Alex's TIFF 2015 Picks

Soon the 40th annual, Toronto Film Festival will be upon us and again I am proud to be volunteering for this fine event This year I will be taking up residence at the Bell Lightbox Theatre, but I am hoping to provide as many live reviews as I can during the festival.

Here are my picks for this year's festival 

Demolition

Dir: Jean-Marc Vallee  

Chosen as the opening night film for the festival, this one for French-Canadian director, Jean-Marc Vallee already has awards potential about it. When successful investment banker Davis (Jake Gyllenhaal) loses his wife in a car crash, his world begins to fall apart. With an actor like Gyllenhaal abroad, you know this story will be a hard hitting one. Also with support from the likes of Chris Cooper and Naomi Watts- this could be a festival highlight. Closer to the Edge's Best Director of 2014, Vallee is on a fine run of form and it looks like it will continue here!

The Martain  

Dir: Ridley Scott

Ridley Scott again returns to the sci-fi genre and has brought with him one of the finest casts of 2015! Astronaut Mark Whatney (Matt Damon) is left behind and presumed dead after a disastrous mission to Mars. With limited supplies and little chance of survival, his only choice is to beam a signal back to earth. A cast also including Jessica Chastain, Kate Mara, Jeff Daniels, Chiwetel Ejiofor and surprisingly Kristen Wiig, Sir Ridley promises one of the big rides of this year.

Freeheld 

Dir: Peter Sollett

Promising to be one the festival's rollarcoaster emotional rides, this effort from director Peter Sollett looks interesting. When New Jersey police detective Laurel (Julianne Moore) is diagnosed with cancer, she and her domestic partner Stacie struggle to secure her benefits to pay her for treatment.  Featuring a pair a great pairing of Julianne Moore and Ellen Page, this is one story that is likely to capture our hearts.

Legend 

Dir: Brian Helgeland

Tom Hardy is always has a fierce presence on screen, so just imagine the effect having him play two characters at once! Based on the story on notorious London mobsters, Ronnie and Reggie Kray (Both Tom Hardy) this film recounts the terror they beset upon the criminal underworld in the 1950s and 60s. Expect things to get heated and for Tom Hardy to be likely excellent twice over. The Krays were a formidable force, expect the film to follow suit!  

Black Mass

Dir: Scott Cooper

In what could be one of the performances of 2015, Johnny Depp is infamous Boston mobster Whitey Bulger. Documenting his rise to becoming the most famous criminal in US history, director Scott Cooper has surrounded this film with a fine cast including Benedict Cumberbatch, Dakota Johnson, Joel Egerton and Kevin Bacon. Depp looks like he could be providing us with a career best turn here, expect Toronto audiences to go wild.

The Fighter: Review of Southpaw

Southpaw

Director: Antoine Fuqua

By Alex Watson

Although Antoine Fuqua's boxing drama, Southpaw feels a little familiar story wise, it does boast one of this years most powerful performances. Outside of the ring this film doesn't quite hit above its weight. The script by Kurt Sutter does give us a hero who we do firmly root for, even if he might not have the charm of Rocky Balboa. Fuqua is an adept hand at providing solid  film making and his form continues here.

Billy 'The Great' Hope (Jake Gyllenhaal) is the reigning Light-Heavyweight Champion known for his angry and aggressive fighting and hard knock out style. His wife Maureen (Rachel McAdams) is becoming concerned with the brutal beatings he is taking and urges him to cut back. When Maureen gets killed during a brawl with a rival boxer Miguel 'Magic' Escobar (Miguel Gomez), Billy's life begins to spin out of control.

Southpaw might not hit the classic heights of movies such as Raging Bull, but it is still a compelling look at a man fighting his demons both in and out the ring. Billy is a fighter who literally knows how to take a beating, he is all attack and never defend. He is riding high but his injuries are beginning to concern people. After tragedy hits, Billy become a mess of a man who gets lost in a haze of addictions until his daughter gets taken away by social services. Deprived of nearly all he loves, Billy is very much the fallen hero. Fuqua's presentation of a man having to go back to his old roots and rebuild himself is at least a smart reverse of a rags to riches story.

In the ring is the where the movie pulls the most punches and as we see Billy both taking and receiving savage hits, it is impossible not be mesmerized. As an antagonist, Magic offers little more past being a trash-talking jerk, but he does ensure the audience has a desire to watch him go down in flames. The people in Billy's life are both a blessing and a curse, when his trainer abandons him Billy approaches old school trainer Tick Willis (Forest Whitaker) whose lack of trust and affection might be the tools Billy needs to repair himself. Unlike former manager Jordan (50 Cent) who despite acting like family happily abandons him when the money runs dry.

The main compelling story line is truly Billy's wish to be reunited with his daughter Leila (Oona Lawrence). Relationship wise this is no straight forward story and Billy is very much an unfit father drowning in a pool of despair after Maureen passes. His yearning to improve himself is what really drives the film and despite some bumps along the way, Billy learns he can be more than just a punching machine.

Jake Gyllenhaal gives a whirlwind performance that makes Fuqua's film come alive. A ferocious presence on-screen,Gyllenhaal turns in what could be a career best turn. Billy is the complete opposite of Nightcrawler's Lou Bloom because despite having street smarts, he doesn't know how to handle the world outside his animal persona the ring. This powerful and painfully real turn could well be the one that finally wins this man an Oscar! Forest Whitaker also gives strong support as trainer Tick which he underplays masterfully. Tick is very much the blow softener and through his old methods he is the only man to rebuild Billy from the ground up.

While Southpaw maybe largely absent from the big prize come Oscar time, Jake Gyllenhaal will be expected to among the list of nominees are criminally being overlooked last year. This movie hits just above the right levels, but you have to wonder what could have been?

The Littlest Rebel: Review of Ant-Man

Ant-Man

Director: Peyton Reed

By Alex Watson

Once more the Marvel universe reminds us just how entertaining and original their creations can be and Peyton Reed's adaptation of Ant-Man is another slum dunk. After spending time in development hell since 2006 (which saw original director Edgar Wright depart), the wait has been a worthwhile one and this year we have this summer's finest blockbuster so far. After the big and slightly overblown spectacle that has become Marvel's trademark, Reed cleverly mixes through formula's and delivers something delightfully new.

Scott Lang (Paul Rudd) is a former technician turned thief who has recently been released from jail. Hoping to turn over a new leaf, he finds his chances limited as an ex-con. Out of the blue, things take a drastic turn when he is recruited by inventor Hank Pym (Michael Douglas). Through this meeting, Pym convinces him to take on his old persona, Ant-Man. A superhero who can shrink to miniscule size and communicate with Ants. Seizing his chance to go straight, Scott faces competition from Hank's protege turned nemesis, Darren Cross (Corey Stoll).

Ant-Man is a gleeful throw back to old days when Marvel movies were just pure fun. An unlikely choice for director, Reed makes this movie part comedy, part action thriller and part heist movie. Together combined with a great leading turn makes for an engaging new hero. Scott Lang isn't the most original character this universe has created, but he is certainly one of the most likeable. At the centre he holds the movie together well as the shrinking hero alongside the world weary Pym and his dismissive yet intrigued daughter. Scott is a man whom life turned sour upon him simply doing the right thing (albeit overblown) and he was forced to turn to cat burgling to get by. In short, he is a man simply trying to get back to who he was and provide for his daughter. Over the course of two hours he is both a sincere straight man and wonderful comic relief that makes us pray for a sequel to come soon.

Story wise there is nothing really ground breaking, Hank and Hope's relationship is on a continual knife edge due her mother's unexplained death. Overlooked in her father's eyes, Hope both resents yet admires Scott for having her father's trust. Villain Darren Cross is a former student who is close to replicating Hank's precious formula for devious means which could have devastating effect. Hank knows the only way to stop things is to steal back his own technology. This section produces a new fresh look at how heists can be thrilling and watching Scott command his ant arm through water mains, cracks in the wall and all in between makes for excellent viewing. Reed here shows great vision and awareness that one may not have guessed from his previous comedic work Yes Man or Bring It On.

Thankfully Ant-Man goes against the Marvel default ending set in the air and instead delivers something all together more memorable. Together we see miniature sized Cross and Scott do battle in a briefcase (hilarious set to Plainsong by The Cure), a backyard during a barbeque and most memorable on the train tracks of a model train set. An unusually comic feel is brought over when you see a giant Thomas The Tank Engine come rushing forward, which looks big and imposing to our heroes. Moments later we see it gently drop to the side with a quiet flop. One of this summers more memorable and original finale's, this tiny hero is the everyman with powers we can all do with. If anyone was fearing the universe becoming boring and predictable, then one is a movie that changes the game.

Paul Rudd was a surprise choice for many, but he is more than up to the task. Bring across his great ordinary guy charm, Rudd convinces well as Scott Lang. Fans of his former work will known he has always been a capable leading man, but it now also seems he is comfortable anchoring a new franchise all together. In a underused but memorable supporting turn, Michael Douglas does well as the troubled Hank Pym. Used to his work being sought after for evil means, Hank is both worried father figure and fierce protector of his work and subjects. Also look out for the standard Avengers cameo, this one might surprise you a little.

Ant-Man proves that there is indeed room in the Avengers empire for the little guys (literally in Scott's case) and we now have one hero that could well breathe fresh life into this franchise. For summer's most fun and silly experience, look right here.

21st Century Girl: Review of Trainwreck

Trainwreck

Director: Judd Apatow

By Alex Watson

Judd Apatow seems to have a knack for being able to realistically examine modern day relationships and this trend continues with Trainwreck. Capturing a raw hilarity mixed with a slightly superficial tone, Apatow bring us one of the more ruder comedies of 2015. This is in part thanks to an excellent script by star Amy Schumer which essentially flips her directors usual man-up stories on its head. Prepare for some shocking debauchery to follow.

Amy Townsend (Amy Schumer) is a 20 something girl who lives life to the fullest. That is she likes to hook with any number of random men and refuses to settle down. She works as a writer for a men's magazine, S'Nuff under her ruthless editor Dianna (Tilda Swinton). Soon Amy is assigned to cover sport's doctor, Aaron Connors (Bill Hader) despite her lack of interest in sport. As the pair become acquainted a possible relationship begins to develop. Is Amy mature enough to finally work past her fears and commit to a monogamous relationship?

From the outset of Trainwreck Amy's love of sex is made abundantly clear, an opening sequence sees her taking the walk of shame on the Staten Island Ferry. Smartly this often rumbustious and fun-loving character is not one dimensional. Back in her youth when her parents divorced, her philandering and obnoxious father Gordon (Colin Quinn) set her 9 year old self straight on his belief on how "Monogamy isn't realistic". Because of this belief she openly mocks her contented and married sister Kim (Brie Larson). In short, Amy is afraid to embrace long term because simply, she does what she wants.

With Aaron in the picture, finally a real shot appears unlike her tepid romance with self-serving body builder Steven (John Cena). After cruising through life and its opportunities, Amy's reaction to this one is one of alarm. One scene sees her panicking when Aaron calls her post coitus, leading her airhead colleague Nikki (Vanessa Bayer) telling her that he is sick. Amy has a constant need to feel worthy of someone's love which Aaron attempts to overcome. Their love in the first half of the movie makes the movie run smoothly compared to an awkward second act. When a tragedy is involves it both advances and hinders the movie. Though intelligently, it forces the characters to think harder about themselves which brings about the question of whether this pairing is meant to be?

As this is an Apatow film, the funny is a very smart type and he is able to find comedic moments everywhere. The relationship between Amy and Aaron is very much the catalyst and it has sufficient charm to power the movie. The little moments alongside this are the ones that make film tick. From LeBron James 'accidentally' forgetting his wallet to dinner with Aaron or Dianne and the other writers of S'Nuff spit balling ludicrous ideas like "Ugliest Celeb Babies Under Six". Length wise, the movie is perhaps longer than it needs to be, but Apatow want us to feel involved in this world. Moments such as Amy's foul mouthed but sincere and loving eulogy at her father's funeral are too good to miss.

Unashamedly this movie is very a star making vehicle for Amy Schumer, which she dominates with ease. Fans of her comedy series 'Inside Amy Schumer' will be familiar with her approach to crude humour. Schumer gives us a modern day girl who isn't striving to make a living, she is attempting to be something she isn't familiar with- being faithful. Underneath it all, Schumer has written a wonderful and painfully real version of her experiences. Bill Hader is also finally given a more extended character than he is accustom to receiving and he equally anchors the film. LeBron James however, nearly steals the show playing a self-absorbed and possessive version of LeBron James! Apatow has made great use of him and it may make us want to see him in future efforts.

When Judd Apatow makes a comedy, you can usually expect a fun ride. Trainwreck may be filthy and course in places, but otherwise it is one ride you will come out of smiling. Relationships are a funny thing and might cause any number of ups and downs. Out there though, there is someone for everyone.

Born To Die: Review of Amy

Amy

Director: Asif Kapadia

By Alex Watson

Just like he did with his magnificent 2012 documentary, Senna, Asif Kapadia has once again created another haunting yet embracing film in Amy. Based upon two years of research, Kapadia lifts the hood and goes to work revealing the real Amy Winehouse. Her death in 2011 was both a shock which filled the music world with sadness as a true talented had literally wasted herself away.

Focusing on the final years of Amy Winehouse, this documentary digs deep into her upbringing and her strained relationship with her parents. To her early musical years and how she found immense joy performing in her beloved jazz clubs. Upon the release of her infamous soul album 'Back to Black' Winehouse found both her private life and drug addictions plastered all over the nations press. Her love of music is both the blessing and through a life less ordinary, a bright light of the music world will eventually burn out.

Kapadia's Amy plays out like a happy dream which gradually turns into a drug laced nightmare. The Winehouse the public knew was one who was the quintessential party animal know for her excesses. Kapadia instead presents to us a far different figure from what we were taught. Opting against going for a 'too young to die' approach, Kapadia focuses a girl who an ordinary Southgate girl for whom the fame machine perhaps got too big. The early scenes of a fresh faced and near innocent Winehouse crooning 'Moon River' is almost heart breaking. The early singer cared little for fame or fortune, she merely just wanted to sing. The career high such as winning Grammy awards and singing with her idol Tony Bennett are presented with a glowing warm feel which for a brief second radiates joy upon the film. 

Her family is one factor of Winehouse's life that is closely examined. Her father Mitch perhaps is one figure that comes off worse as he is presented as an eager businessman who neglected his daughter at her time of need.  It is the later period of her life and her marriage to Blake Fielder-Civil which causes the most ripples. Their relationship was one of both deep love and extreme addiction, which caused her loved ones to distance themselves. Although devoted to each other, the self destructive nature could only have one outcome. Kapadia doesn't hold back and throw his audience into the thick of the violence and drug abuse that would eventually make her life go spiralling out of control. Upon winning a Grammy, she remarks to her friend "This is no fun without drugs!"

Music is one the one presence in Winehouse's life that perhaps gave her some kind of comfort. Here her soul voice brought forward her joys, fears and memories to her audience. Rather than pin pointing what could have caused her downfall, Kapadia gives things a needed light touch. Presenting her fame as being at first a glorious run to gradually her live being continually splashed all over tabloids. Her love of singing became almost a job to which she grew apathetic towards and as the machine grew, so did the expectations. Witnessing her being thrown drunk and unconscious onto a plane for her tragic final gig in Belgrade is perhaps the final nail in the coffin.

Once more Asif Kapadia had succeed admirably in creating a great neutral and almost vibrant portrayal of a lost talent. Amy is a film that will grab at you early and most likely will make you want to purchase Frank and Back to Black by the film's close. However, we are also left with many 'if only...' questions in return.

Days of Future Past: Review of Terminator: Genisys

Terminator: Genisys

Director: Alan Taylor

By Alex Watson

The Terminator series has been showing signs of fatigue in recent outings, sadly Terminator: Genisys failed to raise it from the slump. Director Alan Taylor tries his hardest and does present some good visual flair. A poor script from Laeta Kalogridis and Patrick Lussier becomes the films undoing early on. Arnold Schwarzeneggar may have returned, but even he cannot breath life into this dying franchise. Even though we want to love this installment, we can't help but wonder about its future?

While fighting the machines in the future, soldier Kyle Reese (Jai Courtney) is sent back through time to protect Sarah Connor (Emilia Clarke), mother of his leader/friend John Connor (Jason Clarke). When transported back to 1984, Kyle finds the timeline is far different from what he was told and Sarah is far stronger person. Also to complicate things, the T-800 (Arnold Schwarzeneggar) has become an ally rather than a killer!

The main problem with Terminator: Genisys is that it doesn't quite seem sure precisely what it is doing. On the one hand it is a remake, on another it is a re-imagining. Constantly overlapping the time-lines hinders the story and leaves a rather hollow after effect. Sarah Connor in this installment has transformed into the gun wielding badass too prematurely. Emilia Clarke would have suited as the original shy and scared 1984 Connor, but here she doesn't have enough gusto to really convince. Things are also not helped by a really hoaxy central plot where we are transported to 2017 where Skynet has now been redeveloped as a killer application!


Stopping Judgement Day again is not as fun an adventure this time around and one element that lets it down is a rather poor central twist (fittingly revealed to audiences in the trailer). Throwing a new T-1000 (Lee Byung-hun) into the mix is one that underwhelms rather than thrills. Taylor earns some kudos for some good special effects tricks (such as his recreation of 1984 version of Arnie), but sadly even he cannot spark what is essentially a rather dull ride. One sequence sees our gang engaged in an battle in the air by helicopter- sounds exciting on paper, but falls to earth with a tired thud.

Although it is nice to see Arnold back again, he doesn't quite have the same effect as before. The Terminator is now looking both old and obsolete and you feel another outing would just weaken the original punch. Jai Courtney disappointingly is far too bland to be a worth successor to Michael Biehn's Kyle Reese. Given little to do other than look impressive in a tight t-shirt, Courtney is really wasted here. After impressive stints on Unbroken and A Good Day to Die Hard, it is sad he can't raise the game. Jason Clarke although a hard hitting presence feels miscast as John Connor. Problem here is that Clarke has to essential go against every original concept of this hero and become something entirely different. In this instance, it is hard to put blame firmly on this performance.

Terminator: Genisys despite some high hopes cannot carry forward the masterpiece that James Cameron so wonderfully brought on us. If the studio executives have their way, there will probably be another installment, but they might want to think about stopping the rot.

Big Yellow: Review of Minions

Minions

Directors: Kyle Balda and Pierre Coffin

By Alex Watson

Finally Minion mania has the film that it so desires. The result of Minions is one that although typically uneven in places stays on the right side of idiotic to very funny ride. Forget the slightly cliched and unoriginal plot and just engage your inner child and enjoy. These little yellow men have taken the world by storm and here demonstrate their ability to carry a franchise on charm alone. So far the box office bell is constantly ringing and this is one adventure kids will not be able to get enough of.

Set prior to Despicable Me, this tells the story of the evolution of the Minions and their sole life quest to serve a master. After a series of misadventures, three minions Kevin, Stuart and Bob (Pierre Coffin) set on a mission to find a new bad boss. After encountering world renowned villainess Scarlet Overkill (Sandra Bullock) and her husband Herb (Jon Hamm) she sets the three little fellas on a mission to capture the crown of Queen Elizabeth (Jennifer Saunders).

Starting with a cute but hilarious introduction voiced by Geoffrey Rush, we see how the minions came to be. It is impossible not to laugh at these guys accidentally going through multiple evil masters such as T-Rex, Dracula and Napoleon. Minions may offer little in terms of story, but it carries itself well on sheer belly laughs. Watching them travel to Orlando for the infamous 'Villian Con' there are laughs to be had, such as their encounter well typical American but bank robbing Nelson family (Michael Keaton and Allison Janney).

When the gang meets Scarlett, the story doesn't quite feels as fluid as it should. She is a typically stylish and icy cold femme fatale, but she doesn't seem meaty enough to co-balance the film. The plot involving stealing the crown jewels so Scarlett can become Queen of England is one we have seen many times before. Although when Bob accidentally comes to power, it does give things an interesting twist and our heroes lives suddenly hang in Scarlett's grasp. The screenplay by Brian Lynch is one that depends too much on element rather than being more rounded.

The physical comedy on display though cannot be beat. The Minions have captured the world's heart through their excellent prat-falls and indecipherable gibberish language. Here the adorable factor is impossible to dislike, even as we watch them play polo while riding corgi's. From stealing the Despicable Me franchise, these googled mini men have the cinema world in their three fingered hands. There is enough giggles and the right amount of silly humour to ensure there will likely be a sequel in the near future.

Voice wise Sandra Bullock does well as Scarlett Overkill, but doesn't quite give it the needed amount of relish. Her voice has the right amount of vanity mixed with fierce desire to succeed, but the after effect is slightly underwhelming. Jon Hamm covers the needed ground well as her odd yet devilish inventor husband Herb. Going for over the top glory, Hamm firmly nails the landing. Jennifer Saunders also excels as the surprisingly hard Queen Elizabeth.

Minions is probably everything that fans will want it to be and more. It may lack sufficient ground on story, but what does that really matter when it can provide laughs like these so easily? Expect these guys back soon- High Three!  

Thunderbuddies: Review of Ted 2

Ted 2

Director: Seth MacFarlane

By Alex Watson

Although Seth MacFarlane tries his hardest to recreate the same volume of belly laughs as the original, Ted 2 just doesn't hit the same heights as before. This off-the-wall buddy vehicle still has its charms, but feels a little overly long for what it needs to be. At the centre, the concept is a simple and effective one. A toy bear wants love and to be recognized as human but is denied on both counts. This idea sadly just isn't enough to sustain interest for an entire movie. Despite its best efforts, Macfarlane seems to rely too heavily on the potty mouth humour.

One year on from events from the previous movie, Ted (Seth MacFarlane) has married his sweetheart Tami-Lynn (Jessica Barth) while John's (Mark Wahlberg) marriage has ended in divorce. Immediately the newlyweds are on the rocks and propose having a child to safe their marriage. But any attempts at adopting a child are denied because Ted is not legally recognized as a person by the government. To help gain his rights, the pair enlist the help of newbie lawyer Samantha L Jackson (Amanda Seyfried) to aid their cause.

Ted 2 does have its merits and to MacFarlane's credit he does address some important character issues. John is still recovering from his marriage being dissolved and has little else to do other than smoke pot with his friend. The pair are like a couple of highschoolers still stuck in a time warp. Ted maybe fighting for his rights, but the question remains has he done enough the truly earn them? Watching them head for trial is one area where the movie falls down because although there are laughs such as the pair watching the whipping scene in TV's Roots and Ted saying "That's just like me!" but otherwise it just feels misguided. Ted is like the relative at dinner whom you always wince whenever he talks. Watching him on the stand has that effect as he angrily bursts at the judge "This is just like what you did to the fags!"

The introduction of fellow pot smoking lawyer Samantha is a nice touch but doesn't really add anything new to proceedings. She is basically the polar opposite of everything John's ex wasn't and smokes from a bong shaped like a penis. On a humour level, MacFarlane does provide his usual brand of borderline shocking humour. One scene the gang decides the only way to cheer themselves up is to make sad suggestions at an improv show. Here we get Charlie Hebdo, Robin Williams and 9/11 thrown into the mix, judge for yourself whether to laugh. Also we see re-emergence the of creepy teddy stalker Donny (Giovanni Ribisi- doing what he does best).

Funny cameos also succeed in injecting the film with the zany humor it needs. Watch for a great appearance by Liam Neeson, who could have thought Trix cereal could be hilarious? Tom Brady also stands out in a brief but sidesplitting cameo. Worth its weight purely for code the Boston Police have for the crime. Morgan Freeman plays.... well Morgan Freeman renamed. As a franchise, this movie is most likely going in the right direction and a successful run at the box will definitely see a third round. But Seth MacFarlane has to really think hard about the direction he wants to take this. Because laughs aside, this comedy series is already showing signs of fatigue. Ted and John despite being bad boy 'thunder buddy's' have little else aside of their debauchery. With a few workings, the next installment could be more fitting.

Mark Wahlberg does succeed as John and with his native Boston wit, he handles the foul and crude humor with ease. There may be many people on the fence about the former Marky Mark, but you cannot deny he has presence. Wahlberg is one of the principle reasons this movie has its charm and this guy loves to poke fun at his roots. Seth MacFarlane as a voice only still bounces off his counterpart well. Sounding almost like Family Guy's Peter Griffin, Ted may be an awkward cuddly toy, but is still one who can deliver the laughs.

Chances are that Ted will be definitely be back for a third installment. It's just a shame that Ted 2 doesn't quite build on the promise of what could have been.

Five Unfortunate Movie Deaths

Eaten on the Shitter (Jurassic Park)

As always in a Steven Spielberg picture, there is always an undercurrent of comedy. In this case it is the unfortunate timing of tightly wound lawyer Donald Gennaro (Martin Ferrero). Choosing to visit the men's room while a huge T-Rex is escaping is never a wise choice. On this occasion, his bowel moments will be the least of his worries.

VX Poison Gas (The Rock)

Early on in Michael Bay's 1996 action flick, VX poison gas is one of those things "we wish we could un-invent!" The full effects of these dastardly green balls is shown to us in a gruesome format. One soldier while attempting escape gets hit by it, what follows is Elephant Man style mutations as his painful last few moments pay out!

Losing My Head (The Omen)

Throughout this legendary horror, each nasty death predicted comes true in grim fashion. None more so than photographer Keith Jennings (David Warner). Towards the movie's climax, Jennings discovers just what the funny line across his photo comes to represent! Never rule out a lorry carrying glass window panes people.

Explosive (Four Lions)

In Chris Morris' clever satire towards the world of suicide bombers, there are multiple moments of shocking humor. The best one comes from the unfortunate end of Faisal. While running through a field of sheep carrying a bag of explosives- he manages to blow himself up! Previously this guy had been training birds to carry out the deed, imagine how that would have gone?

Sharp as a Razor (A Prophet)

According to Morgan Freeman "Prison is no fairytale world" and that is precisely the case throughout Jacques Audiard's drama. One scene has since become infamous as it sees new convict Malik (Tahar Rahim) slit the throat of troublesome Reyeb with a razor blade (Hichem Yacoubi) to appease a crime-lord. The full effect of this scene is chillingly realistic and will follow Malik at every turn.