2 Guns - A surprising hit of the summer!

If you only saw the trailer, you may recognise '2 Guns' as an attempt at a buddy-cop style movie, light in tone, featuring an always-questionable Mark Wahlberg, likely to be carried by Denzel Washington, and from a director whose only known previous work is last year's 'Contraband', which bombed rather badly. Your conclusion might be that you will have seen this film before, and you'll have seen it done better, so despite your admiration for Washington, you'll opt out of this one. That was certainly my first impression. I am happy I did not go with my gut reaction, for whilst it is true that the director's last release was a failure, Wahlberg can be a letdown, and there is nothing here to really surprise us, it is NOT true that I have seen it done better....at least, not for a long time!

'2 Guns' is a by-the-numbers, nuts and bolts story of a DEA agent and a naval intelligence officer, who are both trying to infiltrate a drug cartel for their own reasons. Upon stealing drug money, they find themselves caught up in a conspiracy rooted in nastier, murkier territory than either of them expected, playing cat-and-mouse with some very dangerous people, bringing into play a wonderfully villainous Bill Paxton, looking like he's having more fun than he's had in a long time. They try to simultaneously bring justice and stay alive! The whole thing feels very familiar, as it should; if you have seen 'Tango and Cash' or 'Lethal Weapon', you already know the dynamic between the two leads and the general direction the story is headed, although there is a distinct difference in that, unlike Danny Glover's Murtaguh, neither man is particularly straight-laced. Part of what brings this film to life, though, is the fact that you cannot help but think of early Tarantino as you watch it. 'True Romance' serves as a particularly obvious touchstone for '2 Guns' in terms of dialogue, character and pace; there are in fact at least two scenes that seem to consciously mirror famous sequences in Tony Scott's movie. Perhaps most surprising to me is how well Washington and Wahlberg work as a screen partnership; with plenty of chemistry and Wahlberg responsible for a fair share of the success, it would be unfair to say he needs carrying.

Slick, stylishly shot, well-paced, with some vintage "Tarantino" moments and really snappily written, this feels like a trip back to the 90s in the best way! Okay, no big surprises, but director Kormakur knows exactly what type of film he is making here, and he hits a home run with it!

Not likely to stay in my top 10 of 2013, but good enough to make it on to the list in the first place, which in itself is a surprise!

4/5

See it if you like: Lethal Weapon, Tango and Cash, True Romance

IF YOU PREFER A BETTER COMEDIAN.....GIVE UP....

A review of 'If You Prefer a Milder Comedian, Please Ask For One' - Stewart Lee in Glasgow

The anti-comic Stewart Lee is perhaps best known to most, of a certain generation at least, as co-creator and star of 'Fist of Fun' and 'This Morning With Richard and Not Judy', with Richard Herring and Kevin Eldon.  You may find him familiar through his regular Guardian articles or art criticism.  Perhaps it's through the blasphemy scandal that surrounded 'Jerry Springer the Opera', of which he was the director, that you know the name.  Or maybe the recent TV show 'Stewart Lee's Comedy Vehicle' is the reason he rings a bell.  Lee began on the alternative comedy circuit in the late 80's and has ever since railed somewhat against the idea of "stadium comedy", maintaining an attitude that comedy can and should be more interesting and exciting an art form than the homogenous one it has become.  He says there are plenty of fantastic acts out there who do not get the opportunity to shine on 'Live at The Apollo', because their writing and delivery is not easily cut up and digested by the general mass audience, most of whom can list only a few big names as their favourite (generic) comedians.  Accusations of jealousy and misplaced high-brow arrogance might carry a little more weight if, on his last run, he hadn't sold out his favourite London theatre to a level equal to a night at the 02.....had he wanted to play there.  The reality remains that he genuinely prefers the intimacy and exciting theatrical possibilities provided by a more intimate theatre or club setting, as opposed to a stadium.  He remains alternative in his style, appearing at his most interesting when at least some of the room aren't on board with what he is doing; pushing an audience away, and then winning them back is far more rewarding.

'If You Prefer a Milder Comedian, Please Ask For One' sees Lee providing, perhaps for the first time, commercially available evidence for why he is rated as one of the best working comedians, as well as, when last listed, 41st best of all time; from the opening moment of this show he possesses an undeniable presence on stage.  Whether he be setting up an observational comedy routine, only to descend into self-sabotage and self-deprecation, making hilarious a consciously lame joke about a pirate through its deconstruction and audience assassination, straddling the thin line between great satire and audience alienation with a forty minutes rally against 'Top Gear', or having a breakdown over an advertising slogan, which lasts far longer than anyone would think it could, he has the Glasgow crowd captivated.

Not all will "get it", some might even find it tiresome, but by the sincere, sweet song that closes the show, nobody can deny they got their money's worth, saw a standup show unlike many they have previously witnessed, or that Lee's writing, delivery and timing is top notch.  His moments of surprise and shock, use of silence, turns of phrase and his own physicality are like unmissable exclamations in a perfectly structured essay, drawing a gut reaction of honest laughter with a deftness you cannot be off admiring.  It was said Dylan Moran is like listening to a masterfully written novel reading itself; I put a similar notion forward for Stewart Lee, only with his desire for through-lines, repetitions and callbacks, and not one stumble or slip, he presents something more akin to a perfectly performed one-man play.  He is certainly best enjoyed in full swing rather than small segments, so if you are only familiar with him from 'Comedy Vehicle' or small clips, you may want to consider this before passing a final judgement.

He may fly over some heads, but that is only because he soars so high.

5/5

THIS WEEK: Pitch Perfect/Quartet/Even The Rain/The Prey (Le Proie)

0 - No Redeeming Feature
1 - Poor
2 - Passable
3 - Good.  Rent it.
4 - Full Price
5 - Must See!

The new year brings with it a host of promising films and here follows my take on one of the first releases of 2013, along with no less than three previously unwatched movies.  Yes, I did well this week.

PITCH PERFECT

Anna Kendrick is coming to prove her worth with her last few film choices; whether one likes the movies or not, she is undeniably a strong screen presence and an actress who, like Pattinson, appears to have the talent to get out from under the Twilight shadow in the long-run.  Here she plays Beca, a woman who joins Barden Universtiy with one goal, to become a DJ.  Upon arrival she is swiftly accosted in the shower by Aubrey, who hears her singing voice, and is almost ordered to join the all-girl singing group The Bellas.  The Bellas compete each year in the campus singing competition, and it is clear that this time they have more to overcome than just their male competition, The Treblemakers.

It featuring a lot of teens straight out of performing arts, musical set pieces, witty one-liners, and is directed by Jason Moore, responsible for episodes of Dawson's Creek and One Tree Hill, among others.  The Glee similarity is all too clear, and Moore's TV roots do show; given that, there is no denying the trepidation I felt walking in.  Much to my surprise, then, and I would by lying to say otherwise, I found myself entertained.  Yes, it is exactly what you would expect when you look at the poster, not much more or less, but it is raised above the average by the musical elements genuinely working well, the refreshing look at the girl group as human beings with different personalities, rather than as being simply 'mean girls', and a strong sense that Moore understands its intended audience.  This is perhaps best reflected by the choice to heavily reference The Breakfast Club in the story; many who watch Pitch Perfect may not have seen it, but could well be encouraged to go take a look, and understand the use of this coming-of-age classic as a reference point due to its influence.  It is not to say the two are at all in the same league, but it is to say the movie remains arguably the most iconic of the field Pitch Perfect is aiming to be included in.  The narrative and character development is fairly weak and there is no getting around the fact it is clearly at its best when being funny or breaking out the music action, but it is what it is and it does the job well.

Most people will recognise the standout element of the film, the thing most people will talk about, as Bridesmaids' Rebel Wilson as Fat Amy; she is intentionally given some of the best lines and she delivers superbly.  The film is worth watching for her!  Pitch Perfect will do exactly what we expect, be popular for a while, particularly with the crowd into this sort of movie, and then gradually be forgotten, but Wilson is a comedy gem of the future; she is here to stay!

At cinemas now.

3/5

 QUARTET

Dustin Hoffman directs what is otherwise a quintessentially British play-turned-film. A quartet of yesteryear's professional opera stars are asked to perform again at a gala, which will save the retirement home in which they now live. You might be forgiven for assuming this will end up being a stuffy piece, about a boring topic, which will hold only the interest of a select audience, but you would be wrong on all counts.

Quartet's winning stroke is the casting; I could not imagine a better line-up of four performances I would rather watch.  Not one of the principal cast drop the ball and I am hard pushed to choose any actor's performance over another; this is supported by the fact they are given such humorous, touching, and most importantly, real dialogue to deliver and honest emotion to play.  The situation that emerges and how it plays out all feels so natural, there is no avoiding being drawn in, entertained, and ultimately moved by it.

The film is no longer than it needs to be, rather dry with its humour, touching with its sentimentality, without over-egging it, and well observed in its detailing of the people you are watching.  You come to realise, fairly quickly, that what is important is not whether you enjoy the subject of the music, or whether you are of an age that you will naturally relate to the characters, but just that you understand the frame of reference through which the touching story of love and regrets plays out.  It is not a film to set the world on fire, and will likely be swiftly overshadowed, but it does what it does very well.  It is a touching, enjoyable movie for all, which will likely find its most loyal audience outside of the cinema, on a lazy Sunday afternoon.

At cinemas now

3.5 / 5

EVEN THE RAIN

An almost perfect drama, which beautifully balances the story of a film being made about exploitation of the New World with exploitation in the real world.  A film being made, about Columbus' discovery of the New World 500 years ago, enters turmoil as around the film makers the people of Bolivia enter into a volatile urban war over water.  In their efforts to complete what they consider an important movie no matter what, the question is whether the film makers are becoming a cog in the very machine their film decries?

It takes perhaps half an hour to settle into a groove, and with it being a foreign language movie, I might understand some people losing interest and switching off.  This is a shame, as Even The Rain actually rewards patience; it becomes an extremely engaging drama about politics AND people; it is provocative, exciting, very well put together, and is easily among my top ten of 2010.  Telling a tremendous story and featuring a great screen presence in Luis Tosar as pragmatic producer Costa, this is a superb movie all should see.

Get it on DVD/Blu-Ray now.

4.5 / 5

Catch it if you like:  Che, Fair Game, The Hurt Locker, Lebanon.

THE PREY (LE PROIE)

Released in 2012 and totally overlooked, I won't say much about this except it is another typically impressive slice of French thriller cinema, looking like Hitchcock directing a Tarantino screenplay, if you can imagine such a thing.  Primarily a cat-and-mouse chase, it is a bit let down by its odd score, which does feel a bit Pink Panther at times, but it also features some terrific actions sequences, a wonderful central performance from Albert Dupontel, who cinephiles will be likely to recognise, and it is all underpinned by an exciting idea that feels like a Harlen Coben novel.  Worth checking out.

On DVD/Blu-Ray

3.5 / 5