REVIEW: THE FRONT LINE (DVD)

Film: The Front Line
UK Release date: Out now
Certificate: 15
Director: Hun Jang
Starring: Ko Su, Shin Ha Kyun, Seung-su Ryu, Chang-seok Ko, Kim-ok Bin 
Running time: 128 mins
Genre: War/Drama
Country: South Korea
Subtitles: English
Reviewer: Adam Wing

War, what is it good for? Well, over-reaching sentiment and gritty action sequences for a start. The Front Line doesn’t attempt to think outside the box, but what it does do it does efficiently enough. Winner of Best Film at the 48th Daejong Film Awards, director Hun Jang (Secret Reunion) and author Park Sang Yeon (JSA) take us back on the battlefield of The Korean War. Popular actors Ko Su (White Night) and Shin Ha Kyun (Thirst) star as lieutenants on the front line, along with an impressive cast that includes Ryu Seung Ryong (Battlefield Heroes), Ko Chang Seok (Rough Cut) and lone actress Kim Ok Bin (Thirst), who more than holds her own as a North Korean sniper nicknamed ‘Two Seconds’. The Front Line was South Korea’s entry for the 84^th Academy Awards, and even though it didn’t make the shortlist, it did pick up four Grand Bell Awards (the Korean equivalent of the American Academy Awards), and now it’s available for the first time in the U.K. courtesy of Cine Asia.

In the final battles of The Korean War, North and South Korean soldiers face a brutal deadlock on the Aerok Hills. Veteran intelligence officer, Kang Eun Pyo (Shin Ha Kyun), accepts an assignment to join the front line, with the task of uncovering treachery and collusion with enemy forces. The South Korean commander of the Alligator Company has been found dead, indicating that there may be a mole within the ranks. He arrives to find North and South battalions fighting over a small hill that changes hands almost everyday, and somewhat unexpectedly, an old friend he had long thought dead. Kim Soo Hyuk (Ko Su) isn’t the man Kang Eun Pyo remembers though; a battle-hardened soldier and fearless tactician has replaced the weakling he once knew. Suspicion, honour and sacrifice come under fire as the two men are forced to fight side by side in the name of freedom. What is it good for again?

Jang Hun and Park Sang Yeon stick to what they know best with The Front Line, delivering a thrilling mix of sentiment, touching drama and gripping action. It offers nothing new to the genre but what did you expect from a modern movie depiction of war? Think Band of Brothers crossed with Saving Private Ryan and you’re almost there. The action sequences are as loud and explosive as you might imagine, but never gratuitously so, and with the presence of ‘Two Seconds’ - a female sniper hunting down the Alligator Company one by one - Jang Hun is able to lock on to the much needed tension found lacking in larger battle scenes. We’ve all witnessed staggering spectacle in war movies before - gruelling battles between unrecognisable soldiers - but after a while they all start to look the same. It’s the drama that plays out in between the warfare that hits home hardest.

The relationship between Kang Eun Pyo and Kim Soo Hyuk is certainly worthy of merit. Ko Su in particular is the films biggest draw, lighting up the screen with a charismatic performance at times irresistible. Kim Soo Hyuk isn’t afraid to defy authorities, and he’ll do whatever it takes to keep his men alive. By contrast, Shin Ha Kyun’s new arrival is a stickler for rules, and he’s not a fan of the man Kim Soo Hyuk has become. There’s nothing particularly surprising about the way their relationship develops, but much like the rest of the movie in general, strong performances prevent it from feeling mechanical. There’s a winning theme running through the heart of the picture, concerning a box of ‘goodies’ left buried in the trenches each time the hill is seized. These scenes are on hand to remind us that fundamentally we’re all the same, no matter which side of the fence we’re asked to defend. For the characters of the movie it acts as an unofficial ceasefire, the calm before the all too inevitable storm.

Most of the characters will already be familiar to you, it’s not like the makers of The Front Line are breaking down walls here. It’s an all too familiar line up of stock personas and traits, but credible performances prevent it from coming under too much fire. Animosity, confrontation and defiance created by a loaded back-story keep the story moving at all times, and as a result, The Front Line engages from start to finish. There are precious few original ideas floating about, but by the same token, Jang Hun and Park Sang Yeon should be applauded for resisting the urge to lay on the saturating sentiment too thickly - take note Taegukki. Don’t get me wrong, there’s definitely enough to go round, but the filmmakers don’t go about it in such an obvious and overbearing manner.

It rarely breaks new ground, but The Front Line impresses with high-ranking performances, engaging characters and rich, dramatic flourishes. The smaller moments outshine the bigger ones, making for a captivating whole, and we finally have an answer to that all-important question. What is war good for? Enthralling movies of course.

REVIEW: SNOW WHITE (DVD)

Heard the one about the magic mirror, the poisoned apple and the seven dwarves? Or in this case, the six dwarves and the creepy subway guy from Ghost (1990)? Miranda Richardson, nominated for two Academy Awards, winner of two Golden Globes (with seven nominations, possibly by the dwarves) and a BAFTA during her glittering career, stars in this made for television extravaganza. Where did it all go wrong?

Snow White's mother dies during childbirth, leaving baby Snow (Kristen Kreuk) and father John (Tom Irwin) to surely meet a similar fate as they attempt to escape the freezing conditions until a visit from one of Satan's representatives grants the grieving parent three wishes.

His first wish is milk for his hungry child. For his second he hastily agrees for a kingdom to rule. After being told it's impossible to raise the dead - his wife - he reluctantly agrees to his third and final wish, a new Queen.

He marries Elspeth (Richardson); the once-hideous sister of Satan's agent, whose desire to be "the fairest of them all" ultimately leads her to conspire to kill any rival to the title. Snow White is forced to run away into the forest where she finds protection and shelter with a band of peculiar little men (and a big creepy one)...

(To read the full review click on either image)

REVIEW: SAMURAI WARRIOR (DVD)

Film: Samurai Warrior
UK Release date: 27th February 2012
Certificate: 12
Director: Kenichiro Nishiumi
Starring: Yuma Ishigaki, Suzunsuke
Running time: 70 mins
Genre: Action/Adventure
Country: Japan
Subtitles: English
Reviewer: Adam Wing

It’s that time of the month again. Don’t panic though; Seiji Chiba has nothing to do with this latest samurai offering, though perhaps on the surface, you’ll be forgiven for thinking he has. It’s the latest in a long line of action movies released by MVM, known for mercilessly short running times and occasional moments of grandeur. Thankfully though, Samurai Warrior has a little more to offer than cave dwellings, tiresome exposition and low production values. Samurai Warrior is a coming of age drama, a love story and an action movie rolled into one – though that might be stretching it a little. It’s the latest release from maverick director Kenichiro Nishiumi - who has worked alongside the legend that is Takashi Miike - starring Yuma Ishigaki (13 Assassins) & Suzunosuke (Suicide Club).

Three friends masquerade as Samurai warriors and hold the peace in Kinugasa Village despite daily battles with likeminded villagers and rogue bandits. They use wooden swords and long to lose their virginities, but when it comes to living life they still have a lot to learn. Ryu is the son of a farmer and dreams of becoming a samurai warrior to make a name for himself. His mother isn’t so keen on the idea; it was the same dream that led to his father’s death, leaving her to raise her wayward son on her own. He ignores his agricultural chores and trains himself in the art of swordsmanship instead. Ryu believes that by exchanging his wooden sword for a real one, he will one day become a man.

With his friends, he takes down the rival gangs and crosses them off his list, but one foe stands between him and adulthood. Jojima has genuine experience in the art of war, and in order to reign supreme, Ryu knows he must defeat him. Wooden swords wont work on Jojima, his glimmering blade has taken down many a startled foe, which means life just got very real indeed. Of course, proving himself on the battlefield is one thing, proving himself in the art of love is a far more dangerous endeavour. One day he discovers Oman in excruciating pain, after being bitten by a poisonous pit viper. She asks for his assistance and he’s only too happy to help, not only does he get to suck the poison from her leg, but he sneaks a crafty look up her dress as well. From this moment on Ryu is smitten, and what with love, growing pains and clashing swords, Samurai Warrior sure has a lot of ground to cover in 65 light hearted minutes.

Seiji Chiba could certainly learn a thing or two from Kenichiro Nishiumi. The action sequences aren’t quite as polished, but his story is tighter and the characters are far more engaging. It’s light, frothy fun for the most part, with the three leads bouncing off each other in an enjoyable manner. Samurai Warrior will never be considered groundbreaking cinema, but for short, sweet, undemanding Sunday afternoon TV, it just about makes its mark. Larger in scope than your average Seiji Chiba picture, who often hints at a bigger picture but rarely shows it, Samurai Warrior has a little more substance and a lot more heart. Performances are stronger than you might expect and Kenichiro Nishiumi could in future prove himself to be more than just a one trick pony - Seiji Chiba take note.

Samurai Warrior undoubtedly fails to set the world on fire, but considering this is the latest low budget offering from MVM - keeping the shelves warm until Crows Zero arrives in April - it certainly has more to offer than what we’ve seen in the past. Short, a little bit sweet and not at all insulting, Samurai Warrior will just about do for now.

ATOMIC: REAL STEEL (DVD)

“His truck may not be an eighteen-wheeler, and his autograph won’t read as cool as Lincoln Hawk, but Charlie Kenton (Hugh Jackman) has much in common with the infamous arm-wrestler, and he also has in his armoury something slightly niftier than a little trick with his fingers. It’s the future. Robot boxing is a top sport. 2,000 pound robots do battle. Kenton is struggling to find his way after his own boxing career has hit the ropes.  Then he discovers his ex-wife has died, and their 11-year-old son, Max (Dakota Goyo), is forced to finally get to know his father (having a super-cool fighting robot helps).

This is the story of a father who gains the love of his son (not to mention the drop-dead-gorgeous Evangeline Lilly), despite all adversities, enabling him to finally share his dreams with his boy! I told you it was like Over The Top (1987). Completely old-school, and all the better for it, Reel Steel is a family movie with heart, schmaltz, humour, endearing characters, dastardly villains, an uplifting magical score composed by Danny Elfman and edge-of-the-seat action that will have everyone grinning from ear to ear when that final bell is rung. Director Shawn Levy may over-egg the finale - just – but by that time you’ll be floating like a butterfly and be left wondering how two hours flew by so fast. Worth it. So worth it.” DW

REVIEW: ADRIFT IN TOKYO (DVD)

Film: Adrift In Tokyo
UK Release date: 27th February 2012
UK Distributor: Third Window Films
Certificate: 15
Director: Miki Satoshi
Starring: Odagiri Jo, Tomokazu Miura, Kyoko Koizumi, Yuriko Yoshitaka
Running time: 101 mins
Genre: Drama
Country: Japan
Reviewer: Adam Wing

Up to now, Fumiya’s life has been anything but extraordinary. A university student for the past eight years, his life is going nowhere fast, but all’s about to change the day he meets Fukuhara. Fumiya owes money to loan sharks and one day; a man called Fukuhara turns up to collect the repayments. Unsurprisingly, Fumiya can’t afford to pay the loan back so Fukuhara makes a proposition. He will cancel the debt as long as Fumiya agrees to walk with him across Tokyo to the police station of Kasumigaseki, where he plans to turn himself in for a crime he deeply regrets. Adrift in Tokyo is a touching drama by Miki Satoshi, the director of Instant Swamp and Turtles are Surprisingly Fast Swimmers.

Not having much choice in the matter, Fumiya reluctantly accepts Fukuhara’s offer. And so begins a comical, warm-hearted journey that leads them on several unusual jaunts, not least with themselves. It’s a journey of self-discovery based on the novel by Naoki Prize winner Yoshinaga Fujita, a movie sure to charm you with its engaging lead turns and quirky humour. Gaining both a Best Script and Best Film (Special Mention) Award at the Fantasia Film Festival, and recognition for Best Supporting Actor (Tomokazu Miura) at the Kinema Junpo Awards, Adrift in Tokyo stars Odagiri Jo (Air Doll), Kyoko Koizumi (Tokyo Sonata) and Tomokazu Miura (Outrage), and is available for the first time in the U.K. courtesy of Third Window Films.

Adrift in Tokyo is a road movie with a difference, unique in the fact that our main characters spend most of their time on the sidewalks of life (unless of course they’re being chased down by the owner of a small clock shop who thinks he’s Bruce Lee). Fumiya and Fukuhara walk, talk, argue and discover a little something about themselves - on the surface there’s little more to it than that. What might sound painfully dull on paper proves in fact to be one of the most engaging films in years. It’s helped by a wonderful cast and two lead turns that bewitch from the outset. The relationship that forms is key to Adrift in Tokyo’s success, and without that believability the film just wouldn’t work. A lot of movies like this would attempt to bring two very different personalities together (something akin to a buddy movie) but Fumiya and Fukuhara are fundamentally the same person - transparently lonely, one a little wiser than the other, but with an inner sadness that radiates from them both.

Some of the situations they find themselves in add very little to the overall mood, but scratch beneath the surface and you’ll discover such is life. All of the characters - no matter how large or small the part they play - are doing the same thing, existing in a world both meandering and beautiful. It’s the little things that truly affect in life and Satoshi is making a career of depicting it, his films have always had the ability to find meaning in the most trivial of exchanges. A rather random deviation finds us following the co-workers of Fukuhara’s wife. Though light and frothy, it’s a story arc that some might argue detracts from the films most rewarding aspects. Not so. It’s not just the films protagonists that lack direction, look a little closer and you’ll soon discover why Satoshi chose to call his movie Adrift in Tokyo.

The film really finds its feet when their expedition leads them to a woman Fukuhara used to know. Fumiya’s upbringing was anything but loving - in one of many hypnotic exchanges we discover that he was abandoned by his parents as a child - but by spending time with his new found ‘family’ he discovers a side of life he had only ever dreamt about. As a result the final act is incredibly rewarding - both touching and beautifully realised. 

Adrift in Tokyo is a poignant roller coaster ride of genuine emotion, full of ups and downs and somewhat fittingly, an all too abrupt conclusion. Comedy, drama and touching performances provide Miki Satoshi with his most accomplished film to date, an enchanting masterpiece that rewards in the subtlest of ways. Highly recommended.

REVIEW: MIKI SATOSHI COLLECTION (DVD)

Film: Miki Satoshi Collection
UK Release date: 27th February 2012
UK Distributor: Third Window Films
Certificate: 15
Director: Miki Satoshi
Starring: Odagiri Jo, Kyoko Koizumi, Ueno Juri, Asi Kimiko, Ryo Kase
Running time: 381 mins
Genre: Drama
Country: Japan
Reviewer: Adam Wing

The title says it all really. The ‘Miki Satoshi Collection’ is in fact a collection of famed Japanese director Miki Satoshi’s three best works, available together for the first time courtesy of Third Window Films. Born on Aug. 9, 1961 at Kanagawa Prefecture, Satoshi started out as a writer for hit TV variety shows, some of which are legendary in Japan. He then began directing stages and has since expanded into TV dramas and film. The box set includes Adrift in Tokyo starring Odagiri Joe and Kyoko Koizumi, Instant Swamp starring Aso Kumiko and Ryo Kase, and Turtles are Surprisingly Fast Swimmers starring Ueno Juri and Aoi Yu.

Adrift in Tokyo (2007): Up to now, Fumiya’s life has been anything but extraordinary. A university student for the past eight years, his life is going nowhere fast, but all’s about to change the day he meets Fukuhara. Fumiya owes money to loan sharks and one day; a man called Fukuhara turns up to collect the repayments. Unsurprisingly, Fumiya can’t afford to pay the loan back so Fukuhara makes a proposition. He will cancel the debt as long as Fumiya agrees to walk with him across Tokyo to the police station of Kasumigaseki, where he plans to turn himself in for a crime he deeply regrets.

Adrift in Tokyo is a road movie with a difference, unique in the fact that our characters spend most of their time on the sidewalks of life. What might sound painfully dull on paper proves in fact to be one of the most engaging films in years. The relationship that forms is key to Adrift in Tokyo’s success, and without that believability the film just wouldn’t work. It’s not just the films protagonists that lack direction, look a little closer and you’ll discover why Satoshi chose to call his movie Adrift in Tokyo. The final act is incredibly rewarding - both touching and beautifully realised. Adrift in Tokyo is a poignant roller coaster ride of genuine emotion, full of ups and downs and somewhat fittingly, an all too abrupt ending.

Turtles are Surprisingly Fast Swimmers (2005): Films don't come much quirkier than this. A bored housewife called Suzume (Juri Ueno) is getting fed up with her dull, ordinary existence. The only thing she has to do each day is feed the family pet - that would be the turtle of the title then. Her husband (away on business) phones her up every day to ensure that she’s doing it right. When she finds a tiny advertisement for employment as a spy, she quite literally jumps at the chance of a little excitement in her life - avoiding the contents of an apple cart in the process.

The set up is unique and performances are excellent; in fact it's the characters that keep the film afloat for much of the running time. Juri Ueno is outstanding in the lead role; her performance is humorous, likeable and deeply infectious. Satoshi’s direction is also worthy of note, he keeps things moving with inventive camera work and fresh ideas filling every frame. It's well written too, some of the exchanges are highly amusing and the film has a very likeable sheen to it. That's not to say it’s perfect though. ‘Turtles’ has at its heart a great concept but in truth, very little happens throughout. There are flashbacks, comedy interludes and witty exchanges aplenty, but the plot is wafer thin. The ‘being ordinary’ message falters here because though it sounds like a neat concept on paper, in reality it means that very little happens. The performances, the humour, the direction, they’re all first rate. It's just a shame that the film is so shallow, a flaw you can also assign - in some ways - to Instant Swamp. ‘Turtles’ remains a sweet, comical and entertaining diversion but it fails to capitalise on its intriguing premise and excellent performances. Sometimes quirky for the sake of being quirky just isn't enough.

Instant Swamp (2009): Falling somewhere in-between is Miki Satoshi’s Instant Swamp. Haname (Kumiko Aso) is a lively young journalist blessed with an exceedingly vivid imaginative working for a woman's magazine on the brink of bankruptcy. Her daily diet of ‘gloopy’ health drinks aren't enough to shield her from what she describes as ‘gradual erosion’, which all began on her eighth birthday when her father stormed out of the house. Not only did he abandon her, but he also threw all of her toys into a swamp, including a cat talisman which she believes may have been cursed. Haname sets out on a journey, a quest that reacquaints her with her father (Morio Kazama), now a hippie working at a junk shop going under the name of 'Light Bulb', and brings her into contact with the most rational punk rocker ever to walk the earth (Ryo Kase).

An entertaining monologue sets the scene, telling us all we need to know about Haname in the space of a few short minutes. Instant Swamp is probably the funniest of the three films presented here, but in being so, it doesn’t quite reach the dramatic heights of Adrift in Tokyo. Similar in style to the work of Tetsuya Nakashima, Instant Swamp is a lightweight romp about seeing the unbelievable. It embodies the same charm embraced by all three features but doesn’t come close to the poignancy possessed by Satoshi’s finest work. The plot is slight but unlike ‘Turtles’, there is less room for development and more time for wholesome fun. Instant Swamp brings with it a wonderful assortment of characters, which we’ve come to expect from Satoshi by now, and an offbeat charm that radiates through. It feels a little drawn out at times but the ending is sublime, a fantastical finale to an inventive night in.

If Satoshi continues to mix oddball characters, quirky humour and irresistible charm like this, we’ll all be waiting in line. Adrift in Tokyo is undoubtedly his best work, but the other two films are almost as worthy. Miki Satoshi is an undeniable talent, make no mistake about it, and there’s never been a better time to discover his back catalogue.

REVIEW: DON'T BE AFRAID OF THE DARK (DVD)

Film: Don't Be Afraid Of The Dark
Year:2010
UK Release date: 20th February 2012
Certificate: 15
Director: Troy Nixey
Starring: Guy Pearce, Katie Holmes, Bailee Madison, Alan Dale, Julia Black
Running time: 99 mins
Genre: Horror
Country: USA
Reviewer: Adam Wing

It’s not often a director gets the chance to go back and make a movie that inspired him growing up, but Guillermo del Toro was a big fan of the 1973 version of Don’t Be Afraid of the Dark, so I’m sure he was thrilled to be given the opportunity to co-write this latest remake. The original TV movie told the story of a young couple that inherit an old mansion occupied by small demon like creatures, goblins determined to make the wife one of their own. The remake puts less emphasis on the couple and follows events through the eyes of a daughter instead. Guy Pearce plays Sally’s father, with Katie Holmes filling the role left behind by his estranged wife. Sally’s parents have decided that she should live with her dad and his ‘young’ girlfriend for a while, but Sally (Bailee Madison) isn’t interested in making new friends and hides herself away from the rest of the world.

It’s obvious from the start that Del Toro had a hand in this remake, the world in which it lives is reminiscent of some of his finest work. Pan’s Labyrinth is an obvious influence, and the fairies that live behind the fireplace are similar in design to the feisty little critters from Hellboy 2. Del Toro himself has cited the work of writer Arthur Machen as an influence on the origin of the species, and even if you’re not familiar with his work, it won’t take long to realise that a tyke like Tinker Bell would get eaten alive by this lot. They are magical of course, and they do have a thing for teeth, but you don’t have to leave them under your pillow because they’re more than happy to get their own. Nixey based the design of the fairies on mole rats, which goes someway to describing how fiendish they appear on film.

Sally discovers a dusty old fireplace in a hidden basement in the mansion. One of the workmen restoring the house warns her not to go inside, but we’re entering the realm of gothic horror here, he might just as well tell her he’ll be right back. The creatures inside start to call her name and soon enough she opens the sealed door, finding some old teeth inside and a whole world of trouble. The fairies are determined to make Sally one of their own, and they’ll kill anyone that gets in their way. If Nixey was aiming for an opening similar in scope to Pan’s Labyrinth and even Spirited Away, he’s succeeded in his aim. Don’t Be Afraid of the Dark feels like a welcome break from horror tradition, made all the more appealing by its young female lead and a fine line in fairytale clothing.

The film design is gorgeous throughout and the nasty little critters come with fire and venom. The filmmakers had originally set out to make a PG-13 movie, but the MPAA awarded it an R instead, for what they described as “pervasive scariness”. Don’t Be Afraid of the Dark certainly doesn’t hold back on the nastiness, and once free, the tooth fairies wreak havoc like its going out of fashion. I wouldn’t be surprised if Bailee Madison (Sally) needs professional help in later life, because not only is she called upon to fend the blighters off, she’s also asked to hold the film together. Madison impresses at a very tender age, and thanks to her the film has at least one character worth rooting for. The adults wouldn’t look out of place in a Charlie Brown sketch because their roles are pretty much redundant. The characters played by Pearce and Holmes could’ve been played by anyone, such is their significance, in fact the film may have benefited from casting lesser-known actors instead.

It’s not a perfect night in by any means, the plot of Don’t Be Afraid of the Dark amounts to little more than evil fairies running amok in a gloomy mansion. Significant developments and explanations are found wanting and some of the plot devices are hokey at best. Most of the characters are disposable and much of what we witness has been done before in films like Cronos, Pan’s Labyrinth and Hellboy - not that I’m really complaining about that. However, there’s one reason to watch Don’t Be Afraid of the Dark that I haven’t mentioned yet. Fans of TVs Neighbours will be delighted to learn that Mike and Jim have been reunited at last - Alan Dale makes a welcome appearance as yet another character called Charles.

Del Toro’s fingerprints are all over this one, lending his love of the supernatural to a fun night in. It’s lightweight for sure but darker than you might expect, and even though Nixey begs, borrows and steals from all and sundry, it has its heart in the right place – shame we can’t say the same about its teeth. Madison excels, as do the fairies, and the talking teddy should save you money come Christmas time. Don’t Be Afraid of the Dark will never be considered a genre classic, but you'll be surprised at just how much fun it is.

REVIEW: THE FIGHTER Vs WARRIOR (DVD)

Film: Warrior
UK Release date: 20th February 2012
Certificate: 12
Director: Gavin O'Connor
Starring: Tom Hardy, Jennifer Morrison, Nick Nolte, Joel Edgerton, Frank Grillo
Running time: 140 mins
Genre: Drama/Action
Country: USA


Film: The Fighter
UK Release date: Out now
Certificate: 15
Director: David O'Russell
Starring: Christian Bale, Mark Wahlberg, Amy Adams, Melissa Leo, Jack Mcgee
Running time: 110 mins
Genre: Drama/Sport
Country: USA
Reviewer: Adam Wing

Two boxing movies. Only one winner. Let’s get ready to rumble.

In the red corner - Mark Wahlberg and Christian Bale step inside the ring for the powerful true story of two brothers fighting against the odds to secure a historic title match. David O.Russell (Three Kings) takes to the director’s chair, bringing with him a top-notch cast including Melissa Leo, Jack McGee and a screen stealing turn from Amy Adams. In the blue corner - the youngest son (Tom Hardy) of an alcoholic former boxer (Nick Nolte) returns home, where he's trained by his father for competition in a mixed martial arts tournament - a path that puts the fighter on a collision course with his older brother (Joel Edgerton).

Round One: Misery sure loves company. In The fighter, struggling boxer Micky Ward (Wahlberg) has long been overshadowed by his older brother and trainer, Dicky (Bale), a local legend battling his own demons. Personal problems have a lot to answer for in both films, because Warrior comes with it’s own fare share of heavy baggage too. Tommy Conlon (Tom Hardy) is struggling to come to terms with both a heroic past and a troubled upbringing, leaving him cold to the world outside his door. His brother Brendan (Joel Edgerton) has money troubles and their father Paddy (Nick Nolte) is a recovering alcoholic/wife beater. The bond of blood is strong in both films, though one takes longer to get there than the other, but at the heart of both tales (you’ll be surprised to learn) is one last shot at redemption.

Round Two: The Fighter and Warrior walk the same path as other sports dramas, and the outcome in both cases is obvious from the start. The performances however, are at times spectacular. Bale slims down once again to play a drug-fuelled local hero, whereas Wahlberg is restrained but no less intoxicating. Amy Adams impresses most though, with a gutsy turn that should secure her film work beyond Disney fare and Muppet movies. Tom Hardy bulks up and breaks out as Tommy in Warrior - childlike insecurities crossed with hulking ferocity sure make for a mighty combination. Edgerton has a smoother ride, and it’s easy to see why people might side with him, but he succeeds in adding hidden depth to a likeable local hero shtick. Nick Nolte impresses most however, and for once he doesn’t just mumble his way through it, bringing heart and passion to a potentially cringe-worthy role.

Round Three: The Fighter refuses to break new ground with its familiar blend of gritty drama, stirring action and domestic chaos, but with three stunning lead turns to fall back on, David O.Russell ensures that you won’t be throwing in the towel. The Fighter, for want of a better line, is an absolute knockout. Warrior wears its drama on its sleeve too, and both films refuse to break from tradition. Gavin O’Connor’s movie lurches from one boxing movie cliché to the next, but it’s crafted so well you’ll be too enthralled to care. The fight sequences are bone-crushingly realistic and the final confrontation is worth its weight in gold. Up until the final round that is. For a film that embraces convention, the ending is still a disappointment to me. Expected maybe, but I was hoping for a little more bang and a little less sentiment. Still, it sits well with the rest of the movie and I shouldn’t have expected more. On the plus side, Frank Grillo does a great Christian Bale impersonation as Brendan’s trainer.

And the winner is: I don’t actually like boxing as a rule but I do love boxing movies. Both films are worthy of your time and collection, but for me The Fighter just about shades it on points. It’s a close run thing of course, but Gavin O’Connor’s Warrior takes too many punches in the final round and The Fighter reigns supreme. That said, Hardy, Nolte and Grillo give Wahlberg and Bale the toughest fight of their careers, and at the end of the day, the one true victor is the viewer himself. That would be me then. Now then, who’s up for Rocky VII?

ONE TO WATCH: FRIGHT NIGHT 3D (DVD)

"If like me you have fond memories of Tom Holland’s Fright Night, the idea of a Hollywood remake might disturb you. Unlike most horror remakes, the 1985 version (which spawned a less than stellar sequel) won’t be familiar to everyone, but perhaps that’s a welcome sign that Hollywood is running out of old material to exploit. More troublesome perhaps is the fact that it was shot with 3D in mind, but a top-notch cast is on hand to wash away the pain. Colin Farrell takes on the role of head vampire, joined by the likes of Anton Yelchin (likeable), Toni Collette (reliable), Imogen Poots (too pretty), David Tennant (channelling Jack Sparrow with a sprinkling of Russell Brand) and Christopher Mintz-Plasse (channelling Christopher Mintz-Plasse).

A few subtle differences have been made to bring it up to date, but for the most part it sticks to the same horror comedy formula as the original. Jerry Dandridge is the mysterious stranger next door, with Charlie Brewster and his friend suspecting him of being a “Dracula”. Don’t worry though, an L.A. magician/vampire-slayer is on hand to end his evil reign of terror - it plays like The Burbs crossed with The Lost Boys.

With a screenplay by Marti Noxon (of Buffy the Vampire Slayer fame) you’ll be pleased to learn that it mostly works. Farrell and Tennant seem to be having a great time, as does Mintz-Plasse, positively relishing the part of ex best friend “Evil” Ed Lee. Craig Gillespie (Lars and the Real Girl) crafts some deliriously entertaining set pieces, and horror fanatics will relish the fact that they don’t skimp on the gore either. Farrell - with this and Horrible Bosses- should definitely do more comedy, and Fright Night takes flight thanks in large to a strong cast and plentiful shocks and guffaws.

The effects are distracting at times (but the 3D is tolerable) and it doesn’t have the heart of the original, but for all my doubt Fright Night 2011 is definitely worth sinking your teeth into." AW

REVIEW: THE THING (DVD)

Film: The Thing
UK Release date: 26th March 2012
Certificate: 15
Director: Matthijs van Heijningen Jr.
Starring: Mary Elizabeth Winstead, Eric Christian Olsen, Joel Edgerton, Ulrich Thomsen, Jonathan Walker
Running time: 99 mins
Genre: Horror
Country: USA
Reviewer: Adam Wing

In the winter of 1982, a twelve-man research team at a remote Antarctic research station discovered an alien buried in the snow for over 100,000 years. Once unfrozen, the form-changing alien wreaked havoc, making its mark in one of the strongest horror movies of the last thirty years. Arguably John Carpenter’s finest hour, The Thing is a certified classic of the genre. Which means (rather disturbingly) it was only a matter of time before Hollywood came a calling. The filmmakers are keen to remind us that this isn’t a remake, that their movie depicts the events leading up to Carpenter’s original. While this is most certainly the case, it’s hard to believe that The Thing didn’t start life as a ‘re-imagining’ of some kind; such are the similarities between the two films. Whether or not you take the filmmakers for their word is up to you, but one thing’s for sure, Heijningen sure has a job on his hands if he’s going to convert the masses.

John Carpenter’s original (itself a loose remake of the 1950 classic The Thing From Another World) is remembered for a lot of reasons, one of which being the all male cast led by Kurt Russell. In fact it’s hard to believe now, but that was also one of the reasons cited for its lack of success at the box office. The Thing is a 2011 horror movie though, which means it’ll want to try harder to appeal to a larger demographic. Token scream queens best serve modern horror movies, and even though The Thing sidesteps traps set by horror movie cliché, it still feels the need to balance the sexes. Enter Kate Lloyd (Mary Elizabeth Winstead), a successful palaeontologist who joins a Norwegian scientific team that has discovered an extraterrestrial ship buried in the ice. When an experiment frees the supposedly dead alien - a shape-shifting creature that can turn itself into a perfect replica of any living being - Kate joins forces with the crew's pilot, Carter (Joel Edgerton), to keep it from killing them one by one.

The most satisfying elements of Carpenter’s original are still in place, with Heijningen tuning in to the requisite sense of claustrophobia. It’s the paranoia of not knowing who your enemy is that works best in The Thing, and with such an effective premise, it’s hard not to love this workmanlike prequel a little. The filmmakers have a lot of fun incorporating elements of the first movie into their picture, lapping up the opportunity to explain how things came to be in the 1982 offering. Even minor details (like the axe in the wall) are given worthy explanation.

Rob Bottin’s special effects were of course sublime, especially when you take into account the age of the original film. His gloriously gory work goes some way to explaining why Time magazine described Carpenter’s The Thing as “horrific”. The look of the monster was shrouded in secrecy, with Carpenter insisting no photographs be taken during production or in post-production. Carpenter’s creation (with a little help from screenwriter Bill Lancaster and Bottin) was certainly worth the wait, but with the advent of CGI, you would expect Heijningen’s team to make it look real easy. In the opening act at least, they struggle to convince in the manner they should. Perhaps it was my love of the original that made me so critical, and to be fair, things do improve as the film goes on. Some of the monster effects in the second half of the movie are spectacular, with the ravenous spider mutation proving especially memorable this time out.

One of the biggest problems with the 2011 prequel is that it sticks too closely to the original formula, even finding time to riff on one of Carpenter’s most celebrated scenes, that being the legendary blood test sequence. In adhering so earnestly, the filmmakers don’t answer as many questions as they could. Which is a shame, because we still don’t really know where the alien came from. Expanding the universe of the series is largely ignored in favour of imitation and breakneck thrills. Which is all well and good for an undemanding audience, but Heijningen doesn’t hold a candle to Carpenter at his prime. The characters are largely forgettable too, with only Winstead (for being a girl) and Edgerton (for looking a little bit like Russell with his beard) stamping their footprints in the snow.

Considering the quality of your typical Hollywood cash-in though, Heijningen’s prequel should be considered a rare success. Taken on its own terms, The Thing is an action packed thrill ride with a startling premise and grisly effects. Taken as a prequel to Carpenter’s movie, it’s an inferior clone of what has gone before. Thankfully though, few films live up to the quality of the 1982 original, and Heijningen should be applauded for not screwing it up royally. So maybe we should finish on the words of Palmer as he watches Norris’ head grow legs and try to walk away, “You gotta be fucking kidding me”. I kid you not. Check it out…

ONE TO WATCH: ANTICHRIST (DVD)

“How far is too far? There’s no point asking Lars von Trier. Anyone who has watched one of his movies will understand that he does what the hell he wants. Speaking of hell, Willem Dafoe and Charlotte Gainsbourg play a grieving couple who retreat to Eden, an isolated cabin in the woods, where they hope to repair their broken hearts and troubled marriage after the death of their baby. He flung himself out of a window while his parents were having sex. Perhaps he knew Lars was about to go all weird on us again.

With nature in as a forgiving mood as the auteur it isn’t long before things go from bad to worse, for the couple and for the viewer. Split into chapters – as well as a prologue and an epilogue – Antichrist starts unsurprisingly slowly, pitting the couple against their guilt, not helped by the deformities of nature popping up to offer yet more torment (and a few wise words). It isn’t until the second half (forgetting the stunt penis in the prologue) that the director infuses a visually-stunning slow-burner with gratuitous voyeurism and violence that rivals anything Takashi Miike has ever done. Some will greet it with revulsion, but this is horror at its most disturbing and most unwatchable, which surely can’t be a bad thing.” DW

     

ONE TO WATCH: TYRANNOSAUR (DVD)

“I was overwhelmed by the power of this place. But I made a mistake, too. I didn't have enough respect for that power and it's out now.” Jurassic Park, not Wetherspoons. Directed by Paddy Considine, Tyrannosaur is the story of Joseph, a man plagued by violence and rage after losing his wife to diabetes, and it’s driving him to self-destruction. A chance of redemption appears in the form of Hannah, who on the outside – a Christian charity shop worker – could be the woman to drag him from such turmoil. Trouble is, she more damaged then he is. Love and friendship really can be found in the darkest of places.

Considine has written and directed a bleak but memorable film, sometimes bordering on farcical, grounded in a gloomy world we can all familiarise with. It’s that area of town you don’t venture to at night. You’ll know at least one of the characters too – probably most of them – and their lives are so undeniably miserable you’ll never look at the punters in Wetherspoons in the same light again. It’s to Considine’s creed that we actually emphasise with Joseph. Both leads offer outstanding performances, with Olivia Colman’s abused Hannah the most heart-breaking. Not an easy watch but Tyrannosaur is essential viewing all the same. You can make it if you run.” DW 

10 THINGS NOT TO DO WITH YOUR PARTNER THIS VALENTINE'S

When was the last time your life was like a Nicholas Sparks novel? With Valentine's Day approaching, you'll no doubt be working out which of the nearest garage forecourts are selling the cheapest bunch of almost-dead roses, browsing the over-priced cards in your local shop because you couldn't be arsed to do something slightly more creative, or planning your two-dine-for-whatever-pounds in your local supermarket before realising you left it too late and you've got lasagne with roast potatoes and spotted dick for pudding. Even if you decide to splash the cash, you both end up with indigestion because another couple want your table. Either that or your loved one is defecating when Interflora arrives. 

That's romance for you. Still, it could be worse. You could be doing these instead...

(To read the full feature click on either image)

ONE TO WATCH: CRAZY STUPID LOVE (DVD)

"If there’s one thing you can guarantee on Valentines Day it’s that, with the vague possibility of sex on the menu, most men will ‘happily’ sit though one of their partner’s favourite rom-coms. It’s the only time of the year my other half will get me to watch the latest Sandra Bullock offering - I’ve even been known to dabble in the occasional S.J.P. chick flick from time to time. This year was different however, because this year she came home with Crazy Stupid Love. Forty something Cal Weaver (legend that is Steve Carell) is living the dream - good job, nice house, great kids and marriage to his high school sweetheart. Things take a turn for the worse when he learns that his wife (Julianne Moore) has been sleeping with a guy from the office (a criminally underused Kevin Bacon) and wants a divorce. 

Soon enough Cal is taken under the wing of handsome, thirty-something player Jacob Palmer - a charismatic Ryan Gosling (shirt optional) who seems to be in everything these days. In an effort to help Cal get over his wife and start living again, he opens his eyes to the world of modern women, and he does it with hilarious results. Cal and his wife Emily aren't the only ones looking for love though. Cal's 13-year-old son, Robbie, is crazy in lust with his 17-year-old babysitter, Jessica, who harbours a secret crush of her own on Cal. Add the ever reliable (and stunningly awesome) Emma Stone to the mix, as a disillusioned working girl keen to resist Jacob’s charms, and you have a recipe for the smartest, freshest, hippest comedy of the year. With added romance… imagine that.

Crazy Stupid Love avoids the usual pitfalls associated with romantic comedy, and yet lovingly embraces them all at the same time. The characters are key, coupled with a wonderfully witty script from scribe Dan Fogelman (Tangled). The final act does resort to your typical Hollywood style happy ever after - for the most part it plays much smarter than that - but the thing about Crazy Stupid Love is, it never stops being funny. For every cliché there’s a smart one liner, which is part of what makes it so irresistibly charming. There’s even a hilarious riff on Dirty Dancing, I mean really, what more could you ask for? Crazy Stupid Love might not sound like the most attractive proposition for men the world over, but come the final credits, you’ll be glad you said ‘I do’. A romantic comedy that even guys can cherish, films like this don’t come along very often, so embrace the love - the crazy stupid love that is." AW

REVIEW: LADDALAND (DVD)

Film: Laddaland
UK Release date: Tbc
Director: Sopon Sukdapisit
Starring: Saharath Sangkapreecha, Piyathida Woramusik, Suthatta Udomslip
Genre: Horror
Country: Thailand
Subtitles: English
Reviewer: Adam Wing

Vengeful ghosts have had a tough time of it recently but in some parts of the world they still refuse to move on, which means it’s business as usual for the team that brought us Coming Soon and Phobia. Coming Soon director and Shutter screenwriter Sophon Sakdaphisit takes to the director’s chair for Thai horror hit Laddaland, based on a Chiang Mai urban legend about a haunted housing estate. Jumping at the chance of a higher paid job, Thee (Saharat Sangkapreecha) moves to northern Thailand with his wife (Piyathida Woramuksik) and kids, and finally gets that dream home he's been striving for. Had he bothered to read the small print however, he would’ve come across the part that states ‘built on an Indian burial ground’. You’d think the creepy old lady would be enough to send them packing, either that or the token black cat that warns of impending doom. No such luck unfortunately.

The happy family of four move into the housing estate, and all is well until a neighbour’s domestic helper is brutally murdered. Random deaths are happening all over the place, but Laddaland exists in a world yet to discover the delights of TVs American Horror Story, so you can’t really blame them for not seeing the signs, right? Dead wrong as it turns out. Some people just don’t know when to quit, and you can’t have a formulaic horror movie without helpless victims, but if you’re planning on leaving your brain at the door - think again.

Laddaland might look like a typical Thai horror movie on paper, but it actually works better as a domestic drama. Clichéd scares let the production down; it’s the well-drawn characters that get under your skin. Leading the way is Sangkapreecha as Thee, the put upon husband with everything to lose if things don’t work out. Thee’s an ambitious man, but he’s kind of stupid with it. He knows he can’t afford the repayments on the house but he pushes ahead with the move anyway, believing that a fresh start will bring his family back together again. He has a tough time ahead of him though if he plans to make things right. His daughter resents both him and his wife for failing to raise her properly, it turns out she spent most of her childhood in the company of her grandmother. Parn’s concerns over the mortgage are largely ignored and there’s a good chance Thee’s new job isn’t the ‘nice little earner’ it purports to be.

Thee is a complex individual weighed down by emotional anxiety and inner turmoil. Sangkapreecha nails the role emphatically, bringing a likeability to the table that quickly fades away as the inner demons take hold. The domestic chaos is handled brilliantly throughout, and it’s far more appealing than the ‘tacked on’ horror elements that threaten to derail the picture at every turn. In Laddaland, inner demons prove far more fruitful than lank haired ones. Over familiarity comes back to haunt us with the aid of deafening noises and quick fire editing. If it’s done correctly it can still be effective, but Laddaland feels lazy in comparison to films like Shutter. Sakdaphisit fails to add anything new to a stagnant sub-genre, relying far too heavily on well-worn tricks to fill the hole left behind by an absence of originality. You have to remember that Laddaland is still a horror movie, and from that perspective, genuine scares are few and far between.

Coming Soon was a short, sharp, satisfying movie not without its flaws, but the opening act was brutal enough to keep desirous gore hounds in check. Laddaland tones it down for the most part and is far too long, relying on token scares to see it through the darkness. In many ways it feels like a predecessor to Coming Soon, almost as though Sakdaphisit is dipping his toes in the murky waters of dread. Laddaland doesn’t really know what it wants to be but it definitely succeeds more as a domestic drama with daunting undertones, rather than an out an out horror movie. 

Animal lovers will probably take the side of the vengeful ghost, which was probably not Sakdaphisit’s intention, but either way, Laddaland proves an intermittently enjoyable ride for reasons not anticipated. Strong performances sure help, but ham-fisted horror clichés darken the door of an otherwise engaging night in.

10 SUBTITLED MOVIES EVEN LAZY PEOPLE WILL ENJOY - PART TWO

A lazy sheep thinks its wool heavy. A lazy man thinks a film with subtitles is heavy. There's no point in denying it. Whether you're sitting in a field fattening up on grass, or sitting in your lounge, fattening up on junk food, missing all the action because you're too busy reading the subtitles, your life will end up pretty much the same. At least the former will serve some kind of purpose. Maybe a nice honey-roast lamb shank in red wine sauce with Italian mashed potato. The latter will be resigned to the reduced section at Tesco with no takers. Not even the weird comb-over guy who stalks the checkout girls will want you. Awful, I know.

You could change all that. All you have to do is open your mind and understand that watching a subtitled film doesn't have to be like reading Tolstoy. It can even be fun. The opposite sex may even like you. What have you got to lose?

If you missed the first part, fear not. All we ask is for you to give these five movies a go. Who knows, you may even enjoy them. Be warned, though, you will have to read just a little bit. Think the opening scrawl to Star Wars. And maybe a few words more. But when you have breath-taking action, surprising acts of brutality and endearing warmth, who cares... right?

(To read the rest of this feature click on either image)

WORLD CINEMA: WHY I LOVE IT!

It's my brother's fault. I remember when he bought his first multi-region DVD player. At the time, I wasn't fully aware of its capabilities, but then he started spending vast sums of money purchasing items in little brown packages from overseas websites that sounded only ever so slightly dodgy. I'd hear his television set in the room next to mine, and I'd try to fathom out what the hell was going on. In the end, I closed my eyes, opened his bedroom door, and prayed it wasn't porn.

I found it harder to make the switch than he did. He would offer me countless films, but it was all too much. Unlike him, every now and again, I liked to venture outside. To be fair, I introduced him to cheap vino, established from my University days, so this could've been some kind of retribution. He still has a fifty page list of films I need to see, but even though we both have day jobs, he seems to have a lot more time on his hands. Either that or he manages it better. So, now I'm hooked. Considering my father raised me on Schwarzenegger, Stallone and Seagal, it's some improvement.

Hollywood movies, for the most part, are dumb. So what's the alternative, and why do people still refuse to change? Allow me to explain... 

(To read the full article click on either image)

REVIEW: BOCA - THE REAL GODFATHER (DVD)

Film: Boca - The Real Godfather
UK Release date: Out now
Certificate: 15
Director: Flavio Federico
Starring: Daniel de Oliveira, Hermila Guedes, Jefferson Brasil
Running time: 94 mins
Genre: Action/Crime/Drama
Country: Brazil
Subtitles: English
Reviewer: Adam Wing

Time for a little history lesson: Boca do Lixo is the popular name given to the Santa Efigênia area between Rua do Triunfo and Rua Vitória, in Luz neighbourhood, downtown Sao Paulo. It’s not the kind of place you would want to raise a family; characterised by seedy nightclubs, drugs, bars and prostitution on every corner. These days - with constant police attention - the crime rate has dropped dramatically, but back in the day Boca do Lixo told a very different story.

Adapted from his autobiography, the film recounts the story of Hiroito (Daniel de Oliveira), the king of Boca do Lixo. At the age of 21 Hiroito was accused of murdering his father, who was violently stabbed over 40 times with a razor. Hiroito was never charged, however two months after his father’s death, he bought two guns and moved to Boca do Lixo, becoming one of the regions most dangerous criminals. Winner of two awards at the Miami Brazilian Film Festival, Boca is available in the UK for the first time this month.

The biggest problem with Boca is that it glosses over the surface of its storyline, failing to provide a proper insight into the man behind the madness. Hiroito spends the majority of the time on screen, and Oliveira’s performance suggests that he’s up to the task, but key sequences are rushed through, and Boca’s impact lessens with every fleeting glance. Hiroito’s story certainly has potential, and the filmmakers are keen to present him in a certain light, but the viewer is given very little insight into how he became the man he was. Key events take place at regular intervals but we’re just expected to go with it, there’s no rhyme or reason, just continuous forward motion.

Take the relationship he forms with Alaide (Hermila Guedes) as an example. In one scene he is encouraging the new girl on the block to work for him, and in the next he is asking for her hand in marriage. She smiles, job done. It’s hard to care about the characters (good performances all of them) without any kind of depth or emotional input. People come and go but none of them stick around long enough to make a lasting impression. Frederico spends too much time focusing on the action, whether it be regular sexual escapades or violent run-ins, and too little time developing the characters at the heart of the tale. It’s not like he doesn’t have time to delve deeper, but when a film comes in at just over ninety minutes, I find it hard to believe that anyone can do the full story justice.

What Boca lacks in depth however it makes up for in delivery. Frederico is an undeniable talent behind the camera and from a filmmaking perspective Boca comes highly recommended - the ‘Best Cinematography’ and ‘Best Music’ accolades are testament to that fact. Drenched in detail, the period setting is pitch perfect, and Frederico’s distinct cinematic flare should serve him well in the future. The story is nothing new - it’s the well-worn tale of a gangster’s rise and fall from power - but fans of the genre will still find plenty to enjoy on a superficial level, Boca comes with the recommended dosage of violence, profanity and sex after all. Strong performances enhance rather than hinder, hampered only by a lack of much needed substance, but we can’t blame the actors for that.

Boca’s strengths are also its undoing, because in getting so much right, the wrongs are all the more apparent. As a throwaway gangster thriller Boca works well, but it should’ve been so much more than that. Solid performances and worthy direction prove fruitful, but when all’s said and done, there’s indisputable evidence of a meatier movie cut down to the bone.