Xenomania! '11: Alien 3

I once said in the review for Toy Story 3 that film trilogies never work. It can be a combination on plot threads left ultimately unfulfilled, bizarre, outlandish character developments, rehashing the previous entries in the franchise or simply being unjustified in existence.

But rarely can a film encompass all the points above with such spectacularly, terrible results than Alien 3. I mean, holy roman empire, this is bad. When me and Reece sat down to watch this on Saturday; I warned what was to come ahead, but it still came no where close to the actual quality of the film.

In a sentence: How on Earth can a film about a visually striking creature which rapes it's victims to procreate be so mind-numbingly boring?

The answer:

For one thing; all the events of Aliens are basically jettisoned into the vast void of discontinued plot threads, negating them from existence. Warning bells screech in the opening credits when only Sigourney Weaver and Lance Henriksen are mentioned. Then within ten minutes, the film does the unthinkable and says all the previously well established and likeable characters (minus a mangled Bishop) are dead (Newt gets Women in Refrigerator-induced treatment when her corpse has an autopsy for the audience's pleasure...niiiiiicccccceeee!).

So from the offstead, Alien 3 commits the cardinal sin of undoing all the work of the previous film. It's nowhere near as bad as the transition between Highlander and it's first sequel but it's on the same lines.

But this is just the start. The film wholly takes place on a prison planet, where the near thirty, all male inmates are described as "Rapists, murderers and child molesters". So yep, the characters we want to see survive the events unfold are basically irredeemable and aren't worth saving.

The film tries to throw a curveball by showing the inmates have embraced a religious philosophy that's part Harold Camping, part Friar Tuck. This leads to several long-winded scenes with main believer Dillion holding funerals or speeches that basically amount to "We're all screwed, but at least we'll be near God".

See, the main problem with Alien 3 is it tries to combine the tension of the original with the action of Aliens. The action is questionably scaled back to just one, poorly rendered CGI Xenomorph (this time emerging from a dog or an ox in the Director's Cut) which not only looks ridiculous and dated, but also makes the situation less grandeur from the hordes of monsters in the previous film.

The tension meanwhile is non-existant. The main focal point at the start is Ripley having a vagina and the inmates not seeing a woman for years. This is quickly glanced over with the discovery of the alien and then the film tries to evoke the spirit of the original by having an enemy in the shadows which could strike at any time.

This would work if the characters were likeable and engaging minus Ripley and then in the third act, it's discovered Ripley is immune to the Xenomorph's advances, therefore negating any tension in the film to zero and making any events entirely pointless.

It's only the last five minutes that are interesting and even then, it's more of a way to close the franchise off beyond any questionable doubt (more on that irony next time). On the whole, it's a poorly executed result of a poorly executed idea. The film is far, far too long, lacks any remotely likeable characters and the action sequences lack the bombastic thrills of it's predecessor.

And above all else, it's boring. Sleep inducing, soul draining and mind-numbingly boring.

Ripley's Believe It or Not!: Alien 3 is the only film in the franchise that doesn't take place years after it's predecessor and, to it's credit, Ripley is still the level-headed gal we left at the end of Aliens.

The major development in Alien 3 is Ripley being given a queen embryo, therefore making her a walking time bomb but also causing the attacking Xenomorph to completely avoid her (as she puts it "It won't attack it's future").

After this discovery; Ripley becomes suicidal, simply to prevent the Queen from emerging. She hunts down the Xenomorph as a means to die but the beast avoids her. She asks Dillion; a confessed rapist and murderer of women to kill her, but he refuses on the grounds of plot convenience.

By the end, the company arrive and despite the original Bishop's plea to take the creature, she sacrifices herself in molten lead, taking the Queen with her. Naturally, the idea of someone melting would normally finish that character, but this isn't the end of Ripley...to a certain extent.

Game Over Man!: The major change to the Xenomorph in Alien 3 is that it's now quadrupedal (since it's inherited it's parentage from a dog/ox). This basically fully establishes that Xenomorph's take on traits from their hosts (if you didn't already notice the subtle visual hints in the previous film).

Also, the previously established behavioural patterns in having the alien not kill all it's victims but return them to a nest is either retconned, partially forgotten or fully noticed as this Xenomorph basically kills everything it sees.

I'd like to say the latter as there's no Queen and therefore, no nest to return potential hosts hence why it kills everything but I think they just wanted to have the Alien as more of a simple monster, hence why it's probably the former.

Also, as if i've not said it enough, it seems Xenomorph's won't attack those carrying queens. It seems even they have a concept of regicide.

But minus that, there's very little newly stated facts to the Xenomorph's. If it makes you feel better, the next film will have a far more extensive look at behaviour and evolution.

Overall: Alien 3 is bad. Really, really, really bad. It's boring, lacks the tension, horror and terror of the previous two films and is an archetype of how not to do a sequel. It's so bad, it makes the next and final entry on this list look like Citizen Kane.

So join us tomorrow for Citizen Xenomorph!

...

I mean Alien Resurrection.

Xenomania! '11: Aliens

Whilst Alien is an oddity for being the first in a franchise where it's predecessor's are different genre's, James Cameron's sequel Aliens, is an oddity in it's own right for being one of those rare films which surpasses the original in entertainment value.

Rather than induce the slow-burn that Scott had accomplished with the original to create tension; Cameron calls Aliens "Forty miles of bad road". It's over an hour longer, has forty minutes at the beginning to re-establish Ripley as a character and, with the film now fifty-seven years in the future, cover the events to set the stage for the main chunk of the film's story.

Once the film is done explaining the universe, it's basically two hours of pure, unadulterated terror. Rather than tension, the film puts it principle players in scenario's that are practically impossible to survive, constantly. From the opening futile battle in the cooling tower to the film's final moments; it's no-win situation after no-win situation with narrow escapes and brief blemishes of hope.

This is made all the more engaging and captivating with having nearly all of the cast likeable. Whilst the Marines are your stereotypical obnoxious, loud and trigger happy crew (fun fact; Cameron asked everyone to read Starship Troopers before the film. Now watch both back to back and see the similarities), the combination of having them partially endearing and the scenario being so horrible makes you want to see them survive, even if they're main purpose is to up the ante and serve as a body count of the antagonists.

Aliens also brings back the idea of an antagonist in human form; this time in the form of smarmy business folk. From the first few moments where Ripley's entire story on Nostromo being declared mostly fabricated in a business meeting to Carter Burke's utterly horrifying actions on LV-426; Corporate America has never been more cruel (to the point where Ripley wonders which is worse; the Company or an alien race that procreate by raping other species...you be the judge!) and gosh darn it, it's what this film needed!

On the whole; Aliens is practically flawless as an action movie. Although you can argue that it's simply a precursor to the slightly superior Terminator 2 (evil race of antagonists, strong female character, good-if-at-times-morally-questionable robot, strong female character and good-if-at-times-morally-questionable robot defending innocent child and Michael Biehr), Aliens maintains elements that made the original good but changes the overall formula enough to make it not only worthy enough to exist in the universe Scott established, but make it a more thrilling, engaging and enjoyable film.

And just think, this was guy who eventually made Avatar and Titanic! Talk about how times change!

Ripley's Believe It or Not!: Whilst Ripley was basically a lucky if slightly sympathetic survivor in Alien; Aliens is where the Ripley everyone knows and loves comes into fruition. From the opening moments, we discover Ripley's daughter has died in the time she remained in hypersleep. Although she briefly grieves over her loss, the film focuses more on her post-traumatic stress of the events of Alien; including vivid and horrible nightmares in the opening act.

With the proper introduction of Newt in the second act, Ripley plays the motherly role. It's a stroke of genius by Cameron as Ripley is now an archetype that the audience can fully relate to (unless Norman Bates is watching the movie) and embrace.

She comes across as sympathetic, gentle, vulnerable and determined to protect her adopted child compared to the pure working ethic in Alien. Her finest moment in the entire series comes at the end as she storms into the Queen's nest, threatening her children for the sake of one of her own before finally battling her antithesis in a mechsuit to save the others (also stating one of cinema's best lines in the process).

She still retains her logic in the original although again, it's increased for the plot's sake and allowing the audience to project their thoughts to the other characters. She an advisor for the Marines, but even before the opening battle, she's fully aware of the Xenomorph's powers and constantly tells the crew to be more careful. When it all goes belly-up, she takes command for the operation from the C.O to rescue the survivors.

She also has, without sounding like a 'shiper; a strong relationship with Corporal Hicks. It's never really hinted at, but the pair get along well, share the same ideals in terms of operations and he plays up to her stronger character traits (which is made all the more tragic with Alien 3, but that's a point for next time).

Finally, after her violent clash with Ash on the Nostromo, she remains sceptic/vehemently against the use of newer model Bishop throughout the film. In fact, it's only until the film's final moments that Bishop's loyalties are made clear and her character can grow past her previous experience with androids.

Overall; a huge shift in character but necessary, believable and entertaining.

Game Over Man!: Whilst the Xenomorph's here are practically the same as the one in Alien; the social structure and Species hierarchy is revealed in Aliens and in short; Xenomorphs are ants.

It's revealed that a...family of Xenomorph's (I guess)? Anyway, the family has one huge Queen (complete with huge penis-like Ovipositor and egg sac..Giger would be proud!) which lays the eggs (without the need for procreation).

The regular Xenomorph's will then capture hosts, encase them in mucus at the nest (which has to be somewhere hot, in this case a nuclear-powered atmosphere reactor) , ready for the Facehugger to spring out and gestate and then spring out again as a chestburster.

See Aliens, unlike the original cut of Alien and it's sequels, doesn't really show human's dying at the Xenomorph's hands minus self defense. Instead, they kinda take them away screaming and let the next generation inadvertently do it. This also allows events like Newt's capture near the end to make sense and the prospect of saving those captured (although again, Newt is the only one successfully rescued).

And on a slight note, it seems they're capable of reasoning, although primitively. Ripley threatens to torch the entire nest unless she is allowed to go free with Newt and the Queens tells her guards to back off and allow her. They also seem familiar with the concept of revenge as Ripley still torches the nest and the Queen gives chase, ripping off the egg sac and ovipositor in the process...niiiiicccceeeee!

Overall: Aliens is fantastic. It's a film that never loses it's appeal on multiple viewings, has plenty of memorable moments and is a welcome change of pace from the original. If you haven't seen it already, do so, immediately! You'll enjoy it from start to finish.

But like all good things, it has to end and it's kind of ironic that Aliens is the series high; because the next in the franchise is easily the worst. Check back soon as the the series returns to it's singular title with Alien 3.

Altogether now:

NOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO!

Xenomania! '11: Alien

The first Alien is an oddity. I know that sounds rather strange as it’s the first in a line of four movies (or six if you include the atrocious vs. Predator duo) but the original, in comparison with its predecessors; is a straight-up horror film.

Compared to the all guns blazing sequel which would partially carry over into Alien 3 and return entirely for Resurrection, Alien is a film which challenges it’s viewers to delve into an environment of isolation with seemingly no escape, against a foe of disturbing proportions.

This despite the human character’s being barely fleshed out over the half an hour before Kane is impregnated by the Face-Hugger (which leads to possibly the most gruesome screen debut in cinematic history), you generally feel sorry for their circumstances.

This mainly comes down to the crew being a compilation of your everyday, relatable worker rather than say, scientists who basically asking for it (the Nostromo is the equivalent of a tow truck and only landed on planet under direct orders from the unknown company).

Even Ash, who serves as the main human antagonist (although it’s gruesomely revealed he’s an android in the third act), always remains within this inner circle of people to work, but still remains loyal to his employers above all else, something many people will find relatable as the office suck-up.

But of course, the most memorable moments of the film involve the new discoveries of the said Alien. Starting off with killing Kane, it begins life on the ship as more of an unknown pest; small, quick and something seemingly easy to resolve with such a robust crew.

As the film continues, more details of the Alien are revealed and by the end, despite learning so much and witnessing so much death and jumps, we’re still left in the dark on what else this visually stunning and consistently disturbing creature is capable of.

Even at the end, the creature doesn’t die with the hero/heroes standing triumphant of their vanquished foe; instead, Ripley moves from one isolated, contained ship to an even smaller ship and is forced to flush the thing out into space, finds solace in entering hypersleep with her cat and is happy with the prospect of drifting for a number of years.

On the whole, watching Alien today is still an unusual experience. Like all great horror movies, it stands the test of time as the basic formula would still work nowadays. But what holds it back is the lack of mystery.

The film’s success is it’s own curse as the journey through the unknown is gone with the Alien entering public conscience; from the iconic Chestburster all the way to it’s mesmerising decent from the ceiling, it’s been parodied, mentioned in iconic lists and studied, but the introduction to Alien is still a unique experience despite each passing decade.

It’s a well directed, well orchestrated and well acted debut for the Alien Quadrilogy. But the horror elements would be shifted in the years to come in favour more pure terror and adrenaline, beginning with James Cameron’s foray into the franchise and the idea of more people fighting multiple Aliens.

Ripley’s Believe It or Not!: You wouldn’t guess Ellen Ripley would be the human face of the franchise from her original outing. Rather than the guns blazing action hero of Aliens or the unusual entity in Resurrection, Ripley here is a regular worker whose gender means nothing to the overall character (much like everyone on the ship)

She shows logic when Kane is attacked on the planet by wanting him quarantined only for Ash to over turn the decision, she constantly creates idea’s to stop the Alien from wandering around the ship killing crew members, but shows pure, unadulterated fear when the gravity of the situation deepens. Even when she kills Ash, it’s a horrifying murder against an almost unstoppable machine.

Overall; a likable if not too particularly distinctive character. One who would receive more depth with Aliens and Alien 3.

Game Over Man!: The basic lifespan of the Alien (or Xenomorph in future instalments) is revealed in the original film along with several characteristics which would set the foundations for one of sci-fi’s best loved monsters.

Beginning life as a fleshy egg (that would originally resemble a Vagina…yeah Giger is pretty weird), a Facehugger with acidic blood impregnates victim by forcibly entering an embryo down the victim’s throat (so yep, this new born Alien is a rapist too, niiiiiiccccee).

Said Facehugger dies, victim can act normal for a number of hours before the embryo grows enough to burst open out of the victim, killing them. Appropriately titled Chestburster will molt and grow-up fast (the alien grows from a foot to over two metres in a matter of hours in the film).

Newly evolved monster is fast, silent and takes on characteristics from its victim’s species. In this case; an androgynous look with features likes human fingers, walking hunched but on two legs and a lack of sexual organs...minus that phallic looking head (species inheritance would be further explored in Alien 3).

For plot convenience, the Alien has acid blood which can burn through steel (hence the lack of firearms in the film in case of combustion in Space) and displays some intelligence (it follows Ripley to the escape pod for a final showdown rather than remain on the Nostromo’s).

It also has a retractable tongue with a small pair of jaws for double the biting action!

Also in the Director’s cut, the entire life cycle was shown with a cocooned Brett being converted into an Egg and Dallas being used as a host for the eventual Facehugger. This was dropped entirely with the advent of Aliens but in context, creates a disturbing idea that every egg on the Space Jockey’s ship was a victim of a previous attack.

Overall: Horrifying and uneasy viewing with a strong, relatable cast and an introduction to one of most unique and disturbing entities on cinematic history, Ridley Scott’s Alien is a strange, grotesque but enjoyable introduction that paves the way for one of Sci-Fi’s biggest franchises. Up next; Aliens

Coldplay - Mylo Xyloto Review

With the absence of U2 this year, the accolade for “Biggest Band in the World” falls to Alternative rockers/composers of bedwetting music Coldplay. Like U2, Coldplay have polarised opinion in music circles; many love their music for being part easy on the ears, part stadium filling, anthemic rock that’s just alternative enough to avoid the dark pit of pop music and popular enough to garner frequent radio play.

Just as many however hate them for being boring, uninspiring, plain lucky for arriving at a time when Radiohead halved their fanbase and with each album faltering to deliver the endless hype going into it.

Me personally; I really like Coldplay and, like many, I went into the bizarrely titled Mylo Xyloto with high hopes that once again, Chris Martin and his ensemble would deliver something magnificent and awe-inspiring; justifying why they are the biggest band in the world (for this year anyway).

Sadly, this isn’t Coldplay’s year, no matter how much they try.

There’s a fundamental flaw with Mylo Xyloto and it’s made all the more embarrassing with the fact that Martin has stated that Mylo Xyloto is a concept album and that flaw is; the album doesn’t flow very well. The best example that I can think of with similar problems is Muse’s The Resistance (ironically their fifth album too) which tried to fit everything in one neat package, but in the end felt congested and over-indulgent without really having a consistent theme.

It’s the same for Mylo Xyloto which can’t decide if it wants to try and be a respectable, ballad driven record or mindless poppy fun. It starts off loud and proud with real opening number Hurts Like Heaven (there’s a quick intro prior called Mylo Xyloto which may as well have been added to start of this one, but anyway) which, despite being decent, fails to capture the intrigue the song delivered in it’s live iterations.

I loved following track Paradise despite the world joining hands in saying it was atrocious. Here, it fits really well at the start and I still stand by it being great with its infectious chorus, handclap infused bridge and lovely piano outro; even if it’s basically Viva la Vida meets anything U2 threw out during the Zooropa/Pop days.

Stand-out song Charlie Brown is pure insanity-driven fun with loud synths and shouty, sing-a-long moments. Ok, so the shouty, sing-a-long lyrics are non-sensical (even for a Coldplay song), but it’s a stereotypical Coldplay masterclass in making a song built for stadiums. Think Lovers in Japan but bigger and more poppy and you get this wonderful gem.

So from here; I thought I had a decent idea of what to expect from the next ten songs; fun, loud but interesting pop with Eno infused synths to deliver a bombastic package. But Charlie Brown is where the consistency ends and where things get a lot more jumbled.

Us Against the World is the first sign of trouble which decides to go back into a time-machine to the Parachutes/A Rush of Blood to the Headera of intimate, acoustic sounds with some electronic soundscapes. It starts off well but screams out for a big ending but just fades out into nothing.

This intimacy sporadically and frustratingly appears every couple of songs; like the album is taking a breather because it can’t keep going at the same tempo. The best example of this is the transition between U.F.O; a short, sweet but ultimately pointless acoustic interlude which then goes into Princess of China; a middle of the road, synthy, fuzzy but ultimately pointless collaboration with Rihanna who doesn’t really offer anything new to the song other than having naturally more feminine vocals than Martin.

While this intimacy has worked and can work on the album with something like Up in Flames, which feels isolated and tragic in it’s piano driven beauty; album closer Up with the Birds is generally poor and doesn’t match the images of future love and intrigue, nor any other closing track on a Coldplay album.

It’s a shame because when it works; Mylo Xyloto is a carnival ride; it’s loud, colourful, evokes a strange sense of happiness and leaves you buzzing. When it doesn’t; it’s like a ghost train which looks amazing from the outside, but when you’re actually on the thing, it keeps stopping and starting until the end and you can’t tell if the missing pieces are supposed to be missing or if someone got confused on the way and hoped no one would notice.

It’s a disappointing, confused and over-indulgent album which can’t decide which direction to go in. It has stand-out tracks but it has more than a fairshare of pointless interludes, mindless filler tracks and ideas which start off well but ultimately go no-where.

It will sell millions, but for the first time since discovering this band, just before X&Y cemented their legacy; I’m in unison with the naysayers:

Do they really deserve it?

6/10

H

Noel Gallagher's High Flying Birds Review

I remember attending the V Festival in 2009 when Oasis pulled out at the last minute due to Liam. I remember the crowd booing every time the message appeared on the giant screens like something out of 1984. I remember James mockingly singing Wonderwall with the aid of a helium balloon which received cheers and laughter from the frustrated crowd.

I remember Snow Patrol taking the helms of headliners and delivering a surprisingly excellent show for frustrated fans, mentioning Oasis by name on the encore and receiving a choir of boos, then quickly playing a cover of Champagne Supernova and the crowd appreciating it more than any other song played previously all weekend.

Not long after these events, Oasis officially broke up for keeps this time (compared to all the teasing previously) and earlier this year, Liam and co under the moniker Beady Eye (which seems to have been invented for the soul purpose of having the CD next to The Beatles in record stores) released it’s debut Different Gear, Still Speeding without the constraints of Noel and boy howdy was it dire.

But anyone with any sense would be more interested in Noel Gallagher who is unquestionably responsible for Oasis’ best songs. Without the presence of his annoying brother holding him back; we’ve wondered what would lie ahead of the aptly titled Noel Gallagher’s High Flying Birds?

Would it would be a wholly departure of the generic guitar orientated Britpop that Oasis latched on to, well beyond it’s sell by date? Would it lyrically cover subjects Oasis dared not tread previously? Would it be the bestest, most amazing album ever created by anyone ever?!

In short; no.

In long:

It’s hard to call Noel Gallagher’s High Flying Birds (the album, not the band itself) a debut as Noel has been in the industry for nigh on two decades. I’m also quite puzzled as to why people expect something different other than the guitar rock styling’s that have composed Oasis back catalogue since Definitely Maybe.

I mean; it was announced the follow-up album to this would be more electronically influenced but come on; it’s Noel Gallagher of Oasis! You know, the band that wanted to be The Beatles but didn’t grasp on the fact that The Beatles constantly changed with each album, whilst Oasis basically released the same album four times, each more diluted and pathetic than the last iteration.

There are moments like opener Everybody’s on the Run. Featuring a backing choir, more string orientation, rain-infused soundscapes, it’s a spectacular, if deceitful opening number that shows moments of evolution but really sticks out on retrospective listens as an odd, but awe-inspiring track.

There’s a few more moments where the album attempts to go beyond its stereotypical nature.AKA…What a Life! has chord progression on piano rather than guitar (a consistent approach throughout the album) and is by far; the best track on the album as a loud, bombastic, almost football chant meets House music approach to it.

AKA…Broken Arrow has a tropical drum beat with string samples that sound unexpected but bring the album towards its conclusion. (Stranded on) The Wrong Beach has a backing drum and bass that sounds strangely like Another Brick in the Wall Part II. It has also does away with the obvious guitar solo towards the end and replaces it for striking piano chords which work strangely well.

But that’s where the creativity ends and the rest of the album sounds like well trodden territory, albeit with palette swaps. Whilst I really like The Death of You and Me; it’s basicallyThe Importance of Being Idle with trumpets. Again, I like If I Had a Gun…; but it bares more than a striking resemblance to Wonderwall. Then again, at least Noel has copied good Oasis songs; if he replicated Lyla or Xenu forbid Liam pended monstrosity's like Little James, this review would simply be an image of someone giving the finger.

Ending number Stop the Clocks; an Oasis song originally written for Don't Believe the Truth ends with a chorus of crashing drums, wailing trumpets and an enjoyable laugh. It’s a suitable finale on the proverbial roadtrip (well, that’s my take on the album’s theme anyway).

On the whole, go in with low expectations like I did and depending on your love for Oasis and Noel pended material will determine how much you like High Flying Birds.

For me personally; it’s an enjoyable album that remains consistently good, if a tad too familiar. You can argue that’s basically more of the same with guitar’s effectively relegated for trumpets and pianos, you can say some of the lyrics are a tad pants (“What if I’m already dead? How will I know?”...erm, you wouldn’t?) and you can say it’s a grand example of too much hype and not enough to show for it (aka…Oasis from 1995 to 2008).

But, in an over congested month of releases; Noel Gallagher’s solo debut is enjoyable mixture of stereotypes and familiarity in one neat package.

And really; would we want it any other way?

...Possibly, but that’s what next year’s release is for.

7/10

H

Halloween 2011 Preview!

Last year we did a feature on George Romero's Zombie films, so this year we wanted to do another well known film franchise, one that preferably gets worse with age like Romero's so we decided to go with...

No crappy vs. Predator movies included, original franchise only.

Drive - Review

Drive (18)





Drive is my surprise of the year. This review may sound like I’m gushing but I absolutely loved this film, so much so that I will overlook its flaws (only a few in my opinion) because of how awesome it was.

This is probably going to be the easiest yet most stylish character that Ryan Gosling has played, but he plays his character, who has no name and simply goes by the moniker of “Driver” or “The Driver” ruthlessly and full of aggression and with obvious deep psychological issues.

This film is all about style, the direction is superb and it is accompanied by one of the best movie soundtracks I have ever heard, I immediately purchased the OST when I got home from the cinema, it adds to the moody, often dark atmosphere the film has, but also enhances the more light, somewhat 80’s feel the film also has.

The film follows Goslings Driver, a quiet man who does stunt driving and mechanic work for a living but moonlights as a getaway driver for hire at night. The character has an extremely quiet nature and that’s why the aggression and violence come as such a surprise. Cary Mulligan plays our Drivers (sorta’) love interest Irene, living down the hall with her young son, Driver takes a big interest and the more time spent with his neighbours the bigger their relationship becomes. It’s when Irene’s husband Standard (played by Oscar Isaac) returns from prison when the films main storyline kicks into gear and well, the shit hits the fan.



I mentioned the violence earlier, the film does get very violent and the films very laid back and quiet atmosphere enhances the violence. The film doesn’t go too over the top with it either, I would say there are around 4-5 scenes that are pretty bloody, some of which is absolutely BRUTAL and you will know the scene I am talking about if you have seen the movie or have friends who have blabbed on about it.

The acting is superb, the supporting cast (that features a favourite of mine Bryan Cranston) all pitch in to make this a memorable movie. The bad guys are all typical bad guy caricatures, the kind of villain that you WANT to see maimed in some way. Our two main bad guys played by Albert Brooks (Voice of Hank Scorpio from the Simpsons… haha) and Ron Pearlman are both excellent in their roles.

I mentioned some flaws and I really mean it when I say I couldn’t really care less about them because the films style just sucked me in. If I had to say I would say there isn’t enough driving in the movie, when it happens it’s pretty cool and full of suspense but for a film called “Drive” it was lacking. I would also say that when the big turning point in the film happens the story isn’t explained as well as it could have been, it’s easy enough to follow but there are a few things that could have done with a bit more focus.

This film has both style and substance, I have actually high fived people who have also seen it and also share by enthusiasm for this film, they also downloaded the soundtrack straight away too, co-incidence I think not. You need to see this film if you haven’t already, just don’t let kids see it, unless you are similar parents to mine who let me watch Robocop when I was 8, ah memories.

9/10 – My Film of the Year (so far…)

R

Warrior - Review

Warrior (12a)

Mixed Martial Arts is the fastest growing sport in the world, well according to them it is, I’ve been a fan for nearly 5 years now and I think they’re right. Now that a big Hollywood (ish...) movie featuring the sport has been released it’s hard not to agree.

Warrior gives MMA what the Rocky movies did for Boxing, not that Boxing needed the Rocky movies but they certainly helped put the sport into more homes, that’s what Warrior will do for MMA, and like the Rocky movies (well…1, 2 & 4) it is a cracking film.

The film takes place mainly in Pittsburgh, Tommy (Tom Hardy) goes home to visit his ex alcoholic Father (Nick Nolte) after a stint with the Marines in the Middle East, his brother Brendan (Joel Edgerton) is a high school physics teacher and lives across town with his wife and children battling against bankruptcy. To say they have family issues would be a huge understatement, the films main drive is the huge fracture between the 3 men. A very depressing childhood gives our main characters their emotions and conflict that make this not an MMA film, but a drama that uses MMA as its stage. It isn’t just their family issues that drive the film, they each have their own demons and problems too, this film is so emotionally supercharged.

I won’t go into Spoilers like my friend on this blog likes to do but both Brothers end up in the biggest MMA Grand Prix tournament ever in Atlantic City and of course they are headed towards each other in a blockbuster finale, if you’ve seen the trailers this isn’t news to you.



Few things stand out in this movie for me, as I said I am a huge fan of MMA, the sport is very well represented, unlike Boxing in the Rocky movies (The Fighter on the other hand does a great job, but I digress…). We are shown a variety of techniques that you would find in any MMA fight. Tommy likes to Box and Wrestle whereas Brendan is a BJJ submission specialist, the moves are very well done and you can see that they had some top MMA guys helping out. The film has also borrowed the UFC model of production and the cage is very much inspired by the UFC’s Octagon. There are some very good cameos from the world of MMA; Anthony ‘Rumble’ Johnson makes an appearance as does Nate Marquardt. However, the best cameo comes from Kurt Angle who plays the elite mute Russian fighter Koba (an obvious nod to MMA legend Fedor).

Warrior has corn a’ plenty, it also has great acting, great action and pacing. I went into the film expecting to like it and I walked out feeling that way, I was not disappointed and the last scene really does finish the film off perfectly. Tom Hardy is fast becoming a Hollywood star and one of the main reasons I was interested in this film. Seeing how he acts and looks as a bulked up aggressive force due to him being cast as Bane for next years Batman 3. I expect more Batfans did the same and all I can say is he’s performance added to my hype for that movie as he is an absolute BEAST, basically Batman is screwed.

7.5/10

R