06th Apr2013

‘Grindhouse 3: Slave Girls From Beyond Infinity’ Review

by Phil Wheat

Stars: Elizabeth Kaitan, Cindy Beal, Don Scribner, Brinke Stevens, Carl Horner | Written and Directed by Ken Dixon

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The third release in 88 Films’ Grindhouse Collection, Slave Girls From Beyond Infinity is a slice of 80s direct to video cheese, the likes of which you do not see today. Set in the distant future, the film follows two beautiful young slave girls who are serving life on a prison galley. With no hopes and no map, they escape, convinced that any fate will be an improvement. But what do slave girls know? Crash-landing on a strange planet, they meet Zed, the greatest hunter in the cosmos. His gracious hospitality fools them at first, but even these girls notice that Zed’s other guests are disappearing one by one. What is the deadly secret locked behind the doors of Zed’s trophy room?

Yet another take on the classic “The Most Dangerous Game” story, Slave Girls From Beyond Infinity throws plenty of sex, violence and robots into the mix this time round. Along with some gloriously bad scripting, some fantastic over-acting and a bevy of beauties who spend all their time in the skimpiest of outfits – that’s when they’re not totally naked that is! Of course anyone who intentionally sits down to watch a film with a title such as this knows what they’re in for… This is the very definition of B-movie and it delivers on all counts. It’s hard to believe that the film was condemned as “indecent” by North Carolina Republican Senator Jesse Helms in 1992!

Like many low-budget films Slave Girls From Beyond Infinity relies on it’s cast to sell the story and thankfully the films two leading ladies Elizabeth Kaitan and Cindy Beal do one hell of a job. It doesn’t hurt that the pair spend most of the film in loincloth bikinis but even if they didn’t, the duo would still make for compelling viewing – they obviously know that they’re acting in a b-movie so a lot of their performance is with tongue firmly planted in cheek but they make it so much fun it doesn’t really matter. It’s such a shame that Elizabeth Kaitan abandoned her acting career in the 90s to become a secretary for a US politician…

Like their Full Moon counterparts, 88 Films Grindhouse releases feature transfers that are little better than poor VHS transfers but there’s something charming about watching crappy films on crappy quality – isn’t that why a lot of film fans (myself included) still collect VHS tapes? However what lifts these UK releases over and above the US discs is the inclusion of complete movies as bonus features on each disc! Accompanying Slave Girls From Beyond Infinity is an incredibly early Charles Band produced movie (also directed by Ken Dixon), one from the birth of VHS in fact – Famous T&A, which is narrated by Sybil Danning and features some famous name actresses in various states of undress (as you could have guessed from the title).

Another great release from 88 Films, Slave Girls From Beyond Infinity deserves a place in any true B-movie loving fans collection.

**** 4/5

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06th Apr2013

‘Olympus Has Fallen’ Review

by Dan Clark

Stars: Gerard Butler, Aaron Eckhart, Morgan Freeman, Finley Jacobsen, Dylan McDermott, Rick Yune, Angela Bassett, Melissa Leo, Radha Mitchell, Cole Hauser | Written by Creighton Rothenberger, Katrin Benedikt | Directed by Antoine Fuqua

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For the last few decades there have been a number of action movies that followed the Die Hard  formula. Films like Speed were successful enough to etch out their own place in the genre lore, while others were simple exercises in mediocrity. The latest example of this phenomenon is the action thriller Olympus Has Fallen. While it certainly won’t go down as a new high mark it is undoubtedly one of the better examples of how to take a classic formula and make it your own. By filling in the, “Die Hard in a _______”, statement with one of America’s most prestigious and scared locations–The White House it raises the stakes to a new level.  Gerard Butler is in true form as he returns to the familiar format that made him into a star. With solid action sequences and the unique ability to make the ridiculous seem plausible the final product is far greater than one might think. Of course issues like a lackluster script, hokey dialogue, and a sever absence of a charismatic antagonist make it nothing more than your standard escapist entertainment.

In the film Gerard Butler plays Mike Banning, a Secret Service agent who has been honored with the duty of protecting the First Family. Banning is one of the Secret Service’s best agents and has developed a solid relationship with the President and his family. After a freak car accident that leads to the death of the First Lady Banning is transferred to the Treasury Department. Though his heroic efforts saved the President’s life he is a constant reminder of the loss the President endured. Banning understand the President’s sentiment, though he still wishes to regain his previous position.

Aaron Eckhart is tasked with duty of playing President Benjamin Asher. Based on his previous track record there is no doubt Eckhart is a quality actor. Here he feels underutilized along with most of the cast. On paper the cast reads like an Academy Award winning drama. Morgan Freeman, Dylan McDermott, Melissa Leo, and Angela Bassett are just a few of the major players. None of them gives a bad performance. They just feel like a team of stars that have never practiced together. Never do they come across as a cohesive unit. To his credit Butler does his part to carry this film. Mike Banning will surely not be mistaken as the new John McCLane, nonetheless he does his job to make this film enjoyable.

Banning is thrust back into action when America falls under attack. Due to a well-choreographed assault the White House has fallen under the control of terrorists. Not only that nearly every member of the Secret Service is killed and the President and most of his cabinet are taken hostage. There is of course one man left standing–Banning. It is up to him to save President and reclaim the White House from the grasp of madmen. Possibly the films best achievement is the way it makes you believe this ludicrous concept could actually happen. Based on the design one might think the tone would be overly cheesy with characters that constantly give a metaphorically wink to the audience. That is not the case as everything is taken in with absolute sincerity.  Surprisingly that ended up being the right choice to make. The serious tone really enhanced the action sequences.

In general the action was full of tension and edge of your seat excitement. The main set piece that leads to the fall of the White House was particularly clever.  It set its foundation nicely making you think you know where it was going, only to shift into a different gear to keep you guessing.  Much of the action genre lately has been filled with PG-13 violence where there are high body counts but no bloodshed. This unquestionably earns its R rating. Not that heavy violence makes a movie better. Here it does aid in establishing the tone. Having that amount of brutality did allow the threat to feel real. Violence had severe consequences. Bloodshed juxtaposed with some of the United States most notable landmarks assisted in establishing an atmosphere of dread.  There were moments that did go a little too far. The tearing down of a torn American flag with the backdrop of a flaming White House is a perfect example of when the dialed up imagery was a little too forced.

Another key element is the cat and mouse game played between the protagonist and antagonist.  What this film lacks is a captivating villain. Rick Yune plays Kang a man who feels he is destined to take down America for the betterment of his people. The main issue is his character isn’t very interesting and has paper thin motives. Everything about him is stereotypical and boring.  There is some back and forth with Kang and Banning, but it is never very compelling. Part of the problem is the bland dialogue. “I’m going to stick my knife in your brain” doesn’t have the same ring to it as “Yipple Ki Yay Mother F$%$!”  Nearly every attempt it made to be humorous fell flat. Butler did his best to read the lines he was given. It was just too bad he wasn’t properly equipped.

Location is a big factor when you are making an action film of this type, whether it be a building, bus, or a world famous monument. How properly you use your location greatly effects the quality of your movie. Overall this is an example of how to do it right. Adrenaline packed action and a great deal of tension make it an enjoyable thrill ride. Like most thrill rides when things slow down there is not much to do. You end up waiting for the next big moment to keep the enjoyment going. On paper Olympus Has Fallen looks like a disaster in more ways than one, which makes the final product even more surprising. If anything it is great to see Gerard Butler back in action and outside the doldrums of insipid Romantic Comedies. Issues aside Olympus Has Fallen succeeds where it needs to in order to make a watch worthy of any action fan.

Olympus Has Fallen is out now in the US. The film is released in the UK on April 17th.

*** 3/5

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05th Apr2013

‘All Superheroes Must Die’ Review

by Dan Clark

Stars: Jason Trost, Lucas Till, James Remar, Sophie Merkley, Lee Valmassy, Sean Whalen, Nick Principe, Brian Taylor | Written and Directed by Jason Trost

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It has been well establish that superhero films have basically become their own genre. Their popularity and sheer volume has placed them into their own unique category.  We are also beginning to see subcategories emerge within superhero films that twist and turn the typical format we have come to expect. The film All Superheroes Must Die is one of the newest examples of this phenomenon. It takes the archetypal heroes we recognize and places them into dark and perverse world we would normally associate with a horror film. That juxtaposition of genre is clever premise which could provide a much needed boost to a genre that can easily become stale. Regrettably the final product does not live up to the promise of that potential. Being a small film with big ideas it is hard not to admire All Superheroes Must Die wiliness to go for it. While the will was there the creativity needed to make up for the lack of big names and a big budget was absent.

Jason Trost plays triple duty on the film as director, writer, and lead actor. The story consists of four superheroes awakening in an abandon town not knowing how they got there. Their powers are gone and they have an odd injection mark on their arm. They soon discover their arch nemesis Rickshaw has abducted them in order to enact his ultimate revenge. He forces them to complete a series a challenges to save the lives of innocent towns people. The fate of an entire town is at stake, and if they fail many lives will be lost including their own.

Anyone who is familiar with superheroes has read or seen similar plots like this in the past. The difference here is this like watching the cast of  The Avengers being thrown into the middle of a Saw movie. The issue is it doesn’t have the ingredients to make that foundation work. This film creates a story that places moral quandaries on characters by causing them to question their own principals. These heroes are required to make choices where lives will most likely be lost, but its inability to establish a solid basis for these characters causes that dilemma to fall flat. One big reason it failed was because the characters on screen never felt like actual superheroes. They had little charisma and lacked a heroic attitude. Having subpar acting and lackluster dialogue did not help the matter.

Jason Trost seemed to be the only actor that was invested enough to give a strong enough performance. The rest came off as nothing more than bad cosplayers adlibbing lines from low budget stage show. Perhaps the biggest surprise was the dud that Lucas Till hesitatingly left on the metaphorical floor of this film. Some may remember him from his role as Alex Summers in X-Men: First Class where he did a lot with his little time on screen. Apparently his previous time running around in tights did not pay dividends here. On the other hand James Remar was one of the biggest highlights as the arch nemesis Rickshaw, but I only wish he was given better material to work with. He had a multitude of diatribes where he would gleefully recite his plans of revenge. The issue was the words he was speaking were not nearly as witty as they thought they were. It tried to be dark and self referential but ending up just being exasperatingly dull. Watching James Remar having to recite these lines was like listening to a great singer who is restricted to performing irritating radio jingles.

Even those issues would be forgivable if the premise fulfilled its potential. Well crafted tension can make up for an uninspiring script if done well enough. In the early stages it did succeed at creating some excitement. The first challenge devolved into a Pro Wrestling fight on what looked like a post apocalyptic trampoline of death that simultaneously occurred while another hero attempted to diffuse a ticking time bomb. It was completely ridiculous but it worked. A lot of credit also needs to go to those who were behind the scenes designing the set. You can tell every penny was pinched to make this world work, and for the most part it does. The world has this hopeless ambiance with an ominous flair for disaster.

As the film progresses the momentum that it started off with utterly shuts down to a total halt. The challenges become less and less innovative and devolve into ludicrous shouting matches that are endlessly annoying. Instead of trying to solve the situation the characters are content with meandering through this playground of punishment with little sense of drive. Stakes are omitted as everything becomes a pointless exercise. Watching bodies pile up should facilitate some sort of emotional reaction, but the film dispenses of them with so little disregard it was unnecessary to care. Everything was rushed through to try to get to the final climax as quick of possible, which was also a momentous disappointment.

While I didn’t enjoy my experience with this film I do recognize the effort that was put in. Originality should always be praised especially when you can tell someone’s heart and soul went into the project. It should be recognized that the simple creation of this movie is a mighty accomplishment. That accomplishment aside does not make up for its overall lack of the enjoyment.  At the films core there is a solid idea that could be utilize to make a quality movie. Perhaps with more time, a tighter script, and more seasoned actors that better film could come to pass. What we are left with is a storyline that never has a concrete foothold on where it wants to take this idea. After the shock of the ludicrous costumes wears off the movie becomes just another generic clone of horror films we have seen time and time again. Crossing genres is a fascinating and risky experiment. This shows us just how risky as it never does enough to satisfy superhero fans nor the horror crowd. All Superhero Must Die is plainly a crazy scheme gone wrong.

** 2/5

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05th Apr2013

‘G.I. Joe: Retaliation’ Review

by Phil Wheat

Stars: Channing Tatum, Dwayne “The Rock” Johnson, Ray Park, Jonathan Pryce, Arnold Vosloo, Byung-hun Lee, RZA, D.J. Cotrona, Joseph Mazzello, Bruce Willis, Adrianne Palicki, Walton Goggins, Elodie Yung | Written by Rhett Reese, Paul Wernick | Directed by Jon M. Chu

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G.I. Joe: Retaliation has been in UK cinemas for a little over week now and I’m only just getting round to my review. Why? Well I wanted to see the film a few times before putting anything down on (virtual) paper, as I wanted to make sure my first instincts were right. And they were… I’m disappointed.

I was expecting great things from G.I. Joe: Retaliation and maybe that’s the problem. As a huge fan of the original movie (I can safely say that amongst the movie bloggers I read and am acquainted with I am seriously in the minority when I say that) I was looking forward to what looked to be, and was often billed as, a more faithful take on the G.I. Joe mythos, restoring the series to something more akin to the original cartoon and comics. And to that extent the film is a success – Cobra Commander looks like Cobra Commander, Storm Shadow has the villain to hero transition (and the appearance of the Blind Master) which was so popular in Larry Hama’s Marvel Comics run, and we have more of the iconic G.I. Joe characters in Roadblock, Lady Jaye and Flint. So what’s my problem? I just didn’t enjoy this film as much as the first!

This sequel picks up where the first film left off: Cobra Commander and Destro are captured, Zartan is in the White House and in disguise as the President of the United States and the Joes, in particular Duke (Tatum) are relishing in their victory over Cobra. However things change as Zartan declares G.I. Joe an enemy of the United States and wipes out all, well almost all, the Joes in a desert attack. With only a handful of Joes left alive after the attack, Roadblock, Flint, Snake Eyes, Jinx and Lady Jaye must find a way to expose Cobra’s nefarious plans and restore the Joes good name.

Whilst I may not have enjoyed the film as much as the first, it’s hard to deny that G.I. Joe: Retaliation features some stunning set pieces – none moreso than the awesome (literally) clifftop battle between Snake Eyes, Jinx and a whole heap of Cobra Red Ninjas. There’s also plenty of things happening throughout the movie, which might be part of the problem – there’s just too much going on! Jumping back and forward from set-up to set-up, location to location leaves the film feeling disjointed. There’s enough plot here for two movies, never mind one. And although the film features characters from the cartoon and comic, there is still a problem with the characterisation. Many decried Tatum’s portrayal of Duke in the original movie, yet I’ve heard no complaints about D.J. Corona’s portayal of Flint – who is even less like his cartoon counterpart than Tatum’s. Corona’s Flint is wild card who turns wimp when the Joes are wiped out – which as a long term G.I. Joe fan seems the antithesis of Flint of the cartoon and comics.

G.I. Joe: Retaliation does have a decent pedigree: writers Rhett Reese and Paul Wernick penned the fantastic zombedy Zombieland and Jon M. Chu directed one of my favourite guilty pleasures in Step Up 2, and of course as I’ve already stated, the film is truer to the original source material. Yet whilst the movie is packed with action, explosions and awesome ninja-badassery, it’s missing that one key ingredient of big summer blockbusters. Balls to the wall fun.

G.I. Joe: Retaliation is in cinemas everywhere now.

*** 3/5

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05th Apr2013

‘Junction’ Review

by Catherina Gioino

Stars: David Zayas, Michael O’Keefe, Anthony Rapp, Anthony Ruivivar, Neal Bledsoe, Summer Crockett Moore, Tom Pelphrey, Harris Doran, Sharon Maguire, Danielle Kotch | Written and Directed by Tony Glazer

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If there ever was a better reason not to do meth other than Breaking Bad, it would be Junction. Not only are you dealing with off the wall meth addicts and their emotions, but you’re subconsciously forced to endure the pain the characters are going through and that’s when you realized just how messed up things are.

Junction is written and directed by Tony Glazer and stars Harris Doran, Summer Crockett Moore, Neal Bledsoe, Anthony Rapp, Bryan Deehring and more. As part of the competition films at the First Time Fest, the film was in the running for a number of awards, and Neal Bledsoe won the Outstanding Achievement in Acting award “for the ferocity of the performance, and playing an unsympathetic character who becomes more and more out of control in a believable way.”

Junction follows a group of meth addicts who are in extremely bad shape and are in dire need of some more meth (since the withdrawal really isn’t working for them). Penniless, they go to their druggie who promises to give them their lifeline as long as they bring him a TV for his mother’s birthday.

Wait, rewind. They’re penniless and they have to get a television to get their meth? Let’s go robbing houses! The addicts (comprised of Moore, Doran, Bledsoe and Tom Pelphrey) decide to target the house of a family that has just moved in and everything goes wrong when they find something they’re not supposed.

I really enjoyed the film- I found it to be original and rather entertaining. The fact that the addicts switch on and off from being protagonists to antagonists to anything in between flowed smoothly throughout the film as the audience was introduced to the next situation the characters found themselves in.

I especially loved the use of the meth as the moving plot of the film. While Breaking Bad is huge, meth is an unexplored but highly interesting topic that deserves some spotlight- not only because it is an original and a whole new matter in itself, but it also is serving a purpose to show the side effects of meth use.

However, there were a few flaws I had to pick out. (Warning, thar might be spoilers ahead). All my years of watching The Usual Suspects and Fight Club and any movie like that have always led me to never be trustworthy of a movie’s plot or its characters. Ok, maybe it’s not technically considered a spoiler, but still, you kind of know what’s going to happen. Well, when watching the movie, there were a few parts that caught my eye. It’s not the same scenario where you watch The Usual Suspects or Fight Club and then you realize afterwards; it’s during the movie where the action happens and you wonder why.

I even got the chance to speak with Brian Deehring and I asked him what’s next. He replied, “I’m in love with Veep and I hope Armando Ianucci reads this and will write me a role.”

All joking aside, the film was truly engaging. There are many variables in the film that all came together to make it a thrilling experience. While most thrill-seekers would want some more action in there, I personally believed the film came together to show a compelling story that is worth watching.

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04th Apr2013

‘Dark Skies’ Review

by Ian Loring

Stars: Keri Russell, Jake Brennan, Josh Hamilton, Dakota Goyo, Kadan Rockett, J.K. Simmons, L.J. Benet, Myndy Crist, Annie Thurman, Ron Ostrow | Written and Directed by Scott Stewart

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Modern horror is a little light on big names but one who should certainly be bigger is Jason Blum. He’s not exactly a household name but a man who almost single-handed seems to be responsible for virtually all the theatrically released horror content of the last few years, a man who can count the Paranormal Activity films, the Insidious (soon to be) franchise, last year’s well received Sinister and even Barry Levinson’s eco-horror The Bay among his successes. While not all of his films hit (the forthcoming Lords of Salem appears to have attained anti-buzz for instance), he still seems to be a man who takes horror seriously and seems to see it as much as a legitimate genre as he does a financially prudent area to tackle. His latest “Blumhouse” production, Dark Skies, may not be sold specifically on his name but the UK marketing makes it very clear that the film is from the man behind Paranormal Activity and Insidious.

It’s also worth noting that Dark Skies is written and directed by Scott Stewart, the man behind one of the most rancid films of the last few years, Legion, and also the forgettable actioner Priest. That Dark Skies is his best film is a bit of a back-handed compliment for sure but by moving genre and perhaps with Blum’s influence, his made a throwaway but perfectly watchable effort which tries to do something interesting with a traditional horror premise, a family are tormented by evil forces who invade their home, but twists it with the simple addition of aliens.

This sounds rather banal on paper but up on-screen this aspect provides probably Dark Skies‘ best elements. Stewart crafts these alien visitations with a great deal of filmmaking style, helped by some wonderful sound design as the silence of a quiet house is distorted by mysterious sounds which could be many different things, Stewart letting you think on much of this instead of showing you. The aliens themselves make few on-screen appearances and when they do, they’re fleeting but their effects on the family also work well though in my screening there was some laughter at some of the faces the actors are forced to pull at points, aiming for chilly, kinda striking as silly instead.

Dark Skies also takes some cues from some of Blum’s other work and this is certainly where his presence is felt. The Paranormal Activity a-like nature of having normal people do off, out-of-character things is certainly used well with many examples of people doing things in their sleep almost feeling like a homage, while the idea of alienating members of the family also seen in some respects in Sinister craft some surface psychological tension, Josh Hamilton’s father character particularly bearing the brunt of this, though he is not quite a strong enough actor to really get his teeth into this aspect among all the shenanigans happening within his home.

All of this though is somewhat negated by a few other aspects to the film. While the slow-burn of the first act is decent enough, the film’s pace is rather all over the place, the 2nd act really ramping things up before an exposition laden stretch also involving a thankless JK Simmons at the start of the 3rd only succeeds in killing the tension. An ill-advised turn late on where what’s happening is called into question is also ill-advised, the film suddenly deciding to focus on one character and hampering an interesting siege-movie feel at this stage.

Dark Skies is a serviceable enough 97 minutes but is a film which feels like it would be perfectly at home on Netflix in a year or so’s time. It’s not a black mark against Jason Blum, and does give me a little hope that Scott Stewart has something decent in him but it is a rather middling effort in all.

****** 6/10

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04th Apr2013

‘Repeaters’ Review

by Phil Wheat

Stars: Dustin Milligan, Amanda Crew, Richard de Klerk, Alexia Fast, Gabrielle Rose, Benjamin Ratner | Written by Arne Olsen | Directed by Carl Bessai

Repeaters-Cast

A Groundhog Day-esque action drama, Repeaters is one of those films that will fly under the radar of many despite its impressive pedigree. Penned by Arne Olsen, who has one hell of a writing CV having worked on Red Scorpion, Cop and a Half and Mighty Morphin Power Rangers: The Movie amongst many others, the film follows three troubled youths – Kyle, Sonia and Mike – at a drug-rehab center who, following an electric shock, end up repeating the same day over and over again. The trio quickly embrace their new gift, having all the fun they could ever want which includes committing crimes without any fear of reprisals. However once the fun starts to get a little too dangerous Kyle and Sonia decide they want to use their “gift” to help people, while Mike finds satisfaction committing violent and depraved acts.

The idea of reliving days over and over again is nothing new in cinema, so it takes something special to make a movie stand out amongst the ever-growing crowd. Repeaters is one such movie.

Yet another example of fantastic genre cinema from Canada, the film is essentially a dark and gritty version of the Bill Murray movie. The characters, well at least Kyle and Sonia, have the same character arc as Murray’s. But it’s the story of Mike, the third member of the time-looping trio, that makes this film stand apart from Groundhog Day - that and all the death, drugs and guns!

Definitely more of a sci-fi tinged horror-thriller, Repeaters is thankfully grounded in reality by its three central actors, Dustin Milligan, Amanda Crew and Richard de Klerk, who give truly powerful performances as the emotionally scarred trio of time-loppers. Milligan gives it his all as the put upon Kyle, whose crumbling relationships with his mother and sister are the only thing keeping him on the straight and narrow as he seeks redemption from both of them. In fact the actor excels in the films latter scenes, as Kyle has to go toe-to-toe with his former friend and rehab buddy Mike – you really feel the emotion as he confronts his friend to help his family. Meanwhile Amanda Crew, as Sonia, does the best with what she’s given in what is the stereotypical role of female junkie only became an addict because of sexual abuse. Yes it’s cliched but Crew brings her usual “magic” to the role (the woman can really pull of being fragile) – she was the main reason to re-watch teen comedy Sex Drive and she almost pulls that off again…

I say almost because the real star of Repeaters is Richard de Klerk. His portrayal of the damaged Mike is an intense, intriguing and overwhelmingly polished. He puts so much into his performance – going from friend to enemy – that it’s hard to see where the line between actor and character begins and ends. de Klerk captures the manic, impulsive nature of Mike perfectly and throughout the film you can see the danger bubbling under the characters surface, until he finally explodes and lets loose come the final third.

An analogy on drug use, rehab and the quest for redemption, Repeaters is heavy on emotion and heavy on symbolism and will really appeal to those that enjoyed the likes of Donnie Darko rather than Groundhog Day.

 Repeaters is on now on DVD from Signature Entertainment.

**** 4/5

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04th Apr2013

‘Seven Psychopaths’ Review

by Dan Clark

Stars: Colin Farrell, Sam Rockwell, Woody Harrelson, Christopher Walken, Tom Waits, Abbie Cornish, Olga Kurylenko | Written and Directed by Martin McDonagh

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Former playwright Martin McDonagh has made the transition from the stage to film look seamless and easy. With his 2008 film In Bruges and the recent release of Seven Psychopaths, McDonaugh has shown that no matter what the format he is able to bring his strong sense of style and coarse attitude to make remarkable characters that are equal parts funny and ridiculous. Seven Psychopaths is a layered concept that will have you digging for days to find all the different comments and criticisms it makes about cinema. Luckily it never gives lost in its own head and remembers to provide plenty of entertainment. McDonagh’s direction and clever writing has attracted a stellar cast that made sure to bring their A game. It may not have been as thought provoking as it could have, but it does provide everything you could want in a sick and perverse comedy.

The film centers around a struggling screenwriter aptly named Marty, played by Colin Farrell. Colin Farrell can frequently be misused and become a charisma vacuum that lacks any type of personality. Especially when he’s placed into cookie cutter studio films like this past summer’sTotal Recall remake. When he has the right director behind him, like Martin McDonagh, he is able to let loose and show his true talents. That was the case in In Bruges and that case is repeated here. His character Marty is having trouble coming up with his next script. To this point all his has is a title again aptly named Seven Psychopaths, and the name of one of the psychopaths. He knows more story is there he is just unable to find it. Meta has had a quick climb to the top of our popular lexicon, and we are beginning to see its effects all over the place. Many forms of entertainment have come out that break that fourth wall to comment on themselves, often yielding a variety of different results. When done with a fine hand it can really enhance the movie going experience and provide a deeper meaning to what would otherwise be insignificant. McDonagh surely has the talent needed to pull of what Seven Psychopaths is attempting. Part of it is a personal reflection, part is a dissection into Hollywood’s standards, and part is a comment on our own expectations. Even with so much going on he never forgets the most important piece. He keeps us entertained.

Part of what keeps the enjoyment coming is the rotation of talent that is the cast list. With names like Woody Harrelson, Christopher Walken, and Sam Rockwell you have a depth of talent most films can’t compete with. Sam Rockwell plays Marty’s actor friend Billy, who also has a dog ‘borrowing’ business on the side. Along with his partner Hans, played by Walken, they will kidnap dogs and return them to their owners to collect the reward. Not the most charitable vocation, but a lucrative one. Things become a little harrier when Billy mistakenly kidnaps the dog of a vicious gangster. Woody Harrelson plays Charlie the deadly crime boss who will cut down anyone to get his beloved dog back. Marty inadvertently gets caught up in all of this as Billy, Hans, and himself attempt to flee and escape the wrath of Charlie. Though his life is in danger this adventure may be the motivation he needs to finally finish his screenplay. The supporting cast adds a lot of the flavor to this colorful tale. Sam Rockwell is fabulous as this unbalanced and outrageous character. McDonaugh gives him some of the best lines in the film, and Rockwell takes what he is given and knocks it out of the park. Not to be out done is Christopher Walken in one of his best roles in years. Walken can quickly become a charactercher of himself, and I was worried we would get more of the same here. This performance is far more dialed down. While he brings the funny he also brings a lot of reverence to his character. The comedic side is muted at times to allow for moments that are deep and moving. Woody Harrelson also has a character that is all over the map. He’s sadistic, but does it all in good taste. This film certainitly has one of the best supporting casts of year by far. So much is asked for them, and they give even more.

The premise of Seven Psychopaths is just the fine line that unites us with a barrage of ideas and concepts that scrutinize and investigate our own perceptions and understanding of film. Nothing is done by accident or as simple as it may seem on first glance. McDonaugh prods us to look at the way violence is conceived, and how our expectations are often what drive outcomes. He questions the role of women and the lack of respect they are regularly given. Nothing is overtly stated as everything stays in the framework of the story. In the end I do question if the analysis comes to any type of a conclusions or thesis. It was an exercise that I enjoyed being a part of, but the desire to entertain won out over a wiliness to go further with its own ideals. Plus with so much going on it was difficult to simply accept things as they happen. You dissect each moment in an attempt determine what it connects to and what it could possibly be commenting on so much you end up getting lost in your own thought process. Progressively what is right in front of you takes a back seat to your own contemplations. That’s not necessarily a bad thing, but when you get your mind going you need it to feed you something psychologically satisfying. It does satisfy on that level to a certain degree. However, based on what is there you cannot help but leave wanting more. McDonagh does throw a lot at us and most of it will stick. What could have been a solely intellectual exercise turned into one hell of a twisted adventure. On the more fundamental levels it finds great success. The comedy is funny, the drama is effective, and the action is well crafted. When you go deeper things do falter to a point, but you have to commend what it attempted to accomplish. Even if the entire plan didn’t completely flourish what did was a fantastic good time.

Seven Psychopaths is available to rent on DVD and Blu-ray now. The film is released to buy on April 15th.

**** 4/5

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03rd Apr2013

‘The Heist’ Review

by Phil Wheat

Stars: Morgan Freeman, Christopher Walken, William H. Macy, Joseph McKenna, Wynn Everett, Marcia Gay Harden, Breckin Meyer | Written by Michael LeSieur | Directed by Peter Hewitt

maiden-heist

Originally titled The Maiden Heist and debuted in the UK way back in 2009 at the Edinburgh Film Festival, The Heist comes from director Peter Hewitt who helmed one of my all-time favourite films, Bill & Ted’s Bogus Journey, but who has been stuck in kids movie purgatory ever since, directing The Borrowers, Garfield, and Thunderpants amongst others.

The Heist sees Hewitt team with three of Hollywood’s best actors: Morgan Freeman, Christopher Walken, and William H. Macy in what can best be described as a modern-day Ealing comedy. The film tells the story of art gallery security guard Roger who spends his days transfixed by a painting called The Lonely Maiden. When he discovers that the gallery has sold the entire wing of art to a museum in Copenhagen he teams up with two other guards – the effete Charles and ex-military man George – both of whom has also developed a strong affinity for a particular piece in the gallery, to steal their favourite pieces and replace them with fakes. Not to make money by selling them, merely to keep the art in their lives…

Admittedly there’s not much of a plot to the film beyond the theft of the paintings but with a cast as experienced as the one here there’s no need for a convoluted story – it’s more a case of set up the story and watch the three leading men deliver. And deliver they do. A caper in the true sense of the word, The Heist is a small, gentle comedy made large by tour-de-force performances by its three leading men and the always excellent Marcia Gay Harden as Walken’s wife, Rose.

The type of film that the word “quirky” was made for, The Heist is pitch-perfect in tone: a light-hearted comedy that also has plenty to say about obsession, relationships and devotion to one’s work. The obvious fun that everyone had making the film translates to the screen tremendously, making this a joy to watch.

The Heist is out now on DVD and Blu-ray from Signature Entertainment.

**** 4/5

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03rd Apr2013

‘Summertime’ Review

by Catherina Gioino

Stars: Lethia Nall, Eric Yves Garcia, Rob Hollander, H.R. Britton, Olivia Horton, Jenny Grace,  Michele Cesari | Written and Directed by Max Weissberg

The First Time Fest is a proud sponsor of first time filmmakers, and thus the festival sponsors a friendly competition among twelve first time filmmakers which involves a screening of their films which will be reviewed by five judges, including the audience counting as a judge. The winner will receive the benefit of having their film distributed among theaters worldwide, as well as the bragging rights that come along with winning such a special honor.

One of the screenings was a witty tale of trying to be a working actor in New York City called Summertime. The story revolves around first time actress Julia, who is in the running for a part in a new movie. The plot follows not only the actress as she interacts with several others but how her friends interact with each other as well.

Summertime was written and directed by Max Weissberg, and stars Eric Garcia, Lethia Nall, H.R. Britton, Jenny Grace and Olivia Horton.  Max Weissberg was the winner of the Outstanding Achievement in Writing Award at the festival, which was given “for a script showing clarity of vision, great storytelling talent and sophistication, drawing inspiration from the work of Arthur Schnitzler.”

The movie was quite entertaining and had actual smart humor that seems to be almost obsolete nowadays. Actress Lethia Nall perfectly portrays her role as a new upcoming actress as she has to deal with the rather arrogant Daniel (Eric Garcia), all while she finds out she was basically fooled into sleeping with the director, Richard (Rob Hollander). Julia must decide what she will do in order to not only redeem herself but stop the director from ever manipulating another person.

The film can be considered as almost a coming of age story, in which the film causes the viewer to ponder where limits can be drawn. There always is that recurring joke detailing how people got their start in “the business” (film; Hollywood), and this film undermines the whole system masterfully. The audience is able to decipher between the mixed feelings of the characters, which ultimately gives the film its “New York City ‘Fuck You’” attitude.

The film also has a Tarantino-esque title sequence (think of the chapters in Inglorious Basterds) in which the characters are introduced, which adds to the idea that these are not set characters, but regular human beings you encounter every day.

However, you have to be picky when it comes down to it. While I honestly consider this a very small flaw, it could bother some people, as I heard while in the theatre: although the characters are introduced to the audience by those titles, they are obviously referred by the other characters in the film by their first names, so it would take a while for you to remember who each person is and what their occupation was.

Overall, the film was very entertaining, and although I believe it’s becoming overused, the film technique of “start in the middle and then fill in details as the film goes on” worked perfectly with the film as you got to learn more about the individual characters. Nall perfectly conveys the frustration of having to choose between a career and a love, while Garcia was able to show his quick wit with his carefree lifestyle. And, well, Hollander showed just how much of a jerk he can really be.

**** 4/5

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02nd Apr2013

‘Girls Against Boys’ Review

by Phil Wheat

Stars: Danielle Panabaker, Nicole LaLiberte, Liam Aiken, Michael Stahl-David, Andrew Howard | Written and Directed by Austin Chick

Girls-Against-Boys

Ah, the rape-revenge movie. A bastion of the horror movies since the 70s, the genre has seen some great, and some not so great films fall under the banner of “rape-revenge” including such greats as the female-led I Spit on Your Grave and Savage Streets. Now comes Girls Against Boys, which picks up the mantel from those films and runs it straight into dullsville.

The film tells the story of Shae (Panabaker), a college student all set to spend the weekend in the Hamptons with her much-older lover. However just before their trip he calls off the relationship and reveals he has a wife and kid which sends Shae into a state of shock and depression. But she still has to go to work right? Right. Spending some quality time sobbing in the back room of the bar where she works, Shae attracts the attention of co-worker Lu, a hard-ass redhead who instinctively knows Shae has guy problems and invites her out for a night on the town to drown her sorrows.

A lot of drinks later and Shae and Lu head off to two guys’ apartment for more drinks and more partying. The partying soon spirals out of control however as Shae ends up blind drunk and is raped by one of the guys, Simon, as he takes her home the next morning. With the cops even less interested in the crime than is usual in genre flicks, Shae turns to Lu for help. And, the psycho that she is, Lu suggests the pair get their own brand of revenge on Simon and his pal. And so the revenge portion of this rape-revenge tale begins…

Now at this juncture I normally be praising the “awesome torture sequences” or the “cleverly plotted ways in which the pair exact their revenge” but not with Girls Against Boys. No here we get a brief, but not gory scene in which the girls slice off Simon’s friends feet (mostly off-camera) before shooting him in the head; the utterly inconsequential attack on Simon, who also gets shot in the head. And finally the pair make a move on Shae’s lover which is just as mundane and dull a revenge as the rest! Oh, and he gets shot too. So much for revenge girls.

Girls Against Boys takes a turn into Single White Female territory toward the latter third of the movie (once the revenge portion of the story is over and done with) which doesn’t help proceedings at all and just proves that yes, Lu is a complete psycho for no reason other than she just is. There’s no explanation for her actions or her behaviour, leaving a gaping hole in the films already meagre and unsatisfying story.

In the end Girls Against Boys is an unengaging, unemotional movie that, unlike many of it genre contemporaries, stirs up nothing in its audience – this revenge is a very cold dish indeed. Sadly for the exploitation movie fans there’s not even any decent torture sequences which are usually so prevalent in these types of films as director Austin Chick shys away from anything too detailed. It all seems a bit of a waste of time to be honest.

** 2/5

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02nd Apr2013

‘Gut’ Review

by Phil Wheat

Stars: Jason Vail, Nicholas Wilder, Sarah Schoofs, Angie Bullaro | Written and Directed by Elias

gut-screen

“Something is missing in Tom’s life. Every day he goes through the motions, becoming increasingly detached from those around him. His best friend Dan thinks he has the answer, a mysterious video he’s got to see to believe. What Dan shows him leaves Tom unsettled, flooding his mind with disturbing images and desires, and binding the two friends together with its ugly secret. As he tries desperately to forget what he saw, Tom’s mounting feelings of guilt and disillusionment quickly give way to paranoia and fear. One video soon follows another and another, blurring the line between reality and voyeuristic fascination, and threatening to dismantle everything around them.”

And so goes the synopsis for Gut, the latest independent horror flick to come across Nerdly HQ’s desk. But what that synopsis doesn’t tell you is just what kind of a horror filled roller-coaster you’re actually in for with this astonishing take on the “snuff film” sub-genre…

Initially a slow-burning study of the drudgery of day to day life, Gut soon turns on a knife (literally), showing Tom and Dan’s descent into madness as fact and fiction blur after watching a series of videos featuring women being gutted on camera. Tom becomes more and more disturbed by what he has seen, so much so that he dreams of gutting his wife and cannot tickle his daughters stomach during a playful game. Meanwhile Dan becomes excited by each and every new videos arrival. But it’s not the snuff film angle that actually intrigues about the film, it’s the relationship between Dan and Tom – two childhood friends now grown up and listlessly wandering through life, whose relationship is on the verge of breakdown after Tom decides enough is enough and opts to look at moving away – that is central to the success of Gut.

Despite framing the story around snuff films, Gut is no gore fest. Yes we get to see the slicing open of women’s stomachs but thankfully the film shy’s away from showing entrails spilling (or in this case being pulled) out. Instead we get an incredibly introspective, character-driven look at the effects of the videos on the two friends. And when the film takes a creepy turn – as the waitress Dan had a date with appears in one of the snuff films – you end up with more questions than answers: Is someone stalking Dan (and Tom) and providing him with the videos? Is wannabe filmmaker Dan the one shooting the videos in the hopes of “keeping” Tom? Or are the films Dan’s way of reigniting Tom’s dreary life? Or is the on-edge Tom really the one behind it all? Gut really keeps you guessing all the way through to its shocking conclusion.

Writer/director Elias has crafted an ambiguous tale which is filled with complexity and subtext; and thanks to the lack of definitive answers within the narrative you’ll be thinking about the film way after it is over. A fresh, thought-provoking take on a well-worn horror trope Gut is essential viewing for horror fans.

**** 4/5

For more info on the film check out http://www.gutmovie.com

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02nd Apr2013

‘Crawlspace’ Review

by Phil Wheat

Stars: Nicholas Bell, Ngaire Dawn Fair, John Brumpton, Eddie Baroo, Justin Batchelor, Amber Clayton, Ditch Davey | Written by Eddie Baroo, Justin Dix, Adam Patrick Foster | Directed by Justin Dix

Crawl

Directed by award winning special effects supervisor Justin Dix (whose best known in the SFX community for his work on the Star Wars prequels) and lensed down-under in Australia, Crawlspace follows a group of elite soldiers sent to infiltrate and extract the lead science team from Pine Gap, Australia’s top secret underground military compound – think the Aussie equivalent of Area 51 – after it comes under attack from unknown forces. The mission is compromised after they encounter a young woman with no memory of who she is or how she came to be there. As they try to escape, the group quickly discovers all is not as it seems and the facility has become a testing ground for something far more sinister…

Australia was once known for its exploitation cinema with the likes of Turkey Shoot, Dead End Drive-In and Stunt Rock but nowadays the country is more likely to be known for its soap operas and kitchen-sink dramas than its genre flicks. So it’s always exciting to see a new genre film hit the market, and Crawlspace, which starts out as a sci-fi horror in the vein of James Cameron’s Aliens, is one hell of an ozploitation flick – starting with a bang and going at a mile a minute for the rest of its all-too-brief running time, never letting up on the action or the horror.

Crawlspace is a deceptive little film. On first glance it looks like the film is a solid homage to the aforementioned Aliens, but come the films final thirty minutes you realise its something altogether different. In fact the film shares a lot in common with a whole heap of genre flicks including, surprisingly, Brian De Palma’s The Fury and David Cronenberg’s Scanners. But unlike many derivative genre flicks, which would typically be called out for being “rip-offs”, the commonalities and influences here only help to cement the idea that this film is the work true fan-turned-filmmaker than someone looking to make a quick buck.

In lesser hands this “scientists run amok” tale could have been a complete mess but instead, not only is Crawlspace a great claustrophobic sci-fi horror, it also marks a return to form for Ozploitation cinema. Here’s hoping Dix sticks to directing more genre flicks in future… I know I’ll be watching.

Crawlspace is available on iTunes US and is set for a UK DVD and Blu-ray release on May 6th (postponed from April 1st).

***** 5/5

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01st Apr2013

‘The Odd Life of Timothy Green’ Review

by Phil Wheat

Stars: Jennifer Garner, Joel Edgerton, CJ Adams, Odeya Rush, Shohreh Aghdashloo, Rosemarie DeWitt, David Morse, M. Emmet Walsh | Written by Peter Hedges, Ahmet Zappa | Directed by Peter Hedges

Odd-Life

As Ben Affleck has resurrected his career post-Bennifer implosion with a series of increasingly impressive directorial efforts, it’s easy to speculate that the Gigli star has learned a thing or two about the perils of working alongside romantic partners.  So whilst Jennifer Garner’s husband wows critics with his latest release, Argo, the former “Alias” leading lady is left to take on a seemingly endless stream of lacklustre big screen projects.  With a résumé that already includes the maligned Arthur remake, an odious Valentine’s Day and the *ahem* unforgettable Elektra, Garner can now add Disney’s The Odd Life of Timothy Green to her growing list of movie mistakes.   

The Odd Life of Timothy Green focuses on a couple (Garner and Warrior’s Joel Edgerton) who are unable to conceive a child.  Of course, as this Disney-fied fantasy film is a U-certificate, such weighty issues are never addressed specifically or even by name.  A scene explaining that the stork has lost broody duo’s address would be less patronising than the actual one that depicts the pair’s sterile discussion with their doctor.  The film itself is a series of prolonged flashback sequences, as Garner’s overly wholesome Cindy and Edgerton’s energetic pencil-producing hubby, Jim, reveal their unbelievable tale during an interview with an adoption agency.  What follows is, essentially, the story of a Cabbage Patch Kid who grows out of the Green’s garden following a magical rain storm.  Taking on the name Timothy (CJ Adams), the young boy embodies all the hopes and dreams within Cindy and Jim of a child they’ll never have via natural means.  So thrilled is the remarkably accepting couple that when Timothy asks “Please don’t ask about my leaves”, as he has unexplained foliage on his legs, they dutifully ignore the sheer insanity of the situation and quickly begin to take on typical parental roles.  It’s all utter nonsense delivered with straight-faced sincerity that never has much fun with sugary-sweet concept.

Co-written by director Peter Hedges and Ahmet Zappa (of the infamous Zappa clan, here with his first film writing credit), The Odd Life of Timothy Green is so firmly based in fantasy that it barely offers any rationale for what is seen on-screen   Cindy’s relationship with her sister Brenda (a wasted Rosemarie DeWitt) is all over the shop for no apparent reason beyond convenience.  When a family member passes away of an undisclosed cause, despite a remarkably healthy appearance, the scene entirely lacks an emotional depth that might have made it worth witnessing.  Unfortunately, The Odd Life of Timothy Green lines up one contrivance after another: witness a brutally cringe-tastic “yearly family concert” or the absurdity of Timothy sketching a portrait of Cindy’s eeeevil boss (Diane Wiest), in a moment disturbingly reminiscent of an often-paused scene from Titanic.  If there’s any amusement to be found in The Odd Life of Timothy Green, it’s in just how daft the film gets. Adams is surprisingly confident in his feature début  but it’s difficult to find a reason to genuinely care about his character or, indeed, any of the others.

The Odd Life of Timothy Green is pleasant enough, as it is awash with an outstanding autumnal colour palette and a story as fluffy )and compelling) as candy floss.  Edgerton makes a baffling jump to family friendly films, but manages well, even if he’s better suited for Animal Kingdom­-esque roles.  Yet, the film’s highlight comes once the credits mercifully hit the screen and Irish singer-songwriter Glen Hansard’s contribution, “The Gift”, fills the air.  It’s a terrific song, but is far too little, too late to rescue this disappointing piece of magic-stuffed bobbins.

In more sensible hands The Odd Life of Timothy Green might have been an enjoyable, engaging slice of movie magic.  As it is though, Hedges’ film is bogged down by a series of unfortunately lazy events.  There may be enough to preoccupy a young audience with its rapid succession of poorly constructed incidents, but even kids may be more likely to yawn-out-loud than laugh.  As for poor Garner, perhaps she should consider donning her own alias the next time Ben Affleck casts a film.

The Odd Life of Timothy Green is released in UK cinemas on April 5th.

**** 4/10

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