Drive Tweet-Along #DriveTime

To celebrate the release of Drive on Monday, something rather interesting is being organised in the evening for Twitter users. Fans of the film are encouraged to start watching the film on DVD at 8pm GMT on Monday 30th, and tweet along using the hashtag #DriveTime. Drive is a fantastic film which is sure to encourage debate. Perhaps someone will tell us where to get the infamous satin jacket. Or maybe pontificate on changes made from James Sallis’ novel (which, shockingly, I have actually read). I will be throwing my two cents in at @heartthetalkies.

Drive is released on DVD and Blu-ray on Monday 30th January 2012.

Film Review: The Woman in Black

James Watkins’ adaption of Susan Hill’s novel is a decent supernatural horror. Not quite as unnerving as the stage play, the film nevertheless should satisfy those looking for a fright.

Arthur Kipps is a young lawyer tasked with travelling to a remote village in order to clear up some business with the sale of a house. With his young son reluctant to be parted from him, Kipps is met with hostility when he arrives in the village. When he visits the estate, he notices a mysterious woman in black…

The Woman in Black is a decent ghost story which is very disconcerting at times. There are some great scares, which are likely to disquiet even the most hardened of viewers. Director Watkins excels in generating tension; there are scenes in the film which are finely executed.

The film makes a few changes from the novel and stage play. Most of these are suitable, although there is a scene in The Woman in Black involving the car that is rather implausible and spoils the film to a certain extent. More of the action takes place in the village but away from the estate. This fills in some of the gaps of events only mentioned in the stage play. Otherwise, the film retains they key devices used to scare viewers.

The Woman in Black exudes an over-produced gothic atmosphere that is entirely in keeping with the tone of the film. Visual effects are thankfully kept to a minimum, with Watkins relying far more on sound and lighting to generate the apprehension and fear. The woman could have been less present and more vacillating in the first half of the film, in order to retain mystery. Notwithstanding, the film is still affective as a supernatural horror.

Daniel Radcliffe delivers a uninspiring performance as Arthur Kipps. In scenes of terror Radcliffe is fine, as he only needs to portray anxiety. It is the other scenes, when dialogue delivery is required, where is poor skills become apparent. Ciarán Hinds fairs better as Sam Daily, while Janet McTeer offers a good performance as Mrs Daily.

Although it has some flaws, The Woman in Black should appease those looking for a good fright. The easily scared will have a turbulent hour and a half.

What the American Pie: Reunion Trailer Tells Us About the Film, and Life

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A new trailer has been released for American Pie: Reunion, which is out in cinemas on 6th April 2012. Several things can be ascertained from viewing the trailer.

1. The debauchery will arise from limited sources

Most of the original crew from the American Pie film have settled down, according to this trailer. That means any lewd behaviour is likely to come from Stifler and some of the secondary characters. This suggests that the film may take a similar format to 2003′s American Pie: The Wedding.

2. Stifler’s Mom and Paul Finch may not get together

The end of the trailer points to a new liaison between Stifler’s Mom and Jim’s Dad. This would indicate that Stifler’s Mom and Paul Finch have finally moved away from one another. A key dynamic throughout the series, it will be interesting to see how this plays out in the film.

3. The soundtrack should be fun

Just like previous instalments, the soundtrack sounds like it will be populated by fun, pop-punk music. Blink-182 and other similar bands featured on the soundtrack for the first film, and the trailer suggests we can expect more of the same from American Pie: Reunion. It seems like the film will take 1990s and early 2000s teens make to their youth.

4. Most of the cast have aged well

Given the thirteen years that have passed since American Pie‘s release, most of the cast look similar to how they did in the first film. While Mena Suvari, Alyson Hannigan and Jason Biggs still appear youthful, the beard and hair combo is doing nothing for Kevin, played by Thomas Ian Nicholas. Tara Reid also looks good, despite her well-documented troubles in the intervening years.

5. Anyone the same age as the characters is now official old

Anyone who was in their late teens when American Pie came out is now as old as Father Time. According to the trailers, they should have settled down, have had a child and be working in a middle-management office job. American Pie: Reunion is sure to be a nostalgia trip, but may remind viewers just how much time has passed since the first film.

Film Review: Haywire

Given the talented cast and director involved with this project, Haywire is a disappointing film. At best, the film is mildly entertaining, although it never really engages the viewer.

Mallory Kane is a freelance operative, working for a company that hires out her services to government and other powerful figures. After a mission goes wrong, Mallory discovers that she has been betrayed. On the run, Mallory must find out the truth and fight to stay alive…

Haywire is very much a by-the-numbers action thriller, offering little innovation or surprise. The narrative is predictable, with the flashback format doing little to alleviate this. Haywire features the usual themes of double crosses and omnipotent agencies, which is fine but for the lack of development or decent storytelling. Moreover, anyone who has seen the Haywire trailer will have had the movie ruined as it gives everything away.

The only thing that distinguishes Haywire from a plethora of similar action films is its choice of protagonist. It would be refreshing to have a female hero at the centre of Haywire if the depiction of her character was not so lacklustre. Apart from the fact that she is a good-looking female, everything about Mallory suggests stereotypically male traits. She uses force to fight back against her male antagonists, rather than having to use ingenuity. Her seduction, for want of a better word, of one of the male characters is also very masculine. Mallory is the only female in the film except for a few extras, yet she is a man in all but gender.

Characters in Haywire are barely developed. Mallory’s relationship with her father is presumably meant to humanise her, but does little to endear the audience to her character. Similarly, Kenneth and Aaron are too one-dimensional for the audience to care about.

Performances in the film are fine. Gina Carano does a decent job as Mallory, excelling in the fight sequences. Ewan McGregor, Michael Douglas, Channing Tatum and Antonio Banderas are given little to do in their narrow roles. Director Steven Soderbergh appears to think that quirky angles are enough to make a straightforward action thriller.

Haywire is not painful viewing, but neither is it particularly enjoyable. Give it a miss.

Young Adult Clip


Charlize Theron plays a fiction writer who returns to her hometown in Young Adult. In what I have heard about it so far, Theron’s character is similar to Cameron Diaz’s in Bad Teacher. Young Adult is directed by Jason Reitman and written by Diablo Cody, which gives certain expectations. I have also heard a rumour that Young Adult features a fluffy dog, which elevates it to must-see level. In the above clip, Mavis meets her ex-boyfriend’s baby for the first time. I’m not going to lie, sometimes I act just as awkwardly when people present me with their offspring. Young Adult reaches UK cinemas on 3rd February 2012.

Film Review: J. Edgar

Clint Eastwood’s J. Edgar offers flashes of greatness, but ultimately is weighed down by its flaws. The film is interesting, but fails to satisfy.

J. Edgar Hoover became the first director of the FBI. After a quick rise in through the ranks of the Bureau of Investigation, Hoover’s successes were well publicised. Although he was the face of crime fighting in America, J. Edgar held secrets of his own…

Director Clint Eastwood seemingly has good intentions with J. Edgar, but comes up short. The film appears as if it will be told in flashback format at first. However, the film frequently jumps from the present day to different periods in history. Given the lack of immediate information regarding the setting, it may take viewers a few moments to identify the era and event in different scenes. In one sense, covering most of Hoover’s career offers a suitable biopic of the life of a prolific character. Nevertheless, Eastwood may have done better to explore a handful of key events in more detail, rather than the constant jumping from decade to decade and back again.

Dustin Lance Black’s screenplay is uneven. There are some good scenes between J. Edgar and long-time confidant Clyde, which explore the close relationship between the pair. Likewise, some of the scenes with Hoover and his mother give some context to his later behaviour. However, there is an over reliance upon grand posturing dialogue, perhaps to mask J. Edgar‘s lack of substance at times. Moreover, some scenes are awkwardly written, while others seem surplus to requirement. The film could have also been trimmed to under two hours, which would have made for a more enjoyable picture overall.

Performances in J. Edgar are good for the most part. Leonardo DiCaprio delivers a strong performance as the title character. It will be surprising if DiCaprio does not receive an Oscar nomination for this performance. Armie Hammer is also solid, however both he and DiCaprio are hindered by some cumbersome prosthetics. The prosthetics used on Hammer in particular seem to alter him far too drastically. Naomi Watts is suitably cast in a minor role, while Jeffrey Donovan’s impersonation of Robert Kennedy is so abysmal it seems like a parody.

The costumes in J. Edgar are fantastic. The art direction is also great in producing the authenticity of the period settings. Hoover was an intriguing character, it is a shame that J. Edgar is not better executed.

Thoughts on David Fincher’s The Girl with the Dragon Tattoo

I have come to the conclusion that Stieg Larsson’s Millennium trilogy must be literary dynamite. The first novel must combine the descriptive prowess of Charles Dickens, the wit of Oscar Wilde and Agatha Christie’s flair for mystery. For what else could explain the success of a book that has spawned two mediocre film adaptations?

When I first heard about an English-language cinematic adaptation of The Girl with the Dragon Tattoo, I really could not see the point given how recently the Swedish film had been released. I was much more enthused when news of David Fincher and Trent Reznor’s attachment to the project was announced. Fincher would be the man, I thought, to fix the numerous flaws present in Niels Arden Oplev’s cinematic version of the book. The narrative would be tidied, the pacing would be rectified, and the film would sound fantastic to boot.

Unfortunately only one of these three is true of Fincher’s version of The Girl with the Dragon Tattoo. It is pretty tough going when the best thing about a film is the title sequence. It is worse when that film is almost two and a half hours long. The title sequence is amazing, the combination of the visuals and the version of ‘Immigrant Song’ by Trent Reznor, Atticus Ross and Karen O works sublimely. However, the rest of the film is a let down. Although it is more stylish than its predecessor, the flaws are all too apparent.

This leads me to believe that The Girl with the Dragon Tattoo is not a very good story. The murder mystery premise is intriguing enough. However, it is poorly executed; the climax of the action arrives prematurely. This poor pacing means that the ending feels as if it lasts for an age. Moreover, if this mystery is secondary to the two protagonists’ journeys, than the characters should be more interesting. Neither Lisbeth nor Mikael are particularly fascinating characters; they offer nothing that really engages the viewer. Without a good narrative or absorbing characters, David Fincher’s film simply offers decent visuals and a great soundtrack.

In summary, no more film versions of The Girl with the Dragon Tattoo should ever be made. David Fincher should be more picky about his projects. So should Trent Reznor, who should return to contributing to film projects of the same calibre as David Lynch’s Lost Highway.

Horse on Film

Steven Spielberg’s War Horse is released in cinemas today. The buzz around Uggy from The Artist and his award chances has got me thinking about the horse from Spielberg’s film. Joey is undoubtedly the lead character in War Horse, and the performance depicts an array of emotions. What will dent the character’s chance of critical acclaim is the fact that Joey is played by multiple horses. This is quite understandable, as War Horse depicts Joey’s journey from infancy to adulthood. Nevertheless, the adult Joey is also played by more than one horse. Perhaps War Horse is more likely to succeed in a Group Performance type of award? I cannot imagine the Academy going for this, but MTV Movie Awards get on to it!

10 Reasons Why Boardwalk Empire is Really a Film

In recent years, television shows have increasingly adopted cinematic tropes. Some of these can be found in current television series, nevertheless Boardwalk Empire is the pinnacle of this trend. Considering the first season of the show, here are ten reasons why Boardwalk Empire should be evaluated as a cinematic production, rather than a televisual one.

1. Martin Scorsese

One of Boardwalk Empire‘s executive producers and director of the pilot episode, the series has Martin Scorsese’s stamp all over it. The director’s preoccupations permeate the show, with themes of crime, morality and Catholic guilt consistently reoccurring. Early cinema also pops up rather frequently, and long time Scorsese collaborator Thelma Schoonmaker even acts as a consultant for the first episode.

2. Cast

The main players in Boardwalk Empire are all more associated with cinema rather than television. Protagonist Nucky is played by Steve Buscemi, while Michael Shannon and Kelly Macdonald are key cast members. Unlike some shows which feature movie stars in cameo roles, film actors are the main characters in the series. Even supporting roles are populated with actors more associated with film, Gretchen Mol as Gillian for example.

3. Production Values

Boardwalk Empire elevates itself above other television shows with its sublime sets, costuming and overall art direction. The attention to detail is fantastic, with music, artifacts and advertisements all given an authentic feel. The series is filmed beautifully, with a cinematic sheen given to the overall look. Depictions of gore look realistic too.

4. Historical Allusions

Given its period setting, it is unsurprising that events or incidents relating to the era pop up in Boardwalk Empire. Thankfully these never appear to be included for tokenistic value. Issues such as the women’s vote and the presence of the Ku Klux Klan are incorporated in the narrative in a naturalistic fashion. Unlike the ‘issue an episode’ format of shows such as Glee, the themes and historical references featured in Boardwalk Empire play a role in the overarching narrative and are often referred back to throughout the series.

5. Unfolding Plots

Plots in Boardwalk Empire are paced in a more deliberated way than many television shows. Narrative strands unfold in a more organic fashion than the often rushed method frequently employed by television. Although each episode features important events, there is not a sense of jumping ahead with a plot only introduced in the last episode. This is particularly pertinent as there is often a gap of weeks or months between when each episode is set.

6. Drama Not Gimmicks

Boardwalk Empire is a drama, though like most other films and shows it features additional elements. Despite the presence of violence and nudity, the series always retains its base in drama. Unlike True Blood which is increasingly becoming notorious for its graphic content (and The Sopranos before with its famed violence), drama remains the focus of Boardwalk Empire‘s appeal.

7. Episode Run Times

Boardwalk Empire distinguishes itself from most other television series through the differing lengths of the episodes. While television shows will often have a longer first or finale episode than the rest of the series, every episode of season one has at least a slightly different running time. The impression given by this is that the story unfolds at its own pace, rather than being constrained by the necessities of time slots and ad breaks.

8. Real Characters

A number of historical figures feature in Boardwalk Empire. Rather than token appearances, these characters are part of the main cast. Characters such as Al Capone, Lucky Luciano and Arnold Rothstein take on integral roles. Rather than the caricatures they could have degenerated into, they appear authentic and always necessary to the plot.

9. Lack of Cliffhangers

Unlike many television shows, Boardwalk Empire does not end episodes on a cliffhanger. Although the overarching strands are left lingering, there is not the urgency of what directly follows in the next episode. In this way Boardwalk Empire distinguishes itself from shows that rely on teasing audiences in what is to follow next week.

10. Season Conclusion

Season one of Boardwalk Empire can be viewed as a single film in its entirety, albeit a prolonged and slightly episodic one. The season concludes the main plots in a satisfying manner. However, it does not tie up every single loose end, hinting at a sequel in the shape of season two. Like many good films, Boardwalk Empire leaves some questions unanswered, yet feels complete in the journey made during the twelve episodes.

Boardwalk Empire Season One is available now on DVD and Blu-Ray.

Film Review: The Iron Lady

A magnificent performance from Meryl Streep carries The Iron Lady. The film is well executed in parts, although some may find the assertions cast on Margaret Thatcher, someone who is able to view the film, in poor taste.

Ailing Margaret Thatcher, former Prime Minister of the United Kingdom, is haunted by the spectre of her late husband Denis. As she struggles to focus on contemporary engagements, Baroness Thatcher looks back at her career; a journey that has taken her from grocer’s daughter to the first female Prime Minister of the United Kingdom…

Margaret Thatcher is a polemical figure, who has plenty of detractors. The Iron Lady seems like an attempt to humanise her. However, the film concentrates heavily on Thatcher’s recent past, and can be distasteful because of the artistic license taken. Although her ill health has been reported, it is rather remiss to suggest that she is plagued by hallucinations. Phyllida Lloyd’s film is a drama based on real events, which makes such assertions rather offensive. It is a shame, as otherwise The Iron Lady boasts great performances, costumes and styling.

Read my full review of The Iron Lady in January’s edition of Studio Magazine.

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