Entertainment Reviews

The Dictator

Tue, 22 May 2012 00:10:00 GMT

Whatever can be said of Sacha Baron Cohen he certainly enjoys taking risks. ‘Borat’ and ‘Bruno’ proved his fearlessness in rebelling against conformity with their ‘take no prisoners’ style of humour gaining many fans. ‘The Dictator’ is his fourth solo cinematic venture relying on his brand of comedy. Whilst different to his previous works due to having an actual script and surrounded by actors, it has the same level of comedic courage gaining him much notoriety.

Visiting America to speak at the United Nations, Admiral General Aladeen (Sacha Baron Cohen) is on a mission. Determined to show the world how he became such a powerful ruler of an Eastern bloc country the self-described Dictator gets more than he bargains for. Suddenly captured and forced to live among Americans, he discovers first-hand the many facets of a country he despises.

It can hardly be said ‘The Dictator’ is the epitome of high-brow wit. Revelling in its crudity and general vulgarity Baron Cohen knows not to be too clever with his comedy. There are some moments of inspiration where he gleefully attacks various Americanisms although these are far and few between. ‘The Dictator’ purely exists as a vehicle for his ad-libbing skills with random sequences seemingly done on the hoof with little time taken to make them funny.

Perhaps it would have been better had Cohen gone for the ‘Borat’ style of comedy with its element of surprise. There’s hardly any in his latest venture with some scenes extended beyond their natural life. These elongated sequences make proceedings seem longer than its short running time. His co-stars such as Ben Kingsley and Anna Farris do what they can to make things work. Unfortunately the predictable story and ham-fisted direction work against an initially good premise.

Comedy can be subjective and people may enjoy ‘The Dictator’. When such movies rely on bodily function gags for comedy then you know something is amiss with this effort being less divine comedy and more comedic chaos.

Rating out of 10: 2

Reviewed by: Patrick Moore
Hattam McCarthy Reeves
Chartered Accountants and Business Advisers

The five year engagement

Fri, 11 May 2012 01:41:00 GMT

‘

The Five-Year Engagement’ relies heavily on a genre golden rule. Having true chemistry between its leads is an important element ensuring the success of a romantic comedy. Many have tried and failed although ‘Engagement’ hits the mark. Having some wit without too much crudity the abundance of that special character quality ensures some depth as they march towards the aisle.

Working as a chef in a successful restaurant, Tom (Jason Segel) enjoys life with his fiancé Violet (Emily Blunt). Recently engaged their hopes of becoming husband and wife are continually dashed. With familial dramas and outside pressures delaying their nuptials, they begin to wonder if they are destined for happiness with matrimonial bliss remaining elusive.

Despite being directed with a heavy hand by Nicholas Stoller and being a little too long, ‘Engagement’ works. The fantastic duo of Segal and Blunt are the main reason as they inject genuine believability to their characters. The situations they face are very real with none of the artificial contrived predicaments as befalling other similar movies. Their reactions to what transpires with their frustrations at their dreams continually being thwarted allows the humour to naturally surface.

Segal and Blunt are ably supported by a fine ensemble. The collage of different personalities forces their characters to reflect on what they want from their relationship with the advice given either a help or hindrance. ‘Engagement’s story remembers to adhere to the ‘romantic comedy’ part with some nice touches and crackling dialogue effectively showing how much the couple care for each other.

With an abundance of much-needed chemistry ‘Engagement’ provides a diverting tale. Having amiable leads and a good comedic flavour, it’s a rare romantic comedy not out-staying its welcome.

Rating out of 10: 7

Reviewed by: Patrick Moore

Hattam McCarthy Reeves

Chartered Accountants and Business Advisers

The Lucky One

Sun, 22 Apr 2012 23:57:00 GMT

Nicholas Sparks’ romance novels have provided many smiles for Hollywood’s executives. Crafting love-lorn tales featuring handsome gentlemen and winsome damsels his output has provided plenty of profitable cinematic fodder. ‘The Lucky One’ is the same as previous works such as ‘The Notebook’ and ‘Dear John’ – the latter sharing many similarities. Fans of the Mills and Boon-like traumas will no doubt enjoy it even if the story is less than scintillating.

Returning from a tour of duty in Iraq, US Marine Logan (Zac Efron) begins a personal mission. Surviving war-time with the aid of a photo of a woman he doesn’t know, Logan aims to track her down. Learning her name is Beth (Taylor Schilling), he gains a job on her family farm in order to be close to her. Eventually developing a romance, their lives take unexpected turns with the trail towards continual bliss a rocky one.

One would have expected more from ‘The Lucky One’ given Scott Hicks’ involvement. Having directed ‘Shine’ among others, it was hoped his newest venture had more of their emotionally perceptive style. Sadly it doesn’t as despite the occasional glimpse of his own flair, Hicks seems trapped by the very formulaic screenplay. Predictable and filled with increasingly preposterous situations it does his reputation no favours.

Unfortunately the performers aren’t great with their lack of range highlighting the story’s plot-holes. Although a ‘marquee-name’ Efron’s believability as a traumatised soldier is minimal. His chemistry with Schilling is non-existent thereby ruining any chance of investing in their characters. They fail to project a sense of urgency or drive with only the scenery becoming the film’s best aspect. Their surrounds are wonderfully photographed with a serene lushness and it’s a pity this eye for quality wasn’t given to the script.

‘The Lucky One’ is a banal entry in the romance stakes made all the more disappointing by the talent involved. Neither passionate nor romantically enthralling it earns its place in the ‘movie mediocrity’ Hall of Fame with ease.

Rating out of 10: 2

Reviewed by: Patrick Moore
Hattam McCarthy Reeves
Chartered Accountants and Business Advisers

This must be the place

Mon, 23 Apr 2012 00:00:00 GMT

Sometimes it takes an outsider to objectively focus on another country’s traits. Directed by Italian director Paolo Sorrentino ‘This Must Be the Place’ is a good example. In exploring someone’s pursuit of justice while providing him with purpose effectively uncovers the varying extremes of American culture. With the U.S. influence increasing, it’s easy seeing what attracted him to a project unafraid in showing the many shades it offers.

Bored with life after enjoying a successful musical career, Cheyenne’s (Sean Penn) personal stupor becomes shaken when his father suddenly passes away. A former P.O.W. during World War 2, his father endured harsh treatment at the hands of a cruel Nazi SS officer. Learning the officer is still alive and living in America, Dublin based Cheyenne determines to track him down. Beginning a cross country trip to bring his father’s tormentor to justice, his mission becomes fraught with emotional dilemmas.

A fascinating road movie ‘This Must Be the Place’ is a beguiling mix of comedy and drama. As Cheyenne slowly travels around America’s quirky by-ways, he tries to make peace with past regrets. Externally this is seen by his gothic attire which more than resembles those of a certain 1980’s musician. This darkness reflects his internal demons which he feels can be cured by correcting some past injustices.

Whilst it loses its way with a rambling narrative and has more than a whiff of self-indulgence, it always maintains engagement. The biggest reason is Penn’s performance which makes his emotionally stunted character seem real. This authenticity extends to the look and actions surrounding his character with proceedings having genuine motivation. The comedy effectively arises from the drama with its unforced nature welcome.

Entertaining despite some sluggish moments, ‘This Must Be the Place’ adds another cinematic interpretation of American life. It also again proves a foreign eye can unearth a new slant on local foibles.

Rating out of 10: 7

Reviewed by: Patrick Moore

Hattam McCarthy Reeves

Chartered Accountants and Business Advisers

American Reunion

Wed, 11 Apr 2012 23:43:00 GMT

Despite being set in the here and now, ‘American Reunion’ harks back to late 70s/80s films - most specifically the raunchy ‘Porky’s’ series. Taking its cue in providing outrageous and sexy comedy the latest instalment in the ‘American Pie’ franchise is as crude and vulgar as one has come to expect. Subtly isn’t a word one would associate with this although fans may enjoy seeing the old gang together again proving ‘Porky’s brand of naughty innuendo still resonates.

When their high school holds a reunion, its former students look forward to fond reminiscences. Among them are Jim (Jason Biggs) and Michelle (Alyson Hannigan) who are now married with a son. Hoping for some good times, they are delighted to meet old friends including Chris (Chris Klein) and Stifler (Seann William Scott). As befitting a gang used to weird and sordid happenings, various hi-jinks ensure which would put the new breed of school students to shame.

Those fond of bodily function gags and ceaselessly low-brow humour should derive much from ‘American Reunion’. In some ways this style of comedy feels a little out of place given the cast are now much older. Although the endless sex jokes worked fairly well for a gang of teenagers, it feels a bit strange seeing a now 30-something group behaving the same way. Not that there isn’t any fun to be had as when it concentrates on the dilemmas the ageing characters face some good moments surface.

Jason Biggs and the rest of the cast slip effortlessly into their roles with the scenes between Jim and his father a comic highlight. Take away the crudity and there’s a story with some heart to it with acceptance of growing older and facing the past shown. Whilst it’s easy indulging in vulgarity than wit, there is some attempt at the latter which is welcome. But being an ‘American Pie’ movie there is much that long-term fans may find boorishly familiar.

‘American Reunion’ is exactly the same as previous entries. Whether that’s a good thing is for viewers to decide although it does provide occasional mirth with the group of mis-fits facing adult-hood in their own wickedly saucy manner.

Rating out of 10: 5

Reviewed by: Patrick Moore
Hattam McCarthy Reeves
Chartered Accountants and Business Advisers

A dangerous method

Mon, 02 Apr 2012 00:46:00 GMT

Continuing a recent trend in moving away from the science fiction/horror hybrid he perfected, director David Cronenberg’s latest is no less engaging. In his third teaming with actor Viggo Mortensen, his examination of the peculiarities of the human condition in ‘A Dangerous Method’ is just as engrossing as his previous works. With a trio of characters using their intellect in a game of brinkmanship, their destructive natures seem a perfect fit for his unique story-telling style.

At the turn of the 20th century a major emotional battle brews. Carl Jung (Michael Fassbender) and Sigmund Freud (Viggo Mortensen), both keen proponents of psychoanalysis, become infatuated with Sabina (Keira Knightley). Later to become a famed psychoanalyst in her own right, her presence causes harsh words to be fought between the two esteemed gentlemen. Whilst clever in science but clueless in the art of seduction, their emotions lead them to examine their increasingly fraught actions.

‘A Dangerous Method’ is an interesting study in ego and the power of one’s profession. Both Jung and Freud had an intellect enabling them to re-define their field. As this story theorises it finds them using Sabina as a conduit in a psychological war between them. Cronenberg has fun with twisting fact with fiction as the characters use each other for their own case studies with their disregard for other’s feelings apparent.

Whilst these elements make for a generally fine movie, with the cinematography suitably lush, it’s difficult emotionally investing in events. This is a problem with several of Cronenberg’s works as his character’s cold detachment makes it difficult caring for them. The actors attempt to bring some genuine passion to their roles however, with Fassbender and Mortensen giving good performances.

A dialogue heavy drama ‘A Dangerous Method’ also has enough spicy touches to keep viewers intrigued. It’s always great seeing history being re-shaped to tell a tantalising tale of which this one most certainly is.

Rating out of 10: 7

Reviewed by: Patrick Moore

Hattam McCarthy Reeves

Chartered Accountants and Business Advisers

Wrath of the Titans

Mon, 02 Apr 2012 00:31:00 GMT

With heaving torsos and maidens just as gladiatorial as their male counterparts ‘Wrath of the Titans’ revels in its battles. Hardly a high water-mark in film-making its onslaught of CGI beasties and well-muscled heroes has its fans. As a sequel to 2010’s remake of ‘Clash of the Titans’ it doesn’t deviate from its successful formula with its action recipe intact. Whether this is a good thing depends on one’s tolerance for such movies with the spectacular visuals its main point of interest.

Angered at their defeat at the hands of the Gods, the once powerful Titans plot their revenge. In their sights is noble God Zeus (Liam Neeson). Led by his treacherous brother Hades (Ralph Fiennes), the plot to eradicate Zeus and destroy earth gathers apace. Sensing trouble, Zeus calls upon brave warrior Perseus (Sam Worthington). Enlisting the help of Queen Andromeda (Rosamund Pike) and others, Perseus walks a perilous path to victory against the vengeful and mighty Titans.

‘Wrath of the Titans’ can either be viewed as camp nonsense or a stirring action flick. Those angles would be correct as this second ‘Wrath’ outing deftly provides both. The actors ham it up for all its worth with more than a hint of the Monty Python ‘Life of Brian’ style performances looming large. Surprisingly this doesn’t detract from a reasonably interesting story which betters the original in terms of intrigue. Characters are forced to use their wits than brawn making for a refreshing change of pace.

Whilst the heroes are somewhat on the bland side, the villains are pleasingly conflicted. This gives them an unpredictable quality with their actions always in question. Director Jonathan Liebesman maintains a steady pace and mixes the action and spectacular CGI with skill. Whilst the special effects occasionally over-whelm events, it looks more controlled than similar productions with it aiding the tension.

‘Wrath of the Titan’s is pure popcorn escapism. Thankfully it gives a little more than what you’d expect in terms of story and is an entertaining way in seeing mighty warriors doing anything to achieve victory.

Rating out of 10: 6

Reviewed by: Patrick Moore

Hattam McCarthy Reeves
Chartered Accountants and Business Advisers

The Best Exotic Marigold Hotel

Wed, 28 Mar 2012 23:03:00 GMT

Gathering a group of respected actors is usually half the struggle in making a memorable film. They can be only as good as the words given which certain movies fail to recognise. Thankfully ‘Marigold Hotel’s story engages while utilising its cast as best as possible. Its visually splendid location is also a massive plus with India’s many charms equalled by the thespian’s skills.

Retired and bored with their lives, a group of pensioners decide to re-locate to India to start a new life. Among them are Evelyn (Judi Dench), Douglas (Bill Nighy) and Muriel (Maggie Smith). Their fresh beginning is rudely shaken when they discover the hotel they are staying in is less than fantastic. Assured by its manager Sonny (Dev Patel) that it is a ‘work in progress’, they stay. Forming new friendships and making peace with old ones, the group become entranced by India’s allure and many secrets.

Despite copying a rather creaky formula, ‘Marigold’s Hotel’s screenplay maintains interest. Due to the efforts of the fine cast, great humour and wonderful location, you genuinely care for the characters. Their need to still be relevant in a sometimes uncaring world is one some can relate with as is their awkwardness in their new surroundings. Whilst some characters fare better than others, the occasionally episodic and somewhat clichéd script generally makes effective use of those involved.

John Madden directs with a steady hand and photographs India in all its amazing glory. It could almost be called a travelogue given the ancient beauty the locale offers. The culture itself plays an important part in shaping the character’s viewpoints thereby making India a true harbinger of personal change. The vast landscape almost becomes a metaphor for the opportunities they face with only their entrenched mind-set a barrier from them fully embracing it.

Audiences will probably know what to expect when seeing this. It isn’t a bad thing however as the performances and scenery make for diverting viewing in its exploration in refusing to surrender to ageing.

Rating out of 10: 7

Reviewed by: Patrick Moore

Hattam McCarthy Reeves
Chartered Accountants and Business Advisers

The Hunger Games

Sun, 25 Mar 2012 23:55:00 GMT

Bookstores in Hollywood must be empty given how much it plunders books for fresh ideas. It seems every new franchise is based on a long-running novel series with ‘The Hunger Games’ being the latest. Based on the trilogy by Suzanne Collins it mixes some social commentary amongst the action teenage readers have found captivating. The movie version has been eagerly awaited by fans helping the books fly off the shelves as fast as Tinsletown can adapt them.

Every year the young citizens of Panem, a city arising from the ashes of North America, are forced to endure a deadly televised competition. Called The Hunger Games, a boy and girl are chosen to participate in various challenges where the surviving victor gains untold riches. Chosen are Katniss (Jennifer Lawrence) and Peeta (Josh Hutcherson). With the help of former competitor Haymitch (Woody Harrelson), they compete in the game of their lives with victory continually slipping from their grasp.

Targeted at the same teen audience who have helped the ‘Twilight’ saga to great heights, ‘The Hunger Games’ is far superior. The arresting totalitarian world Collins has created which director Gary Ross brings to stark life is the main reason. Whilst the George Orwell ‘big brother is watching’ motif is one oft seen, this new spin gives it a fresh slant as adolescents turn into killers. Doing so for the amusement of the idle rich, the participant’s primal need for survival is effectively contrasted with the high life the upper classes lead.

Against that strong background the action sequences become genuinely exciting. The tense atmosphere as each contestant dodges danger is keenly felt. Lawrence shows her fine acting skills in these sequences and makes for an engaging heroine. She is supported by a strong cast who make this futuristic world seem all too real. Whilst certain narrative strands don’t quite make sense overall this first instalment of the trilogy hits its targets.

There may be those tired of seeing yet another teen orientated franchise on screen. Thankfully ‘The Hunger Games’ is one of the better productions with a well utilised concept ensuring book sales of this series will further increase.

Rating out of 10: 7

Reviewed by: Patrick Moore

Hattam McCarthy Reeves
Chartered Accountants and Business Advisers

John Carter

Wed, 14 Mar 2012 23:35:00 GMT

‘

'John Carter’ provides evidence timing is everything. Written by Tarzan author Edgar Rice Burroughs 100 years ago, the 11 book series has influenced many fantasy films – notably ‘Star Wars’. That Burroughs’ creation hasn’t been seen on screen until now is unfortunate as its late arrival robs its uniqueness. Its starry battles and epic romances have already been plundered elsewhere, with the lack of cinematic originality the ultimate foe Burroughs’ character faces.

A former Captain of the confederate army, John Carter’s (Taylor Kitsch) life takes an unexpected turn. Magically transported to Mars he discovers an array of unusual inhabitants. Among them are Tars (Willem DaFoe) and Princess Dejah (Lynn Collins). Both are at war against the other over a slowly dying planet. Taking it upon himself to enable a peaceful resolution, John does all he can to prevent a cosmic catastrophe.

Having an epic sweep and graced with an enormous budget providing a suitably dazzling backdrop ‘John Carter’ certainly looks expensive. Sadly all the boundless CGI in the world cannot subsidise a fairly routine yarn. We’ve seen the ‘damsel in distress and warring alien factions’ motif many times with this creaky device sapping much needed energy. It’s also difficult caring for any of the CGI-generated characters as they have an air of familiarity with nothing distinguishing them.

The human characters aren’t much better although Kitsch equips himself well in the fight scenes. These moments are the best of an overly long movie with Andrew Stanton’s plodding direction providing little colour. ‘John Carter’ is meant to be an exciting pulpy adventure although what transpires is an episodic story full of plot-holes. These gaps only magnify the identity crisis the script suffers from as it flits between being a children’s fantasy to adult adventure with confusing regularity.

‘John Carter’ is a very ordinary production making little use of Burroughs’ boundless imagination. Had this been made several decades ago it could have been a marvel, instead an expensive potential franchise has arrived too late to capitalise on the trend it created.

Rating out of 10: 4

Reviewed by: Patrick Moore
Hattam McCarthy Reeves
Chartered Accountants and Business Advisers

Any questions for Ben?

Mon, 13 Feb 2012 06:16:00 GMT

It’s been a long time between films for production company Working Dog. Entering the movie business with ‘The Castle’ and ‘The Dish’, the local film-makers return after a 12 year hiatus. Maybe their time creating mass entertainment for commercial TV has blunted their comedic edge as ‘Any Questions for Ben?’ is sorely lacking laughs. Where ‘The Castle’ gently mocked suburbia and ‘The Dish’ softly lampooned country life, their new venture targets the Generation X brigade with less success.

Ben’s (Josh Lawson) is a high flying executive living life in the fast lane. Barely having time for lasting relationships and constantly on the go his life changes when he returns to his old school for a Q & A session. Not asked a single question by the students and upstaged by lawyer Alex (Rachael Taylor) he begins to examine why. Thinking something is missing he embarks on a journey of self-discovery to re-evaluate his achievements and set new ones.

‘Any Questions for Ben?’ proves an over-written screenplay can be ruinous. While it has good moments, there aren’t enough with a main character difficult to like. It isn’t a fault of the actor who plays him – who conveys a degree of genuine charm – but the believability factor in his character’s actions. It’s very difficult imagining such a selfish person would immediately change his ways with his circle of friends portrayed as stock standard urban caricatures.

The constant repetition of scenes is another problem. Ben and other characters keep on having the same soul searching conversations going nowhere. The endless shots of Melbourne which admittedly are amazing, and the pointless musical montages reeks of creative laziness. It is mystifying why the Working Dog team have dropped the ball so badly when previous movies worked so well. For a comedy there’s little mirth with the rambling narrative failing to successfully mix humour and drama.

Poorly structured and written ‘Any Questions for Ben?’ is a mis-fire from Working Dog that’s not particularly memorable. Perhaps a movie based on their famous ‘Frontline’ or ‘D-Generation’ TV series would have been much better as their latest work fails to utilise their noted skills.

Rating out of 10: 3

Reviewed by: Patrick Moore
Hattam McCarthy Reeves
Chartered Accountants and Business Advisers

The Artist

Thu, 09 Feb 2012 00:24:00 GMT

There’s a certain irony in watching ‘The Artist’. Where films initially had the gimmicks of moving pictures, sound and colour, ‘The Artist’ retreats to where it all began. Using silence as its selling point it harks back to a period where audiences genuinely had to engage with on-screen occurrences. In some ways talkies diluted cinema’s story-telling power as the dialogue spelt out what previously the viewer had to deduce. An ode to the type of movies from which the industry originated, ‘The Artist’ is a fine evocation of a classic cinematic era.

George Valentin (Jean Dujardin) is a huge star of silent films. Promoting his latest production, he bumps into Peppy (Berenice Bejo) an admirer. Struck by her beauty, he determines to make her a star, much to the chagrin of studio boss Al Zimmer (John Goodman). Climbing the ladder of success with the advent of talkies, the tribulations Peppy and Valentine face test their passion for the medium from which they derive the most artistic satisfaction.

Not since Rolf De Heer’s 2007 film ‘Dr. Plonk’ has a silent movie generated so much publicity. As with that earlier piece, ‘The Artist’ has been made by film-makers genuinely transfixed with this bygone genre. A purely image-driven format it relied on the stirring music and facial expressions of the performers to tell stories. Not an easy task as ‘The Artist’ shows although it does skilfully. Mixing humour, pathos, drama and dance all in one beguiling package it’s a great valentine to cinema’s heritage.

Director Michel Hazanavicius expertly captures the feel of the 1920’s setting and its social mores. He also teases out the characteristics of the main leads extremely well – a very difficult task given the film’s nature. Dujardin and Bejo make for fine leads with Goodman and James Cromwell as Valentin’s servant providing able support. Although the running time is a little too long, it maintains its charm until the final dazzling reel.

Crafting a film full of vigour and enchanting personalities in a silent black and white film is no mean feat. That ‘The Artist’ does so is a testament to the craftsmanship of all involved in this amiable slice of nostalgia.

Rating out of 10: 8

Reviewed by: Patrick Moore
Hattam McCarthy Reeves
Chartered Accountants and Business Advisers

Martha Marcy May Marlene

Mon, 06 Feb 2012 01:36:00 GMT

‘

Martha’ provides an interesting examination of what happens when a member leaves a cult. Indoctrinated into the ways of such a group, how they function without this support base drives proceedings. Written and directed with low key intensity by Sean Durkin and acted by a fine ensemble it shows how a cult’s power can still grip long after a follower’s departure.

Fleeing from an abusive cult headed by Patrick (John Hawkes), Martha (Elizabeth Olsen) feels relief. Reunited with her sister Lucy (Sarah Paulson) and her husband Ted (Hugh Dancy) she attempts to move on with life. Her paranoia takes over when she feels she is being watched. Fearful the cult is waiting to re-claim her, she spirals out of control as her increasingly horrified family look on.

Garnering much praise for its strong performances, it’s easy seeing why ‘Martha’ has earned accolades. Devoid of any melodramatic flourishes it digs deep into how someone re-acquaints themselves with society. After two years away from her previous life, Martha’s mind-set seems irretrievably linked to her recent past. Her fractured emotional state highlights the notion although she escaped a form of prison she has gone into another with her thoughts preventing her from living a normal life.

Whilst engaging overall, these elements are somewhat diluted by a screenplay lacking in crucial exposition. We never really discover how Martha came to join the cult or her actions while in its embrace. Further detail would have helped to engage further in an otherwise fascinating movie. The cast rise above such faults to give performances matching the authenticity the production is determined to convey.

Mostly intriguing, ‘Martha’ benefits from some fine acting and topical story. With anecdotal tales from ex-cult followers increasingly becoming common-place, ‘Martha’ serves as a timely warning of their lasting influence.

Rating out of 10: 7

Reviewed by: Patrick Moore
Hattam McCarthy Reeves
Chartered Accountants and Business Advisers

J Edgar

Mon, 06 Feb 2012 01:32:00 GMT

When handled well cinematic biographies can be compelling. A subject’s personality with many facets helps spin a story in any direction. ‘J. Edgar’ tries valiantly as it charts one of the 20th century’s most powerful men. Only vaguely succeeding, the measured study of power and its consequences attempts to paint an intimate portrait of someone whose influence was felt for generations.

As head of the FBI, J. Edgar Hoover (Leonardo DiCaprio) exerted immense authority. Pursuing crime with intense zeal, he wasn’t above blackmailing others to achieve his aims. Using buried secrets against them his background had their own. His relationship with FBI Deputy Clyde Tolson (Armie Hammer), his mother Anne (Judi Dench) and his secretary Helen (Naomi Watts) would reveal a personal life full of contradictions. Hiding these with as much fervour as his skills in gaining further supremacy, his actions would define his era.

Directed by Clint Eastwood ‘J. Edgar’ is one of his less stellar outings. The ingredients are there for a very interesting story although only occasionally does its potential surface. The script tries too hard to examine Hoover’s entire career where perhaps exploring one aspect of may have been better. This lack of narrative focus harms proceedings – especially when it casually flits back and forth through the timeline without any much needed exposition.

Whilst it touches on Hoover’s personal and professional life, there’s a feeling Eastwood is pulling his punches. Hoover was an enigma and trying to accurately portray him would be difficult however his hard-line tactics are well known and aren’t effectively shown. There are moments when the acting feels far too theatrical although Hammer is very good while DiCaprio does what he can in an unevenly written role.

Lacking the passion making such bio-pics compelling ‘J. Edgar’ is a disappointing Eastwood venture. But even the least of his work still has interest and serves as an appetiser for those wanting to discover more about a man fitting the phrase ‘absolute power corrupts absolutely’.

Rating out of 10: 6

Reviewed by: Patrick Moore

Hattam McCarthy Reeves
Chartered Accountants and Business Advisers

Underworld: Awakening

Thu, 02 Feb 2012 01:45:00 GMT

If the ‘Twilight’ movies have shown a romantic side to vampires and werewolves the ‘Underworld’ series has seen them at their most blood-thirsty. A high octane action franchise, its fourth entry sees the battle between the supernatural beasts kick up a notch. A celebration of noise and spectacle than acting, it does the job in ensuring fans obtain the most out of its heavily CGI-led monster mash.

Captured by humans and kept in prison for twelve years, vampire warrior Selene (Kate Beckinsale) escapes. Re-entering a world where the existence of vampires and werewolves are known, she discovers humanity wanting to kill both species. On the run from shadowy scientist Dr. Jacob (Stephen Rea) she is joined by the mysterious Eve (India Eisley). Cutting a swathe through a beastly army, Selena attempts to find an end to a seemingly unstoppable war.

Having already travelled the prequel route with its last outing, ‘Underworld: Awakening’ valiantly tries to further its mythology. Only partly succeeding due to a wafer thin plot, it makes the most of its cavalcade of action. Lots are on display as Selene whizzes her way through a litany of Matrix-style fighting and dazzling pyrotechnics. It’s a bit unfortunate the cheap looking special effects aren’t terribly ‘special’ although director Mans Marlind’s flair for comic book-style cinematography is a plus.

The actors give it their all and attempt to emote while partaking in over the top stunts. They aren’t serviced too well by an uninvolving story offering few surprises. While it has its moments, events don’t really go anywhere as relies on the old ‘mad scientist taking over the world’ standby. Although lumbered with this story cliché – which often makes it resemble the ‘Resident Evil’ franchise – it generally slots in well with previous instalments if you don’t think too hard.

One is appreciative watching a film where vampires don’t sparkle or provide love-lorn looks. Not quite the best in the series, ‘Underworld: Awakening’ provides a reminder of the blood-thirsty origins from which vampire lore derived.

Rating out of 10: 5

Reviewed by: Patrick Moore

Hattam McCarthy Reeves
Chartered Accountants and Business Advisers