February Preview

February Preview

The return of two action legends, the ultimate videogame movie and an Apatow spin-off - just some of the reasons to take a trip to the cinema this February. Here's a peek at the best movies hitting the silver screen in month number two.

Bullet To The Head

Director: Walter Hill

Cast: Sylvester Stallone, Jason Momoa, Christian Slater, Sung Kang

Release Date: February 1st

The pitch: Taking centre stage once again, Sylvester Stallone returns to kick ass in this year's first shoot-em-up action flick. He plays Jimmy Bobo, a hitman whose partner is violently murdered. Teaming up with a by-the-books detective whose story reflects Bobo's, the comically mismatched duo embark on a mission of vengeance against their common enemy. 

Why you should see it: The premise shines with the spirit all the best 80's and 90's action flicks possessed, ala Lethal Weapon. This is also Stallone's solo comeback and, after the success of his Expendables franchise, the evidence is clear that Sly is still well and truly at the top of his game. 

Flight

Director: Robert Zemeckis

Cast: Denzel Washington, Don Cheadle, John Goodman, Kelly Reilly

Release Date: February 1st

The pitch: Denzel Washington plays captain William "Whip" Whitaker, a substance abusing airline pilot whose routine flight from Orlando to Atlanta undergoes severe turbulence - so much so that he loses control of the plane. Stuck in a dive towards an area of houses, Whip manages to miraculously land the plane relatively safely, to the disbelief of all of his peers and superiors. When he awakes in hospital however, it is revealed that he had alcohol and cocaine in his system during the flight meaning that, despite displaying an extraordinary capability for handling such a paramount emergency, Whip has broken the law tremendously.

Why you should see it: Washington is on top form and the moral dilemma in the story should keep audiences hooked right from the thrilling aircraft landing all the way to the nail-biting courtroom finale.

Warm Bodies

Director: Jonathan Levine

Cast: Nicholas Hoult, Teresa Palmer, John Malkovich, Dave Franco

Release Date: February 8th

The pitch: After one of those casual zombie apocalypses, "R" wanders around an America filled with abandoned cars, broken buildings and his fellow undead. He craves living flesh, claiming he "gets high" from the memories of the living, so when Julie Grilgo and her boyfriend stumble onto his path, he eats the latter's brain and is suddenly overcome with love for her. The problem is of course, he can't talk save for generic moans and grunts - plus his undead friends may not be so keen to preserve her life.

Why you should see it: If, unlike me and the rest of the sane world, you have been missing some Twilight-esque romantic fiction in your life Warm Bodies will certainly be for you. If, however, you have taste, Warm Bodies may not be for you. Still, fans of zombie movies may enjoy a different take on the genre and the Romeo and Juliet-inspired love story will most likely have female teenage audiences queueing like a horde of the undead.

Wreck-It Ralph

Director: Rich Moore

Cast: John C. Reilly, Jack McBrayer, Jane Lynch, Sarah Silverman

Release Date: February 8th

The pitch: Hyped as the best videogame movie of all time, Wreck-It Ralph follows the story of Ralph, a "bad guy" inside a retro arcade game known as Fix It, Felix. Fed up with constantly feeling unpopular, unloved and unappreciated, Ralph decides he wants a shot at being the hero for a change. Abandoning his game and leaving his former game-mates in fear of being "unplugged", Ralph crosses over into other games such as the Halo-esque "Hero's Duty" and the Mario Kart inspired "Sugar Rush". However, his game hopping uncovers a dark secret hidden away inside the arcade - one which threatens the existence of every hero and villain in the games.

Why you should see it: Have you ever played any videogame? Ever? That's why. Aside from Ralph and his game-mates, there are retro cameos aplenty from the likes of Sonic the Hedgehog, Bowser from Super Mario Bros, Q*Bert, M-Bison from the Street Fighter series, the Pac-Man ghosts and even Frogger from, er, Frogger. With subtle nods to countless more franchises hidden here there and everywhere, this is the ultimate gamers' movie given a boost by an extremely talented cast.

A Good Day To Die Hard

Director: John Moore

Cast: Bruce Willis, Jai Courtney, Mary Elizabeth Winstead, Cole Hauser

Release Date: February 14th

The pitch: John McClane hasn't settled down quite yet. Travelling to Russia in order to save his son from arrest, John soon finds that Jack's proposed jail-time is just one small factor in a sinister plan to threaten the freedom of the western world. Caught up in a terrorist plot, McClane and son take on the terrorists together. Yippee Ki-Yay.

Why you should see it: Despite reaching his golden years, Bruce Willis has shown that he's still got a hell of a way to go yet. Now with the addition of his son, Jack McClane, the Die Hard franchise may be about to head in an exciting new direction with a younger protagonist. You don't want to miss that. Oh, and there are guns. Lots of guns, shooting, action and general manly stuff - and on valentine's day too! The perfect date.

This Is 40

Director: Judd Apatow

Cast: Paul Rudd, Leslie Mann, Jason Segel, Megan Fox

Release Date: February 14th

The pitch: Knocked Up side-characters Debbie and Pete get their time in the spotlight with their own spin-off This Is 40. Covering themes such as long-term relationships, mid-life crises, bringing up kids and obsessions with iPads, Apatow's latest looks to be a sweetly amusing (yet unashamedly gross) look at married life and the trials it comes with.

Why you should see it: Apatow is very hit and miss (see: Funny People compared to Bridesmaids) but with a great cast (cameos from Knocked Up alums Jason Segel and Jonah Hill as well as appearances by John Lithgow and Chris O'Dowd) he looks to be on top form with This Is 40. 

Hansel And Gretel: Witch Hunters

Director: Tommy Wirkola

Cast: Jeremy Renner, Gemma Arterton, Famke Janssen, Thomas Mann

Release Date: February 22nd

The pitch: It sounds goofy and in most ways it is. After their horrific candy-house ordeal as kids, Hansel and Gretel of fairytale fame have grown up and become masters of witch-slaying badassery. Vowing to hunt down and kill the leader of a clan of witches, the sibling duo find themselves on a mission to reclaim several lost children. Cue lots of blood, gore and f-bombs.

Why you should see it: Van Helsing meets Django Unchained with a huge splattering of black comedy to mix things up. With Anchorman's Adam Mckay and (bizarrely) Will Ferrell on producing duties, as well as a decent fronting cast, Hansel and Gretel: Witch Hunters may be the most senselessly fun movie of the year so far.

Check back to Movies Under The Microscope over the next month for reviews of all of these films.

Review: Django Unchained

Review: Django Unchained

The Urban Dictionary definition of a 'fanboy' is as follows: 

An extreme fan or follower of a particular medium or concept, whether it be sports, television, film, directors, videogames etc

Known for a complete lack of objectivity in relation to their preferred focus. Usually argue with circular logic that they refuse to acknowledge. Arguments or debates with such are usually futile. Every flaw is spun into semi-virtues and everything else blown to comedic, complimentary proportions.

Sounds about right. So, taking into account that Quentin Tarantino is widely regarded as one of the most challenging, exciting and amusing directors of our time, it is difficult to view Django Unchained without a prior sense of expectation and apprehension, given his previous success.

It's even more difficult to argue with the 'fanboys' that this particular entry in the Tarantino timeline is nowhere near as good as it should have been. No doubt anyone committed to the "genius" of the man will jump at the chance to defend his, er, "genius."

That's because unfortunately Django Unchained is the least noteworthy of all of Tarantino's movies thus far. It's bold, yes; it explores themes which some would consider to be rather risky - black slavery and torture - and it has some very well-timed humour. So why does Django Unchained feel like more of an indulgence project than the powerful movie it strives to be?

Perhaps it's the ridiculous running time. Clocking in at just under three hours and stuffing in more than enough would-be endings, the movie definitely outstays its welcome despite its frequent displays of wit and its sending up of the western genre.

For the wild west is a place of violence and prejudice in Django Unchained. Freed slave Django (Jamie Foxx), befriends Dr. Schultz (Christoph Waltz), a kindly yet determined bounty hunter and the two traverse the wild in search of Django's wife (Kerry Washington) who has been taken in by the horrific Calvin Candie (Leonardo DiCaprio), the proprietor of a large plantation. 

The story is decent enough, but too much deviation from the main plot - which is essentially a man striving to reclaim his wife from a horrific life of slavery and abuse - means that Django Unchained amounts to an anti-climax which feels rushed and distant at best. This is because Django's characterization is simply defined by his life as a former slave. Does he have a sense of humour? Was he friends with his fellow slaves? How has his slavery changed him? We're never made to feel emotionally connected to him, other than the occasional moment where he is in peril. 

Unfortunately, Jamie Foxx doesn't particularly help proceedings by offering no sense of enthusiasm to Django at all. The Oscar winning actor, whose presence in any movie is usually a welcome source of life, simply underwhelms in the titular role. 

Instead, we route for a superb turn by Christoph Waltz, whose current Oscar nomination for Best Supporting Actor is well deserved. As Dr Schultz, Waltz manages to keep the film bouncing along, providing most of the comic relief with his charm. Somehow the endless stream of the bad guy's blood is more bearable when the man behind it is so innocently pleased about doing the right thing. 

Yet, as a slow movie stretches into a marathon and we finally meet Leonardo DiCaprio's slimy land owner Calvin Candie, we find ourselves far more interested in the psychological battle between him and Schultz. As DiCaprio fills up the screen with his fantastic performance it quickly becomes clear that Django is a background character in his own story, which leads to a lack of focus  - focus which we as the audience require if we're to sit through the agonisingly long proceedings.

Still, in it's favour, Django Unchained boasts a wealth of exciting action scenes to alleviate the boredom. What Django lacks in speech he makes up for with gun-toting fun, and Tarantino holds nothing back as the typically western shootouts are gloriously bloody in the most amusing way possible. Tarantino's direction is also interesting, as it emulates a vast number of old fashioned western techniques; from the grainy texture to the occasional zoom in on a character's face during a particularly shocking moment, the camera always keeps us grounded into the authentically old fashioned environment.

Add to this the incredibly effective use of humour - the scene with Jonah Hill leading the Ku Klux Klan punctuates the straight-faced narrative to great effect - and Django Unchained at least occasionally feels as though entertaining its audience is its primary objective rather than a self-indulgent slap on the back for Tarantino.

Summary

Django Unchained is a loud, bold and exciting prospect for fans of Quentin Tarantino's earlier work. In many ways, all of his key features are there - everything except a complex plot. The film feels too simple to be a 'modern classic' as some have preached, yet there's no doubt that those who adore the director's previous movies will enjoy Django Unchained. Superb performances from the lively supporting cast, exciting action sequences and some genuinely funny moments save the film from being a complete bore. Those who aren't quite in the 'fanboy' region of life however will find their patience tested by the ridiculously long running time, the overstuffed endings and the lack of focus regarding the titular protagonist. It's not a bad flick, but Pulp Fiction this ain't - sorry fanboys.

6/10 - Not Bad

See it if you liked: No Country For Old Men (2007), Wanted (2008), True Grit (2010)

Review: Gangster Squad

Review: Gangster Squad

A stunning script, morally two-dimensional characters and a realistic portrayal of post-war Los Angeles - at least, that's what Gangster Squad wants to be.

Instead, director Ruben Fleischer of Zombieland fame offers us a tale of guns, guns and, er, more guns. This time with added Gosling!

See, the problem with Gangster Squad isn't a lack of enjoyability. The action is fairly exciting, even if none of it makes any sense whatsoever (if you're so desperate to put this bad guy in cuffs, why challenge the former boxer to a fistfight when you have the upper hand?) and the ensemble cast containing Josh Brolin, Ryan Gosling, Emma Stone and Sean Penn are on top form. Penn consistently chews up the scenery while Gosling and Stone reunite for some enjoyable chemistry but despite this, the rest of the characters are horribly underplayed meaning that when inevitable fatalities occur, we find it hard to really feel anything other than the ringing in our ears.

The noise kicks off right away, as in the opening scene Mickey Cohen (Penn) insists that LA will soon belong to him and his cronies before some unfortunate thug is ripped apart by two cars. Soon after, Brolin's Sgt. John O' Mara slices off another luckless gangster's fingers in an elevator.

So far, so good. A mobster movie without violence is like a pencil with no lead. However, after this exciting opening, Gangster Squad barely makes a lasting impression other than encouraging Emma Stone's status as arguably the most sizzling actress of the last few years.

In the red corner, Sean Penn hardly stops screaming and while the prosthetics-wearing actor clearly enjoys playing Cohen, he unfortunately manages to overshadow the rest of the cast.

In the blue corner, we have Brolin playing O' Mara, a reputable LA police sergeant tasked with rounding up a squad of individuals handy with a gun in order to go "off the books" and take down Cohen on his own dirty terms. Think Nick Fury recruiting The Avengers, LA style. 

So he assembles his team consisting of Ryan "sexiest man ever" Gosling, a frustratingly underused Michael Pena, Robert Patrick (who replaced Breaking Bad's Bryan Cranston), Anthony Mackie and Giovanni Ribisi. Whilst the actors do seem to have plenty of fun in their tommy gun-wielding roles, their characters are sadly underdeveloped. Gosling gets the best moments, particularly in his unfortunately brief exchanges with Emma Stone's Grace Farriday ("I was just hoping to take you to bed"), but he and Brolin are the only two in the squad who seem to have a decent back story and a reason for fighting.

On the surface at least, there's plenty to admire. It looks authentic, from the costumes, tommy guns and automobiles, and the action is exciting enough to drag the relatively straightforward plot through its swift running time. When Brolin and Gosling stand side by side raining bullets on to the bad guys, it's hard not to feel as though you're witnessing something, well, awesome. The stand out scene comes in the shape of a 40's Fast and Furious-esque car chase which simply oozes style and gives the squad a chance to show off their skills. 

This is all superficial, however, and unfortunately doesn't detract from the fact that Gangster Squad is a hollow, predictable and unmemorable action flick rather than the Untouchables of the 21st century.

Summary

It looks great, it's well acted and the story is well paced ensuring that Gangster Squad never feels slow. Emma Stone and Ryan Gosling are given some fantastic scenes, while Josh Brolin shows a knack for playing the leading man. The action scenes are exciting to watch, but unfortunately they feel shallow as we feel very little for the one dimensional characters. Sean Penn as Mickey Cohen definitely enjoys the role and seems to get the most screen-time, which means he ends up winning us over with his performance before the rest of the cast can even get a foothold. Gangster Squad is all style and no substance which results in an easily forgettable, albeit temporarily fun, piece of movie escapism.

6/10 - Not Bad

See it if you liked: The Departed (2006), Public Enemies (2009), Drive (2011)

Review: Les Miserables

Review: Les Miserables

Step aside, Susan Boyle. Anne Hathaway just made that song her own.

For this new adaptation of Les Miserables, the award winning musical which began in 1985, would not be nearly as successful without the stunning performances given by the central cast. It's a little ragged round the edges and director Tom Hooper certainly could have trimmed the fat - by the apparently rousing finale full of waving French flags, you may find yourself impatiently waving the white flag of tired defeat at the running time.

Yet despite its flaws, the largest of which being the overly indulgent length, Les Miserables translates pretty well to the big screen. Set during 19th century France, Hugh Jackman leads the proceedings as Jean Valjean, an honest man convicted to years of imprisonment for one small crime. As he and his fellow slaves hatefully glare upon the symbolic might of Russell Crowe's law-enforcing officer Javert, it quickly becomes clear that this is not the sort of Rock Of Ages musical where the characters simply sing and dance their cares away - their cares are almost dragging the song out of their throats, note by note.

Years later, he breaks parole and becomes a new man, agreeing to use his new-found wealth to care for factory worker Fantine's (Anne Hathaway) young daughter - a girl who will change his future.



Hugh Jackman carries the plot on his shoulders - from convict to mayor and eventually unwilling participant in a student-led uprising, Valjean is the driving force behind the narrative's development. Only he and Javert remain the constants in the story and its 17 year span. 

It's lucky then that Jackman has never given a finer performance than his turn in Les Miserables. A million miles away from Wolverine, the Aussie shows a superb range with regards to both acting and singing while Russell Crowe, despite lacking the singing ability to match his co-stars, manages to play Javert with fierce purpose. He's like the Moriarty to Jackman's Sherlock Holmes - before long, his entire existence is defined by his mission to catch Valjean and bring what he sees to be justice upon him.



As for the rest of the cast, they all reply with unashamedly tear-stricken turns, particularly the newly Oscar-nominated Anne Hathaway - her rendition of I Dreamed A Dream (which amounts to one four minute long close-up) becoming one of the major highlights of the film. Sacha Baron Cohen and Helena Bonham Carter are also welcome additions of comic relief, a factor which is found very scarcely in a story dealing with such, er, misery.

The rest of the music is also incredible, particularly One More Day to which every cast member contributes. Some may be frustrated at the fact that, given its nature as a musical, Les Miserables can be slow as it takes five minutes to perform a song, whereas most films only take a few lines of dialogue to express emotion. That said, the decision to record all of the vocals live on set is one of the most effective directorial decisions of recent years - the movie is given a much more realistic gravity, and the cast have more freedom to naturally perform.



The biggest drawback is completely structural - with such an engrossing and well paced first half, it was almost impossible for the rest to live up to its emotional impact. By the time Amanda Seyfried and Eddie Redmayne's star-crossed lovers come around, we're impatiently waiting for the revolutionary battles to begin. Their characters are inherently drippy and their story simply dull compared to the other characters'. That said, when the fight for freedom begins the entire cast battle for supremacy, erupting in a rousing finale unlike any other at those all important barricades. Unfortunately, though, the narrative takes a frustratingly long time to wrap up after its climax, which leaves a bitter taste at the end.

Summary

Well produced, performed and directed, Les Miserables is the musical to trump all musicals. Rousing, exciting and emotional, the film's success is mostly down to its impeccably well cast characters. Hugh Jackman has never been better, whilst Anne Hathaway's Oscar nomination is well deserved. Fans of the original musical won't be disappointed as director Tom Hooper ensures the movie highlights all of the deserving storylines, and the major songs are all there - that said, casual movie fans may be frustrated at the stuffed running time, and those who aren't partial to musicals may have had their fill for the rest of the year.

Overall though, Les Miserables is a stirring, ambitious and striking production - a brilliant example for all future musicals to live by.

8/10 - Great

See it if you liked: Moulin Rouge (2001), Sweeney Todd (2007), Great Expectations (2012)

Review: The Impossible

Review: The Impossible

You'll never look at the ocean the same way again.

See, simply watching a movie is fine, but to be hit hard by it and to still be considering its impact hours later shows a truly remarkable feat of film-making. Compelling, horrific and beautiful all at the same time, The Impossible is a heartbreaking true story of one family's effort to reach each other in the midst of the 2004 Indian Ocean tsunami. 

Swept away whilst on holiday, Henry Bennett (Ewan McGregor), his wife Maria (Naomi Watts) and their sons Lucas (Tom Holland), Simon (Oaklee Pendergast) and Thomas (Samuel Joslin) find themselves far apart when the water clears. Unsure if their kin are alive or dead, they set out to find one another in the midst of one of the worst natural disasters of all time. Split into two groups - Maria and Lucas together, Henry taking care of Simon and Thomas - they must find shelter, help and most importantly each other.

At its core, it's a disaster movie - but at its heart, it's a tragedy. The Impossible is a far cry from the superficial CGI fuelled fiasco of, say, 2012 or The Day After Tomorrow. In most movies, surviving the disaster would be enough. In The Impossible, surviving is only the first step - reuniting with those you love is the finish line. By zeroing in on a tight group of characters rather than skimming over an ensemble cast, director Juan Antonio Bayona succeeds in adding a hugely emotional punch to the narrative, a punch which is helped by an incredible mise en scene - we'll never know what it was like to experience that horrific event, but this is as close as we're going to get. The visuals are perfect on every level.

Yet, sometimes they take the time to show off so much that the narrative frustratingly slows down. It's a walloping punch of realism to see the gore, the cuts and the bruises that the characters sustain, but sometimes it feels as though Bayona is trying to be too real. We don't need to watch a 10 minute scene of people puking up blood to establish that this is horrific - we're intelligent enough to work it out for ourselves, and the various dead bodies and slow-mo scenes of kids being dragged through mud has already given us plenty of evidence. The shock value of seeing some blood or horrific wound wears thin pretty quickly.

What shows off effortlessly, however, is the talent of the cast. Ewan McGregor and Naomi Watts pull on the heartstrings by giving it everything they've got, particularly in one harrowing scene where Henry is forced to phone his wife's father and explain that he can't find the man's daughter. This reviewer may have had something in his eye at one point.

The real star of the show is young Tom Holland, bursting out of the screen in a breakthrough performance as Lucas, the eldest child who finds himself forced to become a man in the wake of the disaster. It could have went wrong, but luckily Holland holds the story together and stops it from becoming a hopeless tale of woe, dancing with emotions effortlessly. He carries the audience and he is our voice throughout the film.

The climax itself could have been a complete mess, and in some respects it is if you have a particular dislike for metaphors, yet Bayona is subtle, driving home the fact that while the movie may be over for us, the horrific nightmare will never leave the hearts and minds of those who were there.

Summary

Like most real-life disaster movies, The Impossible suffers from having a "feel-good", hopeful vibe towards its goal despite the extreme loss of life. That said, it's a visual achievement on every level, be it the prosthetics or the scenery, and the tale is given a massive emotional weight by the lead cast, particularly McGregor and newcomer Holland. A little too much focus on the "realistic" gore takes away from the experience, but overall The Impossible is an affecting, true to life drama with a carefully evaluated core and spot-on casting. You'll be crying oceans of your own.

8/10 - Great

See it if you liked: Titanic (1997), Armageddon (1998), The Road (2009)

13 For '13

13 For '13

Well, 2012 was pretty enjoyable wasn't it? From mega sci-fi blockbusters like The Avengers and Prometheus, anniversary spectacles in the form of Skyfall and a certain fantasy adventure by the name of The Hobbit, the year of the apocalypse didn't fail to impress.

Now, however, it's time to (quoting Slade here) "look to the future". Here are 13 of the biggest movies hitting your screens in 2013 - a year that has a lot to live up to.

January

Gangster Squad

Director: Ruben Fleischer

Cast: Ryan Gosling, Josh Brolin, Emma Stone, Sean Penn

Release Date: January 11th

The pitch: Expect a severe vibe of vigilante classic The Untouchables mixed with Sin City as Gangster Squad bursts its way violently on to the big screen. Determined to take down notorious villain (and real-life mobster) Mickey Cohen (Penn), various officers and detectives of the Los Angeles police force become the "Gangster Squad". To protect the law, they'll simply have to break it. Gosling and Brolin lead the action with gusto, while Emma Stone is the femme with the fatale.

Also in January: Les Miserables (11th), Django Unchained (18th), Lincoln (25th)

February

This Is 40

Director: Judd Apatow

Cast: Paul Rudd, Leslie Mann, Megan Fox, Chris O'Dowd

Release Date: February 14th

The pitch: Remember Debbie and Pete, the ridiculously argumentative and typical couple from Knocked Up? Well, they've been given their own spin-off. After casting his gaze over topics such as unexpected pregnancy, cavemen and terminally ill stand-up comics, Judd Apatow is tackling the simple yet complex tale of marriage. Paul Rudd and Leslie Mann reprise their roles as the bickering couple, while cameos from Knocked Up stars Jason Segel and Jonah Hill should ensure a barrel of laughs - if you can stand Leslie Mann's hysterical voice, that is...

 Also in February: Wreck-It Ralph (8th), A Good Day To Die Hard (14th), Cloud Atlas (22nd)

March

Oz The Great And Powerful

Director: Sam Raimi

Cast: James Franco, Mila Kunis, Rachel Weisz, Zach Braff

Release Date: March 8th

The pitch: Ever wondered what happened before The Wizard Of Oz? Wonder no more, as original Spiderman trilogy director Sam Raimi brings to life a tale exploring the origins of the magical world. James Franco stars as Oscar Diggs, a small-time circus magician with big dreams. When he is inadvertently whisked away to the vibrant world of Oz, he finds an opportunity to not only redeem his questionable morals but to save Oz and its inhabitants from the evil forces within.

Also in March: Welcome To The Punch (15th), Jack The Giant Slayer (22nd), GI Joe: Retaliation (27th)

April

Iron Man 3

Director: Shane Black

Cast: Robert Downey Jr, Guy Pearce, Gwyneth Paltrow, Ben Kingsley

Release Date: April 26th

The pitch: Phase One of Marvel's cinematic initiative culminated in The Avengers last April, and Iron Man 3 kicks off Phase Two with a bang. With his personal and professional life under threat, Tony Stark finds himself back to square one. Backed up against the wall with no help from The Avengers gang available to him, how will Tony cope against the evil Mandarin (Ben Kingsley) alone? All the while he must finally answer the question which has haunted him for years - does the man make the suit, or does the suit make the man?

Also in April: Carrie (5th), Oblivion (12th), The Place Beyond The Pines (12th)

May

The Great Gatsby

Director: Baz Luhrmann

Cast: Leonardi DiCaprio, Tobey Maguire, Carey Mulligan, Joel Edgerton

Release Date: May 10th

The pitch: A must see for anyone suffering permanent states of confusion due to numerous Gatsby essays at school, this particular adaptation of the classic American novel sees Leonardi DiCaprio playing the titular role of Jay Gatsby. A mysterious man whose life is shrouded in secrecy, his acquaintance is made with a new neighbour Nick Carraway (Maguire), a World War I veteran who becomes increasingly intrigued by the life of the wealthy man next door. It becomes clear that Gatsby throws lavish parties in the hope that one Daisy Buchanan will attend - a beautiful woman who may hold the truth behind Gatsby. 

Also in May: Star Trek: Into Darkness (17th), Epic (24th), The Hangover: Part III (24th)

June

Man Of Steel

Director: Zack Snyder

Cast: Henry Cavill, Amy Adams, Russell Crowe, Michael Shannon

Release Date: June 14th

The pitch: Produced by Christopher Nolan, this is DC's attempt to bring some credibility back to the Superman character with a 'dark re-imagining' of his origin story. The plot? Well, it's pretty much what you'd expect. Twenty-something journalist Clark Kent struggles to find his place in the world due to his extraordinary extraterrestrial powers. Transported to Earth as a baby while his home planet Krypton was destroyed, Clark grew up on a farm under his adoptive parents. However, when Earth is threatened by alien villains, Clark will have to accept his destiny as Superman and show the world who he really is.

Also in June: R.I.P.D (21st), World War Z (21st), End Of The World (28th)

July

Monsters University

Director: Dan Scanlon

Cast: Billy Crystal, John Goodman, Steve Buscemi, Jennifer Tilly

Release Date: July 12th

The pitch: Definitely absolutely positively not evidence that Pixar are running out of ideas, Monsters University takes us back in time to when the Mike Wazowski and Sully, the stars of Monsters Inc, were students learning the tricks of the scaring trade. Initially enemies, Mike and Sully attend the same college, however the movie will explore the circumstances regarding the forming of their friendship.

Also in July: Pacific Rim (12th), Kick-Ass 2 (19th), The Wolverine (25th)

August

The World's End

Director: Edgar Wright

Cast: Simon Pegg, Nick Frost, Martin Freeman, Eddie Marsan

Release Date: August 14th

The pitch: The final movie in the "Cornetto Trilogy" (which has so far consisted of Shaun of the Dead and Hot Fuzz), The World's End sees five friends reunite after twenty years to take on a legendary pub crawl. However, it soon becomes clear that reaching the 'World's End' pub may be the least of their worries as the apocalypse looms. Expect typically excellent humour and boomerang scriptwriting once again mixed with a hilarious British cast.

Also in August: The Lone Ranger (9th), The Alan Partridge Movie (16th), Insidious Chapter 2 (30th)

September

Elysium

Director: Neill Blomkamp

Cast: Matt Damon, Jodie Foster, Faran Tahir, Carly Pope

Release Date: September 20th

The pitch: One for fans of the Gears of War video-game series, Elysium sees Matt Damon star as Max, an ex-con tackling a perilous mission on the scorched surface of a future Earth. The wealthy live on habitable space-crafts above the planet - the poor live on the Earth, stranded, desperate and alone. If Max succeeds in his mysterious mission, he could guarantee more equality amongst the survivors of the future, as well as his own freedom.

Also in September: Riddick (6th), Star Wars Episode II: Attack Of The Clones 3D (20th), Rush (20th)

October

Star Wars Episode III: Revenge Of The Sith 3D

Director: George Lucas

Cast: Ewan McGregor, Hayden Christensen, Natalie Portman, Christopher Lee

Release Date: October 25th

The pitch: A re-release of the Star Wars saga's final live action cinematic outing - this time in 3D. As if you don't know, Revenge Of The Sith follows Anakin Skywalker's descent into the dark side, accepting his destiny as Darth Vader.

Also in October: The Delivery Man (4th), Oldboy (11th), Paranormal Activity 5 (25th)

November

Thor: The Dark World

Director: Alan Taylor

Cast: Chris Hemsworth, Tom Hiddleston, Natalie Portman, Christopher Eccleston

Release Date: November 8th

The pitch: Marvel's Phase Two continues with the further adventures of Thor, the God of Thunder. Fresh from defeating his half-brother Loki in The Avengers, Thor (Hemsworth) has travelled back to his home planet of Asgard. However, he must battle to save the Nine Realms (including Earth) as a mysterious foe emerges from the mythic shadows. Confronted by an enemy that even his father Odin (Anthony Hopkins) cannot face, Thor must reunite with Jane Foster (Portman) to find a way to defeat Malekith the Accursed. Alan Taylor of Game Of Thrones fame directs an all star cast in his big screen debut, so expect a mighty royal affair.

Also in November: Ender's Game (1st), The Hunger Games: Catching Fire (22nd), Frozen (27th)

December

Anchorman 2: The Legend Continues

Director: Adam McKay

Cast: Will Ferrel, Paul Rudd, Steve Carrel, Vince Vaughn

Release Date: 20th December

The pitch: Little details have been released regarding the plot for Anchorman 2, the sequel to arguably the most hilarious comedy of the last ten years. Various rumours have surfaced, such as a custody battle between Ron and Veronica, a girlfriend for Brick, "racism being the new sexism" and, most bizarrely, Ron deciding to shave his moustache. One thing's for sure though - with all the original cast and writers on board, Anchorman 2 will definitely be the funniest movie of the year.

Also in December: Monuments Man (18th), Jack Ryan (26th), The Secret Life Of Walter Mitty (26th)

Movie Of The Year

The Hobbit: The Desolation Of Smaug

Director: Peter Jackson

Cast: Martin Freeman, Richard Armitage, Ian Mckellen, Benedict Cumberbatch

Release Date: 13th December

The pitch: Bilbo's unexpected journey continues in part two of Peter Jackson's epic adventure through Middle-Earth. Whereas part one took a while to get going, The Desolation Of Smaug will take us straight into the action as Bilbo and the dwarves tackle wood-elves, giant spiders and of course the dragon himself Smaug the Terrible. Meanwhile, the White Council, led by Gandalf the Grey, launches its attack on Dol Guldur, a decrepit fortress where an ancient evil hides in the shadows waiting for its chance to seize Middle Earth - an evil which may prove to be very familiar. The sequel to one of the most highly acclaimed movies of 2012, The Hobbit: The Desolation of Smaug is the one to look forward to in 2013. 

You can catch reviews of all of these movies right here on Movies Under The Microscope. 

Happy New Year!

Review: The Hobbit - An Unexpected Journey

Review: The Hobbit - An Unexpected Journey

It's been nine years since the fantasy world of Middle Earth graced our cinema screens with the epic conclusion of The Lord of the Rings trilogy, The Return of the King. Now in 2012, we finally have the opening movie of what some have referred to as this franchise's "prequel trilogy": The Hobbit. 

Luckily for the hardcore fans of The Lord of the Rings, there are references and cameos aplenty from the original motion pictures. From the fantastic Andy Serkis reprising his role as the iconic Gollum to Elijah Wood's Frodo showing face for nostalgia's sake, it's clear to see that this movie was produced with the fans in mind. That said, anyone completely new to the series will not be lost, as the fresh tale of Bilbo Baggins and his unexpected adventures is a whirlwind of fun, colour and unbelievably exciting storytelling in its own right. 

Peter Jackson, the man known around the world for bringing The Lord of the Rings on to the big screen to ear-shattering acclaim, makes a few errors and slip ups here and there in the first of his adaptations of Tolkein's beloved children's tale, but overall they don't detract from the excitement and breathless sense of adventure in The Hobbit: An Unexpected Journey. 

From the very beginning, as some of the major musical themes from The Lord of the Rings reach our ears, we are slap-bang back into Middle Earth as though we have never left. We approach the vast narrative via its mythic setup: the terrifying dragon Smaug (seen only in teasing glimpses here) annihilates the Dwarven kingdom of Erebor. The older Hobbit, played once again by Ian Holm, is then presented to us, before we flash back in time to meet our unlikely hero at an earlier time in his quiet, peaceful life. Martin Freeman is pitch perfect as Bilbo, the quiet titular character who is contacted by the instantly recognisable wizard Gandalf the Grey - and it's nothing short of awesome to see Ian Mckellen back in the role, bringing a sparkle of fun and wit with every subtle grin and eyebrow raise. Gandalf has a quest for Bilbo, and before long the unassuming Hobbit is caught up in a Dwarven mission to take back Erebor and outsmart Smaug. Finding his courage, Bilbo fights orcs, outsmarts mountain trolls and visits locations in Middle Earth he never even dreamed of - but ultimately one chance encounter in Gollum's cave alters his life and has the potential to change the world forever as he stumbles upon a seemingly meaningless golden ring...

The plot is simple enough, however at 169 minutes there is enough padding in The Hobbit to ensure the entire backstory of Lord of the Rings is covered and then some. Thanks to cameos from Christopher Lee's sinister Saruman and Cate Blanchett's Galadriel, we become aware that a "Necromancer" is in hiding in dark lands. Of course, fans of the book will know that this "Necromancer" is a weaker form of Sauron himself, the chief antagonist of The Lord of the Rings; it's a clever trick on Peter Jackson's part to reward fans this way, however this could be potentially alienating for those new to the world of Middle-Earth.

On to The Hobbit, however. There is no doubt at all that it's a long slog, and there are times when it seems overstuffed and out of balance. At least all the scenes in the theatrical cuts of The Lord of the Rings felt essential to the primary narrative; here there are added characters, deviating from the book (a good example is Radagast The Brown, a slightly loopy wizard who notices evil rising in the forests) and occasionally throwing in characters from the original trilogy unnecessarily. Elijah Wood's appearance as Frodo is not essential, as nice as it is, and there is a sense that Jackson himself was on something of a nostalgia trip when recruiting all his old chums to make cameos.

These cameos unfortunately overshadow what is already a very big cast of very big characters. The thirteen Dwarves whom Bilbo chooses to follow are often given a hard time; only three or four really stand out from the crowd of beards - some barely get any dialogue at all. It was inevitable that with a fellowship of fifteen characters - those being the Dwarves, Gandalf and Bilbo - that some would be left in the lurch and unfortunately that inevitability is realised. That said, a superb performance from Richard Armitage as Thorin, the leader of the company, more than makes up for the lack of distinctive personality from his troops. He is this trilogy's Aragorn, a man (dwarf) hardened by war and loss, and his belief that Bilbo is not fit for such a mission creates some exciting interaction.

It's this form of interaction that gives the film its heart - Martin Freeman's acting is spot on, and although it ocassionally feels as though Bilbo is given a back seat in the narrative thanks to Gandalf's little side-quests, his understated performance shows us exactly why Peter Jackson decided to work around Freeman's schedule to ensure he got the part. Just when it feels like Bilbo isn't getting anywhere positive and he has given up on the quest, a fantastic piece of character drama occurs when he falls into Gollum's cave. Andy Serkis is once again superb as the spiteful Hobbit-turned-creature; Gollum may look a little younger and act a lot more evil, but before long it feels as though he's never been off our screens. The iconic riddle scene, in which Bilbo bargains for his life in a game of wits with Gollum, is played out brilliantly and provides an excellent break from the relentless chase scenes before it, giving Freeman a chance to flex his acting muscles opposite Serkis's hectic and manic motion-captured display of insanity.

Aside from this, though, as soon as Bilbo departs The Shire the action ramps up considerably. While this is an exciting display of visual effects, fans will be very disappointed to find that Jackson has redesigned many of his iconic monsters. Orcs are now completely CGI; not the menacing, towering stuntmen that provided such real threat and menace in The Lord of the Rings. This is a poor decision on Jackon's part, as is the sudden choice to have the Orcs speak in their own tongue with subtitles. This only alienates us further, and unfortunately provides inconsistencies in the overall story - in his quest to draw us further into his vision, Peter Jackson has sadly pushed us further away. 

Luckily though, pure old fashioned excitement comes from gargantuan battle sequences. From the breathless scene in which the company flee from wolves to an astonishing display of effects when the fellowship watches two stone giants attack each other, The Hobbit never fails to make a jaw drop. It simply looks fantastic, and in a rare case for the format, the film looks absolutely stunning in 3D. Aerial shots of barren landscapes soar out of the screen and mythical creatures come to life gloriously - appropriately given its happier tone, The Hobbit is much more colourful and vibrant than Lord of the Rings, and Jackson has done brilliantly making the same world seem so new and exciting.

Summary

It's been a long time coming and luckily The Hobbit: An Unexpected Journey is worth the wait with exceptionally committed performances from the cast, in particular Martin Freeman's emphatic Bilbo and Richard Armitage's battle-hardened Thorin. Occasionally overwhelming cameos from Lord of the Rings characters threaten to steal the spotlight from the main narrative, however The Hobbit never completely slips off the rails. From nail-biting chase scenes to superb character interaction, the thrill-ride doesn't let up and it certainly doesn't let go of its message, one which Bilbo himself discovers - that getting off your arse and breaking the norm isn't necessarily a bad thing. Peter Jackson does make rather a lot of errors here and there, such as some alienating CGI and a lack of character development for some of the supporting cast, but overall The Hobbit: An Unexpected Journey is nothing short of superb for previous fans of The Lord of the Rings and for newcomers to this fantasy world.

Middle Earth? It's good to be back.

9/10 - Brilliant

See it if you liked: The Lord of the Rings (2001-2003), The Wizard of Oz (1939), Brave (2012)

The Hobbit: The Desolation of Smaug will be released in December 2013.

The Hobbit: There and Back Again will be released in July 2014.

Review: Great Expectations

Review: Great Expectations

Classic adaptations are hard riffs to pull off in this modern cinematic age of Transformers, Avengers and Channing Tatums, however director Mike Newell has certainly given his best shot at a new adaptation of Charles Dickens' arguably most famous novel Great Expectations.

An unfortunate case of been-there, done-that lingers amongst the old fashioned atmosphere, but strong, thoughtful performances and an absorbing sense of drama and intrigue save Great Expectations from complete boredom. For those who have already read the novel or witnessed a previous interpretation of the story, this version will fail to impress. That said, others who are new to the narrative will feel very satisfied with the big screen vision even if they'll no doubt experience a vast amount of confusion due to some unnecessarily speedy storytelling. 

That storytelling involves Pip, a young orphan who falls in love with Estella, a rich girl under the care of Miss Havisham, an ageing woman who has refused to take off her wedding dress since her fiancée left her. Years later, Pip has become a successful blacksmith with his brother-in-law, however he knows Miss Havisham will not allow him to be with Estella unless he becomes a "true gentleman". When a lawyer, Mr Jaggers, approaches him and tells him a "wealthy benefactor" has left him a large sum of money to allow him to do this, Pip sets off for London immediately in the hopes of breaking through Estella's ice cold heart and proving he can be enough of a gentleman to be hers. Meanwhile, the identity of the benefactor remains unknown; a secret which haunts Pip with potentially devastating consequences.

While the story is one of Dickens' most adored literary works, it often feels clunky to watch on screen in this particular retelling. At times it often feels as though Newell has "David Yates syndrome", in that he has taken a novel and has simply ensured the major scenes are shoved in. This leads to an incoherent narrative, which is incredibly frustrating for both fans of the novel and those who wish to understand every detail of the film; one could even assume that Newell is under the assumption that anyone watching the movie has already read the book, such is the lack of organisation in his storytelling. 

Flashbacks are under-used, as instead names are thrown around hastily by Ralph Fiennes' Magwitch and Robbie Coltrane's Jaggers in mid-conversation to deliver incredibly important plot points. It's hard work keeping up with Great Expectations in the clearest of adaptations, but Newell has made it damn near impossible in his vision. Anyone who can work out Magwitch's complex backstory from the hurried, incoherent mumblings and half-arsed dialogue deserves a medal.

There's also a need for the film to justify itself. There have been so many adaptations before now - why do we need a new one? Newell fails to bring anything new to the table.

Yet, where he fails, the cast succeed. Despite the inconsistent quality of the storytelling, the performances are incredibly strong. Ralph Fiennes and Helena Bonham Carter are excellent as always, giving a sense of sympathy to characters who are perhaps undeserving of such forgiveness. Yet the stars, Jeremy Irvine as Pip and Holliday Grainger as Estella, refuse to be outshone and do brilliant justice to unforgettable fictional characters. They turn what could have been an overly classy, dull affair into a much more humane, fine experience of love and manipulation. Jason Flemyng, David Walliams and Robbie Coltrane are also superb additions to the cast, adding a mixture of comedy, empathy and mystery to the performances. 

As well as this, Great Expectations succeeds in becoming a true character drama. We are very engrossed in Pip's tale, from his first encounter with the initially terrifying Magwitch to the gripping finale on board an ill-fated boat. We genuinely care about the characters and are shocked by every twist and turn. The movie is absorbingly authentic, and in a cinema we can ask no more than that.

Summary

Put simply, lovers of the classic Dickens novel will be incredibly disappointed by Mike Newell's adaptation for 2012 due to a lack of focus. Those new to the story, however, will no doubt enjoy the tale for the first time even if they may struggle to keep up with the messy plot. Fantastic performances from the major cast make the film shine with plenty of distinguished personality and charm, and Jeremy Irvine should certainly experience a major breakthrough after this very fine display of talent. Absorbing, intriguing and affecting, Great Expectations is a decent drama full of brilliant characters and, despite its lack of a coherent narrative, it succeeds in pulling us in to its irresistible tale of love, manipulation and mystery. Just lower your expectations first. 

7/10 - Very Good

See it if you liked: One Day (2011), Pride and Prejudice (2005), Dorian Gray (2009)

Review: Silver Linings Playbook

Review: Silver Linings Playbook

Bradley Cooper and Jennifer Lawrence take centre stage in Silver Linings Playbook, a feature which boasts some excellent performances and ideas but also suffers from a lack of focus, too many headache inducing confrontations and a predictable storyline. 

This isn't necessarily a bad thing depending on how one likes their romantic "dramadies", however there are only so many close ups of Bradley Cooper crying and shouting at Robert De Niro the average cinema-goer can take. 

Still, Silver Linings Playbook is an enjoyable movie which takes a look at the determination of the human spirit in times of doubt as well as how much new love can shape the future. Cooper plays Pat Solitano, a bipolar sufferer fresh out of a state institution he'd been banged up in for eight and a half months after almost killing a man having an affair with his wife. Moving back into his dysfunctional home with his father, a brilliantly compassionate Robert De Niro, and his mother, Jacki Weaver, Pat finds that rebuilding life isn't so easy when the world seems to consistently push him back down again. His social filter is, as he says "clogged," so even the simplest conversation can turn inappropriate against his intentions. 

Luckily for him, he is helped by an assortment of your average "cooky" characters, such as a well-meaning Indian psychiatrist, Chris Tucker's colourful Danny and a difficult but delightful Jennifer Lawrence as Tiffany, a recently widowed young woman with even poorer social skills than Pat himself. However, she gives him a way to get out of his rut and he soon finds himself attempting to overcome the obstacles associated with a new relationship.

At certain points, Silver Linings Playbook grates with its constantly audience-integrating elements; for example, the amount of times Pat says he is looking for a "silver lining", the overuse of Robert De Niro's supposedly endearing OCD and the apparent realism of everybody in the room yelling at each other at the same time. The film is a mess on occasion, losing its aim as we are confusingly juggled between Pat and Tiffany. 

Yet, Playbook has some balls and it isn't afraid to show 'em. Some scenes are shockingly played out, such as when Pat accidentally strikes his mother during one of his episodes and when his father repeatedly labels him a "good for nothing loser". Looking on the bright side though (one of the film's many life lessons), Cooper and Lawrence generate fantastic chemistry, making both of their characters surprisingly enjoyable to watch despite their many alienating problems. Their comedic moments are played with plenty of charm, but when they dip into their darker sides we see some true acting talent shine out, saving Playbook from being a witless, less emphatic affair.

Summary

Part dysfunctional family drama, part romantic comedy, Silver Linings Playbook is another point on the scoreboards of both Bradley Cooper and Jennifer Lawrence. Their superb performances give the movie its relatable edge, whilst able support comes from Robert De Niro and Chris Tucker. At times the film fails to entertain, particularly during sequences in which we are being forced to feel sympathy for characters whose problems are self inflicted, as well as those messy migraine makers involving rooms crowded full of people shouting at each other. Despite this, though, Silver Linings Playbook remains an evenly balanced, if predictable, mix of romance and comedy which should please both genders in equal measure. 

6/10 - Pretty Good

See it if you liked: One Day (2011), Adventureland (2009), Eternal Sunshine Of The Spotless Mind (2004)