Showing posts with label Attack the Block. Show all posts
Showing posts with label Attack the Block. Show all posts

Tuesday, 20 December 2011

Advice to the Lovelorn: Review of 2011



Man of the Year. Time Magazine went for "The Protestor", but I don't remember him being quite so buff. And even The Protestor came out for Gosling - possibly in that way. All together now: "Five, six, seven, eight, Ryan Gosling's super great."

Tedious pre-amble

What a year it's been. The Arab Spring, someone or other winning X-Factor, a woman putting a cat in a bin (was that last year?) and possibly an election of some kind? But more importantly: films! I've seen 319 movies in 2011 (because I am cool), including 32 released this year. So amongst the usual tea-stained ruminations on motion pictures that came out in the 1930s, I've put together a Top 10 of the past 12 months, with a #1 that you won't see topping many lists - but which you must see. Unless you hate scallies. If you hate scallies, it's unlikely to win you round. It's not Arthur Christmas, incidentally, however much I enjoyed that. Aardman have yet to make a film with a scally as the hero.

Elsewhere, there's a round-up of the good, the bad and that time I rather unwisely watched Mamma Mia!, 15 truly great movies I hadn't seen before 2011 - stretching from 1926 to 2010 - and a short sentence about pizza. This post is also my annual concession to a load of boring stats, so please bear with me/humour me/don't injure me. If you want to see last year's somewhat briefer review of the year, it's available here. Now, first up, my top 10 of 2011...

***

TOP 10 OF 2011

1. Attack the Block



Director:
Joe Cornish
Starring: John Boyega, Jodie Whittaker, Luke Treadaway, Alex Esmail and Nick Frost
We said: "A vital horror-comedy ... an incredibly assured debut, with unpredictable plotting, stylised dialogue and characters you really care about, once their frailties are laid bare ... a thrilling counterpoint to establishment fare like The King's Speech, with the best final five minutes of any film in recent memory."
Please also note: "The standout performance unquestionably comes from John Boyega as gang leader Moses, with his sullen expression, Adidas-three-stripe-style facial scar and burgeoning understanding of his growing responsibilities."

2. Never Let Me Go



Director:
Mark Romanek
Starring: Carey Mulligan, Keira Knightley and Andrew Garfield
What we said: "From eerie opening to gutting denouement, it’s the feel-bad film of the year."
Please also note: "Its world may be chilly but Never Let Me Go is anything but, thanks largely to a quietly electrifying performance from Carey Mulligan."

3. Blue Valentine



Director: Derek Cianfrance
Starring: Ryan Gosling and Michelle Williams
What we said: "An intense, insightful, semi-improvised indie about the death of a relationship, starring perhaps the two best young actors in the world."
Please also note: "There are fragments of warmth and love, and even a couple of very Gosling-ish jokes ("That's a funny name"), but the overall effect is like being whacked in the face."

4. Submarine



Director: Richard Ayoade
Starring: Craig Roberts, Noah Taylor, Paddy Considine and Sally Hawkins
What we said: "What a refreshing, distinctive and arresting film this is: a hysterically funny portrait of teenage life in Britain as it's really lived and a film we've been waiting for, without really knowing it."
Please also note: "This is a brilliant debut: moving, original and dazzlingly cinematic, its singular feel augmented by dreamy Super 8 segments, eye-catching credits and a great song score from Arctic Monkeys' Alex Turner. And I laughed almost constantly."

5. Bobby Fischer Against the World



Director: Liz Garbus
Starring: Bobby Fischer, David Edmonds and Anthony Saidy.
What we said: "Gripping, thrilling and ultimately gutting documentary about the US chess prodigy, who dropped out of the public arena at the peak of his powers and spiralled into insanity."
Please also note: "It’s an extraordinary story and this film does it justice: masterfully-constructed, with articulate eyewitness accounts, remarkable archive footage and a superb middle-section."

6. The King’s Speech



Director:
Tom Hooper
Starring: Colin Firth, Geoffrey Rush and Helena Bonham Carter
What we said: "Brilliant stuff ... stirring, funny and riotously enjoyable, with super support from Bonham Carter, Rush and the ever-underrated Anthony Andrews."
Please also note: "As my girlfriend said: 'I thought Colin Firth would be Oscar-worthy, but I didn't know he'd be good as well'."

7. Kung Fu Panda 2



Director: Jennifer Yuh Nelson
Starring: Jack Black, Angelina Jolie, Jackie Chan, Gary Oldman and Dustin Hoffman
What we said: "This is a beast every bit as rare as a panda that can do kung fu: a superior sequel. Fast, funny and fleshing out its story with emotional wallops, Kung Fu Panda 2 is a total triumph - and knocks even its predecessor into a conical hat."
Please also note: "The film looks incredible, packed with sumptuous landscapes dominated by vast mountains, dappling rivers and towering pagodas. Few modern movies have realised the possibilities of the big screen in such an assured, ambitious manner."

8. Drive



Director: Nicolas Winding Refn
Starring: Ryan Gosling, Carey Mulligan, Bryan Cranston and Oscar Isaac
What we said: "It’s a near-classic, a potent fusion of actioner, crime flick and doomed romance that needed just a stronger script to nudge it into that top bracket."
Please also note: "With its neon credits, synth-led song score and obscenely hip lead performance from Ryan Gosling – another movie psychopath from whom we can all take fashion tips – Drive is an instantly iconic film ... another key credit for an actor who’s proving to be infallible."

9. Crazy, Stupid, Love



Directors: Glenn Ficarra and John Requa
Starring: Steve Carell, Ryan Gosling, Julianne Moore, Kevin Bacon
What we said: "This is probably the best mainstream romantic comedy since Just Like Heaven."
Please also note: "Funny, romantic, surprising and with a knockout performance by the mighty Ryan Gosling as a womanising slickster who decides to teach the cuckolded Steve Carell - also excellent - how to pick up girls. Is there anything Gosling can't do? Apparently not."

10. Source Code



Director: Duncan Jones
Starring: Jake Gyllenhaal, Michelle Monaghan and Vera Farmiga.
What we said: "A supremely entertaining sci-f movie that cuts Groundhog Day down to eight minutes and then shoves it into thriller territory."
Please also note: "Source Code is slick, imaginative and well-executed."

Also worth a mention: The Adjustment Bureau (Director: George Nolfi), The Tree of Life (Terrence Malick), Midnight in Paris (Woody Allen, 2011), Harry Potter and the Deathly Hallows: Part 2 (David Yates), Tinker, Tailor, Soldier, Spy (Tomas Alfredson, 2011), The Fighter (David O. Russell); Black Swan (Darren Aronofsky); Melancholia (Lars von Trier).

Did you enjoy that? Good. Next up, premieres...

***

TOP 15 PREMIERES
... being a ragtag collection of classics that had evaded my grasping clutches before 2011, but which weren't released this year, instead being released in years like 2007, 1926 and 1972 (I could go on, but I won't). 1945. (Sorry, I had to do one more.) This is out of 260 such movies, so only the best will doodle-do, as that annoying breakfast cereal ad used to say. To learn more about the film, just click on the name. They're in descending order of sublimity.



Half Nelson (Ryan Fleck, 2006)
The Enchanted Cottage (John Cromwell, 1945)
My Childhood (Bill Douglas, 1972)
The Lookout (Scott Frank, 2007)
The Fallen Idol (Carol Reed, 1948)
King of the Hill (Steven Soderbergh, 1993)
For Heaven’s Sake (Sam Taylor, 1926)
Winter’s Bone (Debra Granik, 2010)
The Shepherd of the Hills (George Cukor, 1941)
Ah, Wilderness! (Clarence Brown, 1935)
The Station Agent (Thomas McCarthy, 2003, pic above)
The Visitor (Thomas McCarthy, 2007)
Män som hatar kvinnor (Niels Arden Oplev, 2009) (Niels Arden Oplev, 2009) aka The Girl with the Dragon Tattoo; review of the Extended Edition here
The Other Guys (Adam McKay, 2010)
Along Came Jones (Stuart Heisler, 1945)

***

And now, because you've been very good this year, here's a quick rundown of the year's highlights (and bad bits). Mostly in terms of movies. I do some other stuff too, but it's not as interesting, so I've put that at the very foot of the post.



FILM
Crazes: Ryan Gosling, Harold Lloyd, Judy Holliday (pic above), Robert Rodriguez.
Continuing preoccupations: Fairuza Balk, John Cusack, Dorothy McGuire.
Revelations: That, in Carey Mulligan, Michelle Williams and Jennifer Lawrence, there are three young actresses worth getting excited about. That DreamWorks can make mighty fine animated films: Kung Fu Panda 2 is not just a superior sequel, it's a veritable visual feast, with an involving and exciting story.
A few performances that stuck with me: Ryan Gosling in Half Nelson, Noomi Rapace in the Millennium trilogy, Carey Mulligan in Never Let Me Go, Willard Robertson's unexpectedly uber-hip turn as a sardonic bounty hunter in Along Came Jones. And - yeah, why not? - Amy Adams in the lovely Enchanted.
Stuff I caught up on: The entire works of Robert Rodriguez, pretty much. The Harry Potter films. And a lot of TV shows.
Happiest surprises: Woody finding his mojo with Midnight in Paris, The Other Guys being so utterly hysterical when I bobbed it on Sky Player one Sunday afternoon; Harold Lloyd's For Heaven's Sake; Synecdoche, New York pushing the boundaries in a way I'd never seen before, whatever its flaws; being able to catch Les enfants du paradis at the cinema.
Biggest disappointments: In terms of this year's animated crop, Rango and Tangled were both a bit of a letdown. I'd heard that The Hangover was funny, but it was just obnoxious. Twinkle, Twinkle, Lucky Stars spent most of its time with a load of shit comedians, rather than awesome martial artists, which was an error. For all the majesty of its score, My Fair Lady is flawed beyond belief.
Worst films: The Aristocrats was hateful, Mamma Mia! was dreck, and Woody's Cassandra's Dream was just incredibly embarrassing.
Some favourite moments: Judy Holliday murmuring: "I know, s'alright" in Bells Are Ringing. It's slight, it's gone in an instant, but it's so real and affecting. The smile at the end of Attack the Block, Ken Marino pitching up - and getting chased away - in The Baxter, and the dancing in the train smoke in My Childhood. The plays within Les enfants are wonderful; watching them on the big screen made them doubly so.
Favourite jokes: "Tuna vs Lion" and the ballet/stripclub mix-up in The Other Guys were amazing, the Civil War "battle" in Harold Lloyd's Grandma's Boy was risky but pulled it out of the fire and the chase sequence in his For Heaven's Sake was just hilarious. Special mentions to the gag-heavy rickshaw set-piece in Kung Fu Panda 2 and the high-tech present-drop scene near the start of Arthur Christmas for the intensity of invention. A rewatch of The Apartment meant another chance to see the look on Jack Lemmon's face as it dawns on him just what his boss is asking him to do. I saw Buster Keaton's The Cameraman again, too - the bit where he hops on the side of the bus is inspired.
Best film I saw at the cinema: Les enfants du paradis. Then Attack the Block.

***

And for those who simply can't get enough stats (just me then?), here's my top 100 of the year, taking into account rewatches, first watches (shown in bold) and brand spanking new movies.

TOP 100 FEATURES(>40 mins)



1. Ghost World (Terry Zwigoff, 2001, pic above) (4)
2. Les enfants du paradis (Marcel Carné, 1945)
3. The Apartment (Billy Wilder, 1960)
4. Hannah and Her Sisters (Woody Allen, 1986)
5. Return to Oz (Walter Murch, 1985)
6. Half Nelson (Ryan Fleck, 2006)
7. Born Yesterday (George Cukor, 1950)
8. Thank Your Lucky Stars (David Butler, 1943)
9. The Enchanted Cottage (John Cromwell, 1945)
10. The Awful Truth (Leo McCarey, 1937)

11. The Cameraman (Edward Sedgwick, 1928)
12. My Childhood (Bill Douglas, 1972)
13. The Lookout (Scott Frank, 2007)
14. The Fallen Idol (Carol Reed, 1948)
15. King of the Hill (Steven Soderbergh, 1993)
16. For Heaven’s Sake (Sam Taylor, 1926)
17. Attack the Block (Joe Cornish, 2011) (Cinema)

18. Barcelona (Whit Stillman, 1994)
19. Mr. Deeds Goes to Town (Frank Capra, 1936)
20. Winter’s Bone (Debra Granik, 2010)

21. Never Let Me Go (Mark Romanek, 2010) (Cinema)

22. Paper Moon (Peter Bogdanovich, 1971)
23. The Shepherd of the Hills (George Cukor, 1941)
24. Blue Valentine (Derek Cianfrance, 2010)
25. Ah, Wilderness! (Clarence Brown, 1935)

26. Three Men on a Horse (Mervyn LeRoy (uncredited), 1936)
27. The Talk of the Town (George Stevens, 1942)
28. The Station Agent (Thomas McCarthy, 2003)
29. The Visitor (Thomas McCarthy, 2007)
30. Män som hatar kvinnor (Niels Arden Oplev, 2009): Extended Edition (Niels Arden Oplev, 2009) aka The Girl with the Dragon Tattoo


31. Sweet and Lowdown (Woody Allen, 1999)
32. Submarine (Richard Ayoade, 2010) (Cinema)
33. I Know Where I’m Going! (Michael Powell and Emeric Pressburger, 1945)
34. The Other Guys (Adam McKay, 2010)
35. Along Came Jones (Stuart Heisler, 1945)
36. Spy Kids (Robert Rodriguez, 2001)
37. Moon (Duncan Jones, 2009)
38. Make Way for Tomorrow (Leo McCarey, 1937)
39. Thieves Like Us (Robert Altman, 1974)
40. Bobby Fischer Against the World (Liz Garbus, 2011)

41. Grandma’s Boy (Fred C. Newmeyer, 1922)
42. It Should Happen to You (George Cukor, 1954)
43. Enchanted (Kevin Lima, 2007)
44. Spy Kids 2: The Island of Lost Dreams (Robert Rodriguez, 2002)
45. The King’s Speech (Tom Hooper, 2010) (Cinema)
46. It Happens Every Spring (Lloyd Bacon, 1949)

47. Team America: World Police (Trey Parker, 2004)
48. Synecdoche, New York (Charlie Kaufman, 2008)
49. Inside Job (Charles H. Ferguson, 2010)

50. Shi di chu ma (Jackie Chan, 1980) aka The Young Master



51. The Last Days of Disco (Whit Stillman, 1998, pic above) (3.5)
52. Gas, Food Lodging (Allison Anders, 1992)
53. Kung Fu Panda 2 3D (Jennifer Yuh Nelson, 2011) (Cinema)
54. De battre mon coeur s'est arrêté (Jacques Audiard, 2005) aka The Beat That My Heart Skipped

55. Il Postino (Michael Radford, 1994)
56. Valmont (Milos Forman, 1987)
57. Boys Town (Norman Taurog, 1938)
58. Let Him Have It (Peter Medak, 1991)
59. The Hoax (Lasse Hallström, 2006)
60. The Bourne Supremacy (Paul Greengrass, 2004)

61. Invincible (Ericson Core, 2006)
62. Kicking and Screaming (Noah Baumbach, 1995)
63. The Americanisation of Emily (Arthur Hiller, 1964)
64. My Way Home (Bill Douglas, 1978)
65. Before Sunset (Richard Linklater, 2004)
66. Spider-Man 2 (Sam Raimi, 2004)
67. Drive (Nicolas Winding Refn, 2011)
68. Source Code (Duncan Jones, 2011)
69. The Bourne Ultimatum (Paul Greengrass, 2007)
70. El Mariachi (Robert Rodriguez, 1992)

71. My Winnipeg (Guy Maddin, 2007)
72. The Rainmaker (Francis Ford Coppola, 1997)
73. Phffft! (Mark Robson, 1954)
74. The Male Animal (Elliot Nugent, 1942)
75. Crazy, Stupid, Love (Glenn Ficarra and John Requa, 2011) (Cinema)
76. The Social Network (David Fincher, 2010)

77. La grande séduction (Jean-François Pouliot, 2003) aka Seducing Doctor Lewis
78. The Adjustment Bureau (George Nolfi, 2011) (Cinema)
79. Vozvrashchenie (Andrei Zvyagintsev, 2003) aka The Return
80. Gremlins (Joe Dante, 1984)

81. The Tree of Life (Terrence Malick, 2010)
82. My Ain Folk (Bill Douglas, 1973)
83. Quick Change (Howard Franklin and Bill Murray, 1990)
84. While You Were Sleeping (Jon Turteltaub, 1995)
85. Panique au village (Stéphane Aubier and Vincent Patar, 2009) aka A Town Called Panic
86. Après Vous (Pierre Salvadori, 2003)
87. Dan in Real Life (Peter Hedges, 2007)
88. Le dîner de cons (Francis Veber, 1998)
89. A Lawless Street (Joseph H. Lewis, 1955)
90. Sexy Beast (Jonathan Glazer, 2000)

91. Despicable Me (Pierre Coffin and Chris Renaud, 2010)
92. Manderlay (Lars von Trier, 2005)
93. 2 Days in Paris (Julie Delpy, 2007)
94. Monsters (Gareth Edwards, 2010)
95. Before the Devil Knows You’re Dead (Sidney Lumet, 2007)
96. Bells Are Ringing (Vincente Minnelli, 1960)
97. Paper Heart (Nicholas Jasenovec, 2009)
98. The Baxter (Michael Showalter, 2005)
99. Small Town Girl (László Kardos, 1953)
100. Two Guys from Milwaukee (David Butler, 1946)


***

TOP 5 SHORTS(> 40 mins)



1. The Goat (Buster Keaton and Malcolm St. Clair, 1921, pic above) (4)
2. Cops (Edward F. Cline and Buster Keaton, 1922)
3. The Boat (Edward F. Cline and Buster Keaton, 1921) (3.5)
4. Orientation Day (Kyle Balda and Samuel Tourneux, 2010)
5. Banana (Kyle Balda and Samuel Tourneux, 2010)


*Lists correct as of December 20

***

TV

I saw a heap of great series this year. Here are the 10 best:



1. Veronica Mars (2004-7, pic above)
2. My So-Called Life (1994-5)
3. Edge of Darkness (1985)
4. Party Down (2009-10)
5. Parks and Recreation (2009-)
6. Freaks and Geeks (1999-2000)
7. Arrested Development (2003-6)
8. Millennium (2009)
9. Bored to Death (2009-)
10. Sherlock (2010-)


These people made me happy. And sometimes sad, but in a good way: Bob Peck, Kristen Bell, Jason Dohring, Adam Scott, Lizzy Caplan, Martin Starr and Noomi Rapace.

***

MISC



Best gigs: Suede doing the first two albums at the Brixton Academy (pic above).
Best day: When I got all engaged.
Best meal: Seafood pizza.

***

EDIT (03/01/12): These things came in too late for consideration, but Hugo and Win Win would have vied with Source Code for the #10 spot in the film list, with Pushing Daisies crashing in at #3 in the TV round-up. To read more about them, just click on the names.

Thursday, 19 May 2011

Winnipeg, RoboCop 2 and a cute little fella with homicidal kids - Reviews #71



My Winnipeg (Guy Maddin, 2007) is a dreamy "docu-fantasy" stuffed with tall tales, half-truths and, well, lies about Maddin's snowy hometown. It has 10 times more sleepwalkers than any other city. It's the coldest metropolis on earth. And all its old signage goes to a mass graveyard. He shows us a balletic seance that ends with two fatalities, a hockey match between pensioner pros in a half-demolished building and a tragedy-cum-tourist attraction - featuring 11 dead horses - that sparked a baby boom. In the style of John Ford, the great American mythmaker, these imaginings somehow reach an essential truth that a factual account could never approach.

And, as in Ford's 1941 masterwork, How Green Was My Valley, we begin with the narrator leaving his birthplace for the final time. Or at least trying to. Dragged down by fatigue, bound by unbreakable sentimental bonds, he resolves to "film his way out". The result incorporates flights of fancy, a furious section dealing with architectural vandalism and class politics that calls to mind Michael Moore, and - of course - Maddin's on-camera alter-ego recreating pivotal scenes from his early life with his aged mother ('40s B-movie icon Ann Savage).

There's an obvious parallel here with Terence Davies' 2008 film, Of Time and the City, being a hymn to a city all tied up with the filmmaker's childhood and his obsession with his family, particularly his mum. There's nothing as transcendent as the jawdropping, emotionally devastating portrait of urban alienation cut to Peggy Lee's 'The Folks Who Live on the Hill' - the staggering centre of Davies' film. But My Winnipeg is more consistent, more accessible and less pretentious, with an attractive playfulness and sense of humour that's largely missing from Davies' frustrating (though often brilliant) film.

It's also great to see Savage giving it both barrels for this glorious last hurrah. A presence in series pictures like After Midnight with Boston Blackie and Passport to Suez, she went on to define the femme fatale in the notorious film noir Detour - just about the only movie from cheapo studio PRC that anyone can remember. With a relatively slender amount of screen time, she dominates My Winnipeg, playing an omniscient, bird-hating ex-salon owner with a sideline in Freudian deconstruction. The scene in which she dismantles her daughter's cover story about hitting a deer to reveal an act of eager promiscuity is a masterclass in stifling, overbearing menace, shot through with jet-black humour.

That such darkness is offset by pseudo-mystic ramblings about rivers, pseudo-sexual ruminations about his "mother's lap" and a jaunty credits sequence scored by a catchy old-time novelty record entitled 'Wonderful Winnipeg' is part of the movie's magic. And its often mesmerising appeal. I don't know if there's a Winnipeg by-law demanding that if someone sleepwalks to their old house and unlocks the door, the current owner has to let them stay until they wake up. But by all rights there should be. This sleepy, feverish film makes it so. (3.5)

***



*SOME SPOILERS*
It may not be very polished, but Gremlins (Joe Dante, 1984) sure is enjoyable: a gungy monster movie that sees malevolent, pointy-chinned little green tykes marauding through an all-American town at Christmas, destroying everything in their path. We begin in Chinatown, where inventor Rand Peltzer (Hoyt Axton) happens across a Chinese bric-a-brac store, run by bona fide Hollywood legend Keye Luke (Charlie Chan's Number One Son in the classic Fox series of the 1930s; see #47). There, tucked away in a basket is the impossibly cute mogwai Gizmo, a furry, crooning little bundle of fun. Just don't expose him to bright light, don't put him in water, and don't feed him after midnight, Luke warns.

He won't cause you any trouble. But his asexual offspring are a touch psychotic.

The acting from the juveniles is wooden and first-time scripter Chris Columbus never did write the most eloquent dialogue, but he has strong basic ideas and follows them through in imaginative ways. And while making your diminutive, cartoonish villains both frightening and hilarious is a difficult trick to pull off, he, Dante and the creative team manage it effortlessly. The set-pieces in the kitchen and living-room (gremlin into blender will go), the science lab and the YMCA are loaded with menace, contrasted with the Muppets-esque cinema sing-along and a simply amazing spot of carolling. From start to finish, the Christmas setting is milked for all its worth (Phoebe Cates' monologue about her worst ever festive experience is supposed to be a joke, isn't it?) and the subversion of the small-town idyll is also spot on; the tracking shot of hero Billy (Zach Galligan) and his dog making their way to work is a little gem that opens up the whole town, establishing a real and credible movie world.

As with so much of Dante's work, there are numerous film references for cool folks like you or I. Not only the obvious nods to The Wizard of Oz, concerning a wicked old woman's attempts to nab our hero's hound, and the clips of It's a Wonderful Life, Invasion of the Bodysnatchers, Snow White and the Seven Dwarfs and Clark Gable racing flick To Please a Lady (smirk) scattered liberally throughout the film, but also a handful of gag cameos and a character named Lew Landers, after the journeyman director who helmed '30s horror classic The Raven.

Grossing more than $150m from a budget of just $11m, Gremlins inspired a rash of knock-offs and a 1990 sequel (in which the gremlins eat movie critic Leonard Maltin, who bashed this initial effort). It was also a key influence on Joe Cornish's spectacular Attack the Block, released last week. Viewed 17 years on, the film's flaws are evident, but they're outweighed by the sheer amount there is to admire and enjoy. This is a deft blend of horror and humour, with a sound premise, a rich Yuletide atmosphere and some amusingly malicious little green terrors, who lay waste to middle America while declaring "Yum, yum, yum". And call me a massive wuss, but Gizmo is really cute. The bit where he sings and plays the keyboard is lovely. (3.5)

***

Some misguided souls claim this next film is a classic. I am going to set a killer robot on them.



RoboCop 2 (Irvin Kershner, 1990) - RoboCop is a genuinely great film, a potent actioner with lashings of satire and a surprisingly effective emotional undercurrent. RoboCop 2 is not. It's a patently weird mix of extreme cynicism, broad comedy and imcomprehensible storytelling, as Detroit's favourite cyborg law enforcer (Peter Weller) is destroyed by a gang of drug-dealers (including a young boy who won't stop swearing) then rebuilt along wooly liberal lines, with his three commands replaced by more than 250 community-minded guidelines. Including: "Don't walk across a ball room floor swinging your arms." That's one of only two good jokes in the film. The other is the self-referential chapter in which one of the character intones: "Introducing... RoboCop 2!" only for everything to immediately go wrong. That would be funnier if it wasn't such an apt metaphor. There are some interesting elements here - the philosophical question of how human our hero really is, a snapshot of his conflict with everyday cops - but these are dropped almost immediately, as the movie trades in its brain for a dock-off drug-addict robot and its heart for a cheap laugh. (1.5)

Saturday, 14 May 2011

Attack the Block - Reviews #70

Just the one review in this update, as I can't wait any longer to tell you about the spectacular...



CINEMA: Attack the Block (Joe Cornish, 2011) - The first film from Joe Cornish, one half of cult broadcasting duo Adam and Joe, is a vital horror-comedy that pitches a teen gang against a breed of hairy aliens with glow-in-the-dark teeth. It begins with a mugging, as nurse Jodie Whittaker has her phone, wallet and ring taken at knifepoint by five hoodies. No sooner has she fled the scene than an alien falls from the sky into a parked car. The kids kick it to death. Then its mates turn up.

This is an incredibly assured debut, with unpredictable plotting, stylised dialogue and characters you really care about, once their frailties are laid bare. Cornish has acknowledged his debt to '80s "creature features", but the film this most recalls is John Carpenter's action classic Assault on Precinct 13 - albeit set in London, and with added aliens - as a gaggle of disparate, untrusting souls band together to combat a greater threat, and an unlikely, initially dislikeable hero emerges.

While Whittaker is excellent and the supporting players are uniformly fine, the standout performance unquestionably comes from John Boyega as gang leader Moses, with his sullen expression, Adidas-three-stripe-style facial scar and burgeoning understanding of his growing responsibilities. He's a fantastic character and Boyega nails his myriad complexities: his insecurity and feeling of persecution alongside his bravery, resourcefulness and sense of honour.

Cornish also has a natural gift for choreographing action, leading to a series of frenetic, energetic, perfectly-paced set pieces. Indeed, that vitality and invention runs through the whole film, from its "big alien gorilla wolf monster" baddies to the Union Jack reveal: an iconic shot, informed by Roger Moore-era Bond, at the heart of a stunning finale.

Perhaps the subplot about middle class drug dealer Luke Treadaway was a bit of a misstep - although funny in itself, it slows proceedings - but everything else about this punchy, idiosyncratic slice of genre fun is absolutely dead-on. It's also a thrilling counterpoint to establishment fare like The King's Speech, without a royal carriage or quietly-emoting monarch in sight. And it has the best final five minutes of any film in recent memory. (4)