Caleb Landry Jones

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God's Pocket Review


OK

Despite a strong sense of the characters and the setting, this film struggles to engage viewers with its downbeat story about how tough life is. Even though the performances are powerful enough to hold the attention, the film feels like it drifts aimlessly along, never coming into focus in a meaningful way. And since everything is right on the surface, there isn't much subtext to help the events resonate with the audience.

In the God's Pocket neighbourhood in 1980s Philadelphia, everyone knows everything about each others' lives. Mickey (Philip Seymour Hoffman) works as a driver delivering meat, but spends just as much time planning small-time scams with his pal Arthur (John Turturro). Then his life is thrown out of balance when his hothead stepson Leon (Caleb Landry Jones) dies in what is suspiciously described as a workplace accident. Mickey's wife Jeanie (Christina Hendricks) struggles to cope with her son's death, so Mickey is easily pressured by the local mortician (Eddie Marsan) into buying a funeral he can't afford. To make some extra cash, he plans a heist with Arthur and their careless pal Sal (Domenick Lombardozzi), which predictably goes awry. Meanwhile, a famed local journalist (Richard Jenkins) starts looking into Leon's death.

It's not like the film is low on plot: there are plenty of story strands to push each character further into their own personal desperation. And the tightly knit setting provides an intriguing counterpoint as everyone's dirty laundry is aired for all to see, which pushes their true emotions even further underground. This lets the actors deliver riveting performances, even as they're all beaten down to mere husks of humanity. In one of his final roles, Hoffman is terrific as a guy for whom everything goes relentlessly wrong. Hendricks is pretty wrenching as the rather drippy Jeanie, whose interaction with Jenkins is both warm and depressing. Thankfully, Turturro and Marsan provide a spark of energy, as does Joyce Van Patten in a scene-stealing role as Arthur's gun-crazy aunt.

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Byzantium Review


Good

Nearly 20 years after Interview With the Vampire, Neil Jordan returns to the genre to breath some new life into a mythology that has grown stale, predictable and rather mopey  (see Twilight). With a lively script by Buffini, Jordan creates a lushly stylish dramatic thriller that continually takes us aback with off-beat storytelling and complex characters who don't always do what we expect them to.

The story centres on mother-daughter immortals Clara and Eleanor (Arterton and Ronan), who are on the run when they arrive in a fading British seaside town. The resourceful Clara seduces the nervous Noel (Mays) so they can stay in his dilapidated Byzantium guesthouse. To earn some cash, the always resourceful Clara turns the empty rooms into a brothel. Meanwhile, Eleanor befriends the fragile young Frank (Jones) and reveals the fact that she and her mother are actually more than 200 years old and need human blood to survive. Through all of this, they're being chased by two elder vampires, the ruthless Ruthven (Miller) and the more sympathetic Darvell (Riley), both of whom share a tangled romantic past with Clara.

Unusually intelligent, the film holds our interest with an astonishing series of twists and turns plus an array of colourful characters that play on stereotypes. Holding it all together is a fairly simple plot that reveals itself in bits and pieces until the full picture comes into focus. From this point, we pretty much know what has to happen in the big finale, but watching events unfold is satisfying and sometimes both thrilling and moving.

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Antiviral Review


Good

It may be style over substance, but Brandon Cronenberg cleverly blends his father David's love of medical yuckiness with an elusive Lynchian-style mystery to keep us unnerved all the way through this low-key thriller. And the film also works as a dark satire on today's celebrity-obsessive culture, in which fans will go to any lengths to be closer to their idols. So imagine if they had the chance to share a star's illness.

This is the work done by the gleaming, futuristic Lucas Clinic, where clinician Syd (Jones) works. He injects one patient (Smith) with an STD taken from mega-star Hanna Geist (Gadon). But Syd has secretly given himself a more powerful virus, which he learns is killing Hannah. Now everyone wants to get their hands on him, even as he realises that he needs to find a cure before it's too late. So he gets in touch with Hannah's assistant (McCarthy) and doctor (McDowell), and discovers that there's a conspiracy afoot involving his clinic's main rival.

The idea that fans would go to this kind of extreme isn't actually that unbelievable in a culture in which we watch their every move on reality TV and feel like their friends through Twitter. And Cronenberg's idea goes beyond sharing viruses, including cloned skin grafts and even a butcher (Pingue) who sells meat grown from celebrity cells. While the ideas echo some of David Cronenberg's films (mainly Videodrome and eXistenZ), this is also a strikingly original approach. The imagery looks amazing, with all-white surfaces and a spare use of colour, against which Syd's unravelling physicality looks increasingly garish.

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Picture - Caleb Landry Jones , Sunday 20th May 2012

Caleb Landry Jones and Cannes Film Festival Sunday 20th May 2012 'Antiviral' photocall during the 65th Annual Cannes Film Festival

Caleb Landry Jones and Cannes Film Festival

Picture - Caleb Landry Jones, Sarah Gadon , Sunday 20th May 2012

Caleb Landry Jones, Sarah Gadon and Cannes Film Festival - Caleb Landry Jones, Sarah Gadon Sunday 20th May 2012 'Antiviral' photocall during the 65th Annual Cannes Film Festival

Caleb Landry Jones, Sarah Gadon and Cannes Film Festival
Caleb Landry Jones, Sarah Gadon and Cannes Film Festival
Caleb Landry Jones, Sarah Gadon and Cannes Film Festival

Picture - Caleb Landry Jones, Sarah Gadon,... , Sunday 20th May 2012

Caleb Landry Jones, Sarah Gadon and Cannes Film Festival - Caleb Landry Jones, Sarah Gadon, Brandon Cronenberg Sunday 20th May 2012 'Antiviral' photocall during the 65th Annual Cannes Film Festival

Contraband Review


Grim
There isn't a single moment in this film that feels authentic, as cast and crew charge hardheadedly through a ludicrous series of obstacles that would be comical if the film wasn't so insistent on grunting with explosive machismo every step of the way.

Chris (Wahlberg) is a notorious smuggler who has gone straight to have a quiet life with his wife Kate (Beckinsale) and their two young kids. But when Kate's brother (Jones) falls afoul of New Orleans thug Briggs (Ribisi), Chris and his pal Sebastian (Foster) have to plan "one last job" to get the family off the hook. This involves Chris and Andy travelling by ship to Panama to collect counterfeit bills from a crazy dealer (Luna), then furtively returning to America. But of course nothing goes to plan.

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X-men: First Class Review


Extraordinary
Matthew Vaughn kicks some life back into the X-men franchise with this superbly written, directed and acted adventure. In addition to restoring a sense of subtext to the premise (missing since X2), the film is a thrilling, intelligent blockbuster.

It's 1962, and Charles Xavier (McAvoy) is recruited by US Agent MacTaggart (Byrne) to explore how the CIA can benefit from mutant humans. The telepathic Charles grew up with shapeshifting Raven (Lawrence), and they start assembling a team. A key partner is metal-manipulator Erik Lehnsherr (Fassbender), who's set on revenge against energy-absorbing Shaw (Bacon), who killed his mother in a Nazi war camp and has powers of his own. And now Shaw has his own mutant team (Jones, Flemyng and Gonzalez) and is sparking a nuclear war between the USA and the USSR.

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The Last Exorcism Review


Excellent
The best thing about this film is the way it continually subverts our expectations. It tells an unnerving story in a disarmingly natural way that's thoroughly believable, all without resorting to corny movie hokum. Until the end, that is.

Rev Cotton Marcus (Fabian) has been a preacher since he was a little boy, following in the footsteps of his father (Wright) to hold his congregation in the palm of his hand and exorcise demons when necessary. But a crisis has undermined his faith, so he hires a TV crew (Bahr and Grimes) to document the the ridiculous trickery he uses to perform one final exorcism. But nothing about this possessed girl (Bell), her father (Herthum) or brother (Jones) is as expected. And Cotton starts to doubt that there's a logical explanation.

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Caleb Landry Jones

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