At Darren's World of Entertainment - a movie, DVD and game review blog.
The latest movie and DVD reviews - plus game reviews as well. And cool stuff thrown in when I see it.
Thanks to our good friends at Madman Home Entertainment, I'm giving you a chance to take Tom Hardy home.
Sort of.
You can win a copy of Locke on DVD to celebrate the release of the movie on Thursday November 27th.
Ivan Locke (Hardy) has worked diligently to craft the life he has envisioned, dedicating himself to the job that he loves and the family he adores. On the eve of the biggest challenge of his career, Ivan receives a phone call that sets in motion a series of events that will unravel his family, job, and soul. All taking place over the course of one absolutely riveting car ride, LOCKE is an exploration of how one decision can lead to the complete collapse of a life.
Directed by acclaimed filmmaker Steven Knight (EASTERN PROMISES, DIRTY PRETTY THINGS) and driven by an unforgettable performance by Tom Hardy, LOCKE is a thrillingly unique cinematic experience of a man fighting to salvage all that is important to him.
We're giving you a chance to win LOCKE - simply email to this address: darrensworldofentertainment@gmail.com and in the subject line put LOCKE and then make sure you include your name and address! Competition will close December 15th - and editor's decision is final! Good Locke! Erm, I mean, luck!
Rating: R13 Released by Transmission Films The sins of the Catholic church hang heavy over this drama from the team that brought us the deliciously dark The Guard.
Re-teaming up are McDonagh and Gleeson - this time around, Brendan Gleeson is Father James Lavelle, a priest in a small Irish community near Sligo. As the film opens, he's taking confession - and the very first words he hears point to the horror that's been blighting the Catholic Church for years - abuse.
Listening in, Father James is told that he will have to pay for the sins of the Fathers before him with his life in seven days' time because killing a good man is more shocking. So, with no apparent idea of who is behind this threat, Father James is forced down a path he'd never expected as he tries to deal solace to his parishioners while wondering which of them is behind the threat.
Calvary is a devilishly dark piece with humour as black as they come.
Gleeson is absolutely astounding as the priest, mixing calmness with serenity and compassion as the deadline draws nearer; he's a man who puts his people first despite their problems. And in and around Sligo, there are a fair few of them - domestic abuse, drug abuse, a banker who's part of the economic rot, depression, suicide, loss of faith, a doctor who's haunted by one moment; the list goes on - and may be a little hard for some to believe such an underbelly exists.
For Father James, there's the omni-present battle with his own demons in the shape of the bottle and a daughter who's recovering from a suicide attempt (Kelly Reilly, who does little), all reminders of a life before he came to the church.
But it's Gleeson who gives this life of quiet questioning and frustration an empathetic edge from under a beard and world weary eyes that sparkle with tolerance. As the Sunday of his showdown nears, Gleeson brings a subtle shift in character to the fore as the villagers begin to turn on him, unaware of his plight. Moran and O'Dowd also deserve praise for turning in darker performances than perhaps you'd normally credit them for.
However, this is not a bleak film even if the central tenet may be one of the darkest. Gallows humour and deadpan humour litter the script in a most unexpected way, with odd lines proving to be the relief needed. For those of a Catholic bent, the name Calvary won't be a lost choice, being the place Jesus was crucified and the parallels are certainly here for all to see as Father James faces his long dark night of the soul.
Calvary is a haunting piece of cinema, a film that rises high on Gleeson's shoulders - it's certainly one of the finest character releases of the year and stays with you long after the silent credits have rolled.
While the issues explored are laced with a darker humour than perhaps you'd expect, this moving piece hits its highs in one solitary moment where Father James says there's been too much time spent on sin and not enough time on virtue.
It's a bold statement but one which gives this Calvary more than enough powerful reasons for you to see.
Cast: Jennifer Aniston, Mos Def, Isla Fisher, Tim Robbins, Will Forte, John Hawkes
Director: Daniel Schechter
Elmore Leonard makes another outing onto the big screen with this adaptation of one of his novels.
It's your classic crim movie as well, with two down-on-their-luck guys (Def and Hawkes) deciding to kidnap Jennifer Aniston's wealthy woman, confident that her husband (Tim Robbins) will stump up the ransom. But the trouble is, he's on the edge of divorcing her so that he can make his mistress (Isla Fisher) happy...
Soon, the duo is struggling to work out how they can pull this back.
Life Of Crime is solid if unspectacular fare, that really sits within the genre but hardly challenges it.
Aniston's fine as the woman who realises her place in the world has changed; Robbins, though, verges on parody as the cheating hubbie. Def and Hawkes make a watchable enough pair and have enough charm to carry the movie through.
It's not one of the best Leonard adaptations, but it certainly isn't a bad film that's not worthy of your time. It's nice to see Aniston flexing her dramatic muscles, but it's not quite enough to raise Life Of Crime into the higher echelons of the genre because while it looks the part with its 70s recreations, it's lacking the sparkle and fizz that you'd remember from other Elmore Leonard adaptations like Justified and Get Shorty.
Rating: M Released by Vendetta Films Prepare to find yourself a little scared by this new psychological horror from Aussie filmmaker Jennifer Kent.
Essie Davies stars as Amelia, a single mother on the edge; working by day at an old people's home and by night dealing with son Samuel (Noah Wiseman, who may make you think of Danny from The Shining) who claims to be battling monsters and is in trouble at school.
One night, Samuel chooses a book from the shelf for mom to read - the story of the Babadook, a mysterious creature that commands to be let in to the house. Traumatised by the story, Samuel's behaviour becomes worse as he believes the creature to be already here and promises to protect his mother whatever the cost.
Dismissing the story as fiction, Amelia tries to get on with life - but a series of events leads her to suspect there's a sinister truth in the story of the Babadook.....
Clearly an allegory for grief, loss and depression, The Babadook is a great psychological film that has a way of getting under your skin (for the most part).
The titular beast is a curious mix of shadows, the Gentlemen from Buffy The Vampire Slayerand something from primordial nightmares. Rarely fully displayed throughout the film (a wise move), it benefits from bringing sheer terror each time it harasses the increasingly frayed Amelia.
In among the suspenseful atmospherics and tension of The Babadook, there's plenty going on below the surface.
On the one hand, this is a story about a creeping malignancy affecting Amelia; a cumulative sense of shock seeping in after years of repressed trauma; a husband who died on the way to hospital to birth Samuel has given way to years of Amelia's withdrawal from life and connection to those around her; further fuelled by sleep deprivation from the fear of the Babadook and various things which go bump in the night around the drab house, Essie Davies is nothing short of plausibly brilliant as the harangued Amelia. With Samuel acting up, who wouldn't consider acting on their deepest darkest thoughts as the nights draw on?It's this kind of nightmarish universal scenario that Kent has managed to bring so visually and viscerally to life as the trauma reaches fever pitch and the film delivers a crescendo of unspeakably uncomfortable moments. Aided by single fixed point shots of the house's darker spaces and a soundtrack which ratchets its way under your skin, The Babadook is set to be one of the greater modern horrors - and with its Baba-dook, dook, dook hook a great new entrant into the pantheon of urban horror legends. (And particularly the scene where the story book appears to come to life remains a visual flourish and a creative touch which impresses)
But it's sad to say that the final section brings out the usual horror tropes - from The Exorcist to every haunted house horror (via way curiously enough of Home Alone). And it's this part of the film which is the most disappointing because up until then, there's a subtlety that's as rewarding as it is uncomfortable. A little easing back on that side of things would have proved more effective than any kind of cliched moments can deliver.
It's the terror within that The Babadook so effectively mines, a reminder that the best horrors tap into fears we've long held since childhood and demons that lay dormant within. It's the power of suggestion boosted to the max which holds the key here - and with Kent tapping into most of that throughout, it's an unsettling horror that may ensure you want to sleep with the light on afterwards. Extras: Interviews, behind the scenes, short film Rating:
The Trip was such a phenomenal success that it was inevitable there would be a second serving of Coogan and Brydon's improvisational schtick.
Whereas the first was set in the relatively glum surroundings of the North of England, this latest sees the pair transplanted to Italy after Rob is asked to do a series of reviews of restaurants - in comparison to Coogan being the the writer of the first outing.
So once again, the duo with all their foibles and insecurities are heading out, trying to one up each other amid whimsy and reflection.
The Trip was a great film, a culinary travelogue that got to the heart of what made Coogan and Brydon tick, in amongst improvisational segments that felt natural and part of the banter of this duo.
Unfortunately, while The Trip to Italy is still a good film, it loses some of that freshness this time around with the impersonations and general misbehaviour feeling forced and a little shoehorned in in places. When the duo start their Michael Caine impressions, there's a feeling of deja vu that can't be shaken this time around. Alanis Morrisette is the background music to this outing, and forms the backbone of a series of running gags but there's no escaping the fact this feels like a recycling of what's gone before. Maybe this time around, with Coogan seeming more melancholy after the show he was on in America is placed on hiatus and with Brydon's star in the ascent, there's a manoeuvring of Rob losing his way while Steve finds his heart again.
The scenery stands out and the splendrous nature of their jaunts are lost upon them, giving you the feeling they're a pair of spoilt brats in many ways. But the whole feeling overall of The Trip To Italy is a trip too far; with the ending hinting that a third outing could be on the way as the duo appear to be at a crossroads, you'd have to hope all concerned stand back and re-evaluate what made the first time around such a clever touch; because this trip is in danger of losing its passage to its final destination.
The Hunger Games: Mockingjay: Part 1: Movie Review
Cast: Jennifer Lawrence, Josh Hutcherson, Julianne Moore, Stanley Tucci, Woody Harrelson, Elizabeth Banks, Philip Seymour Hoffman, Donald Sutherland, Liam Hemsworth, Sam Claflin
Director: Francis Lawrence
So, here it is - the beginning of the end of Suzanne Collins' trilogy.
Last time, you'll remember that The Hunger Games: Catching Fire ended with Katniss Everdeen (Jennifer Lawrence) being wrenched out of the Games of the Quarter Quell but finding that Peeta (Josh Hutcherson) was left behind, and that District 12 where she used to live had been razed as the rebellion began to take effect.
In this latest, President Snow (Donald Sutherland bringing a degree of absentee menace as the white-clad bad guy from afar) ramps up his campaign against the symbol of the revolution, Katniss, by decreeing all out war against the rebels and districts who have turned upon the Capitol.
Trapped in District 13 with her family, and finding herself part of the media war against the Capitol as Julianne Moore's president and the late Philip Seymour Hoffman's Plutarch push her to ignite the simmering embers of revolution. But Katniss finds that being the spearhead comes at a price - and her concern for Peeta trapped within the Capitol could threaten those plans...
The Hunger Games: Mockingjay: Part 1 follows up the relative action of the first two films with many deep (and occasionally powerful) philosophical discussions and demonstrations about the propaganda of war and the symbolic (and literal) weaponisation of revolutionary figure-heads.
Granted, there is very much the feeling that this funereal almost dirge-like movie is a dragged-out set-up for the final resolution and second chapter of Mockingjay as it negotiates the horrors of war and the post-traumatic effects on the survivors (our first re-introduction to the damaged Katniss sees her rocking back and forth, trying desperately to remind herself who she is and what's happened, scrabbling to retain some grip on a reality).
In among the rubble, and the strewn corpses of District 12's warzone, Jennifer Lawrence once again excels as Everdeen, as she frantically fights to try and keep the human cost front of her mind during the ongoing war and her assimilation into a revolutionary hero. Viewed in (almost) completion, this Everdeen has come far and Lawrence is able to harness the horrors as the debates take precedence over the action. (Perhaps, this almost depressing feel may prove too much for some). There's a harrowing quality to the ongoing plight, an acknowledgement that being the symbol can be overwhelming and an almost humanity to help through the overly demonstrated horrors of war - and Lawrence encapsulates those qualities of reluctance perfectly even channeling extremely dead eyes in several scenes as she becomes numbed to the reality of the world around her.
The romance is dialled down in this drab character-study based outing (that's almost as dour as the overalls worn by the inhabitants of 12; a far cry from the vibrant excesses of life within the Capitol) and unfortunately, Liam Hemsworth doesn't quite gel as much as perhaps he should. Philip Seymour Hoffman's Plutarch proves to be a welcome driving force for the film (and proffers up the conundrum of how his missing presence will be handled in the final outing after the movie's dedicated to him); Elizabeth Banks' Effie appears to be some kind of Land Girl prisoner of war and lacks the sparkle and Julianne Moore is relatively straight as President Coin who operates in a POTUS style as the strategies are espoused from within the bunker as the war effort readies itself.
At its core, The Hunger Games: Mockingjay: Part 1 is more a psychological tale of after-effects and the strategies of war. But there are patches which are doused with such a slow ponderous pace, you very nearly drift off before the Desert Storm style action sequence that sees the rebels trying to free the Tributes.
In among the exposition and expansion of the viewpoints, there's a good film lurking trying to break free of the embers, but there's not quite the urgency and perils of the prior outings (perhaps, in some ways, a blessing) in this almost mournful tale that works better as a completed first part than many other films split in two from their original tomes.
It remains to be seen if the closure is worth the build up; but in the words of famous polemic Tracey Chapman, The Hunger Games: Mockingjay Part 1 is an awful lot of Talking Bout a Revolution.
