Bullet With Butterfly Wings: Review of Free Fire

Free Fire

Director: Ben Wheatley

By Alex Watson

To quote Lock, Stock and Two Smoking Barrels "I don't fucking believe this can everyone stop getting shot!" In Ben Wheatley's Free Fire, that is very much the case.  Proving himself across different genres, the British director proves to be adept at doing action films. Essentially two hours of people firing weapons and insults at each other- Wheatley along with executive producer Martin Scorsese somehow keeps this thrilling.

In 1970's Boston, Irish criminals Chris (Cillian Murphy) and Frank (Michael Smiley) along with fixer Justine (Brie Larson) are purchasing weapons. Buying from sleazy arms dealer Vern (Sharlto Copley) and brokered by Ord (Armie Hammer), things go smoothly at first. However, when Frank's drug addled brother in law Stevo (Sam Riley) starts a fight- all hell breaks loose!

The way that Wheatley and co-writer Amy Jump measure the pace of Free Fire is what really makes the difference. Starting a slow yet energetic pace, we see Stevo battered and bruised from a fight taking smack to dull the pain. Each character introduction has a vital stamp on the plot itself, Chris and Frank are ones losing patience quickly. Ord is the well-dressed smooth talker who is immediately suspect, while Justine politely brushes off Chris' awkward flirtations. When Vern appears, he is another kind of creepy but is endlessly quotable "Vern and learn baby!" The amount of different stories going on at once are impressive. All the characters have different hopes and expectations for this deal- but there is also an air of tension that immediately threatens the balance.

When Stevo resurrects an argument with another member of Vern's clan, Harry (Jack Reynor) things go south quite quickly. While everyone attempts to calm things down at first, bullets are soon zipping through the air. For the next hour, Wheatley sets about meticulously planning possible exits and end game scenarios. What makes this a different type of shoot-em-up is the intelligence the story displays. At given points, characters attempt compromises to try and end the violence. Guessing which characters will remain loyal and which will turn is frequently entertaining. You also feel the pain the characters feel each time they are shot. Seeing them attempting to crawl to safety gives this a more realistic feel than most action pieces.

Despite Wheatley giving Free Fire a promising opening, his middle act of people shooting at each other does drag on. At one stage we wonder precisely what the payoff will be? Although there are surprises galore, the finale isn't one that provides any great thrills. The excess violence has been criticised by many, but the picture cannot exist without it. However, the strength of characters is what boosts things. Each one has their own agenda and it is impossible to decipher who is working with who? Wheatley also gives his film an air of cool along with some great dialogue. A director wearing a lot of different hats these days, Wheatley again proves that he is one for the future.

This ensemble cast is served well by standout turns by Brie Larson and Armie Hammer. Larson is the sly vixen whose intentions are ambigious at best, while Hammer is gives his Ord a suaveness that thinly masks his psychopath persona. As usual, Sharlto Copley threatens to steal the show and his Vern is what you will come away remembering. His cringe worthy attempts at chatting up Justine are worth the admission fee alone. Also he is possible the most clear-cut character of the lot, all he wants is the money- as he spends majority of his time reminding people.

Free Fire is a movie that although dips in quality in the middle, is nonetheless a cool and creative shooter flick.

Ape-A-Popping: Review of Kong:Skull Island

Kong: Skull Island

Director: Jordan Vogt-Roberts

By Alex Watson

As Warner Bros works its way towards an ultimate showdown between Kong and Godzilla- Kong: Skull Island makes for a decent start. While not as faithful or eye opening as Peter Jackson's most recent version, director Jordan Vogt-Roberts makes King Kong a real presence. Moving the action to the end of Vietnam war does work surprisingly well, but this movie is let down by some poorly written characters.

As Vietnam draws to a close, government official Bill Randa (John Goodman) leads an expedition to an uncharted island in the South Pacific. Randa believes this system contains creatures never seen by humanity. Along for the ride are tracker James Conrad (Tom Hiddleston), notable photographer Mason Weaver (Brie Larson) and Lt.Colonel Packard (Samuel L Jackson) whose Sky Devil's squad is providing escort. Once on the island, they will come face to face with one particularly large ape who is less than pleased with their arrival.

Although Kong: Skull Island provides thrills in abundance, it's also lacking in several areas too. Jordan Vogt-Roberts shows us a magnificent new Kong who from the moment he is introduced, chaos rains down. Ascending out of a hellish storm, the helicopters are greeted by a lush and breathtaking landscape. While they play their rock n roll music and carelessly drop their explosive  'scientific instruments' an ungodly sight will soon roam into view. Within moments of his arrival, the full force of Kong is unleashed. This eye-opening introduction is literally like watching the wrath of God and the movie revealing its trump early is a very smart move. This Kong comes off as the deepest personality in this jungle after his real motives are revealed. Vogt-Roberts also literally makes him bigger than ever before. Protecting his realm with a furious passion, this giant ape is one we definitely cheer for.

In this adventure, Kong is not the most dangerous creature lurking. Giant spiders, squids and gigantic insects are just a few of the threats that stand in their way. The biggest danger of all comes from the Skullcrawlers, an almost dinosaur-like creature whom Kong has been brawling with for years. Coming from deep beneath the earth, the human's arrival has lead to them being awakened and Kong becoming pissed! They may look innocuous at first but soon their threat is made clear. Vogt-Roberts' movie might be a glorified run through the jungle (Yes that Neil Young song does appear) but it makes the most of the thrills offered. This edge of your seat stuff makes this a better movie and anyone just wanting a dosage of dumb fun will feel right at home.

Packard's desire for revenge does add some colour to proceedings. Bloodthirsty after watching his men fall to Kong, he threatens everyone's chance of survival. Vogt-Roberts does well to cling to the B-movie origins in the movie's final third and there is a pure joy watching him scrap with Skullcrawlers. Although it lacks the depth and emotion of Peter Jackson's version, it isn't any less entertaining. This picture is merely a warm-up act for the main act and once WB and Legendary get there, that's when things get interesting. Kong: Skull Island might have some misfires, but it is nonetheless still a solid piece of work and the big ape has never looked better.

Part of the issue with this movie is that the characters on display are rather drab. Conrad is an ex-SAS soldier who spends the movie just making plans.Tom Hiddleston has a great presence but is given little to work with.  Brie Larson's Weaver is a character clearly meant to fill the old Fay Wray mould, but instead merely comes off as blank and uninteresting. Samuel L Jackson comes off as the movies strong link as after the death of several of his men turns him into a vengeful Captain Ahab figure. Marooned WWII veteran Frank Marlowe (John C Reilly) adds some needed comic relief to proceedings and his guidance proves key to survival throughout.

Kong: Skull Island might be lacking a few key areas but for sheer enjoyment, it is a great start. Sit back and enjoy Kong, nothing else required.

Four Walls: Review of Room

Room

Director: Lenny Abrahamson

By Alex Watson

Capturing hearts and the Viewer's Choice prize at the Toronto Film Festival, Lenny Abrahamson's adaptation of Emma Donoghue's Room is an emotional whirlwind. Intensely harrowing throughout, Abrahamson helped by some gritty and concealing cinematography by Danny Cohen give the 11 x 11 prison a hopeful feel. However, as we expand into the wider world, we see the at times beautiful naïvety of youth and asks some big questions of how we can survive in this big world? 

Ma (Brie Larson) is has been imprisoned living in a tiny room for seven years with her five-year old son Jack (Jacob Tremblay). Her captor known only as 'Old Nick' (Sean Bridgers) provides them with food and supplies while Ma keeps her boy happy and healthy with physical and mental exercises. For years she has shielded him from the bitter truth and pretend that 'Room' is the world. Soon fed up of the suffering and abuse, Ma devises an escape plan. As they re-enter the real world, both will find the experience harder than they ever could have imagined. 

The principle strength of Room lies on the excellent characterization of the two leads, Ma is a woman stripped of her innocence but loves her son unconditionally. She is a resourceful woman who seems 

to find fun things to do out of nothing. Together the pair makes a snake made from string and eggs shells. Jack is a sweet, smart and dynamic ball of energy who despite his set back is well versed. Each morning he greets such average objects as the sink and wardrobe as if they were living things. Soon it becomes clear that the world outside doesn't even register and this enclosed space is the only thing he knows. He is also the very air that she breathes and her only reason for carrying on in this world. Old Nick regularly forces himself upon her while Jack pretends to sleep in a closet. Through limited perspective, Abrahamson succeeds in making these encounters thoroughly tense and uncomfortable. 

After Old Nick soon becomes more threatening due to some unfortunate news, Ma realizes that escaping the four walls they have called the world is the only chance they have to survive. Problem is that Jack knows nothing of the world outside and at first he assumes his mother is playing a trick on him "I want another story!" he cries when she breaks the news to him. This section of one of the most profoundly affecting because how do you explain to your own son that this whole life has been a lie? Re-entering society proves far tougher than the escape itself and Ma takes it hardest of them both. She finds her mother (A revelatory Joan Allen) has left her father and taken up with gentle and kind soul Leo (Tom McCamus). Her Father (William H Macy) is unable to deal with her reappearing and is unable to look her son in the eye. 

The second half of Room is undoubtedly Jack's story as he learns to live in a far bigger world than he anticipated. At first his new surroundings terrify him and he longs for the comfort and safety of Room. As time progresses he learns to become a normal and curious boy and Abrahamson cleverly gives events a bright and hopeful feel. Leo and Grandma's presence is also key in his adaptation as they gently encourage him to embrace this scary new place. Ma grows increasingly distant and closed off as the media attention builds and she spurns all offers of comfort. The trauma of her seven-year captivity is hard-hitting and transforms her from being the kind and determined mother to a more needy and conflicted soul. 

Brie Larson is odds on for nominations at awards season with a performance that transforms the entire film. Through an astonishingly honest performance, we see Ma's refusal to lie down and accept her fate. Larson is able to wring every last drop of emotion from her audience and is a powerful and stirring figure. Jacob Tremblay is the perfect match for Larson and through a naturally gifted performance, he brings this bright and courageous being to life so well it never once feels as if he is acting. Together these two are the power cell that makes the movie glow so bright. 

Room is one movie that will transform its audience in 2015 and even the toughest and coldest of hearts will melt. A mother's love knows no bounds, but the will to carry on survive is equally as powerful.  

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.