300 : Rise of an Empire  (2014)    65/100

Rating :   65/100                                                                     102 Min        15

The sequel to 2006’s phenomenally successful ‘300’, this time with director Noam Murro replacing Zack Snyder (who acts as producer and writer here) and focusing on the Athenian’s story, in particular their leader Themistocles (Sullivan Stapleton), during the Greco-Persian wars in ancient Greece, with events primarily unfolding both during those of ‘300’ as well as immediately afterward. The story is burdened somewhat by an untruth told in the first instalment where Leonidas is shown to be more or less acting of his own accord when he marches 300 Spartan hoplites (soldiers) to the ‘hot gates’ of Thermopylae. In reality, a confederation of Greek city states had selected Leonidas to lead the ground forces in defence against Xerxes’ invasion, and in unison with the army a Greek fleet (of which Athenian ships were to form the bulk of) would engage the vast Persian navy at the pass around the cape of Artemisium, preventing Leonidas’ troops from being flanked.

After the infamous deeds at Thermopylae and the battle of Artemisium, there was to be a third conflict around the isle of Salamis near the Isthmus of Corinth, which forms the climax of the movie and was to prove one of the most important battles in the history of western civilisation. Technically, Themistocles wasn’t actually in charge of the Greek navy – for diplomatic reasons a Spartan, Eurybiades, had been elected overall commander as Sparta had but a handful of ships and Corinth, another seafaring city, did not want to see her Athenian rivals in charge, but in reality Themistocles seems to have called all the shots.

The film misses the chance to put all of these events into the proper context, and instead we end up with a much more contemporary action orientated, attempted spectacle. Although a lot of the details do fit into the real story somewhere, just not necessarily in the order or way that they are presented to us. One of the most egregious inventions is when we are shown the battle of Marathon, 490BC (Thermopylae, Artemisium & Salamis took place in 480BC), which is where the Athenians triumphed against the odds to defeat the first attempted Persian incursion into Attica (and of course where our modern day Marathon run originates as Pheidippides supposedly ran from Marathon to Athens to tell the people of the victory {having just ran to Sparta and back}. Admittedly, he collapsed dead from exhaustion immediately afterwards) and we see Themistocles kill the Persian king Darius I, who was in fact not even present for the battle. It is, however, true that after this Darius planned a full scale invasion before an Egyptian revolt prevented it, and that his son Xerxes would fulfil his plans after his death due to ill health, whilst Themistocles would climb ever higher within the political structure of Athen’s greatest gift to the world, its democracy, to convince the people that the city needed a navy to better protect itself from the Persians he was sure would return. Interestingly, their democracy was a direct one, wherein the people did not elect representatives to vote on their behalf, but rather voted on each issue themselves – sadly the renaissance does not seem to have reinstated this virtue in the west.

A fascinating and exciting backdrop for the film then, but unfortunately its biggest problem is the fairly childish overuse of blood effects which splatter over the screen in ever increasing amounts, which is bad enough, but what they have used looks absolutely nothing like blood and more like some sort of purple, thick, goo that splurges out of bodies over the screen constantly, more akin to raspberry jam than someone’s insides. An element of this would be ok, and fitting with ‘300’, but its obvious some scenes have been orchestrated purely with this effect in mind, rather than any focus on tension or the audience’s suspension of disbelief.

The same cinematography and stylisation from its predecessor is used once again, and it mostly looks as good as before, although there are a number of scenes with ropey CGI soldiers milling about – some of the action is reasonably satisfying, but then other elements are far too over the top. ‘300’ was the perfect blend of stylised filmmaking with a story based on truth, but here there are a lot of moments where you can say with certainty that never in a million years would what we’re watching be feasible. Stapleton has a difficult job to do, following in the footsteps of Gerard Butler’s iconic turn as Leonidas, but he does quite well overall, though it is difficult to fully get behind him, partly due to the obvious character conflict with his Australian accent (much like Sam Worthington’s as Perseus in ‘Clash of the Titans’ 2010 and its sequel) and partly because unlike in 300, we never really see the protagonist not in ‘battle mode’ as he is effectively waging war from start to finish and, ultimately, it is a bit tiring to watch someone constantly trying to look stressed, shouting and giving rousing battle speeches. In terms of Greek history he is one of the most important characters, and more of a back story and characterisation would have been much better, perhaps focusing on his rise from the poor quarter to the heights of Athenian society.

The naval battles are once again a mixture of real tactics thought to have been used on both sides (not always the correct ones though) and pure invention. Estimates for the forces involved put the Persians setting sail with 1200 ships versus the Greek navy of about one third of that, and the scale in itself is fascinating, with the film exhibiting both great artistic detail and yet tactical execution that is at once enthralling but also dubious. One of the best aspects, which the film actually gets correct, is that the Persian fleet was commanded by a female, somewhat ironically named Artemisia, the Queen of Halicarnassus. Played onscreen by the wonderful Eva Green, she was held in high esteem by Xerxes and by generals on both sides, indeed the film sees her challenge the other commanders under her to impress her and in real life the legend is that during Salamis she was being chased down by a Greek vessel and so hoisted the Greek flag and rammed into one of her own general’s ships (one she had recently disagreed with) shaking off her pursuer having convinced him she was a defector, and apparently watching from above Xerxes and his generals were equally convinced that she had just sunk an enemy ship causing the ‘god king’ to infamously comment “My men have become women, and my women men”.

The movie plays with the rivalry between Themistocles and Artemisia turning it into sexual tension – perhaps not so unmerited given the Greeks had put a high price on her head for a live capture, ostensibly, history argues, because they were so offended at being outmatched by a female, but in reality what could possibly make a greater prize and conquest for a male general? Sadly, she is treated with perhaps the greatest historical disdain with what occurs at the climatic battle.

Returning to reprise her role as Gorgo, queen of Sparta, is Lena Headey, who incredibly looks EVEN BETTER than she did in the first one, and she sizzles onscreen with a reinforced confidence that success with ‘Game of Thrones’ has no doubt brought her. Another strong and wonderful character from antiquity, she delivers lines like the one below with such relish that it is impossible not to love her.

Overall, it is a little disappointing but still reasonably fun, and it does inspire interest in the subject matter, perhaps even more so than the already well known story displayed in ‘300’. If you don’t mind much of it being ruined to some extent by self indulgent and silly effects then it might still be worth a look in, and the story is yet to be completed with the events of the following year, 479 BC, required to conclude everything. They will need a better team to helm the project if they take it that far though.

Quotes

“Themistocles. You’ve come a long way to stroke your cock whilst watching real men train.”   Lena Headey/Queen Gorgo

“Artemisia whispered the seed of madness that would consume him … He surrendered himself completely, to power so evil and perverse, that as he emerged no part of a human man survived… Artemisia watched her flawless manipulation take shape.”   Lena Headey/Queen Gorgo

“Only the gods can defeat the Greeks. You will be a god king.”   Eva Green/Artemisia

“Today we will dance across the backs of dead Greeks.”   Eva Green/Artemisia

“SEIZE YOUR GLORY!”   Sullivan Stapleton/Themistocles

“Let it be shown, that we chose to die on our feet rather than live on our knees!”   Sullivan Stapleton/Themistocles

Interviews with the leading ladies …

Jack Strong  (2014)    71/100

Rating :   71/100                                                                     128 Min        15

The timing of coming to write this review couldn’t be any more topical. This is a well acted and well executed Polish film focusing on the real life exploits of Ryszard Kukliński, codename Jack Strong, who, throughout the 1970’s, used his position within the Polish military to pass on Soviet secrets to the CIA. The story has a strong connection with that of the rise of the Solidarity movement, documented in Walesa – Man of Hope, as both historical narratives were largely generated by the brutal and lethal suppression of the 1970 riots in the Polish north, riots begat by a crippling rise in food prices.

Marcin Dorocinski gives a wonderful and sympathetic central performance as Kukliński, and the rest of the cast, including Patrick Wilson, Maja Ostaszewska and Dagmara Dominczyk all do a convincing job of selling a tension fraught scenario of espionage and political consequences. The language oscillates between Polish, English and Russian, with Wilson’s verbal adroitness in Polish a bit of a revelation (until I realised he’s married to Dominczyk – interestingly, commentary has been made in the media of late on the dramatic rise in the number of Scottish men learning Polish, a rise no doubt directly proportional to the large influx of incredibly beautiful Polish ladies to our shores …) and the most poignant aspect of the plot involves one Russian general’s secret plan to effectively use Eastern Europe to start World War III, and how the plan was thwarted.

How many of the facts have had liberties taken with them here is difficult to tell, but in light of Russia’s recent belligerent activity in the Black Sea, it hardly sounds fanciful. This, then, is very much an important political film of our current time and not just a dramatic retrospective of what the whole world thought was a bygone era. Indeed, it seems like Putin regards international politics as markedly similar to a game of Diplomacy (wherein Sevastopol is one of the most hotly fought over areas for its strategic port) and comparisons with Hitler’s annexation of Austria are not only merited, but quintessential to the furore of debate going on. In the game of Diplomacy it’s vital early on to get the territories you want whilst seeming as reasonable as possible to the other players in the vicinity – if you take a look below at Hardtalk’s Stephen Sackur interviewing Putin’s spokesman and long time major player in the Russian government’s media machine Dmitry Peskov, aired just a few hours ago, you don’t have to be an expert at reading people to tell he’s not quite the full shilling.

Indeed, if Peskov was playing the board game he would be promptly laughed out of Europe on the basis of this interview. It was interesting too that Sackur makes mention of the recent referendum and how not only did it take place under the threat of Russian guns, but that the people had no option in the vote to the keep the status quo in place. This is a pretty major point that the BBC have elsewhere repeatedly not made mention of in their regular updates – in fact they actually seem to be giving the impression there is a level of legitimacy to the vote, with one of the correspondents asking a Ukrainian politician if he didn’t simply have to now accept Crimea has become a part of Russia, which is way, way off the mark for independent journalism.

There would seem to be, at this juncture when tensions and military aggression are rising, a rather opportune way out for the Ukrainian leadership. They should first settle and unite the rest of the country, using every ploy they can think of and perhaps with the timely bringing forward up of the upcoming May presidential election, and simultaneously the majority in their parliament, the Rada, should unite in promising a new referendum in Crimea should the Russians leave voluntarily as speedily as they arrived – a referendum that would be fair and monitored by the international community, including Russian delegates. This would put the ball back into Putin’s court and throw their claims of legitimacy right back at them. It’s very unlikely Russia would back down now given Putin has signed the papers accepting Crimea, but it would make their position much more difficult and buy the Ukrainians more time, and if they somehow did retreat even if the Crimea still went and joined Russia, it’s still better than bloodshed and the escalation and destabilisation that most likely Moscow is hoping will arise. Plus it would give Russia a graceful way of regaining some international favour, as they’d surely fancy their chances at Crimea willingly joining them, and indeed it could set a favourable precedent for them with other Russian speaking areas along their border, but a diplomatic battle to win over the people of a region, is always a million times more preferable to an armed struggle against vastly superior military forces, so it’s kind of a win-win given the current powder keg sizzling away on the peninsula.

Interestingly, toward the end of ‘My Perestroika’ one of the interviewees voices his concern that the current Russian government is heading back down the path of the old Soviet ways of repression and indoctrination, a view which seems to be borne out by events. It would perhaps be telling to see a fair and free independence referendum taking place in Chechnya, or indeed throughout many of the other constituent parts of Russia …

Here’s that interview

Endless Love  (2014)    66/100

Rating :   66/100                                                                     104 Min        12A

This is a very, very familiar story of the local mechanic’s boy who falls for the hot blonde soon to be studying medicine shy girl next door, only daddy doesn’t like it, in small town rural America. Bizarrely, it’s kind of likeable for what it is. The leads are appealing enough and never really grate, the dialogue isn’t off-puttingly cheesy, and the story doesn’t bore to death, all of which is a bit of a surprise. Alex Pettyfer and Gabriella Wilde (Carrie) play the two leads with Bruce Greenwood as the latter’s father and Joely Richardson as his wife, and the story focuses as much on their relationship as it does the two young lovebirds. It’s loosely based on the novel of the same name by Scott Spencer, previously filmed by Franco Zeffirelli in 1981, which may explain why there’s a little more going on than in the usual teen romance drama, and although it fulfils its purview reasonably well, the romance is not exactly going to set the world on fire either.

Non-Stop  (2014)    73/100

Rating :   73/100                                                                     106 Min        12A

Liam Neeson continues his winning streak of action films, following in the successful footsteps of the likes of his ‘Taken’ (08), ‘Unknown’ (11) and ‘The Grey’ (11), and this is another taught and very enjoyable thriller, predominantly sold by a trademark commanding performance from the leading man himself, here playing an alcoholic air marshal who begins to receive mysterious threats to his passenger’s lives whilst in mid-air. He knows that someone onboard is sending them, but who? The plot thickens when the instigator’s demanded money is requested to be transferred to Neeson’s own bank account …

The tension is held throughout, and, all in all, it’s a satisfyingly involving mystery.

Ride Along  (2014)    33/100

Rating :   33/100                                                                       99 Min        12A

A completely mirthless and soulless cop buddy film featuring Ice Cube and Kevin Hart, the latter of whom is a rookie trying to prove his policing chops to the hardened veteran of Cube – who also happens to be the disapproving brother of his fiancée. Despite an energetic and committed performance from Hart, there really isn’t anything of any interest or comedy value throughout the entire film, with the rudimentary attempts at humour matched by the equally pathetic attempts at an original story.

Tinker Bell and the Pirate Fairy  (2014)    75/100

Rating :   75/100                                                                       78 Min        U

There were a good many sheepish adults trying to melt into the shadows of the auditorium at the screening for this, and although their uneasiness is merited since this is aimed primarily at eleven year old girls, so too is their bravery to watch it as it’s actually a lot of fun. This is the continuation of the Disney fairy line with Tinker Bell (curiously, her name is often misspelled as Tinkerbell, the ‘Tinker’ part denotes her skills and place within fairy society, as a tinker, as well as the way her voice, and that of all the fairies, is heard as the tinkling sound of a bell to those not fluent in their language) as the central anchor, with ‘The Secret of the Wings’ being the last instalment.

This is actually an improvement on the last film, which was also pretty good, as here the focus is on a group of friends on a traditional adventure with themes of inclusion and the freedom to be creative, all beginning when Zarina (Christina Hendricks), operating as the fairy equivalent of Antoine Lavoisier, does the unthinkable and EXPERIMENTS WITH FAIRY DUST (actual fairy dust that is, not meth), resulting in her being ostracised by her peers when one of her experiments goes awry and she creates a FUSION BOMB (no, not really). Her response to this? She goes off and becomes a pirate, which, admittedly, is an impressive response.

The animation as you would expect from Disney is very good (although, oddly, Tinker Bell’s face doesn’t look quite right), there are a few songs in there, one of which is very catchy, the spirit of the film is completely perfect for the target audience (despite the lack of male characters to relate to even boys should enjoy it {the fairies are quite fit} unlikely they would admit to it though), the timeline within this particular universe is set, and there are some good laughs with a lot of nice touches to appreciate, such as when Zarina orders “Earl Grey. Hot” à la Captain Picard from Star Trek and when, despite the size of the fairies, a bee tries to buzz into the ear of one of them. I HATE THAT. Despite the secondary nature of the Tinker Bell line of films compared to Disney’s official feature animations, this holds its own very well. Also with Tom Hiddleston, Lucy Liu and Angelica Huston as some of the more recognisable voices in the ensemble cast.

Cuban Fury  (2014)    53/100

Rating :   53/100                                                                       98 Min        15

So derivative, it’s a wonder they bothered at all. Starring leading man Nick Frost – the whole concept for the film allegedly originates from a drunken email he sent to his producer, although it operates as essentially his own version of his pal Simon Pegg’s ‘Run Fatboy Run’ (07). He plays Bruce Garrett, a shy and introverted office worker who has a passion for salsa that he’s buried deep inside after some kids gave him a beating for dancing when he was a kid. The fact that this incident was a one off, doesn’t really speak highly of the main character, but that also forms the core of the story as he falls for burgeoning salsa enthusiast Julia (Rashida Jones) and must regain his self confidence and win her away from the affections of office rival and massive sleaze Drew (Chris O’Dowd).

The main problem, asides from the dire lack of any originality, is that’s it’s just so overwhelmingly drab, set in some uninteresting corner of England with very intermittent dance scenes all shot with such poor editing and direction that it’s not easy at all to say whether or not Frost is physically any good in the role, all asides from one scene where he has a dance-off in the car park at work with O’Dowd, which was quite well worked. The only other scene of any real note is when his quasi-mystical dance instructor (Ian McShane) has Bruce play board games with him and needles him when he refuses to properly engage with it, eventually producing a pretty impressive Scarface impression from him, making board games more fun for the pair and curing his self esteem issues in the process.

If you’re a big fan of Frost then you’ll probably still enjoy this to some extent, but if you’re simply a fan of salsa or otherwise then this isn’t really worth the time.

A New York Winter’s Tale / Winter’s Tale  (2014)    53/100

Rating :   53/100                                                                     118 Min        12A

What a strange film. I don’t think I’ve found myself rolling my eyes in pained disbelief quite so many times in all the movies I’ve reviewed thus far, and yet the schmaltzy over indulgence did kind of get me interested toward the end, despite the protestations of my brain. I went into this with no prior knowledge of what it was about, but if you watch it, you must be prepared for a fairytale story defined by mystical notions, such as the biblical tussle of angels and demons for the souls of mankind and the concepts of miracles, fate and those worthy enough becoming stars in the heavens once they die. What happens once these stars go supernova, is not discussed.

The central character is Irish-American Peter Lake, played by Colin Farrell, whose parents set him adrift in a toy boat in New York harbour whilst they leave for presumably a better life elsewhere (the parents are displayed as caring ones, so this is not exactly a deed that will see many audience members warm to the start of the film). As luck would have it, the young child is picked up by Russell Crowe who seems to be playing an Irish Fagan, except that he’s also a demon, and his initial over acting and accent borders on the derogatory (he gets a little more palatable toward the end). In adulthood Lake rebels against his thieving foster father and this is where most of the story takes place, as he soon encounters a guardian spirit in the form of a flying white stallion (not in any way inspired by Pegasus you understand) and then breaks into a house for his last robbery in town, but then decides to steal the heart of the young lass he finds there instead using his Irish brogue and his horse (yes, it is that cheesy, though one suspects she had been fantasising about a burly Irishman breaking into to her private chambers for quite some time) although, tragically, she is dying of the consumption (that’s tuberculosis to you and I, although this particular victim appears to be in every visible way the picture of health) and thus destiny and fate become intertwined, together with their loins.

I won’t ruin the surprise of who turns up playing Lucifer. It’s Will Smith. Oops, well, it wasn’t really all that exciting, just like the movie. Truly, the first entire two thirds of this film should be eviscerated from existence, but even the black heart of I, The Red Dragon, was slightly moved by parts of the ending (I still wanted to gag at some bits here too though), due in part to me having already written it off and then finding the film had a few surprises in store. It’s the directorial debut of screenwriter Akiva Goldsman, who wrote the screenplay for ‘A Beautiful Mind’ (01), ‘A Time to Kill’ (96) and … ‘Batman & Robin’ (97), and it’s based on the novel ‘Winter’s Tale’ (1983) by Mark Helprin (the film title outside of the UK and Ireland is the same as the book, it seems possible confusion with Shakespeare is confined to the British Isles). Downtown Abbey’s Jessica Brown Findlay plays the object of Lake’s affections, Jennifer Connoly and William Hurt make brief appearances, and happily so does Eva Marie Saint – best supporting actress Oscar winner for 1954’s ‘On the Waterfront’.

The Monuments Men  (2014)    31/100

Rating :   31/100                                                                     118 Min        12A

George Clooney not only directed this, but also co-write the screenplay with Grant Heslov not long after the pair of them co-produced ‘Argo’, and frankly listening to Clooney’s character here talking about the importance of history after he and his buddy completely raped a well documented event in their last collaborative effort, is a sick joke. No doubt they were hoping to replicate their charm offensive that somehow seen Argo take home the best film Oscar, but happily this film, even without the various cries of historical inaccuracy and complaints that the lives of people who actually died as part of the team (the monuments, fine arts and archives {MFAA} unit) have been ignored, is complete rubbish in almost every respect.

The unit’s task was to enter war torn mainland Europe just after D-Day and try to ensure wherever possible the safety or repossession of the most valued works of art and monuments that may otherwise be in harms way from bombing campaigns and the retreating German army as well as Hitler’s known fondness for nicking national and private treasures. It should be a fascinating and exciting tale, and indeed its only success is the relation of some events which were not really common knowledge and highlight the importance of these men’s work, and yet – can we believe these events? Sadly, because Clooney is involved no we can’t, not without embarking on a truth finding exercise of our own.

From a screenwriting point of view there is no real film here – it’s just a series of disjointed scenes stuck together with absolutely no characterisation, horrible, horrible jokes and no real concept of what they were trying to achieve. It amounts to little more than ‘let’s get lots of big name actors (Clooney, Bill Murray, John Goodman, Jean Dujardin, Matt Damon, Cate Blanchett) and send them off on a jaunt through the Second World War, and then we’ll stick in some bits of drama and emotion and then people will love it and we’ll get another Oscar like last time’, and it is simply terrible. Rather than wasting any time on this, better to get hold of a copy of ‘The Monuments Men: Allied Heroes, Nazi Thieves and the Greatest Treasure Hunt in History’ by Robert Edsel, the book upon which the film is loosely based.

RoboCop  (2014)    70/100

Rating :   70/100                                                                     117 Min        12A

This is actually better than the 1987 original, although it is not without its problems, chief among them massive overuse of shaky cam in some of the action sequences. The story is similar but not identical – here America and her giant corporations seem to be steamrollering the whole world (or Iran at any rate) due in no small measure to their manufacture and deployment of robotic military equipment, but the home market has remained a no-go for the technology due to public concerns over its safety, much to the chagrin of Raymond Sellars (Michael Keaton), CEO of OmniCorp the cybernetics juggernaut responsible for the mass production of robots and the prompting of the moral homeland debate (this is set slightly in the future, in case that wasn’t obvious).

The logical solution to this pesky setback is to plonk a man inside a robot who has a moral conscience, only the same conscience is a little too slow at deciding when to pull the trigger and when not to, so a little amount of cerebral ‘tinkering’ goes on behind closed doors with their first unwitting participant in the scheme (he gets blown to bits by the bad guys, fortunately one of the intact bits is his head) Alex Murphy (Joel Kinnaman). This tinkering and the core concept itself forms the central discussion of the film, in between RoboCop annihilating the criminals in his home town of Detroit, and it’s handled at a reasonable pace with solid performances and slick special effects, and although there are a few problems with some of the action, and it’s not especially noteworthy, it does hold its own for the most part.

Support work from Gary Oldman as ‘tinkering’ scientist Dr Dennett Norton (inspired by Norton anti-virus?), Abbie Cornish as Mrs Murphy and Samuel L. Jackson is good, and the film successfully makes the OmniCorp board seem more like morally questionable people rather than the cardboard bad guys that so often frequented eighties action movies, RoboCop amongst them. In a scene where oodles of data and perp profiles are downloaded into Murphy’s noggin so he can immediately identify people wanted for arrest, I couldn’t help but think – don’t we already have the technology to do this? There are plenty of programmes that can identify faces, just pair it with a database and strap it to an officer’s squad car/ass kicking visor and bob’s your uncle, you could even apply it to a network of surveillance cameras and call it ‘The RoboCop Protocol’ …