With jobs for submarine operators steadily beginning to dwindle, an entire sea crew find themselves without jobs. Captain Robinson (Jude Law) has been so committed to the job for so long, that the rest of the world has moved on without him. With his family gone, Robison is turned on to the reports of a Nazi U-boat abandoned at the bottom of the Black Sea. After assembling a crew of half British and half Russian sailors, they set of in search of the gold stash - a stash which will be shared equally amongst them, making them all multi-millionaires. But when the idea starts to circulate that fewer men mean larger shares, the bleak isolation leads to horror and greed, with no possibility of escape.
Continue: Black Sea - Trailer And Clips
Solidly entertaining Christmas movies are so rare that when one comes along it feels like the best gift ever. Perhaps more horror filmmakers should turn their hand to family-friendly action comedies. This one is written and directed by Christopher Smith, the British filmmaker behind freak-outs like Severance and Triangle. But this movie is a pure joy, deploying a warped sense of humour that will have adults laughing a bit more than the kids, who will be caught up in a terrific wish-fulfilment adventure of their own.
In London, Steve (Rafe Spall) has just been released after two years in prison, and his first priority is to see his 10-year-old son Tom (Kit Connor), who lives with Steve's ex Alison (Jodie Whittaker) and her new husband. That same night, Tom finds a beardy man (Jim Broadbent) in the garage who claims to be Santa Claus and needs Steve's help. Steve is more than a little skeptical, but wants to spend time with Tom so heads off on a rescue mission that gets increasingly complicated with every passing moment. Mainly because Santa gets himself arrested while trying to liberate his reindeer after they were caught roaming around the city streets. Coincidentally housed in Steve's old prison, he gets some help from Steve's former fellow inmates (including Stephen Graham, Warwick Davis and Nonso Anozie), while Steve discovers that maybe something magical is going on after all
This may be one of those "find your childhood love of Christmas" movies, but Smith never pushes the sentimentality. Instead, he keeps the story moving with brisk momentum, piling on some hilariously deranged gags along with madcap action set-pieces that include chases, dress-up silliness and, yes, a prison break. The script is tight and funny, including the requisite poo and fart jokes, as well as some more sophisticated movie sight-gags and clever character detail. These people may be faintly ridiculous, but the actors dive in headlong and bring us with them.
Continue reading: Get Santa Review
While this submarine adventure starts out as a brainy thriller with superior production design, it eventually gives in to the demands of the genre: silly plotting and corny melodrama. Screenwriter Dennis Kelly never remotely tries to sell the two big events that cause considerable mayhem for everyone on-screen, so both feel sudden and contrived. At least the cast is sharp enough that the audience is willing to go with it.
It opens in recession-gripped Scotland. After being sacked from the steelworks, Robinson (Jude Law) teams up with fellow unemployed pal Blackie (Konstantin Khabenskiy) to reclaim their dignity by salvaging Nazi gold from a sunken sub in the Black Sea. With finance arranged by Daniels (Scoot McNairy), they assemble a team of Brits and Russians who immediately start re-enacting the Cold War in the rusty Soviet-vintage submarine they'll be using for their heist. Crewmates include a psycho diver (Ben Mendelsohn), a wheezy veteran (David Threlfall) and an 18-year-old (Bobby Schofield) with nothing better to do. But as they skulk along beneath the Russian Fleet, tempers flare and threaten to undermine their mission. Getting their hands on the gold is one thing; making it home alive might be even trickier.
Director Kevin Macdonald keeps the film fast-paced and tense, as the biggest peril this crew faces is in the fiery interaction between themselves. Arguments, paranoia and mistrust lead to violence, which in turn causes a series of problems that threaten the lives of everyone on board the submarine. Frankly, this seems rather far-fetched for a team of supposedly elite mercenaries who know that they need to look out for each other if they have any hope of accomplishing the mission. And with some major plot twists along the way, the story begins to feel like a collection of increasingly implausible obstacles these resourceful men need to overcome.
Continue reading: Black Sea Review
Carter (Charlie Cox) is completely down-on-his-luck. Eleven months after breaking up with his girlfriend, he is unemployed and now homeless. When he is inspired to get back in touch with her, he makes his way through his phone-book, trying desperately to get hold of her new contact details. In addition to this, he in a race against time to get back on his feet before he is kicked out of his mother's house - and if he's lucky, it'll help his ex become attracted to him again. Along the way, he goes on an adventure around the city with an accountant and a one-time actor.
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The dark crime drama hits US shores via BBC America. Why was there so much hype upon its UK airing?
It was the show everyone in the UK was talking about last Spring; that rare television event that your dad, your aunt, your sister, your boss is watching and constantly trying to work out the plot riddles in front of you. Broadchurch is about to make waves in the USA, having had strong ratings earlier this year and receiving critical praise.
Doctor Who Fans Will Have Already Been Charmed By David Tennant.
The eight episode series isn't one that's going to draw you in for months of twists and turns but the eight hour-long segments of the story pack enough drama, tension and twists to enthral its audience long after the final episode has aired. You could say that Broadchurch, filmed on the rugged, windswept and perpetually overcast southern English coast, fits comfortably genre-wise next to other bleak, dialogue-sparse and slow-moving whodunnits such as The Killing or Top of the Lake.
Continue reading: 'Broadchurch' Airs In US To Excited Reviews: Why Should You Watch It?
The story of Belfast's "godfather of punk" is told with plenty of groovy style to match the 1970s setting, mixing the music with colourful locations and lively characters. But while the story is fascinating, the film itself is too cluttered and fragmented to resonate with anyone who isn't already familiar with the events.
As politics and religion rage against each other in late-1960s Northern Ireland, local DJ Terry Hooley (Dormer) rejects both sides to concentrate on the music he loves. His wife Ruth (Whittaker) loves it as well, but starts to worry when Terry catches the fire of the punk movement, which stands up boldly to society. Soon Terry is helping promote local bands through his Good Vibrations record shop, discovering the likes of Rudi, the Outcasts and, most notably, the Undertones and their mega-hit Teenage Kicks. Terry knows what he has with them, but is doing this out of passion for the music. Which means he never keeps enough cash for himself to pay his bills.
Filmmakers D'Sa and Leyburn follow Hooley closely through his rollercoaster life, from moments of high excess to more harrowing scenes as his business and marriage fall apart around him. The narrative bounces quickly through the decades, keeping the tone light while remembering the seriousness of the violent clashes in the streets and the darker emotional issues that keep coming to the surface. But Hooley is a happy-go-lucky guy, only barely aware that he is squandering his resources. And Dormer delivers a remarkably vivid performance as a funny and hugely likeable guy who prefers to help others instead of himself.
Continue reading: Good Vibrations Review
'Good Vibrations' follows Terri Hooley's discovery of The Undertones in Belfast.
The trailer for 'Good Vibrations' hints at a bright future for a movie already nominated for three Irish Film and Television Awards for Best Film, Best Actor and Best Costume. The movie stars Richard Dormer as the Godfather of Belfast music, Terri Hooley - the man responsible for discovering The Undertones and recording seminal single 'Teenage Kicks.'
The film, which premiered at the London Film Festival in October, boasts a strong supporting cast, including Jodie Whittaker, currently starring opposite Olivia Colman and David Tennant in ITV's acclaimed drama 'Broadchurch.' Dormer turns in a stunning performance as Hooley, a radical music-lover and owner of Belfast's most famous record shop, Good Vibrations. He becomes the unlikely leader of a motley crew of kids and punks, discovering Fergal Sharkey's The Undertones, a band that brought the city's musical scene back to life in times of uncertainty.
Continue reading: 'Good Vibrations' Trailer Charts The Rise Of The Undertones (Video)
When Terri Hooley decided to open up the record shop Good Vibrations in Belfast in the 70s world of hippies and strong political messages, he had no idea that he would soon discover what would be some of the most prominent groups on the newly emerging punk scene. After managing to secure local band Rudi their first record, he was soon approached by another band: The Undertones. Although initially reluctant to sign them at first, after hearing them play he was astounded at what came through his headphones in the studio with their debut single 'Teenage Kicks'. Unfortunately, he struggled to get even a slight sign of interest from any record company in London in the beginning but the airplay soon picked up and it became one of the most recognisable punk songs in the UK. This is how Terri Hooley became one of these most significant figures in the late 70s punk progression.
Continue: Good Vibrations Trailer
Most of these movies feature actors, actresses and filmmakers who really should know better...
This heavy-handed drug-war thriller proves that Oliver Stone has lost the ability to tell a balanced story. And the all-star cast seems clueless about why they're here. Except a vamping Salma Hayek.
Continue reading: The Ten Worst Films Of 2012
A mopey tone and hole-ridden plot make this romantic drama rather difficult to sit through. Even though the premise has hints of Charlie Kaufman cleverness, nothing is developed properly, and none of the characters ever come to life.
Mia (Whittaker) is jolted out of her quiet life by the suicide of an old woman in her building. After talking to maintenance man Max (Warner), she starts to suspect that the woman was her in the future. What follows is a trip into her past, as she visits herself 10, 20 and 30 years earlier, encountering the love of her life, Ludwig (Scott), a womanising, drug-addicted jazz musician. Can she convince her younger self (Whittaker again, and Barnes at age 10) to avoid him? And what's his connection with her parents (Fox and Slinger)?
The script throws us into time-travel from the start, before establishing characters or relationships, so we never engage with anything. Ludwig is a slimy loser in each period, so why Mia fell for him is a mystery; his charming-musician days were before she was born. And even though these people have been in each others' lives for decades, there's no sense of continuity. As we visit the time periods in reverse order, everyone's always meeting for the first time, which makes no sense.
Whittaker invests Mia with some emotional resonance, even if the screenwriters contrive for her her to miss painfully obvious clues about each coming twist.
Meanwhile, Scott is an ugly mess until we glimpse his swaggering younger self, at which point we finally see him sing (nicely) and play the trumpet (unconvincingly). Warner becomes a kind of mad-haired timekeeper with a magical lift that's perplexingly right where it always needs to be. The rest of the cast members are also only allowed to deploy one characteristic each.
This isn't much more than a soapy melodrama. As things get messier, and Mia must travel further into the past to fix it, there are some laughable anachronisms, head-shaking incongruities and silly plot points (look, a gun!).
And worst of all, it's completely po-faced, without a moment of real-life wit.
So it plays out like a lifeless, inept version of It's a Wonderful Life.
With jobs for submarine operators steadily beginning to dwindle, an entire sea crew find themselves...
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While this submarine adventure starts out as a brainy thriller with superior production design, it...
Carter (Charlie Cox) is completely down-on-his-luck. Eleven months after breaking up with his girlfriend, he...
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The story of Belfast's "godfather of punk" is told with plenty of groovy style to...
When Terri Hooley decided to open up the record shop Good Vibrations in Belfast in...
A mopey tone and hole-ridden plot make this romantic drama rather difficult to sit through....
Mia is walking along the street one day, when she notices shredded photos fluttering to...
Emma Morley and Dexter Mayhew meet at Edinburgh University and graduate on July 15th, 1988....