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Tag Archives: Neckshot

21 Jump street: two useless police officers are assigned to a revived ‘undercover‘ branch of the department. The film’s lucky in that it has two genres to mashup and play with – buddy cop and high school – which it does effectively, although the school element is far, far funnier. The first hour is fantastic, catches you off guard, full of well-observed school humour, and ‘random’ comedy (Korean Jesus, trippy drug scenes etc) – I almost choked at one point. It does however deflate and lose its magic in the second half as it frantically ticks all of the boxes you’d see in a bog-standard cop-buddy story arc. Jonah Hill is funny, but well within his comfort zone; Channing “is there anything he can’t do” Tatum is comedy gold – he hinted at this by being the only good thing about last year’s Dilemma, but this is a whole other level – show stealingly good. For additional smartness there’s a nice run of meta jokes about recycling ideas & humour, and loads of movie tropes – these can be found in the car chase and party scenes. With an emphasis on off-the-wall humour, and a genuinely funny script paired with some great improvisation, 21 Jump Street is a solid contender for comedy of the year.

Score: 7.5/10

The Interceptor: [Blu Ray] [not even going to try to explain the plot here]. It boils down to being a hardcore Sci-Fi picture featuring the paranormal, supernatural, people from another realm… and that’s just the headlines. It starts with a dude jumping out of an exploding plane, and has similarly insane and impressive stunts for the duration. The action’s handled and executed very well – edited perfectly with long steady takes so you know what’s actually happening! (Speedboat chase / huge fight scenes and generally a shitload of car-flipping stunts) To balance out the awesomeness there’s an overdose of artsy-fartsy dreamy sequences that don’t really make much sense, or advance the story much, but nevertheless look pretty. There’s Assassins creed style visuals with symbols and glyphs all over the shop, an overload of suits ‘n’ shade dudes, and a few hotties thrown in for good measure – put everything together and it’s a nerds wet dream. The BD picture detail is stunning and the minimal pallet ensures that any colours leap out; the sounds solid enough too, particularly in the action sequences. After Nightwatch and Daywatch it’s strange that Russia’s biggest films still go down the Black Vs White, Good Vs Bad… route. A more technically proficient, stylish and insane film you could not ask for – a simpler story, you could.

Score: 5.5/10

13 Assassins: a group of chosen samurai are tasked with killing an evil lord, for the future of Feudal Japan! The first hour is intense, but slow-paced – perked up with some token Takashi maddness / grotesque violence. Then you have the 45 minute long action scene, which starts as a tactical battle but quickly turns into a bit of a generic hack-and-slash – and you don’t see much action, just swords flying and splatter sound effects. Takashi does a good job of playing up / emphasising what outsiders most associate with japan: shogun, samurai, dynasty, honor, respect, code, infatuation with death etc… almost to a patriotic level. The biggest downfall was the focus and development of all 13 characters, which doesn’t count for much when they all have the same outfit, haircut and are pretty blurry in the battle. 13 Assassins is a solid ‘against-the-odds’ type story, but collapses a bit under its own grand finale.

Score: 6/10

Blitz: a crazed killer is knocking cops over like skittles in London, but focusing only on one police station…  Story-wise, this follows the tried and tested formula featuring an alcoholic on-edge loner cop, a really bad man and some cat-and-mouse games. It looks quite good, but because of the story and realistic feel you’d associate it more with TV shows like The Bill or Luther. Action scenes are the only parts that remind you it’s a movie, although there’s a cracking chase sequence and several brutal / graphic incidents executed really well. Considine is great (as always) in an understated hero cop role, Gillen does a solid bad guy and Statham nails another Statham-type role, although he’s a bit grittier than usual. There’s absolutely no new ground covered, but for a solid cops vs cop killer story this is a cracker.

Score: 7/10

Face/Off: is what happens when John Woo makes a film about a cop and a baddie swapping bodies. The rule is that any film that opens up with a double-assassinaton attempt, fake moustaches and a kid getting shot is going to be great. The first 40 minutes are filled with ridiculous over-acting and pseudo-science; a fully working face swap, really?!? Neither actor can pull off the madness of Caster Troy convincingly and when he wasn’t making ridiculous noises and faces, Cage was trying his damndest to un-act.  Then there’s the action, and Face/Off is crammed with huge slabs of over-the-top action, culminating in the apartment shootout carnage with ‘Somewhere Over the Rainbow’ pumping through the speakers; one of the most epic and intense action scenes I can remember. Because both guys’ families are in danger it makes the story more gripping. There’s a lot of face touching, religious symbolism and bad parenting throughout (what ever happened to the hot goth Dominique Swain?). Despite the cheese and clichés this is my top action film of the 90′s, perhaps ever. If you’ve not seen this yet, where have you been hiding?

Score: 7/10

Shooter: ex-sniper with a vanishing pony-tail (stupidly) gets caught up on the wrong end of a presidential assassination attempt. The politics and explanations in this were so clichéd and had so many twists / conspiracies that Michael Moore could have written it. Wahlberg’s not exactly on form, and pretty much mumbles his way through the majority of the script, which is heavy on the sniper talk – giving the film (and Swagger) authenticity. The best thing about this film was the action, and although there’s not loads, it’s was about quality over quantity – especially the cottage shoot-out and counter-sniping scenes. The ending feels totally rushed, with everything being cleared up in about two minutes flat. It’s an OK flick, but ends up way off target.

Score: 4/10

 

Gran Torino: Clint Eastwood’s acting swan song, where he cast himself as a lonely raging Polish bigot that spoke like the new batman and spent the whole film pointing guns and swearing at ethnics. He was happy to put differences aside for some beer though! The heavy handed racism makes the film hard to watch at times, and feels pretty excessive – not unlike Crash. The more times you see a frail pensioner stand off against gangs the less realistic the film felt. It’s great to see his relationship grow with his new friends but it takes a long time to kick in and the last scene, although epic, is pretty contrived – the film’s essentially an urban / modern Western. It’s a simple and powerful story, but it is full of stock characters and trundles along at a snail’s pace. His acting’s spot on, but overall the film’s missing some depth. As a comparison, it doesn’t have much on Mystic River.

Score 6/10

Assembly: an epic Chinese film of one man’s struggle through two wars and his quest for recognition of his fallen soldiers. The first 60 minutes of the film shows 4 battles, 3 of which are so realistic that it makes Private Ryan look like a scouts training exercise – the only downfall is they cranked the ‘shaky cam’ up to advanced Parkinsons level in the first one. Some great suspence sequences leading up to the fights. The second part of the film drags on a little as the story weakens but the acting / cinematography / Chinese scenery keeps it more than watchable – and the ending picks up a bit. It’s brutal but humane, and Zhang Hanyu’s performance is utterly jaw-dropping.

Score: 7.5/10

Children Of Men: Undeniably one of the best movies of 2006. Can’t really say too much without giving the story away other than it’s the perfect combination of plot, action, violence and cinematic genius. When I saw this first time round I was absolutely lost for words. The story’s bleak, but believable. Technically, this film is astounding. A lot of the key scenes done as single-takes, peaking with an 8-minute war shot that will leave your jaw in your lap. Some people will no doubt think that it’s too slow, but for me, it was just a great, well-told story. All the little details (posters, adverts, background chat) add greatly to the realism. The acting’s also top-notch, even Michael Caine, who I almost exclusively dislike. See this film at all costs, but make sure it’s on a big TV to get the full effect.

Score: 9/10