.

We’ll come down to brass tacks first. Released just this September, Grand Theft Auto 5 has already broken six Guinness World Records. Granted some of these were already set by other video games, but by becoming the fast selling entertainment product in history it’s also toppled records set by blockbuster movies such as Avengers Assemble and Avatar in their opening weekends. However, through all the praise GTA V was showered with upon release, many critics were quick to point out just how misogynistic the game was.

Thankfully, 2013 also ushered in an era that sought to challenge the typical busty female

stereotype in gaming– after all; approximately 45% of gamers are women. As the first lady of gaming, Lara Croft was naturally at the forefront of this reformation. By substituting her sex symbol status for a human personality, the Tomb Raider reboot not only significantly changed up the gameplay of the series, but offered up a deservedly fresh perspective on the first lady of gaming.  

It wasn’t just gender barriers that were beginning to disintegrate either. A revolution of sorts is happening right now as small, independent game developers are starting to pose a challenge the globally dominant publishers such as EA and Ubisoft. Cult indie hits such as Hotline Miami and Thomas Was Alone migrated from their PC homes and found a new fan base through the online PlayStation store, reinforcing Sony’s promise to support the indie game scene. Without unlimited resources, indie developers have had to think outside the box in order to sell their games.

Enter Papers, Please – a game that takes advantage of the player’s own moral compass and uses their emotional state as a mechanic in the game. As an immigration officer for the fictional communist state of Arstotzka, you have the tough decision of letting in refugees at the cost of facing penalties that will see your family freeze or starve to death.

Finally, let’s take a moment to remember The Last of Us. In a story that could rival any Oscar nominee, The Last of Us followed Joel and Ellie on their quest across a decaying American backdrop to find an underground resistance group amidst an outbreak of a zombie-like mutation. Created by Naughty Dog, this post-apocalyptic survival horror pulled our emotions in a thousand different directions, ranging from fear and anguish to guilt and remorse.  It introduced subtext, characterization and a depiction of the human condition like no other game had ever achieved to date, perhaps giving it the edge over GTA V as top contender for Game of the Year.

Just as songs and films can stir up feelings of nostalgia, I believe video games can have the same personal impact too. From falling out with ex-girlfriends over my Call of Duty 4 addiction, to substituting the real world for Skyrim when the going got tough, I’m at the age now where I’ll always remember where I was in life when I lost myself to these games. So when you’re shredding the wrapping paper of your Xbox Ones and PS4s this festive season, just remember – a console isn’t just for Christmas, it’s for life. 

Originally featured in The Big List Issue #242

As an added bonus, here are my top ten games of the year (I don't own a Wii U or 3DS so unfortunately I couldn't include Nintendo games. Next year perhaps?)

My Top Ten Games of 2013:

10. DmC - Xbox 360

9. Tearaway - PS Vita

8. Battlefield 4 - Xbox 360/PS4

7. Guacamelee - PS Vita

6. Papers Please - PC

5. Tomb Raider - Xbox 360

4. Bioshock Infinite - Xbox 360

3. Hotline Miami - PS Vita

2. Grand Theft Auto V - PS3

1. The Last of Us -  PS3

Film Review - The Hunger Games: Catching Fire

Who doesn't love Jennifer Lawrence? Even the keyboard warriors who obliviously place The Hunger Games in the same category as the mopey vamp Twilight saga can’t deny that she is one of the Hollywood’s most down-to-earth actresses. And if the amusing gifs and memes are to be believed, the Silver Linings Playbook Oscar winner seems to be very much enjoying her moment in the spotlight.

The same can’t be said for her on-screen alter ego, Katniss Everdeen, who seems to be struggling with the moral consequences of her victory over the 74th annual Hunger Games. Having defied the totalitarian power that rules her world through media manipulation and fear-mongering, she has become the poster girl for a proletariat on the verge of uprising.

Despite her best efforts to fulfil her duties as a media puppet for the ruthless President Snow (Donald Sutherland), in order to appease the disgruntled lower classes in the twelve districts, she is eventually forced to participate in a rather suspect anniversary edition of the Capital’s favourite blood sport in order to save her loved ones and maintain the peace.

Naturally, the second act once again is reminiscent of Fukasaku’s Battle Royale, or even futuristic eighties frolic The Running Man. But whereas the first film reserved its use of violence until the Hunger Games began, Catching Fire surprisingly uses the high strung political atmosphere to allow blood to spill in some of its rather shocking and brutal opening scenes.

If there is one criticism to be had, it’s that history may be repeating itself as the over encumbered running time and formulaic structure of Catching Fire almost syncs up perfectly with the first film. As for the Twilight comparison, it lives only in this saga’s romantic subplot. 

Whilst love triangles are becoming the done thing for teenage fiction, it very much thumps away in the background of The Hunger Games. In fact it’s the male characters who are given somewhat upturned gender roles in this franchise. As they dwell upon winning Katniss’ heart, she gets her priorities straight and fights for the lives of her people. It’s a much larger cross to bear than the love torn woes of Bella Swann.

Adapted from the second novel in the Suzanne Collins’ penned series, the film puts society’s obsession with reality TV, garish fashion and the cult of celebrity firmly in the firing line. By expanding on many of the poignant issues that were touched upon in its predecessor, and giving teenage fans a morally sound, emotionally rounded heroine for inspiration, it may come as a shock to hear that Catching Fire is one of the more intelligent 12A certificate blockbusters to arrive this year.

Reviewed for The Big List NI

Itchy Fingers #11 - This Ain’t a Scene, It’s an Arms Race

There’s one last score to settle before the world gets its first taste of next-gen gaming. In a conflict that has lasted for more than a decade and cost the gaming community billions, two superpowers will collide one final time on PlayStation 3 and Xbox 360 this November. As the hoo-rah US Marine of first person shooters, will Battlefield 4 be able to outgun the SAS disciplined Call of Duty: Ghosts before this generation of consoles becomes an empty no man’s land?

The war began back in 2002 when Swedish developer Digital Illusions CE (or DICE for short) teamed up with EA to bring PC gamers Battlefield 1942. Of course, World War II games were nothing new, especially if you consider Wolfenstein 3D as not only kick-starting the trend but indeed the FPS genre entirely. EA themselves had piggybacked off the success of the Oscar-winning Saving Private Ryan to inject WWII games with a much needed dose of Hollywood pizazz, resulting in the memorable Medal of Honour series.

Battlefield 1942 was praised for its addictive multiplayer, but that wasn’t enough to hold off the oncoming blitzkrieg at the hands of Activision. Developed by Infinity Ward, Call of Duty was released in 2003 and was showered with praise for being a much grittier experience, highlighting the perils of war at a time when the genre was succumbing to trench foot. 

After a barrage of sequels from the COD camp, the tides of war eventually entered a new theatre of conflict. At this point, 2005’s Battlefield 2 took the upper hand by upgrading its armoury to accommodate the familiar post 9/11 war on terror that the world was exposed to on a daily basis. Armed to the teeth with a hanger full of military vehicles, the PC exclusive title appeared to have enough firepower to ward off incoming strikes from other FPS titles. However, EA grossly underestimated the console market and with online gaming becoming an integral part of the console artillery, they left the back door open for Call of Duty to make a critical strike.

Call of Duty 4: Modern Warfare may not have shattered sales records, but Activision managed to establish their flagship shooter as the number one online game throughout 2007 and 2008. By giving players the opportunity to earn their rank, customise their load out and achieve the hugely coveted “prestige” title, COD4 redefined not only the FPS genre but multiplayer games in general.

Even after many of Infinity Ward’s key players were discharged from duty back in 2010, Battlefield 3 wasn’t strong enough to hold off the might of the Modern Warfare sequels, or the various other COD spin offs that would be released during the interim years. The bill was paid for by consumers thanks to the emergence of new “war economy” that included downloadable content, state of the art headsets and even video capture equipment, all designed to give players the upper hand against their rivals in brutally addictive online battles.

As the tenth instalment in the series, Call of Duty: Ghosts managed to make $1 billion in revenue in just one day, but not all’s fair in love and war. The game has been described as the weakest entry yet, particularly for not adding anything ground-breaking to the series.  The battle for FPS glory is far from over but will Ghosts be one to deter even the most hardened Call of Duty veterans? Semper Fidelis - as long as brand loyalty is top priority for gamers, the war will only grow hotter as it rages on into the next generation. 

Originally featured in The Big List #241

Film Review - Gravity

During the 1960’s mankind looked to the stars as both a way of hope and escapism from the the very real threat of nuclear annihilation, at the behest of two politically opposing superpowers. From the launch of Sputnik to the moon landings, the space race seemed like a more peaceful competition between the USA and the USSR.

Cinema naturally mimicked this trend and in the years that followed, iconic sci-fi films such as Stanley Kubrick’s 2001: A Space Odyssey, Andrei Tarkovsky’s Solaris and even Ridley Scott’s Alien explored both the sense of wonder and the perilous fear that came with space travel. 

When Gravity opened to US audiences back in October, renowned astrophysicist Neil deGrasse Tyson took to Twitter to highlight some of the film’s scientific inaccuracies. However, any creative liberties taken are immediately forgiven as Gravity, a film that contain plenty of nods to the pioneers of space cinema, still stands tall as a technical, visual and operatic masterpiece all in its own right

In a plot brilliant in its simplicity – a routine maintenance mission to service the Hubble telescope – the crew of the Explorer space shuttle find themselves caught in a mid-orbit collision with the space debris caused by the destruction of an orbiting satellite.

As the two remaining survivors, Dr Ryan Stone (Sandra Bullock) and Lieutenant Matt Kowalski (George Clooney) find themselves adrift, cut off from mission control, their oxygen levels critically low and their transport left in tatters. Survival instincts kick in as the pair must use what limited resources they have at their disposal in order to make it back to Earth. 

Gravity has a self-contained story that doesn’t require a degree in astrophysics to enjoy. In fact, the plot is one rooted in the primal instincts of humanity. Directed and co-written by Alfonso Caurón (Children of Men, Y Tu Mamá También), Gravity is an emotionally tense space thriller that isn’t held back by the gravitational pull of unnecessary backstory, complex mythology or even lengthy scientific jargon. 

Kowalski tells Stone to set her watch for ninety minutes, and given that that roughly matches the film’s running time, most of the film unfolds almost in real time. From one heart-racing set piece to the next, the audience are rarely given a moment to take a few precious sips of oxygen before being thrust into another pulse-exhilarating peril.

Any hint of Sandra Bullock’s recent rom-com escapades are immediately forgotten, as she gives one of the most honest performances of her career. Taking the prominent role in the film, she deservedly is the only character to give any glimpse of backstory, a plot point used only to illustrate her emotional state as the rookie astronaut, struggling between accepting her fate or fighting for survival.

Clooney brings his usual suave chatty banter to his supporting role as the veteran space jock. Keeping his cool throughout, his heroics and ability to keep calm in what is one of the most distressing situations imaginable serves to really highlight Bullock’s performance at the emotional centre of the film. 

The final player in the story is the soundtrack. In space, no one can hear you scream so thankfully Steven Price succeeds in creating a dark, brooding electro-symphonic masterwork that fills the silent vacuum of space with foreboding dread, in one of the finest film scores of the year. 

Despite being filmed in studios firmly grounded on planet Earth, Gravity is one of the most convincing sci-fi dramas to appear on the silver screen, save for the glaringly obvious CGI accessories. The juxtaposition of the Earth’s inviting warmth and the cold deep abyss of space may put the characters between a rock and a hard place, but for audiences it's a gorgeous visual feast. 

Even film critics and cinephiles (including this one) who have a fevered distaste for 3D cinema can’t deny the spectacular use of the medium to really emphasise the awe-inspiring cinematography from Emmanuel Lubezki. Not since James Cameron’s Avatar or Ang Lee’s Life of Pi has 3D film been used as such a key selling point in a film, and thankfully Gravity is much more convincing champion of 3D toolkit than they are. 

Whilst deGrasse admits that his scientific nitpicking was meant as a compliment, Buzz Aldrin has a much more optimistic view on the film, stating that Gravity “couldn't have come at a better time to really stimulate the public.” From a cinematic standpoint, I for one hope he is right.

Reviewed for The Big List NI

Itchy Fingers #10 - Star Power

After the death of the late Roger Ebert back in April, I was asked why video game journalism was yet to get its own version of the world’s most notorious thumb waving film critic. After last month’s controversial Grand Theft Auto V became the fastest-selling entertainment product of all time, it’s difficult to argue that it’s a “niche hobby” or “solely for kids”. So why haven’t video game journalists secured their own show on BBC Radio 5 Live or been allocated a double page spread in the centre pages of the nation’s biggest tabloids and broadsheets?

This month sees the release of Beyond: Two Souls on PlayStation 3, a psychological thriller starring Juno’s Ellen Page and Platoon’s Willem Dafoe.  Exploring what happens to us after death, the game follows Jodie (portrayed physical and vocally by Page), who goes from gifted youngster to CIA operative with the help of a disembodied spirit that grants her supernatural abilities. It’s perhaps the most prolific use of star power employed to promote a video game in memory, with both actors’ names proudly sported across the cover of the game in the same fashion as a movie poster.

Developed by French Studio Quantic Dream, the game was created using performance capture technology, pioneered by James Cameron’s 2009 sci-fi epic Avatar. From the slightest facial gesture to high octane stunts, Page and Defoe’s every movement was recorded with precise accuracy in order to craft this “interactive drama.”

Of course, it’s not the first time that screen actors have downloaded into the digital realm of interactive drama. One such game to push the boundaries of this genre was the point-and-click adaptation of cult TV phenomenon The X Files. Featuring over six hours of new filmed footage starring David Duchovny and Gillian Anderson, players had to aid Mulder and Scully in a standalone paranormal investigation.

Even in voice only, the big name actor is becoming a recurring feature in video games. Perhaps one of the most prolific examples of a screen actor lending their voice to a game would be Samuel L Jackson’s vocal portrayal of the vindictive Officer Tenpenny in 2004’s GTA: San Andreas. It was an award winning role that would ironically end the series’ love affair with the cult of personality. The blockbuster success of first-person-shooter Call of Duty has brought the likes of Kiefer Sutherland and Gary Oldman to the franchise, whilst who could forget “Sarah Marshall” herself Kristen Bell unexpectedly lending her voice and likeness to the Assassin’s Creed games.

Thanks to games such as 2005’s Fahrenheit and 2010’s Heavy Rain, Quantic Dream have already separated themselves from the over-crowded games marketplace with founder David Cage’s campaign to spearhead the idea of the interactive film. Subtle in-game decisions crafted by player’s reactions and decisions in situations ranging from the mundane to the morally ambiguous create a unique user experience that certainly gives the acting talent a method of exploring all areas of their emotional palettes

Even as the support from the cinematic community grows, gaming is still on the back foot against its silver screen cousin. Quite famously, Roger Ebert once debated that video games can never be art. However at a time when Hollywood seems largely fresh out of ideas, churning out comic book adaptations, watered down remakes of foreign exports and sequels that no one asked for, it seems to be a redundant argument. As much as I've always respected the late Roger’s opinion on film, when it comes to games, I’ll have my two thumbs pressed firmly down on the D-Pad. 

Originally featured in The Big List NI Issue #240

Film Review - Captain Phillips

When handed the directorial reins of a delicate real-life event, Paul Greengrass can be trusted to bring out the human story above all else. Both United 93 and Bloody Sunday cut through personal grudgery and political agenda in order to capture an impartial dramatization of the events in real time. Captain Phillips is no exception.

Based on the memoirs of Richard Phillips, the film recreates the notorious 2009 hijacking of the commercial shipping vessel Maersk Alabama at the hands of four Somali pirates, and the inevitable reaction by the US Navy to rescue the titular captain from peril. 

After the opening twenty minutes, the film travels into dangerous waters at full throttle, poised to blow a gasket at anytime. Greengrass achieves nail-biting, heart-racing tension for most of the two hour running time thanks to his docu-realistic approach to film making. 

A relatively unknown cast, the close quarters setting and claustrophobic cinematography – all calling cards of a Greengrass film - keep you firmly believing in the danger. 

The film’s narrative and depiction of the supposedly heroic captain may have attracted criticism from members of the actual crew, but Tom Hanks’ version of Phillips as both a cautious and humble seafarer will no doubt kick start the obligatory ‘best actor’ chatter on the road to next year’s Academy Awards. 

Hanks acts with reliable integrity and in the closing moments, delivers a the veracious emotional performance that we’ve come to expect from the actor when taking on historical roles, with Apollo 13 and Saving Private Ryan being prime examples. 

Newcomer Barkhad Abdi may not share the top billing with Hanks but he certainly should, with his unrelenting portrayal of Muse – the skeletal, calculated leader of the pirate brigade and Phillips’ opposite for much of the film. 

There is a focus on the dynamics between Phillips and Muse, but it’s one that doesn’t resort to drawing clumsy conclusions that the pair share deep similarities. Make no mistake; these men come from two distinctly different worlds. 

In fact, Muse’s storyline has just as much weight on the plot as Phillips’ does and whilst the reasoning behind their piracy doesn’t excuse their actions, it certainly gives as us the balanced picture. Even as the film hurtles towards its suspenseful conclusion, neither Somali nor American come across as the heroes or villains of the piece, an encouraging worldly view perhaps shaped by the post-War on Terror era. 

“No al-Qaeda here boss, just business,” Muse constantly reassures Phillips throughout the film and even though the film bears the captain’s name, the tale of the impoverished Somali pirates is a much more interesting one. 

Even if Greengrass treads neutral waters with his film-making, Captain Phillips certainly shows how the world map has been redrawn thanks to the complexities of globalization.

Reviewed for The Big List NI

Film Review - A Belfast Story

Newcomer Nathan Scott pens and directs A Belfast Story, a murder mystery that keeps one eye on the past as it questions the validity of the present day ceasefire.

After a number of high-ranking IRA members are discovered murdered in their Belfast homes, a hard-boiled ageing detective on the cusp of retirement (Colm Meaney) is called in to resolve the case quickly and quietly, for fear of such acts of menace disturbing the already fragile Northern Irish peace agreement. 

From Neil Jordan’s psycho-thriller The Crying Game to the recent feel good Terri Hooley biopic Good Vibrations, the Troubles of Northern Ireland are regularly used as the springboard for films concerning themselves with "our wee country". 

A Belfast Story recently gained some notoriety with the help of a rather controversial press kit containing a balaclava, a bag of nails and duct tape. Despite the outrage felt by a number of journalists and film critics, it was a bold move from the director who went on to explain that the film would “capture the weight and physicality of violence” experienced by this country during the years of conflict. Sadly the film isn’t quite as bold in its execution. 

The film opens with a David Fincher inspired murder scene for our detective and the

supporting “Northern Irish Police Service” to contend with. However as the plot deepens, any integral grittiness becomes a pipe dream. Most of the set pieces that follow are atypical Norn Irish clichés, as it resorts to shoot-outs, car bombs and even a rather awkward scene involving a fish supper. 

Even Meaney’s usually reliable no-nonsense stern glare isn’t enough to give A Belfast Story the sharp edge that it so desperately craves. Save for the occasional, usually unnecessary philosophical reflection, his role in the film becomes reduced to nothing more than expositional. 

Understandably, the film tries to argue that Northern Ireland will never find true peace until it is rid of the old guard; the shady ex-provos and the politicians entrusted to lead us into a brighter future despite their despicable pasts, all depicted by an expansive cast. 

It all becomes quickly lost amidst hefty over-complicated dialogue, uninteresting characters and a diluted plot that could have been much braver in trying to stress its political convictions. If the film’s tagline states that, “someone always has to buy the last round,” it’s probably a safer option to save your money just in case that someone happens to be you.

Reviewed for The Big List NI

Itchy Fingers #9 - Kings of Controversy

Since its humble Dundonian beginnings in 1997, the Grand Theft Auto series has attracted just as much criticism as it has praise. However, this criticism doesn’t come from disgruntled professionals like myself. Rather, these condemnations come from concerned citizens of the world who feel that the games makes light out of violence and crime, and sadistically influence the youth of today. As Grand Theft Auto V surely rockets its way to the top spot of video game charts across the globe, I wonder if the orchestrators of this never-ending witch-hunt have only themselves to blame for the series’ phenomenal success. 

Long before appearing in the headlines himself, renowned publicist Max Clifford had a reputation for quite literally making the headlines. In an interview with the Sunday Times, David Jones and Mike Dailly, the creators’ of the first GTA game revealed that Max Clifford “made it all happen.”

Released back in 1997, the game immediately caused an outcry by turning deplorable criminal acts of violence and carnage into an easily accessible video game. Thanks to Clifford, the game was even subject of debate within Parliament, thrusting it into the public spotlight for the entire world to judge. Despite receiving mixed reviews upon release, the controversial nature of the first GTA led to it becoming a cult classic, proving that there really is no such thing as bad publicity.

2001’s GTA III pushed the series forward leaps and bounds by substituting the initial birds-eye perspective for a three-dimensional third person approach that also ushered in a sprawling map, a vibrant city and of course, an extra serving of bloody violence.  As the series evolved from one generation to the next, the series was demonised for inciting gang violence, endorsing drunk driving, breeding contempt for authority figures and glorifying prostitution.

The series soon caught the intention of outspoken American public figures such as disbarred attorney Jack Thompson and conservative shock jock Glenn Beck who publically cried for the series to banned, blaming the game for number of murders and breeding “cop killers” out of America’s youth. It didn’t stop the series from continuously breaking sales records upon release and becoming a household name for both gamers and non-gamers alike.

Launching worldwide on September 17^th, GTA V will no doubt once again make the blood of hard-line conservative types boil. However, the majority of gamers are much more intelligent than the fear-mongering fundamentalists would have you believe. The series pioneered the sandbox genre, giving us fans absolute freedom to play as we see fit. The storylines have become less a parody and more of a peer to the gangster thrillers and Mafioso dramas that inspired the games in the first place. Characters were given a breath of life in the form of three-dimensional personalities and well written dialogue demonstrating the moral consequences that came along with their criminal escapades. In fact to list all the reasons why GTA is so much more than a crime simulator would be nearly impossible, given that the series has always strived to push the combination of technology and entertainment to the absolute limits of our imaginations.

Given the modest upbringing the first instalment to the series had, Rockstar Games must be pretty proud of themselves for becoming one of the lucky few developers to see their greatest creation become front page news worldwide, whilst others struggle to make it anywhere near the back pages.  For every Grand Theft Auto game, there’ll always be a shocked opinionated figure waiting in the wings calling for its head, bringing with them enough free advertising to send the game right back up to the top of the video game charts. And for Rockstar Games it only serves to prove one valuable point – that crime does indeed pay. 

Originally featured in The Big List Issue #239

Film Review - The Conjuring

From the director of Saw and Insidious comes a clichéd popcorn horror that stitches together gruesome ideas and images from some of the most iconic films in the genre. Yet, aside from this being a self-indulgent love letter to 1970’s horror, The Conjuring is still a surprisingly entertaining spook fest that will have you checking under your bed and sleeping with the lights on.

The Conjuring follows Ed and Lorraine Warren (Patrick Wilson and Vera Farmiga), a husband and wife duo of paranormal investigators, who travel America documenting supernatural phenomenon and providing consultations to those who believe they are being haunted by spirits from beyond the realms of humanity. 

The pair are sought out by Roger and Carolyn Perron (Ron Livingston and Lili Taylor) who, along with their five daughters have been terrorized by bumps in the night, ghostly apparitions and other strange goings on ever since moving into their rickety old Rhode Island house. As the pair work to rid the family of their demons, the haunting grows increasingly intense and the Warrens find themselves facing their most troublesome challenge yet.

The film also claims to be based on “true events.” Bookended by quotes and photographs from the actual Warren investigators, credit is due to the director for going that extra mile in order to entice the audience into believing right from the outset. In fact, this story in particular was considered to be so terrifying by the Warrens, that it is only coming to light now. 

Skeptics will automatically reject any debate that the events depicted on screen are indeed real, but that doesn’t mean that the film can’t be terrifying to the non-believer.

The film reeks of old meat, namely taking cuts from The Amityville Horror, Poltergeist and The Exorcist. It’s like being in one of those fairground haunted houses where all of your worst nightmares come together in order to scare the living hell out of you.

For the hardcore genre fanatic, The Conjuring won’t leave a lasting impression – with what’s happening on screen being nothing more than a two hour long game of horror movie bingo – however, director James Wan succeeds where other imitators have failed and somehow makes it work. 

When you consider how many other films have tried to replicate the success of the masters of horror, The Conjuring stands tall as perhaps one of the better throwbacks. 

James Wan adopts many of the cinematic techniques of his idols, particularly in the special effects department. Instead of relying on CGI, he makes the most out of using fishing wire and make-up in order for his ghouls to achieve that possessed, undead look. 

Wan’s nail-biting suspenseful build ups throughout the film leads to plenty of shocks that’ll have you jumping out of your seat and spilling popcorn all over your neighbour. 

That’s what makes The Conjuring such a fun film; It’s able to reuse classic scare tactics from the 1970’s against a 21st-century audience and prove that sometimes the old ways are still the spookiest.

Reviewed for The Big List NI

Film Review - Made of Stone

Leaving behind the kitchen sink realism of the English Midlands, director Shane Meadows celebrates self-proclaimed, “best band in the world” the Stone Roses in Made of Stone; a film that is as much about the fans as it is about one of Manchester’s most iconic indie groups.

The film’s premiere took place on May 30 at Manchester’s Trafford Park. The red carpet event was broadcast across 200 cinemas around the UK, including Belfast’s very own Queen’s Film Theatre. 

Made of Stone received a standing ovation from the lucky few who were granted tickets to the show, which was then followed by a Q&A session with director and producer, Shane Meadows.

Meadows revealed that despite being a super fan, he missed his chance to see the band the first time around after suffering a bad acid trip that resulted in him selling his ticket. It’s no wonder that he puts himself in the film, genuinely overwhelmed at the fact he’s been given the opportunity to make this film. 

The film draws parallels between the Stone Roses’ initial success in the late eighties/early nineties with their recent “resurrection” since 2011. A collage of magazine covers, found footage and awkwardly hilarious band interviews reveal snippets of the Stone Roses’ early days, whilst Meadows follows the band on tour in 2012 ahead of their sold out homecoming gig in Manchester’s Heaton Park. 

Meadows explained that he didn’t want to dig deep into the history, but rather bring a celebration of the Stone Roses to the big screen. Key events such as the band’s split in 1996 are painted over with more recent footage of the band performing across Europe. Backstage interviews are kept to a minimum and only one, rather unimposing scene gives any impression that there has ever been any discontent from within. 

Instead what the film does is try to understand the camaraderie between the band and their fans. At the heart of the film is the build-up to a free concert held in May 2012 at Warrington’s Parr Hall. Announced out-of-the-blue on various radio stations, fans had the opportunity to snag free tickets in exchange for showing off a piece of official Stone Roses merchandise at the box office. Vox-pops with some of these fans reveal that some have abandoned their kids or bunked off work in the hope they get to see their heroes reunited for the first time in over fifteen years; and make for some of the most entertaining, down to earth moments in the film. 

There are a number of full-length performances that aren’t interrupted with the usual documentary tropes such as narratives or cutaways. A rehearsal of Waterfall is edited in such a way that it demonstrates the symbiotic nature of the band’s dynamics – they need one another to achieve their established sound.An extended version of Fools’ Gold during the Heaton Park show closes the film. It’s a

fantastic performance, albeit one that doesn’t really quite give the film any sense of closure. 

For those who aren’t Stone Roses fans, Made of Stone is less of a documentary and more of a propaganda piece to rejuvenate the band’s career amidst their current comeback. In fact it’s the Stone Roses fans that hold this film together, often their nostalgic tales of what the Stone Roses mean to them providing the most insightful, funny and even heart-warming moments of the film. Meadows may not have crafted the definitive Stone Roses documentary, but he certainly manages capture the “One Love” unity that the Stone Roses have come to represent for so many.

Reviewed for The Big List NI

Film Review - The Hangover III

Possibly still haunted by the reaction to the last film, with both critics and fans calling it a pale copy of the original, director Todd Philips completely overhauls the plot vehicle that drove this series by leaving out one crucial factor. Forget the weddings and bachelor parties; in The Hangover III, there is no hangover.

After the death of his father, spoilt man-child Alan (Zach Galifianakis) faces a crossroads in his life when his reluctant band of friends Phil (Bradley Cooper), Stu (Ed Helms) and Doug (Justin Bartha) encourage him to seek help at a rehab clinic.

The Wolfpack are drawn into a world of criminal escapades by a Vegas mobster (John Goodman) who takes the group’s long suffering fourth member, Doug, hostage in exchange for the remaining three locating sociopathic madman on the lam, Leslie Chow (Ken Jeong).

The film relies on two things – star power and self-reflective tropes harking back to the previous films. Any originality is immediately lost, thanks to the bombarding advertising campaign cinema goers have been subjected to over the past few months. If you’ve seen the trailer, you’ve seen least bad parts of the film.

Whilst you can’t blame the director for wanting to completely change direction, he also finds himself at somewhat of a crossroads. On the one hand he wants to replicate the humour that made the first film such an enjoyable watch (and the second such a financial success), whilst on the other he doesn’t want to simply reuse the Hangover template for a third time running.

What’s left is a film that tries too hard to out-ridiculous the situations of the first two films that are already close to, if not beyond the borders of good taste. Padding out the rest of the film are various nods and “remember when” moments that aren’t particularly funny because simply we’ve already seen them before.

In fact, The Hangover III is a darker, much more violent affair compared to the last two instalments. Running between Tijuana and Las Vegas, the gang find themselves orchestrating heists and outmaneuvering ruthless mobsters in order to send a man to his death, without so much as batting an eyelid.

It’s not one for animal lovers either. If you thought the chain-smoking, drug dealing monkey from The Hangover II was in poor taste then prepare to be outraged by some disturbingly violent scenes that leave no dog, chicken or even giraffe unharmed.

Bradley Cooper looks noticeably more uncomfortable reprising this role. It seems like a step back for the actor, with much more engaging films such as Silver Linings Playbook and A Place Beyond the Pines under his belt. At one point his character shouts, “Why are we watching this?” leaving me asking myself the same question.

For the most part, Cooper and Helms spend most of their screen time simply reacting to the immature antics of Galifianakis or the crude, despicable humour of Jeong, both of whom are coming dangerously close to being typecast thanks to their characters.

In particular Jeong’s cocaine fuelled cackles and high-pitched rants become increasingly annoying as the film hurtles through the Vegas skyline towards its anti-climax of a finale.

The reason why the first Hangover film was such a success is that it took a situation we can all relate and mixed it up with some rather preposterous yet still strangely plausible capers. A sequel was inevitable, but no one expected it to become one of the biggest selling comedies of all time at the box office. In the case of The Hangover III, much like the booze induced hangovers we endure week in week out, we only have ourselves to blame for this unfunny, unnecessary blatant cash cow.

Reviewed for The Big List NI