Oli_palmer23 Reviews

Temps (2016)

"TEMPS is simply trying to have too much of everything that is ends up not really having much of anything"

[4/10 · 10 March 2018]

The rom-com has become a whirlpool for clichés over the years. Boy and girl meet, they hit it off, they become close until an event causes friction between them, they eventually realise what they had and reconcile as the film fades into an up-tempo pop song to play out over the closing credits. Sound familiar? Just on occasion however, the sub-genre throws a curve ball into the mix ensuring a crucial part of the formula is turned upside-down creating a domino effect for the rest of the story to follow. TEMPS tries to do this, and should be commended for it. However, in the end TEMPS offers very little to ensure itself a status as anything that will linger in the memory

Jefferson (Rosenmeyer) and Steph (Shaw) meet while working as temps. They quickly establish a romance which, once the honeymoon period is over, leads the two of them to revaluate their life choices and priorities.

Billed as a romantic comedy, TEMPS goes easy on the comedy, instead opting to focus on the different stages of a blossoming romance. From the initial honeymoon period right up until the inevitable Facebook relationship request which of course will ensure panic is had by the one who has difficulty "putting a label on things". In this case that honour falls to Jefferson (Rosenmeyer). The character is very difficult to like or at times even take seriously as a potential love interest of the ambitious and forward-thinking Steph (Shaw). A rather desperate side plot involving Jefferson's friction-riddled relationship with his father (played by Chris Bauer) fails as an attempt to get us onside and just comes off as clumsy.

In contrast, Lindsey Shaw fares a lot better as Steph. She is convincing as a young woman at a crossroads in her life and she's also quite likable in the role, commendable considering the shortcomings of the uneven script she has to work with. In the key supporting role of male lead's humorous best friend (another rom-com cliché), Reid Ewing does what he can with a confusingly written character, coming off as part-Napoleon Dynamite and part-Spike; Rhys Ifans' roommate to Hugh Grant in NOTTING HILL. He might not want to put this one at the top of his resume.

TEMPS is simply trying to have too much of everything that is ends up not really having much of anything. As such, the majority of the run time is spent being unsure about whether to try and look for the humour in the situation or revel in the sadness. This rather unfocused driving force is largely prevalent throughout.

TEMPS does at least attempt to offer something a little different. Genre convention dictates that everything will be alright in the end and it may sound somewhat superficial to state that sometimes an unhappy ending can be the more satisfying one. TEMPS at least dares to tread in these waters and a breakaway from the formula is always a welcome one when more often it's easier to play it safe. Unfortunately in this instance, by the time we've got to that point the journey has not been worth the destination.

Kill Your Friends (2015)

"The issues for KILL YOUR FRIENDS stem from a very unfocused script that never seems to have a chief goal to aim for"

[5/10 · 10 March 2018]

"Get fucked, you wouldn't last 10 minutes" quips Steven Stelfox (Hoult) right into the camera early on in KILL YOUR FRIENDS, the adaptation of John Niven's 2008 novel. He's aiming this put-down at the viewer as an exclamation of his superiority over us. He wants us to be envious, jealous, maybe even hate him. He's an A&R man in the music business, and he wants us to know that his life is awesome, and ours is not when compared to his. This set-up is then followed by roughly 90 minutes of the sort of drug-taking, jet-flying and partying exploits that could be expected, with the odd merciless killing thrown in for good measure. By the end though, it's difficult to feel envious of him, because when it comes down to it, his life (and by implication; this film) is really not that great.

Set in the year 1997, Stelfox is consistently hunting for the next big thing in music. In doing so, his excessive lifestyle can be permitted to continue. He will stop at nothing to be successful in this business and he's not afraid to step on toes to get there. When even that won't work, there are always... other options.

Nicholas Hoult, at first glance appears too young to play this role. The baby-faced actor is a little difficult to take seriously as a top A&R man when the majority of his colleagues appear at least 10 or 15 years older than him. Hoult however, carries himself nicely in the lead role, doing all that can be reasonably required of him. Unfortunately the issues for KILL YOUR FRIENDS stem from a very unfocused script that never seems to have a chief goal to aim for. The story attempts to make up for this by throwing in some genuinely shocking scenes of violence that will long be the images engrained in people's mind when they think back to this film.

The consistent fourth-wall breaking nature of Stelfox's character, coupled with the ever-present voiceover means we always know exactly what's going on in Stelfox's head. But this doesn't necessarily ensure we always know why he's doing the things he's doing. His eventual foray into murderous tendencies is not handled with any clear focus and subsequently just feels out of character, even for someone with his levels of excess.

John Niven's adapted screenplay is keen to hammer in the point that the music business is full of people, tasked with pulling the strings of artists who all have egos that outweigh their talent by a considerable margin. Niven himself worked in the music business for ten years, so its more than likely his characters are loosely based on real people that he has came across during this time. This adds a certain authenticity to the proceedings here, and it's not exactly too difficult to imagine some of the people were genuinely like this, especially in the 'experimental' 90's music era.

For all the good intentions involved here, KILL YOUR FRIENDS comes across as a distant British second cousin to both THE WOLF OF WALL STREET and AMERICAN PSYCHO, paying homage to both but never really finding its own identity.

American Hero (2015)

"There is definitely content here to be enjoyed, it's just a shame that a clumsy execution and weak story arc hamper some of the film's better components"

[6/10 · 10 March 2018]

The story of a person with superhuman abilities filmed in a handheld style will inevitably cast minds back to Josh Trank's 2012 highly enjoyable breakout hit CHRONICLE. However, while AMERICAN HERO certainly offers at least a nod in that direction, it is clear from the off that this is its own film with a focus more on the man than the power.

AMERICAN HERO tells the story of Melvin (Dorff), a man gifted with the power of telekinesis and little interest in using his powers for anything worthwhile. Instead, he spends the majority of his time partying and using his powers to impress girls. Along with his wheelchair-bound best friend Lucille (Griffin), he is living a fairly wasted existence. That is until he begins to question his moral compass after a realisation that getting his life back on track will be the only way to see his estranged son.

It's a fairly conventional quest for redemption story template with a superpower thrown in to make the story a bit more sellable. It doesn't offer anything fresh to the genre but it does have its charms. In the lead role, Dorff is well cast and believable as an ordinary guy who just happens to possess this gift he has no idea how to use to his full advantage. Curiously, and rather refreshingly, it's never revealed at any point in the story how Melvin came to be this way, or indeed if there might be others like him. In the supporting role, Griffin is a hoot as the best friend/sidekick providing much of this film's wittiest moments.

British writer/director Nick Love, who is more known for his gritty British crime dramas including THE BUSINESS and THE SWEENEY, has really stepped out of his comfort zone here with this all-American comedy that boasts elements of sci-fi and superheroism. What's more, he's chosen to film AMERICAN HERO in the style of a hybrid documentary/fly-on-the-wall. It's a method that does not pay off in the way he had hoped as it makes the narrative a little confusing; at times it's clear the characters are aware they are being filmed and even address the camera, other times they're not. You can't help but wish this narrative clumsiness had been handled with a bit more care.

The moments we spend with Melvin as he contemplates his life and where he's heading provide some of the film's best moments, his interactions with Lucille are a particular joy. What is perhaps not quite as charming is the limited story arc and one particular unconvincing character development that threatens to overrule the enjoyment factor. The end conclusion also feels rushed and uninspiring.

There is definitely content here to be enjoyed, it's just a shame that a clumsy execution and weak story arc hamper some of the film's better components.

Deadpool (2016)

"Consistently laugh-out-loud funny"

[8/10 · 10 March 2018]

If you're considering a trip down to your local multiplex to catch the unlikeliest x-man in all his fourth wall breaking glory, then chances are you know a little about what you're going to get already. From the gloriously silly opening credits, DEADPOOL wants to make one thing clear right off the bat: this is not going to be a shy movie. If they're going to do DEADPOOL, they're going to do it right this time!

As is well known by now, the last time they brought the merc with the mouth to the big screen, it was in 2009's abysmal X-MEN ORIGINS: WOLVERINE, where they took the decision to allow a significant part of his screen time to take place with his mouth sewn shut. This time around there will be no mouth-sewing, instead we get plenty of crude humour, gratuitous violence and all the fourth wall breaking we can handle. This is DEADPOOL the way it should always have been.

Wade Wilson (Reynolds) makes the untimely discovery that he is riddled with cancer; it's untimely because he has just met the woman of his dreams. In an act of desperation he agrees to undergo an unorthodox procedure that will supposedly cure him, and as an added bonus he'll get superpowers. As always, with these things, it's not going to be that straightforward. End result: he becomes Deadpool; he's super but he's definitely not a hero, and he has one thing on his mind: revenge against the people that did this to him.

DEADPOOL is consistently laugh-out-loud funny. From the witty one-liners to the numerous sight gags with so much more dotted throughout. If you don't mind your humour being a bit silly and more than bit crude then this is one of the funniest you'll have seen in a long time. It's also excessively violent; the censors' decision to go with the 15 certificate in the UK will certainly be raising a few eyebrows.

Tonally, DEADPOOL is fairly consistent, the only noticeable exception to this are the scenes inside the facility where Wilson is being 'tested' by the shady people who have brought him there to 'cure' him. It is in these scenes where events take a very dark turn, almost too dark. This humourless sequence sticks out like a sore thumb and threatens to hamper the film momentarily. Fortunately, it's not too long before we're back to the quipping and dick jokes.

At a time where the superhero flick could do with maybe taking a step back and easing off the 'taking itself too seriously' pedals, DEADPOOL arrives like a breath of fresh air to a genre that is fast showing signs of being worn. Though, you might want to consider leaving the kids at home for this one.

Daddy's Home (2015)

"The concept is good, even if the execution is formulaic"

[6/10 · 10 March 2018]

2010's THE OTHER GUYS, which starred Ferrell and Wahlberg in the lead roles, was a surprisingly enjoyable blend of over-the-top humour and witty dialogue. It was also a great showcase for its two leads, bouncing off each other like they'd been doing this for years. It's therefore perhaps a little surprising that it's taken five years for the duo to team up again, though this time the roles require them to be each other's antagonists rather than cop-buddies.

Ferrell is Brad, a well-meaning stepfather to his wife's children. He aspires to nothing more than having these kids look up to him as the father figure he's always dreamed of being. However, this becomes complicated by the sudden arrival of the kid's actual father Rusty (Wahlberg], thus beginning a battle of wits between the two for the affection of the kids.

The concept itself is a good one and carries potential, even if the execution is about as formulaic as we've come to expect from this sort of comedy. Its central story arc of two rivals competing for something or someone, only to come to the realisation that they might have to work together to achieve a common goal is nothing we haven't seen a million times before. As such, the script never fully allows the two leads to reach their full potential, though there are some undoubtedly laugh-out-loud moments (Ferrell and a curtain-blind, we'll say no more).

Director Sean Anders has had a sketchy record so far, with a directorial record that includes 2008's gloriously unfunny SEX DRIVE, 2012's seldom seen THAT'S MY BOY and 2014 inferior sequel HORRIBLE BOSSES 2. It's safe to say he does not carry the weight of expectation on his shoulders. It's because of this that Anders can feel somewhat reassured as DADDY'S HOME is his best film so far, and hopefully a sign that the filmmaker is on his way in the right direction, even if there is still a bit of a way to go.

Ferrell, not always used to playing a character as mild-mannered as Brad, has to tone down the usual schtick, only allowing himself a few fleeting glances of that glint in his eye that suggests he's just had the most ridiculous yet awesome idea ever. Wahlberg continues to show he is a lot more restrained when approaching comedy. As Rusty, he channels his inner-douchebag to create a guy who is actually not really very nice at all, with few qualms about wrecking Brad's life if it means he can get what he wants. He's a difficult character to like, or at times even find funny. The inevitable conclusion dictates that there is some character development by the end that really doesn't feel very true to Rusty's character, only serving to highlight the unfocused nature of the script these guys are working from.

In the supporting roles, Linda Cardellini brings a real sense of warmth to the role of Ferrell's wife and Wahlberg's ex that could easily have been a throwaway part in lesser hands. As Ferrell's boss, Thomas Haden Church fares less well; not really possessing the comic timing to land the jokes he's presented with. In fact, you can't help but wonder that his part may well have been written with a different actor in mind. Finally, Hannibal Buress milks a role that is essentially not a lot more than a running gag.

DADDY'S OUT will no doubt appeal to those after a more cuddly comedy, and there are a few decent gags to be had here. However, in the end this just feels like a bit of a missed opportunity, let down by the restrictions of its family-friendly rating.

Spectre (I) (2015)

"SPECTRE is one of the better Bond films and certainly the most complete one of the Daniel Craig era"

[8/10 · 10 March 2018]

As far as movie franchises go, nothing and no one can touch James Bond. 50+ years and 24 films so far have ensured 007's status as the seemingly immortal superpower of British cinema. If we needed further evidence of this: 2012's SKYFALL became the highest grossing James Bond film ever. In addition, it currently sits in 13th place on the list of highest grossing movies of all time. In short, SPECTRE has a lot to live up to. But if anyone's up to the task, it's Bond, James Bond.

The film starts very strongly; an opening sequence that must be regarded as one of the best in the Bond's history. A single tracking shot following Daniel Craig's 007 to his intended target, eventually culminating in a fight onboard a moving helicopter is absolutely thrilling. By the time we've faded into the fantastically realised opening credits, complete with Sam Smith's haunting vocals, the stage has been well and truly set for something quite special.

From this point the film makes the most of its bladder-challenging 148 minute running time, taking Bond and company from London to Rome, Tangier and snowy Austria. Hoyte Van Hoytema's cinematography ensures each new location is presented as something resembling an excerpt from a well-produced tourism video. This really is Bond as we've grown to know him over the past 50+ years: he travels, he fights and he's always got time for a quick shag.

Daniel Craig has taken his time settling into the role of Bond. CASINO ROYALE was largely devoid of the wisecracking one-liners and suaveness that the previous entries had in bucket loads. As the Craig-era films have progressed, there's been a gradual reintroduction of the familiar character traits, to the point where SPECTRE really feels like Bond is now his old self again, or should that be new self?

Another part of the gradual reintroduction of the familiars also came with the first appearances of Moneypenny (Harris) and Q (Whishaw) as well as the man who would become M (Fiennes) in SKYFALL. With the band together at last, Bond has come full circle, and SPECTRE revels in its moments of the fun Bond has with his colleagues, particularly Q.

Any good Bond film of course, needs its Bond villain. The casting of Christoph Waltz as the far too mysterious Franz Oberhauser seems like inspired casting. Waltz has a natural flair for the sinister and as previous Bond's have shown; it's not always the more physically astute villains that are the most dangerous. It is a shame therefore that Oberhauser never quite comes across as the villain he could have been. He falls into that easy to step into sandpit of being villainous for the sake of it, a self-explained back-story into the reasoning's behind his villainous ways feels a little underwritten.

Providing the perfect contrast to Oberhausen's small stature is his chief henchman Mr. Hinx (Bautista). While his name may sound like something you might name your cat, it's clear from his introductory scene, in which he showcases a particularly nasty way of offing a potential rival, this is one of Bond's nastiest foes yet. A later fight sequence between Hinx and Bond on a train is also very hard-hitting, even for a Bond film.

Try as they might, one thing the Bond writers haven't quite mastered yet is the 21st century Bond girl. Previous instances show that an effort has been made to make the new-era Bond girl strong and not always necessarily in need of a man to save them... only to eventually need saving from Bond by the time the climatic events are taking place. SPECTRE's main girl Madeliene Swann (Seydoux) falls nicely into this category.

An area where SPECTRE really excels is in some of the smart script work. The MI6 building still stands with the damage inflicted during the events of SKYFALL; a visual metaphor for the state of the British secret service and its perceived perception. This is where Andrew Scott's Max Denbigh (or as Bond affectionately nicknames him: C) comes in. He's a member of the British government intent on bringing down the 00 program as he perceives it to be 'prehistoric'. He is insistent that a global communication of privacy-invading surveillance is necessary to combat the potential threats of this world. He's also a bit of a snarky git. His interactions with M provide some of the film's best bits of dialogue, and also provide this film with its biggest laugh-out-loud moment towards the film's climax

SPECTRE feels very much like a culmination of what has come before in the Daniel Craig-era of Bond. There are many references to the previous films and even a big reveal of a major plot thread that ties all the films together. There are also a few nice knowing nods to previous Bonds (hello, pussy) just to keep the die-hards happy.

There are a few familiar Bond fallings that do threaten to hamper the fun at times, but there is enough here to ensure that SPECTRE is one of the better Bond films and certainly the most complete one of the Daniel Craig era.

Sisters (III) (2015)

Enjoyable enough for what it is

[7/10 · 10 March 2018]

It's not uncommon to see Saturday Night Live alumni on the big screen together. Dan Aykroyd and John Belushi, Steve Martin and Eddie Murphy, Adam Sandler and Rob Schneider, the list goes on. Now step forward Amy Poehler and Tina Fey who co-headline this enjoyable comedic romp to show that anything the boys can do, the ladies can do just as well.

Kate (Fey) and Maura (Poehler) are sisters who have led very different lives since leaving the family home. Kate is a hairdresser whose free-spirited life has seen her own daughter become disillusioned with her, while Maura is a kind-spirited, recently divorced nurse who always puts others before herself. When their parents announce they are selling the family home, the two sisters seize the opportunity to have one last big party in the house before the uptight new owners move in.

If you were lucky enough to catch Poehler and Fey back in the days when they were co-anchoring SNL's Weekend Update segment, you'll already know that they have great chemistry together. This is also not their first feature together, having previously co-starred in 2004's MEAN GIRLS and 2008's BABY MAMA, not forgetting hosting the Golden Globes. The two actresses are clearly having a ball here, cast as close but ultimately differently natured sisters, both responding to the trials and tribulations the world has given them in their own way. Fey is particularly fun here, really relishing the opportunity to play a character who is as vulgar with her language as she is carefree with her life choices.

Inevitably with this sort of family-themed anarchic comedy, there are some life lessons to be had here. The choices we make in life and the bond between siblings are all explored in Paula Pell's script, which does at times cross over into cliché territory. SISTERS allows itself to slow down a bit too much in these moments to the point where the film looses some of its pacing. It's not enough to hamper the fun though, which is mostly consistent even if a few running gags don't quite hit as hard as they hoped (a mispronunciation of a Korean nail salon worker's name is played just that bit too long).

While this is undoubtedly Poehler and Fey's film, the large supporting cast all get their moments too. As their parents James Brolin and Dianne Wiest register some decent laughs, as do fellow SNL alumni Maya Rudolph and WWE wrestler John Cena, who crops up for a cameo as a heavily tattooed drug dealer named Pazuzu (he also gets one of the film's most laugh-out-loud bits of dialogue).

SISTERS' humour is heavy on the crude scale; there's things going up bums, jokes about masturbation and stories of peculiar sexual encounters. Much like TRAINWRECK earlier this year, SISTERS is not afraid to run with the female driven gross-out comedy element, and it's all the better for it. In fact, if it wasn't for some of the sagging issues when the inevitable third act life lessons begin, SISTERS could well have been a contender for comedy of the year. As it is, this is still a very enjoyable time in the company of two of Hollywood's funniest comediennes.

The Unfolding (2016)

British found footage horror done right, would you believe it?

[7/10 · 10 March 2018]

At first glance, a film titled THE UNFOLDING might suggest some kind of laundry advertisement rather than a haunted house themed horror film. But suspect title aside, this is actually a very welcome effort from writer/producer/director Eugene McGing who has managed to craft a film that could very well be considered the not so distant British cousin to PARANORMAL ACTIVITY. Of course, the impact that this statement will have on the potential viewer will depend largely on whether or not they were a fan of the first PARANORMAL ACTIVITY film.

Tam (Nieboer) and his girlfriend Rose (Kerr) are off to Dartmoor to stay in a centuries old house where Tam hopes to obtain evidence of paranormal goings-on. Meanwhile the world stands on the brink of nuclear war, as radio transmissions continue to discuss an impending catastrophic event. Eventually the couple realise there may well be more going on here than just a few bumps in the night so they call in the help of Tam's professor (Daws) and a medium (McGeever) in the hopes of tackling a potential evil that appears to have taken a focus towards Rose.

Horror films, and particularly haunted house films, tend to get a bad rep these days for falling into instances of cliché. These clichés may well include loud bangs on the walls, stuff going on in the basement, people feeling 'a presence', and in this day and age of the handheld found-footage style, let's not forget the camera getting knocked over or the quality crackling when something's amiss. While it cannot be denied THE UNFOLDING has all these elements in its story, it's the way it presents itself that gives the clichés a sense of freshness. You may have seen most of these things before, but they will not have been used as effectively as they are here.

In some ways the small budget actually works as a blessing in disguise. McGinn and co. make the best of what they have to work with, and in doing so they add an extra sense of familiarity to proceedings. This really does look like someone's home video rather than the staged antics of some other found footage efforts. It makes the events just that little bit more unsettling.

There is jump scares of course, but there's also a sense that the film is allowed to develop at a good pace which allows the suspense to build naturally. The consistent radio transmissions warning of an impending nuclear strike is a really nice touch, it ramps up the tension and ensures the sense that nowhere is safe. As one character keenly puts it: "with everything going on in the world, this house is probably the safest place to be". Oh Christ.

There is a real commitment from the actors here, which really heightens the sense of dread when the proverbial starts hitting the fan. Lisa Kerr in particular plays Rose with just the right amount of vulnerability that ensures she doesn't border into helplessness. Similarly Lachlan Nieboer is engaging and committed in his role, even if the script dictates he is sidelined during some of the film's juiciest moments. The only distraction is Nick Julian's role of Harvey. He shows up unannounced without much motive and just seems a bit shoehorned into the plot, not really serving much purpose. It would seem it could have been more effective to have not had the character at all, thus elevating the vulnerabilities of the two central characters.

THE UNFOLDING does not break new ground in found-footage horror, but what it does have is a very committed cast, a very confident director in McGing and some very nice subtle touches that really elevate the tension of the spooky goings-on, and sometimes that's all you need.