FILM REVIEW: End of Watch (2012)

Director: David Ayer

Starring: Jake Gyllenhaal, Micheal Pena, Anna Kendrick, Natalie Martinez, Frank Grillo

Running Time: 109 minutes

Genre: Action drama

David Ayer has an impressive background in L.A. cop films. The writer of Oscar-winning Training Day, the underrated Kurt Russell pic Dark Blue and director of the silly, but highly enjoyable Street Kings returns with this searing thriller about two L.A.P.D. officers who get in over their heads with some with pretty nasty Mexican criminals. Using a variation of the found footage genre mixed with traditional camera set-ups, it makes for a compelling and gritty thriller that packs a punch and reaffirms Ayer's status as a promising writer/director.

End of Watch is not as much a cop film, more of a buddy picture that relies heavily (and thoroughly succeeds) on the performances of the two leads, Jake Gyllenhaal and Michael Pena. Simply put, either the film fails or succeeds on the relationship of the duo. Gladly, it is very much the latter as Taylor (Gyllenhaal) and Zavala (Pena) feel like fully fleshed out characters and the primary focus is on their relationship from the beginning with the oft hilarious banter or heart-to-heart conversations about relationships that don't seem forced and seems like everyday conversations two guys would have. The film's more intimate moments with Taylor and Zavala's families further back-up the full characterization of the two leads with Zavala's wife Gabby (Natalie Martinez) and Taylor's love interest Janet (Anna Kendrick) providing more personal insights into the two. Both Gyllenhaal and Pena are great, with Pena in particular excelling (as he has done consistently in his career) as second fiddle to Gyllenhaal's Taylor. The story unfolds slowly, but it does not take away from the momentum of the film, with some clever set-pieces that only heighten the sense of dread that trouble is around the corner. Once the two run into trouble, there are some hyper-violent and dazzling action scenes that are wonderfully shot and executed. Tense and thrilling in equal measure, Ayer has perfected tense gun battles (see the opening to Street Kings for further proof) and again here he excels. However, one aspect of the film that suffers is the bland generic villains that while being intimidating and proper psychopaths, never get a decent enough look inside their world to understand their motives. It is a small niggle in such an entertaining film however, as it truly is Gyllenhaal and Pena's show.

End of Watch is a tough and gritty thriller (partly in thanks to the use of found footage style) with plenty for fans of the cop genre. Moreover, there are plenty thrills, excitement and entertaining performances to be found that raise the film above the run-of-the-mill generic cop thrillers out there, thanks greatly to the commanding and charismatic performances by Gyllenhaal and Pena. 

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RETROSPECTIVE: The Bourne Identity (2002)

Director: Doug Liman
Starring: Matt Damon, Franka Potente, Chris Cooper, Brian Cox, Clive Owen
Running Time: 118 minutes
Genre: Action adventure

Matt Damon's first outing as Jason Bourne in 2002's The Bourne Identity was an exciting and occasionally exhilarating Euro thriller. The film (even more so with Greengrass's sequels) helped shape a new, darker and more realistic hero and take on action cinema, with its strive for realism over sensationalism and a reliance on intrigue and suspense filled action thrills over high and extravagant body counts. The Bourne Identity was the catalyst in the re-imagining of a genre on the wane. Released in the same year as the twentieth Bond film, the abysmal Die Another Day, Doug Liman's take on Robert Ludlum's spy franchise provided the perfect antidote to the now silly and irrelevant Bond saga that had began to sink under the sheer ridiculousness of the special effects driven gadgets and unimpressive villains/character development. Jason Bourne came at a time where films like xXx were being made and while being profitable, were just not very good. Bourne in essence returned action cinema to positive critical reception and reshaped Hollywood ideals on what the audience wanted to see.

Damon's Bourne is a complex character, one who is not the same man he was before the yacht shooting, a killer who has regained his conscience. In contrast to the ultra assured and confident guise of Bond (and backed by M16), Bourne is seen as a threat to his government, is suffering from amnesia and doesn't remember anything of his former life and has little to no backup or support. This change around, with the lead having to utilize basically a guerilla defence against his former employers and his constant being on edge with the prospect of assassins constantly on his tail allow him little time for wisecracks or any of the suave elegance Bond was afforded. There is a pace to the thrills in Bourne, they are quick and elaborate but never cross the borders of realism (on-screen 'movie' realism anyway). Perhaps the finest set-piece of The Bourne Identity (embedded below) that typifies the gritty and serious direction the film goes in is Bourne's confrontation with fellow assassin 'The Professor' (Clive Owen). There are no smiles, humour or show-boating, it is just what has to be done and the little talk between Bourne and The Professor (and with all credit to Owen, who gives a memorable performance despite the small screen time he gets) is not one hatred or illogical dislike for each other, it was what they are trained to do and The Professor's talk about the headaches (which Bourne complained about earlier) fills one with sympathy for him, as he is ultimately in the same predicament as Bourne. 

The films central villains Conklin (Chris Cooper) and Abbott (Brian Cox) are as reprehensible as possible, only self-serving and out to cover their backs which leads them to use Bourne as a scapegoat. Cooper is excellent and has a menace to his performance that draws you even closer to Bourne's fight. The most important plot point that makes Bourne likeable is his relationship with Marie (Franka Potente) and their relationship comes off as being genuine and Damon excels at these scenes, where you can see Bourne slowly falling in love with her, much like a boys first crush. A scene that Marie shows her obvious attraction to Bourne (but he is too preoccupied to notice) is when they arrive at the apartment in Paris, is a scene of genuine sweetness that only makes the viewer hope that they get away and live happily ever after. Despite all its strengths (and perhaps being held up to the vastly superior sequels), The Bourne Identity suffers from being too long and drawn out in parts and with Wombosi storyline in particular given too much screen time (despite it's necessity to the overall plot, it could have been handled better). 

Despite these small issues, The Bourne Identity all serves as a great origin story (much like Casino Royale, Batman Begins and countless others would do in the wake of Bourne's success) that Paul Greengrass would build on and elevate to unprecedented levels of greatness in the two sequels. Moreover, The Bourne Identity works as a great standalone thriller and equally serves as a good set-up for the sequels. Damon's now iconic performance as Bourne contains many of the traits that the modern action hero has come to embody, with his relationship with Marie as an emotional anchor and compass for him in his search for the truth and ultimately for freedom. Identity is a classic of modern action cinema.

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FILM REVIEW: The Thing (2011 prequel)

Director: Matthijs van Heijiningen Jr.
Starring: Mary Elizabeth Winstead, Joel Edgerton, Ulrich Thomsen, Adewale Akinnuoye-Agbaje
Running Time: 102 minutes
Genre: Horror thriller

A prequel to the 1982 classic of the same name on paper is totally unnecessary and uncalled for. Even now, 30 years after its release, the original film remains a masterpiece of psychological horror storytelling and the creature effects remain miraculously decent despite its age. So this prequel has an awful lot to live up to and it essentially comes off very much like 2010's sequel Predators, a film which captures the spirit of the original classic, but does little to elevate it from being a modern rethread.

A film like this can't help but be compared to the original as there are so many nods and winks to it throughout its 100 minute running time. Finding out how the Norwegian camp from the original came to end up like this was an interesting idea and at a basic level the style and set-design are excellent for the most part and consistent with the original. But much more important and an essential part of what made the original so tense was the characterization, the strong central cast who felt like more than filler for when the trouble began. In this aspect, this film fails, we are given Mary Elizabeth Winstead's Kate Lloyd, who is the sole character we get to know or appreciate in any way, with supports like Carter (underused Joel Edgerton as a Kurt Russell clone) and the two-faced Adam (Eric Christian Olsen) wasted. The rest are either cardboard cut-out characters, like the callous Dr. Halvorson (Ulrich Thomsen), who are underdeveloped and given little room to be nothing but stereotypes. This would not matter if the film had a hidden ace up its sleeve, but it doesn't. Once the alien is loose, it becomes a stalk'n'slash horror with the body count rising steadily and some shoddy CGI (even compared to 1982's version, where prosthetics have held up considerably better) kill any tension that could have been sought from the creepy premise of not knowing who could possibly be the creature.

While entertaining as a throwaway action horror film, this prequel does not do enough to distinguish itself from the classic 1982 film. Much like other new rethreads of older classics, this film serves more as a homage to the original film rather than trying to invoke any unique and original scares/thrills of its own. Only for die hard 'The Thing' fans.

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FILM REVIEW: A Lonely Place to Die (2011)

Director: Julian Gilbey
Starring: Melissa George, Ed Speleers, Sean Harris, Eamonn Walker and Karel Roden
Running Time: 99 minutes
Genre: Thriller

I saw Julian Gilbey's 'A Lonely Place to Die' knowing very little about the film. Marketed as a mountain climbing adventure that gets out-of-hand by the wonderfully misleading posters/promotional materials for the film that advertise a Cliffhanger-type thriller hide a truly great and thoroughly entertaining thriller that is tough and unforgiving and builds to a highly effective and strong finale. This is all propelled by a strong cast, relentless pace and terrific set-pieces. 

Set in the wilderness of the Scottish Highlands, a crew of inexperienced mountaineers come across a kidnapped young foreign girl buried in a chamber. What follows is their attempts to get to a local town and warn the authorities. However, the kidnappers are on their trail and what should be a routine mountaineering expedition becomes a nightmare for all involved. The group, who are perhaps slightly generic on the surface with the battling female lead, the funny guy/love interest, the arsehole, the mother who misses her child and the fake lead. But with credit to Gilbey, the characters do not have long to fill these roles as once the kidnappers find out the young girl is missing, the action is relentless and the kidnapper's vicious in their pursuit of the girl. We are given very little insight to why the girl is so valuable, but with the introduction of  Darko (Karel Roden) and Andy (Oz's Eamonn Walker) the pieces fall into place. Melissa George is a great lead, tough yet inexperienced, she makes you feel for her plight. Ed (Ed Speleers) could easily be an annoying sidekick, but Speleers does a good job of keeping him amusing and genuine, and his making light of their horrible situation provides much needs moments of comic relief. The villains Mr. Kidd (the vastly underrated Sean Harris) and Mr. McRae (Stephen McCole) are worthy adversaries and are cold, vicious and brutal (as exhibited in their memorable introduction). Not to spoil from the films best set-pieces, but once the first shot is fired, the film becomes relentless in pace with the action non-stop and Kidd and McRae's menace becoming swiftly ominous. 

'A Lonely Place to Die' is a great little thriller. Despite the minor logic flaws, this a tough and entertaining film with George carrying the film with her charisma and presence in opposite to the devilish and sinisterly excellent Harris and McCole. If you like films with a raw edge, non-stop tension and action and a satisfyingly tense finale that packs a punch, 'A Lonely Place to Die' is for you. 

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FILM REVIEW: I Saw the Devil (Akmareul boattda) (2010)

Director: Kim Ji-woon
Starring: Lee Byung-hun, Choi Min-sik, Jeon Kuk-hwan and Kim In-seo.
Running Time: 144 minutes
Genre: Thriller

Kim Ji-woon's return to familiar ground after the light-hearted but ravishingly excellent action funfest The Good, The Bad, The Weird is an uncompromising and tough serial-killer thriller that packs plenty of venom and shock moments. Ji-woon's talent for orchestrating gorgeous visuals (the opening blood-soaked snow scene) from bleak situations again sets this film apart from the average genre fare, as well as a thrillingly innovative game of cat-and-mouse between the terrific pairing Lee Byung-hun and Oldboy's Choi Min-sik.

After his fiance Joo-yun (Oh San-ha) is brutally murdered and dismembered by the vile and sadistic Kyung-chul (Choi Min-sik), Soo-hyun (Lee Byung-hun) is determined to have his revenge and make Kyung-chul suffer for his terrible crimes. A highly entertaining chase thriller ensues that is relentlessly bloody and gruesome as the duo trade blows. The set-pieces are adrenaline filled and quality of the highest order. Especially in a scene where Soo-hyun tracks Kyung-chul down to a house where the occupants have been taken hostage by a psychopath friend (Choi Moo-sung) of Kyung-chul's and all hell eventually breaks loose. The ten-minute scene is as exciting, brutal and terrifically choreographed scene you will ever see. Despite the films slightly long running time, the pace is relenting as the chase goes from set-piece to set-piece and as Kyung-chul becomes more desperate in his actions the tension is amped up to a finale that is as brutal and unforgiving as the previous two hours you have just witnessed. Central to the films success or failure is the performance of the two leads and gladly they both excel. Byung-hun has the tougher role as the mourning Soo-hyun, but his restrained, shell-shocked performance and relentless descent into Kyung-chul's world is fascinating and disturbing in equal measures. The real joy of the film is Choi-Min-sik's unhinged performance as the vicious killer Kyung-chul. He gives a gleefully sadistic performance and beneath his devilish smile is a psychopath unhinged with no remorse.

I Saw the Devil thrills on many levels. The role-reversal between killer and mourner is a joy and the cat-and-mouse thrills that follow are entertaining and gruesomely violent and give the film an extra edge and grit. The creative set-pieces and interplay between the two leads never fails to entertain and amuse. But be warned, this film is not for the faint of heart and is strictly for adults with a high gore and violence tolerance level. 

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FILM REVIEW: Prometheus (2012)

Director: Ridley Scott
Starring: Noomi Rapace, Michael Fassbender, Charlize Theron, Idris Elba and Guy Pearce
Running Time: 124 minutes
Genre: Science-fiction

While not up to the level of his Alien and Blade Runner efforts, Ridley Scott's big return to the science fiction genre is still a highly effective and creative thrill-ride that takes a well known mythology (of the Alien film series) and not only reinvigorates it, but turns the series in another and more ambitious direction. But while not being a proper prequel to Alien, it contains many odes and obvious references to the seminal 1979 film that made Scott an icon. This film aims to be bigger and more expansive than the Alien franchise and to a level it succeeds, but often at the expense of logic and gaps in continuity. 

From the opening scene, Prometheus is a gorgeous, wonderfully shot and epic looking film. Perhaps this epic and awe inspiring imagery covers up some of the inadequacies in the plot and with the characterization. Noomi Rapace does well with the well-worn female hero role and while being nowhere near as iconic as Sigourney Weaver's Ripley, she puts in a great effort as an archaeologist whose discovery may lead to the extermination of mankind. Her and her partner Charlie (Logan Marshall-Green) become part of the journey to explore the same star maps they found on different archaeological expeditions on earth. On board the ship (named Prometheus), we met the 17 strong crew who and their mission to make contact with extraterrestrial life. Even early on, the standout of the film is Michael Fassbender's David. Fassbender has proven himself as a terrific performer with his roles in Hunger and Shame and again here he is nothing less than stunning in his portrayal of this android. Effortlessly swaying from sinister to sincere, Fassbender's David is a joy. His emotionless performance and robotic delivery is frighteningly divisive, is he good or bad, should we be cheering him on or condemning him (especially in comparison to Alien's Ian Holm, of whom David is an earlier model of). Scott's various odes to Alien are common, none more so than the central villain of the piece, the space jockey (seen in Alien, but not explained) or as they are now called, Engineers. While fascinating and creepy, the plot holes start to come into effect here and it adds to moments of questioning that even pushes science fiction logic to its limits. But as the logic falls, the action suspense and space horror elements are very well done. There are quite a few cringe moments of gore that up the ante and bodies start piling up. Characters like Rafe Spall's Milburn and the underrated Sean Harris's Fifield get little screen time, they make enough of an impression to feel for their plight. Captain Janek (Idris Elba) is the captain of the ship and despite his lack of screen time, Elba is as charismatic as ever. Vickers (Charlize Theron) is the Burke (ooh, Aliens reference) of the film; a company woman with profit and power on her mind as well as a few secrets that turn out to be predictable and poor reveals. The biggest disappointment (besides his terrible make-up) is the genuine waste of Guy Pearce, an actor so good it's criminal to have him hidden behind 40 layers of prosthetics. 

A return to form this may be for Ridley Scott, it however still falls short of his classic Alien and Blade Runner masterpieces. But you have to admire the scale and ambition seen in Prometheus, it expands on a beloved franchise and breathes new life into a genre that has become stale and tame. Prometheus, while far from being a perfect film and having a weak plot, is a greatly entertaining science fiction thriller that is high on gorgeous visuals, big set pieces and a towering performance from the terrific Michael Fassbender.

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