Non-Stop review

Non-Stop (12A/PG-13, 106 mins)
Director: Jaume Collet-Serra
★ ★ ★ ☆ ☆

Now firmly established as an action star, Liam Neeson’s latest sees him as an air marshal on a flight from the States to London who starts to receive messages from an anonymous threat that passengers on the plane will be killed if he doesn’t come up with a ransom. It’s all quite cat and mouse for a while, as he tries to work out which of the passengers could be behind it, followed by some decent rough and tumble. Tension is nicely held thanks to a steadily escalating pace, albeit with quite a bit of flim-flam and repetition to wade through in a saggy midsection, but the Agatha Christie-style vibe is fun, painting everyone as a potential suspect including Neeson himself. It’s a solid mystery, staying together almost until the silliness takes over, but sturdy enough overall to keep you on board.

The House of Him - Glasgow Film Festival review

The House of Him
Director: Robert Florence
★ ★ ★ ★ ☆

Writer and comedian Robert Florence pulls off an astonishing sleight of hand with his debut feature, The House of Him, an eviscerating commentary on the scourge of domestic violence disguised as a slasher movie.

Filmed entirely in his mother's Glasgow home for £900, it may be confined and small of scale, but that lack of expansiveness is more than made up for with the thematic ambition and depth brought to it by Florence’s impassioned script.

It’s the house of a serial killer (Richard Rankin) who has been murdering young women there for years, and has just lured his latest victims, Sophie (Kirsty Strain) and Anna (Louise Stewart). At first it seems as though Anna will be the conventional “final girl”, chased around the house by Him. But it quickly becomes clear Florence has more on his mind.

Leaving the slasher antics aside for long spells, it becomes essentially a two-hander as the pair talk of Anna’s powerlessness to escape her plight. The analogy is a potent one, as their conversations delve into all the insidious ways abusers operate.

And in case you think this might sound preachy, it also works just fine as a horror film. The location never becomes limiting, imaginative and atmospheric ways are found to film it, and there are a bunch of decent jolts. A terrific, Carpenter-infused score helps considerably too.

The actors are assured and controlled, even overcoming that thing where hearing Scottish accents on screen can be like getting slapped on the ear. Rankin oozes quiet menace, while Stewart gets to display a wide emotional range, and their interactions never fail to compel.

As the film progresses, radio reports suggest what's going inside this house is happening the world over. Secret things, bad things in all the houses. And that plague is men. It's a pungent metaphor that entreats us to wake up to everyday misogyny and make us look long and accusingly at a world full of monsters.

Mr. Peabody and Sherman review

Mr. Peabody and Sherman (U, 92 mins)
Director: Rob Minkoff
★ ★ ☆ ☆ ☆

Animated characters Mr. Peabody and Sherman were part of Rocky and Bullwinkle’s cartoon show in the early 60s.

Mr. Peabody is a super-intelligent dog and Sherman is his seven year old adopted son, and together they go on educational adventures through time using Mr. Peabody’s time machine, the WABAC.

On the one hand it’s surprising that it’s taken 50 years for these characters to come to the big screen. But clearly the makers of Family Guy took from the concept their inspiration for the many time travel adventures Brian and Stewie have, so it’s likely that the ongoing success of that made someone deem it worthwhile to dust down the original property and turn it into a feature length animated movie. They needn’t have bothered.

This is demonstrated in a pointless introductory sequence in which Mr. Peabody and Sherman (voiced by Modern Family’s Ty Burrell and Max Charles) encounter Marie Antoinette and the French Revolution for no discernible story reason whatsoever. It’s the first sign that this is a film less interested in its characters than in being a history lesson, and that’s surely the last thing kids want when they visit the cinema.

Once that’s out of the way the story continues with Sherman starting school, where a bullying problem with a classmate gets out of hand and the question is raised of how a dog can possibly be a fit parent. It’s a fairly flimsy framework on which to hang a film, and after some thoroughly unengaging stuff involving this, the main plot kicks off when Sherman is forced to spend time with the girl who is bullying him.

Showing her the WABAC to prove he’s not a liar, they end up in ancient Egypt, forcing Mr. Peabody to go back and rescue them. The story doesn’t so much flow organically from there as ping randomly from one point in time to another, pushing on to Renaissance Italy and ancient Greece for no reason other than these are historical times, events and characters that people are aware of.

If you're going to dabble in these sorts of shenanigans, at least have the imagination to do something clever or original with it. But this is a story that seems thrown together with the bare minimum of care and attention, that never even attempts to do something out of the ordinary with the time travel element. So haphazard is it, that it could simply be a selection of episodes thrown together, each with a different historical setting, and loosely tied up with a stuck-in-time bow.

The jokes are largely science puns, and whose benefit these are supposed to be for is a mystery. Kids won’t get them (“I don’t get it” being pretty much Sherman’s catchphrase) and adults will groan at how weak they are.

There’s nothing like actual wit and Peabody and Sherman themselves are hardly the most endearing of characters. You’ll get more entertainment with Family Guy and your children will get more education with Horrible Histories.

That Awkward Moment review

That Awkward Moment (15/R, 94 mins)
Director: Tom Gormican
★ ☆ ☆ ☆ ☆

High School Musical star Zac Efron goes potty-mouthed in this thoroughly charmless rom-com. He’s one of three pals (along with Miles Teller and Michael B. Jordan) who form a pact to enjoy their single lives and not get involved in a relationship. This is complicated when Efron starts to fall for Imogen Poots, who he seems able to make laugh, but not the audience. Everything about this dismal effort is crude and manufactured and comedy-free, improvised by actors not really skilled enough to get away with it. It’s unpleasant characters indulging in moronic behaviour and lies, with clear signs from the start where they're all going to end up, but giving us nothing to care about while we get there.

Man of Steel Blu-ray review

Man of Steel (12, 143 mins)
Director: Zack Snyder
★ ★ ★ ☆ ☆

Man of Steel, the summer season’s most anticipated movie arrives on home video after a mixed reception in cinemas; loved as an action blast by some, despised as a betrayal of the Superman character by fans.

Henry Cavill dons the cape as Kal-El, the only survivor of the doomed planet Krypton, sent to earth as a baby by his father Jor-El (Russell Crowe). Part origin story and part continuation of the mythology, it’s a smartly structured blend of Superman and Superman II that flashes to Kal’s childhood, filling us in on adoptive parents, the Kents (Kevin Costner and Diane Lane) who bring him up as Clark.

It’s this that gives the film a real emotional depth, as Clark struggles with who he is, coming to terms with his powers in a film about choices and decisions on a massive scale.

Steeped in the classic Superman iconography, though slightly overplaying Kal-El’s status as a god among men, Man of Steel is respectful to its cinematic predecessors without the need for the suffocating reverence that blighted Superman Returns.

The serious threat that forms the comic-book conflict of the second half comes from General Zod (Michael Shannon), who was banished from Krypton and has made it to earth with plans of resurrecting his planet at the expense of ours. A properly menacing Shannon facing off against the perfectly cast Cavill is the backbone of a rousing adventure, while Amy Adams adds layers of strength and intelligence as Lois Lane.

The action is truly cataclysmic, fully recognising the fact that these are near indestructible super-beings fighting, so when they hit each other, they stay hit, and entire cities crumble in their wake. It’s stunning stuff, with director Zack Snyder gleefully taking advantage of the $200m worth of resources available to him, even if the third act does go on forever and threatens to become repetitive before too long.

On second viewing the narrative flimflam at play is more obvious, and Snyder’s aesthetic can grate, but memories of the disappointing Superman Returns are wiped clean, and there are more than enough great moments to make the upcoming Supes/Batman crossover one to look forward to.

Blu-ray: On every level this is a stunning presentation, with pin-sharp visuals allied to rattling audio. It’s a shame the extras are a little on the thin side, with a couple of behind the scenes featurettes not really digging deep enough to add lasting value to the package.

The Hobbit: The Desolation of Smaug review

The Hobbit: The Desolation of Smaug (12A/PG-13, 161 mins)
Director: Peter Jackson
★ ★ ★ ★ ☆

A decade ago, Peter Jackson made our Christmases with his astonishing realisations of The Lord of the Rings trilogy.

This time last year he came to us more like Scrooge or Alan Rickman in Robin Hood with his cry of “call off Christmas”, with the plodding, ruinously boring The Hobbit: An Unexpected Journey, the first part of his new prequel trilogy based on J.R.R. Tolkien’s beloved (but quite thin) book.

With so much extraneous gubbins crammed in, fears grew that Jackson was milking a dead cow, but miraculously he’s managed to get the series back on track with this second episode, one that both cleanses the palette after the first film, and frustrates that it turned out to be so disappointing.

It begins with a flashback, which could be viewed as just another piece of stuffing designed to justify what is yet again a hefty running time. But it’s a fairly brief tidbit that shows us how the wizard Gandalf (Ian McKellen) met dwarf Thorin (Richard Armitage) to persuade him to try to unite the kingdoms and reclaim the throne that was taken from him.

Also give thanks that this serves as a very potted recap of all the setup done in Unexpected Journey, so that we can then get straight back in to the action and not have to worry about Jackson’s indulgences on the level of what we witnessed first time, when Elijah Wood’s Frodo and old Bilbo were wheeled out for no justifiable reason whatsoever.

So we find Gandalf, hobbit Bilbo (Martin Freeman) and his newly acquired dwarf pals being chased across Middle Earth by murderous orcs as they continue deep into their quest to reach the dwarf kingdom, Erebor.

This is an immediately pleasant reminder of what many have come to love about these movies: brilliantly costumed and made-up actors running across breathtaking New Zealand landscapes being filmed by swirling helicopters.

And it’s as a visual spectacle that The Desolation of Smaug really triumphs. It’s clear from the first frame that this is a richly textured world, brim-filled with exceptional production design, albeit much of it of the computer generated variety. That’s particularly true if you avoid the heinous High Frame Rate presentation that so hamstrung last year’s movie, making it look not so much like Middle Earth as a home-videoed pantomime.

The quest itself has also turned into a far more compelling one, as we bounce from chase to fight in a whiz-bang opening hour that introduces us to bear-men and giant spiders while backgrounding the threat of the Necromancer, a malevolent force hanging hanging over the world.

We also never lose sight of the dark power of the Ring, the trinket binding these movies together, and the effect this has on Bilbo. His encounter with the spiders reminds us that this isn’t just an action fantasy, but a work unafraid to tackle themes of greed and corruption, and we’re blessed to be in the hands of such splendid actors as McKellen and Freeman, though they do disappear for a stretch in a midsection that represents one of the few dips in pace as we arrive at a man-village.

But again, bigger themes are at hand, as we pause to blend in a real-world message of poverty and the gulf between the rich and the underprivileged, wrapped in the politics of a fantasy village. We even get an appearance from Stephen Fry.

Plenty has been added, as is Jackson’s way, but not too much that seems pointless or superfluous – silly dishwashing scenes and the like that slowed the first film to a crawl. But otherwise the movie rarely loses sight of its primary action goal. There’s loads of peril, even among the numerous pitstops, and the threat of a deadline helps too. And outwith that slight middle sag, this is rattling, exciting and executed with near-unparalleled technical bravado.

And Jackson has remembered how to do action again. A dwarf-orc-elf fight alongside and down a raging river is a masterclass in momentum, thrust and imagination, and stands as one of the highlights of all our time in Middle Earth.

Bilbo the character earns his corn too, after being a bit of a passenger in his own movie first time out. He displays increasing courage and fortitude, and actually does some burgling, fulfilling the role he was brought into the quest for in the first place. The titular Smaug, the dragon that laid waste to Erebor, is a fine creation too, and we get to see plenty of him in a second half where the raised stakes really come into play.

Mind you, more than half the dwarfs are still anonymous or interchangeable, perhaps inevitable with so many of them. Other new characters work fairly well though, particularly the snobby, dwarf-hating elves, each with their own motivations and desires. Old Fellowship member Legolas (Orlando Bloom) returns alongside newcomer Tauriel (Evangeline Lilly) to knock countless orc heads together (this is a remarkably violent film, by the way, surely setting the record for decapitations in a family-friendly certificate), one of a few nice touches to tie us in with the Lord of the Rings trilogy.

And we’re back to honouring those great films after the initial misstep. Though the decision to break a slim Hobbit story into three films is still an ethically shaky, financially driven one, at least audiences will be getting something for their money this time around. Christmas is saved, for now.

The Hunger Games: Catching Fire review

The Hunger Games: Catching Fire (12A/PG-13, 146 mins)
Director: Francis Lawrence
★ ★ ★ ★ ☆

On its release last spring, The Hunger Games was undoubtedly expected to be some sort of success. In fact it turned out to be a bona fide blockbuster, to the extent that not two but three more films were immediately greenlit from the two remaining books in the young adult trilogy by Suzanne Collins. That’s right procrastination fans, in a practice started by Harry Potter and for which Twilight then took up the baton, Mockingjay, will be two films; one released this time next year, and the final film the year after that.

That speaks of the massive cash cow the series has become, but any heightened expectations for a return to the world can also be attributed to the fact the first film was really rather good. If you skipped that first movie, there’s no hope for you here, as we’re thrust back into the life of our heroine, Katniss Everdeen (Jennifer Lawrence, now an Oscar winner, and an iconic presence throughout).

Katniss won the 74th Hunger Games and is now back in her District alongside Peeta (Josh Hutcherson), with the pair of champions tasked with a promotional tour of the 12 Districts of Panem.

The president (Donald Sutherland) sees her as a threat and, smelling rebellion and uprising in the air, hits on the idea of making the next Hunger Games a battle between previous champions, to eliminate as many of them as possible. Newly on board is Philip Seymour Hoffman as the Gamemaker, aiding the president in his schemes.

It’s a world of poverty and hunger, except for the rich and pampered in the Capitol, and is presented as even more of a sinister and dystopian future than before. This is not some bright and colourful fantasy land, but one cut through with a deep and abiding sorrow.

The story is told in ways that are intriguing, dangerous and smart, touching on the chasm between ordinary people and those in power, and the way in which our obsession with celebrity can be used to hide away from the real problems in the world.

Once the Games begin, it moves into a gripping and exciting jungle adventure that offers more than just a re-run of the first, only occasionally dipping in pace while keeping one eye on the bigger picture. Slightly letting down the side are combat scenes that can be a bit shaky and poorly edited, toning down what should really be brutal violence to nab the audience-friendly 12A certificate.

But it’s the themes and characters that count more than the action, and this is a stirring instalment that leaves it all to play for in the final two films.

Thor: The Dark World review

Thor: The Dark World (12A/PG-13, 112 mins)
Director: Alan Taylor
★ ★ ★ ★ ☆

Now that we’re firmly into Phase Two of Marvel’s plan for total cinema domination, the titles are coming thick and fast.

The next Captain America will be along in the spring, and in a year that’s already brought the terrific Iron Man 3 we now have this sequel to Thor, a movie that was bright, funny and carried along with a real zip by director Kenneth Branagh. This first return to that world doesn’t quite measure up, thanks to some uninspired storytelling, but it’s still a breezy and fun couple of hours.

After the events of Avengers Assemble, Norse god Thor (Chris Hemsworth) is busy keeping peace across the realms. Since almost all the necessary introductions were made first time round, we can get straight to it, something that also allows characters slightly down the cast list to get their moment to shine.

The main bit of setup required is a prologue that goes all Lord of the Rings on us, as we learn about the Dark Elves led by Malekith (Christopher Eccleston). He’s after some cosmic goo called the Aether, which will allow him to get up to no good when the nine realms align for the first time in 5000 years, something called the Convergence.

Back in Asgard, Loki (Tom Hiddleston) has had to answer for his crimes in Thor and Avengers Assemble, and left to rot in prison until the plot requires him. Meanwhile, on earth, Natalie Portman’s scientist, Jane, is trying to adjust to life after Thor. But she gets dragged back into events when she’s alerted by her colleagues about some sort of portal they’ve found. Through a vague and confused bit of plotting, she comes into contact with the Aether via the portal, and gets somehow infected by it.

Thor brings her to Asgard in an attempt to cure her, but don’t look for much sense during this stretch that also brings an attack from Malekith that makes a mockery of the supposed Asgardian defences.

It’s one of two or three key sequences that, while never exactly botched, just point to a lack of directorial craft and poor editing choices. For all its story, and backstory, the writing isn’t the strong suit here. The big picture is often little more than gibberish, but individual scenes please and are still capable of moments of wonder.

Much of what draws audiences in comes from its technical brilliance. Glorious production design is used to realise Asgard and the other worlds we visit. Then of course there’s the action, generally rousing if a little repetitive at times. Thor swinging his hammer at a monstrous foe is enjoyable, but there’s only so many times we can watch that before it becomes monotonous. But come the Convergence, a grand finale awaits that makes the more sluggish passages worthwhile.

But the real selling point is the humour. Where the first film largely was largely comprised of Thor’s fish out of water antics, this time everyone gets the opportunity for a one-liner or two, and most comedies wish they were as funny as this.

It’s on a modest scale compared to the Avengers, but then so is almost every movie, but Thor: The Dark World will do very nicely until the next one of those comes along.

Ender’s Game review

Ender’s Game (12A/PG-13, 114 mins)
Director: Gavin Hood
★ ★ ★ ★ ☆

Though it begins with the usual guff about aliens attacking earth years before, this sci-fi adventure continues with a sturdy and serious tone and actually ends being rather thoughtful. In anticipation of the aliens attacking again, the military is training up youngsters, and the fleet commander (Harrison Ford) has his hopes pinned on Ender (Asa Butterfield), whom he thinks can one day destroy their enemies. It’s Star Trek with kids, except not in any way juvenile, with the first half or more taking up by training, and though there’s a lot of stuff we’ve seen before in Harry Potter or The Hunger Games, it does provide moments of brilliance. But when it finally gets down to it, Ender’s Game proves itself to be surprisingly weighty in its tackling of military foreign policies, as well as providing a commanding character in Ender and some cracking action to boot.

Bad Grandpa review

Bad Grandpa (15/R, 92 mins)
Director: Jeff Tremaine
★ ★ ☆ ☆ ☆

Part the bone-worrying stunts of Jackass, part the hidden camera windups of Sacha Baron Cohen, this crude comedy caper never finds a happy middle ground. After his wife dies, 86-year-old Irving (Jackass frontman Johnny Knoxville in old-man makeup) must transport his young grandson across the country to live with his father. But along the way they stage stunts and pranks to shock or embarrass the unwitting public, such as Irving knocking over the coffin at his wife’s funeral. The main sticking point with the lack of laughs is that, unlike with Baron Cohen, it’s not the ignorant or the bigoted being targeted here, but members of the public who are generally being kind and helpful to an old man a little boy, so there’s little to be gained from seeing them duped.