In cinema, gambling has the tendency to be glamourised and sensationalised, casinos portrayed as slick, stylish dens where dreams come true and everyone goes home a winner. Showing the dirtier side of the coin, and tackling the addictiveness of the habit are writers and directors Anna Boden and Ryan Fleck, who are best known for their collaboration on Half Nelson, which told the story of a school teacher hooked on drugs. Their latest project ‘Mississippi Grind’ focuses in on Gerry (Ben Mendelsohn), a down-trodden chancer on a losing streak. At the poker table, he meets Curtis (Ryan Reynolds), a happy-go-lucky ladies’ man who likes a flutter but confidently claims that he doesn’t play to win. In an attempt to overturn Gerry’s misfortune and make enough profit to repay his debts, they embark on a betting-fuelled road trip down the Mississippi River.
Category: DVD & Digital
Reviews of the latest UK DVD & Digital releases.
DVD review: Spectre
Following their hugely successful collaboration on Skyfall, director Sam Mendes and actor Daniel Craig reunite for their second and possibly final mission with ‘Spectre’. Taking place shortly after the aforementioned predecessor, a merger between MI5 and MI6 and the introduction of a surveillance agreement could cause the 00 section of intelligence to be surplus to requirements, much to the dismay of M (Ralph Fiennes). Against orders, Bond goes on a rogue assignment given to him from beyond the grave to track down and kill a man called Marco Sciarra (Alessandro Cremona). In doing so, he discovers the global criminal organisation which gives the film its name led by Franz Oberhauser (Christoph Waltz) and meets Dr Madeleine Swann (Léa Seydoux) along the way.
DVD review: Macbeth
Whether you’ve seen it in the theatre, watched a television or film adaptation or studied it at school, the work of William Shakespeare is a quintessential part of British culture, and no play of his is more iconic than Macbeth. In the latest cinema outing for ‘The Scottish Play’, Australian filmmaker Justin Kurzel directs. Following a brutal battle, the warrior Macbeth (Michael Fassbender) receives a prophecy from the Three Witches, who tell him he will one day be the King of Scotland. His wife Lady Macbeth (Marion Cotillard), then hatches a plan, taking matters into her own hands to speed up their monarchical ascent. This leads to a psychological power struggle as his friendship with Banquo (Paddy Considine) is tested, and his controlling behaviour results in conflict with Macduff (Sean Harris). This reimagining tells the story from a slightly new angle, on a glorious Skye backdrop.
DVD review: Sicario
French-Canadian director Denis Villeneuve has enjoyed a relatively unblemished track record thus far with critics and cinema-goers alike, his films such as Enemy and Prisoners receiving acclaim for all angles. His latest feature, ‘Sicario’, which is a Latin American term for hitman, explores the crime thriller genre, focussing on drug trafficking and federal corruption. Emily Blunt stars as FBI kidnap-response team leader Kate Macer, a strong-willed and idealistic agent, determined to bring cartel boss Manuel Diaz (Bernardo P. Saracino) to justice. Following a gruesome discovery related to her target, she is approached by shady CIA officer Matt Graver (Josh Brolin) who invites her to join him and his mysterious right-hand-man Alejandro (Benicio del Toro) on a mission aimed at getting to the very heart of Mexico’s criminal underworld. Seizing the opportunity, Macer agrees but soon finds herself compromised, unsure who to trust in an dangerous environment where the lines between right and wrong become increasingly blurred.
Collaborating again with the celebrated cinematographer Roger Deakins, a menacing atmosphere is ever-present in Villeneuve’s visually striking depiction of the comings and goings across the US-Mexico border. We observe the dark, slow-burning narrative unfold through the initially naive perspective of agent Macer, discovering plot points as and when she does, and see her moral compass waiver as her involvement in the assignment deepens. The pulsing score, expertly crafted by Icelandic composer Jóhann Jóhannsson, brings nerve-shredding tension to the excellent black-ops scenes. The suspense building never lets up, hitting hard in a particularly well choreographed sequence shot using first-person techniques through night vision goggles, placing the viewer right in the midst of the threat.
Continuing on from her powerful co-starring roles as no-nonsense female figures in films such as Looper and Edge of Tomorrow, Emily Blunt comes under the leading spotlight in Sicario, showing the same heroine qualities for her portrayal of Kate Macer. Beneath her hard-edged exterior is an endearing vulnerability that gives her character depth and relatability. Her by-the-book principles creates conflict with her peers, making for enjoyable dialogue between her and her ethically-challenged colleagues. She frequently butts heads with Graver, played suitably sleazily by the ever-professional Brolin. A solid supporting cast includes Jon Bernthal and Daniel Kaluuya, their characters used as devices to dissect Macer’s character, showing all aspects of her personality.
A well-placed revenge tangent sees supporting character Alejandro take centre-stage for a brief spell. This helps implement a subplot centred around a crooked policia officer called Silvio (Maximiliano Hernández) with the main plotline, and develops Del Toro’s primarily nuanced turn into an electrifying performance, which culminates in a shocking dinner table showdown as well as a rewarding two-hander finale with the protagonist.
Complex subject matter is delved into intelligently by Denis Villeneuve, and ‘Sicario’ is further evidence of his quality as a filmmaker. With the crime genre as his current forte, he executes with style and substance in equal measures. The comprehensive screenplay is penned by Sons of Anarchy actor-turned writer Taylor Sheridan and Blunt, Brolin and Del Toro impress and excel in the richness of the material. Villeneuve’s direction and Deakins’ skilful cinematography work together to achieve the desired effect, isolating and alienating Macer in hostile territory where heroes are merely lesser villains.
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DVD review: Irrational Man
Paranoia, the ‘struggling artist’, adultery, death and the thought of committing the perfect crime are all commonplace within the creative ground that writer and director Woody Allen has explored throughout his extensive filmography. Keeping up his remarkable one-film-per-year tally, his latest project ‘Irrational Man’ revisits past themes through philosophy professor protagonist Abe Lucas (Joaquin Phoenix) who experiences an existential crisis. With rumours of his questionable lifestyle circulating round the college campus and a hip flask of ‘vintage’ malt in his back pocket, he befriends his straight A student Jill (Emma Stone) who is in awe of his knowledge and intelligence, much to the dismay of her boyfriend Roy (Jamie Blackley). When eavesdropping on a conversation in a diner, Abe sees an opportunity to give his life a sense of meaning, but at what costs?
The mystery plot is Hitchcockian in its absurdity, and Abe Lucas is used as the ideal vehicle to drop philosophical quotes from Kant and Dostoyevsky into the script, as well as delivering Allenisms such as ‘I couldn’t remember the reason for living, and when I did it wasn’t convincing’. It is gluttonous, self-indulgent filmmaking from the director who refuses to change his style, and Khondji’s neat cinematography is accompanied by a typically jazz-infused soundtrack that frequently repeats. No matter how familiar it may feel, it is comical, clever and wickedly dark. Phoenix plays the lead unlike the past few central characters in Woody’s films in that he is not a copycat version of his creator. His performance is enjoyable and works well with Allen’s most recent muse Emma Stone, who is a natural at handling his delectable dialogue. Rising British actor Jamie Blackley also impresses and is one to watch out for, but his role here is a little underused.
‘Irrational Man’ is the most fun I’ve had with a Woody Allen film since the turn of the decade, and though he is guilty of trudging through his usual narrative motions, he is doing so very entertainingly with flair and his trademark wit. Phoenix and Stone are a joy to watch as they revel in the brilliantly farcical material, both well suited to his ad lib approach. A key scene unfolds at an amusement park when characters wander into a house of mirrors, a method often implemented in cinema to convey a sense of trickery or bemusement, and previously by Allen himself. While the tricks up his sleeve, on which he wears his many influences, are tried and tested, sometimes the old ones are the best.
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DVD review: Legend
London gangsters Ronald and Reginald Kray and the notoriety associated with them became ingrained into British culture following their criminal activities in the nineteen-sixties, and up to now their most notable film incarnation was in 1990 when Spandau Ballet brothers Martin and Gary Kemp took on the roles of the vicious twins. Putting them on the big screen once again is award-winning screenwriter and director Brian Helgeland, with Tom Hardy starring as not just one, but both of the Kray twins in an incredible double performance. When Reggie finds love with sweet and innocent Frances (Emily Browning) just as Ronnie is released from prison, everything appears to be going their way. However, with a rival gang fronted by Charlie Richardson (Paul Bettany) up against them in a battle for power and Detective Nipper Reid (Christopher Eccleston) tracking their every move, how long can they stay on top?
DVD review: Everest 3D
In 1953, Edmund Hillary and Tenzing Norgay became the first climbers to reach the summit of Mount Everest. The survival statistics for those that have tried to emulate the magnificent feat since are terrifying. The frightening figures lead us into adventure disaster epic simply titled ‘Everest’, directed by Icelandic filmmaker Baltasar Kormákur. The film is based on the 1996 expedition when two groups attempted the climb, one led by Rob Hall (Jason Clarke) and the other by Scott Fischer (Jake Gyllenhaal). When both teams face tough terrain on the ascent, they join forces and club together their resources. Can they topple the almighty odds to make it to the top?
Shot in spectacular 3D, this is one of the few times I’d recommend adding an extra dimension to your cinema experience. The camera work here from Salvatore Totino adds great depth to the landscapes which are literally breathtaking. The narrative creates a respected villain out of the mountain itself and doesn’t over dramatise the situations in the way most disaster genre movies would. Without spoiling the plot, character exits are deft and in fact more shocking by the underplayed approach, life slipping away from bodies slowly and quietly. Where the film falls down slightly is the lack of emotioneering behind the back stories of the multitude of characters. We only see and hear about glimpses of their pasts and their reasons for wanting to achieve such a goal, quoting the famous George Mallory’s ‘because it’s there’ line.
There is a huge star-studded cast list but because of the location of the film it can at times be difficult to tell them apart, all dressed up in big coats and covered in snow! The tense atmosphere and drama of Everest itself engulfs the acting but there are a couple of good turns that deserve a mention. The central performance from Jason Clarke is the most memorable, with a multi-layered quality to it given the fact that Hall was a coach to fellow climbers yet was at risk himself. Gyllenhaal plays the care-free adrenaline junkie Fischer with his usual flair and likeability, bringing about welcome light relief when events get rather heavy by whooping hysterically and delivering dialogue such as ‘it’s about the attitude, not the altitude’. From the small selection of those that aren’t up the mountain, Emily Watson gives the most emotionally charged portrayal as Helen, the base camp manager, acting as a go between from the mountaineers and their loved ones.
‘Everest’ is definitely a movie worth taking time out to see on the big screen, as its strong point is the powerful visuals. Kormákur excels in this field and manages to create an aesthetic that is both brutally realistic and larger than life simultaneously. The storytelling is morbid but can be very hard-hitting and successfully dodges the sentimental genre tropes but doesn’t explore the psyches of Hall, Fischer and the rest of the group enough. Because of this lack of development where the core climbers are concerned, more questions are raised than answered.
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DVD review: Straight Outta Compton
In the late eighties, gangster rap group N.W.A became pioneers of the hip-hop genre, taking it from the underground to the mainstream with their controversial attitudes and explicit lyrics. With founding members Dr. Dre and Ice Cube producing, their incredible story receives the cinematic treatment from director F. Gary Gray. The biopic borrows its name from their debut album and stretches from the origins of the clan in Compton, California through the highs and lows of the fame and fortune that followed. O’Shea Jackson Jr, Corey Hawkins and Jason Mitchell portray Ice Cube, Dre and Eazy-E respectively in an insightful exploration of not only the music movement they forged but their battles with police authority, racial prejudice and each other.
An expectedly enjoyable soundtrack offers a backdrop to an engaging and insightful plot, and for viewers who are not necessarily taken by rap music, there is more than enough genuinely good storytelling to keep you entertained. There are nods and references for the fans, and though they’re not entirely subtle and can appear somewhat heavy-handed, I like that they are there. In the final third, the lengthy running time becomes apparent and a more ruthless edit could’ve been beneficial to the pacing. With Dre and Ice Cube producing hands-on, there is a biasness to their glorification but minor narrative issues aside, it is an enthralling piece of work by director Gray.
The on-point script doesn’t shy away from the big issues behind N.W.A’s message as a group and the dialogue is helped by a quartet of core turns and a masterstroke in casting, particularly in Ice Cube’s son O’Shea Jackson Jr playing him on screen. It’s not just the physical likenesses that are great, the acting is too. Hawkins and Mitchell are equally impactful in their portrayals, and all three are given there moments to shine though it could be said that Aldis Hodge and Neil Brown Jr are there to make up the numbers as the lesser known performers of the gang MC Ren and DJ Yella. Introduced about halfway through as music manager Jerry Heller is the critically acclaimed Paul Giamatti who threatens to steal the show, excelling in a complex role that it seems he was born to play.
‘Straight Outta Compton’ is bold, outspoken and shrouded in hype and controversy, just as it should be given the subject matter. At its centre are young talented friends who want to better themselves and make it against all odds, and that message is universal. Music biopics tend to be formulaic and despite following some genre conventions, the performances are superb and the soundtrack never misses a beat, making it a must-see for fans of N.W.A or hip hop in general, and an education in the amazing evolution of gangster rap culture for everyone else.
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DVD review: North v South
I’ve always been fond of good old fashioned British crime films, even when it’s the sort that fail to reach cinema audiences and go straight to disc, so when I heard the synopsis for Steven Nesbit’s feature debut, I was intrigued to say the least. Marketed as a gangster version of Shakespeare’s classic Romeo and Juliet love story, ‘North v South’ bears witness to a gangland war between the opposing geographical clans of England. You have the Northerners headed up by hard man John Claridge (Bernard Hill), and the crafty cockneys with cuddly-on-the-outside-evil-on-the-inside Vic Clarke (Steven Berkoff) as their villainous ringleader. A brutal killing adds fuel to the fire between the rival gangs, which brings danger to the ‘star-crossed lovers’ Terry (Elliott Tittensor) and Willow (Charlotte Hope). Will their relationship be exposed to the feuding families they are part of, or will love prevail?
From the off, the low-budget production value of the project became evident due to amateurish opening titles, and there is a cheapness that lets down the film throughout. Flutters of creation show promise but are incoherently flung together around a narrative that is riddled in cliché. There is a string of Guy Ritchie-esque interesting characters alongside the core players in the gang war, such as Alf, a children’s entertainer with criminal associates and Gustave, a cross-dressing deadly hitman, but unfortunately nobody really has anything interesting to say due to a shoddy script. The Romeo and Juliet element is problematic and feels like an overly dramatised afterthought that has been wedged into another film altogether.
Brad Moore raises the acting bar and his performance as the psychotic Gary Little is one of the redeeming features of the film, and could quite happily sit alongside the highest calibre of gangster movies. Elliott Tittensor is strong as well in the romantic lead part and delivers the kind of voiceover you’d hear if Martin Scorsese directed a feature length episode of Shameless. The aforementioned Bernard Hill and Vic Clarke are convincing as the mob bosses, and possess genuinely threatening menace. In fairness, most of the performances are solid enough given the stereotypical character development.
Steven Nesbit takes an ambitious yet appealing concept that could’ve been brilliant if handled in the right way, but doesn’t pull it off. The lack of storytelling structure means that subplots are tossed around and there is an obvious misdirection. There are nice aesthetic moments taking genre influence from films such as Bonded by Blood, Rise of the Footsoldier et al, but the combination of romance and violence never clicks into place. As a crime film, it sort of nearly works and as a love story, it isn’t really given a chance, though in this battle of ‘North v South’, there are no winners.
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DVD review: Ant-Man
As we’ve all seen over the past few years, the Marvel Cinematic Universe is quickly expanding, bringing in new faces to meet in every new or rebooted instalment across multiple phases of the film and television franchise. Introducing the smallest citizen of the superheroic world with ‘Ant-Man’ is comedy director Peyton Reed. Cat burglar Scott Lang (Rudd) is determined to go straight following his release from prison, and to be a good role model for his young daughter. When things don’t go his way, he reluctantly agrees to ‘one last job’ in an effort to make a fast buck, leading him to the epicentre of an age old rivalry between retired scientist Hank Pym (Michael Douglas) and his former protégé Darren Cross (Corey Stoll). Taking on the responsibility of a shrinking suit developed by Pym, Lang must retrieve a replica of the creation in order to stop Cross running amok with the potentially dangerous technology.
A slow-build origin opening makes for uneventful, and mostly tedious viewing as characters and back-stories are established, but as the superhero element eventually fights its way to the forefront at around the hour mark, the entertainment value is on the upturn. When Lang dons the suit and is micronized, the inventive special effects are impressive enough to distract from the predictable narrative. Changes in writing and directing duties in the pre-production stages of the project offer some inconsistencies in terms of style and the tone of the script. Edgar Wright flourishes appear both visually with playful camera tricks, and in Rudd’s well timed delivery of dialogue but with four men involved in the crafting of the screenplay, I fear it’s a case of too many writers spoil the script. Rudd holds his own in the lead part and although I struggled to accept him as a criminal mastermind, his likeability shines through what is an average at best cast.
It ties in nicely to the aforementioned MCU, and successfully gives scope to the possibilities of a wide collection of films that relate and intertwine with one another through in-jokes and cameos. ‘Ant-Man’ is by no means a poor film, and will sit quite happily in amongst the phases of the cinema Marvelogue. Paul Rudd’s performance as well as the admirable aesthetic mastery are the stand out highlights to this particular piece of the jigsaw, and while it may be good clean fun that will quite easily consume two hours of your hard earned weekend, it is little more than that.
