Hollywood: The Fall of Originality

Hollywood: The Fall of Originality

Reboots, prequels, sequels, novel adaptations, spin-offs and those all-engrossing horror films which are, of course, "based on a true story." Yes, it's the curse of the sequel and while we've been casually enjoying all those expensively unoriginal features, that curse has been consuming Hollywood now more than ever.

In 2013 alone, we're being hit with over fifty massive blockbusters, almost all of which are sequels, prequels or reboots. From A Good Day To Die Hard in February, the unwelcome 5th instalment in the Die Hard series all the way to Anchorman: The Legend Continues in December, it's clear that in these times of economic instability and uneasy executives making the decisions, the movie industry is refusing to take many risks. 

Of course, there are still the usual suspects such as Director/Producer Christopher Nolan, who is currently undertaking a huge new original feature mysteriously called Interstellar which is due for release in late 2014. That said, Christopher Nolan is a safe bet for the movie studios, right? He essentially broke into the mainstream with a reboot of the Batman series, starting with Batman Begins in 2005.

Sure, he loves the characters as much as the next guy, but it's a safe bet to say that Nolan picked up an easily recognisable franchise in order to make his name heard amongst the less movie-savvy audience. He may have come up with one or two absolute winners since (if you haven't seen Inception, drop everything and watch it now), but behind the scenes he is still overseeing the rebooted Superman series Man of Steel. 

Old habits die hard, and with this particular project Nolan is, as many other writers of superhero flicks are, constrained by his source material. Many such genre movies are now falling back on direct adaptations of comics, or at least using most of their characters and storylines - at Comic-Con this month, it was announced that The Avengers 2 will follow the recent Age of Ultron storyline from the comics. What's the point in watching a story on the big screen that you've already experienced in a comic book?

Superheroes are, of course, an easily profitable bunch regardless of the director - most of the time, the face of the character is the most appealing piece of marketing behind the profit. Take Iron Man, for example, the first of Marvel's movies which led to the incredible crossover spectacular The Avengers last year (or Avengers Assemble, for us tea-sipping Brits). With Robert Downey Jr. on board as the man in the can, it was always inevitable that Marvel's billion-dollar crossover franchise would be a success with not only fans of the original comics on which they are based, but the general casual audience as a whole. In fact, The Avengers is the third highest grossing movie of all time - not bad considering it was written and directed by Joss Whedon, a man whose previous televised creations such as Firefly, Dollhouse and Angel were all cancelled before their time.

Moving away from the superhero franchises though, of which there are many, the horror genre has seen an incredible boost in popularity over the last few years, kick started by the original Paranormal Activity movie. Of course, the first was simply a small-budget, handheld camera flick in the style of The Blair Witch Project - a love letter of sorts to the horror classics of old. As is the way though, Hollywood executives saw dollar signs and picked up the franchise. As such, Paranormal Activity has spawned three sequels, with a fourth hitting our cinemas this October. Necessary? Of course not. Profitable? Definitely.

It's a familiar concept, that Paranormal Activity nonsense. Generic characters are terrorized in their own home by a ghost, spirit or demon (take your pick), and through the eyes of security cameras and camcorders, we see how each member is picked off one by one. The audience knows what is going to happen and where the jump scares are going to be - the trailers give far too much away anyway - yet the masses will stay pay their hard earned cash to watch the same thing all over again. So why is it?

Perhaps we crave what we know. Why take a £9.50 risk on some weird, intelligent, obscure sci-fi movie called Oblivion when you could spend it on Paranormal Activity 5 - you enjoyed the other ones, right?

Going by that logic, we're just as bad as the executives and movie studios making the decisions. Why should they pay millions to create an original, fresh and intriguing movie when they could pump more dollars into - oh, I dunno - a reboot of The Lone Ranger franchise? "Should we make it dark, gritty and morally ambiguous just like the original TV show never quite dared to achieve?" asks one fresh-faced producer. "Of course not," laughs an older, wiser executive. "Let's get Johnny Depp doing his wacky Johnny Depp routine, and we'll make sure it appeals to kids with over the top, ridiculous action scenes that physically make no sense. And you're fired."

Why should they pour billions of dollars into a brand new, epic action adventure directed by an up and coming director when they could simply hire Hugh "reliable" Jackman to pump out yet another Wolverine movie that nobody really wanted or asked for? Why should they, when we, the audience, aren't going to be open-minded enough to go and see them?

It's not all bad though - looking back over the last year or so, we have had rather a few original and mind-bending movies to entertain us. They, of course, can't rely on their story alone. Features such as 2012's Bruce Willis-starring Looper and this year's animated Oscar-nominated Wreck-It Ralph featuring John C.Reilly certainly challenged the intelligence and attention levels of the casual cinema audiences, but they still weren't enough to financially combat the heavy hitters, which is presumably why such big name stars were involved.

When you ask any cinema-goer which was their favourite "psychological thriller" over the last few years, their mind will immediately jump to Nolan's Inception from 2011. Not a bad movie by any means, one of the best to come out of recent years in fact, but it seems to be what the mainstream defines as a mind-bending movie, where in fact there are hundreds of independent and/or indie films which raise the bar beyond the reach of even the great Christopher Nolan.

They'll most likely never be seen nor heard though, which is a shame. Just look at the Oscar winners in 2013 - Ben Affleck's Argo nabbed the Best Picture award. Again, it was very well deserved but the point is that Argo is based on a true story. The source material is all there, the witnesses and the historical files - the plot is already mapped out for the writer and there is little creativity to be spoken of other than the technical execution of the scenes.

Amongst the other winners were Life of Pi (based on a novel), Silver Linings Playbook (same again) and Les Miserables (which is, of course, based on the acclaimed musical).

Thankfully other winners included Disney/Pixar's fantastic Brave, although Pixar themselves are falling in creativity levels. With 2011's Cars 2, this year's Monsters University and 2015's Finding Dory, the great animation studio are showing cracks in the concrete of their originality, falling back on sequels and prequels to please the adult audiences who remember the original movies from the early noughties. Still no Toy Story 4? Good!

At the end of the day though, Hollywood will continue to do whatever is most profitable. It's only whenl the masses stop paying for the same old rehashed movies again and again that the studios will sit up and take notice. If not, in ten years, we might be halfway through an American reboot of the Harry Potter series. In twenty years, we could be witnessing yet another Batman origin story complete with a fleeting cameo from Christian Bale. In thirty, a complete retelling of the Star Wars series with Justin Bieber as Luke Skywalker.

Let's hope they've invented space travel by then, because I won't want to live on this planet anymore.

Review: The World's End

Review: The World's End

From the multi-flavoured ice cream to the obligatory ill-fated fence jump, the quirk and charm of the movies thus far within the "Three Flavours Cornetto Trilogy" have always been heralded as two of the most quintessentially British comedies of all time.

As with all great things though, it hath reached its end. It's fitting really that after tackling such intense subjects as zombie viruses and police conspiracies in Shaun of the Dead and Hot Fuzz, the comic writing team of Simon Pegg, Nick Frost and director Edgar Wright have decided to end their trilogy in the most common of British cornerstones - the pub.

Inevitably though, comparisons with their previous endeavours will be drawn, so let's just get that little pint downed right now - put simply, The World's End is not as good as Shaun of the Dead or Hot Fuzz. When I say not as good, I mean that for a comedy, the laughs don't come quite as thick and fast this time around, instead allowing the script to delve deeper into the melancholy and nostalgia of the characters within.

Pegg plays Gary King, a once legendary high school heartthrob who is now stuck at the less than flattering end of his 40's. 20 years after attempting a failed legendary pub crawl in their home town of Newton Haven, he decides to get the gang back together and give it another shot, from The First Post to The World's End. As the reluctant friends attempt to reconcile their past and present, they soon discover that the struggle isn't actually to manage twelve pints each - it's dealing with some very unwelcome newcomers in their home town. Reaching The World's End might be the least of their worries.

For all its witty, flashy fun, The World's End plays out a little more like a deep character study rather than an out-and-out comedy. The predicament of friendship weighs down heavily on our central cast, noting the idea that just because you were friends in your teenage years doesn't mean you'll all share the same values and ideals when you've grown up, bagged yourself a job and a family. Pegg's character acts as our window to this situation, as he remains hopeful that after a few pints, they'll all resolve their differences and become best friends again.

He's backed of course by Pegg's long-time comrade Nick Frost, and for once the chemistry between them is much different and all the better for it: rather than simply have Gary King as the straight-faced hero for Frost's character to bounce off witlessly, Frost himself becomes the man with a plan. In fact, much of The World's End differs from the magic formula that the Cornetto Trilogy had utilized so far in terms of its pacing, and the number of running gags is dropped significantly (although one joke about "Starbucking" strikes a brilliantly funny chord).

To keep things light, we also have a trio of Britain's best: Paddy Considine, Eddie Marsan and Martin Freeman, all of whom spur the plot along nicely when it matters. There are even a few cameos from some very recognisable Hollywood heavyweights, but I'll say no more on that.

The first half hour does feel a little worrying though, with very little comedy or action moving anything along, but when things finally kick off it's a huge thrill ride. Edgar Wright hasn't lost the frantic directorial flair he developed with Scott Pilgrim vs. The World as comedy and action blend hilariously fast. One particularly brilliant scene sees Pegg desperately attempting to down a pint in the middle of an all-out bar brawl, several punches to the face rendering his mission a failure.

As for plotting, The World's End disappoints a little when compared to Shaun of the Dead and Hot Fuzz, with various twists and turns visible from miles away. Gary himself is such an unlikeable protagonist from time to time that it's very hard to feel sorry for him when required, and the film's climax is a little convoluted and aimless considering the hard work that's gone before.

At the end of the day though, it's not at all disappointing - it may be the most forgettable and different when compared to the rest of the bunch, but the dream team of Simon Pegg, Nick Frost and Edgar Wright have produced yet another winner, proving that the subtlety and wit of British comedy is still alive and well.

Summary

Not quite as original as Shaun of the Dead and certainly not as bombastic as Hot Fuzz, The World's End is more or less the least entertaining entry in the unofficial Cornetto Trilogy but that doesn't make it less than the height of British comedy. Simon Pegg, Nick Frost and the gang are on fine form, and director Edgar Wright makes up for a rocky opening half hour with some frantic and hilarious action sequences. What it lacks in a decent plot it makes up for with some clever satire and a very deep study into the characters and the struggles that they face both within and without their group. So it's with a heavy heart that we bid farewell to the Cornetto series, but it's been a fantastic, quintessentially British ride. D'you want anything from the shop?

8/10 - Great

See it if you liked: Shaun of the Dead (2004), Hot Fuzz (2007), This Is The End (2013)

Doctor Who: Top 10 of the Matt Smith Era

Doctor Who: Top 10 of the Matt Smith Era

Matt Smith's time as the Eleventh incarnation of The Doctor is coming to a close in this year's Christmas Special of Doctor Who. With only two episodes left featuring Eleven, it's time to continue our monthly article celebrating 50 years of Doctor Who by looking back at the biggest and best stories from across his three full series.

10 - The Angels Take Manhattan

Series 7, Episode 5

Companions: Amy Pond, Rory Williams, River Song

Writer: Steven Moffat

The plot: Having decided to finally give up their normal lives and travel with The Doctor as long as they can, Amy and Rory join the Time Lord for lunch in New York's Central Park. The Weeping Angels soon find their opportunity to strike, however, and send Rory back in time where he is reunited with River Song. Amy and The Doctor attempt to rescue him, but it becomes clear that the future is inevitable and that his best friends are about to leave him forever.

Why it's awesome: After two and a half series as The Doctor's companions, Amy and Rory (and by extension, Karen Gillan and Arthur Darvill) finally depart his side in a brilliantly tear-jerking fashion. There are also some nailbiting scenes atop a New York skyscraper as Rory contemplates suicide, a topic rarely explored in Doctor Who. Oh, and you might want to keep an eye on the Statue of Liberty the next time you're in the big apple.

Best line: "Raggedy man - goodbye."

9 - A Good Man Goes To War

Series 6, Episode 7

Companions: Amy Pond, Rory Williams

Writer: Steven Moffat

The plot: With his best friend kidnapped and giving birth to a baby girl named Melody Pond, The Doctor assembles an army to take her back. On an asteroid called Demon's Run, the battle commences and The Doctor saves Amy and her baby without a drop of blood spilt. Or so it seems...

Why it's awesome: After her first appearance alongside the Tenth Doctor in Series 4, the identity of River Song had been shrouded in secrecy - until now. A Good Man Goes To War finally revealed the truth behind her character, along with some brilliant battle scenes and a huge twist that left many fans with their jaws on the floor. How could it have been better? Writer Steven Moffat wanted John Barrowman's Captain Jack to join The Doctor's army but unfortunately he was busy filming Torchwood's fourth series. Gutted. 

Best line: "If that man is collecting on his debts and raising an army against you - then God help you."

8 - The Pandorica Opens/The Big Bang

Series 5, Episodes 12/13

The companions: Amy Pond, Rory Williams

Writer: Steven Moffat

The plot: River Song sends a mysterious message to The Doctor, bringing him to Roman Britain in 102 AD. Underneath Stonehenge lies a fabled prison known as "The Pandorica", a box rumoured to contain the most feared being in all the universe. However, The Doctor has walked unwittingly into a trap set by "The Alliance", a group of his oldest enemies including Daleks, Cybermen and Sontarans. When it finally opens, The Pandorica is empty...because it is designed to contain him. 

Why it's awesome: This really turns the tables on The Doctor's reputation as a super-heroic being, instead implying that most cultures in the universe are actually terrified of him and his ability to thwart those plans he doesn't agree with. The two-parter makes up the end of Smith's first season as The Doctor and, by the end, it feels like he's been doing it for years, especially with an amazing speech to his foes.

Best line: "If you've got any plans on stopping me tonight, just remember who's standing in your way. Then do the smart thing - let somebody else try first..."

7 - Hide

Series 7, Episode 9

The Companion: Clara Oswald

Writer: Neil Cross

The plot: It's 1974; Professor Alec Palmer and his psychic assistant Emma Grayling capture evidence of a ghost haunting an old English mansion. They're soon joined by The Doctor and Clara, who immediately feel as though they are being watched in the house. Is Caliburn mansion truly haunted by a supernatural entity, or will The Doctor find a more logical explanation?

Why it's awesome: Doctor Who has tackled spooky stories before, mostly in the old classic series. With Hide however, New-Who finally dips its toe into the horror genre and it's a brilliant success. There are some truly spooky scenes as the "ghost" creeps on the characters, and actor Dougray Scott is a very welcome guest star in what is one of Series 7's truly excellent stories.

Best line: "Watch out for him, Clara. He is a good man but there is a sliver of ice in his heart."

6 - The Doctor's Wife

Series 6, Episode 4

The Companions: Amy Pond, Rory Williams

Writer: Neil Gaiman

The plot: The Eleventh Doctor, Amy and Rory find themselves on a mysterious, desolate planet where Time Lords have been led to be imprisoned and die. When the life of the TARDIS is pushed out by an intrusive force calling itself The House, the TARDIS places its soul inside a dying woman. For the first time ever, The Doctor and his ship communicate face-to-face in order to escape the dangerous planet.

Why it's awesome: Written by acclaimed author Neil Gaiman, The Doctor's Wife is a superb piece of science fiction that focuses on the relationship between The Doctor and his iconic ship. Companions come and go but the TARDIS will always be his, and The Doctor finally shows how ruthless he can be when his way of life is threatened.

Best line: "Fear me, Doctor. I've killed hundreds of Time Lords." "Fear me. I've killed all of them."

5 - The Name of The Doctor

Series 7, Episode 13

The Companion: Clara Oswald

Writer: Steven Moffat

The plot: Clara discovers that three of The Doctor's friends have been taken hostage by The Great Intelligence and taken to Trenzalore, a planet fabled to contain The Doctor's grave. Aware that his greatest secret is about to be discovered, The Doctor is terrified and yet makes his way to the horrific planet to save Jenny, Strax and Madame Vastra. Once there, the truths behind both Clara Oswald and The Doctor's past are revealed - Clara has been scattered along The Doctor's timeline, saving him in the shadows all his life. The Doctor, on the other hand, has hidden a previous incarnation...but who is he?

Why it's awesome: John Hurt! As The Doctor! John Hurt as The Doctor! Couple that with an amazing intro featuring all of the previous incarnations of The Doctor and the heartbreaking departure of River Song and this episode should get you marking the 50th Anniversary Special in your calendar immediately.

Best line: "I said he was me. I never said he was The Doctor. The name you choose, it's like a promise you make. He broke the promise."

4 - Asylum Of The Daleks

Series 7, Episode 1

The Companions: Amy Pond, Rory Williams, Oswin Oswald

Writer: Steven Moffat

The plot: The Doctor, along with a soon-to-be-divorced Amy and Rory, are captured by the Daleks and forced to enter the Asylum where broken and insane Daleks are left to die. According to the Daleks, the Asylum has to be blown up in order to stop them escaping - and of course they plan to do so with The Doctor inside. Luckily, the trio are helped by Oswin Oswald, a woman whose ship crashed on the planet a year ago and has somehow been surviving ever since...

Why it's awesome: This episode sees every single version of the Daleks on screen at the same time, and it truly is the definition of a great Doctor Who story. The reveal of Jenna-Louise Coleman's mysterious character was also successfully kept secret from the public, and both her performance and a hugely positive public reaction made Asylum of the Daleks one of the most enjoyable season openers ever.

Best line: "Titles are not meaningful in this context. Doctor who?"

3 - Amy's Choice

Series 5, Episode 7

The Companions: Amy Pond, Rory Williams

Writer: Simon Nye

The plot: The Doctor, Amy and Rory find themselves in a trap set in motion by the "Dream Lord", a mysterious foe who has somehow found his way on to the TARDIS. Constantly alternating between a sleepy English village being invaded by aliens and the TARDIS, which is slowly drifting towards an ice cold sun, the three travellers have to decide which reality is the correct one - and in order to survive, they must kill themselves in the fake world. Tricky.

Why it's awesome: The Dream Lord is one of the most mysterious and clever enemies to emerge from recent series of Doctor Who, and Toby Jones brings a very creepy ambience to the role. The plot itself is incredibly exciting, with the trio hopping back and forth between dream and reality, and a terrific climax bags Amy's Choice the number 3 spot. 

Best line: "If you die in a dream, you wake up. Ask me what happens if you die in reality." "What happens?" "You die, stupid. That's why it's called reality."

2 - The Girl Who Waited

Series 6, Episode 10

The Companions: Amy Pond, Rory Williams

Writer: Tom MacRae

The plot: With the intention of treating his companions to a holiday, The Doctor takes them to the planet Apalapucia - unfortunately the entire planet is under quarantine due to a deadly plague which affects two-hearted natives. Amy accidentally gets separated from The Doctor and Rory but when they try to rescue her, they arrive 36 years later in her timeline. Now in her early 50's, Amy does not trust The Doctor after having been left abandoned on the planet and being forced to fend for herself. It's up to Rory to save the woman he loves, both the old and young versions - but how can he choose between them? Only one can survive.

Why it's awesome: A mixture of outstanding plotting and heartfelt performances make The Girl Who Waited an essential episode of Doctor Who. For all the running, battles and exploration that the central trio indulge in, this episode really digs deep into the friendship that they all hold for each other and for once, Rory and Amy are truly equals in their marriage. Karen Gillan is incredible as an older version of her character, while Arthur Darvill's tearjerking dialogue opposite her in the final scene is delivered with huge emotional gusto.

Best line: "There can only be one Amy in the TARDIS, Rory. Which one do you want?" "This isn't fair, Doctor. You're turning me into you."

1 - The Eleventh Hour

Series 5, Episode 1

The Companions: Amy Pond, Rory Williams

Writer: Steven Moffat

The plot: A young Scottish girl in the sleepy English village of Leadworth is scared of a crack in her bedroom wall; as if answering her prayers, a huge police box lands in her backyard. Out steps a peculiar man: a new Doctor, his clothes tattered and burnt from his Tenth incarnation's regeneration. After inspecting the crack in her wall, The Doctor promises Amelia that he will return in five minutes. Due to the TARDIS malfunctioning, he arrives twelve years later and is confronted by Amelia, who no longer trusts him. The Doctor attempts to regain her trust by dealing with the shape-shifting alien Prisoner Zero, an intergalactic criminal who has taken residence on Earth - but with the planet about to be burnt to a crisp by Prisoner Zero's guard the Atraxi, and The Doctor still trying to get used to his brand new body, Amy might have no choice.

Why it's awesome: Series 5 welcomes in a brand new era of Doctor Who, with a new Doctor, a new head writer and a new supporting cast. As well as being the first episode to fully feature Matt Smith, Karen Gillan and Arthur Darvill as The Doctor, Amy and Rory, The Eleventh Hour is also an incredibly entertaining story in its own right. Thanks to the regeneration and a brand new cast, this is the perfect jumping on point for newcomers to the series, and Steven Moffat keeps the Eleventh Doctor's likeable momentum going all the way through the episode - no mean feat considering that the Tenth Doctor had a special place in British hearts. A truly outstanding debut for a truly outstanding Doctor, The Eleventh Hour is the defining episode for the Matt Smith era of Doctor Who. 

Best line: "You know when grown ups smile at you and tell you everything's going to be fine, even though you know they're lying?" "Yeah." "Well...everything's going to be fine..."

Doctor Who returns on the 23rd November for its 50th Anniversary Special, followed by the departure of The Eleventh Doctor in this year's Christmas Special.

Check back to Movies Under The Microscope next month for another monthly retrospective of 50 years of Doctor Who!

Review: Monsters University

Review: Monsters University

Director: Dan Scanlon
Cast: Billy Crystal, John Goodman, Helen Mirren, Nathan Fillion
Running Time: 110 Minutes.

Step aside kids, us adults have been waiting 12 years for this!

So is Monsters University, the prequel to (arguably) the most well-received Pixar movie since Toy Story, a roaring success or a damp squib? 

Well it all depends on how you look at it. Tonally, this particular story in the Monsters world feels like a complete departure from the original (possibly due to Disney's continued influence on the company), but the key components for a classic Pixar feature are all right there: quirky, colourful characters, an exciting storyline and a moral message that hits home for all ages. Those like myself who remember sitting in the cinema when Monsters Inc. was first released will be pleased to know that the origin stories of Mike and Sulley stay true to the characters for the most part.

Really though, the curse of the prequel still looms. There's no particular peril to be felt for the characters as we all know how they turn out in the end, and (you can blame George Lucas for this one if you like) there's simply no way that most prequels can be considered anywhere near as excellent as the originals which spawned them.

A damn shame really, because while Monsters University is a really enjoyable family movie in its own right, shouldn't the studio who brought us such incredible one-offs as WALL.E, Up and Ratatouille be focusing on more original material rather than (almost shamelessly) regressing into safer franchise territory?

An argument for another day perhaps. As it is, Monsters University takes us back to the early adulthoods of one-eyed Mike Wazowski and enormous blue bear James P. Sullivan. We begin with the former, whose determination to be a scarer brings him to the titular Monsters University, an educational institute for the best and brightest of the monster world. On the other hand, Sulley is a campus hotshot, the son of a world famous scarer. 

As with the best of cinematic friendships, the duo loathe each other in their first encounters before realizing that to win the ultimate university Scaring Contest, they'll have to put their differences aside and work together.

Cue a host of colourful side characters attempting to either help or hinder their cause, including a truly electric display of voice acting from Helen Mirren as Dean Hardscrabble and the always entertaining Nathan Fillion as a typical campus jock in a rival fraternity. 

Still, critics will see these further additions to the cast as a simple merchandising ploy by Disney - there's no doubt that their infamous stores will be fully stocked up with "Young Mike" and "Young Sulley" toys for about £40 a pop, but at the same time it's hard not to love the creativity behind the characters.

You'll notice some very familiar faces indeed, with Randall (voiced once again by Steve Buscemi) and Roz keeping the die-hard Pixar fans happy. Keep an eye out for the former's hilarious motivational posters dotted around campus too: "The winds of change" in particular acting as a nice callback to the original.

These little touches lend a different, more culturally aware feel to Monsters University compared to Pixar's previous efforts and in many ways this is their stab at a college comedy. Whatever you say about the company, they are keeping in tune with their audience remarkably well - Toy Story 3 saw Andy leaving home for college. Monsters University sees an amusing take on life AT college, fraternities and parties et al. 

As for the central characters themselves, it does unfortunately take a while to tune in to their personalities once more. Sulley's characterization feels incredibly forced - painting him as the bad guy and Mike as the protagonist is a dodgy move on behalf of the writers and it's a very unequal way of telling the story. Still, John Goodman and Billy Crystal have incredibly entertaining chemistry as ever which keeps the characters feeling just as charismatic and enjoyable than they were 12 years ago.

Visually, Monsters University looks incredible. No studio does computer animation like Pixar, and no director could have pulled off the unbelievably authentic atmosphere like Dan Scanlon. From the swaying trees to the lengthy fields around campus, some wide shots even look real. 

Reality isn't the name of the game though, and Monsters University's escapism is sure to please both older fans of Pixar's legacy and smaller children about to enjoy these characters for the first time. Towards the end, particularly in a climactic sequence which sees Mike find his true calling, Pixar's expected moral message hits very hard indeed: just because you want something, that doesn't make it so.

Summary

It was a tough exam, but luckily Pixar have passed: Monsters University succeeds as both an exciting prequel to the 2001 animated classic and as an entertaining buddy comedy in its own right. Of course as Summer entertainment it makes the grade despite some narrative inconsistencies, but there's still a nagging feeling that Pixar could be doing so much better right now. Still, at least they're never making Toy Story 4, right? Right?

8/10 - Great

See it if you liked: Monsters Inc. (2001), How To Train Your Dragon (2010), Toy Story 3 (2010)

Review: The Internship

Review: The Internship

Director: Shawn Levy

Cast: Vince Vaughn, Owen Wilson, Rose Byrne, John Goodman

Running time: 119 Minutes 

 From the guys who brought you Wedding Crashers comes a movie that's nowhere near as good as Wedding Crashers!

A shame really, because while The Internship's narrative plays out like a bland, often bleak two hour long advertisement for Google, the chemistry between its two leads is still remarkably entertaining. Separately the two are unbearable (with the exception of Owen Wilson's incredible performance in Midnight In Paris), but together they make for a nicely nostalgic comical team.

Unfortunately the pair are playing out a ridiculously unrealistic script (do they really play Quidditch at Google Headquarters? Really?), yet at the same time it's heavily predictable with a cast of stereotypical side characters and boring jokes.

The first few moments offer a slightly more realistic take on the modern world, as Wilson and Vaughn play Nick and Billy, two salesmen whose careers have a hit a dead end. With their watch-selling business closing up shop, they find themselves struggling to adapt to a new way of job hunting. For some unfathomable reason, Billy randomly applies for an internship at Google - a chance for the two to gain a qualification which may lead to a job. 

So off they trot to Google Headquarters, and the camera bursts at the seams with the colours of the company's logo in almost every shot. Perhaps The Internship was actually some sort of brainwashing scheme by Google's CEO's themselves, as the focus on the characters seems to take a back seat to the internet giant itself.

Still, Vaughn and Wilson are enjoyable enough and there's even a decent cameo from Will Ferrell to lighten up the proceedings along with Rose Byrne of Bridesmaids fame as Wilson's love interest. Despite establishing herself as a great actress, her talent is wasted here in a predictable and clichéd supporting role. 

When the story isn't focusing on how incredible Google is and how we should all worship the company who made the internet "so accessible", there are a few amusing moments. If you can't chuckle at grown men playing Quidditch while chasing some guy covered in golden face paint ("Catch the the golden bitch!") then when can you, really?

Well, probably at funnier movies. That being said The Internship is a decent, throwaway alternative to those Social Network-esque origin stories of the world's biggest companies, and if you keep your expectations low then it could tickle your funny bone now and again.

For example, the script does grab some decent fish out of water gags as Vaughn and Wilson attempt to integrate themselves within the teams of young computer geniuses ("When you say 'on the line' you mean...online?") and despite its extensive running time, director Shawn Levy keeps the pacing brisk and fun. There's even an energetic and occasionally funny visit to a strip joint, and an amusing running gag featuring a Korean boy removing his eyebrows one hair at a time consistently raises a few giggles.

That being said, a few laughs do not a comedy make and The Internship feels more like a vague idea for a movie rather than a fully realised feature. It will also be outdated incredibly quickly (such is the pace of modern technology), and it's obvious that Vaughn, who also wrote the script, has had this idea mulling around for a while before clicking "I'm Feeling Lucky" in his head. 

The end result is unfortunately below par and had it been in less generic and more imaginative hands, The Internship's decent ideas could have made for one of the funniest movies of the year.

Summary

The Internship is the kind of film you shrug your shoulders at and say "Well, I suppose there's nothing else on." It's not bad for a few laughs here and there and the chemistry between its two leads is still as believable as ever, but for all its clichéd charm and feel-good messages, there's far too much focus on the "amazing" world that is Google to be truly comfortable. Error Code 404: Originality Not Found.

5/10 - Mediocre

See it if you liked: Dodgeball (2004), The Social Network (2010), The Incredible Burt Wonderstone (2013)

Review: This Is The End

Review: This Is The End

Directors: Seth Rogen, Evan Goldberg

Cast: Jay Baruchel, Seth Rogen, James Franco, Jonah Hill

Family Guy once carried out a gag about Seth Rogen during his rise to fame, in which the writers suggest the major reason he appeals to audience is the fact that he is "charming and chubby."

While the latter descriptive might be a little outdated, the former still sticks with Rogen and his frat pack buddies providing what can only be described as the craziest yet most entertaining comedy of the year so far.  Really, This Is The End (in which the actors all play themselves) is more of a riff on the well-established comedy stylings of Rogen, James Franco, Craig Robinson and the like but unlike some other comedy ensembles (I'm looking at you, Grown Ups), this particular script manages to cleverly take advantage of the swelling careers of its stars.

Of course, it's much better viewing this one in a cinema full of people ready and willing to have a good time. Those who are already fed up of Rogen and his chums won't be converted here but when the formula works, why change it now?

Saying that, there are some surprisingly touching moments in the film's narrative (hilariously accompanied with a soundtrack that could make any 90's kid punch the air), and by the time the credits roll you'll be surprised at how much these actors have become like good friends who have occasionally dropped in and out of your life. 

Jay Baruchel leads the proceedings as he and Seth Rogen reunite for a party at James Franco's new house in the Hollywood hills, accompanied by a host of guest stars including the likes of Michael Cera, Emma Watson, Christopher Mintz-Plasse, Rihanna, Jason Segel, Aziz Ansari and Kevin Hart. Enjoying the booze, the laughs and in Michael Cera's case the cocaine, the guests are suddenly interrupted by none other than the apocalypse.

Jay, Seth, James Franco, Craig Robinson, Danny McBride and Jonah Hill are all that remain following the deaths of hundreds of A-Listers (with brief but entertaining cameos from Emma Watson and Channing Tatum) and, as they barricade themselves inside Franco's house, tensions quickly rise between the six actors.

All the apocalyptic bases are more or less covered: there are aliens, cryptic messages from God and even a hilariously over the top exorcism scene ("Oh, the power of christ is compelling me, really? I don't feel so compelled"). Comedy and characterization is key in a film like this though, and luckily each star has their own definitive feel making the emotional moments, of which there are plenty, hit pretty hard even with their comedic beats. Baruchel and Rogen get the brunt of these, with the film's climax accompanied by none other than Whitney Houston's I Will Always Love You.

The references to past films are a hoot as well, with the likes of Franco's 127 Hours, Hill's Moneyball and Rogen's The Green Hornet getting a good grilling ("Wow, Seth, that was really good acting. Where was that in The Green Hornet, huh?"). It's all a riotous send up of the stars which make the movie a success, and where other actors might have let their pride get the better of them it's clear to see that this cast is having a great time making this feature - and by extension, we have a great time watching it.

If you possess an open mind and the ability to let go and laugh, then then there's certainly very little to complain about with This Is The End. There are a few dodgy CGI shots, while certain jokes and plot points become a little repetitive come the end of the admittedly extensive running time, but the final scenes alone ensure that this is the end for your lungs. Even the most adamant Rogen-hater couldn't hold back the laughs.

Summary

Self-deprecating humour mixed with a decent narrative and hilariously over the top peformances make This Is The End one of the best and most original comedies of 2013. Now then, Pineapple Express 2 anyone?

9/10 - Brilliant

See it if you liked: Superbad (2007), Pineapple Express (2008), Zombieland (2009)