Review: Gone

Rating: 15

Duration: 94 mins

Director Heitor Dhalia follows suit with another unintelligible thriller that believes it's far cleverer than it actually is. Couple a fairly brainless, run-of-the-mill script with the teen appeal of Amanda Seyfried, and you've got the ingredients for a film aimed solely for the teenage demographic.

Jill (Seyfried) becomes paranoid when her sister Molly (Emily Wichersham), goes missing one night, that it's the same abductor who imprisoned her two years ago. She sets out to prove it, but is ignored by the dismissive police leading us to question whether her sanity is all as it seems.

We're presented with a Veronica Mars style detective, hell-bent on snooping around and asking questions, when in reality she'd no doubt be stopped in her tracks with her nosey disposition. What's even more unbelievable is how she manages to evade the authorities so nonchalantly throughout the film: including local detectives and a multiple police car chase.

Because it strives so hard for accessibility over intelligence, it therefore suffers in engaging on a maturer level: we see a slightly demented Seyfried scurry round, chasing clues and following leads as she manages to completely evade the detectives and police force that are after her. It almost feels like it's trying to replicate a Bourne style caper, albeit it an adolescent one.

Clearly aimed towards a younger, perhaps more susceptible viewer; the script unintelligently slots all the pieces of the puzzle together far too neatly: it feels like a mere paint-by-numbers rather than anything possessing any weight or depth to the mystery. In fact, the plot is so thinly laid out and divulged that any associations with the genre are quickly dispelled and replaced by an unengaging, dull and frequently laborious nothingness.

Yes, Amanda, we're just as baffled as you are

Exposition-wise, it is terribly vague in contextualising any of the featured characters: Seyfried's Jill comes across as slightly neurotic and potentially insane, but we're left to ponder over this. Other characters that should bare more significance are painfully underdeveloped to the point where you simply don't care what happens to them either way, as you're given nothing to work with in the first place.

VERDICT: Gone attempts to throw you off, but this join-the-dots thriller exudes zero intensity with its adolescent style. Seyfried does her best with a woefully dull script and silly dialogue, but can't save it from simply becoming another teen orientated, throwaway mess.

Review: Headhunters

Rating: 15
Duration: 100 mins

Unsurprisingly, Morten Tyldum's Norwegian thriller Headhunters has already been snapped up by the Hollywood machine to churn out what will no doubt be another soulless and take on a film that has no need for a remake. Indeed, it is the European aesthetic that gives this its charm as an art thief thriller movie: if it were set in the bright lights of Las Vegas or the grimy East End of London it wouldn't work.

Aksel Hennie plays Roger Brown; a successful headhunter living way beyond his means: a lavish home and lifestyle to accommodate his pretty gallery-owning wife Diana (Synnøve Macody Lund). Even with stealing expensive pieces of art on the side to subsidise the high-life, his finances continue to buckle; but when Roger discovers that new face in town Clas (Nikolaj Coster-Waldau), has a priceless piece of artwork sitting in his home, the cliched 'one final job' turns out to be far more hassle than ever imagined.

A noble thriller, Headhunter mixes an enjoyable intenseness with some dark comic undertones. Surrealism plays a part as the twists and turns remain rawly believably, yet enjoyable enough to be swept along with the demands of the script. Not only does the story flow well, but it's often done without the use of dialogue or exposition: our protagonist's actions speak louder than words, often resulting in silent scenes that serve a much more powerful purpose.

Performances are solid - especially from Hennie - as the film builds momentum quickly, the intensity and desperation of the character resorts to some extremes that form some gripping moments and culminates in a Tarantino-inspired climax. Couple the stylistic influences with the scenarios and atmosphere it creates by itself, and you're left with an entertaining thriller that, whilst treading through the motions, does so in a well executed manner.

The conclusion plays out nicely and ties up well. In fact, we are given some endearing explanation to tie off loose ends, which is something a lot of films tend to leave to the imagination. However, here it works, leaving a pleasing and slightly whimsical taste to the whole affair. It certainly bodes a slickness that does its job well, even if it doesn't tread new ground.

VERDICT: Headhunters isn't the most original or greatest thriller you're likely to see, but in the context of the genre, it's a frantic, fast-paced and at times frenetic tale that satisfies with its reveals and succeeds to engage its audiences over an enthralling 100 minutes.

Review: The Hunger Games

Rating: 12a
Duration: 142 mins

Like John Carter, The Hunger Games is the second blockbuster-type to be released in March and bodes some similar traits: it's a healthy budgeted sci-fi adventure based on popular literature. However, the elements that unfortunately fall flat for the former are atoned here. By contrast, The Hunger Games is, by and large, a much more consistent and stronger film that emotionally touches, visually thrills and narratively engages.

Fortunately, this is not a film executed in the same fashion as teeny sensation Twilight either, and instead adheres to a maturer, more dignified stance, whilst still catering for its intended younger demographic. The 12a rating might appear restricting, but after a reported seven seconds of footage was removed in order to downgrade it from a 15, one can forgive such actions, as the impact is still there. 

The one element that stands out in a negative capacity is the excessive use of the 'shaky cam' effect, especially near the beginning. If used appropriately, this technique can deliver to devastating effect - take The Blair Witch Project for example - but here it isn't required, especially during non-action, uneventful sequences: the unnecessary disorientation will have audiences breathing a sigh of relief when, in stark contrast, it cuts to a wide, static shot. In the film's context it's slightly bizarre, yet somewhat forgivable.

The story is based in the future; set in a dystopian America where the country is split into twelve districts overruled by the Capitol. Each year two tributes are randomly selected from each district - one male and one female - and are trained and mentored before being thrown into a regulated forest where they must kill or be killed; rendering the remaining survivor the winner, culminating in a reality TV style satire. Think along the lines of Battle Royale meets The Running Man meets The Truman Show, and you get a sense of the concept. The juxtaposition of politics and reality television are interjected, as an effect on one can have direct impact on the other.

The setting, in an unspecified year, generates the strong sci-fi visual element: the weakest locations are the slum-like districts that, in truth, were not shown all that often. However, the Capitol, which is the thriving, luxurious city, is well conceived. What takes the shine off the interesting technology and pleasurable aesthetic of the surroundings are the costumes. Deemed 'futuristic', it's a little heavy-handedly conveyed, as the use of psychedelic hair, flamboyant outfits and, most notably, the inventive beard designs, which screams 'typical funky image of the future', rather than something more believable, as it detracts from the rest of the set up.

Jennifer Lawrence gives a solid performance as Katniss; a young woman who volunteers herself in place of her little sister that's unluckily chosen. Along her journey through the live televised Hunger Games, she involves herself in alliances, tragedy and some fight-to-the-death scenarios. Her character is layered, and gradually reveals itself throughout the story; complemented by a supporting role from Peeta (Josh Hutcherson), and what can only be described as a handful of appearances from Liam Hemsworth, as close friend Gale.

Katniss's journey is an engaging and thrilling experience, as she hunts and strives to stay alive with the pace constantly switching, bar the single saddest moment of the film, which feels too drawn out; forcefully attempting to pull at the heartstrings. Thankfully, the length of the film doesn't prove taxing as the flow of the story pulls you in, you will see the two-and-a-half hours as nothing less than an entertaining and thrilling piece of science fiction.

As previously touched upon, the use of the 'shaky cam' is exacerbated - specifically towards the end - in conjunction with claustrophobic, super quick cuts that go beyond the point of disorientation. Whether this is, at times, to disguise the violence is debatable. However, in some scenes it really is unclear as to what is happening when this unpleasant technique rears its ugly head.

The final ten minutes, of what is a long film, actually feels rushed; almost as if the director realises near the end of the shoot that they've ran over and need to jump from quick scene to quick scene  in order to bridge a resolution.

VERDICT: Creating a convincing and enjoyable sci-fi flick is one thing, but achieving consistency and quality throughout is another. Fortunately, The Hunger Games succeeds in both, keeping the story and action grounded, especially without overdoing it on the CGI front. Interesting political undertones provide an aftermath of speculation that nicely conclude the film as a single entry, but sets up further conflicts for its inevitable sequels.

NB: Amidst a rather tense forestry scene, prepare yourself for one of the most inappropriately hilarious moments that even the likes of Noel Fielding will be proud of.

Blu-ray Review: The Debt

Based on an Israeli film from 2007, this American remake of The Debt is penned by Kick Ass scribes Matthew Vaughn and Jane Goldman and is directed by period drama enthusiast, John Madden (not to be confused with the ageing NFL ex-pro and commentator).

With the original gaining little attention at the time, the heavyweight ensemble of this version alone earns it more attention and not just because it stars the legendary Helen Mirren. She's joined by rising talent Jessica Chastain, who plays the younger version of her, as well as the likes of Tom Wilkinson, Ciarán Hinds and Sam Worthington, too.

The story takes place in 1997 where Rachel (Mirren) is thrust into the media spotlight as she (and more so her daughter) promotes her book of memoirs from her time serving in the mid 60's as a Mossad agent in Israel, as she- along with team members Stephan (Tom Wilkinson) and David (Ciarán Hinds) - attempt to track down and capture Nazi war criminal Dieter Vogel (Jesper Christensen). 

The story frequently shifts from one time period to the other; as we witness the younger versions of the trio (including Marton Csokas as Stephan and Sam Worthington as David, respectively) undertake their mission as an intriguing plot and tense thriller unfolds.

Notably, the acting is great, especially with the talent involved, however their questionable accents are the obvious flaw in an otherwise strong array of performances. Whilst it would seem Chastain has been in pretty much everything in 2011, this is by no means one of her stronger contributions, yet she competently portrays an emotionally layered role convincingly, with worthy support from Csokas and Worthington at her side. What unfolds is a dangerous game of secrets, lies and cover ups as a gripping against-the-clock scenario presents itself. What's more is that the central characters embark in an emotionally provocative love triangle that has repercussions both in 1965 as well as 30 years later.

The script is well written and tightly structured, as the bulk of the plot takes place during the 60's; the decade switches aren't as confusing or poorly executed as one might expect, but are expressed coherently and should avoid disorientating viewers.

VERDICT: The Debt ultimately lacks that killer touch and the level of high suspense that transforms it from a great thriller to a superb one. However, solid acting coupled with a well paced exploration of its character arcs prove that sometimes a remake can succeed, as Madden invites his audience to experience the thrills and intensity this has to offer.

DISC EXTRAS:

A Look Inside The Debt
Every Secret Has A Price: Helen Mirren In The Debt
Feature Commentary With Director John Madden & Producer Kris Thykier

Very disappointing if truth be told, with only a couple of minutes of interviews and footage that are repeated in both the featurettes.


FILM:       ★★★★
EXTRAS: ★★


The Debt is out now on Blu-ray & DVD.