21 (2008) – Winner Winner, Chicken Dinner

In my years of watching film, never once did I think a film about maths would entice me as much as Robert Luketic’s 2008 film 21 Starring Kevin Spacey and Jim Sturges. A film about counting cards and using mind tricks to win games of poker to win hundreds of thousands of dollars.
When the films gets started we are greeted to a fast-paced monologue where Ben (Jim Sturges) is teaching us hand signals which he and his team use to communicate inconspicuously without people noticing around a poker table. The fast speech and extreme close-ups of hands, hair and eyes gives us a feeling of what its like to be around a table when playing for such a high amount of money. The editing style in this sequence is executed in such a way that no plot is given away yet we know what we install for as the film continues. Elliot Graham, the editor has found a way to make simple cuts in this film, feel like they belong and actually fit the story and the narrative, rather than have a moment in the film where I feel like checking my phone rather than keep watching.
What feels like a reoccurring theme in the films I review, Kevin Spacey does a fantastic job as a lead or supporting star; pushing Sturges to be better and come out of his shell, which I always find is a great attribute of Spacey no matter what film he is in. We first meet Spacey teaching his class in MIT where he first learns about Ben’s hidden genius. As always, his performance is just amazing, from a promising mentor from the moment we first meet him, to a bitter, money hungry criminal at the climax, Spacey does nothing but stuns you from start to finish. It is his witty persona as a person which transpires over to his roles that makes him such a staple in these films. Even though Sturges is meant to be the real star, Spacey just seems to steal the limelight no matter what.
When it comes to defining what this films really about, it’s a simple math trick, only in a way that we have never realised. This film doesn’t follow the norms of any other I have watched over the years but is an entirely new style based on the real-life events of the MIT Blackjack team, written initially about by Ben Mezrich in Bringing Down The House a best seller on bookshelves when it was first published. It’s simple really, a team of student go to Vegas to count cards and of course somewhere along the line disaster will strike.
One downside of the film is it is very predictable. Within the first 10 minutes of my first viewing and I knew what would happen and when. The only black sheep is the character of Fisher (Jacob Pitts) who eventually goes off the rails and causes a hiccup in the plan but eventually, everything comes full circle. It’s a typical story of a boy who wants something so desperately he’d do anything, and eventually falls for his accomplice who urges him always to be careful and not get in over his head. The actual reason for him getting into card counting though makes you feel sympathetic towards him. He wants to go to Harvard but cannot afford it because he doesn’t earn enough money and neither does his mother. Again, it’s a typical structure which you could only expect from a Hollywood blockbuster like this, but I’m not angry about it and neither should you.
All in all, the films a classic to some extent if you’re into films with an ensemble cast with a lovable main star and great anti-hero. With the film debuting at number one in the box office in America and Canada for the first three weeks of its release, which does it justice in MANY ways, you won’t be disappointed with the outcomes and story of it.

When it comes down to superhero movies, the Russo brothers 2018 spectacle Avengers Infinity War is one of the greatest to date. With a build up of 10 years, the Russo brothers do not disappoint, giving the audience a great combination of sound, visual and acting brilliance.

In the film, our heroes are faced with the most difficult challenge to date, Thanos (Josh Brolin). In the first scene of the film, we join Thor (Chris Hemsworth) and Loki (Tom Hiddleston) upon their freighter in space where Thanos has run rampant. This looks like a continuation over from Thor: Ragnarok (2017) yet, things are not looking so good for the God of thunder. Within the first five minutes of the film, a major star of the Marvel Cinematic Universe (MCU) has been killed off, showing the audience this is like no other Marvel film they have never seen before. The fact that the Russo brothers have chosen to start with this rather than a light-hearted scene which we are used to really throws the audience off with what they’re expecting

Where we never really see Brolin’s facial expressions, he killed (pardon the pun) this role. This is the first time in a Marvel film where we see a villain take the main stage and not get shut down by earth‘ mightiest’ heroes, and Brolin does a great job in making his character come across as an almost necessary evil. With his previous roles in other films, this is the first chance we get to experience him in a villainous role and he does not disappoint. Where in the comics, Thanos is heartless and has no sympathy what-so-ever, we see a different side on the screen, who believes he’s doing a ‘good deed’ by trying to wipe out half of the universe, so we do not run ourselves into the ground like his home planet, Titan did.

With a monumental build-up of 10 years on screen. Marvel and the Russo’s had to make sure everything in this film was perfect and in my opinion, it was. With the most massive ensemble cast Marvel have ever used, its hard for it not to be with the likes of Robert Downy Jr, Chris Evans and Chris Pratt. And the cast works well together, a scene on Thanos’ home planet Titan, we finally get to see Tony Stark and Peter Quill on the same screen. With their first encounter being a joke-filled ‘my ego is bigger than your ego’ bout, its hard to not sit and laugh while they converse. Another great duo in this film is Rocket (Bradley Cooper) and Thor (Chris Hemsworth) the two have such chemistry that you feel like that’s what’s been missing from this franchise for a very long time.  

However, no film is without its faults and this film is no different. Where there is a great ensemble cast, it also feels like it could be a little too much. With stars ranging from Scarlette Johansson (Black Widow) to Dave Bautista (Drax), it feels like not all of the characters are utilised the way they should’ve been. Yet with only the main heroes being portrayed on screen, you can only imagine what could’ve been done with an even bigger universe with more characters and a more in-depth storyline. Another flaw with this film, is you are pretty much expected to know whats happened thus’ far in the universe. With eighteen films in the franchise already, its very long storyline to follow with a combined total of thirty-eight hours of screen time, you’re agreeing to make this film series part of your life as they’re not easy to forget. This, however, could also be considered a good thing, as for sure fans (me included) this film was what I was looking forward most to this year as it finally brought together all of my favourite heroes from the comics onto the big screen.
The iconic audio in this film really ties it all together. Alan Silvestri, the music composer for the film has done an exceptional job at making you feel really immersed in the action on scene. The Iconic theme of ‘The Avengers’ composed by the man himself, Alan Silvestri has mastered the art of making a theme song that is so memorable that no matter when it plays its associated with the Avengers instantly. On the other hand, when there is no audio in this film, it works just as well. In the final scenes of the film, Thanos has run his wrath and the remaining Avengers fall silent. This is a fantastic touch in the film as we are given a chance to relate to the characters on screen, all who have lost their friends at the click of a finger.

In conclusion, Infinity War will forever hold a place in my heart for the real comic book film which ticked every box. Fantastic audio tracks accompanied with a fantastic ensemble cast, it makes the whole experience of going to see this film just that much better. Overall, if you’re a fan of comic book films, this is a must see and you will not be disappointed.

Edgar Wright presents an adaptation of the acclaimed Scott Pilgrim comic series, is a hyperactive blend of indie cinema storyline, computer game logic and comic book aesthetics. It is slick, fast-paced, self-reflexive and so full of cultural references that you’ll probably need several viewings to pick everything up.  It could have been a mess of epic proportions but Wright, who previously made Shaun of the Dead and Hot Fuzz, has made Scott Pilgrim vs. the World one of the most energetic and fun films of the year.

Scott Pilgrim is a 22-year-old Canadian slacker whose life is transformed when he meets and falls in love with Ramona Flowers, an American girl trying to make a new start. Unfortunately for Scott, Ramona comes with more baggage than anticipated in the form of seven evil exes who are determined to fight him to the death.  Within the world of the film, these fight scenes take the form of elaborate and over-the-top combat scenes like the ones from computer games. The various exes are like the end-of-level bosses who have special powers and abilities that Scott must find a way to overcome. Not only is this gaming approach an exciting stylistic device but it is also used as a simple yet effective metaphor for Scott having to find his inner strength in order to win Ramona’s love.

The other distinctive stylistic device present in this film is its comic book aesthetic. While Scott Pilgrim vs. the World is not the first comic book adaptation to replicate the look and form of comics, it is the first one to take it as far as it does. Even the editing cuts dramatically from scene to scene to convey the sudden change in time and space that you get moving from one panel of a comic to another. Far from being a series of alienating jump cuts, this style is remarkably fluid and contributes to making it such a fast-paced film that you can completely surrender to.

The story itself is rather slight with Scott and Ramona playing reasonably typical indie film characters with him being the slightly awkward nice guy and her being the mysterious, quirky unobtainable girl. However, the film’s humour and energy overcome any danger of the film feeling overly familiar in any way. Michael Cera as Scott doesn’t correctly play against type but his performance is still enough of a departure from his very distinctive roles in films such as Juno and Superbad. Mary Elizabeth Winstead (Die Hard 4.0 and Death Proof) has a beautiful onscreen presence and while sparks don’t really fly between the pair as much as they probably should, they are still a likeable enough onscreen couple.

Just as Gremlins 2: The New Batch, the Wayne’s World films and The Simpsons introduced a new style of self-aware post-modern comedy, Scott Pilgrim vs. the World feels like the beginning of a new form of super self-reflexive cinema that relies on not just the audience’s knowledge of film and television but also other forms of media. The way it sets up and then sustains its internal logic and distinctive style is a remarkable achievement. It is also a consistently entertaining film from beginning to end.

I would definitely recommend multiple watchings of this films just so you can take everything in. From the fantastic camera work to the very new editing style that Paul Machliss and Jonathan Amoss bring to the table, this film will go down as a classic.

I don’t know what it is about Sam Mendes’ American Beauty (1999) that keeps pulling me back into several rewatches, but I am the least bit angry about it. Set in Americas Suburbia in Chicago, we learn about a man (Kevin Spacey) who is desperate for an exciting change in his life after being ‘trapped’ in a vicious, boring cycle for many years before. We follow Spacey, Annette Benning, and Thora Birch’s’ drastic changes as their family fall apart, in a perfect wonderland of events.

The film starts with Lester Burnham introducing himself and his life. The first person narration gives us a real connection as he is actually talking to us, rather than someone else in conversation. In the opening monologue, Spacey’s character Lester Burnham talks about his life at the current moment in time. He’s a married man with a wife and daughter but is ‘sedated’ in his day to day life and he doesn’t know exactly why. His morning routine consists of him waking up, showering, and ‘jerking off’ this being the high point in his day. This is showing us the viewers that his life really is as boring as it seems. Spacey wakes up alone when we first meet him, even though we know he has a wife. This is showing everybody watching that Mr. and Mrs. Burnham probably do not have the best marriage. This is later expanded upon as he tells the audience that ‘he used to be happy. We used to be happy’ putting one of the main themes of the film into play; conflict. The opening shot of the film shows us Burnham’s street, a quiet area which looks like a suburban dream; nice houses, nice gardens and a nice community. The opening monologue is very important to the plot as he reveals, within the first 30 seconds that within a year he will be dead. Not knowing how, why or when exactly, Mendes has already roped the audience in to stick around. It also leaves us wondering, how can a man with such a boring life, who works an office job die within a year? Maybe natural causes but he seems way too young for something of that severity. The finale of this film does wrap it up, however I doubt a first time watcher will know what’s coming.

The sheer spectacle that is the cinematography in this film makes it an instant classic. Conrad Hall does a fantastic job of making every shot in this film stand out. Whether it’s from the fantastic long shots of the neighbourhood or simply a 3-minute scene of a plastic bag blowing in the wind, it is never dull to watch. Judging by Halls impressive cinematography resume, including greats like Road to Perdition (2002) and Butch Cassidy and the Sundance Kid (1969) it was no surprise that he would blow everyone out of the water with his work on American Beauty. Mendes and Hall do a fantastic job at showing Burnham’s emotional growth during the film, making him look more significant as the film progresses. You can tell the men have done this as when we first meet Burnham, he’s a mellow, boring person who works a nine-to-five for a marketing company which you can tell he hates, fast forward to the end of the film, he has managed to secure a steady income for a year and looks like he is living the best version of his life possible and is loving every moment of it.

The performances in this film are simply jaw-dropping. Spacey does a fantastic job of capturing what a normal, boring life this character has, and how sick he is of doing the same thing over and over and over. My favourite scene in this entire film is ‘How to quit a job with Kevin Spacey’ where Spacey is told that he will be fired due to budget cuts in the industry. So, in his own way he forges a letter in which he explains his very vulgar routine at work where he ‘resides to the bathroom once a day to jerk off’ and wishes he didn’t live a life that so closely ‘reminded him of Hell’. He then proceeds to blackmail his boss into giving him one years salary, with benefits after exposing that the director of the company has paid for prostitutes with company money, and even threatens him with a sexual harassment charge. The way Spacey approached this scene makes you honestly believe that this has finally pushed him over the edge, yet he comes across so calm and collected, it makes you wonder if the damage has already been done to him and his psyche, to the point where he does not care about anything, anymore. Accompanying Spacey in this film is Annette Benning who plays his wife. Another great scene comes shortly after Spacey has quit his job as the family sit down for dinner and start arguing. The sheer chemistry the two share on screen, accompanied with their daughter sitting between them, almost like she’s been caught in the crossfire, really shows the audience how toxic and nasty their marriage has become, breaking down into heated arguments in front of their only daughter.

When it comes to American Beauty, there is never a reason why I’ll not give the film multiple viewings over and over. From the great storytelling and a relatable character, fantastic camerawork and beautiful shots of people, nature and even plastic bags, to the fantastic acting by all of the cast this film will go down and one of Mendes’ greats set in stone forever.

Edgar Wright takes a step back from his notorious comedies with his own unique attempt at an action thriller based in Atlanta, and I’m more than happy this film became what it is. From the exquisite soundtrack to the fantastic camera work, you can tell Wright has made a film he is incredibly proud of. With Wrights impressive film resume, from Scott Pilgrim vs. The World (2010) to Ant-Man (2015) Baby Driver takes a different approach to the typical idea of an action film by having an astounding soundtrack, thrilling action sequences and a lovable main character making the film feel like an action musical hybrid.

The soundtrack to this film is arguably one of the best from Wright including classics like; Jon Spencer Blues Explosion – Bellbottoms, The Commodores – Easy and many more. Wright had actually planned each scene around the soundtrack before he had even started filming, giving it an even deeper meaning. The way Wright has managed to tie in the soundtrack to take the main stage in the film is particularly impressive. Each gunshot, questionable action and turn in the impressive car chases all sync up to a particular beat hand picked by Wright himself. The star of the film, Baby (Ansel Elgort) has a case of lifelong tinnitus caused by a crash when he was a child, so he floods his ears with music to keep the ringing out of his ears. The soundtrack in this film is what brings everything together, fueling the love story between Baby and Debora (Lily James), which is the primary drive for Baby to keep on going throughout. The first scene where we see Baby gathering coffee for Doc and his crew, when he first watched Deborah walk by him, the wall on the other side of the street is spray painted with a love heart, ultimately showing the audience, if they have a keen eye, however, that this will be Baby’s love interest through the film. This scene shows off the impressive editing once again, as while Baby walks through the Atlanta streets, the lyrics of Bob and Earl’s Harlem Shuffle plays in the background. It’s also worth noticing the significance of music in Baby’s life. He has an iPod classic for any day or mood which he is in which is a fantastic touch by Wright. A pink glammed up iPod for when he’s feeling happy or his iPod that contains his ‘killer song’ Brighton Rock – Queen. In the scene where he is editing a version of his own mixes, ‘Is he slow’ you can see an aerial shot of all of his iPods laying out on the table. From the original cracked iPod classic which he had as a child, to the numerous others, its clear Wright wants to get across how important music is to Baby and his lifestyle.

When it comes to Wright as a director, he is never afraid of using popular pop culture references in his films. From the iconic Point Break (1991) shooting in the air scene in Hot Fuzz to the reenactment of George A. Romero’s classic scene in Day of the Dead (1985) in Shaun of the Dead, Baby Driver is no exception to this. In a scene which is probably Wrights nod to his fans that he excels in comedies, J.D (Lanny Joon) is told to purchase masks of Michael Myers from the infamous Halloween saga, yet he buys Mike Myers masks instead to give a laugh, This just once again proving that Wright is a master at including the smallest of things to keep his on-screen comedy alive, even in a film revolving a lot around death and crime. Wright also uses a very popular quote from Monsters Inc (2001) which Baby repeats to Doc multiple times ‘You and I are a team, there’s nothing more important than our friendship’ which later comes back to bite Baby in the ass as Doc finally snaps demanding him to stop quoting Monsters Inc otherwise he’ll kill him himself.

Elgort’s performance in this film is nothing less than perfect. From the get-go, we are introduced to a kind, lovable soul who is quite clearly involved with the wrong people. Even the cold Doc has a soft spot for Baby, as he is the only crew member who is consistently involved with his plans, as he is his ‘good luck charm’ as said by Doc himself. Its quite obvious that the goal of Wright when it comes to Elgort’s character is to prove to the audience that he is not a bad guy, yet simply a young teen with no other option but to do what he is asked. In the final scenes of the film, we are shown the multiple actions that Baby had performed throughout. From saving a woman from death by warning her not to go into work, to apologizing after stealing an elderly woman’s car. The very boyish character in which Elgort plays is extremely different to his previous roles in films like The Fault in our Stars and Divergent in this film you enjoy watching everything he does on screen. From the basic task of grabbing coffee for his co-workers, to ‘sunsetting’ a car, everything he does on screen is delightful.

All in all, Baby driver is a must-see film from Wright, bringing all aspects of a great film together; a compelling love story, interesting characters, an exciting plot line, and a great soundtrack, you will find yourself going back to rewatch this film just in case you’ve missed a tiny detail which will give you even more respect for Wright than you may already have.

Thanks for joining me!

Good company in a journey makes the way seem shorter. — Izaak Walton