You Know My Name: Review of Jason Bourne

Jason Bourne

Director: Paul Greengrass

By Alex Watson

Although it is wonderful to see Bourne back on the big screen, Jason Bourne just doesn't feel completely necessary. This character has proven to be one of the smartest and well-developed creations in this new millennium. Paul Greengrass is able to conjure up those moments that we love throughout this picture and like always it is given a clever story complete with unexpected twists. Problem is that the constant turns become impossible to follow after a point and although it is wonderful to see Matt Damon and Greengrass resurrect their greatest creation, it doesn't thrill like it should.  

Jason Bourne (Matt Damon) lives off the grid in Greece and has hoped to put his troubles behind him. When his old colleague Nicky Parsons (Julia Stiles) comes looking for him, this already spells trouble. Soon he is implicated in a global encryption scam which sees him under the suspicious eyes of old school CIA Chief Dewey (Tommy Lee Jones) and new ambitious agent Heather Lee (Alicia Vikander). He must also contend with some difficult secrets about his past.

While it is not an unwelcome fifth entry, Jason Bourne was maybe a step too far. In places, it thrills and you forget how naturally Greengrass' direction fits this franchise. When we left Bourne floating in the New York waters, it was the perfect end to a wonderful trilogy that gave us possibly the best character arc. When we first see Bourne making a living as a bare-knuckle fighter on the Greek-Albanian border, it does make a nice reappearance. When his old lover/ally Nicky shows up and starts hacking the CIA, this is when shit starts to real. Tracked to Athens, he soon has his old nemesis The Asset (Vincent Cassel) chasing after him during a political riot. While Greengrass gives an impressive kick start, it's not all uphill from here. Discoveries about his true identity do keep this picture on its toes, but the big reveals just do not shock us anymore. In the previous three installments, each little red herring injected a little more excitement as who Bourne really was? Here it just feels like they are drawing out the mileage.

The main issue with the story line comes from its overloaded central premise, Bourne is still attempting to under just how he came to join Treadstone and when he discover his involvement may link close to home a new fire is lit. Grouchy and underhanded Dewey is an old style veteran who believes in just tying up loose ends. His conflict with his protege Heather who believes Bourne should just be brought in, Dewey adds little to picture and is reduced to shouting lines at random personnel. There is also the added problem of the perhaps unnecessary side story of billionaire Aaron Kalloor (Riz Ahmed) and his industry Deep Dream. Believing that privacy is key to society, Dewey naturally needs him for a key project and he is reluctant to assist. Living in a post-Snowden society has made the CIA anxious and now they are willing to risk people's freedom to stay ahead. So many different things happening at once really hinders the stories progress, also suffering is the disappointingly underdeveloped villain, The Asset. A cold and brutal presence, Asset is given precious scraps to feed off and is reduced to simply wordlessly killing people. He appears like a throwaway character added at the last second.

Greengrass does resurrect Jason Bourne during its final act set in Las Vegas. When he does car chases, there is no one else who nails them better and watching car fly and a SWAT vehicle plow through a casino is vintage Bourne. Overall this film does tie itself in well the with the other films but cannot escape being trapped in their shadow. Bourne is still a character who can make us pay attention and he still breaks bones and thinks fast like no other, but this time, it just feels formulaic. Part of us wonders whether this character really needed another outing when he was sitting pretty after a hat trick of great adventures. The plot has its merits and brings forward some potent theories over how much power the feds should really hold with their surveillance? However, you feel maybe too much is happening at once and before long our attention starts to slip.  If the final moments are to be believed then Damon's finest character will see another outing, question really is how much do we really want this?

Matt Damon again is great in this part and the principle strength of this franchise has been his ability to walk the line in between conflicted killer and living by a complex code. Bourne has been his greatest hour, but in his fourth outing, this just feels like he is going through the motions. Damon can surprise us with his character's quick thinking and still show great smarts when the pressure is building, but now is maybe the time to put this to bed. Tommy Lee Jones is required to do little more than stand there looking grumpy as Dewey. One of the really great presence's of cinema today, Jones is unable to really bring anything else to the screen other than just giving orders. Similarly stranded is the immensely talent Alicia Vikander who is asked little more than to speak in basically a monotone. With this caliber of cast, they should have made far more with the talent on screen and this feel like a missed opportunity.

Jason Bourne was perhaps not the wisest sequel that will be released in 2016, but while it doesn't quite hit the mark set by the original trio, it still poses some interesting arguments over our freedoms.

The Final Frontier: Review of Star Trek Beyond

Star Trek Beyond

Director: Justin Lin

By Alex Watson

Star Trek Beyond is a fun and entertaining ride, but nonetheless, there are bumps during this voyage. After the backlash of Into Darkness, new director Justin Lin along with co-writers Simon Pegg and Doug Jung have paid close attention to fans criticisms. Confining the action mainly to the Enterprise crew being stranded on an uncharted planet stays true to the origins of Roddenberry. Director Lin has been a fine replacement for the departing Abrams and shows his flair for the exciting during the fine set pieces. The Enterprise may stray off course in places, but such mistakes can be forgiven.

James T Kirk (Chris Pine) is still debating his place in the world and his lengthy time in space makes him wonder if he still wants to be captain? When the Enterprise receives a distress call from deep space, the crew are suddenly ambushed by the vengeful Krall (Idris Elba), a creature who is out for Federation blood. Stranded on a foreign planet in the Nebula, Kirk and crew must navigate carefully to ensure their safety.

Star Trek Beyond is just a slice of good fun, it doesn't concern itself with overthinking its sometimes sloppy plot and just seeks to entertain. One major plus is that Lin gives the adequate screen to time to Spock (Zachary Quinto), Bones (Karl Urban) and Scotty (Simon Pegg) who each have given this franchise its humour and heart. Reduced to being little more than cameos in Into Darkness, in this installment, they show just how vital they are to this ship. Spock and Bones, in particular, make a fine double act when facing unstable odds together. Facing certain death together, Spock suddenly is teleported cue the doctor grumbling "Well that's just typical!" To a degree, this picture is all about characters wrestling with their demons, Kirk is still haunted by the memory of his late father and is pondering his next move. Spock is considering abandoning Star Fleet due to the death of someone particularly close to him- his loyalty conflicts with his determination to serve his fallen Vulcan's.

However, despite this being a thrilling outing this picture loses points due to a rather flat and underwritten villain. Krall looks the part and his cold-blooded and ruthlessness does excite during his daring first attack. Watching the Enterprise trying every manoeuvre in the manual to try and get away is vintage Lin and the resigned look on Kirk's face as he watches his beloved ships plunge into the depths is heartbreaking. Before long, the inconsistencies in Krall's character show through and this is the one place where Pegg and Jung's script becomes unstuck. We get that he hates the Federation, but for what reason exactly? When the big reveal happens our reaction is more one of confusion that shock. Also, this will lead to a series of questions about how precisely does he keep changing his look? Krall might have some fine monologues, but he lacks any plausible threat.

The action taking place in Star Trek: Beyond makes this worth the price of admission. One sequence guaranteed to thrill is during Krall daring attack on Star Fleet base Yorktown. Without giving too much away- Sabotage by the Beastie Boys is guaranteed to be featuring on many iPods on the way home. The addition of Nebula native Jaylah (Sofia Boutella) works wonders during the movie's middle sequence as her tech wizardry gives us the movies stand out sequence. Seeing Kirk riding an old style bike gives us a Great Escape style nostalgia as through Jaylah's clever device they execute a bold rescue on Krall's camp. Lin's picture might not be perfect, but he has recaptured the wit and the joyful feel that made the 2009 reboot so memorable. Kirk is firmly back in the captain's chair again and hopefully, any kinks will be fixed for the next installment.

Chris Pine once again is the standout and he has come to be the perfect choice as the conflicted Kirk. Showing us a cocky boy who has grown into a tough and assertive man, Kirk may still be a restless soul, but Pine gives him so much charm it is hard to notice. Zachary Quinto again show us just what depth he can add to Spock, here we see his more human side coming through as he feels regrets coming through and begins to wonder if his future lies with his friends? As Krall, Idris Elba is utterly wasted in a flat bad guy role. An actor able to conjure up menace at the drop of a hat (his voice alone in Jungle Book was terrifying), Elba is given little to do other than giving threatening speeches. Krall should have been a more physical and clever monster, instead, we are given a creature whose intentions make no sense.

Star Trek Beyond picks this franchise right back up, hopefully, Justin Lin will be there for any future outings because this is one commander Enterprise desperately needed.

Crisis of Faith: Review of The Innocents

Les Innocents

Director: Anne Fontaine

By Alex Watson

Films about faith walk a firm tightrope and this is no exception in Anne Fontaine's hard hitting The Innocents. While this is no easy movie to watch, Fontaine succeeds in giving a haunting portrayal of religion and loyalties tested during war-torn Poland in WWII. A quietly muted emotion is the principle strength of Fontaine's direction the inner conflicts that surface are heart rendering. Pigeonholed at Sundance as 'the pregnant nun movie' this movie goes to a much deeper root than this and this will likely be one of the better films you might miss in 2016.

When French Red Cross doctor Mathilde (Lou De Laage) is approached by a concerned Polish nun, she initially refuses as she is forbidden from assisting. When she is talking into helping she finds an unholy terror awaiting at the convent. After being brutally raped by Soviet soldiers, several of the nuns are now pregnant and about to give birth. Unable to call for assistance from their own country, Mathilde is forced to help them because if word gets out, the convent will be shut down.

Starting with a harrowing silence as hear cries of pain echo out among the nuns dawn prayer, Mathilde at first rejects the pleas of the panicked nun as she may only assist French citizens. When she finally arrives at the convent she meets the ultra-strict Reverend Mother (Agata Kulesza) and the more pious Sister Maria (Agata Buzek). In painful quiet, she delivers a baby via C-section and although she offers further assistance, the mother is keen to be rid of her. Soon we learn from Maria that no less than seven nuns were defiled by Soviet soldiers and the Mother is keen to avoid a scandal from brewing, Mathilde will soon forge bonds with the nuns as she helps with their medical care. When the babies are born we are told that the Mother will take them and get them new adoptive homes. This is what we are taught anyway, the reality of what happens is an ungodly horror of it own in the later stages.

The Innocents is a movie that treads carefully over the topic of religion, what is made clear is that God seems to have abandoned these walls long ago. Many of the nuns are wrestling with their once steadfast faith. The script by Sabrine B Karine and Alice Vial is one that examines every possible feeling on the moral spectrum as this impossible situation grows tenser. Fontaine is not interested in a quick resolution and takes her time letting the story play out. Mathilde and Sister Maria form a good connection as she tells of how she was not a virgin before she took her vows. Wiser to the way of life Maria is one voice of reason to her increasingly frantic elder. Mathilde's comes to respect the nuns through this picture and her quick thinking and lies prevent another vile situation from escalating into something gut wrenching. The examination process brings to light the different personalities of each nurse as one young nun giggles at her belly being touched while another shies away in fear.

This disillusion reaches its pinnacle as Fontaine's film reaching its third act. Through the picture, Rev. Mother has insisted on keeping up appearances and has only grudgingly allowed Mathilde's assistance. What little respect remains for the order is firmly tarnished as the remaining nuns begin to give birth. Some decide to flee the vocation and set about establishing new lives, some reclaim their faith in the strangest of places. The aftermath is the same for all in that nothing can ever be the same again. Mathilde along with her Jewish lover/fellow doctor Samuel (Vincent Macaigne) are both aware that their love affair will likely not go the distance and having become responsible for the lives of her new friends, she now can only do what she can. Fontaine makes us all think about the weight that a life of devoted religion carries and how some can be crushed under its weight.

Lou De Laage takes great control of the screen and as Mathilde, she is a strong and capable lead who is the moral leader of this film. Hesitant to be involved at first but once her eyes are opened to the scandal that has reared its head, Mathilde feels compelled to see it through. Agata Buzek is also strong as Maria and through her steely facade there lies a gentle soul who slowly comes realize that following her leader might not be the key. Agata Kulesza emerges as the film's strong point as the conflict but steadfast Rev.Mother. An icy and devout presence, Kulesza does well give a good impression of a woman who while keen to maintain order is definitely no fool. The acts she commits are always in the name of what she believes in and while her morality may be twisted, Mother is aware of what a big scandal will do to these women.

The Innocents is a movie that will make you think hard about not only the God you worship but about what we can do when faced with the suffering of others.

I Ain't Afraid Of No Ghost: Review of Ghostbusters

Ghostbusters

Director: Paul Feig

By Alex Watson

Having the most disliked trailer in the history of Youtube is not something to savor. From the get-go, there were a lot of haters dumping on Paul Feig's all-female reboot of Ghostbusters. Well, prepare to have your doubts extinguished because this effort is as funny and quirky as any of the originals. The female foursome gives this franchise a newer and fresher feel. Also with the laughs coming thick and fast the gender of the characters will be the furthest thing from your mind.

Erin Gilbert (Kristen Wiig) is a former college professor who has recently reconnected with old friend Abby Yates (Melissa McCarthy) and her wacky assistant Jillian Holtzman (Kate McKinnon) after an outbreak of ghost sightings around Manhatten. Along with former MTA worker Patty (Leslie Jones), it is clear that evil spirits are out to claim the city, but what is causing them to appear? With New York Mayor Bradley (Andy Garcia) wanting to silence the whole affair, how will they succeed?

With an effective scary opening, Ghostbusters is able to score points pretty much immediately. When we meet the estranged friendship of Abby and Erin, we like them right away. The pair has as much dorky and goofy charm as Venkman and Stanz before them- previous co-authors of an embarrassing paranormal book, Erin quickly rediscovers her lost passion. Things kick up a notch when Patty enters the fray, this character is one of the smart elements of this movie. Unlike Winston before her who was there to make up the numbers, Patty's knowledge of New York is an invaluable asset and marks her out as one of the key members. A sassy and loyal fireball, she often gets the best lines such as when views a ghost heading on subway towards Queen's "He's gonna be like the third scariest thing on that train!"

Feig is able to find a more different sense of humor, unlike this previous work. His clever gender role reversal of incredibly dumb but intensely hot secretary Kevin (Chris Hemsworth) is a delightful touch. Finding it impossible to perform the simplest of tasks, such as answering the phone or even make coffee, Kevin is a continual source of hilarity. The set pieces are also well executed, such as the four having to capture a demon in the middle of a rock concert, cue Ozzy Osbourne screaming "SHARON! I'M HAVING ANOTHER FLASHBACK!" the cameos in the piece are one thing that slightly lets picture down because they are not given nearly attention. Some known faces make an appearance, but we never feel the needed force.

The laughs do begin to dry up as Ghostbusters reaches its climax. When the CGI takes effect it is spectacular to see the ladies blasting away ghosts, "I shot a pilgrim!" one of them mourns. The finale is decidedly low on tension but by this point, you are already so high on laugh its seems inconsequential. There are setbacks in this picture such as Kate McKinnon's Jillian Holtzman, although she raises a smile or two, her constant zany humor eventually becomes a bit too much. This reboot also lacks a real threatening villain, occultist Rowan (Neil Casey) comes off as just a whiny jerk who needs to grow up. Feig along with his impressive cast is to be commended for shaking off the criticism and giving us something that threatens to give reboots a good name.

Kristen Wiig and Melissa McCarthy are always a dream together and their work here is no exception. Able to produce laughs at any given time, they are able to give a pair of original creations a million miles away from their predecessors. Leslie Jones nearly walks away with the picture with a brilliant turn as subway worker turned Ghostbuster Patty. Jones is always on point and each scene she seems to find a way to win it over with the minimum effort. The fourth member needed an upgraded after Ernie Hudson was wasted over two pictures and she is one of the main reason to want a sequel. Chris Hemsworth however, steals the show with his hilarious against type as the ditzy Kevin. A man coasting through life on looks alone, Hemsworth shows an unexpected comic touch and seems to find ways to make him stupider by the minute.

Who would have thought that among all the criticism that Ghostbusters would be one of the movies of this summer? Well, haters, it appears that you might want to retract those statements.

The Evil Dead: Review of The Conjuring 2

The Conjuring 2

Director: James Wan

By Alex Watson

Sequels can be a troublesome thing but in the case of James Wan he has kept the scares alive in The Conjuring 2. The man who created The Saw franchise has never felt more a home here and through the simplest of devices, he again has his audience on the edge of their seats. Moving the action from Rhode Island to England was a surprise for many, but setting in a creaky old Enfield house works like a charm. Wan despite making big bucks off Fast & Furious 7 is keeping to his roots.

After a horrifying experience in Amityville, Ed Warren (Patrick Wilson) and his wife Lorraine (Vera Farmiga) are asked by the catholic church to investigate a paranormal incident in Enfield, England. The Hodgson family led by mother Peggy (Frances O'Connor) are plagued by a vengeful spirit calling itself Bill Wilkins. In particular, it seems to have designs on daughter Janet and it appears the couple is dealing with an unspeakable evil.

Many fans assumed The Conjuring 2 would deal with the events of Amityville. This is where the picture starts in a frightening blaze of glory where Lorraine is dragged into a terrifying vision where she only just survives. Over in blighty, the Hodgson family is one that is dodged by an absentee father and as a unit, they are creaking under the pressure. The early scenes with them are like any family you grew up next door to and Wan gives this family a likeable albeit bickering likeability. Across the pond, Ed and Lorraine are dealing with sceptics trying to debunk their experiences along with their own supernatural problem in the face of malevolent spirit The Nun. This creature is by far the scariest thing you will see in 2016 and although its influence is limited, it is felt each time it appears.

The Hodgson's ordinary terraced house is an unlikely source of scares, but it provides them by the bucket load. Every loud bang that's heard or creek that sounds are guaranteed jumps. Wan is a master at finding horror in the simplest of surroundings and here each time you think the scary moment has come, you are fooled time and again. Each loud bang or creek in the floor boards has our hearts racing. Wan is also very effective with camera work and is able to get maximum scares out of using very little. One scene sees him let a conversation with Ed and the demon play out in one shot- the blurred visuals behind are more unsettling than seeing the being up close. Another sees Janet dealing with a malfunctioning TV, only for something to literally jump out of nowhere. The moment that Ed and Lorraine arrive in Enfield, things get a little more intense.

Although this is a great ride, The Conjuring 2 does lose steam towards the finish with some unnecessary diversions. The inclusion of fellow paranormal investigators Franke Potente and Simon McBurney adds little to processings. Also, the final showdown between people and demons goes get a little on the cliched side- such as Lorraine remember a key bit of info at the last second. Wan gives the story enough rope for us to ignore any wrongfooting and just go with it. Many have assumed that you couldn't possibly get the same experience the second time around, but James Wan is in a class of his own in this genre and not only parallels the first movie but makes it a fresher sequel. When you get home I guarantee each bump in the night will have you sleeping lightly.

You forget just how good Patrick Wilson and Vera Farmiga are together in the franchise. Ed and Lorraine are a couple who are devoted to each other and will willingly walk into danger. Wilson is an underrated talent in Hollywood and has proven a solid actor in horror movies. As Ed, he is the thinking man behind the operation and shows no fear when interrogation spirits who could do harm. Farmiga brilliantly channels Lorraine fears of the traumatic vision she suffered but gives her a hard reserve where she strives to protect anyone from harm. I can only hope this pair is included in any eventual sequels that transpire in this franchise because you cannot imagine anyone else doing it.

The Conjuring 2 is the strongest horror offering the summer can provide and just goes to show why James Wan should be the go to man for any studio for horror. Though this picture will have you looking at nuns differently for quite some time after.

Standing On The Shoulders Of Giants: Review of The BFG

The BFG

Director: Steven Spielberg

By Alex Watson

Despite Steven Spielberg wielding some neat and magical visual touches, his adaptation of Roald Dahl's The BFG cannot escape feeling slightly underwhelming. The casting of Mark Rylance and Ruby Barnhill is inspired and the pair together are the main source of fuel for Spielberg's picture. The principle problem is that although this adaptation is wonderful is some areas, it also drags in others. Although the great man tries his hardest, this just doesn't feel like vintage Spielberg.

Sophie (Ruby Barnhill) is an orphan living in London who one night is snatched up by giant The BFG (Mark Rylance). Taking her back to his home, The Giant World the pair begin to bond when he shares his hobby of collection and giving dreams to people. In this land, he is one friendly giant as all others are bloodthirsty children eaters led by the Fleshlumpeater (Jermaine Clement). Together the pair hatches a plan to put a stop of their evil deeds for good.

Despite a very promising and tense opening where we see The BFG snatch Sophie from her bed during 'the witching hour' Spielberg cannot keep this momentum going. Seeing his giant hand reaching for the curtains is as thrilling on a big screen as it was on paper. The early scenes of her introduction to this 24-foot gentle giant are very touching with some well-timed comic moments. His constant particular speech and mispronouncing of words get plenty of laughs, as he refers to humans as 'Beans'. But none get more giggles than when he shows what when you do a 'Whiz-Pop' by drinking Frobscottle. Although these scenes do bring a charm, the film is too reliant on dialogue and as a result, scenes feel overly long.

London has never looked more wonderous on screen and the scenes set during the black velvet night look like something right out of a fairytale as BFG and Sophie deliver a pleasant dream to young boy where he gets a call from the US President. Entering Giant country, at first, we are transfixed by its beauty, most notably during a gorgeous sequence where we see the giant collecting dream. The FX in this scene sparkles like a beautiful dream and is a rare moment of wonder. The child-eating giants while visually impressive, lack any kind of development and they feel tame compared to the horrifying creatures in the 1989 animated version. BFG is bullied for being a runt and is too meek to fight back. Yes, he has our support as the underdog, but after a point, we wish these guys would just go away.

The final act promises great things as Sophie and BFG approach the Queen (Penelope Wilton for help. Giving her one of the worst dreams imaginable, what follows is possible the strongest scene in the picture as she along with her maid Mary (a lovely Rebecca Hall) find Sophie outside her window. Can the Queen possibly believe this unlikely dream about the Giants she just had? Also, there is the added bonus of watching her butler Mr. Tibbs (Rafe Spall) trying to get the Queens guard out without giving himself away. Comedy galore comes rolling forward when BFG is giving breakfast, requiring servants to give large quantities of eggs, toast, and many other things while he is perched up high. Spielberg is known for being funny, but here is carries off well. Sadly for all our hopes, the finale is a rather bland one and only adds to the gigantic disappointment that has been looming throughout.

Mark Rylance proves to be a fine choice to portray the BFG and he is able to both charm and amuse us in equal measure. Sporting a West Country accent, this big guy is a slightly bumbling and confusing character at first. Once the kinks have been ironed out, a big-hearted and lovable giant is born and Rylance brings to life the joy that Dahl gave this character. Ruby Barnhill is an equally wise choice and her down to earth portrayal of Sophie is one of the movie's plus points. The two leads bounce off each other well and are primarily responsible for keeping at a respectable level. Jermaine Clement might have convinced as Boris The Animal in MIB 3, but he is given little work with here. In this age of CG, the Fleshlumpeater should have been a horrifying sight. Instead, he is reduced to comic foil.

The BFG has brief moments that will bring a smile, but Spielberg is not able to make this one of this summer's strongest hits. Hopefully, his adaptation of Ready Player One will be up to scratch.

For The Love Of The Game: Review of The Phenom

The Phenom

Director: Noah Buschel

By Alex Watson

Ethan Hawke once again electrifies as one of cinema's most monstrous sports Dad's, but despite the great chemistry between leads, The Phenom is a movie that hard to define. Going well beyond the normal ground for baseball movies, Buschel is more interested in the psychological effects of the player himself. This is not a story of redemption but is more about a young who trying to find his way back to who he once was.

Hopper Gibson (Johnny Simmons) is a talented young pitcher who has begun to struggle. Concerned with this slump his team sends him to a sports psychologist Dr. Mobley (Paul Giamatti). Through these sessions, Mobley gains an insight to the emotional abuse his jailbird father (Ethan Hawke) inflicted on him to win at all costs. Is this the root cause of his problems? Or do things go even deeper?

More of a character study than a movie, The Phenom is still an intriguing piece that asks some serious questions of what pressures young men face on the road to the top. Hopper is ranked as the 3rd best young prodigy in America, but after throwing five wild pitches in one inning people are becoming concerned. Buschel moves in and out of his backstory of growing up in the small Port St Lucie, Florida. Hopper is a big star on his high school team with a beautiful girlfriend (Sophie Kennedy-Clark). But despite the adoration of his peers and his mother, Hopper seems oblivious to it all and seems to be lost within his own world.

The moment that his father, Hopper Sr enters the picture the blue touch paper is truly lit. Once a talented player himself, his life has become wayward and he is now fresh out of prison once again. Immediately abusive to his son by throwing a beer can at his head, Hopper Sr lives his dreams through junior. One scene sees him going banana's at his son during a high school game, then being arrested seconds later. Bitter and cynical of his wasted life, he's become the overly competitive Dad that child dread. Jealous over his son's success, he finds joy in his petty torments and we see a window into the issues that plague the young man.

When Mobley meets with Hopper, these scenes are what confuse the picture because we are not sure whether this is a psychological drama or a father and son study? Still, they hold their own effect as, despite his successes, Hopper remains unconcerned with his plight. Suspicious of all whole surround him, he has found it hard to hold down meaningful relationships and thanks to his father's abuse his love the game has now begun to dissolve. Despite Giamatti being solid, Mobley offers little as a character and feels more like a last minute inclusion. The picture works best when father and son hold the screen together and The Phenom's electricity is built around this.

Johnny Simmons has always been a young talent to watch and in The Phenom he shows precisely why. Doing a fine job of bringing to light Hopper's pessimistic view of the world and wondering just how he fits into it. Simmons does well to show the conflict of his feelings towards his father because bizarrely he might not have been the same without him. Ethan Hawke is a force of nature as Hopper Sr and is very much the driving force of Buschel's movie. Blasting on the screen like a hurricane force, Hawke thrills and frightens us in equal measure whenever he appears. "Everything you've accomplished, you owe to me," he mocks at one stage. Junior will never be free or escape his influence and Hawke makes us feel every second of it.

The performances alone deserve consideration come award season, but Noah Buschel's The Phenom is still a fascination and confusing piece that deserves attention. Sport Dad's take note, this is a picture that will teach you how NOT to raise your kid (if only for the wild pitches!).