Jack Ryan: Shadow Recruit Review
The Plot:
Rebooting Tom Clancy’s iconic espionage hero, Jack Ryan: Shadow Recruit shows how a young former marine is brought into the ranks of the American CIA, becoming a gifted analyst. But when his work uncovers an international terrorist conspiracy he’s thrown into the middle of life or death action in a race to thwart a devastating attack.
The Good:
Leading man Chris Pine becomes the 4th actor to play Jack Ryan on screen; following in the footsteps of Alec Baldwin, Harrison Ford and Ben Affleck. Whilst lacking the gruff screen presence of Ford, Pine does at least match the clean cut good looks of the actors who have played a younger Ryan. Advantageously the film is the first to truly give the character a detailed back-story on screen.
Kevin Costner has been enjoying a welcomed career resurgence in recent years and continues to re-establish himself as a credible character actor with a solid performance here as Ryan’s CIA boss/recruiter. Costner’s leading man days may be over thanks to passing time and some box office blunders, but his soft spoken intensity and quiet charisma still lends a lot of presence to the screen.
Likewise, Director Kenneth Branagh does a decent job of also playing lead villain Viktor Cherevin. He at least manages to keep his thick accent from becoming an embarrassing cliché, even though in most other respects he is a rather stereotypical Russian bad guy. Namely a womanizing alcoholic determined to avenge mother Russia thanks to cold war bitterness. At least Branagh manages a few moments of menace and resists the urge to ham things up too badly.
The Bad:
In Clancy’s original books and the previous big screen adventures Jack Ryan has never truly been a super-spy in the mold of James Bond, Ethan Hunt or Jason Bourne. Although this new film clearly aims to push the character towards being a more credible action hero, it falls short of giving him that kind of screen presence. Without gadgets, martial arts moves and one liners he lacks that invincible aura. In truth Ryan remains just a smart guy who occasionally has to run towards or away from trouble.
Keira Knightly has as many fierce critics as she does fans. She’s certainly not helped by the fact that her role as Jack’s earnest doctor fiancé only gives her two dimensions and occasionally awkward dialogue to work with. She’s an obligatory love interest who seems to exist solely as an occasional plot device. Predictably she goes from implausibly helping CIA missions to being a damsel in distress in a matter of minutes. In truth the film may have been a stronger origin story without her presence.
The film’s biggest problem is that while it’s terrorist attacks and financial crisis themed plot might be timely; it’s not quite as clever as it could or should be. Having Chris Pine briefly explain how stock markets work can’t disguise how transparent it is very early on that the ‘Crazy Russians’ are up to something. Even for a lazy audience most major plot points feel easily foreseeable, almost as if the film lacks the confidence to be overly complex.
The Ugly Truth:
Jack Ryan Shadow Recruit is a watchable action thriller that does a competent job of slightly revamping the character for a new generation. It succeeds far more in this respect than Ben Affleck’s failed attempt to do so in The Sum Of All Fears. However it’s unlikely to spawn a successful new franchise without a more sophisticated plot for any potential sequel.
The Wolf Of Wall Street Review
The Plot
The shocking and explicit true story of Jordan Belfort based on the bestselling autobiography of the infamous Wall Street figure. Following the rise and fall of his financial empire, fuelled by drugs, ambition and unashamed greed.
The Good
Leonardo DiCaprio is the perfect personification of Jordan Belfort as a slick talking, slick haired ruthless conman. DiCaprio does a magnificent job at playing the notorious Wall Street Tycoon from his sneering impassioned best to the worst moments of drug addled despair and idiocy. It’s a character which serves as a comfortable combination of DiCaprio’s past roles in Catch Me If You Can and The Great Gatsby; making the most of his smart suited charm and flare for simmering frantic intensity.
Jonah Hill goes a long way towards achieving his self-professed goal of establishing himself as a credible acting talent with an Oscar nominated supporting turn as Belfort’s buck toothed sidekick Donnie. Without Leo’s handsome charms he’s a laughable foul mouthed ball of blubber and bad ideas. He’s responsible for many of the films most depraved and memorably comedic moments.
The Wolf of Wall Street is another visceral masterpiece from Martin Scorsese, taking its place proudly alongside past efforts like Goodfellas and The Deprated. Like many Scorsese films The Wolf of Wall Street is a sprawling tale of the corrupting effect of drugs, sex, money and power. It’s a guilty pleasure of monstrous proportions. Allowing audiences to vicariously enjoy the lurid thrills of unlimited wealth, namely every form of sexual perversion and substance abuse known to the depraved and the powerful.
In the hands of a less competent director it would have been easy for these flashy superficial elements to have overtaken any attempt at genuine storytelling. However Scorsese largely ensures that beneath each degenerate moment there’s an actual story worth paying attention to.
The Bad
Less enthusiastic critics have been quick to point out the lengthy 3hr run time for Scorsese’s sprawling biopic. Whilst it may have been possible to prune away certain moments of debauchery overall the film does a good job of justifying 180 minutes of visceral storytelling. The film rarely sags or fails to hold an audiences interest with its slick and sordid tale.
Another criticism predictably aimed at the film is that it irresponsibly glamourizes the amoral and often criminal actions of a shameless self-promoting con artist. However amongst all the casual nudity, dizzying drug use and obscene financial excess there’s a constant reminder that this is at heart a cautionary tale not a blueprint for successful living. Exploiting the inherent entertainment of watching flamboyant characters self-destruct isn’t the same thing as endorsing or condoning their painfully ill-advised misadventures.
Don’t let a glossy leading man and trailers which downplay the consequences of the ‘endless party’, mislead you about the film’s true intentions.
The Ugly Truth
Predictably attracting both acclaim and controversy The Wolf of Wall Street is a wild sneering portrait of one man’s joyous self-destruction and the deeply broken financial system that let him get away with so much for so long. Star turns from Dicaprio and Hill inject some degenerate glamour and guilty laughs into a tragically inevitable tale of disaster and ruined lives.
Last Vegas Review
The Plot:
Four childhood friends take a break from their daily lives after 60 years of friendship to throw an unlikely bachelor party in Las Vegas for the last among them to finally settle down. Determinedly they set out to prove that senior citizens can be just as wildly irresponsible and adventurous as the young party goers that inevitably surround them.
The Good:
Robert De Niro, Michael Douglas, Kevin Kline and Morgan Freeman are four astonishing actors who still have considerable screen presence, despite perhaps passing their performing peak. Gathered together for the first time they pool their considerable collective charisma to make material more watchable than it has any real right to be.
Michael Douglas is a world weary ladies’ man, Kevin Kline is a wry pensioner, De Niro is a charmingly cantankerous sour puss and Morgan Freeman is a wise-cracking geriatric fire-cracker. Giving the film unlikely credit, it’s actually perhaps the perfect example of art imitating life.
Mary Steenburgen adds some welcome feminine charm as the easy going Jazz singer who helps keep the misbehaving gang out of too much trouble. Her presence and the resulting love triangle at least add variety by interrupting proceedings with some actual emotions and plot.
The Bad:
As entirely expected, the film boasts a largely uninspired collection of regrettably clichéd jokes about old age. It’s an easy comedic target and the film unashamedly hits it over and over again, with mostly disappointing results. Lazy references to Viagra, early bed times and a complete ignorance of modern culture and technology fail to offer many genuine laughs.
The film offers a half-hearted attempt at adding some poignant subtext about love, friendship and the actual challenges of growing old. However, those occasional moments of melancholy and melodrama sit a little uncomfortably amongst the endless attempt at cheap laughs.
The Ugly Truth:
Last Vegas manages the occasional laugh but mostly falls flat. It’s only really watchable for its unlikely collection of star power. Morgan Freeman possibly steals the show slightly among an aging A-list cast clearly working hard to make something worthwhile out of a fairly forgettable situation.
Hunger Games Catching Fire Review
The Plot:
Katniss Everdeen survived the deadly Hunger Games, but in doing so both she and Peeta Mellark defied the all-powerful Capitol. Now on her victory tour and under the menacing scrutiny of ruthless President Snow, Katniss finds herself the reluctant figurehead for a growing spirit of rebellion in the oppressed districts of dystopian Panem. When the ‘girl on fire’ once again finds herself fighting for her own life and to protect those she loves, it may be just the spark needed to start a real revolution.
The Good:
The second big screen instalment of Suzanne Collins’ blockbuster book series dramatically expands the scale of storytelling. Following Katniss and Peeta on their victory tour quickly establishes a wider world beyond the narrow confines of the first film’s brutal Games arena and Capitol training rooms.
Fans of the book should be delighted to see the introduction of an array of new characters handled so well. Newcomer Sam Claflin is a perfectly toned and cheeky embodiment of trident wielding tribute Finnick Odair. He wields weapons and flirtatious sugar cubes with equal charm and purpose. Likewise Jena Malone is a satisfyingly snarling fit for the axe wielding and permanently furious Johanna Mason.
The wider world explored by Catching Fire is populated by accomplished character actors with credible and worthwhile screen presence. New talents like Jeffery Wright and Phillip Seymour Hoffman take their place alongside a welcome increase in screen time for Rachel McAdams, Woody Harrelson and Donald Sutherland. McAdam’s flamboyant Effie Trinket proved a comedic fan favourite in the first film and this time she adds surprising heart to an already likeable character.
Since the release of the first Hunger Games film Jennifer Lawrence has become a household name, won a deserved best actress Oscar, and established her place as an undisputed superstar of her generation. In Catching Fire she easily reaffirms her abundant self-evident talents and delivers a performance equally physically and emotionally convincing. She portrays Katniss as a heroine that is both believably traumatised and battle hardened.
Katniss is neither an invincible superhero nor a hysterical damsel in distress. It’s a refreshing change from the two polarised extremes which female leads are so often shoehorned into by summer blockbusters. Her stoic determination in the face of fear makes her admirably courageous. She’s an inspirational bow wielding heroine who isn’t ever defined or limited by any of her relationships with men.
The Bad:
It’s difficult to find much fault with Catching Fire. It may take quite a long time to find its way back into the familiar life and death peril of The Games, but it’s time well spent. The film may be lengthy but it deliberately builds tension and momentum during the hour plus it takes to reach the 75th annual Hunger Games. It’s reassuring that the film never simply repeats what already impressed audiences in the first film. It has a structure, pace and grandeur which is entirely distinctive.
Fans unfamiliar with the book may perhaps be disappointed that the Twilight style love triangle between Katniss, Peeta and Liam Hemsworth’s Gale remains a comparatively minor part of the story. Anyone hoping for a fresh fix of melodramatic angst ridden romance will need to look elsewhere. However, that is almost certainly to the ultimate credit of the franchise.
Like the first film, Catching Fire does not shy away from necessary moments of anguish and despair. Whilst those painful losses and bleak moments are a vital part of the story, no doubt more sensitive audiences may find them uncomfortably heart wrenching. Catching Fire is far less reassuringly feel good than other more safely sanitised teen franchises.
The Ugly Truth:
The Hunger Games Catching Fire is a dramatic statement of intent from a franchise that had already made such a promising transfer to the big screen. New director Francis Lawrence steers an impeccable cast towards compelling performances and flawless visual spectacle. Make sure to hurry to the cinemas to catch Catching Fire and the odds will most certainly be in your favour.
Check out full world premiere video interviews below with the cast, including Jennifer Lawrence, Liam Hemsworth, Elizabeth Banks, Jena Malone, Sam Claflin and Josh Hutcherson below:
Only Lovers Left Alive Review
The Plot:
Adam and Eve are two centuries old vampire lovers reuniting after some time apart, in an effort to sooth reclusive musician Adam’s growing disdain for mankind and despair for the future. Their blissful domestic reunion in Adam’s dilapidated home and on the dark streets of Detroit is however, rudely interrupted by the arrival on Eve’s sassy little sister Ava.
The Good:
Tom Hiddleston has emerged from his role as mischievous comic book villain Loki as an undisputed global superstar. His soft spoken wit and piercing stare is a magnificent fit for melancholic vampire Adam. Hiddleston gives a sensitive and subtle performance as he prowls around Adam’s decaying home, brooding beneath tussled jet black hair. It’s a sharp reminder that his broad range stretches well beyond fan favourite Loki.
Tilda Swinton is an actress with a naturally ethereal and other worldly quality, rarely if ever has it been put to such effective use as in this performance. Beneath a flowing mane of bleached blonde hair she is the perfect visual and emotional counterpoint to Tom Hiddleston’s Adam. Eve’s enthusiastic optimism instantly balances out Adam’s sullen melancholy.
Swinton and Hiddleston create a remarkable chemistry together, depicting a fascinating portrait of a centuries old marriage. Eve and Adam share a convincing dynamic of casual understanding, tenderness, occasional lust and mutual obsessions. Their lethargic approach to existence seems entirely appropriate for creatures unconcerned with the pressures of human mortality.
Alongside the electrifying central paring, John Hurt and Mia Wasikowska add an extra dimension of colourful personality to the film. Wasikowska is effectively precious and irritating and Eve’s immature vampire sister. Meanwhile John Hurt adds some gravel voiced gravitas to proceedings as an immortal Christopher Marlowe.
Director Jim Jarmusch has a cult following based on his flair for charismatic slow paced storytelling and distinctive visual style. Only Lovers Left Alive echoes much of his finest work like Ghost Dog and Broken Flowers. The film has a languid pace, but it’s consistently thoughtful and packed with wry dark humour.
As with many of Jarmusch’s films Only Lovers Left Alive embraces the full awesome power of music with a soundtrack that enhances the scenery and characterisation in a way dialogue and visuals alone never could. It’s an expertly deployed tool for setting a subtle tone for the film and uniting the radically different landscapes of Detroit and Tangiers.
Set entirely at night, for obvious reasons, the film has dark magical quality to its visual that lends an added air of gothic romance to proceedings. Even the decaying urban wasteland of an abandoned Detroit has a strange excitement about it in the dark corners of the night.
The Bad:
Those unaccustomed to Jarmusch’s unhurried style of storytelling may perhaps find the film a little slow moving. Likewise those searching for Twilight style romantic melodrama or hoping for genuinely scary Vampire horror may both be left disappointed. In truth Jarmusch panders to neither stereotype and his creatures of the night are very much full and complex characters in their own right.
The Ugly Truth:
Only Lovers Left Alive is a seductive gothic romance of the highest caliber; boasting magnetic performances, black comedy and a well-chosen soundtrack. Director Jim Jarmusch successfully reclaims Vampires from the clutches of young adult fiction and restores their brooding menace and lust.
Check out our interview with star Tom Hiddleston on the red carpet at the London Premiere as part of the BFI London Film festival 2013: