The Shawshank Redemption

I've always known that Shawshank is a truly exceptional piece of filmmaking. It's just not everyday that you go on a course to learn intimately and precisely why. And a pretty eye-opening experience that was too. Never before had I appreciated the minutia of what makes this film so exquisite, and so spending 8 hours in the company of one of Hollywood's greatest storytelling analysts was always going to result in more than a few revelations. What's impressive is just the sheer precision of Shawshank; from the colours, the dialogue, and the positioning of shots to the story motifs and hidden moments of foretelling (technical term: slingshots). And most surprisingly of all, at the centre of this impressive storytelling web, is a director making his first feature length movie, and making it well. His cast have long been recognised for their strength of performances in this film, and rightly so, with arguably this being the role that really cemented Morgan Freeman's place in Hollywood. Shawshank is far from a one man show though, and in fact, perhaps the biggest star is director Frank Darabont himself, pulling together a quite sublime piece of cinema, a glorious orchestral movement of a story, and one which should rightly forever remain one of the greatest ever made.

The Sweeney

The original Sweeney TV series actually only ran for four series, and yet was so incredibly popular in its day that it even spawned two cinematic movie spin-offs at the time. Sadly, ending in the late 70s, this was all a little before my time, and so this 2012 version is not a retelling from my particular childhood (and until Hollywood commissions "Challenge Anneka: The Movie", that part of my life will be decidedly lacking). At its heart, The Sweeney's basic premise remains unchanged; a branch of the Metropolitan Police responsible for dealing with London's hardened criminals, with an overarching belief in what they are doing, regardless of rules and authority. Potentially not as hard-hitting and innovative now as it once was, but compelling nonetheless. Sadly, the movie itself doesn't really live up to the name. The story is worryingly forgettable; a blurred amalgamation of a dozen other cop dramas which makes absolutely no lasting impression. The acting is decent enough, once you can tune into the accent, as this is a film that is so cockney, there's a significant danger that it will blow the bass out of your speakers. Assuming it hasn't nicked them first.

Normally directors are more careful when hiding the cameras...

Star Trek Into Darkness

OK then JJ; franchise successfully rebooted, now it's time for the difficult second album. And what a challenge that is when the franchise is as big as Star Trek. 47 years, 726 TV episodes, 11 previous films and a cult following of millions just add up to the scale of the task at hand, not least trying to top the rebooted prequel itself. And so, with that level of pressure from all fronts, it would have been easy to understand if Abrams and his team had maybe dropped one or two of the more contentious balls they were carrying with this movie. Yet the result of all those heightened expectations is actually a beautiful hybrid movie, able to satisfy even the most devout Trekkie, yet still appeal to Starfleet newbies. Not a mean feat.

With JJ. Abrams at the helm again, it should really be no surprise that the action sequences in this film come thick and fast. The absolute pleasure is that every single one of them is absolutely sterling (rather elegantly defined as 'thoroughly excellent'), and coupled in all instances by some truly top-notch visual effects. The cast once again turn in some incredibly worthy performances, with particular mention of course going to Benedict Cumberbatch's exquisitely understated villain.

You'd be surprised just how much 23rd century technology is based on present day cow birthing techniques.

Holding fast to the spoiler-free mantra of TFC, I'm not about to go and divulge vast swathes of story secrets, but suffice to say, the alternate timeline started in the 2009 reboot does give the team scope for some rather jolting reimaginings of storylines from the Star Trek back catalogue (like the previous Vulcan storyline), which are most certainly used to devastating effect.

With the scale of success Abrams is seeing within the Star Trek universe, his appointment as the head of the project to bring back the next biggest science fiction franchise comes as very little surprise. Unfortunately, with Star Wars (Episode VII) now occupying the top spot on his ever-lengthening priority list, it remains to be seen whether the third story will wait, or if the franchise will continue under a new commander in chief. One thing is for sure though, regardless of when it comes; as with any trilogy, now that the temperamental middle child is in the bag, the stakes are even higher to make a hit of the perennially tricky final album.

Starstruck

As embarrassed as I am to admit this, but not only is this film in my DVD collection, but I have actually watched it. Twice. Another desperate Disney Channel attempt to find the next High School Musical, Starstruck features a Vanessa Hudgens carbon copy so petulant that she becomes instantaneously unlikable, and a teen heartthrob of a leading man with teeth so white that sunglasses should be medically advised. Add in some pop music so teeth shatteringly saccharine that tween audiences around the world will gladly part with their pocket money for his first real life album, and the Disney magic factory has done it again. And all that in a film with so much attention to detail that even the microphone he's singing into in the recording studio isn't plugged in. The worst part of all of it though? I sort of want to watch it again. And sing along.

Is it just me, or is she just taking a photo of her own chin?

Snow White and the Huntsman

So, I'm not quite sure what has sparked the recent interest in re-telling classic children's fairy tales, but here comes another one. To be fair, Snow White and the Huntsman shares very little with it's Disney-fied equivalent, but instead comes with the distinct feel of how 'Lord of the Rings' would have looked had The Brothers Grimm been in charge. Complete with some incredibly odd Indiana Jones style "Kalimaaaaaaa!" powers, and topped off with some hilariously outlandish casting of dwarves (Bob Hoskins, Ray Winston, Nick Frost et al.) it doesn't quite gel as well as it should. Perhaps not my first choice, but Charlize Theron makes for a pretty decent evil queen, however Kristen Stewart appears wholly misplaced, not really delivering the depth of character (or in my opinion, the beauty) to be befitting of "the fairest in the land". One side note of applause is due to the team in charge of costuming; just the sheer number of evil crowns should be commended, but the attention to detail across all of the wardrobes is worth saluting, even if the rest of the film isn't.

Yeah, that looks like seven years bad luck to me...

Skyfall

It's difficult to think of another film that carries such an unusual combination of immense hype yet utter responsibility to succeed. Perhaps it's the rather lacklustre attempt that went directly before it, when we know (and when Casino Royale proved) that the team behind Daniel Craig's Bond is capable of so much more. Perhaps it is the perilous financial nature of MGM (that almost saw this film never actually get finished) that results in it bearing a fairly pressing burden. Either way, and whatever the reason, there is certainly a lot riding on Skyfall making a pretty serious impression; an ambition that, pleasingly, it delivers on in spades.

First and foremost, the film is visually stunning. The opening pre-credit sequence, as has become Bond tradition during it's 50 year reign in cinemas, keeps things just as fresh as always with a spectacular car, bike and train chase through Turkey, and culminating (as most of the trailers have already spoiled) in Bond's accidental shooting from the roof of a train. And this is where the beautiful hat-tips to classic Bond begin. It probably shouldn't be a surprise, given that Skyfall has been released to coincide with the 50th anniversary of the first EON Bond in 1962 (even to the point of scheduling the cast announcement press conference fifty years to the day of the announcement of Sean Connery in the original role). And they certainly haven't stopped there. Skyfall is littered with countless gems from Bonds of old, from the blindingly obvious to the spine-tinglingly more subtle, with each one showing nothing but admiration for the earlier franchise.

The Film Cache's Guide to Keeping Your Commute Interesting: #1.
Why ride inside the carriage when you can enjoy the fresh open air on top?

But that's certainly not to say that Skyfall is looking backwards in it's approach to telling new Bond stories. Quite the opposite. While it may have all the hallmarks of a proper classic Bond, it is brought explosively up to date and made completely cutting-edge; cyber-terror and Spooks-style political interference, all capped by the very welcome return of a multitude of Bond mainstays such as Q branch. Indeed, as is often the case with 007, the script is still very much the star of the show, and Skyfall's doesn't disappoint either. The wit of this movie is simply inescapable, even to the point of being genuinely funny in places, and coming complete with a 007 take on Home Alone style booby-trapping, and an enormously homoerotic interrogation.

The Film Cache's Guide to Keeping Your Commute Interesting: #2.
Underground escalators can double as fairground slides for that added bit of excitement.

Once again, the cast prove themselves to be pretty much the strongest link of the whole affair. Daniel Craig continues to excel as Bond, and Judi Dench can't be touched for her portrayal of M, who (fortunately) has a much more active role in this film. Bardem's villain also makes a particular impression, played incomprehensibly wicked, and deliciously insane (with a spoonful of camp to boot), which is always a pleasure to watch. That said though, perhaps one of the biggest stars of the movie is actually it's location. Sure, this is still a standard Bond with exotic locations and plenty of lavish foreign visuals (the boat ride in Macau being a particular treat), but for the first time in a while, the UK actually takes centre stage, and it's the majesty of a proper British setting that actually makes the film all the more pleasing. London is certainly well represented, and all the major landmarks taken care of, but Skyfall rather saves the best 'til last, serving as an unashamed showcase for the peerless beauty of Scotland.

The Film Cache's Guide to Keeping Your Commute Interesting: #3.
If all else fails, why go under when you can go over? Rooftops provide an excellent alternative to the Tube to avoid those rush hour crushes.

Truth be told, there is no single best bit of this film. Similarly, there doesn't appear to be any particularly weak link either; Skyfall carries all the trademarks of classic Bond, but makes them all acutely relevant and modern, all the while demonstrating the very best of British humour, settings and talent. Much has been said about Skyfall perhaps being the best Bond of all. Certainly it's hard to deny that all the brilliance is there for that to be the case. But in the end, regardless of where Skyfall fits into the franchise, it's the film's unwavering reverence for the fifty years and twenty two films that came before it that makes the mark. If ever there was such a thing as a 'Bond blueprint', Skyfall has followed it to the letter, and is truly exceptional as a result.

Sucker Punch

Sucker Punch is a movie that really gives nothing away from it's title. But then, what else do you call a film that treats you to clockwork Nazi zombies, dragons and bomb-laden trains full of robot guards?

Simplified, Sucker Punch shows a girl's escape to a fantasy world, when the real-world becomes too traumatic to bear any longer. Truth be told, it takes most of the film to let you understand that, as the whole thing twists along as a proper head-fuck.

Acting wise, it's a relatively mixed bag. There are some familiar faces that I really wouldn't have expected to find in a place like this, but the film relies more heavily on some astonishingly slick visuals than the actual actors to maintain any kind of engagement. To be fair, they do a stunning job with the effects, with transitions into fantasy worlds being flawlessly executed single-shots, and the sequences themselves about as luscious as they can be.

Is it just me, or does this look suspiciously like the girls have just landed in a burning Hogwarts?

Reviews elsewhere have been pretty negative for Sucker Punch, and I can see why. But for me, there's enough else going on that can more than make up for the shortcomings. The story is really unusual (a bonus in modern day film-making), but the ultimate twist (or sucker punch) just makes it so worthwhile to watch at least once.

Shooter

One thing can be said for Shooter; they've certainly invested some time in making the locations look good. The director's helicopter fetish makes for some particularly lavish long shots, but it's a feat not overly matched by the storyline itself. In trying to be a twisting plot of double-crossing and assassination framing (think Bourne meets 24), they've actually managed to produce quite a predictable movie, that doesn't really bring anything new to the genre. Sure, Mark Wahlberg is a perfectly capable ex-marine sniper (and it's nice to see someone other than Bruce Willis or Jason Statham in that kind of role), but in order to cut-through in the cluttered double-crossed story space, the filmmakers needed something a little more innovative than just a new name in the title role.

Mark Wahlberg takes his Xbox gaming very seriously

As far as everything else goes, it's a perfectly acceptable action movie. One phenomenally minor point, but important to me at the time; all the major dialogue seems to be only a little more than a whisper, which makes it a slightly nerve-wracking (or confusing) film to watch while babysitting. Otherwise, bar a strange overuse of shopping lists (I counted him writing at least three!), and the suspension of disbelief required when Mark is able to train a rookie cop to be a world-class sniper in an afternoon, Shooter is a worthwhile watch.

The Seeker: The Dark Is Rising

To say that this film gets off to a confusing start is an understatement. A strong grasp on location, for example, seems particularly elusive. Sadly for the filmmakers, stock footage of a London underground train, BT phoneboxes and Oxo cubes on the kitchen shelf are not sufficient to make for a believable English setting, no matter how many street signs to Slough you secrete in the background.

Once it gets a little more settled, the motivation becomes more quickly apparent. Another movie adaptation of a fantasy book series (presumably with the express intentions of having the next Harry Potter / Twilight on their hands), 'The Seeker' is a conventional 'coming-of-age-by-inheriting-massive-responsibility' story, with the burden in question being preventing the apocalypse only a few days after his 14th birthday. Standard.

Unfortunately, despite being developed from a five-strong series of books, the film fails to get much of a grasp on the story it's trying to tell. The whole concept seems to stumble under even the gentlest of scrutiny, but worse still, the clumsily written screenplay seemingly separates the film into 10 minute micro-stories, presumably because whoever was responsible for the adaptation forgot to remove the chapter headings from when they were matching their script to the book. As a result, it's never really possible to establish or sustain any kind of tension, despite employing all the usual fantasy fear-clichés (snakes, masked horses, generic feelings of impending doom etc...). I'm also sad to report that Christopher Eccleston doesn't really help matters, seeming completely unable to deliver any kind of menace. Fortunately, he does have an entire flock of rooks that do help him on occasion, but it's far from ideal.

It's worrying how important a snow globe can be

On the whole then, it sounds like a lot was riding on 'The Seeker'. Unfortunately for Twentieth Century Fox, it really fails to live up to the successful fantasy peer group that it was supposed to be emulating. Looking aside from the hole riddled plot and a slightly odd obsession with snow globes (I really wish that was a joke), 'The Seeker' just seems like it would be a really good story to read, but as a film, falls a long way short of delivering.

Salt

There's not a whole lot I can say about 'Salt' that hasn't been said already. But then I guess that's part of the difficulty in reviewing a film that's already been out for a couple of years. That said, Phillip Noyce (the director) has allowed a rather unusual opportunity with the home entertainment release of the film, providing not just the theatrical release, but two additional and completely separate cuts of the film. Though obviously following the same storyline, the characters actually develop in very different ways between versions, with pivotal moments changed, timelines altered, and major plot twists added with seeming mind-blowing nerve.

Firstly however, let's deal with the heavily reviewed basics. 'Salt' has often been described as a female Bourne; a rogue CIA agent, on the run from her previous employer and trying to clear her name. A perfect vehicle then for a gun-toting action heroine like Angelina Jolie, fresh from playing a series of very different roles in films like Tomb Raider, Mr & Mrs Smith and Wanted. Happily, (and as facetious as that point was) all that practice has paid off, leaving Angelina more than competent in this genre, and delivering an expert performance as Evelyn Salt. More favourable still that it should be a woman at all, with the original script calling for a man lead, and Tom Cruise pencilled in for the title role. Fortunate then that someone in the Hollywood executive decided that enough male spy franchises were enough, and 'Salt' is all the better for it.

Careful... this girl can handle a fire extinguisher...

In terms of the selection of film versions to choose from, we'll start from the theatrical cut. Satisfyingly, the original release does provide a better story than the Extended Cut, especially true of the ending, which is entirely different in the longer format. In fact. despite being 5 minutes shorter, the standard film has a much better flow than it's extended counterpart, showing a much greater appreciation for the development of Angelina's character throughout the story. That said, my personal recommendation would certainly be for the Director's Cut. This particular adaptation uses the preferred ending and chronology from the theatrical release, but gains the freedom to make slightly more controversial and interesting twists, adding only a minute or so of additional footage, but making enough changes to existing scenes to make them even more engaging.

In terms of criticism, most others have focussed on what is indeed a pretty convoluted plot, or rather turned against the film for its unrealistic storyline. For me, I cannot argue on either of those points, but both seem excessively picky for what is first and foremost a very engrossing piece of entertainment. Though the story does twist and turn through some shocking, and equally, some rather more predictable revelations, at no point are you ever really likely to feel confused. Indeed, it is the interesting storyline that actually provides a lot of the charm for this film, and so should not be dismissed out of hand. As for the second argument, I'd sincerely love to read the same reviewer's thoughts behind 'King Kong', 'Spiderman' and 'Transformers'. I reckon those would make for interesting reading...