'T2: TRAINSPOTTING' - REVIEW

Release Date: Friday the 27th of January (UK Release)

Directed By: Danny Boyle

Written By: John Hodge and Irvine Welsh (Original Material)

Produced By: Bernard Bellew, Danny Boyle, Christian Colson and Andrew Macdonald

Starring: Ewan McGregor, Robert Carlyle, Johnny Lee Miller and Ewen Bremner.

Distributed By: Tristar Pictures

“20 years has just flown by eh?” asks a rhetorical Spud with the ever present innocence that the remaining cast certainly lack. A statement which will vary very much depending on the audience who in turn will either relate entirely or in fact feel the opposite. A film which has gone on to sit at the very high end of cult classic status, Danny Boyle’s most iconic feature released in 1996 has been on the viewing list of many generations and still stands as one of that decades most seminal films. With that in mind, palms obtained an abundance of perspiration at the announcement of a sequel with the original cast set twenty years after the original. With Irvine Welsh’s sequel novel ‘Porno’ to be the groundwork for the follow up, speculation was rife with a shimmering and collective sense of hope.

After walking out on his three friends and a life of a heroin addict, Mark Renton is now a married man in Amsterdam with a new addiction, running. Returning to Edinburgh to track down his old friend Sick Boy (Lee Miller) and of course his old partner in crime Spud (Bremner). Attempting to settle old quarrels, Renton is soon given an opportunity to find meaning in his life with a business proposition from Sick Boy. In the background however is the ever imposing and terrifying Francis Begbie (Carlyle) recently released and out for vengeance. 

The instantaneous realisation from the opening sequence is that even after all this time, Boyle’s knack for finding the bond between image and sound is more prevalent than ever and is something which made the first instalment all the more captivating. Here beats and rhythms are crafted to find the tonal sweet spot beautifully, be that in a light hearted running sequence or a foreboding chase in in an underground car park. The mix of swift cuts and lavish slow motion again show that the spark of Boyle’s ingenious visual creativity burns bright as we are treated to a range of sequences reflecting the rundown areas of Scotland, with truly fantastical sequences as iconic as Renton’s engulfment into the carpet back in 96. 

Working with regular cinematographer Anthony Dod Mantle, Boyle creates a plethora of visual stimuli which tap into the heart of what T2 strives to be about, memory, regret and a desire to go back and do things differently, its here that the film finds it’s purpose and in some cases it’s primary audience, those who experienced the original at its release and were the same age. Its a film that provokes internal questions. What have you done with your life? Would you change what you did? Any regrets? Going against the grain of most sequels, Boyle chooses to utilise the 20 year gap as the core of the narrative, fuelling the themes of the simple passage of time as a sobering inevitability. With a questionable amount of flashbacks to the first instalment,these serve to contextualise the passage of time and unify the audience into the same characters but as part of an entirely different film to its predecessor.

It’s here the biggest punches are made emotionally as we see that whilst Renton has had a somewhat easier ride (Not without its drawbacks) Simon, Spud and Francis have all had it much rougher with Spud still hooked on the skag and seemingly in a never-ending circle of disappointment and isolation what with crippling mental issues and his relationship with old flame Gail (Shirley Henderson) and son on the rocks. From this introduction, this is where Spud almost takes primary focus throughout the story as we see his character grow from past loveable idiot to a driven and emotionally unstable junkie determined to kick the habit and make a fresh start. Simon, the once cocksure and charmer of the group has now been reduced to a blackmailing scheme with girlfriend Veronica (A likeable and engaging performance by Anjela Nedyalkova) and running a rundown pub. Begbie in an unsurprising turn of events is of course behind bars with nothing but revenge on his mind. 

With regards to performances, the love from all the old players bleeds through each scene as though 20 years have indeed flown by in the blink of an eye, both McGregor and Lee Miller slipping back into the roles which made their careers with effortless vigour, Sick boy’s penchant for moral elasticity ever present and guiltily enjoyable to watch, whilst Renton’s return is a much more sombre and almost wistful take on a man at something of an impasse in his life. The highlight however is as predicted, Carlyle’s menacing presence as Francis Begbie, his introductory scene a wonderfully comic take on a violent man being denied what he wants, freedom. With Carlyle walking the fine line between caricature and overt severity, each scene is it’s own shot in the arm for one of his iconic characters. Despite this, even he is not exempt from deeper emotional underpinning in the form of his wife and son who ground the once unstoppable Begbie as a father with important choices to make. 

As much a star of the film as its cast and style however, is the writing of John Hodge who has crafted a wonderfully fitting and enthralling path for these characters. With Welsh’s ‘Porno’ not given the full adaptation and instead taken from lightly, space is made to accommodate and make use of the abundance of themes and messages found in almost every scene, not to mention a slew of sharp dialogue, darkly poignant sequences and an edge of development for the main four. 

This leads to one of the unfortunate, though not devastating drawbacks of the film. Whilst the majority of the cast feel well fleshed out and investable, there’s a sense of disappointment in the representation of old faces Diane (Kelly MacDonald) and Gail with Diane only given one scene which whilst enjoyable to see, lacks any sense of chemistry there was in the original. Whilst Gail gains marginally more screen time, her role feels a touch like a missed opportunity. 

With the soundtrack being as iconic as the film itself, certain call backs are made within the song choices which work to tease the sense nostalgia without saturating the film entirely and whilst there are a few songs which serve to bring the story into the 21st century, there isn't a palpable sense of heart pounding fun and snapshot of the era which made for one of the best soundtracks of the 90’s. 

As a 20 year old, my views will of course not represent those of a forty something who saw it in their prime though that said, perhaps thats the beauty of Boyle’s latest in that the variety of feelings to be extracted from each viewer demonstrates the raw emotion both behind and in front of the camera and the universal themes it carries to it’s core. Its a film with heart, soul and a conscience, still maintaining the sense of uncertainty and apprehension humanity carries in its everyday life. 

If there was ever any trepidation before the release of this film, all has faded as Boyle has most certainly pulled it out of the bag with a film which serves to brush away the dust and lay bare the issues of age, betrayal, friendship, fear, hatred and love in a sequel which respects it’s past and is aware of what skepticism may be found and chooses to be about the wider concept of nostalgia, rather than a heartless follow up. Its a film which isn't trying to be as good as it’s original, making it all the more emotive and at times breathtaking. 

"You were an addict, so be addicted, just be addicted to something else" - Mark Renton

'MANCHESTER BY THE SEA' - REVIEW

Release Date: Friday the 13th of January (UK Release)

Directed By: Kenneth Lonergan

Written By: Kenneth Lonergan
Produced By Matt Damon, John Krasinski and Kimberly Steward

Starring: Casey Affleck, Lucas Hedges, Kyle Chandler, Michelle Williams and C.J Wilson

Distributed By: Roadside Attractions and Amazon Studios

It’s rare nowadays in the age of saturated superhero smackdowns, faded franchise fodder and hollow, hollywood horror to even think of a film actually making you feel something beyond a sharp intake of breathe when the speakers are turned up to eleven. With Kenneth Lonergan’s ‘Manchester By the Sea’, getting up out of the seat kicked me back into the real world and away from the intense two and a quarter hours I had just experienced. 

Set in the titular town, the story follows Lee Chandler (Affleck) as he is made to move away from his menial janitorial work in Boston to look after his nephew Patrick (Hedges) after his brother Joe (Chandler) passes away. At first uneasy at being back in his hometown, Lee must let go of his past demons in order to become not only a better guardian and uncle, but also a better man for it. 

As is common around this time of year, a lot of the films considered for awards contention carry with them hefty themes of guilt, tragedy and the cost of a conscience. Whilst Lonergan’s third feature is no exception, what sets it aside from the usual ‘Oscar Bait’ its its sense of blistering realness contained within every scene that really makes this piece fly  well above the likes of a feature starring an almost forgotten actor plying for a renaissance.  

At the heart of this study of isolation and repression is Casey Affleck’s Lee. Whilst an actor who has never put in a poor performance, it is clear that here the distinct subtlety and physical ticks performed make for a truly powerhouse performance which stands as something of a masterclass in physical acting and will surely be a performance aspiring actors will wish to study in the future. When we are introduced to Lee, his repetitively demeaning life as a janitor is made abundantly clear as well as his lack of communication to the numerous tenants, a man reduced to picking fights in bars, usually never winning and almost just existing. Come the second and third act however, Affleck’s subtlety’s are perfectly understood and empathised with completely as his deeply troubled past is highlighted and plays out in a serious of juxtaposing flashbacks working to great effect. As the timeline progresses both back and forth where necessary, Affleck’s Lee displays great range in almost all areas, displaying roguish charm, unimaginable lament and eventual sobering heartbreak. Destined for Best Actor nominations across the board (if not wins), Affleck’s incredibly focused and almost pity extracting performance of a broken man striving to find something in the place harbouring so much heartache.

Whilst this is very much Affleck’s film through and through, that is not to say the supporting performances are lacklustre, very much the opposite if anything forming a ring of the strongest casts since the likes of Todd McCarthy’s ‘Spotlight’. Whilst the marketing for the film may present this as a love story between Lee and his ex wife Randi (Williams), their dynamic is in retrospect, smattered in-between the primary narrative but still wonderfully realised with palpable chemistry supported by an equally strong performance by Michele Williams as the sometimes foul mouthed, but at times incredibly fragile soul. 

Praise is also due to Lucas Hedges’ Patrick, the reasoning for Lee’s necessary move who’s portrayal of a child who has lost their way making for numerous scenes which will find you laughing at the familiarity in one moment, to tear jerking vulnerability in the next. The dynamic made between Affleck and Hedges allows for sparkling moments of hilarity as the bond between Nephew and Uncle is laid in its various forms, indeed drawing Lee out of his previously sealed shell and extracting a sense of humanity to the damaged character. Also weaved throughout this brutally real narrative, are the underpinnings of dark comedy played at numerous points at unexpected moments, strengthening the sense of humanity. One particular moment being the reveal of a family learning of a medical trauma, in which real drama is highlighted with deadpan hilarity.

Adding to this is Jody Lee Lipes' stunning cinematography, in one sequence capturing the crisp chill of snowy Boston, the next the fresh spray of the North Atlantic. The varying shades of icy blue with gracefully natural shots of nature and the New England streets giving a real sense of the working class lifestyle and close knit communities synonymous with fishing villages and towns. 

Whilst the performances and visuals make for truly transfixing watching, there are moments of jarring drawbacks which are merely artistic choices yet still result in withdrawal from fully immersing the viewer in the scenes in particular. These choices are highlighted in musical cues and the length at which they are used in a particularly essential scene with Affleck at the helm. The runtime of the utilised score serves in unintentionally toning down Affleck’s performance in a scene in which pure silence may have served it better.

Minor gripe aside, ‘Manchester By the Sea’ serves as a new benchmark in physical acting as well as proving Casey Affleck to be in many ways more of a character actor than his bigger Batman brother who’s last three films have seen menial rewards in terms of acting. Beautifully shot, performed, written and scored, Lonergan has delivered a film which displays an awards worthy actor with the necessary omission of an angsty, shouty performance and an incredibly true and realistic interpretation of bereavement and isolation.

“If you’re going to freak out every time you see a frozen chicken, I think we should go to hospital.” - Lee

'LA LA LAND' - REVIEW

Release Date: Thursday the 12th of January (UK Release)

Directed By: Damien Chazelle

Written By: Damien Chazelle 

Produced By: Fred Berger, Gary Gilbert and Jordan Horowitz

Starring: Ryan Gosling and Emma Stone 

Distributed By: Summit Entertainment

After wringing the hell out of his audience with his rhythmically intoxicating 2014 debut feature 'Whiplash', Damien Chazelle returns to bring us another tale of dreams and desires this time against the Los Angeles skyline. At only 31, Chazelle has already received multiple award nominations including the coveted Best Director Academy Award, already giving something of a benchmark for himself so early on. With ‘La La Land’ being released merely two years after his sharply paced and performed ‘Whiplash’, does this young gun with a knack for sharp storytelling deliver?

Set in the idyllic hills of Los Angeles, ‘La La Land’ see’s aspiring actress Mia (Stone) seemingly stuck in a rut with unrewarding auditions, meet piano playing Jazz enthusiast Sebastian (Gosling) who’s also down on his luck, moving from job to job with dreams of one day opening his own Jazz club. From here, inevitable love blossoms as the two’s passions and dreams take them on an emotional rollercoaster fraught with heartache and joy. 

With the Musical genre in something of a latent state in todays Hollywood, Chazelle’s third feature is very much so a throwback to the golden age of Hollywood musical thematically modernised for the 21st century. Whilst there are an abundance of high energy dance numbers paired with an equally infectious soundtrack, there isn’t a sense of forced introduction and instead allows the songs to flow naturally, making a nice change from the harping, out of the blue numbers of old. That said however, the spirit of the 50’s musical is very much alive throughout the picture with some of the most audaciously choreographed dance sequences put on screen. From the opening scene, an incredible feat of long take cinematography and exquisite choreography to the very first title on screen “FILMED IN CINEMASCOPE”, the sense of nostalgia is delightfully rife leading to a felling of being in very safe and capable hands as Chazelle has previously demonstrated. The notable references to 1950’s cinema in general is also a welcome delight with references to Hollywood classics such as ‘Casablanca’ and the ever notorious ‘Rebel Without a Cause’, the blending of retro and contemporary is blurred to perfection, making for a final film which is like things you may have seen before, but also very much a film you are unlikely to see again. 

What sets the film aside from its 1950’s counterparts hover is the depth within the narrative as we follow these two dreamers through thick and thin, with their relationship at the forefront of the lens, both Stone and Gosling are undeniably glorious and believable interpretations of young creatives with a passion and drive, the Hollywood dream has a tendency to scrape away from the human conscious. Indeed, the saturation of modern Hollywood is made present at various intervals in a particularly astounding scene involving one of Mia’s numerous auditions. Whilst the first act comes dangerously close to painting a picture of an almost unbearably sweet and saccharine relationship, the second and third reveal the hardships and costs of following your dreams, to an almost bittersweet degree yet fantastically realised. 

As with ‘Whiplash’, the crux of the emotion lay within the form of a two hander between Miles Teller’s driven young drummer Andrew Neiman and his militaristic tutor Fletcher portrayed by J.K Simmons. Here the formula is very much the same, with Gosling and Stone very much leading the film forward with their believable and at times animated performances. Gosling again following his laugh out loud performance in Shane Black’s ‘The Nice Guys’, brings forth a beautiful blend of heartfelt drama and comedic wit in every scene. Absent is any sense of 50’s machismo and here we are given an individual who’s passion for a dying genre is enough to make anyone who feels invested in a hopeless endeavour, invigorated and energised. A man initially sceptical to the idea of a relationship, eventually coaxed into romance by Emma Stone’s wonderfully nuanced portrayal of a girl who simply dares to dream of a life many dare not to. Her usual wit and physical acting out on fine form, along with drawing both laughs and tears in equal turn, it is clear that Stone brings in one of the most heartwarming and inspiring performances of the year.

With the soundtrack being as much a character of the film as it’s two leads, natural skepticism may prepare yourself for an abundance of celebratory style tunes about success in the Hollywood Hills. Such lies the sheer relief when discovering a deeply ranged and moving collection of songs which perfectly encapsulate the sensations of whirlwind romance and the willpower of dreamers. Enhanced with real life sets, superb dance routines performed by both Gosling and Stone, there is also an underlining of the sheer sense of wonder surrounding Hollywood itself, leading to a wonderfully created moment of tranquil love at Griffith Observatory. Composer Justin Hurwitz crafts numerous classics bringing to mind the likes of ‘Singin’ in The Rain’ destined to become an iconic soundtrack in years to come.

In a world which see’s the world crumbling in front of our eyes week by week, it’s wholeheartedly refreshing to find such a gem which will make you smile, laugh and perhaps even cry at a celebration of those who dare to dream in an ever competitive and incredibly cynical world. Those with aspirations to enter the creative industry in whatever form should leave the screening feeling on the highest of highs and a sense of possibility. With Chazelle seemingly showing no signs of slowing down, its clear he has more than established himself as the new blood Hollywood is in short supply of of late and with this only his third feature, it’s somewhat obvious we can expect exciting and groundbreaking films to follow. 

"People love what other people are passionate about" - Mia

'SILENCE' - REVIEW

Release Date: Sunday the 1st of January (UK Release)

Directed By: Martin Scorsese

Written By: Jay Cocks and Martin Scorsese

Produced By: Martin Scorsese, Barbara De Fina and Irvin Winkler

Starring: Andrew Garfield, Adam Driver, Tadanobu Asano, Yosuke Kubozuka, Issey Ogata and Liam Neeson.

Distributed By: Paramount Pictures

A 30 year struggle of a man fighting to find meaning in his ultimate passion, and that's just the making of Scorsese's epic. A film which adds a real sense of patience to the term passion Project, 'Silence', based on Shūsaku Endō's novel of the same name tells the story of two Seventeenth Century Jesuit Priests Father Rodrigues (Garfield) and Father Garrpe (Driver) who head out to Japan in search of  their mentor Father Ferreira (Neeson). Turmoil and torture ensue as they face not only being the representatives of an outlawed faith in a somewhat hostile environment, but also their own belief and it's repercussions.

Despite being a filmmaker who always almost effortlessly engrosses them self in every picture, not since his 1973 feature 'Mean Streets has Scorsese's sheer love for a film bled through the screen. Dealing with the themes of faith and compassion, themes very much at the heart of his filmmaking what with initial desires to make a career as a Catholic Priest, Scorsese manages to give the subject matter severe heft and weight, a feat not to be sniffed at. Casual fans may claim this to be a large departure from the usual visual stimuli conjured up by one of the masters, closer inspection however would reward said fans with the likes of 'The Last Temptation of Christ' and 'Kundun', both examples of Scorsese's previous efforts which have faith at the forefront. 

With a premise which may pass as an 'Apocalypse Now' esque narrative, utilising a much steadier pace equating in a lengthy runtime, The Master manages to craft a severe sense of threat with both father's continually under threat from severely long drawn out torture should they be discovered by the Inquisitors, relentless representatives of Japan’s anti Christianity law.

Maintaining a somewhat abstract and highly sensitive subject matter, with regards to character there is risk of tarring one particular faith as the antagonistic course. The beauty of Silence lies within it’s unbiased perception of faith in its many forms. With Garrpe and Rodrigues, both physical and metaphorical figureheads of the Christian faith to the small villages of Japan, the conflict arrises with the introduction of the Inquisitors. Their very introduction, notably the opening image through a thick mist to reveal the removed heads of outlawed Christians, giving an instant sense of trepidation. The development of the proposed antagonists really kicks off during the second act with the introduction of Issei Ogata’s chief inquisitor, an old Samurai who as we go on reveals he has no true hatred for Christianity but is merely following the rules set in place for the good of his country. A further dimension is added with Tadanobu Asano’s interpreter who with every dialogue heavy scene with Rodrigues, becomes the devil on his shoulder, chipping away at his faith and playing on the sheer amount of suffering being caused

Scorsese goes further to enhance the inner turmoil of the father’s minds as we see sheer faith power the will of the numerous villagers to willingly hide the priests and in various, horrifying sequences, sacrifice themselves to the ruthless torture and excruciating death. Whilst the runtime may at first seem something of a mountain at 180 minutes, any anxiety is ebbed away as whilst the third act may overstay it’s welcome to a point, the investment in the characters is where Scorsese’s strength really shines. The primary perspective being that of Father Rodrigues, we follow him as his faith is tested at every turn, despite the unquestionable faith displayed at the beginning of his mission, through a deep interior journey, his unflinching faith is uprooted piece by piece. 

In terms of performance, there is not a weak character to be found with the previously mentioned Ogata and Asano fantastically understated and bringing a deep sense of humanity to the force attempting to stamp out the Christian faith. Both Driver and Neeson, much more in the support slot this time around again give incredibly strong performances, Driver’s Garrpe coming forth as a relentless if subtle force of a faith driven man, his final scene showing a method actor who is still on the up and up. Garfield however is in a league of his own and displaying a performance destined for awards chatter as he exudes intrigue and intense sorrow.

Alongside the wealth of strong performances and strong writing, this picture also see’s Scorsese reuniting with ‘The Wolf of Wall Street’ DP Rodrigo Pierto, resulting in some truly astonishing visuals from deep, mist saturated forests, to wide and blisteringly crisp beaches. The palette beautifully varied to encompass a range of natural aspects, displaying Scorsese's love and homage of Kurosawa, the symbolism is rife within every frame to envelop us deeper into the heart of Japanese culture. Shot entirely on 35 millimetre film (his first since 2010’s ‘Shutter Island’) Pierto paints a wonderfully tranquil painting of a Seventeenth Century Japan which is as much a character  of the narrative as the stellar cast.

A filmmaker still at the top of his game and the reason I chose to pursue a career in film, Scorsese has once again proven that even at 74 he can still bring something fresh and surprising to his already astounding back catalogue. Whilst it may not be his most high octane thrill ride of a film, here he displays his highest passion through his second highest passion, film. Having always made films on his own terms, his way with little to no studio interference, Scorsese’s integrity as well as his film is something very inspiring and needed as 2017 opens on what will be hopefully a very strong year, with ‘Silence’ leading the way with hopeful and much deserved accolades on the horizon. 

"The price for your glory is their suffering" - Inoue 

'WAR DOGS' - REVIEW

Release Date: Friday the 26th of August (UK Release)

Directed By: Todd Phillips

Written By: Stephen Chin, Todd Phillips and Jason Smilovic

Produced By: Mark Gordon, Todd Phillips and Bradley Cooper

Starring: Jonah Hill, Miles Teller, Ana De Armas and Bradley Cooper
Distributed By: Warner Brothers

The representation of Capitalist America has of recent years been a long standing kick off point for the majority of American releases in the past few years.The pairing of this with vibrant and down on their luck characters is something of a thematic heart in director Todd Phillips' filmography. With comic hits such as 'Old School' and 'The Hangover' under his belt, Phillips' latest is a biopic focusing on the exploits of two American's who clocked on to making a fortune through arms dealing to The Pentagon. 

The year is 2005 and massage therapist David Packouz (Teller) is feeling short changed with his life. With a baby on the way, money is at the forefront of his mind but with it in short supply, a career change is essential. That career change arrives in the shape of Efraim Diveroli (Hill) a slick, heavily tanned individual with a penchant for back stabbing and emitting a high pitched giggle at regular intervals. With old friends reunited, David is introduced to the world of arms dealing in which the door is open for hundreds of thousands of dollars to be hoovered up in small arms deals, not the big ones you understand but the smaller deals known as 'crumbs'. With the invasion of Iraq in the background, war is an incredibly profitable business and as the business builds, so do the risks.

From his introduction during the first act, its clear that the star of the show is Jonah Hill’s Diveroli. Admittedly a good ten years senior than the real life convict (as is Teller), Hill manages to emulate a brash yet forward thinking businessman who isn't a million miles away from his 2013 character Donnie Azoff, trading the phosphorescent white teeth for a bulkier frame and a heavy tan. Teller’s more cautious and at times anxious Packouz is very much the focal point of the story as his world is turned upside down and we jump from an incredibly mundane life working as a masseuse, to the dusty, bullet riddled roads of Jordan. At his side at various intervals is his girlfriend Iz (Armas), a severely lacking part which serves as no more than as someone to give David someone to lie to and heighten his sense of guilt by bearing him a child (The ever repeated “Criminal Father” angle played to very little effect here).

With Phillips’ known penchant for comedy expected when watching this, it comes as a jarring surprise that tonally, this film seems incredible indecisive and instead moulds into a combination of both comedy and drama, forming the rarely successful ‘Dramedy’. Unfortunately there is no exception here as the mishmash of tone makes for a confusing watch. Whereas the likes of ‘The Wolf of Wall Street’ managed to balance both its dramatic set pieces with ever present underpinnings of comedy, ‘War Dogs’ jumps scene to scene with each one varying in tone, losing any immersion and alignment with the characters. That said, the attempts at comedy fall somewhat flat with the majority of mild chuckles, the result of low brow slapstick.

Thats not to say there aren't any redeemable elements about the picture, with slick and swooping camera angles along with snappy montage sequences, there’s a distinct heir of Scorsese esque mirroring. Indeed, everything down to the intermittent freeze frames and over head narration courtesy of Packouz carries a distinct aroma of the aforementioned ‘Wolf of Wall Street’ including the tale of an everyday man corrupted by greed. This also highlights one of the big issues of the film as the two leads cross borders breaching varying laws, there are no reasons to vouch for these two scumbags making this a film with no redeeming qualities for its characters. This intensifies somewhat further with the brief appearance of Bradley Cooper playing a shady and all too sinister arms dealer who’s appearance lacks any depth with the exception of someone who can pull off a pair of tinted sunglasses indoors.

Given its lack of comedy and in particular relation to its darkly serious subject matter, the film feels somewhat like a missed opportunity for a great scathing piece about the indictment of two young graduates with money on their mind and no knowledge of the severe corruption which is in abundance during war time, not to mention one of the most scandalous wars in recent times. Whilst Teller and Hill give strong performances, the visual flair fails to make up for a lacklustre script which being based on a singular Rolling Stone article penned by Guy Lawson, isn't too surprising. 

"Everyone's fighting over the same pie and ignoring the crumbs. I live off the crumbs" - Efraim Diveroli

'SAUSAGE PARTY' - REVIEW

Release Date: Friday the 12th of August (UK Release)

Directed By: Greg Tiernan and Conrad Vernon

Written By: Kyle Hunter, Ariel Shaffir, Evan Goldberg and Seth Rogen

Produced By: Megan Ellison, James Weaver, Seth Rogen and Conrad Vernon

Starring: Seth Rogen, Jonah Hill, Kristen Wiig,  Michael Cera, Bill Hader, Paul Rudd, Salma Hayek, Nick Kroll, Edward Norton and David Krumholtz

Distributed By: Columbia Pictures

Seth Rogen is a writer/ actor who has been on the scene for quite a while now. Renound for his inseparable penchant for marijuana being placed in almost every film he works on, he stands as one of the few comic actors still waving the flag for the stoner comedy genre which were it not for him would be left back in the noughties with the likes of 'Harold and Kumar' along with the groundbreaking 'Cheech and Chong' way back in 1978. Along with his evident love of the left handed cigarette, it's his work as a writer which has lead to some questionable results. Indeed whilst he first made the leap to feature film writing with 2007's quippy and forever quotable 'Superbad', in more recent years the likes of 'The Interview' gained more headline coverage due to its controversy at the possibility of almost starting a war with North Korea as opposed to its comic merit. Moving into the realm of adult animation, Rogen's latest work looks set to shake up the expectations of an animated film for a few years to come.

Taking place in the fictional supermarket of Shopwells, its the eve of The Fourth of July, one of the busiest days for groceries who all dream of being chosen to venture to the great beyond (being bought). At the heart of this excitement is Frank (Rogen), a gravelly voiced hot dog who is packaged with his two buddies Carl (Jonah Hill) and Barry (Michael Cera) and yearns to travel with his beloved bun Brenda (Kristen Wiig). Things quickly turn sour however as an accidentally purchased jar of Honey Mustard returns with warnings that all is not peachy beyond those automatic doors. After finally being chosen, an accidental trolley bump causes the group to be split with Brenda and Frank free of their packaging before setting on a journey to discover a way to end the carnage that awaits the entire store.

Beginning purely from Rogen's desire to make a film called 'Sausage Party', when announced the title alone was typically Rogenesque (Its a thing) and brought forth a plethora of wacky and bizarre plot lines. The final result (Despite not actually containing a sausage, Frank is a Hot Dog. There is a difference) is very much at the top end of the wacky and bizarre spectrum. Admittedly the premise of food items having a life of their own isn't particularly brain imploding in terms of set up, the real talent comes from taking the common Pixar formula and adding to it a dash of 'Saving Private Ryan' level vegetable violence, a heavy sprinkling of sexual innuendo and finally an entire pepper pot of relentless profanity to which there is no limit (watching a bagel drop the C bomb really is a moment you don't forget in a hurry).

Regarded for creating characters with an evident stereotype in mind, be it bound in American culture with the gym addled Jock or the socially anxious but plucky outsider, Rogen and company pull out all the stops making sure there is no religious culture or ethnic group left unscathed, which makes for some truly toe curling yet hilarious incarnations. From a Middle Eastern Flatbread yearning for his 42 bottles of virgin Olive oil to a foul mouthed Irish potato, there is a whole plethora of racial stereotypes which serve a much greater purpose than to simply degrade and humiliate the varying cultures. The highlight of these for me however, is Edward Norton’s almost unrecognisable turn as the irate and sock suspender clad Jewish bagel Sammy, who’s well trodden yet unforgettably funny Woody Allen caricature never fails to bring a grin to the face. It’s not just the food based characters which draw laughs, indeed there are varied groceries which add further X’s to this anarchistic animation with the likes of Nick Kroll providing a turn as the antagonistic female hygiene product who is out to get “Juiced” and a roll of toilet paper who’s motivations for getting his own back on the humans are well and truly deserved. 

Its isn't purely in the sharp and foul mouthed writing where this piece flies. Co Directors Greg Tiernan, who's previous experience include helming almost every Thomas the Tank Engine feature to date (Perfect for this feature) and Conrd Vernon (Shrek 2 and Madagascar 3 to name a few) leave no pixel un rendered leaving a sleek and stylish look to the foodie fiends. The animation style varies as it flits from 2 to 3D at various intervals. Used as a time device, the different styles seem very much in the same vein as the House of Mouse, adding further to the satire. Indeed from the tiny shoes and white gloved hands, its clear there is a desire to riff on both the modern and classic Disney pictures of old, making the film all the more intelligent. Post release there has however been some backlash with regards to the animation department with claims that a hefty chunk of the artists were not even credited, unfortunately marring the work of some true talent. 

Whilst the premise may seem reminiscent of a cheap knock off of a throwaway idea of John Lasseter, there is a much deeper and intelligent sociopolitical construct at work from Rogen, and Evan Goldberg. Indeed at first glance the racial stereotypes maybe on a singular level come across as low brow, crude interpretations. Deeper analysis however displays a message of unity amongst all religion and that a particular upbringing cannot define an individual. It seems far more fitting given the recent political carnage playing out across both the UK and US with the latter seemingly at the forefront of the films core theme. It appears it takes more for an individual to change opinions than shout obscenities, far from it. Involved discussion has the power to change individuals for the better, something which certainly couldn't have been considered upon the title announcement. 

The references don't stop at Disney charm. There’s a fine yet noticeable element of horror as we see innocent fruit and vegetables being savagely torn apart by the ‘monstrous’ humans. Elements of body horror are also apparent whilst not on the Cronenbergian level of ‘The Fly’, Kroll’s Douche character out for Franks blood (Or more accurately juice) steadily upgrades to a new maniacal hygiene product with every scene he enters. A particularly chilling set piece takes place on a vacant street corner all from the point of view of a hot dog which is one of several set pieces which will stick with you after the credits roll.

With a film which covers as many topics and themes as this does, its natural that not all of them will land gracefully. The overt swearing whilst humorous the first few times, quickly becomes repetitive and over time becomes unnoticeable which begs the question, what purpose is it serving? The other niggle arrives with a common trope amongst almost any film Seth Rogen touches which is of course the representation of drug culture. A varied medicine box of narcotics are plastered throughout the narrative with bath salts holding a fairly solid plot point come the third act, whilst earlier moments bring forth the iconography of 70’s dude culture which in this picture serves no real purpose.

All aspects considered however, Rogen’s step into animation has resulted in a sure fire hit. With moments of toe curling and foolish guffawing humour in almost every scene, it stands as one of the more open minded comedies of the year and of the last few. With important and relevant themes bubbling below it’s outrageous surface, rife with comic global stereotyping along with wonderfully fluid and tongue in cheek animation. As someone with a distaste for Rogen’s acting roles (not to mention the laugh), it’s clear his real strength lies very much behind the camera in the writers room. With a final ten  minutes after which your jaw will have to be wrenched back into place, ‘Sausage Party’ is a polite wave followed by the ‘V’ sign to the likes of ‘Toy Story’ and ‘Finding Nemo’ and depending on your outlook should leave you hungry for more.

 "Stay away from my sausage you SKANK!" - Brenda

'SUICIDE SQUAD' REVIEW

Release Date: Friday the 5th of August (UK Release)
Directed By: David Ayer
Written By: David Ayer
Produced By: Zach Snyder, Deborah Snyder, Geoff Johns, Steven Mnuchin, Bruce Franklin and Andy Horwitz
Starring: Margot Robbie, Will Smith, Joel Kinnaman, Viola Davis, Cara Delevinge, Jai Courtney, Jay Hernandez and Jared Leto
Distributed By: Warner Brothers

2016 has already seen a real range of both highs and lows for the ever present Comic Book Film with the likes of Marvel’s ‘Deadpool’ and ‘Captain America: Civil War’ both receiving great praise from critics and fans alike. This year has also brought along its share of disappointments with the previously reviewed ‘X-Men: Apocalypse’ failing to bring forth the fun and enthralment of the franchise’s previous two instalments. The most notable failure however has been Zack Snyder’s (Deep shudder) attempt at kickstarting The DC Cinematic Universe  (DCCU?) with the heavily marketed ‘Batman Vs Superman: Dawn of Justice’ which was met with great disdain in equal parts from fans and Critics. 

There were those who found the relentless grit, gloom and grime a worthy introduction to building an entire cinematic world and the poor story telling a worthy adversary to the seemingly unstoppable machine of Marvel Studios. Now; six months later a second DC movie moves into view hoping to regain some faith as well as expand the previously marred universe, in order to bring about another cinematic giant. The question is, does the David Ayer helmed ‘Suicide Squad’ deliver?

Taking place a few months after ‘BVS’,  with America in fallout from the death of Superman, ‘Suicide Squad’ begins with Government Official Amanda Waller (Davis) believing that Superman may have much deadlier and malicious alias’. With this in mind she proposes a team to combat this unpredictable threat, in the form of the worlds most deadly criminals whom are under lock and key. With the rise of a possible world endangering threat, Waller’s team is swiftly compiled together lead by the drawling Southern Rick Flagg (Kinneman). With the team consisting of a wide array of ‘The Worst of The Worst’ (Oh how that phrase will come back to bite them later), the squad set out to achieve their mission, encountering more than they bargained for along the way. 

Unlike many critics have done upon its release, I feel I must point out the merits within this film which are apparent and out of respect to David Ayer must be acknowledged. Beginning at the heart of the sense of John Ostrander’s creation which is of course the characters. One of the icons throughout the marketing process of this film was of course Harley Quinn who had yet to receive the silver screen treatment. Stepping up to the plate is Margot Robbie who; once pictured in costume seemed a worthy representative of the high pitched, mallet wielding partner to the clown prince of crime. Fortunately for the film, Robbie delivers Quinn’s iconic quips and characteristics to great success and remains one of the few highlights of the film. 

Another appraisal is given to Will Smith’s incarnation of marksman assassin Deadshot who appears to be enjoying himself greatly as he wisecracks, aims true and butts heads consistently with Kinneman’s Flagg creating a conflicting if well worn ‘Alpha Male’ back and forth. Unfortunately the remaining characters fail to be deemed enthralling with some bearing at all watchable though not from a lack of trying. Courtney’s turn of Aussie bank robber Captain Boomerang (For whom else would you rely upon in times of apocalypse?) is standard enough though painfully underwritten, leaving the presumed joker of the pack (genuinely no pun intended there) with very few wisecracks and  a ‘superpower’ as compelling as a two minute conversation with Jesse Eisenberg’s Lex Luthor. 

The lack of depth with two thirds of the cast is a fault which, once recognised, affects the progression of the narrative up until the last shot. Trying her best to work with what she has however is Viola Davis’ Waller who from the source material is the true villain in this horde of villains, yet despite obtaining an Academy nominated powerhouse, ‘Suicide Squad’ fails to give the puppeteer enough to chew besides a steak dinner and a brief moment of scenery in the third act. The same fate is given to both Killer Croc (An incredibly made up Adewale Akinnuoye-Agbaje) and Karen Fukuhara’s Katana whom, aside from a brief moment in a scene each are giving nothing to do but either sit there or smash and dice villains in perhaps one or two frames. Copping for the least amount of anything, primarily backstory is Adam Beach’s Slipknot who again possess a skill which would perhaps be more beneficial to an episode of ‘Bear Grylls: Mission Survive’ (The man can climb well, oooft, take that Wonder Woman). 

The final three character’s who certainly receive a backstory, though severely lack any intrigue are Kinneman’s Flagg, Jay Hernandez’s Diablo and Cara Delevingne’s Enchantress/ June Moon. Hernandez is given a somewhat inefficiently tragic backstory which leads into a redemptive arc with almost no emotional tie whatsoever, including an obscene amount of cliche’d line after line of dialogue leading to a true feeling of being underwhelmed by a character who had the promise of being the most meta human and therefore threatening in the entire squad. Whatever lack of interest is brought about from Diablo’s arc, it is still more appealing in comparison to that felt by the ‘romance element’ (deep sigh) crowbarred in between Flagg and Moon. Already lacking any chemistry whatsoever (both actors are given somewhat mundane characterisations, in particular Delevingne’s Enchantress), Ayer chooses to simply spoon feed this ongoing relationship to the viewer through Davis’ character in a few sharp sentences, yet again leading to an underwhelming payoff for this arc along with not caring in the slightest for these two characters throughout all acts of the film. 

With our protagonists quickly becoming a mixed bag in both interesting characters and well rounded performances, its time to look at those worse, or at least implied to be. The initial premise of the mission the squad are tasked to involves retrieving a high value target, this very swiftly descends into an incredibly formulaic and third rate apocalypse style “Why don’t we throw as much CG at the screen as possible?”. At the centre of this is Enchantress who’s motives whilst never truly delved into, again suffer from being underwritten, leading to a severe lack of interest and engagement from the viewer. 

When looking at the villains as a point of analysis, it becomes clear that post ‘BvS’, studio interference lead to a crackdown on the violence and obscenity allowed in this film which one can understand but given the title alone implying something a little more daring and with DC’s history of moulding incredibly dark themes and violence, there is a sense that for a true tone of John Ostrander’s characters, this film should really be pushing the boundaries of its 15 certificate (PG - 13 in the States). Indeed, with promises made by ayer that this would be an ‘edgy’ film with an almost ‘punk rock attitude’, the muddled tone proves to be less Stiff Little Fingers and a more polished All Time Low (A thought Im sure we can all agree is as far from punk rock as is possible). 

The ‘punk’ vibe is very much hit upon at various intervals throughout this film. From the retina burning neon at every opportunity to blisteringly on the nose musical cues (The first forty minutes of the film cramming in as many best of album hits with no real reasoning behind them) which hit wave after wave before becoming obsolete at the halfway mark. So far from the perfect pairings in the trailers.

One of the elements of this film which got fan boy and girl alike excited wasn't just the first cinematic incarnation of Harley Quinn, but of her lover. Yet another incarnation of The Clown Prince of Crime was on the cards, teased at various intervals during marketing and with a recently Oscar accoladed Jared Leto stepping into the iconic role. The result of this is underwhelming at best. Lightyears away from the late Heath Ledger’s grizzled rip roaring performance, Leto opts for a more streetwise, crime boss Harlequin of Hate. That is when we see him, barely meriting a cameo, Leto pops in at various intervals (mainly a few of many flashbacks) leaving a full decision on The Joker yet to be fully made, (A shame considering his vigorous preparation for the role) though its worth noting at this point, it could be the worst yet. 

Whilst the antichrist of cinema Zack Snyder is just producing this time around (say for a brief directing stint in a scene containing a world expanding cameo), this project was in the hands of David Ayer who would seem a perfect choice to direct a dark yet entertaining picture with films such as ‘Training Day’, ‘End of Watch’ and ‘Fury’ under his belt. With this in mind it becomes difficult to find the Ayer tropes throughout the narrative which is a shame and can only be put down to studio interference. That said the element of comic book splash pages lead to some fantastical shots which hint at a very realised and visually appealing film here. The problem however arrives with the lack of these shot types and instead become filled with shaky, oddly angled action set pieces with buckets of rain and gloom thrown in. 

One notable aspect about any film is that good characters can make up for a lack in story. This is true of Suicide Squad as previously mentioned Robbie and Smith squeeze the most from their characters to make for some enjoyable moments. What characters cannot do however is make up for poor story telling and editing. With an opening pace which seems so sure of itself it needs two introductions for various characters, ‘SS’ jumps from flashback to present day with little to no set up as well as jumping from scene to scene with the most curious of cuts.  The stitches are clear as to wear the reshoots were spliced in and as for a ‘BvS’ style extended cut non existent, this is not about to change. Further fuel to the fire of disappointment is the entire third act in which character motivations set up in the first two acts seem to go out of the window in favour of an even more formulaic denoument. For a film in which it's core and veritable success depends on the engagement and understanding of its characters, this is yet another issue which begs the question, how will the follow up address these issues?

As 2016 closes on the DC Cinematic Universe, the hype at the start of the year has certainly scattered to the winds. With Wonder Woman set to make her debut in March, this will truly be the make or break for the quality of the franchise we can expect to play out over the coming years. Its unfortunate however that a first outing for some of DC’s most iconic villains fail to be the antihero team of the summer (You'll find no Guardians of the Galaxy style fun here) and instead swap the Dirty Dozen level of charm and fun for a gloomy grouping of bad writing, frustratingly underdeveloped characters and the stale stench of studio panic. 

"I don't know what they told you, but I'm a hitman, not a fireman, I don't save people!" - Floyd Lawton (Deadshot)