Cinderella [used]

The first movie I ever saw in the cinema was Beauty and the Beast, the 1991 Disney classic. I was 6 at the time, and though a lot of memories from way back then have become clouded over time, that first viewing of Beauty and the Beast is forever burnt into my brain. So it goes without saying that I have a great love for Disney. That said, after the period known as the “Disney Renaissance” (1989-1999), there weren't many Disney projects that grabbed me, perhaps apart from Tangled. But this latest release appeared to be Disney trying to get back to their roots, and though it's completely live-action and not animated, it has the same magic, grace and sense of wonder that Disney's best creations still seem to hold today.

Directed by the always amazing Kenneth Branagh and out now on Blu-Ray and DVD comes Cinderella, a superb re-retelling of the classic fairy tale story. Though any adaptation will always be intrinsically based upon the original source material, this incarnation is essentially a live-action remake of the 1950 Disney animated film of the same name. Chances are you probably know the story inside out, but Cinderella centres around the life of Ella, a kind hearted girl who, after her mother dies, eventually finds herself living with her step-family. Her father married a new woman, and after Ella's father passes away (I know, she has terrible luck!), her new step-mother and step-sisters turn on her. Forcing her to do menial tasks throughout the house and wait on them hand and foot, Ella lives a life of sadness. That is until, after getting out of the house for a few hours, she meets a dashing prince. This all accumulates with the widely known story of Cinderella. From the fairy godmother, the magic, the mice, the ball and the shoe that fits... it's all here.

In recent years we've seen various films take fairy tales and twist them into something dark, grim and ultimately for a more “mature audience”. From Hansel and Gretal: Witch Hunters, Jack the Giant Killer to Snow White and the Huntsman, it seems like no one is content on presenting a fairy tale the way Disney did back in the day. Cinderella gets back to basics, and creates a heart warming, pleasant and lovely tale. The best part about Cinderella are its visuals. Though CGI is used at various points during the film, there isn't an over abundance of it. Outside of a number of exterior shots and of course the scenes in which magic is used by the fairy godmother, Cinderella looks and feels very grounded. What's even better is, especially compared to more recent “mature” takes on fairy tales, Cinderella is very colourful and lavishly designed. From the set of the iconic ballroom, the beautiful costumes used throughout the film to the overall feel of the world, Cinderella looks incredible. Though it could have gone down the route of an overuse of CGI, the film makers have clearly realised that less is more.

However, a film is nothing without a strong backbone of actors, and thankfully that's another area in which Cinderella excels. From names like Cate Blanchett, Lily James, Richard Madden, Stellan Skarsgård, Derek Jacobi and Helena Bonham Carter, Cinderella's cast is genuinely impressive both in terms of drama and comedy. There are a few stand out performances, but Cate Blanchett and Lily James steal the show, playing Lady Tremaine and Ella respectively. I never thought I'd see Cate Blanchett play such a hateful, sour and bitchy character so well (considering she's Galadriel!), but here she's absolutely brilliant. The same goes for Lily James, and she plays Ella through an entire spectrum of emotions. From elating joys to crushing loneliness, James throws herself into the role which could have been mishandled so easily. Like I said, everyone is pretty great, and with the visuals backing them up, the performances here across the board are impressive.

Overall Cinderella is a very lovely film. Chances are you already know how it ends, but it's a brand new vision of a previously travelled journey. There's some new and old here, but one thing that remains is its heart. It's a worthy adaptation/remake and one that you'll walk away from with a smile on your face. Lovely.

Cinderella nicely fits a 5/5.

★★★★★

Denis Murphy

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Get Hard [used]

Prepare to feel old – Elf was released 12 years ago. The first Anchorman was 11 years ago. Back in the early 2000s, Ferrell was a comedic force to be reckoned with. But now, he feels a little past his prime and maybe even a little desperate. In recent years, he’s continued to disappoint – particularly in the underwhelming Anchorman 2. His latest, Get Hard, is out now on DVD & Blu-Ray. Is it a return to form, or is it a continuation of his downward spiral?

Directed by Etan Cohen (not to be confused with Ethan Coen, of the Coen Brothers), Get Hard tells the story of millionaire James King (Ferrell). When he’s jailed for fraud and bound for the violent San Quentin prison, he turns to his car-washer Darnell (Kevin Hart, Ride Along) to prep him to go behind bars. But as James continues to plead his innocence, Darnell begins to believe his story and together they set out to clear his name. Plot-wise, Get Hard is nothing to write home about. Like all comedies of this sort, the appeal is the inappropriate humour. But Get Hard can’t really decide if it wants a plot or not. The prison prep sequences – in which Darnell attempts to teach James how to fight, talk smack and assert himself – take up a huge majority of the runtime, with very little focus placed on any story during these silly, drawn-out scenes. It’s unusual then when bits of the story are introduced and twists and attempts at tension are forcefully shoehorned in. Where recent comedies like Horrible Bosses are 50% comedy, 50% coherent plot – Get Hard felt more like 75% comedy and 25% plot. This balance didn’t work for me. Once the prison training stuff is over (finally), it becomes a strange buddy comedy that climaxes with a Mexican stand-off on a yacht. As such, Get Hard is almost like two films in one. 

For me, Get Hard feels like a bad remake of a Richard Pryor & Gene Wilder film that never happened. The inappropriate homosexuality and race jokes would’ve worked coming out of their mouths in the 1970s but from Ferrell and Hart, it feels very forced and uncomfortable. Sure, a few jokes hit and got a laugh. But for every 1 laugh, there were 10 sighs. Kevin Hart is on decent enough form here and is continuing to earn a reputation in contemporary Hollywood comedy, but Ferrell is really showing his age and declining relevance. Maybe even if Ferrell had made this back in his glory days in the early 2000s it would’ve been okay, but now he’s getting too old for this shit. With the exception of Anchorman 2, his Anchorman co-star Steve Carell has been tackling more challenging work of late – Foxcatcher in particular was astoundingly good – but Ferrell seems adamant that he isn’t going to grow up. Now I’m not a bitter old cynic, I’m all for some childish inappropriate laughs, but here…here, it didn’t work. Ferrell could easily do something dark and quiet like Carell if he put his mind to it. But no, there’s dick jokes out there and someone has to tell them…Still, audiences are evidently continuing to eat it up, as Get Hard grossed over $105million. I guess the problem doesn’t lie with Ferrell. It lies with the bloody audiences who keep supporting this kind of shite.

 Get Hard is another disappointing effort from Ferrell almost saved by a watchable Hart. But on the whole, it’s another instantly forgettable film in an ever-growing list of modern American comedy films with no life ahead of it. Let’s just hope it doesn’t continue the trend of bad film, even worse sequel. It doesn’t need one. It can’t even justify its own existence, let alone a second!

Get Hard goes to bad movie jail – the sentence? Life imprisonment. 2/5.

★★☆☆☆

Sam Love 

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Garfield Kart [used]

Sometimes I love playing mindless first-person shooters, while other times I like playing in-depth JRPGs. It all depends on the mood I'm in, really. Like an avid movie fan, being a gamer means I can play my way through a huge range of games genres. Sometimes they can be fantastic, while other times that can be pretty disappointing. However, regardless of the quality I'm always just happy to play something- anything- new. But there are exceptions. You see, sometimes I love playing mindless first-person shooters, but I have never ever wanted to play an iOS port of a shitty game on the 3DS. But it happened. Yep.

Developed by Anuman Interactive and out now on Nintendo 3DS comes Garfield Kart, a game so bloody bad that playing it for too long would literally melt your face off, you know, like the Ark of the Covenant did to the Nazi's at the end of Raiders of the Lost Ark. Yes, Garfield Kart could essentially wipe out all who come into contact with it- so be warned. Based off the comic strip character created by Jim Davis back in 1978, the game basically uses all of the characters Garfield fans will recognise. There's no story here, and while that's all well and good and kind of expected for a racing game like this, there isn't much of anything else either. Gameplay is terrible, graphics are appalling and it's a giant waste of money.

The first thing that jumps out at you when you first start Garfield Kart are its awful graphics. Considering this game was first released on mobile platforms back in 2013, you might assume that Anuman Interactive would have beefed up the visuals for the 3DS, right? Wrong. Graphics are clunky, uninspired, bland, literally look like an old PS1 game from 1998 and, believe it or not, look worse than what can be seen in the mobile version. Yes, somehow Anuman Interactive managed to make a pretty generic mobile game look worse on the 3DS. Figure that one out. Apart from the character designs and overall nice colourful feel to the game (which effectively where created by and inspired by Jim Davis' comic), visuals are a complete and utter let-down. This disappointment even extends to navigating the game menus too, all of which are done through the touchscreen. Simply put, it all comes across like the developers are treating this 3DS version of Garfield Kart like a mobile game during the menus, but once it cuts to gameplay you need to switch to the buttons. It's ill conceived, lazy and just plain stupid.

Then once you've gotten past that bullshit you'll soon realize that Garfield Kart doesn't have a multiplayer mode. Yep, despite the mobile version having both online and local play multiplayer options, this 3DS version has no multiplayer options whatsoever. Though I didn't play much of the mobile version, the online play did help to add a bit of life into an other wise dead game. Without it everything feels empty, lifeless and boring. There are four main cups to win in Garfield Kart, and throughout each one gameplay feels the exact same, even with there being different tracks available. This level of similarity even extends to the characters and karts you end up racing as. Though at the start you can't really choose many characters, once you've unlocked them all it becomes clear that there isn't much of a difference between them. When it comes to gameplay, graphics, levels and karts, it's an understatement to call Garfield Kart an abomination.

The gameplay itself is generic at its heart, and simply ticks off the basics when it comes to karting games. You'll zip around the track, pick up items to either give you a boost or fire at other drivers and occasional hit pads on the track that speed you up. With no shadow under your kart you'll feel like you're hovering over the ground, and this, for me, was the final straw. I felt disconnected from the f*cking track while playing a racing game, man. They had one job and they failed. Garfield Kart is beyond tedious and barely managed to pull any joy out of me. I need to lie down now.

Garfield Kart crashes and burns. 1/5.

★☆☆☆☆

Denis Murphy 

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The SpongeBob Movie: Sponge Out of Water [used]

It was a rainy day in Wales. I was out on a little trip with my girlfriend, and as one thing led to another we ended up in the town of Towyn, getting thoroughly drenched by the cruel weather. Stumbling upon a delightful little cinema, we ended up watching The SpongeBob Movie: Sponge out of Water…Partly out of choice, but mostly as an escape from the rain. We weren’t expecting much from it but hey, it was shelter and warmth. Excluding parents, we were by far the oldest people in the screening – it felt like we’d turned up at a child’s birthday party by mistake. But after the lights dimmed and the children silenced, imagine our surprise when we spent the next 90 minutes having as good a time as the many children in attendance, laughing at the bizarre adventure. We felt ashamed of ourselves afterwards, obviously…

 Directed by Paul Tibbit, long time writer/director in the SpongeBob world, comes the much anticipated ‘sequel’ to The SpongeBob SquarePants Movie - Sponge out of Water, which is out now on DVD, Blu-Ray and Blu-Ray 3D. Before we talk about the plot, the first thing I feel like I should point out is how badly this film was marketed. The posters, trailers and merchandising – and now DVD and Blu-Ray covers – focus far too heavily on the new animation and real-world sequence in the film. Yes, that bit is in the film, obviously. But it’s just the climax; the final battle if you will. Up until then, the film is entirely delivered in old-school animation. I know a lot of people were anxious about that, but there’s no need to worry! And, credit where credit is due, the new animation isn’t that bad. Sure, it felt a little...dare I say; mainstream….to use this approach. It was a little too Alvin & The Chipmunks to have these characters interact with humans. But, like I said, it’s not for long. DON’T PANIC. Breathe. Relax.

So, what’s Sponge out of Water about? If you don’t know anything about the characters (you must be living under a rock, like Patrick!) do not worry, you can rest assured there is brief exposition at the start of the film to tell you all about the inhabitants of Bikini Bottom – but for the good of keeping this review brief, I’m going to assume you have knowledge of ol’ SquarePants and his friends. Sponge out of Water tells the story of a diabolical pirate above the sea (Antonio Banderas, trying far too hard) stealing the secret Krabby Patty formula, and SpongeBob and his nemesis Plankton finally teaming up in order to get it back with the help of Patrick, Squidward, Sandy and Mr Krabs. Story-wise, it suffers from most television adaptations in that it just feels like a stretched out episode. But hey, that’s all you need with these characters. It’s hard to knock Sponge out of Water too much. Sure it’s ridiculous and, for many, rather annoying. But if you get the humour and like it, then you’ll love the film. And at the end of the day, Sponge out of Water is for the kids – and judging by the children of Towyn’s reaction, they bloody loved it. It’s colourful, it’s silly, it’s simple and it’s fun. It isn’t a piece that film students will analyse alongside The Godfather in many years’ time. But it isn’t trying to be. Too many film critics slam films like this for silly reasons, when I’m sure its intended young audience couldn’t find one thing wrong with it.

In conclusion, Sponge out of Water isn’t trying to win over any newcomers or people who actively dislike SpongeBob SquarePants. It’s purely here to delight the wide range of existing fans of all ages and if you’re one of them, you’ll be delighted with the results.

Sponge out of Water is a daft bit of fun for all ages and earns an absorbent 4/5.

★★★★☆

Sam Love

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Run All Night [used]

Back in 2008, Liam Neeson gave us a new way to see him. With the words ‘I don't know who you are. I don't know what you want. If you are looking for ransom, I can tell you I don't have money. But what I do have are a very particular set of skills…’, we had a new reason to love him. He had become a bad-ass. Taken was a terrible film but a fantastic vehicle for Liam Neeson to kick the shit out of some nasty bastards and just generally be awesome. But over the following years, this formula was repeated to the point that it became tired and repetitive. With the Taken sequels and films like Unknown, The Grey and Non-Stop, Neeson became a parody of himself. And it’s not showing any signs of stopping.

From the director of Unknown and Non-Stop, Jaume Collet-Serra, comes another predictable thriller for Liam’s résumé; Run All Night, out now on Blu-Ray and DVD. Neeson plays a bitter drunken ex-mob enforcer named Jimmy "The Gravedigger" Conlon who has one night to figure out where his loyalties lie – to his estranged son Mike (Joel Kinnaman) or his old friend and employer (Ed Harris) who wants Mike dead. Throw in a scary bespectacled contract killer named Price (Common) and lots of gunfights and car-chases, and you have Run All Night. 

Now, let’s not kid ourselves. Run All Night is no t a good film. It’s not an original film. But we all know why we’re here. We’re here for Liam. As long as we keep paying to watch these films, I’m sure Liam Neeson will continue to make them. To review Run All Night is to review any of his films of the past 5 years, because they’re all the same bloody film. Like John Grisham novels or episodes of The A-Team, the formula works so why change it? People don’t seem to care that it’s the same thing each time so why put any effort in, right? Like all of Neeson’s characters, Jimmy is haunted by his past. The film even opens with the cliché narration “I’ve done some terrible things in my life”. But that’s fairly irrelevant, like with all of his characters. It’s just a weak attempt to inject some drama and depth to an otherwise bland and unoriginal character. I’m not knocking Liam; he’s a great actor and he gives more life to these characters than anyone else could. But they’re still not interesting or original characters. Taken, Unknown, Non-Stop, The Grey…He plays the same bloke in all of them.

As such, it’s up to the supporting cast to make this more than just another ‘Liam Neeson with a gun’ film. Do they manage? Well, Ed Harris tries his bloody best in a performance that is far better than this film deserves. Joel Kinnaman is decent as Jimmy’s estranged and hunted son and Common is rather good as hitman Price. But still, the film cannot escape the Liam Neeson curse of being a predictable and wholly unoriginal 2 hours. The film is stylish, sure. The visuals are slick and bleak in equal measure, presenting the seedy side of New York City with great panache. But sometimes that isn’t enough. This is a case of style over substance. Infact, it’s a case of Liam Neeson over style over substance.

Run All Night does absolutely nothing to stand out from the pack of Neeson thrillers of recent years, and is an instantly forgettable film. It’s a moderately entertaining couple of hours if you have nothing else to do and want to switch your mind off for a bit, but if you’re looking for anything with depth and substance then you’re in the wrong place. Run All Night is the epitome of generic, cliché-ridden mediocrity.

Run All Night is, predictably, a load of shite. 2/5.

★★☆☆☆

Sam Love 

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Hell on Wheels: Season 4 [used]

Hell on Wheels is a show that very few people in the UK seem to be aware of. Despite the DVD covers doing their best to market the show as being ‘From the makers of The Walking Dead and Breaking Bad’ (meaning it’s an AMC production), few people have taken notice. It isn’t broadcast on a particularly popular channel here, and hasn’t even been deemed popular enough to warrant Blu-Ray releases like it has in the US. Westerns have never been hugely popular here – even HBO’s incredible series Deadwood isn’t exactly well known here. So, I gave Hell on Wheels a go last year, not really knowing what to expect. I bloody loved it. Now airing the first half of its fifth and final season in the US, Season 4 is out now on DVD. 

If you’ve never watched Hell on Wheels (which is likely), then it goes without saying you need to start at the beginning. Seasons 1 through 3 are all available on DVD here in the UK, and now Season 4 joins them. Hell on Wheels tells the story of former soldier Cullen Bohannon (Anson Mount), following the track of a band of Union soldiers who killed his wife. This quest for revenge brings him to the middle of one of the biggest projects in US history, the building of the transcontinental railroad. As cover, he stays to work on the railroad construction crew under the cunning Thomas Durant (Colm Meaney), creating both friends and enemies in one of the most tumultuous times in US history. This is not just your standard cowboys and Indians adventure, it is a historical epic with action, drama, tension, romance, politics, business and even a few laughs along the way. It is also one of the best shows on television today.

The 13 episodes of Hell on Wheels: Season 4 are brought to us from a variety of writers and directors, as with most television shows. Picking up where Season 3 left off, we re-join our hero Cullen Bohannon as a virtual prisoner to ‘Bishop Dutson’, the latest alias of his enemy Thor ‘The Swede’ Gundersen (the ever-phenomenal Christopher Heyerdahl). Back on the railroad, Thomas Durant is trying to keep the construction moving without Bohannon’s help, despite the impending arrival of a government who aim to seize his town and railroad. It’s a strong season for plot – the relationship between Bohannon and ‘The Swede’, one of the finest points of the show for me, is the best it’s ever been here. And the story is progressing finely on the railroad side too, despite the actual construction of the railroad being background to the human dramas unfolding in the foreground. But this is not an issue. Look at The Walking Dead – some episodes have no undead shenanigans, but heaps of drama. That show has been described as ‘a soap opera with zombies’. Well, Hell on Wheels might be a soap opera with cowboys & trains, but it’s a damn good one.

The entire cast are on fine form again, from Anson Mount’s superb lead role as Cullen Bohannon to the entire supporting cast. But for me, the finest performance this season is the stunning Christopher Heyerdahl as ‘The Swede’ – the layers to his performance are just incredible. Heyerdahl, a Canadian actor, is playing a Norwegian character (despite his nickname), pretending to be an American Mormon. And he’s the most believable character in the show. Colm Meaney is also as fantastic as ever as the slimy Thomas Durant, while a familiar face from the first 3 seasons returns to be at the centre of one of the most powerful and moving episodes of television I’ve seen in a very long time. Visually the show is fantastic, despite occasionally underwhelming CGI – not a problem though as it is so seldom used. The costume design is phenomenal, the music is excellent and the story is as good as ever. There’s nothing bad I can say about Hell on Wheels. It is one of the most underrated and underwatched shows I know of – and it deserves your attention.

Hell on Wheels is the best show that you’re not watching. The series has grown in quality consistently with every season and from what I’ve seen of the fifth and final season so far, it will be going out on a very strong note. The show ends next year, so you’ve got plenty of time to catch up and no excuses. If you’re up to date on Hell on Wheels then you know Season 4 is a brilliant season and one for your collection. If you’re new to it, I can’t recommend starting it enough. Get on it.

Hell on Wheels: Season 4 continues the show’s rise in quality and sets the scene for a fantastic final season. 5/5.

★★★★★

Sam Love

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Wayward Pines [used]

When I first heard about Wayward Pines, all I heard was the comparisons to Twin Peaks. Twin Peaks is one of my favourite shows of all time, and I was worried that this was just going to be some desperate imitation filled with the same quirky characters and surreal delivery – even the title is similar. After many people made these comments, M. Night Shyamalan (executive producer) said, "I think when it's all said and done, it has nothing to do with Twin Peaks." But later, in January 2015, Shyamalan acknowledged that the series is somewhat inspired, especially as the author of the source material has expressed his admiration of Twin Peaks. But I still gave it a go. And you know what? After the first episode, I was completely hooked. This show is like an addiction – and what better time to binge all 10 episodes than now. And thankfully, it is not a desperate Twin Peaks clone.

Wayward Pines, out now on DVD only, is developed for television by Blake Crouch who adapts his own trilogy of novels Pines, Wayward & The Last Town for the screen. M. Night Shyamalan directs the first episode and executively produces the entire series, with a variety of directors handling episodes 2 through 10. Wayward Pines stars Matt Dillon as Ethan Burke, a U.S. Secret Service agent investigating the disappearance of two fellow agents in the mysterious small town of Wayward Pines. Ethan awakens from a car accident unable to contact the outside world, and unable to leave. The inhabitants of Wayward Pines are under constant surveillance by cameras and microphones, and held by a strict set of rules enforced by Sheriff Arnold Pope (Terrence Howard), with any attempt to escape punished by public execution. New residents come and go but it seems the only escape is death – made all the more worrying when Ethan’s wife and son turn up in town by bizarre circumstances. As time goes on, Ethan discovers the harsh truths of this town and has to make increasingly difficult decisions, to protect himself and his family. So already, the Twin Peaks comparisons are looking unfounded, don’t you think? Yes, Wayward Pines has more in common with The Truman Show, with its Orwellian surveillance and inescapable town. I suppose with a title like Wayward Pines and the setting of an unusual small town, comparisons are inevitable. But I can confidently say that this stands firmly on its own as a unique and thrilling series. 

The pacing is relentlessly fast and full of surprises in every episode. By the end of episode 3, I thought to myself “Where can this show go from here? It seems like they’re revealing too much too fast!” after the many twists of the opening episodes. But then - and this happens several times - you’re thrown a curveball which changes everything. When you think you know what’s going on in Wayward Pines, you probably don’t. I don’t want to reveal anything about where the story goes but believe me when I say it’s one of the most original and unpredictable shows I’ve seen in a while – especially when you consider the arguably intentionally misleading marketing. If you’re in the loop with current television, you may have noticed that the finale didn’t go down very well with audiences. Some thought it was anti-climactic and underwhelming, or too ambiguous. For me, the ending was perfect – made even better by repeat viewings, which this show encourages and welcomes. Whilst some shows don’t have a lot of replay value, Wayward Pines almost requires it.

Wayward Pines has a superb cast. Matt Dillon is great, in his finest role yet – as Ethan, we spend the entire series at his side and share in all of his emotions; anger, fear, sadness and confusion. But the show is an ensemble piece, with some terrific turns from faces both familiar and unfamiliar. Toby Jones is on typically incredible form as Dr. Jenkins, Oscar-winner Melissa Leo is extremely unsettling as the town nurse and Terrence Howard brings some understated scares of his own as the psychopathic Sheriff Pope. Juliette Lewis is great too as bartender Beverly and Carla Gugino is fantastic as Ethan’s former lover Kate – who has also ended up a resident of the unusual town.

Wayward Pines is a hard series to review. Because of the many twists and turns and genre changes, it’s difficult to talk about without giving anything away. But if you have 40 minutes free to watch the first episode, do it. You’ll be hooked from then on. Wayward Pines is one of the most thrilling, shocking, addictive and entertaining new shows of the last few years. And as it wraps up in just one 10-episode season, it isn’t a huge commitment to watch.

Wayward Pines is one of the strongest mystery thrillers I’ve ever seen, and earns a solid 5/5.

★★★★★

Sam Love

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