As we are all too aware, the big gaping hole of a trap that many film makers fall into is to create an action film where the action is the main event while the character developement, acting, script and screenplay become wrapping paper as a means of presentation. More often that not when they do this, even the wrapping paper is crap; peeling off to reveal the utterly depressing unwanted and unreturnable present inside. Whether it’s hand to hand combat, C4 explosives or a car chase; if purpose, meaning and believable characters are not the fabric of the movie, it’s just going to be a few cool scenes at best. As an audience we’ve come to expect more from film, and Warrior not only steps up to the mark but squares up to the expectation with confidence. And it has every right to.

The movie is about two brothers several years after their family was torn apart by their drunken father. One brother Brendan stayed with the father and eventually got married, while the other, Tommy, went with their mother and endured a series of shrouded experiences that gave way to his angry and bitter character. They both come to heads when they compete for a Mixed Martial Arts championship that inevitably turns their fighting experiences on eachother.

The level of emotional intensity in this movie is heartbreaking and occasionally makes you want to stop the movie, have a good cry outside the room, then come back to it. Which messes with your head, because the next minute you’re rooting for Brendan to destroy his opponent. The film is especially heart renching for any of us with daddy or family issues – it’ll ping all kinds of emotion you thought you’d built a wall around. I guess that’s most of us.

I think even those who turned up for the movie just to someone get decked in an octagon (which I suspect was the case for the guys on the row in front of me) would be responsive and appreciative of the depth the movie has to offer. Even though the gang of guys on the row infront would never admit it to eachother because it would be frightfully uncool, I think they’d agree that to sit through Warrior and not be moved is highly unlikely.

Tom Hardy (plays Tommy) continues to blow me away with how he can stand still and make a performance just using his eyes. The dude is incredible. The one who really surprised me though was Tommy’s dad played by Nick Nolte, landing an acting performance that got me all choked up each and every time he came on screen. Maybe I’ve just got some inner issues to deal with.

From a tehnical standpoint, as someone who studies and practices martial arts (although with Kung Fu not MMA), most of the sequences are really tight. There were perhaps a couple of moves that made me question whether they would work in the way that they did – but nothing that can really be called out for looking fake in any way.

In closing, make sure you see it – even if you’re not into mixed martial arts or fighting in general. And be prepared for something besides a build-up of wondering who will win. It’s so much more.

This prequel to the series, X-Men First Class not only reverses this downward spiral of critical responses, but goes where the others in the series have barely tried, creating a much deeper and intelligent X-Men experience. The franchise has mutated into something quite extraordinary which is mainly due to the layers of emotion that are cleverly crafted in and between the characters. Actions movies, and even more so – comic book action movies, are notorious for trying so damn hard to ‘blow away’ the audience. The old people wining about ‘the trouble with film today’ are right, however clichéd, that the plot and story is often compromised for special effects. But this movie grasps an even greater understanding; that the action must have purpose. And for it to really work, the audience must care about what that purpose is. The emotion that is created here is without corny Americanisms and used tactfully to create this purpose and therefore provide action that actually means something.

James McAvoy plays Professor Charles Xavier, and makes the character more interesting and real than I ever thought it could be, beyond any of the previous portrayals to the point that they are incomparable. Xavier is an advanced telepath who leads a team of beings that have gained powers through natural genetic mutation. This team form an alliance against other sinister and evil mutants with a plan to engage world war 3 between humans. Michael Fassbender plays Eric/Magneto opposite, who besides the occasional switch of nationality due to his accent, also played the role as though he understood every facet of Mageto’s personality and past. With a dark troubled history and an internal struggle of rage and pain, the outcome of his personal trials whilst harnessing incredible power become essential to the direction of the story. The friendship bond between him and Xavier is made into a fascinating watch, whilst not losing focus of the plot that surrounds them.

As was emphatically highlighted by The Dark Knight, the success of a movie such as this relies in part on a very good (or very bad, depending on your take) villain. Kevin Bacon plays Sebastian Shaw. In the same way that X-Men First Class makes you care about the characters, it also successfully makes you want to put your popcorn down and kill Shaw yourself. Bacon plays the character with realism and conveys an evil that is deep and personal. The “I want to rule the world, mwahaha” kind of villain won’t cut the cheese anymore, and an audience couldn’t care less about bad people with plans for world domination. But this is something different, special and part of the reason the film really works. He rivals Joaquin Phoenix in Gladiator, and Kevin Spacey in Se7en – both of which really needed to die.

I’m so very impressed at the consistency of quality, the genius touches and the impeccable cast performances. I was in equal parts moved, stunned and satisfied. Truly satisfied in fact. It breaks the back of being predictable and the obvious assumptions of what will happen next, making surprise and shock two of the fundamental elements of the core material. This may just be the most engaging and intelligent Marvel movie to date. And no, you don’t need to be a fan of superheroes and comics, but it helps.

Dicky is the older brother and trainer of a struggling fighter in rough suburban Massachusetts; filmed in the houses and streets where the original story took place. Marky Mark Wahlberg plays Micky, the younger brother and intentionally the protagonist of the story. Whilst Bale’s crack-head and slightly crazy character drowns out Wahlberg’s character Mickey by pulling the audience to him like a magnet, this is actually done deliberately – with tact. The acting superiority mirrors the fact that Dicky and the family live vicariously through his own past successes of boxing and by doing so putting Mickey in his own shadow.

The beauty of the fighter is that everyone can strongly relate to it on more than one level without ever having had a particular desire to be welterweight champion of the world. This film is as much about the theme of family and loyalty as much as it is about the struggles of failure. These may not sound interesting themes; they are when they’re done like this.

Is it like Rocky? Yes, in that it’s about a struggling boxing fighter who gets stuck in a rut of failure. But this really stands alone, because there’s so much more to it. I feared that this film may feature an Adrian-like helpless and defenceless love interest for Mickey. This is often done in that almost sexist and clichéd way to further emphasise the hero aspect of the protagonist. But not so with The Fighter. Amy Adams plays the most spirited, vehement and fiery personality, which makes for some intense and even hilarious clashes with the controlling mother and sisters of Mickey, who essentially are his management team.

She might get looked over due to the Academy’s much deserved fuss of Bale, but Adams is a key player to making the story honest, unpretentious and fun.

It may seem like it’s all been done before. Although it has some old concepts, it’s fresh and it’s unpredictable for the most part. At the very least in the direction it takes to get where it needs to be. Every film scene is done beautifully with superb timing, tension and execution of crucial and touching moments. I had goosebumps for the entirety of the remaining ten minutes – but it’s not one of those films that you’re always waiting for the finale.

Did I mention that Bale was fantastic?

After much competition from other actors such as True Blood’s Joe Manganiello and Smallville’s Tom Welling for the much coveted and desirable role, it was announced yesterday that 27-year-old Henry from the Jersey Islands was selected. For a leading man not just looking to super-speed his career but take on great (or legendary) characters, this may just be the greatest role in the galaxy.

You may never have heard of Henry Cavill. He’s a British actor who is perhaps best known for playing King Henry’s best friend in The Tudors. So you can get a good look at this guy in motion, I have included a Youtube interview with him discussing that particular series where he features alongside Jonathon Rhys Meyers at the end of this feature.

I hope to speak on behalf of many fans who believe, at least aesthetically, he appears a very good and logical choice. Chiselled, symmetrical features with dark hair and natural blue eyes. He also quashes many fears that the new Man of Steel will be sleek and lean like the previous Super-men; a Calvin Klein model preparing for his catwalk in primary colours.

With a good muscular build and decent frame, he has potential to fill the suit with a certain look of strength and reserved power. I’m very excited about their choice; a choice that many of us had not considered, and an audition that was kept quiet. Zach Snyder, thank you. Trust is slowly earned and quickly lost; you now have mine.

I’m just not sure I really enjoyed it and I’m certain I’d never watch it again. But it’s undeniably brilliant.

The extraordinary production, script and story is quite perfectly synchronised with an extraordinary performance from Natalie Portman. She bends and twists herself into every shape that the role pushes her into, showing true flexibility and dynamic range that the world had been tipped she was capable of.

The complex performance is that of a professional ballerina from the New York City ballet company who has trained diligently, tirelessly and obsessively to play the dual role of the White/Black Swan. Her manipulative and pressuring coach (Vincent Cassel) grants her the role on the condition that she discovers her dark side for the Black Swan. Natalie Portman disappeared alongside a solid casting crew, leaving her character Nina Sayers to take stage and envelope the audience into her splintered and slowly breaking mind.

People who write reviews like to exaggerate in order to leave a memorable mark in the readers mind. But when I say that her performance is one of the best that I have ever seen, I say it as a realist.

On the note of the cast, Mila Kunis is who plays a competitor for the role of Black Swan proves she can stand opposite an actress at the very pinnacle of her career and look strong, comfortable and damn good doing it.

Black Swan is dark, often disturbing and frequently jumpy. For those who are of the opinion that pointless movies win Oscars, then the power of the film will likely only shock you – nothing more.

Enter the Buried team; a director with enough intelligence, scope and balls to take the challenge of keeping an entire audience interested for 92 minutes with every frame filmed entirely inside a wooden coffin.

The story is of Paul Conroy, an American truck driver with a family, buried underground with little knowledge to his abduction or the intent of his captor.

Some viewers may not have the mental range to appreciate the movie for what it actually is. They may also miss out on the notion of political self-preservation, which isn’t so much the theme, but hits an unexpected chord that resonates on a level as deep as the box is buried.

The premise of our response as the audience is empathy. Those expecting a nice thick plot with a twist at the end where the best friend turns out to be the baddie will be sorely disappointed.

Fortunately for those who engage and identify with on-screen characters and become emotionally invested, the adaptable range of Ryan Reynolds makes this incredibly easy to do.

Although Joel Schumacher’s Phone Booth travelled a far less linear track, the necessary quality of the script for Buried is certainly comparable, if not superior.

This is ultimately a compelling and gripping drama that will leave you short of breath in the last five minutes. You may wish to have a Disney movie prepared for afterwards in order to shed some of the suspense induced nerve wreck and claustrophobia that you’re almost guaranteed to come away with.

7.5/10

There was a time when I didn’t expect so much from movies. Going to the cinema was just a night out and an excuse to buy popcorn. Now, in my most mature years to date, I expect to gain something from my experience; to see something unique, be moved, or even have it change my life.

The Matrix did that. It changed my life.

The Expendables did not. And I am so grateful for a movie that doesn’t pretend to be anything more than a good old fashioned action movie where the good guys kick the bad guys asses and do it with such finesse that you want to see them do it again in slow-motion. What’s even more frustrating than a movie that fails to change your life, is a movie that spends the majority of the film trying to convince you that it can.

How refreshing then that a movie like the Expendables turns up with a cast full of our favourite past-time heroes with no other pretence than that they’re here to blow s**t up. Arnie and Bruce Willis’ cameo’s were cut short, but personally, I think Arnie should make an appearance for at least that duration in every film that Hollywood churns out. I’m not sure what this says about me, but when he walked onto the scene, aside from feeling the entire audience grin, I wanted to stand up and salute him… just for being Arnie.

When I called this a ‘guy movie’, certain wannabe feminists (but who don’t want to be so extreme as to call themselves that) thought this was a sexist remark. Interesting how the term ‘chick-flick’ is kept neatly intact in its cushy culture chair by the same accusers, with no dispute from the guys who actually enjoyed The Notebook.

But a guy movie is what it is, not because it has no romantic flare or depth of story – though it doesn’t, but because for many guys it reminds us of the days when we used to fast-forward movies to the fight scenes because we didn’t give a damn about the character interaction, impressive screenplay or the intricate plot. We just wanted to see bad guys get their comeuppance, and we’d gradually feel better as we visualised our worst school bully as the Bad Guy and ourselves as Jean Claude Van Damme.

As for some of the high flying stars; Jet Li was awesome despite gracefully underplaying himself – meaning he could easily have taken apart the guys he seemed to struggle with, and the rest. Jason Statham, for me, was essential to making the movie work – his martial arts is not only high level, but he looks powerful while doing it. Great to see these guys at their peak in some very good fight scenes doing what they do best. The success of the film owes a lot to one particular scene where every member is fighting someone simultaneously, the camera rapidly flicking back and forth without losing the choreography in a blur. Don’t get me wrong – it’s not slick and jaw dropping like The Matrix or Jet Li’s The One, but it really is a great scene and that feels good to watch.

Stallone is very old, but he still packs a punch and managed to refrain from saying the line “I’m too old for this s**t”. My buddy Ben did an impression of him running the second we stepped outside the cinema where he kind of waddled like a duck fleeing for his life after drinking from a Jack Daniels pond. But the dude is 60 years old! – if I can run at all when I’m 60 I’ll be happy.

So all credit to Sly for making a film that gives us some fun without trying to make movie history and change the world. So if you’ve glazed over recently and need a few explosions to shake you up, go see them tear it up, but be sure to switch off your critical eye for the sake of enjoyment.

6.5/10

Zach Snyder has been granted the weighted and heavily responsible task of rebooting one of the most loved comic book characters of the world; Superman. Whether you were a fan of 300 and The Watchman – both movies were arguably very well made movies that kept loyal to their original sources. This is promising.

Christopher Nolan, director of The Dark Knight and more recently- Inception, is set to produce the reboot of the franchise, with his brother assisting on the screenplay. The idea that such an impressive team are bringing us a reboot by 2012 is hyperventilation via extreme excitement worthy news for the comic nerds of the world, and at least a treat for those of us who simply believed that the last Superman movie was a little anti-climactic when he beat up a chunk of rock for his grand finale.

Not to belabour the point, but while I’m on this note of Superman Returns, he didn’t so much as slap anybody, let alone grace us with any kind of fight sequence or display the power of a super charged punch – nothing. We didn’t look forward to that movie so long and so faithfully only to see Superman NOT kick anyone’s ass. He didn’t show any of his real power, and when his abilities were stripped from him, he was useless and needed to be saved by Lois and their asthmatic son. You may be beginning to see the hardcore nerd in me despite bracketing myself with disappointed-with-the-last-movie bunch.

I have faith in Snyder and Nolan. All I ask is that they not cast a slim, appropriate, deliberately Christopher Reeves looking catwalk model for the role of the most supremely powerful being in all of comic and film history.

On the note of casting, I have decided to make a suggestion. And now that this blog has generated over 1,000 viewings, I figure that Hollywood producers may read this, one of whom will surely be drinking buddies with Mr Nolan and happen to drop into conversation that this Welsh chap living in England has a sparklingly bright idea for who to play Superman. I’m paraphrasing; with them being American they probably wouldn’t say ‘sparkling’, but rather, ‘awesome’ or ‘right on’. I don’t want the accreditation but royalties would be welcomed.

Here it comes.

I apologise that the image looks like I pulled it from a gay fan site. I did not select it for the Davidoff wet’n'ready look that he’s trying to pull off. I chose it because it’s dramatic, and if you want to be Superman, you have to be dramatic, dangerous looking and reservedly powerful. You *can* almost see the S written on his chest. If he built up a bit more and got the hair right, I think he could do it. I know you can hear the theme tune too, I know you can…

My second choice is perhaps slightly more predictable. I suppose it’s as predictable as it gets, but if nothing else – it’s a great picture, I just don’t think Smallville’s Tom Welling has the range and ability to play the role to it’s full potential. I also don’t believe Nolan will touch him with a super barge pole for the sake of originality.

Who do you think should play him?

It’s actually not really a wonder at all. Not only is Kung Fu a far more dynamic, layered, more effective and impressive martial art (slight bias), but this then makes way for the modernised Mr Miyagi role to go to the brilliant and masterful Jackie Chan.

Jaden Smith, the coolest kid on the planet (as one would expect having Will Smith for a dad), plays the protagonist, Dre, who moves to China with his Mum to start a new life where they can barely string a sentence together. Mr Han, played by Jackie Chan, befriends the boy in an effort to show him not just the art of defending himself, but the meaning of Kung Fu itself.

The theme and concept of finding that place to call ‘home’ is woven throughout the film, giving the viewer some heart rendering emotional moments that seem to come out of nowhere. The bullying aspect that Dre experiences from the kids at his school repeatedly send shock-waves of anger and tension through the audience; a challenge in life many of us find all too easy to relate to.

In fact, the emotional quality of the film really does tend to be consistent throughout and, more importantly, in all the right places without shifting the main focus off the inevitable eventuality of Dre kicking the bad guy’s ass.

For those of you who only know Jackie Chan for his badly dubbed movies, semi decent action flicks and occasional off-beat hits such as Rush Hour, prepare to see a new side to his talent. Not only does he deliver the message of true martial arts with sensitivity and humility, he packs a punch with his ability to actually act. It’s almost as though no director has given him the opportunity or the freedom to really shine in the way he does in the Karate Kid. Some of the father-son elements of the unlikely friendship between the two characters may even cause you to fight back some tears.

To comment quickly on the fight scenes, thankfully the production company hasn’t thrown suitcases of money at it, used ridiculous wire work stunts, or dancing in the trees. It’s just well trained, superbly choreographed, true-to-form; Kung-Fu. And Jackie, once again, is awesome. Enough with the Chan praise..

If you were a fan of the original (right) as I am, this is effectively a very different movie that simply balances comfortable on the same premise of the Karate Kid of 1984. Although this will make the story feel familiar and predictable in places, the magic is never lost, even with a slightly overshot running time. And I have to say it, this movie reigns superior over the old one – the technicality of the martial arts, the character development, the acting – it’s a true winner.

Making sure Chan was onboard and also training Jaden himself may be the greatest decision Mr and Mrs Smith could have made to kick-start their son’s solo career off to an explosive start. I look forward to seeing what is in store for Jaden next. While reboots tend to be in fashion at the moment, I wouldn’t be surprised if NBC declared a New Fresh Prince.

8/10

To view modern cinema at its most epic, the IMAX screen is the only way to go. The Printworks Manchester venue is certainly a worthwhile venture, but as the animations started coming to life I realised I’d been spoiled by Avatar’s magnificent visuals at my previous visit. That half billion Cameron spent bought us a matured treat. Alice is like its younger, more modest cousin.

But to the point. It’s good, it’s not great. And for the fuss over viewing rights, the advertising machines working months in advance and, for me, the anticipation of the Depp/Burton collaboration on a project so perfect for them, I expected something more.

The same disappointment of good-not-great applies to Johnny Depp as The Mad Hatter. This is mainly because the character itself lacks depth and it is as though the role was made more central in order to accommodate Depp’s input. The twisted schizophrenic character in the hands of such a talented actor is interesting to watch, but the script and the direction of the character make it difficult for Depp to really take off.

I did however, enjoy the movie and in particular the little touches such as the pig that rushes to the Queen’s aid to only lie on his back to provide a footstool on his belly. The Mad Hatter also created some nice touches and credit is due to the relatively unknown actress who played Alice for her subtle magnetism on screen throughout.

It seems as though Tim Burton couldn’t decide if he wanted to spend the film simply observing the strange land in all its odd detail (as per the book) or give it some kind of plot. In a seeming attempt to do both, the film ambles along until its rather cliche finale where it reminisces a little too closely with the likes of Narnia for my liking.

Many of us love Burton for his fresh, unique and wonderfully weird approach to film. Sadly it feels like he was thinking about his next project as he was putting Alice in Wonderland together.

It’s as though Burton got his hands on a Disney project as opposed to the other way around.

4/10