Is that Fast & Furious 7? No. It’s Need for Speed.

How many films can you really have about criminals racing cars? Obviously Dreamworks felt like seven (and the inevitable eighth, ninth and probably tenth) Fast & Furious films just weren’t enough to satisfy the public – the majority of whom complain about the great success that recent installments of Fast & Furious have had. Therefore, they have decided to take on the established franchise with their own, born from video game (always a recipe for success *rolls eyes*) effort. There is one major difference though: the tone.

 

 

From that short trailer you can already see a difference between Need for Speed and the films of Fast & Furious. While Fast & Furious has always tried to beat home serious themes of family it has always been hid behind a slightly tongue in cheek atmosphere, never more so than in Fast Five and Fast & Furious 6. However, with Aaron Paul giving a voice over and laying out the films premise it seems that there isn’t going to be much room for jokes in Need for Speed and seems to be more about a rivalry while giving the police and the crime section more serious undertones.

Aaron Paul’s casting also suggests a difference. Fast Five is probably the best film of the series so far but look at the cast; how many of those actors would look out of place in anything that wasn’t Fast & Furious? Can you really imagine Ludacris, Sung Kang or Gal Gadot in anything serious or better than the Fast & Furious franchise? No, of course not. But here Aaron Paul is one of the hottest names in television thanks to Breaking Bad and is one of the best up and coming actors around Hollywood at the minute. He has more drama in his little finger than the entire cast of the first Fast & Furious film. He’s paired up with Dominic Cooper (and anyone who has read my blog before knows how much I like him) and Imogen Poots, as well as Hollywood heavyweight and former Dark Knight, Michael Keaton.

 

But then there’s the almighty downfall of Need for Speed and why it probably won’t do well. Here’s the premise from IMDB for Need for Speed: Fresh from prison, a street racer who was framed by a wealthy business associate joins a cross country race with revenge in mind. His ex-partner, learning of the plan, places a massive bounty on his head as the race begins. This sounds a lot like an early Fast & Furious film, in particular it reminds me of 2 Fast 2 Furious. Since Fast & Furious gave itself a kick start with number four it became a lot more successful with audiences and critics alike and what was different in Fast & Furious (unfortunately the name of the fourth film as well as the franchise) to its predecessors? It was no longer really about the racing. Street racing or racing on the whole just wasn’t drawing in the audience so it was time to freshen things up in what is probably one of the best decisions in blockbuster history (maybe an overstatement, maybe not. You decide). Bringing standard racing back as the main story just doesn’t sit well with me.

I do hope that Need for Speed is a good film and I hope it brings in an audience (purely for Aaron Paul and Dominic Cooper, not for the prospect of sequels) but I just can’t see it happening.

5 Guys. 12 Pubs. 50 Pints? The World’s End Review

Edgar Wright, Simon Pegg and Nick Frost are back together again for the third in their “three flavours Cornetto” trilogy. After the massive success the trio have had with zombie flick Shaun of the Dead and cop film Hot Fuzz, expectations are set high for their attempt at science fiction; can The World’s End possibly be as good as the two films that preceded it?

Simon Pegg (who also shares writing duties along with Wright) plays Gary King, an alcoholic who is desperately trying to recapture his lost youth by returning to his childhood town of Newton Haven to complete “The Golden Mile”, a twelve bar pub crawl ending at The World’s End which the group never managed to finish first time round in 1990. To do this, Gary reunites his old friends, who just so happen to be some of the best actors in Britain which certainly does no harm to the film: Andrew Knightley (Frost), Steven Prince (Paddy Considine), Oliver Chamberlain (Martin Freeman) and Peter Page (Eddie Marsan). Against their better knowledge the group decide to rejoin Gary for this mission, but when they get to Newton Haven they realise that they may be Earth’s only hope against a mysterious enemy.

The World’s End begins with a quick round up of the backstory: we are given glimpses into the five friends’ school and social life and a brief roundup of their first crack at the Golden Mile and how unsuccessful it ended up. Whilst there are a few sniggers here and there it serves less as a tool for comedy and more just exposition. It is not until Simon Pegg appears on the screen that the big laughs arrive and, to be honest, with Pegg on screen the laughs never seem to stop. His performance is up there with the best comedy performances of all time, he lives within the character, his charisma is unmatched and everyone can empathise with him: this is a guy who (it seems like) never wants to grow up, he’s trying to relive his youth, be the free spirit that he longs to be and not fall into the organisation of civilisation. It’s a great character turned brilliant by Pegg’s performance, cementing him as Britain’s best comedy film export of the modern era.

While the laughs are big, the action is also blood pumping. The five central actors aren’t necassarily people you would associate with being action stars or even carrying out any form of major fight scene but they more than hold their own here. Pegg and particularly Nick Frost excel themselves in the action sequences which are handled every bit as well as the comedy moments. The two best fight scenes are the ones that take place in the toilets, which allow for great fights in such a confined area, and in The Beehive against Pierce Brosnan (what is Pierce Brosnan doing popping up here?) and the townspeople.

It’s impossible not to like The World’s End. A lesser film would have lost it’s way when taking the turn from straight out comedy to science fiction but this is something that Edgar Wright embraces. Breadcrumbs are left all over the place, foreshadowing the reveal and, what’s more, you’re made to really care about the characters and believe in these people which also helps you go along with their journey. Even before the science fiction element occurs and the five friends are sat around, catching up there’s a lot to enjoy just because of the realistic element to it. It does feel like you’re sat in the pub with them: they’re just five normal guys in a pub, easily recognisable and easy to enjoy.

The World’s End is very close to a perfect comedy: it has likeable characters, great charisma and flair, wonderful performances from great actors, jokes that never end, running jokes that continue throughout, references back to Hot Fuzz which is a particular enjoyment and it has Simon Pegg in the form of his life. However, the end (quite ironically) is where the film falls from perfection.

Once at The World’s End, the heroes are confronted with the leader of this invasion (voiced by Bill Nighy) and there is a lot, and we’re talking huge speeches here, of exposition to get through. It seems like Wright and Pegg have tried to create a well rounded villain with a real motive which doesn’t quite pay off (and this comes right after the reveal of Gary King’s motives for wanting to return which is surprisingly touching and not really given enough time). Instead of giving a 2D villain with some plan you’ve heard before you’re confronted with the leader of this invasion talking out all of his plans and reasons as to why this has taken place. Credit has to go to the pair for attempting this, for trying to be different but it just never really brings the punch that you’re anticipating throughout the rest of the film. Luckily, Pegg and Frost do provide enough laughs in this segment that you can sort of overlook it but that let down does tarnish the film slightly.

Saying that though, it seems almost impossible to deny that this is a comedy film very close to perfection and one of the best British comedies of all time.

My Rating: 9/10

Monsters University Review

With Monsters University, Pixar attempts to take back the crown as the best animation studio out there, a title that seems to be swaying towards Illumination Entertainment after the success of Despicable Me and its recent sequel. To prove they have not lost their magic touch, Pixar have brought back a winning pair, second only in animation to Pixar’s own Woody and Buzz, Mike and Sulley. University looks at the events that forced the two loveable monsters together and what made them the record breaking team that we first met in Monsters Inc more than ten years ago.

“I’m gonna be a scarer!”

Returning characters Mike Wazowski (Billy Crystal), Sulley (John Goodman) and Randy (Steve Buscemi) are all back, joined by a host of new talent. The primary new characters are mature student Don (Joel Murray), Squishy (Peter Sohn), two headed monster Terri and Terry (Sean Hayes, Dave Foley) and the unpredictable Art (Charlie Day). These new monsters make up the fraternity Oozma Kappa, the fraternity that Mike and Sulley are forced to join in order to compete in Dean Hardscrabble’s (Helen Mirren) Scare Games to prove they have what it takes to be the best scarers on campus and win their place back in the University as a scaring major. But with personal rivalries and an overall lack of scariness about their new friends, will Mike and Sulley have what it takes? The answer seems almost predictable what with this being a prequel, but what’s important is the journey.

 

While Monsters Inc was arguably Sulley’s moment in the spotlight, University is all about Mike Wazowski. We’re introduced to the adorable one eyed monster as a child on a field trip to Monsters Incorporated where he gets his first glimpse at the scare floor and realises his ambition in life is to be working there in the future. This short opening sequence opens up a whole load of strings to Mike’s bow; he has an ambition, he has a background, he has room to grow and learn right from the off, and by the end of the film Mike Wazowski comes out on top as one of Pixar’s considerably best characters to date.

“I can’t go back to jail”

Sulley, however, does not come off that well: arrogant, cocksure and generally that guy in class who seems really big headed who nobody really likes. Saying that, though, watching Sulley and Mike’s friendship blossom over the course of the (near two hour) movie is something very enjoyable, even though at times it feels like Sulley doesn’t really deserve Mike’s friendship. It is not until the final sequence that he really earns any respect or likeability, but more on that sequence later.

 

Monsters University isn’t really any different to any other college movies, using tropes and plot points to move the story along in the expected fashion. But then occassionaly it veers off the path into the realm of the unknown. It would have been very easy to head straight towards the beginning of Monsters Inc but that’s not what Pixar went with; it would have been even easier to end with Oozma Kappa winning the Scare Games and everything having a happy ending but that’s not where they went either and credit has to go to Pixar for their wonderful storytelling.

“I’m going to wipe the floor with that little know-it-all”

The animation is wonderful. Everything is turned up by ten on the colour scales and the creativity to come up with so many different monsters is really unparallelled. If nothing else, this is beautiful to watch. Things take a darker (both in tone and aesthetics) turn when Mike and Sulley risk their lives journeying to the human world. This wonderful sequence brings the two characters together in a really heartfelt exchange of words and shows great comradery between the two as they work so well with one another to get the better of the humans, playing to each other strengths: highlighting the ups and downs of friendship being worth all that hassle if at the end the two parties come out stronger as one than they were on their own.

 

There seems to be an unwritten rule that if you laugh out loud five or more times at a comedy then it’s definitely worth recommending to someone else. I can’t remember a moment when I stopped laughing while watching Monsters University; there was joke after joke, all aimed at a midway between child and adult so that everyone could share in the joy. There were fantastic set pieces, big laughs and really tru touching moments of a bond forming between lifelong friends.

“You’re just not scary”

It seems unlikely that we’ll get another Monsters prequel and it’s probably best if we don’t get a sequel. Monsters Univeristy never quite matches the original but it compliments it wonderfully.

 

My Rating: 8/10

Now You See Me Review

A star studded cast embark on a game of cat and mouse as the FBI and Interpol attempt to catch four magicians who use the disguise of their magic show to conduct bank heists and give the stolen money to their audiences. This band of magicians are known as The Four Horsemen and are each solo artists brought together by a mysterious hooded figure and a series of tarot cards. When together the group pull off these bank heists as a way of being allowed entry to an exclusive group of magicians known as ‘The Eye’.

“The closer you think you are, the less you’ll actually see”

The film opens every bit as you might expect: introducing the four characters separately, allowing for the audience to quickly get to know them and acknowledge their traits before they are put into the group dynamic. Up first is street magician J. Daniel Atlas (Jesse Eisenberg) whose opening trick is cleverly conducted to work on the audience as well; then comes Merrit McKinney (Woody Harrelson), a mentalist who uses his ‘gift’ to find out dirty secrets about people and extort them of their money. The only female member of the group is Henley Reeves (Isla Fisher), an escapologist and former assistant to J. Daniel Atlas. These three are joined by the only one of the magicians whose actual tarot card links to the Four Horsemen of mythology: Jack Wilder (Dave Franco) who seems to be more like a con artist than magician. These opening scenes are every bit as exciting as you would hope and introduce our heroes as being likeable characters, so much so that it has you gripped form the very beginning.

Jump one year later. Now we’re in Las Vegas watching the Four Horsemen put on a show under the watchful eye of benefactor Arthur Tressler (Michael Caine) and magician defrauder Thaddeus Bradley (Morgan Freeman). Here it is that the magicians pull off the bank heist that gets them noticed by the FBI. However, what the audience will notice is just how long this scene drags out and unfortunately it isn’t the only one. As with the case with real life magic shows, the magicians tend to lengthen things out, giving long speeches and explaining what they’re going to do before they do something completely different. While this may be all fine and well at real magic shows, when you have less than two hours on a cinema screen some of the waffle has to be cut down.

“These guys, they’re tricky”

But then that’s why Jesse Eisenberg impresses the most. If it wasn’t for Eisenberg’s charisma then perhaps Now You See Me would run the risk of being slightly dull, but every time Eisenberg appears on screen he hastens up the pace (if not only for his fast talking) but he inhabits the character; it feels like Eisenberg is the only one who has done his research and knows about magicians… which isn’t really surprising considering he was the first name attached to the project.

The other horsemen each have their own moments of glory (although arguably Isla Fisher’s comes at the beginning and never really rears it’s head again) with Harrelson providing a few sporadic laughs throughout, while Dave Franco provides one of the most exciting sequences of the piece in a fight scene with FBI agent Mark Ruffalo where trick mirrors, slight of hand and playing cards all come into use. It really stands out as one of the best action scenes of the summer which is remarkable considering the strength and special effects of the other blockbusters such as Iron Man 3 or Star Trek Into Darkness.

“Want to know how they did it? Just say the magic word”

While each individual actor gets their moment in the limelight at one point or another, it is a slight downfall that the four central characters seem to have very little chemistry with one another. The conversations at times seem jarred and the jokes not as free flowing as you would expect. Perhaps the worst part of the film is the completely unbelievable relationship between Mark Ruffalo’s character and the Interpol agent played by Melanie Laurent. Even the two actors don’t seem invested in that storyline.

Throughout the film there are (almost too many) hints towards the fact that there is going to be a twist so part of the fun comes from guessing what that twist is going to be. There is a little foreshadowing throughout but the reveal should still come as a surprise. It’s a great idea, but arguably poorly executed which is where it is going to be let down. However, this is just a small problem compared to the plot holes scattered throughout the plot and the pointlessness of Michael Caine’s character.

“First rule of magic: always be the smartest guy in the room”

Had it been released at any other time of the year Now You See Me could have very easily run the risk of bombing in the box office. But this is summer and people expect certain things from a summer blockbuster: they want to laugh, be entertained, see great action sequences, wonderful set pieces and big budget effects. And that’s what Now You See Me can deliver. It has it’s flaws but all in all is a thoroughly enjoyable film that can be filed under ‘hit’ for director Louis Leterrier.

My Rating: 6/10

What to Watch – July 2013

With most of the biggest summer films come and gone already, it is down to Pixar, giant robots and the least anticipated superhero film of the year to vie for audience attention.

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Now You See Me – 3rd July

A star studded cast embark on a world wide game of cat and mouse to catch a group of ‘Robin Hood like’ magicians turned bank robbers in Now You See Me, which is by far the most exciting film on this list for me.

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The Bling Ring – 5th July

From Sofia Ford Coppola comes The Bling Ring, starring Emma Watson (albeit sounding like an American brat). Inspired by true events, a group of teenagers begin stealing from the rich and famous Hollywood socialites… the whole story is in the trailer pretty much.

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Pacific Rim – 12th July

After what many critics have called ‘the best trailer of the summer’ Guillermo Del Toro’s homage to Japanese monster films has a lot to live up to. And there don’t seem to be many people that think it will fail.

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Monsters University – 12th July

This will be the film that either reassures everyone that Pixar’s last couple of years were just a blip, or confirm what many people fear: Pixar are declining. Hopefully, as Monsters Inc. is probably my favourite Pixar film, the former will be proved correct.

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The World’s End – 19th July

Simon Pegg looks like he’s in the form of his life with the final installment in the Cornetto trilogy. Joined by a rich supporting cast it looks as though Wright, Pegg and Frost will be bowing out in a no less than exceptional manner.

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The Wolverine – 25th July

In a film that not many people want and fewer are excited about (other than me who is quite looking forward to it) Wolverine is taken on his most human and darkest screen voyage to date. However, the main problem here is: if you make Wolverine mortal, surely he dies straight away due to his body being filled with adamantium? But after the massacre to the X-Men film universe that was Origins, I suppose that doesn’t really matter?

Brad Pitt’s ‘World War Z’ Review

After a highly publicised problematic time in production which included delays to the release date, location changes, problems with the Hungarian government and new writers being hired to rewrite the ending, World War Z has finally been released in cinemas.

World War Z is a globe trotting apocalyptic action adventure about the human race’s battle for survival against the fast spreading disease turning people to zombies. At the centre of this ‘war’ is Gerry Lane (Brad Pitt), a former UN investigator who is forced to return to his old job to help locate the source and a cure for the disease in exchange for the safety of his family. Lane’s journey takes him all around the world, from South Korea to Israel and eventually to Wales where he hopes that he can find a way to prevent the disease from spreading any more than it already has done.

The film opens with a brief introduction to Gerry and his family life, his wife and two daughters providing the emotional attachment to the central character who identifies with the audience as this sympathetic family man. And about ten minutes later World War Z erupts with excitement and begins to roll at breakneck pace with the attack on Philadelphia setting the bar very high as the, albeit poorly CGI’ed, zombies launch a full scale attack and Marshall law is enforced. The Lanes manage to escape to an apartment block, where Pitt gets to excel in a more action oriented role and takes out several more zombies, before they are saved. And Pitt is eventually landed with the mission of saving the world.

So with the world’s hope weighing heavy upon his shoulders Pitt takes the journey to South Korea and things show no signs of slowing down. As soon as they step off the plane zombies arrive and death follows closely behind. Inside the safe haven Pitt receives information from a random prisoner who seems to have no purpose other than to make sure Pitt ends up going to Jerusalem (pretty convenient that he was there really). This prisoner also offers a really clever but subtle insight into how other countries are dealing with the epidemic: North Korea have extracted the teeth of all of its civilians to stop the disease spreading through bites.

In Jerusalem the battle wages on and on and here is where Pitt teams up with an annoyingly trigger happy Russian soldier played by Daniella Kertesz. The action here in Jerusalem is really exciting and the pace of World War Z never seems to let up even for a minute throughout the first hour. However, once on the plane (a really really fantastic scene somewhat ruined by the fact that it is in ALL of the trailers) the film seems to take a twist of direction and the pace slows and an attempt to inject some real drama replaces it; the only other signs of drama coming from Pitt’s on screen wife holding a telephone and hugging her children.

 

On the plane you get this sort of “previously on World War Z” segment where you are shown once more the bits that you thought were unimportant from the first half of the film and why they are important now, as Pitt cleverly pieces together the clues as they land in Wales (of all places) to put an end to the spreading of the zombie disease.

The final act which takes place in Wales is not at all bad, but it slows the pace so much that it seems a far cry from the beginning of World War Z. Here, suspense is built and the film begins to seem like it is being character driven rather than action driven with Pitt becoming a much more engaging character at the end that he has been before. There are some places in which it seems like the zombies don’t really pose a serious threat but these are made up for with some great fight scenes throughout and a genuine fear portrayed by other cast members.

There seems to be a growing argument around the internet that Damon Lindelof can not write a good ending. And with the climax quickly tied up in a not too neat monologue delivered by Pitt there seems to be more ammunition to fire at the writer. With a really entertaining first half, a slightly weaker but still engaging second half it is more than worth the poor ending. Brad Pitt’s proves that he alone can still be a box office draw and, even at fifty years old, the world is still a safe place in his hands.

 

My Rating: 7/10.

Man of Steel Review

In 2006, Warner Bros. and DC decided to reboot Superman (at the same time as tying it in to the original films) with the help of Bryan Singer and Brandon Routh. Despite doing well both critically and commercially (the ninth highest grossing film of that year worldwide) any plans of a sequel were put to rest as the studios bowed down to fans’ criticism of the film. The studios have thrown caution to the wind this time with a sequel already reportedly being worked on and Man of Steel setting the groundwork for Justice League.

“Where do I come from?”

Henry Cavill is Clark Kent/Kal-El/Superman, sent to Earth during the destruction of his home planet of Krypton and raised on Earth by Jonathan and Martha Kent (Kevin Costner and Diane Lane). When what is left of the alien race return to Earth to find Clark and rebuild their own species from scratch, he is forced to choose between his heritage and his new home.

In something that has been given relatively little thought or sight on screen in recent years, Zack Snyder (the director being entrusted with the hopes and dreams of Justice League on his shoulders) plunges the audience right into Krypton’s destruction. The movie opens with some incredible special effects and a great sense of action as Jor-El (Russell Crowe) and General Zod (Michael Shannon) come to blows over the future of their planet. Man of Steel sets the bar high for its action sequences with Jor-El and Zod engaging in the first real teaser of the super powered fights that we are anticipating seeing the red and blue of Superman engage in.

“What if a child aspired to something greater?”

On Earth the excitement continues to grow as we follow Clark around in a number of jobs, from fisherman to barman, in which we learn more about the character and his selflessness; he quickly races off to save a crew from a burning oil rig. His adult life is interrupted with trips back to his childhood: Clark saving his class from drowning on a school bus, being bullied for being different, coming to terms with his abilities. You get the impression that you might actually care about this alien. Then Lois Lane (Amy Adams) is introduced and all the groundwork laid so far beings to unravel.

Unfortunately, you can’t really have a Superman movie without featuring Lois Lane in some capacity. And while she may have served a purpose previously as bringing out another human layer to Clark’s character, in Man of Steel she is little more than an annoyance and one of the most pointless characters ever. There was no need for her to be taken aboard the Krypton spaceship, it didn’t seem like Zod had any needs for her to be on board other than so she could learn how to stop them from destroying Clark and Earth.

“Welcome to the Planet”

The character development that started so promisingly disappears when Clark meets Lois. Just two or three meetings later and Lois now knows everything about Clark and the two of them have decided that they are in love. It just feels so underwhelming and undeveloped that you being to question whether some scenes have been cut from the final edit. It’s as if Snyder and David S. Goyer (screenwriter) have decided that because everyone knows Lois and Clark are meant to be together, that’s a good enough reason in itself for it to happen without any seeds being set for a relationship. And the kiss at the end? Cliche and forced. The relationship could have been allowed time to grow and be explored if pointless scenes asking us to care about 2-bit characters who have had 5 minute screen time weren’t shoe horned in.

Despite all this, Man of Steel does offer some moments of relief. The fight scenes are incredible; one on one fights scaling over miles of ground. The enormous difference between humans and Kryptons is there for all to see. Superman’s flight, his heat vision, x-ray vision (underused) and heightened senses are all portrayed wonderfully and the special effects live up to the films early promise.

“I will find him!”

There are good performances all round, Kevin Costner makes a true return to form, providing a really great performance with limited screen time. Cavill, Crowe and Shannon all perform as well as the script allows as well. One of the main criticisms levelled at Man of Steel is the inevitable loss of human life that seems to not affect Superman and this cannot be ignored.

We’re supposed to believe that Superman, of all superheroes, this moral beacon of justice and hope, is okay with charging through petrol stations, diving through skyscrapers and pummeling his way around a small town is doing this and giving no thought to the innocent people inside all these buildings that are going to die because of his actions? I don’t buy that. And when SPOILER Superman does kill someone, he has a few seconds to regret it before being rushed off screen so the end credits can take his place.

“What do you think?”

Overall, Man of Steel does provide entertainment, that much is certain. The special effects and big budget moments are really worth seeing. But it adds nothing new to Superman that hasn’t been seen before, leaving the unanswerable question: what was the point? Cavill has the potential to be the best Superman ever, but he needs a good script and brilliant story in the sequel to attain this.

My Rating: 6/10.

Scorsese and DiCaprio Reunite – The Wolf of Wall Street Trailer

UK Release Date: 17th January 2014

Stars: Martin Scorsese (director), Leonardo DiCaprio, Matthew McConaughey, Jonah Hill, Jon Favreau, Spike Jonze, Jean Dujardin

Plot: A New York stockbroker refuses to cooperate in a large securities fraud case involving corruption on Wall Street, corporate banking world and mob infiltration.

The partnership of Martin Scorsese and Leonardo DiCaprio have been responsible for some of the greatest films of recent years: Gangs of New York, The Aviator, The Departed, Shutter Island. They never bring a dud to the floor and this is why The Wolf of Wall Street is a must see already! It’s been three years since the pair worked together and now they’re working with a script from one of modern television’s great writers, Terrence Winter (The Sopranos, Boardwalk Empire).

Recently, Leonardo DiCaprio has been performing out of his skin with his performances in Django Unchained and The Great Gatsby earning him bucket loads of critical acclaim. The wonderful thing about his performance in the former is that he was allowed to just let loose and run with it: it looks as though he’ll be allowed to do the same here and it looks to be one of his more comedic roles…but just as brilliant.

A few years ago, Matthew McConaughey could only have dreamed of being in a film like this. Now, with resurgence complete, he seems an obvious candidate. Joining an all star cast in this biographical crime drama about the life of Jordan Belfort. Expect Oscar buzz, but whether nominations or wins will arrive remains to be seen.

Was that a DeLorean?

Killer Joe (2011) Review

McConaisance: when an actor famous for being the butt of many a jokes due to the nature of his films decides, for some unbeknownst reason, to season his career with incredibly serious roles…and actually does it well. Back in 2011, this is exactly what Matthew McConaughey did: along with The Lincoln Lawyer, Killer Joe helped transform McConaughey’s career in a matter of months and left audiences completely bewildered at the ‘new’ actor.

“If you insult me again, I will cut your face off and wear it over my own. Do you understand?”

When Chris (Emile Hirsch) has his stash of drugs stolen by his own mother, he concocts a plan with his father, Ansel (Thomas Haden church) and inconsequently his younger sister, Dottie (Juno Temple) to kill his own mother and cash in on her $50,000 life insurance. To do so, Chris gets in contact with ‘Killer’ Joe Cooper (McConaughey), a detective who moonlights as a contract killer. The agreement turns complicated when unexpected events occur and Joe takes a shine to Chris’ younger sister as collateral.

Right from the off, Killer Joe sets itself apart from any other film, introducing quite possibly the most dysfunctional family in the world as Chris is kicked out of his mother’s house and forced to stop with his father and step-mother (Gina Gershon) after, we suspect, beating up his mum. The rain batters down on the ground and sets the mood for the rest of the film. We are quickly rushed into a strip club for a conversation that should probably be happening not in a public place, but this is the second clue that Killer Joe is going to be exciting, different and anything but what you expect.

“This is going to get done, one way or another.”

McConaughey is soon introduced and as soon as he appears he steals the show completely. Long gone is the man who made his career by taking his top off (although he does have a couple of scenes with his torso on show) and making dodgy romantic comedies. He carries the film with so much intensity; no longer a joke but now someone who can genuinely scare you. The character of Joe Cooper is an interesting and complex one and McConaughey brings him to life perfectly, you won’t want to take your eyes off him for a second, even if you don’t agree with everything that he does.

McConaughey is supported by a really fantastic cast who all more than hold their own. Emile Hirsch as a kid with a lot of front but no real guts is great, Thomas Haden Church does a really understated job but Juno Temple is the other star of Killer Joe. As the annoyingly cute and naive Dottie, you really warm to her character as she seems like the innocent victim here when Joe decides that until he gets paid he’s going to be keeping Dottie’s bed warm.

“Why don’t you do us all a big favor and just go kill yourself?”

There are real horrific moments in Killer Joe: it’s an incredibly brutal, morally questionable story but handled so well by director William Friedkin. Some of the scenes are particularly hard to watch from a moral standpoint but the film does a wonderful job of pulling you in that you are willing to be shocked and willing to be, at times, disgusted. At the same time there are jokes planted throughout the script that bring a darkly comic feel to the tone and make you feel guilty for even considering laughing due to the nature of the film.

Killer Joe is adapted from a play and that comes across. There’s a small cast which is often confined to houses and shacks to really constrain the story. All of this is handled with so much intensity, every thing that happens will have your heart pounding. The dialogue is delivered (once again by McConaughey in particular) in a manner that is just so addictive, characters are so interesting that you have no choice once you start watching but to get to the end. And the end is one hell of an ending that will leave you thinking for hours to come.

“Your eyes hurt.”

One of the best films I have ever seen.

My Rating: 10/10.

Who Should Direct Bond 24?

With the success of Skyfall and Sam Mendes’ direction it appears that the James Bond franchise is now in an enviable position. For the first time in a few years, the director’s chair on the next Bond film is a coveted seat indeed and so far, only A-list directors are being linked to the role. So let’s take a look at the possible candidates…
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SAM MENDES

Bond 23, or Skyfall if you want to call it by it’s proper name, broke into the top ten highest grossing films of all time and was loved by audiences and critics alike. Part of that reason was the direction which was masterfully handed by Sam Mendes. Early reports suggested that Mendes had refused to return for Bond 24 but if you believe what you read, Mendes is right back in the frame and surely should be the first choice.

What to expect if Mendes directs? Brilliant character development and lots of Oscar buzz but no Oscars.
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CHRISTOPHER NOLAN

From Memento right through to The Dark Knight Rises, every one of Nolan’s films has been critically acclaimed. The Dark Knight, under Nolan’s supervision, is arguably the best film of recent years and one of the best of all time. A technically gifted director who puts a great deal of thought into everything he does, if he gets his usual team of Jonathan Nolan and Wally Pfister together again, it could be a masterpiece.

What to expect if Nolan directs? Bond will either be dreaming, a twin or… Michael Caine.
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ANG LEE

Ang Lee hasn’t had it all his own way since he began making films in Hollywood but he does hit more often than he misses. Sam Mendes became the first Oscar winning director to direct a Bond film, how do you top that? Employ a man who has two Oscars. Brokeback Mountain and Life of Pi both won Lee the Oscar for Best Director and would no doubt keep Bond at the elevated status Mendes has now given him.

What to expect if Lee directs? A touching love story between Bond and Q.
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NICOLAS WINDING REFN

Perhaps the least recognisable name on this list among mainstream audiences, Refn has had an extremely good few years. Since Pusher Refn has received critical acclaim and his 2011 film Drive became an instant classic and was loved for its character development and theme heavy plot. However, his most recent effort Only God Forgives has divided early audiences with its controversial content.

What to expect is Refn directs? Brutal fight scenes leaving Bond scarred for life on every limb.
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BEN AFFLECK

Affleck has not been linked with the director’s role… until now! Since shifting his focus from acting to directing Affleck has become hot property. Gone Baby Gone, The Town and the Oscar winning Argo have won Affleck a lot of fans, with his oversight for a nomination at the Oscars being one of the most controversial topics surrounding the ceremony this year.

What to expect is Affleck directs? Bond 24 to win Best Motion Picture but Affleck to not even be nominated.
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