Going in Style: Film Review

Going in Style: Film Review

Cast: Michael Caine, Alan Arkin, Morgan Freeman, Kevin Dillon, Ann-Margret
Director: Zach Braff

For an audience of a certain age, the movie-going experience can sometimes be a bewildering one.

Wishing for more gentle fare perhaps is what's led to the release and remake of the little known 1979 caper film Going in Style with an older cinema alumni aimed at giving the older generation something to enjoy, rather than the non-stop barrage of blockbuster action.

Caine, Arkin and Freeman star as Joe, Al and Willie, a clutch of retirees who are rocked by the news their pension fund from the manufacturing company they've worked at all their lives is being seized. Having recently been a bystander in a robbery at his bank, Joe decides that the group should risk it all to pull off a similar heist to ensure their final days are given a degree of comfort after they've been financially screwed over.

Going in Style is less The Italian Job, more a stuttering OAP job.

Granted, with growing enmity toward the corrupt banking sector, and even a swipe at pension thefts and the average Joe getting shafted by those they've worked for for years, Going in Style had the potential to have a bit of a modern sting in its admittedly broad-brush strokes execution.

Former Scrubs actor and Garden State director Zach Braff brings little to the directorial table other than a simple presentation of the narrative, and even peppering the entire film with an upbeat jazzy OST throughout doesn't help it feel like anything other than a pill-induced high.

Admittedly, one "chase" sequence involving an OAP speedster mechanical cart, a security guard and a bag of flour provokes some laughs, a sort of slow-mo race for the older generation, but the laughs are few and far in between.

And while the trio get to play to their erstwhile strengths (Caine's insistence that one should "stay in the bloody car", Arkin's continuing cantankerous old man schtick and Freeman's ever-present geniality), there's a terrifying feeling this bunch of old timers have been handed better fare in their acting years and are simply schilling themselves for scraps.

Though, while there will be some who feel the pangs of recognition as the trio watch trash TV like The Bachelor and discuss its lack of merits, there's little for a younger audience in this movie who would benefit from some of the messages within - unless you wish to see the great actor Michael Caine attempting to smuggle Spam out of a shop.

It's not a terrible film in many ways (though Christopher Lloyd's alarming turn as a dementia patient is terrifying for all the wrong reasons), and it's competently put together, but it just lacks panache and substance, even in its swirling recreation of the actual heist.

Fairly stock standard Saturday afternoon family fare it is, and with its messages of seizing the day, embracing family and friends et al, there's enough to garner a whimsical reflection from its target audience.

But in the final stretches, this bland script from Hidden Figures scribe Theodore Melfi doesn't really garner the protagonists a redemptive arc that feels earned; it's simply a case of playing on the fact you wouldn't want your own grandparents to be screwed over, and unfortunately, that doesn't feel enough to warrant the film's conclusion or the journey within.

A bland and generic mishmash of heist films and buddy antics, Going in Style lacks the substance needed, the poignancy that should have been deserved or the sentiment required to give these old timers the send-off they're clearly aiming for.

War On Everyone: Blu Ray Review

War On Everyone: Blu Ray Review

It's hard to work out if the writer / director of the sublime Calvary has his tongue firmly in his cheek in his first American film foray.

At times, War on Everyone, with its scuzzy OTT moments, appears to be parodying the 70s Cop shows that were so prevalent and so over the top with their characters and testosterone-filled leads. And yet, you're never quite sure if this was intentional or a pure drizzle of cinematic coincidence.

As it starts on a great philosophical question of "If you hit a mime with a car you're chasing him in, does he make a sound?", you could be forgiven for thinking this tale of two corrupt and nihilistic cops is going to do more than revel in its black humour.

Skarsgard and Pena play Monroe and Bolano respectively, who are one chastisement away from being kicked off the force because of their unconventional methods. But when they come face to face with tweed wearing Brit bad guy Lord Mangan (played by Theo James), the duo could have bitten more off than they can chew....

It's not as if War On Everyone doesn't have the McDonagh black humour trademarks scored through. With some truly off-kilter one-liners and some continual prodding of the Brits via an Irish character, the hallmarks are there for laughs.

But somehow, the delivery of the whole thing feels flat and at the end of the day, what should be steeped in irony and deliciously dead-pan ends up grating and frankly, at times, irritating as hell. The comic banter between the duo becomes annoying and tiresome as the satire falls flat and the film begins to drag.

For an American foray, McDonagh has his genre bases well covered and there are anarchic touches that are welcome throughout - it's almost as if it was a 70s cop TV show through a profanity laced filter.

As one character remarks, "You ain’t got a good script, you ain’t got shit". It seems an awfully meta touch from this criminal that really does hit the crux of the problem on the head. Whereas Calvary and The Guard were steeped in a dark delicious humour that delivered emotionally and cinematically, War on Everyone spends most of its time trying to beat you into submission like a moustachioed police officer trying to garner a confession from a crim.

It's not a fatal flaw for War on Everyone, but this lack of consideration over how it will sound on the screen does hold the film back from soaring and making you reflect on why films like Lethal Weapon and the buddy dynamic work so well.

Instead, this cop film deserves to be locked up - and McDonagh needs to be given a warning over its disjointed narrative and execution. 

Passengers: DVD Review

Passengers: DVD Review

They say in space, no-one can hear you scream.

And that's perhaps a good thing, given that Morten Tyldum's space romance has a major twist in its tail, that was unshown in trailers and leaves a nasty taste in your mouth.

Guardians of the Galaxy star Chris Pratt plays engineer Jim Preston, who's in deep sleep on board the SS Aurora along with 5,000 other passengers. When his suspended animation pod malfunctions, he wakes up in the middle of the journey with no clue why. The real kicker is that the ship won't arrive at its destination, the newer version of Earth aka Homestead II, for another 90 years, effectively condemning him to death.

Stuck alone on the ship with no human interaction - the sole character Preston has to deal with is Michael Sheen's android bartender, Preston starts to go slowly mad as the reality of the situation kicks in - and he faces a moral dilemma - wake another passenger and condemn them to the same fate or spend a lifetime alone...

With production values that really reflect the space age look to a tee, and the loneliness of space is certainly evident early on in the piece as the ship hurtles to its destination and begins to malfunction.

Tyldum uses Pratt's charisma to great effect and showcases it well, with montages of the humdrum nature of his ship bound life setting the scenes excellently. But Pratt's charisma can only go so far - and while his interactions with Sheen are brilliantly dry, smarmy and deadpan, it takes the appearance of Jennifer Lawrence to really fire the dramatic spark that's needed.

Unfortunately, that spark is somewhat dimmed by the glossing over of the moral dilemma and the creepy state of affairs as this space-set ode to Stockholm Syndrome progresses. Tyldum and the script's desire to gloss over the implications of the decision that's made by the idealistic and desperate Preston prove to be slightly fatal in the ultimate wash.

There's something here about class divides as Lawrence's Aurora is clearly a step above Preston's engineer; from the quality of breakfasts she's doled out by the automated vending machines (standing in contrast to Pratt's faceless weetbix style lumps) to the quality of life, the writers could have made more of the divide between the two, rather than playing on the easy chemistry between the pair which isn't enough to weight the story.

Complete with narrative conveniences, such as malfunctions for no real reason and a sci-fi setting that's primarily doused in soapy romance rather than sci-fact, Passengers is only just a trip worth taking because of Pratt and Lawrence. It's their interaction in the coldness of space that just about will convince the romantic dreamers of the audience.

But for a high concept film, it fails to deliver on its premise unfortunately and relies on one moment that will polarise any rational member of the audience. Not exactly a disaster, but nowhere near a success, it remains a frustrating experience.

'Marvel's Guardians of the Galaxy: The Telltale Series' Arrives for Download This Week

'Marvel's Guardians of the Galaxy: The Telltale Series' Arrives for Download This Week

Official Launch Trailer for Marvel's Guardians of the Galaxy: The Telltale Series Arrives Ahead of the Action Series Premiere Available for Digital Download on April 18th; Available at Retailers Starting May 2nd

Friends, Today we are excited to reveal the official launch trailer for Marvel's Guardians of the Galaxy: The Telltale Series, which is set to premiere the first of five episodes on April 18th for $4.99 USD or equivalent on PlayStation®4 computer entertainment system, Xbox One®, Windows PC, and Mac, as well as available to download on the App Store® and Google Play™. The series will also be available as a special 'Season Pass Disc' on May 2nd at retailers across North America for an MSRP of $29.99 USD, and on May 5th at retailers elsewhere across the globe. The special 'Season Pass Disc' will include Episode One: Tangled Up in Blue, and will grant access to download the subsequent four episodes via online updates as they are released in the coming months of 2017. Additional platforms for release are yet to be announced. Marvel's Guardians of the Galaxy: The Telltale Series is a brand new story of the universe's unlikeliest Super Heroes: Star-Lord, Gamora, Drax, Rocket, and Groot. In the wake of an epic battle, the Guardians discover an artifact of unspeakable power. Each of them has a reason to desire this relic, as does a ruthless enemy who is the last of her kind, and who will stop at nothing to tear it from their hands. From Earth to the Milano to Knowhere and beyond, and set to the beat of awesome music, you wear the rocket-powered boots of Star-Lord in an original Guardians adventure, where your decisions and actions drive the story you experience. The series will feature a star-studded cast of voice talent, including Scott Porter (Friday Night Lights, The Walking Dead: The Telltale Series) as Star-Lord, Emily O'Brien (The Young and the Restless, Middle Earth: Shadow of Mordor) as Gamora, Nolan North (the Uncharted series, Pretty Little Liars) as Rocket, Brandon Paul Eells (Watch Dogs) as Drax, and Adam Harrington (The Wolf Among Us, League of Legends) as Groot.  For more information on Telltale Games, visit the official website, Facebook, and follow Telltale Games on Twitter @TelltaleGames. ###

Moana: Blu Ray Review

Moana: Blu Ray Review

There's something definitively empowering about Disney's latest, Moana.

Not only does its trip into Polynesian culture and beliefs navigate sensitively through potentially choppy waters, but it's head strong independent heroine is likely to appeal to many.

It's highly likely that Disney's found a new entrant into its pantheon of endless classics, with this tale of Moana, a princess whose heart belongs to the sea but whose father wants to keep her on shore.

With songs from Hamilton's Lin-Manuel Miranda, the show-stopping tunes are in full effect early on as the paean to the Polynesian traveller plays out.

When Moana's desire to take to the seas to save her land from being overtaken by an ecological disaster sees her ignore her father's bidding, she sets off an adventure that any young girl will be excited to see play out - and any audience seeking a feel-good family film will utterly adore.

When she learns that the demi-god Maui (played with warmth, laddishness and goofiness by Dwayne "The Rock" Johnson) stole the Heart of Te Fiti, she pledges to recruit him and restore the heart to its rightful owner.

But Maui's got other more selfish ideas - he wants simply to be reunited with his fish hook and wants nothing to do with Moana's quest...

There's an Odd Couple bickering vibe that is at the heart of Moana and Maui's relationship and despite its banter, there's nothing but good nature from start to finish with this. Negotiating the mysticism of the Polynesian ancestors with ease and relative sensitivity, the spiritual edges of Moana are largely confined to the sidelines as the slap-about storyline progresses.

From a Mad Max-esque attack by some coconut pirates to the Jiminy Cricket / Greek vase painting vibes of Maui's talking tattoos and conscience via the Abyss-like tendrils of the sea that guide Moana, there's a lot of cinematic history swathed in the proceedings.

By the time Maui appears in the story, some 35 minutes in, a new Disney heroine has already been entrenched in the narrative and thanks to a combination of Miranda's show tunes and the depth of character and animation displayed, Moana is clearly a timeless character, destined for the hearts and minds of young girls, so often deprived of a heroine to admire in Hollywood.

But here's the crux with Moana - not once is her ethnicity or her spirit defined by a male or by others' judgement. She stands alone, a virtue of pluck and heart from beginning to end - there's a distinctly female feel to the story from the start with Rachel House's grandmother leading Moana's voyage of self-discovery.

That's not to say the usual Disney trappings aren't present either.

From a clucking chicken side-kick stowaway on Moana's boat to Jemaine Clement's show-stopping turn as Tamatoa, a crustacean delivering an ode to shiny things (very reminiscent of a jazzed up version of Flight of The Conchords' Bowie's in Space) via some truly photo-realistic animation, this is a Disney film that hits on all cylinders and gets the little details right.

As we celebrate the summer months and family time, Moana's box office is guaranteed, largely due to wider themes about self-belief and the ever-important self-discovery.

Granted, these are not new themes in the animation world and while there has already been some criticisms levelled at Johnson's demi-god's portrayal as slightly buffonish, Moana's joie de vivre comes bursting from the screen in a mix of colourful animation, show-stopping tunes and a heroine to embrace.

In many ways, Moana feels like a progressive step into the future - its central heroine is diverse, has no need of male intervention or behest and isn't defined by a patriarchy or a male side-kick.
And as we head into 2017, that's something to shout about and hope it's the start of a new trend.

Ludicrously feel-good, with some belting toe-tapping musical numbers, this is one sea to surrender yourself to - Moana's enthusiasm is infectious, and it's pointless to resist. 

The Founder: DVD Review

The Founder: DVD Review

A prime slice of business ethics and an attempt at a semi-biographical piece of McDonald's early life, The Founder is once again Michael Keaton's award nomination spotlight.

Keaton is Ray Kroc, a travelling salesman and a veritable magpie of a man when it comes to what he thinks are good ideas. But often, his gambles fail - as testified to by his terse wife played by Laura Dern who simply wants a normal life and to spend evenings at the club. When he gets an order for 6 multi-mix milkshake machines, he assumes it's an error and contacts the buyers.

But it turns out those buyers are Dick and Mac McDonald (Parks and Rec star Offerman and American Horror Story's Carroll-Lynch), a pair of good ole boys running a burger joint. Kroc heads to the joint to take in the operation - and sees a potential money-spinner in front of him.

However, the MacDonald brothers are principled and work under their own sets of rules and ethics; believing expansion could denigrate their brand, they resist Ray's attempts to jostle into the takeaway industry. But Kroc's dogged persistence pays off - and he begins to expand and build an empire...

But at what cost?

The Founder is in no way a love letter to McDonald's.

It's a serving of unscrupulous behaviour and questionable morality - and aside from one early sequence that dishes up nostalgia in the form of the McDonald brothers starting their empire does it leave you hankering for a fast food fix.

Much like the junk food itself, The Founder promises much but fails to deliver much nutrition.

Kroc's avarice is well documented by Keaton; and to be fair, there's never an attempt to portray him as anything more than a complete asshat, who appears to have run roughshod over any who oppose his desires. Simply put, in Keaton's hands (and to a lesser extent director John Lee Hancock), Kroc's story is solely about getting what he wants, consequences and people be damned.

The film's gentle and genial beginnings give way to a sense of flatlining as the tale goes on over two hours as narrative threads wither worse than a pickle left out in the sun for days.

Dern's wife is afforded scant characterisation and is wasted; and Wilson and Cardinelli float in as Rollie and Joan Smith (the latter of whom Kroc ended up marrying) but their burgeoning relationship is sketched over with little more than a few looks suggesting the big bad wolf in Kroc. Offerman and Carroll Lynch start off strongly as the McDonald brothers, whose fraternal bond is forged and deepened over fries. But they waft away in the film and even Offerman's nuanced and rarely seen dramatic turn can't save them from feeling like piecemeal offerings in the overall story.

It's moments like these which feel like The Founder's floundered its initial promise and premise.

Granted, there are times when Keaton's performances trumps all but the lack of emotional investment into proceedings and the under-playing of the ethical clashes mean this drama unfortunately has little to offer at the cinematic dinner table. 

STAR WARS™ BATTLEFRONT™ II Worldwide Reveal Trailer

 STAR WARS™ BATTLEFRONT™ II Worldwide Reveal Trailer

STAR WARS™ BATTLEFRONT™ II Worldwide Reveal Trailer Discover an all-new single player campaign featuring an original hero, plus an expanded multiplayer experience with massive space battles and iconic heroes from all eras. EA ANNOUNCES STAR WARS BATTLEFRONT II WILL LAUNCH NOVEMBER 17, 2017 WORLDWIDE Pre-Order Now to Get Exclusive* Looks for Rey and Kylo Ren from Star Wars™: The Last Jedi™