Red, a sort of adaptation to DC Comics’ limited comic book series of the same name, was released two years ago to modest box office success and lukewarm critical reception. You’d think, then, that the sequel, which sees Dean Parisot assume the directorial reigns, would iron out the issues that plagued its predecessor. Unfortunately, that’s simply not the case, and Red 2 ends up being as nonsensical, irritating and lacking in credible narrative as Red was. Continue reading “Review: Red 2 (2013)”
After the crossover and award winning success that was Drive, writer and director Nicolas Winding Refn returns with polarising revenge thriller Only God Forgives. Arguably more in line with Valhalla Rising and Bronson than the aforementioned thriller, Only God Forgives is likely to alienate audiences with its fever-dream narrative state, but bewitch them nonetheless with its vivd visual style, lurid tone and Cliff Martinez’ stand-out score. Continue reading “Review: Only God Forgives (2013)”
Released in the late summer of 2011, Raja Gosnell’s The Smurfs made an astonishing (and not to be snivelled at) $560 million at the worldwide box office, despite a lukewarm critical response. So, in that respect, The Smurfs 2 seemed inevitable. And, without doubt, a mere two years later and Belgian comics artist Peyo’s little blue fictional creations are back for another cinematic adventure that rehashes the formula that proved so fruitful the first time around. Continue reading “Review: The Smurfs 2 (2013)”
Marking Guillermo Del Toro’s first directorial effort since Hellboy II: The Golden Army (he was originally attached to direct The Hobbit: An Unexpected Journey before departing due to MGM’s financial difficulties), Pacific Rim is a surprisingly sprite blockbuster that works well as a throwback to the classic 1950s and 60s Japanese monster films, but is ultimately let down by a calculable narrative, questionable performances and over-the-top action. Continue reading “Review: Pacific Rim (2013)”
In light of Bridesmaids’ worldwide success, director and former Sabrina The Teenage Witch actor Paul Feig continues in his efforts to shift emphasis onto female comedic talent with mismatched buddy comedy The Heat. By embracing and paying homage to its roots, and combining the talents of those in front of and behind the camera, what transpires is mostly solidly entertaining, but not nearly as commanding or edgy as it assumes it is. Continue reading “Review: The Heat (2013)”
Nine years after the release of Shaun Of The Dead, and five years after Hot Fuzz, The Three Flavours Cornetto trilogy draws to a sufficient, if unexceptional, close with The World’s End. Reuniting director Edgar Wright with stars Nick Frost and Simon Pegg, The World’s End is an amusing, heartwarming and nostalgia-filled comedy adventure that works well at the time, but leaves little to chew on once the end credits have rolled. Continue reading “Review: The World’s End (2013)”
The sixth instalment in the X-Men franchise, and the second to focus squarely on the eponymous clawed mutant hero, The Wolverine sees director James Mangold assume the reigns and deliver a decidedly more muted and classically-styled film. It’s a brave move that results in a more relatable story, yet one that’s ultimately let down by the unconvincing amalgamation of styles, questionable performances and an all-too stretched run time. Continue reading “Review: The Wolverine (2013)”
Acclaimed director Sofia Coppola, known for depicting the lifestyles of the rich and famous through films such as Lost In Translation and Somewhere, uses her new feature The Bling Ring to tap into the obsession modern day teens have with celebrity culture. Potent in its candid and uncomfortable subject-matter (the script is based on real life events as recorded in Nancy Jo Sales’s 2010 Vanity Fair article The Suspects Wore Louboutins), the film finds itself being necessary despite its issues. Continue reading “Review: The Bling Ring (2013)”
Writer-director Chad Hartigan follows up his softly received directorial debut Luke And Brie Are On A First Date with This Is Martin Bonner, a thoughtful, well-acted and subtle character drama that scooped the Best of NEXT Audience Award at this year’s Sundance Film Festival. It’s minimalist and quiet, sure, but that’s what enables this film about two elderly men experiencing dramatic changes in their lives to be such a welcome surprise and linger in the mind long after the end credits roll. Continue reading “EIFF 2013 Review: This Is Martin Bonner (2013)”
Disney•Pixar continue their long-standing tradition of unveiling their new films at the Edinburgh International Film Festival with Monsters University. The prequel to Monsters, Inc., Monsters University bears the unfortunate task of being a sequel to one of the studios most adored, original and hugely successful efforts. And, while it sadly never reaches the heights of its predecessor in terms of intelligence and ingenuity, it’ll win audiences over nonetheless with its abundant charm and wit. Continue reading “EIFF 2013 Review: Monsters University (2013)”
Empty Screens 