300: Rise of an Empire Movie Review

In 2007 director Zack Snyder brought Frank Miller’s popular comic to the big screen, gaining a cult following in the process with its slow-motion cinematography and epic fight scenes. Now Noam Murro has picked up the series for the long awaited sequel, ‘’Rise of an Empire’’ which stays true to the original whilst not quite topping it.

Based on the Frank Miller comic Xerxes, ‘’Rise of an Empire’’ utilises a non-linear narrative to take place before, during and after the original film. Where Leonidas and the brave 300 hold back Xerxes’s land forces, newcomer General Themistocles (Sullivan Stapleton) leads his legion of free Greeks to battle Xerxes’s gargantuan naval fleet led by the vengeful Artemisia (Eva Green). The story unfolds from the perspective of these two main characters as battle ensues and several events cross paths with those from the original film; it’s a tricky thing to do for a film of this style but ‘’Rise of an Empire’’ pulls it off. From simple character interactions to full-scale plans being set into motion the film follows up the first very well. With that said, newcomers to the series may feel a little lost; even with a flashback here and there, elements and characters of the narrative that played a large part in the original seem to be brushed over here; the powerful and heavily fortified Spartan army that made the original so beloved have a much smaller role here as Rise of an Empire focuses more on the Greeks collectively coming together to stop the Persians by any means necessary. Aside from these gripes 300: Rise of an Empire delivers just what you’d look for in a historical fantasy film; gripping action, epic speeches and lustful romance set against the backdrop of real world events.

The likes of Gerard Butler and Michael Fassbender in the original did a fantastic job of conveying the over-the-top mood of the comics and the sequel does manage to continue that trend to a certain degree. Sullivan Stapleton is nowhere near as memorable as his predecessor but he is nonetheless a decent lead in the way he cares deeply for his people and will not stop until the forces of Xerxes are stopped. And then there’s Eva Green as Artemisia; by far the best character in the film, she lights up the screen with a ruthless yet sensual presence that makes God-King Xerxes seem weak by comparison. She’s a great villain who always makes her presence known throughout the film. But on the other hand, most of the other characters are either under-developed or under-used; Queen Gorgo (Lena Headey) and narrator Dillos (David Wenham) really don’t do anything until the final moments; a shame considering the larger roles they had in the previous film. Likewise the newer characters are more filler than a reasonable part of the film Scyllias (Callen Mulvey) and his son Callisto (Jack O’Connel) come the closest to being developed properly but only seem to fill in for the previous duo of Artemis and Astinos rather than bringing anything refreshing to the table. Unfortunately these problems make it much more difficult to root for the heroes this time around, a step back from the superior original.

Rise of an Empire continues to embrace the same gritty and slow-mo induced combat but this time a greater level of tension is employed; rather than being an unbreakable defence like Leonidas’s 300, Themistocles’s naval fleet is hopelessly outnumbered and outmatched by the might of Artemisia and are instead forced to use non-conventional techniques to emerge victorious. The action benefits from some mostly solid choreography and framing, although there are several moments where the camera will shake a little too much and the shots clearly catered to 3D splatters of blood can be distracting. The gore effects are well done as well, with blood spraying much more than it did in the first film in addition to the usual decapitations and dismemberment of many soldiers. Once again, the settings and vistas look incredible, especially when Xerxes stands atop a palace and greets the Persian masses below; setting the film at sea also allows some great looking water and storm effects to transport the viewer into the world of Ancient Greece. The music is sweeping and epic, just as it was before with thunderous war cries and rumbling drums, which really put across the gritty nature of the combat. Rise of an Empire sticks to the tried and true when it comes to presentation; it will please those who loved the first film but likely won’t sway those who disliked Snyder’s original vision.

Rise of an Empire doesn’t possess the same epic scale or memorable moments as its predecessor but thanks to a stand-out performance from Eva Green and a greater level of tension in the battle scenes, the film still lives up to its pedigree.

Rating: 3.5/5 Stars

Top 10 Favorite Music Artists

After receiving the majority of votes on my poll (again, just one vote!) this list is a little something to commemorate 1000 views of my blog. As you can probably tell by glancing through the list, my tastes in music fall more into the mellow varieties; the more calm and sombre tunes which I find very relaxing. Some of the artists you may not even recognise but nonetheless I hope you enjoy reading.

10. Coldplay

Coldplay have been around for a while now and stand as one of the best and most well-known British pop groups in modern times and with their latest album, Ghost Stories coming out this year, there’s no better time to be a fan. Their music has become immensely popular, making its way into films, such as the recent ‘’Hunger Games: Catching Fire’’, not to mention the band winning numerous awards over their nearly eighteen year career. I’ve always been particularly fond of their vibrant styles as well as their more subdued tracks.

Personal Favourites: 1^st Paradise, 2^nd The Scientist, 3^rd Atlas

9. Bastille

You may be surprised to learn that I only recently got into Bastille towards the end of 2013 when I listened to some of my flat mate’s playlists, which eventually convinced me to download their singles. In a similar way to James Blunt, lead singer Dan Smith has a very specific, more gravelly voice which really sells the songs and sets Bastille apart from other modern alternative rock bands. Bastille are another one of those upcoming bands that have real potential to have a long and successful career. No doubt we’ll be seeing a new album from them at some point.

Personal Favourites: 1^st Of the Night, 2^nd Things we lost in the fire, 3^rd Pompeii

8. Daniel Powter

I first caught wind of Canadian singer Daniel Powter in 2006 with ‘’Bad Day’’, a single that sky-rocketed up the chart and was well loved by all of my family when it came out. After this, Powter never managed to reach the same high as he did with his original single but he still finds time to get some singles out into the world. Recently I downloaded some tracks from 2010’s ‘’Best of Me’’ and similar to Keane it boasts some solid piano work and heartfelt lyrics.

Personal Favourites: 1^st Love you lately, 2^nd Free Loop, 3^rd Bad Day

7. Del Amitri

The oldest band to hit my list, Del Amitri are a Scottish band who were very popular through the 80s and 90s; I first heard of them when my dad introduced me to ‘’Just like a man’’ many years ago. Their music is made up of catchy lyrics and some brilliant solos on guitar and bass. Although they’re much less prominent nowadays, they’re still in the music business, having done a recent tour along with the lead singer, Justin Currie setting out on a solo career. In my view they’re one of the most underrated bands around.

Personal Favourites: 1^st Always the last to know, 2^nd Be my downfall, 3^rd Just like a man

6. Embrace

Embrace are a band who seem fairly conspicuous in the music world; I would often compare them to Coldplay and Keane when it comes to using a wide variety of instruments and a projection of voice. After their best known album ‘’Out of nothing’’ in 2004 and ‘’This new day’’ in 2006 the band vanished for seven long years but have finally returned in 2014 with a new album and tour on the way. It’s great to have them back and I’m certain that their newest album simply titled ‘’Embrace’’ will put them back in the spotlight when it launches at the end of April.

Personal Favourites: 1^st Nature’s Law, 2^nd A Glorious Day, 3^rd Ashes

5. James Blunt

James Blunt’s many songs have delighted many an audience over the years and I am no exception. He has endured because of his distinctive voice and a near perfect balance of emotional songs such as ‘’Carry you home’’, mixed with more cheerful, upbeat tunes such as the recent ‘’Bonfire Heart’’. 2014’s Moon Landing proved that Blunt is still going strong more than ten years after he made his debut.

Personal Favourites: 1^st So far gone, 2^nd 1973, 3^rd I’ll be your man

4. Gabrielle Aplin

With some beautiful lyrics, wondrous music videos and an all-around soothing voice, Gabrielle Aplin is the perfect artist to relax to; since her breakthrough with a lovely rendition of ‘’The Power of Love’’ for Christmas 2012, she has since released her first album, English Rain and gone on tour with it. This tour also housed my first ever music concert down at the O2 Academy in Bournemouth last year. I’m looking forward to seeing more from Gabby in the future.

Personal Favourites: 1^st Salvation, 2^nd Alive, 3^rd The Power of Love

3. John Newman

As the newest artist on my list, John Newman makes the list for one simple thing; the piano solos that have complimented a majority of his tracks so far. Whenever those solos start playing, you just know that things are in business and as such, his songs simply never get old and many others think that too. He was praised throughout 2013 by numerous publications and has recently been nominated for two Brit Awards this year. Newman shows no signs of slowing down and his tracks will no doubt continue to chart in the years to come.

Personal Favourites: 1^st Losing Sleep, 2^nd Cheating, 3^rd Love me Again

2. Tom Odell

Another new artist making a name for himself, Tom Odell boasts a powerful voice and some incredible skill in creating killer piano beats for his songs. Another Love, I Know, Till I lost, the list goes on; each song is fantastic in the way Odell melds his piano with his voice to create some unforgettable tracks. Most recently I bought his debut album ‘’Long Way Down’’ which will likely soon be followed with even more singles. Tom Odell came pretty close to taking the number one spot, but ultimately settled at number 2.

Personal Favourites: 1^st I know, 2^nd Another Love, 3^rd Till I lost

1. Keane

Come on, you all knew this was coming! They may be on a break now but Keane unquestionably remains my all-time favourite band. Ever since I first listened to the fantastic ‘’somewhere only we know’’ in 2004 I’ve never stopped following the band in the years that have followed. Their most recent albums ‘’Strangeland’’ and ‘’The Best of Keane’’ were released in 2012 and 2013 respectively and even with all the newer bands on the list, they continue to be the band I listen to the most and I will undoubtedly continue to do so whilst eagerly awaiting their eventual return.

Personal Favourites: 1^st Crystal Ball, 2^nd My Shadow, 3^rd Silenced by the Night

Honorable mentions include Owl City for ‘’Fireflies’’, ‘’Kamikaze’’ and ‘’When can I see you again?’’ and The Fray for ‘’How to save a life’’ and ‘’Look after you’’.  

Downfall (Der Untergang) Movie Review

Throughout the history of cinema there have been numerous films based around the deadliest and most widespread human conflict in history; they focus on soldiers, civilians and the hundreds of stories in between. But one area seems to have gone unnoticed by the movie-making masses; a view of the conflict from the perspective of the Nazis. Downfall is here to break that mould and in doing so, presents a brilliant and emotive trip through the fall of a dictator.

Downfall (or Der Untergang in Germany) is focused on the fall of Adolf Hitler; in the closing days of World War Two the Russians are advancing into Berlin and the Fuhrer (played by Bruno Ganz), along with his most esteemed generals and closest allies in the Reichstag’s secret underground bunker are struggling to cope with countless losses and setbacks as a result of the advancing allied forces. Tensions gradually build within the Reich at the prospect of losing the war and impending doom and with this etched into their minds, the last Nazi officials realise that they must act to avoid capture or in other cases preserve the well-being of the German people in the midst of catastrophe. The story unfolds from a variety of perspectives, often flashing between different members of the Reich as they witness numerous events that unfolded in the Battle for Berlin. But the main narrative voice in Downfall is that of Traudl Junge (Alexandra Maria Lara), one of Hitler’s main secretaries who stays in the bunker, only to avoid the dangers of the outside world. From her viewpoint we see a much more emotional side of Hitler that no film has ever covered before; even though he was a truly despicable character (which is emphasised many times with his pride for murdering the Jews of Europe, scorched Earth policy and general disdain for his own people) he was still a human being who suffered and broke down as many of us sometimes do under loss and pressure. Downfall also deals with other themes in the war genre; the destruction of Berlin by the Russian Army gives way to many atrocities, making the audience feel sympathy for the people of Germany at that dark time, even the infamous Hitler’s Youth comes to a realisation that they put their trust in the wrong leader as they themselves are involved in the fighting. The greatest strength of Downfall’s plot is that it sets itself apart from practically every other war film out there; it concentrates heavily on the characters and their struggles, putting across a rather depressing tone from Hitler’s viewpoint, whilst also emphasising that the war had just as great an impact on the citizens of the Nazi Regime than it did on those directly involved.

There are many actors playing a role in Downfall, all of whom add to the film’s authenticity and all of whom deliver brilliant performances all around. At the centre is Bruno Ganz as Hitler, a fantastic performance which is perhaps the most realistic and compelling portrayal of the dictator yet seen in a film. Ganz spent four months studying to play the role to the best of his ability and it really shows; the dictator’s selfish nature and inability to lead a country is shown elegantly, whether he is insulting and blaming his generals for his losses or being too arrogant in believing that his operations will succeed without any difficulty. By the end of the film, you understand fully why Hitler fell, both as a leader and as a dictator. Hitler’s main generals, particularly his closest generals (played by the likes of Thomas Kretschmann, Heino Ferch and Ulrich Noethen) are also handled brilliantly; you can feel their nerves shredding when facing their leader with the news of another defeat with sweat in their hair and lumps in their throats. Then there are those who turn a blind eye to Hitler’s evil and will follow him to the end; Juliane Kohler as Hitler’s wife Eva Braun is almost completely ignorant of the losses that take place and often pretends that the danger doesn’t exist at all, highlighting her naive devotion to the Fuhrer. Similarly, Ulrich Matthes and Corinna Harfouch as Joseph and Magda Goebbells are just as evil as Hitler in that they outright refuse to believe that the Nazi regime will fall; these performances further emphasise just how ruthless and sadistic the Third Reich was. Finally there exists the characters that still possess their innocence in a place riddled with death and destruction; Alexandra Maria Lara puts in a great performance as Traudl Junge; she remains calm and professional to avoid provoking Hitler’s wrath while also avoiding the dangers of the besieged Berlin; in a sense, she represents the mind-set of the German people as a whole who were tricked into believing that Hitler would bring an era of peace and prosperity at the time. Likewise the young Peter Kranz (Donevan Gunia) along with his fellow peers believes that he is doing his country proud by serving in Hitler’s Youth, but in reality he is serving a monster and has clearly been desensitised by his experiences in direct combat. The way Downfall handles and juggles so many characters at once is simply astounding; every character has ample screen time and their arcs all come to an end in one way or another. It all adds up to an excellent cast that can rival that of big Hollywood blockbusters.

Downfall is not only one of the best World War Two films but also one of the best foreign films ever made. It’s one of the few films that can bring fresh perspective and humanity to a truly evil individual while also giving plenty of attention to those around him.

Rating: 5/5 Stars

Robocop (2014) Movie Review

Robocop, one of the most popular cult classics of the eighties; directed by Paul Verhoeven, the film carried his signature style but also proved to be quite thought provoking in its handling of themes. Now in 2014, after multiple delays the remake has finally arrived; though it has some entertaining moments, it ultimately pales in comparison to its predecessor.

The plot of Robocop 2014 is mostly the same as the original, but with a few differences. Detective Alex Murphy (Joel Kinnaman) is an officer who is severely injured in an improvised explosion from crime lord Antoine Vallon (Patrick Garrow). His body cannot be saved but his mind lives on in the cyborg law enforcer Robocop, built and designed by Chief Omnicorp Scientist Dennett Norton (Gary Oldman) and Robo sets out to clean the streets of Detroit whilst also dealing with the public’s perception of him and the corporation’s efforts to control him. The remake of Robocop is much more straightforward as a narrative; unfolding within a combination of action sequences with some slower paced moments in between. In terms of themes it’s all about corporate greed in the OCP’s efforts to get its unmanned weapons put out onto the streets of America. This does provide some links to the modern ethics of using drones and other machinery but nevertheless the plot barrels along at a very fast rate, not really requiring much thought and some scenes end up being completely pointless. The ending too is rather lacking, not really providing much closure. The plotline of Robocop ironically makes you wish at many points that the company had made a video game rather than a movie. The action scenes in particular would have made a strong impression if they were played rather than watched.

Where the acting talent in the original Robocop worked hard to give an element of duality in the roles, the remake seems to do everything by the book. None of the characters really serve much purpose throughout the film, nor do they go through any interesting arcs. Murphy starts off as a rather generic member of the force, as does his partner Jack Lewis (Michael K. Williams) who barely makes his presence known throughout the film. Kinnamann’s performance is often quite confusing; one minute he retains his thoughts as Murphy and the next he’s reduced to the mentality of a machine. This had potential to put across the difference between man and machine but it jumps back and forth with such reckless and irregular abandon that it really doesn’t matter much to the plot at the end of the day. Robocop’s wife and child (played by Abbie Cornish and John Paul respectively) play a larger role in the remake; again, this was an interesting choice but unfortunately they don’t deliver nearly enough chemistry and are never put in much danger to entice the audience into caring about them. The big name actors and other members of the cast placed on the poster go to waste throughout the film; Michael Keaton has nothing interesting to show as the head of the OCP, Gary Oldman comes close but never makes Professor Norton into a compelling character and as for Samuel L. Jackson, this could be his worst and most bare-bones role ever in a movie, only appearing in brief newsflashes scattered throughout the remake.

There was never any way around it; the 2014 remake of Robocop was going to be made using CGI; these effects work fairly well where the futuristic technology is concerned. The robots have more detail before and we are given more insight into Robo’s operating procedures with some slick point of view shots. The action sequences are framed fairly well although there does exist some moments where the camera shakes violently; the final fight where Robo takes on the ED-209s to reach the top of OCP headquarters is a solid improvement on the original film’s climax and the shootout in Vallon’s hideout features some effective lighting but on the whole the action sequences (which are arguably the best part of the film), like the rest of the film are far too brief to be very memorable. The futuristic environment is also lacking; the film claims to be set in 2028 and set outside of some fancy gadgets, the world of Detroit doesn’t look any different from our present day world; a wasted opportunity, given how modern movie technology can often render impressive and immersive settings.

If there’s one word to describe Robocop, it’s ‘’rushed’’. Despite being released more than twenty five years after the original, this remake constantly brushes over its good aspects while magnifying it’s bad ones. There are some parts that provide some mild enjoyment but this version of Robocop is unfortunately doomed in comparison with the original.

Rating: 2.5/5 Stars

Man of Steel Movie Review

It’s been seven long years since we last saw the world’s most famous superhero land on the silver screen with Superman Returns. The film rounded off the original saga nicely whilst keeping in spirit of the character. Now Man of Steel is taking a cue from The Dark Knight and reimagining the superhero in a more serious sense. It’s a recipe that’s sure to bode well for superhero movie fans but in execution, something is undeniably amiss about this retelling of the legendary Superman.

Man of Steel serves as an origins story for Superman, chronicling his beginnings on the planet Krypton and his first exploits on planet Earth. The film begins on the protagonist’s home planet where Jor-El (Russel Crowe) jettisons his son Kal-El into space, just moments before the planet is destroyed in a fiery explosion. In the ensuing carnage, General Zod (Michael Shannon) escapes and vows to hunt down Superman. Given how it was inspired by a similar trilogy of films by Christopher Nolan, Man of Steel takes some heavy liberties with the current trend of superhero movies; the story is told in both past and present, utilising flash backs that work with both success and detriment. On the one hand it’s good that audiences don’t have to sit through half a film about the protagonist’s origin story like they did with Batman Begins but on the flipside they also make the film very disjointed and as such interrupt the present day action time and time again. Other idiosyncrasies also pollute the plot; over the years we’ve been reminded many times that Superman is opposed to death and brutality but in Man of Steel he launches head-on into deadly combat, only caring about the people of Earth when the plot requires him to. Superman’s confrontation with Zod also seems to throw all logic out the window as the city of Metropolis is destroyed, but is then suddenly rebuilt in about five minutes, making the film’s conclusion completely nonsensical. It’s as if Snyder got so excited about filming the action sequences that he forgot to add in proper structure and sense to the story. Audiences will be able to follow the plot well enough, but the pile of niggling narrative flaws can be too distracting at times.

The casting of Man of Steel is hit-and-miss at best; Henry Cavill does a serviceable job as the titular character as he learns of his purpose and then rises to the lofty task of defeating Zod. Lois Lane (Amy Adams) is decent too; in an interesting twist she doesn’t start off instantly falling in love with Kal-El but it instead builds over the course of the film. Despite mostly being present in flash backs Kevin Costner makes the best impression in a highly emotive and sincere portrayal of Superman’s adoptive father, Jonathon Kent, just how you’d want him to be. But other than these actors, the rest are quite a let-down. Michael Shannon doesn’t bring much depth to the main antagonist, Zod; he’s just a loud and angry villain bent on destruction and nothing more. The other actors, including Russell Crowe and Laurence Fishburne as Editor Perry are either underplayed or don’t contribute much to make their presence felt, a huge disappointment, given the actor’s excellent reputations. The performances in general also reveal the biggest problem with Superman’s latest outing; there’s little to no emotion or drama going on. Long gone are the quiet and sombre moments when Superman would really reflect on his actions and his place in the universe, now he thunders from one action scene to the next for fear that the audience will get bored. Instead it falls upon the flash back sequences to deliver the heart, which they do but when everything else in the film is too serious for its own good, these moments don’t come nearly enough.

If there’s one thing ‘’Man of Steel’’ does undeniably well it’s the special effects. The set designs of Krypton look incredible, even for the short amount of screen time they take up and the final fight in Metropolis shows off some awesome destruction physics. In terms of spectacle, Man of Steel is unsurpassed; the scene where Superman first takes flight is amazing to watch and really does highlight how far we’ve come in the superhero genre. The music compositions by Hans Zimmer are just as epic as they were for Batman, perfectly complimenting the Man of Steel’s rise to being the guardian of Earth. Like the plot though, there also exists little things that really drag the film down to Earth. While it is refreshing to see Superman actually getting involved in battle (and the action is mostly well-shot!), the more straightforward and violent fight scenes in ‘’Man of Steel’’ really don’t work too well for the titular hero; all it amounts to is Superman putting in a few punches, getting knocked down or through a building and then attacking again, then rinse and repeat for the next fifteen minutes. In these sequences, both the effects and even Superman himself seem to forget about the innocent civilians caught up in the battles and there really isn’t much tension throughout, seeing as how the Man of Steel is practically invulnerable. The presentation of Superman’s latest adventure is dazzling to behold but it isn’t without its issues.

‘’Man of Steel’’ tries too hard to be super serious and in doing so forgets to balance out its tone with the emotion and heart that make the best superhero movies. It’s big on scale and spectacle but in the face of the new trend of superheroes the film is merely average.

Rating: 2.5/5 Stars

Robocop (1987) Movie Review

Of all the science fiction films to be released in the 80s, Robocop stands as one of the most treasured and well remembered, in addition to being one of Paul Verhoeven’s best films. Now with the remake coming out this year, it’s fitting to look back at the original.

Robocop is set in the not-too-distant future in Detroit, where crime has all but consumed the city and the police forces, led by the OCP (Omni-Consumer Products) struggle to get a handle on the madness. From this setting we’re introduced to Alex Murphy (Peter Weller), a police officer who is sadistically executed by the ruthless Clarence Boddicker (Kurtwood Smith) in the line of duty. His remains are transformed into the cyborg law enforcer named Robocop who sets about cleaning up the streets and eventually unraveling the truth about OCP and who he once was. It’s a simple and straightforward plot but like many Verhoeven films it goes much further than that; the film explores (and satirizes) many themes including artificial intelligence, the relationship between media, law and society as well as human nature in relation to life, death and business. There’s a good mix of action and mild comedy but then you have scenes that are surprisingly heartfelt, such as when Robocop experiences flash backs to the life he once had. This scene along with the titular character’s ‘’prime directives’’ gives the film the feel of a superhero flick at times; Robocop even has his own theme song when he’s sent out on the beat. The plot also moves along at a solid rate, never stopping for too long and is always ready to throw another memorable scene at you. The only issue I had with the plot was that the climax wasn’t really a climax at all, just a routine shooting gallery that Robocop easily breezes through.

Robocop keeps it strong and simple when it comes to characterization. Peter Weller is capably versatile as both Alex Murphy and Robocop; in fact, the greatest strength of the cast is the way they bring a sense of duality most of the roles. Officer Anne Lewis (Nancy Allen) is Robocop’s closest ally, holding the most sympathy for him but she’s also a tough, no nonsense member of the force who is more than able to hold her own. Dick Jones (Ronny Cox); the senior president of the OCP is bent on cleaning up crime in Detroit but at the same time is willing to tread on anyone in his way to reach the top. Likewise Bob Morton (Miguel Ferrer) is more ethical when it comes to law enforcement but he also seeks to control Robocop at all times, seeing him as a product rather than a human being brought back from the dead. But by far the best of them all is Kurtwood Smith as Clarence Boddicker, one of the best human villains ever made; the man is filled with so much evil and cruelty that you’ll be cheering when he at last gets his due. Although there are some characters that are underplayed such as the disgruntled Sergeant Reed (Robert DoQui), the cast of Robocop nonetheless delivers where it counts with thoroughly well-rounded characters.

The practical effects used in Robocop are varied, interesting and often very well done. The suit designs by Rob Bottin are highly detailed showing off the punishment Robocop goes through while also putting across an imposing image for the law enforcer. The gore is often horrifically gruesome and over the top, fitting into the brutality of crime in Detroit while also staying true to Verhoeven’s style. Even the stop-motion effect on ED-209 works well because it distinguishes itself from all the modern films filled with CGI; this robot is real and was made to perform in front of the camera. The action scenes are frequently thrilling, thanks to some superb editing. The scene where Robocop breaks into a cocaine factory to take on an entire criminal cartel is filled with quick cuts between each of the gang members and more wide views to get a feel for the carnage going on. The futuristic setting portrayed is also very interesting in the way it creatively fiddles with the idea American consumerism and the decaying of the old in the transition to new ideals. The presentation of Robocop, like many other aspects of the film proves that it can still stand up today.

RoboCop was one of the best movies of the eighties but it really shouldn’t be confined to that time period; it continues to be cherished as a science fiction cult classic and having inspired many other works of fiction of film and video games it’s as timeless as ever.

Rating: 4/5 Stars

The Wolf of Wall Street Movie Review

Martin Scorsese is a master of the crime drama; time and time again he has woven detailed and thoroughly engaging criminal tales over the years that define standards in movie-making. He returns once again with ‘’The Wolf of Wall Street’’; arguably his most light-hearted (yet still crazily entertaining) film to date.

Based on the memoir of the same name; ‘’The Wolf of Wall Street’’ follows the life and times of Jordan Belfort (Leonardo DiCaprio) a stockbroker on Wall Street who with his company Stratton Oakmont cheated both the economic system and his own clients to become rich and corrupt with wealth beyond his wildest dreams. All the while, Belfort must attend to the needs of family, friends, and a prying FBI agent named Patrick Denham out to bust him (Kyle Chandler). The film takes place across many countries and several decades that chronicle Belfort’s rise and eventual fall in a similar way to Brian De Palma’s ‘’Scarface’’. Where Belfort’s memoir contained a serious account of his brushes with the law, Scorsese’s vision focuses on the opposite. ‘’The Wolf of Wall Street’’ is insanely over-the-top in every conceivable way; whether it’s the endless shouting, swearing, drug use and sex scenes or how Belfort’s company is quite literally degenerated into a pack of rabid wolves, the film is a testament to how having all this money can corrupt beyond belief. The only problem with all this madness is that it can become very exhausting; a good half of the film is spent watching Belfort and company going completely crazy at parties and in the office. A more serious tone does arrive later but for those who appreciate a more controlled and focused crime drama experience, ‘’The Wolf of Wall Street’’ will be rather jarring at first. Another niggling flaw is the theme of economics that persists through the film; unless you’re a stout follower of the topic, most of the financial tones will go right over your head.

There may be a large cast present but in truth ‘’The Wolf of Wall Street’’ is all about Jordan Belfort and Leonardo DiCaprio once again delivers a stellar performance all around. Belfort is a truly unforgettable character; his narrations of the plot draw you in and even though he spends most of the movie yelling through a microphone there’s also moments where he can show some emotion; the scene where he goes ballistic at the prospect of divorce is particularly strong. Though they never hold the spotlight for too long, the side characters are also solid, especially Jonah Hill who completely nails the drug-addled Donnie Azoff, Belfort’s right hand man. The other members of Stratton Oakmont stick to the basics; Jon Bernthal as a company courier, Jon Favreau as a security supervisor, and Rob Reiner as Belfort’s father among others round off the cast and they play off the main leads well enough, making their presence known whilst never distracting from DiCaprio and Hill. These performances comes at a contrast with Kyle Chandler who is much more stable but often ruthless in his pursuit of Belfort and his cohorts. The writing as with many Scorsese films is sharp, witty and in this case possessed with a great sense of humour; in keeping with the film’s over-the-top vibe the banter between characters and drug-infused shenanigans will often bring a chuckle from many a viewer. But the conversations also work to the film’s detriment; there is a great deal of talking and arguing in the movie and sometimes the voices of the characters can drone on for a bit too long, unnecessarily lengthening the film when the next major plot-line could be brought in.

‘’The Wolf of Wall Street’’ may not be Scorsese’s best film but with a brilliant performance from DiCaprio and an all-around crazy vibe, it’s another entertaining and downright hilarious movie primed to entertain.

Rating: 4/5 Stars