Pompeii  (2014)    31/100

Rating :   31/100                                                                     105 Min        12A

This really couldn’t be any more derivative of ‘Gladiator’ (2000) if it tried – you can imagine the execs behind it .. ‘hmm polls show that audiences loved Gladiator, and that films with lots of explosions in them do pretty well, so what we’ll do is make another Gladiator and then half way through it we’ll blow the shit out of everything!!!’. Which is exactly what we see as Vesuvius, the volcano that buried the ancient Roman city of Pompeii in 79AD, detonates like a well timed nuclear explosion for the second half of the film, showering the audience with meteors, tsunamis, earthquakes, surprisingly little lava, and dreadful escape sequences with that horrible trope of action and disaster films – characters fleeing with disaster literally just one step behind, something we have largely been mercifully spared from of late, possibly after it was taken to excess by M. Night Shyamalan with his central characters managing to outrun the wind itself in ‘The Happening’ (08).

Directed by Paul W.S. Anderson, who actually has done some really good films (well, one anyway – ‘Event Horizon’ in 97), but also has a series portfolio of lead weight B movies, here he’s not only copied the plot from Gladiator, but also tried to mimic the way it was directed, alas he is no Ridley Scott and it really shows. We see the warrior forced into slavery and the life of a gladiator (played in a wondrously wooden way by Kit Harrington, who seems to think he’s in a Vidal Sassoon advert for the film’s duration, see the picture above), who vows vengeance against the Roman ruler (Keifer Sutherland, attempting a posh English accent for some reason) that he will defy in the arena, cue thumbs up or down moment, but not before he’s befriended the nearest large black man to do a lot of the fighting for him (played by Adewale Akinnuoye-Agbaje, who is the only one that can hold his head up high with a strong performance here) and managed to turn what was supposed to be a massacre for the slaves into their victory (battle against the Celts here replacing Carthage, although interestingly Scotland remained one of the few places the Romans failed to conquer – eventually opting to build not just one, but two walls to actually try and keep us out from the rest of their domain, ha!) and also captivating the sexual desire of the same woman that the Roman patrician also has his eye on (not the Roman’s sister on this occasion and played by Emily Browning, she is also sporting an English accent, so maybe she began as his sister and then they changed it).

The effects are fine, but it fails in pretty much every other department. We even see our leading man make a getaway from Pompeii with girl in toe on his horse’s back behind him (he can talk to animals and befriend any horse as well incidentally, which is no doubt what attracts the virginal attention of his mistress, whose previous sexual encounters will all have been on horses) and they are clean off into the night, when our hero decides he doesn’t want her to be a fugitive and he had best give himself up and say he gave her no choice. Or they could’ve kept on going and lived happily ever after. In fact they perform this same routine of complete stupidity not just once, but twice. Sigh. Despite the carnage and annihilation suffered by all around the two lovers make sure to always have enough time to fix their hair and deal with all their side plot elements, but at least Vesuvius doesn’t disappoint on the destruction scale, indeed this particular eruption is historically estimated to have emitted an amount of thermal energy many thousands of times that produced at Hiroshima and also buried several other cities in the region under ash – with tens of thousands of fatalities incurred by the roiling clouds of hot gas and rock (pyroclastic density currents) that swept the area at enormous speeds, something the film does represent, at times, really well (I don’t believe there were any meteoric asteroids though, I was there you see, chortling away to myself).

Vesuvius is currently one of sixteen volcanos being closely monitored around the world which are all volatile and present a serious threat to large populations, Naples for example is only circa 10km from Vesuvius.

Plastic  (2014)    68/100

Rating :   68/100                                                                     102 Min        15

A fairly low key British crime thriller featuring lots of up and coming talent, and it’s actually quite good if you can stomach the preponderance of Cockney accents that verge on the hammy. A group of fledgling credit card thieves get in over their head and are forced to recruit someone working on the inside for a large card company in order to score it big and loosen the noose that’s been placed around their necks. The group, pictured above, are played by (from left to right) Sebastian De Souza, Alfie Allen, Emma Rigby, Ed Speleers and Will Poulter. Rigby shows a lot of promise but, as you can get a hint of from the picture, sadly the film plays a little too much on her womanly assets. The entourage head to Miami to bait their primary target, and so we are treated to some nice weather which makes a change for the London gangster genre, and the story holds its own for the duration of the film, as the group must contend with issues of infighting, greed and trying to keep their strongest resource in the dark as to their real motives.

Paranormal Activity : The Marked Ones  (2014)    43/100

Rating :   43/100                                                                       84 Min        15

Grooooooan. Yet another stale and regurgitated horror film from Blum Productions in the Paranormal Activity series, this time swapping surveillance cameras for handheld ones and revolving around the story arc of certain people being chosen for demonic possession by a coven of Satan worshippers and dark magic practitioners. The cameras are held by three friends, one of whom has been chosen to have his brain turned to mush by a demon, but not before he subjects us to terrible camera work and predictable jump moments. There’s a semblance of a story, but not much else going on here.

Powder Room  (2013)    63/100

Rating :   63/100                                                                       86 Min        15

Focusing on one central character Sam (Sheridan Smith) and the events of one evening’s session in a night club and, predominantly, the gossip/social haven of the ladies toilets this has the distinct feel of a theatrical piece, no surprise then that it is based on the comedy play ‘When Women Wee’ by Rachel Hirons. Sam must balance her existence for the evening between two different, mutually exclusive sets of friends – the upper class and well to do Jess and Michelle (Oona Chaplin and Kate Nash), and the not so haughty Chanel, Paige, and Saskia (Jaime Winstone, Riann Steele, Sarah Hoare), or scrubbers if you prefer, neither of which two groups really know about the other’s existence. In the spaces between this balancing act she must also weigh out the measure of her own existence, as she tries to desperately avoid the truth that her own life has not turned out the way she thought it would.

The comedy aspect is a little too obvious, and it takes a very long time to get into, but overall it is a decent drama, dealing in a reasonable way with the sort of things one might expect to find in the female latrines of a dingy nightclub, although in modern day times Sam’s life is not really nearly as bad as she makes out – she does for example have a job and money, which already puts her above the swell of misery still undulating around the shores of Europe. Credit is certainly due for taking a rare look at this aspect of British life – the nightclub culture that all young Brits will be familiar with to some extent. Indeed, one of the most common things that visitors from abroad have to say about this country is (along with the insanity of having one tap for cold and a separate one for hot) that they simply can’t believe the lack of clothing exhibited by people out on the town in all kinds of weather. It would indeed be most interesting if an equally mainstream, exciting social alternative to drink, hangovers and vomit were to arrive on the scene – perhaps more cinematic social satire and commentary on the issue is no bad thing.

Parkland  (2013)    55/100

Rating :   55/100                                                                       93 Min        15

Released in the UK on the exact 50th anniversary of John F. Kennedy’s assassination, this film appears to simply highlight that memorial – there really is no other point to the film whatsoever as we watch a dramatisation of the events surrounding that fateful day from the point of view of his staff, the medical professionals at Parkland hospital where Kennedy was taken, and the brother and mother of Lee Harvey Oswald who shot him (officially, at any rate). There’s lots of weeping, shouting, fake tension for events we already know the outcome of – all in all it’s an uninvolving soporific affair that barely adds anything at all to the plethora of other takes on the event. Indeed, simply rereleasing Oliver Stone’s ‘JFK’ (91), which is a real film, would have been a much better idea, if a somewhat controversial one. An impressive cast: Billy Bob Thornton, Marcia Gay Harden, Paul Giamatti, Zac Efron, Jacki Weaver, but each of them are given very little screen time, and just as little dialogue to work with.

Philomena  (2013)    69/100

Rating :   69/100                                                                       98 Min        12A

Be prepared for this film to make you very angry – not because it is faulty in any way, but because the true story it’s based on, and the way central character Philomena Lee is treated (by the Catholic church, shock, horror), is ghastly, inhumane, and sadly perhaps all too common for girls in her situation at the time concerned – as an effective prisoner in a convent in Ireland forced to watch as her child is given away to a wealthy family for adoption against her will. The film catches up with Philomena (Judi Dench) as an old woman in the present day who has been searching for her son her whole life, when a daughter from a later relationship introduces her to Martin Sixsmith (Steve Coogan – who co-wrote the screenplay along with Jeff Pope, adapting the story from Sixsmith’s novel ‘The Lost Child of Philomena Lee’), a journalist recently made redundant and who, being at a loose end, decides to investigate the case for Philomena and to write an article about the experience for publication.

Here, mixed in with the relation of real events, we find the traditional story arc of Sixsmith from jaded snoot only really interested in getting something into print, to the emotionally involved fighter in Philomena’s corner, and Coogan successfully manages the balancing act of introducing some ameliorating comedy and lightheartedness to the tough storyline. Dench’s Irish accent is one moment spot on, the next wavering, and then it’ll disappear completely, but vocal misgivings aside both leads give very good performances with a script that works overall, is well directed by Stephen Frears (‘Dangerous Liaisons’ 88, ‘High Fidelity’ 00, ‘The Queen’ 06)  and a story that is sure to leave its mark on the audience. See ‘Oranges and Sunshine’ (10) for an even more brutal and heart wrenching tale on similar themes, and also the original ‘Bad Lieutenant’ (92) with Harvey Keitel for a similar contrast between the victim and the sympathiser.

Prisoners  (2013)    75/100

Rating :   75/100                                                                     153 Min        15

Brutal, but brilliant. Without doubt a genuinely disturbing film, centred around the disappearance of two small children and the ensuing police investigation, but with great performances all round it proves enthralling from start to finish. In particular, Hugh Jackman as the father of one of the missing girls and Jake Gyllenhaal as the police detective assigned the case are darkly compelling in their roles. They’re joined by Maria Bello, Terrence Howard and Viola Davis as the other parents involved, and Paul Dano as suspect numero uno. It has a similar feel to David Fincher’s ‘Zodiac’ (07), also with Gyllenhaal, and although it’s certainly not light entertainment, it is a very good, gripping film. From Canadian director Denis Villeneuve, three time winner of the best director Genie award (Canada’s highest filmmaking honour) for ‘Maelstrom’ (2000), ‘Polytechnique’ (09) and ‘Incendies’ (10).

Pain & Gain  (2013)    74/100

Rating :   74/100                                                                     129 Min        15

Michael Bay brings his adrenaline fuelled style of filmmaking to somewhat new and uncharted territory for the director, with this ‘based on a true story’ (published in 1999 as a series of articles in the ‘Miami New Times’) crime drama. Mark Wahlberg, Dwayne Johnson and Anthony Mackie are all weight lifters working in the Sun Gym in California who decide, largely at the instigation of Wahlberg’s ringleader Daniel Lugo, to kidnap a local entrepreneur and try to extort all of his money and belongings from him. The three are each the very epitome of the term ‘meathead’ and what ensues is a classic crime caper, with the three leads delivering entirely believable and often amusing performances. Bay still hasn’t quite mastered the craft of truncating his movies so that they run at a reasonable length, but this was still a lot of fun from start to finish, and marks another great turn by Johnson, ranking alongside his appearance in ‘Southland Tales’ (06) and as the lead in ‘Faster’ (10). The characters have been made a lot more palatable than their real life counterparts, and in reality the gang was a lot bigger than just three people, but the story in general follows real life events.

Primal  (2010)    70/100

Rating :   70/100                                                                       80 Min        18

Aussie horror flick that sees a group of young teenagers head into to the outback to look at some ancient rock paintings. Alas, they unwittingly awaken a primal force in the adjacent caves which attempts to use them for its own purpose, seeping a genetic toxin into the nearby water, but who will be the first one of them to go for a nice dip and suffer its effects?

The group of characters consists of a few stereotypes, but ones that operate convincingly within the story, and the evolution of that story, and indeed the force they are confronted with, proves to be engaging throughout, although it is very much a contained, classic encounter of ‘who’s going to get wasted next’? That, combined with an allusion to a certain section of Japanese animation – one which I can’t help but think, since they decided to go down that route, they could have at least taken it a bit further than they did ….

Planes  (2013)    50/100

Rating :   50/100                                                                       91 Min        U

DO NOT GO AND SEE THIS FILM. Not unless, that is, you are aware of what it actually is. Disney have rather cynically released this knowing that people will assume it is another release from Disney Pixar, and whilst it is a spin off from their ‘Cars’ (06) film line, it is actually a creation of DisneyToon Studios, a wing of the Disney machine that normally produces straight to DVD releases. The only reason this has a theatrical release is the money they intend to make from the little trick they’re playing on the public.

The story is about as basic and rudimental as it can be – Dusty Crophopper is a crop duster who dreams of competing with the fastest planes around in a global competitive speed race, but will he overcome his own limitations and the laughter of his peers to realise his ambition? Will he indeed. For older audiences there is absolutely nothing here of any interest value. The animation is slick, and for the people it was made for, young kids, it may well be completely fine – in fact it may make a welcome change to see a Disney film aimed especially for them on the big screen. For everyone else, best give it a wide berth.