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Non-Review Review: Safe House

Safe House is a perfectly fine international thriller, which manages to effectively capture the look and feel of its setting in South Africa. Light on plot and characterisation, but heavy on action and atmosphere, Safe House isn’t necessarily required viewing. In fact, it has a great deal of difficulty convincing the audience to emotionally invest in either of the two lead characters. Still, director Daniel Espinosa keeps things ticking over with a workman-like efficiency on a simple plot and Denzel Washington is as charming a leading man as ever.

Safe as houses…

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Non-Review Review: Devil

Devil actually has a pretty interesting B-movie premise, evoking the sort of cheesy thrill of an eighties horror. Six strangers are trapped inside an elevator… and one of them might be Satan. It’s a fairly straight-forward idea, albeit one that the script and direction needlessly complicate and convolute as they attempt to fill up the seventy-seven minutes. In many ways, Devil feels like something of a classic horror throwback, a simple high concept that relies on occasionally overstated jump scares rather than gratuitous gore or carnage. It’s not necessarily the best representation of the genre, but – if you can suspend your disbelief and live with the overwrought corniness – it’s an affectionate old-fashioned homage.

And things were just looking up…

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Non-Review Review: Julius Caesar (1970)

Julius Caesar is a very ropey production. Produced by Commonwealth United Entertainment and American International Pictures, it doesn’t stand up as an enduring adaptation of Shakespeare’s tragedy. While quite a few of the essential ingredients are lacking, Charlton Heston actually does a fairly good job as Marc Anthony – it’s just that he’s never quite as good as Marlon Brando had been in the role back in 1953. On the other hand, Jason Robards is woefully miscast as Brutus, transforming “noble Brutus” from the most honest man in Rome to the most sinister of assassins. The production values are fairly decent, but Julius Caesar perhaps provides evidence that these sorts of historical epics were already on the way out by the start of the 1970s.

Friends! Romans! Countrymen! Lend my your expensive set designers!

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Non-Review Review: (Seeking) Justice

The premise of Justice (or Seeking Justice, as it is named in the States) is not fundamentally unworkable. The basic plot seems almost like an affectionate homage to Hitchcock, with people essentially trading motivations for murder, with a mysterious organisation (known as “the Organisation”) offering people a chance for revenge against the person who hurt them – but with a caveat. If they do you a favour, you will have to do them a favour later on. It’s not a bad premise for a revenge thriller, but the problem with Justiceis that it takes itself far too serious, and expects us to do the same. What could have been a cheesy-yet-enjoyable thriller becomes an overly long and self-important waste of time.

Cage rage!

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Non-Review Review: Sherlock Holmes – A Game of Shadows

The first Guy Ritchie Sherlock Holmes was a pulpy pleasure, an enjoyable steampunk occult mystery with a casual sense of fun and two solid central performances with Robert Downey Jr. and Jude Law as Holmes and Watson respectively. Unfortunately, the sequel, A Game of Shadows, doesn’t seem to be quite as much fun. It seems to lack the pulpy edge of its predecessor, perhaps taking itself a bit too seriously at times. The are moments when Ritchie seems to get into the swing of things, and Downey Jr. and Law work as well together as ever, but A Game of Shadowsdoesn’t quite feel like the ideal spectator sport.

He bought, hook, line and sinker!

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Non-Review Review: The Manchurian Candidate (2004)

I actually quite enjoyed Jonathan Demme’s 2004 remake of The Manchurian Candidate, even if it seems to lack the same clear political bite of the novel and original film version of the tale. In many respects, Demme’s film adaptation is a triumph of atmosphere, featuring a superb cast and a perpetual sense of uncertainty. While its politics seem a bit less provocative and engaging than the source material, Demme is still a superb film maker. There’s a wonderful sense of unease and discomfort that seems to pervade every frame of the film, with the politics of the movie perhaps the only facet that is never unclear.

The naked truth…

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Non-Review Review: Rampart

Rampart features a powerhouse central performance from Woody Harrelson as corrupt Los Angeles Police Officer Dave Brown. Harrelson manages to take a character who should be (and is) reprehensible, and yet manages to imbue him with the faintest sense of tragedy. However, the problem is the movie that takes place around Brown. Brown’s story is an inherently tragic one, a relic of a by-gone era trapped in his own self-destructive pattern. He’s not dynamic or proactive, and so reacts to the world around him. While director Oren Moverman populates the film with any number of iconic and recognisable character actors, the film can’t help but feel a lot too sterile, a little too inert. We’ve seen this story before, and while Harrelson’s performance is compelling, the film around him is not.

He’s got this police thing working gangbusters for him…

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Non-Review Review: Ted

Ted is an impressive directorial debut from Seth McFarlane, the creator and star of Family Guy. Those familiar with McFarlane’s work will know what to expect from Ted. It’s loud, it’s crude, it’s full of retro pop culture references, but it’s also constructed with almost surreal innocence and earnestness. McFarlane can be brutal at times, and he does make a few cheap shots here or there over the course of Ted. (Take that, Justin Beiber! Take that, Brandon Routh!) However, for the most part, the film actually does a remarkable job of balancing its crass in-your-face offensiveness with a weird emotional warmth. At it’s heart, Ted is still the story of a boy and his teddy bear. It just so happens to be a really messed up teddy bear.

Bear with me…

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Non-Review Review: Magic Mike

Magic Mike has a lightness of touch that’s been missing from a lot of Steven Soderbergh’s recent work. It’s nowhere near as ambitious as Contagion was, but that isn’t necessary a bad thing from the perspective of the film about male stripper living a rock and roll lifestyle. While Magic Mike won’t get any marks for originality, it does manage to feature two impressive performances and has a refreshing sense of “fun”about it. It a solidly entertaining and diverting piece of entertainment, executed with considerable skill that helps distract from its relatively conventional nature.

It’s getting hot in here…

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Non-Review Review: Brave

Brave is certainly a significant improvement upon Cars 2, even if it doesn’t necessarily measure up the finest films in the Pixar stable. Part of the problem is the sense that, for the first time, the studio is telling a story that isn’t really their own. I know that particular films in the studio’s history owe a great deal to certain influences (The Incredibles to The Fantastic Four, for example), but Brave really feels like the studio is very much trying to put its own take on the conventional “Disney Princess” movie. While the results are certainly interesting, it never feels like Braveis entirely comfortable with itself. While the film is, technically speaking, quite impressive, it does feel like it never quite strikes the right balance.

The right to bear arms…

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