22 Jump Street

Director: Phil Lord and Christopher Miller

Starring: Channing Tatum, Jonah Hill, Ice Cube

Released in UK: 6^th June 2014

Playing on the idea that the sequel is rarely as good as the first, the second round for cop duo Schmidt and Jenko is clearly revelling in every moment to make fun of the fact that this is a blown out full-on sequel with gags nicked from the first. They don’t let you forget it. Everything in the sets is bigger, better, flashier and much more expensive. As Ice Cube’s Captain Dickson announces during one of his rants, “I’m wearing $800 shoes, and you can’t even see them!”

21 Jump Street leapt onto TV’s in the late 80’s starring a fresh-faced Johnny Depp. A couple decades later when a big screen remake was announced, expectations were low. After all cinema has seen many a disappointing American TV reboot flop, Miami Vice and Dukes of Hazard being some of the most recent. However despite a lower budget, the film was the sleeper hit of 2012 and made over a whopping $200 Million at the box office. While it was a massive hit, it was in fact very funny and well liked by most critics and audiences alike..

So they’re back, and following on directly from their undercover drug bust success at High school, twenty-something hapless cops Schmidt (Hill) and Jenko (Tatum) are now undercover at University trying to find the source of a new narcotic drug called WHYPHY (Work Hard Yes Play Hard Yes). Bring on the college mayhem.

It’s an easy transition – moving our heroes from high school to College, and while the jokes are laid on thick and fast, thankfully they pay off. You’re left in fits of laughter. Director’s Phil Lord and Christopher Miller have pulled out another hit from the bag (they’re also responsible for The Lego Movie).

All the classic college jokes are here; the drinking, the partying, the frat initiation, the intellectual classes no one understands and even the weird roommates. From the morning after walk of shame, Tatum’s riff on his role in White House Down to Hill’s hilarious performance moment mocking impromptu poetry recital the jokes just keep coming; and what’s more – they’re really funny.

The best joke by far sees Schmidt making a fatal mistake by igniting the wrath of Captain Dickson through a very personal error, and well, it shouldn’t be given away but it’s absolutely brilliant.

Is it funnier than it’s predecessor? Well it certainly matches it.

Tatum plays dumb like no one else can and does it incredibly well. He is perfect for the role of drop out Jenko, even having a ‘meet-cute/ moment finding a kindred spirit at college in the form of fellow jock Zook (Kurt Russell’s real life son Wyatt Russell). Hill meanwhile, who has experience mastering his comedic flare many a time before is brilliantly embarrassing as out of shape pudgy Schmidt. Together they are Laurel and Hardy.

While this is a comedy, it’s also a great bromance. Schmidt and Jenko are like chalk and cheese, but put together Tatum and Hill have great chemistry making them the ultimate comedy couple. They bicker, have break ups and Schmidt becomes jealous of Jenko’s newfound friendship with Zook.

As the eternally enraged, angry police captain on the case Ice Cube is deliciously over the top as Dickson.

One of the only miscasting here is Jillian Bell as a bitchy and constantly stone-faced foul-mouthed roommate with a vendetta against pretty much everyone. Her involvement in the plot turns into something strangely odd and distractingly out of place. It’s a shame, and while the ending is not that amazing and some of the special effects green screens are a little bit dodgy, it doesn’t matter and by no means scuppers any enjoyment we’ve having.

If the parody end credits are anything to go by, we will see more of Schmidt and Jenko, and we wait in excited suspense; but really, how much bigger can they go?

VERDICT: * * *

22 is delightfully stupid, with brilliant comedic performances from Hill, Tatum and especially Cube. Though it’s not one of the greatest comedies ever, the hilarious gags are turned up to the max in this impressively funny sequel.

22 Jump Street is out in UK cinemas from Friday 6^th June. 21 Jump Street is available on DVD and Blu-Ray now.

Edge Of Tomorrow

Director: Doug Liman

Stars: Tom Cruise, Emily Blunt, Bill Paxton, Brendan Gleeson

Released: 30^th May – Still Showing

Taking a look at the poster for Edge Of Tomorrow and dressed in their fancy gadget-equipped battle costume gear, Tom Cruise and Emily Blunt don’t look that much out of place in every genetic action thriller (think Starship Troopers meets Alien meets Saving Private Ryan). On the surface, this looks like any other, but the twist here includes sci-fi time looping causing a Groundhog Day effect of epic proportions.

In the near future our planet has been invaded by powerful octopus-like alien entities called ‘Mimics’, which are wiping out the human race. When US military’s PR strategic officer Lt. William Cage (Tom Cruise) is press ganged into the thick of the action, not only is he well out of his comfort zone (evident by his complete lack of combat training), but when he is killed accidentally absorbs alien blood into his system finding himself inexplicably reliving the same day over and over every time he is killed. So ensues a battle against the fates, as Cage fights not only an evil force, but also to find a way to stop time reloading – and to do this he needs the help of super-warrior Rita Vrataski (Emily Blunt) who is the only other person who has been through exactly the same thing as him.

This is Doug Liman’s second attempt at sci-fi after 2008’s exciting Jumper project turned out to be disappointingly wishy-washy and forgettable. Taken from Hiroshi Sakurazaka’s novel All You Need Is Kill, Edge Of Tomorrow is an exciting, gritty and intelligent roller coaster ride of emotions in a world of generic, long and boring action movies with little meaning.

Recycling the old time bending trick that has been used numerous times before, (like fan favourite Back To The Future and most recently Source Code) but pleasingly the worrying elements of the repetitive nature are unfounded and are in fact used to excellent effect without compromising the story and keeping it fresh and funny - very funny in fact. One scene-stealing moment sees Cage desperately trying to trick his fate with a few perfectly timed actions, most memorably a nifty under-car roll that goes wrong once or twice (or perhaps many times?!). Emily Blunt meanwhile is clearly revelling in being able to shoot Tom Cruise over and over again, training him until he corrects his mistakes and gets it right. The more he fights, the longer he survives and a better soldier he becomes.

The set pieces are fantastic, travelling mainly through London and France. They even managed to clear central London for the day so they could land a helicopter into a deserted Trafalgar Square in the opening scene.

While the action and special effects are top notch and pretty much speak for themselves, it’s of major importance that we not be bogged down by a bad script. The writing here however is intelligent and well crafted thanks to the smarts of Christopher McQuarrie (who wrote The Usual Suspects) with British writing duo-brothers Jez and John-Henry Butterworth. The dialogue is short and punchy while the characters are vibrant and gritty. 

It's also noteworthy that Cruise is cast against his usual type, which will please those who have an issue with him in his other big budget films. This time he starting off as a cowardly sideliner, happy to let other people do the heavy work. But as he is trained, and has to learn from his mistakes over and over he becomes a powerful fighter.

The breakneck speed of the plot means character development is lacking. Cruise and Blunt mesh well together though as leading stars and for a refreshing change are not solely romantically focused. It's a delight to see the emmensely talented Blunt back on the screen in her first big action role while Cruise also takes a surprisingly likeable change of route as the anti-hero stepping up to the plate.
The other cast members are of little importance really, though Bill Paxton is a great presence as Cage’s commanding officer barking orders and smirking with glee.

Why they needed to retitle it from the book is unfortunate, perhaps All You Need Is Kill is not quite the punchy title they wanted, though what they replaced it with sounds like the latest Bond movie.

Do you need to see it in 3D? No not particularly, but it is an enjoyable film that should definately been seen on the big screen.

Great story, great cast and great script in an action film…easily the best blockbuster of the year so far.

VERDICT: * * * *

Despite it’s generic retitle, Edge of Tomorrow is a smart, funny and visually dazzling sci-fi, while the time twist works beautifully without becoming boring or (ahem) repetitive! Blunt shines, and once again Cruise proves what a great action man he still is in what is miles ahead of other actioners this year so far. One to watch again…and again…and again…

Edge Of Tomorrow is showing at cinemas across the UK now, in 2D and 3D Imax performances.

Locke

Director: Steven Knight
Stars: Tom Hardy with Olivia Colman, Ruth Wilson, Andrew Scott (Voices)
Released in UK: 18th April - Still showing

Heading in to watch Steven Knight’s latest directorial venture (his previous feature including the disappointing Hummingbird) which follows 84 minutes of Tom Hardy in a car, you might not know what to expect. Even the subtle poster gives nothing away.

What delivers is actually an engrossing, unexpectedly witty and beautifully constructed film with a master-class in acting from Mr Hardy.

Shining here and once again proving just how versatile an actor he is, Hardy excels in this small solo project as Welshman construction worker Ivan Locke, who on the eve of the biggest job of his career (overseeing the concrete of a massive skyscraper), instead hops into his car and drives across country changing the course of his entire life in the process as he unburdens his mistakes and conscious to those on the other end of a phone.

Hardy is an unusual choice for this role. The actor has won acclaimed reviews for his big meaty performances as Bane in the Dark Knight Rises and as Bronson, but he’s perfect here, quietly and subtlety drawing you in without having to raise his voice at all. Though his character is certainly not without fault He has made a big mistake, but now furthers to destroy any happy outcome by ruining everything he already has. He is his own anti-hero, self-inflicting pain with a determined moral conscious.

This is a minimalist piece at its best. Much like 2010’s thriller Buried, there are no set changes, little props and the other actor’s appear as voices on the end of a phone. There are no chase scenes, no discernable action. It’s all about Locke. How he acts, how he thinks and how he is in control of everything that happens to him throughout the journey. Unlike other dramas, Locke isn’t acting on circumstances against him as much as he is controlling what happens, and the ultimate unhappiness that is waiting for him round the corner. Unhappiness of his own doing.

There are some delightful voice performances from the characters in and around Locke’s life. The distinctive voice of Olivia Colman as Bethan (the woman Locke is driving to see) is a warm and welcome addition, while Andrew Scott (most recently in BBC’s Sherlock) as Locke’s colleague Donal ranges from comically angry to hysterical to drunk all throughout the course of the Locke’s drive.

There is a strange subplot of Locke talking to his dead father, imagined in the back of the car, which doesn’t work. Is Locke going mad? It doesn’t matter, and adds very little to an otherwise near perfect piece. This is definitely a clear mistake on Knight’s writing part, filling some empty script space with useless dialogue in an attempt for Locke to justify his actions based on his history with his deceased father. Luckily Hardy handles the dialogue well. 

Unfortunately, Locke will probably not make very much money. It’s a very hard sell, and seeing as not much action goes on, this will put some people off. However, those interested and respectful of smaller features that rely on solid acting rather than guns, sex and explosions will be rewarded for their efforts.

VERDICT: * * * *

An intelligent and thought provoking yet quiet minimalist drama, with an impressive solo performance from Tom Hardy.  A cinematic character study and acting masterclass at it’s best.

Locke is still showing in Cinemas nationwide.

Nominations. Snubs. Predictions – The OSCARS 2014

While many of the big named films are currently reaping in the benefits of award recognition and indeed many wins, there are always those that are shamefully overlooked; something the Academy is notorious for doing.

Debatably perhaps this is snobbery, or a money issue? Perhaps only the films with a bigger advertisement budget have more of a chance, while the voting members only take into consideration the ‘serious’ films made by previous alumni winners (with the few exceptions of course)?

Either way, when the list of Oscar nominations was read out at the end of January (by no other than Thor himself Chris Hemsworth), this year in particular there were many very strange absences from the list.

Here is a list of the top category nominations, the upsets and the predicted winners of the 86^th Academy Awards 2014:

BEST PICTURE:

This year the Best film category was predictably pretty straight forward, though only 9 out of a possible 10 films were nominated. That final slot could have so easily been taken by many a great film this year. So far in the award season, it’s been a three-legged race between 12 Years A Slave, Gravity and American Hustle. While American Hustle has strong performances, Gravity has the best visual impact while 12 years A Slave has the most gripping and emotional story.

NOMINEES:

American Hustle

Captain Phillips

Dallas Buyers Club

Gravity

Her

Nebraska

Philomena

12 Years A Slave

The Wolf Of Wall Street

PREDICTED WINNER:

12 Years A Slave

Taking a true autobiography and turning it into a deeply moving and tragic tale depicting a very serious subject, 12 years a Slave has done immensely well so far, and even picked up Best Picture at The Baftas.

SNUBS:

Inside Llewyn Davis

Ethan and Joel Coen have produced a beautiful melancholy feature in Inside Llewyn Davis, with some stand out performances, gorgeous music and sweeping dark cinematography. This is the biggest upset, and a surprise seeing as the Coen films have been Oscar favourites in the past.

Saving Mr Banks

This charming and delightful story retelling the time Mary Poppins creator PL Travers succumbed to Walt Disney’s determination to turn her beloved book into a fantasy musical. Wonderful and funny performances from the entire cast, but most notably Emma Thompson as the infamous British battle-axe this picture is perhaps too light for the Academy’s heavy-favourite storylines.

Rush

Ron Howard’s masterpiece about Formula One rivals James Hunt and Niki Lauda battling it out to the finish line is anything but boring. Fast and furious to the end, it’s a brilliant and entertaining rush of a ride!

Other notable films this year: 
Labor Day, Blue Is The Warmest Colour, Blue Jasmine, Sunshine on Leith, The Kings Of Summer, A Field in England.

BEST ACTOR

All the performances nominated this year are terrific and deservedly recognised. It’s especially wonderful to see long standing respected actor Bruce Dern in there for his beautiful performance in Nebraska. However it’s a very close race this year, any one of them could pick up the award.

NOMINEES:

Christian Bale – (American Hustle)

Bruce Dern – (Nebraska)

Leonardo DiCaprio (The Wolf Of Wall Street)

Chiwetel Ejiofor – (12 Years A Slave)

Matthew McConaughey – (Dallas Buyers Club)

PREDICTED WINNER:

Matthew McConaughey

As previously said, its a very close race this year with Ejiofor a firm favourite too, but McConaughey is currently the talk of the town starring as AID’s-stricken Ron Woodroof. The Academy loves an actor who uses weight loss for enhance their performance.

SNUBS:

Tom Hanks – (Captain Phillips)

This is perhaps the biggest upset at the Academy this year, and it’s with total astonishment that Hanks hasn’t received a nomination for one of the stand out performances of his career as the titular Captain Phillips. His final scene alone in the film is heart-breaking beyond measure.

Idris Elba – (Mandela: Long Walk To Freedom)

Director Justin Chadwick’s first choice to play the role, and even Mandela himself said he didn’t realise some scenes in the film WEREN’T him, Elba’s performance is spot on and perfectly executed in this well earned leading role. The voice is eerily accurate.

Oscar Isaac – (Inside Llewyn Davis)

Although his character has unlikable tendencies, it’s because of Isaac’s funny but soulful performance that means we care about what happens to the character of down and out singer songwriter Llewyn. Though the film itself has had mixed reactions, his performance is undeniably wonderful.

Robert Redford – (All Is Lost)

Redford carries this film alone, starring as a resourceful sailor who battles against Mother Nature when a collision at sea leaves him stranded in a waterlogged boat. It’s one of Redford’s best performances and the highlight of his career. The film didn’t garner a wide enough release so not enough people got the chance to see it.

Other notable performances this year: 
Michael Douglas – (Inside the Candelabra), Forest Whitaker (Lee Daniel’s The Butler), Daniel Bruhl (Rush), Tom Hanks (Saving Mr Banks), Joaquin Pheonix (Her).

BEST ACTRESS

A con-mans muse, a repressed bankrupt wife, a guilt-ridden mother, an alcoholic matriarch and a medical engineer stuck in space. It’s an eclectic group of characters that make up the Best Actress category this year, but it’s also a pretty predictable list at that.

Though it’s been regularly suggested and publicised that one actress in particular is leading the race bets, the Oscar’s are known for occasionally throwing a surprise spanner in the works.

NOMINEES:

Amy Adams – (American Hustle)

Cate Blanchett – (Blue Jasmine)

Sandra Bullock – (Gravity)

Judi Dench – (Philomena)

Meryl Streep – (August: Osage County)

PREDICTED WINNER:

Cate Blanchett

Bullock is very closely behind, but she picked up the Best Actress award a few years back for The Blind Side. Blanchett is no stranger to nominations, but this would be her first leading actress award if she wins. There was a lot of controversy when Gwyneth Paltrow took the statue for her role in Shakespeare In Love over Blanchett’s Elizabeth in 1998. She has however previously won a Supporting Oscar for her role as Katherine Hepburn in 2004’s The Aviator. Last week she picked up Best Actress at The Baftas.

SNUBS:

Emma Thompson - (Saving Mr Banks)

Playing Mary Poppins creator PL Travers, her performance is spot on and beautifully comedic and tragic at the same time. Bringing energy and life into ‘as she was known’, a very difficult displeased and snobbish woman in real life, Thomson shines and makes a character who on the surface is very unlikable engaging and witty. A career highlight for the ever wonderful Thompson, and a charming film at that.

Oprah Winfrey - (Lee Daniel’s The Butler)

Spanning the three decades observed by one servant working at the Whitehouse, The Butler was not universally well received as expected, however one of the greatest performances in that film belongs to Winfrey as Cecil’s suffering alcoholic wife.

Adele Exarchopoulos - (Blue Is The Warmest Colour)

Seydoux gives starling performances in a very controversial film, which has itself been left off the Best Foreign Film nominations purely because it narrowly missed the deadline for the Academy’s strict date cut-off. A raw, passionate and pure performance from this up-and-coming fresh faced actress, and one who thoroughly deserves to be on this list.

Other notable performances this year: 
Kate Winslet (Labor day), Carey Mulligan (Inside Llewyn Davis), Lea Seydoux (Blue is the Warmest Colour).

BEST DIRECTOR:

NOMINEES:

David O. Russell – (American Hustle)

Alfonso Cuaron – (Gravity)

Alexanda Payne – (Nebraska)

Steve McQueen – (12 Years A Slave)

Martin Scorsese – (The Wolf Of Wall Street)

PREDICTED WINNER:

Alfonso Cuaron - (Gravity)

It’s a two-way battle this year between McQueen and Cuaron. Both beautiful feature films with an incredible team behind the scenes. It’s also notable that both these directors have strong British influences, McQueen being British himself, while the native Spanish director Cuaron has become an adopted Brit embracing living and working in UK. Gravity was shot almost entirely at Shepperton studios.

SNUBS:

Paul Greengrass – (Captain Phillips)

A masterclass in filmmaking and storytelling, and shot out on location at sea proved a traumatic experience for several of the cast and crew which goes to show the lengths Greengrass goes to portray a realistic and true depiction of what happened to Phillips that day. A superb piece of filmmaking, it’s a disgrace he’s not on this list.

Ron Howard – (Rush)

A fast paced thriller with superb cinematography. Only a skilled director can take a subject that may not be universally embraced by all and create a not-to-miss fantastical experience with some edge of your seat moments and brilliant performances.

Joel and Ethan Coen – (Inside Llewyn Davis)

Perhaps the film was a little too dark and soulful for the Acaedmy’s taste, but the film is a beautifully shot masterpiece from the Coen Brothers, stunning music and gorgeous landscapes. It’s really sad they’ve been snubbed in many of the catagories this year at the Oscars.

Other notable directorial work:  

J.C Chandor (All Is Lost), Ralph Fiennes (The Invisible Woman), Stephen Frears (Philomena), Abdellatif Kechiche (Blue Is The Warmest Colour).

OTHER PREDICTIONS:

BEST SUPPORTING ACTOR:

Jarod Leito – (Dallas Buyers Club)

BEST SUPPORTING ACTRESS:

Lupita Nyong’O – (12 Years A Slave)

BEST ANIMATION:

Frozen - (Disney)

BEST CINEMATOGRAPGHY:

Gravity – (Emmanuel Lubezki)

BEST VISUAL EFFECTS:

Gravity – (Tim Webber, Chris Lawrence, David Shirk and Neil Corbould)

BEST FOREIGN LANGUAGE FILM:

The Great Beauty - (Italy)

BEST ADAPTED SCREENPLAY:

12 Years A Slave – (John Ridley)

BEST ORIGINAL SCREENPLAY 

American Hustle - (Eric Warren Singer and David. O. Russell)

The 86th Academy Awards will be broadcast in the UK on Sky Movies Channel on Sunday 2nd March 2014, and is hosted this year by Ellen De Generes. In the USA it will be braodcast on ABC.