Francesca Eastwood and Clifton Collins Jr. at the 2017 InStyle & Warner Bros. Pictures Golden Globes After Party held at the Beverly Hilton Hotel - Los Angeles, California, United States - Monday 9th January 2017
After a post-apocalyptic dystopia (The Road) and Prohibition-era America (Lawless), Australian director John Hillcoat brings his edgy Wild West sensibilities to this gritty present-day heist thriller. The film is fierce and stylish, and utterly gripping even though there's the nagging sensation that nothing is happening under the surface. Thankfully, the actors add plenty of terrific texture to their characters.
It's set in Atlanta, where Terrell (Chiwetel Ejiofor) leads his crew of thugs (Anthony Mackie, Clifton Collins Jr., Aaron Paul and Norman Reedus) through a riotously dangerous bank robbery. They're working for the cold-hearted Russian mobster Irina (Kate Winslet), who demands an even bigger heist before she'll pay them. Terrell has a child with Irina, so feels like he has little choice in the matter, but his team is made up of unstable hotheads and corrupt cops who have their own opinions. One of the cops also has a new partner in Chris (Casey Affleck), a tenacious good guy who's the nephew of a cynical detective (Woody Harrelson) who's just beginning to crack this case. So the gang decides to distract the city's police force with a triple 9, code for a downed officer, while they carry out their next elaborate robbery. The question is who will take the bullet.
Matt Cook's script is a bundle of mad twists and turns, usually the result of impulsive gang members who act without thinking. The tension is very high, as each person's morality is warped at every turn. All while Chris tries to remain upright in the middle of a storm he doesn't quite understand. Each character is up against a wall, ready to do whatever it takes to survive in a situation that is getting increasingly out of control. And without more subtext, or at least a sense of these people's back-stories, no one on-screen is very likeable.
Continue reading: Triple 9 Review
Terrell Tompkins and his team of officers are corrupt, finding ways to embellish their wage has turned into a habit that's about to land them in a lot of trouble. When a powerful member of the Russian mafia learns of Tompkins' money making ways, she blackmails him and his team into pulling a heist for her. Fearing they'll be exposed, the gang carry out the job for Irene, a woman who might look glamourous but has a dark soul. Once the job's complete, the crew believe they're in the clear but savvy Sergeant Detective Jeffrey Allen has been put on the case and he soon discovers that there's probably more to the robbery than first thought.
That's not the only problem facing Tompkins, Irene tracks the cop down and requests another job - if refused Irene won't hesitate in taking their lives. This job is far bigger than the last and is an almost impossible mission. Feeling their only option is to distract all the cops in their district, the team come up with a plan to pull a Triple 9 call - police code for 'officer down'. However, with Sergeant Detective Allen constantly uncovering more information and being faced with the ordeal of killing one of their own, the job will be far from straight forward.
Triple 9 is directed by John Hillcoat who also directed 2012's Lawless starring Shia LaBeouf and Tom Hardy & the film adaptation of The Road starring Viggo Mortensen.
Clifton Collins Jr. - Pacific Rim star, Clifton Collins Jr. departs Los Angeles International Airport (LAX) in camouflage trousers - Los Angeles, California, United States - Thursday 23rd October 2014
Far too slow-paced to work as a thriller and too shallow to properly challenge us as science fiction, this film is unlikely to please many audience members. That isn't to say that it's unwatchable: it looks terrific, and features a strong cast who are solid in thinly written roles. But the material promises far more than the film delivers.
At the centre is Will (Johnny Depp), an artificial intelligence expert who is attacked by an anti-technology terrorist group. With only weeks to live, his wife Evelyn (Rebecca Hall) and his colleague Max (Paul Bettany) upload his consciousness into his computer system, so after he dies he is able to transcend his humanity to solve far-advanced problems. He directs Evelyn to create a vast secret hideout to further develop the work, which progresses for two years until the terrorists, led by Bree (Kate Mara), find them. And now Will's old colleague Joseph (Morgan Freeman) and an FBI agent (Cillian Murphy) have to choose which side they're on.
This is precisely where the script fails: the sides are far too clear from the start. What should be a story packed with moral ambiguity is instead shaped into a straightforward good versus evil drama that betrays screenwriter Jack Paglen's mistrust of technology. And since everything is slanted so sharply, there's nowhere for the story or characters to go. First-time director Wally Pfister (the Oscar-winning Dark Knight cinematographer) makes sure everything look terrific, but everything moves so hesitantly that we feel like we're watching the movie in slow motion. It's as if the film is always on the verge of saying something important, but can never quite get the words out.
Continue reading: Transcendence Review
Computer genius Will Caster is involved in a technological program exploring the world-changing possibilities of artificial intelligence. Their goal is to create a machine that will have knowledge beyond the minds of human beings collectively, while also being able to reach Transcendence; a state in which this artificial mind can begin to feel human emotion. After a particularly enlightening seminar in which the goals of the project in terms of medicine are highlighted, he is shot suddenly. At first it appears that he is going to survive as the bullet didn't hit any major organs, but doctors quickly realise that the attack was much more insidious as it has been laced with radioactive matter. With only weeks to live as research labs across the country are being targeted by a radical anti-technology activist group called RIFT, Caster must find a way to live. When his wife Evelyn manages to upload his consciousness, it seems his project has been fulfilled - but it soon becomes clear that the power he is about to wield will put the world at risk.
Continue: Transcendence - Alternative Trailer
Will Caster is a computer scientist researching technology into the possibilities of artificial intelligence. After a gripping seminar where he described his desire to create a machine with not only an intelligence that exceeds human beings collectively, but also experience emotion - a state in which he refers to as Transcendence - he is gunned down by a radical activist who is part of anti-technology group RIFT. With the bullet not penetrating any major organs, the main damage the organization seems to have done is virtually attack research computers in all the main labs of the country, but when it turns out that that bullet was laced with radioactive material, Caster is given just weeks to live. Determined not to die, Caster and his wife Evelyn work out a way to upload his consciousness so that he can communicate even beyond the grave. However, not everybody is so sure of what has happened; a concern which becomes more and more warranted as Carter's mind begins to evolve.
'Transcendence' is the unnerving sci-fi directorial debut of Oscar winning cinematographer Wally Pfister ('The Dark Knight Rises', 'The Italian Job', 'Inception'). Initially written by Jack Paglen (who will be writing 'Prometheus 2'), it has been re-written by Pfister, Jordan Goldberg ('Inception: Motion Comics' TV series) and Alex Paraskevas ('Walker Payne') and is set to be released in the UK on April 25th 2014.
Far better made than it has any right to be, this cheesy 70s-style thriller is given a thoroughly engaging kick by veteran filmmaker Hackford working outside his usual dramatic genre. It's predictable and far too long, but Hackford grounds everything in gritty reality, avoiding obnoxious effects work while indulging in entertaining innuendo and riotously nasty action sequences.
None of this is much of a stretch for the cast, and Statham's Parker is essentially the same character he always plays: a ruthlessly efficient, indestructible criminal with a conscience. After a gang of thugs (including Chiklis and Collins) betrays him following a fairgrounds heist, Parker miraculously recovers from his hideous injuries and heads to Florida to get revenge. He uses local estate agent Leslie (Lopez) to find the gang's lair, and she's instantly attracted to the way he fills out his designer suit. Living with her soap-addict mum (LuPone), Leslie is looking for a wealthy man to rescue her. And she's already too involved when she realises that Parker isn't who he seems to be.
There isn't much to the plot, which is packed with contrived twists and turns and never follows through the intriguing possibilities along the way. At least the film avoids the usual action cliches, as Hackford sharply orchestrates each fight sequence to make it both lucid and startlingly brutal. This earthy approach keeps things relatively believable, until Parker emerges with yet another serious injury that doesn't slow him down at all. Meanwhile, Hackford injects plenty of eyebrow-raising flirtation that keeps us smiling. Statham and Lopez may not be stretching themselves as actors, but they clearly have a lot of fun circling around each other like dogs on heat.
Continue reading: Parker Review
Parker is a skilled thief with a very specific moral code; never kill anyone who doesn't deserve it and never steal from those with little money. Other than that, he is brutal, doing anything it takes to seize his target along with his so-called loyal team. However, one day he finds that his accomplices are not the people he thought they were when they stab him in the back and leave him to die. As single-minded as ever, Parker assumes the new name and identity of Texas guy Daniel Parmitt and sets out to destroy his former allies for what they did to him seeking an unusual partnership with Leslie: a local resident of Palm Beach who has inside information on Parker's targets and agrees to help him despite having reservations about his plan to murder every last one of them and take the loot from their latest robbery.
'Parker' is a crime thriller based on the novel 'Flashfire' by Donald E. Westlake. It has been directed by the Oscar winner that is Taylor Hackford ('An Officer and a Gentleman', 'The Devil's Advocate') and written by John J. McLaughlin ('Black Swan', 'Hitchcock') and will be released in cinemas across the UK from March 8th 2013.
Director: Taylor Hackford
Continue: Parker Trailer
A bunch of freeloaders are living rent-free in a rockstar's luxurious mansion, however, when they are informed that the owner Adam Duritz (incidentally, the lead singer of Counting Crows), who is often away from home due to work and is therefore unheard of by some of his home's occupants, has decided to sell his lavish property in favour of moving to New York. In order to carry on living their swish, unearned lifestyles, the gang have to come up with $400,000 down payment which they attempt through selling some of Adam's stuff on eBay and allowing a porn movie to be shot on the property. Realizing that there's no way they can make enough money to keep the house, they embark on a sabotage mission, doing everything they possibly can to make sure the house is not sold.
'Freeloaders' is a brilliant new comedy from the producer of 'Super Troopers' and 'Beerfest' (Richard Perello), directed by Dan Rosen ('Dead Man's Curve') and co-written by Dave Gibbs in his screenwriting debut. With a variety of guest appearances including from Adam Duritz of Counting Crows who was also a co-producer, this upcoming flick is scheduled to hit movie theaters in January 2013.
Starring: Olivia Munn, Jane Seymour, Nat Faxon, Clifton Collins Jr., Kevin Sussman, Dave Foley, Jay Chandrasekhar, Zoe Boyle, Garrett Morris, Dana Goodman, Natalie Morales & Kevin Heffernan, Brit Morgan.
Continue: Freeloaders Trailer
In Babel, directed and co-written by Alejandro González Iñárritu (21 Grams, Amores Perros), a clutch of characters from a range of cultures and walks of life attempt to build a towering film of meaning from coincidence and portent; unfortunately, in the end it is the viewer who is punished for the filmmaker's hubris.
Continue reading: Babel Review
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