Due Date Premiere Interviews

Chatting to Director Todd Phillips, Robert Downey Jr and Zack Galifianakis on the red carpet for the European Premiere of Due Date in London

Due Date Review

In Due Date, a highly strung father-to-be Peter (Robert Downey Jr) is forced to hitch a ride with an oddball aspiring actor Ethan (Zack Galifianakis) on a disastrous cross country road trip, in order to make it to the birth of his child on time.

The astounding global success of The Hangover has burdened director Todd Phillips with a huge weight of expectation. People simply expect to be laughing long, hard and often at his films. Due Date offers some good quality laughs, but not as frequently as some may have hoped. It's a little darker and more sullen in tone than the zany silliness of The Hangover.

Much of the success of The Hangover has been attributed to the bearded insanity of funnyman Zack Galifianakis and Due Date also relies heavily upon his nuanced awkwardness for laughs. The key to good 'buddy movies' is that not only do we have to feel sorry for the normal guy stuck with some irritating loser, we also have to feel sorry for the loser. It's a fine art to be obnoxious and sympathetic at the same time but Zack Galifianakis manages it fairly well. He has the sort of pathetic vulnerability that makes it impossible to loath his moronic oafishness.

In sharp contrast, Robert Downey Jr has emerged from the shadow of a bad boy reputation to establish himself as one of Hollywood's most charismatic and effortlessly cool leading men. Sublime star turns in Iron Man, Tropic Thunder and Sherlock Holmes have helped him become the household name he has always deserved to be. If Due Date is a big hit it will be largely thanks to his A-list allure for audiences.

It's an oversimplification to say that Peter (Downey Jr) simply plays the straight man to Galifianakis acting weird. There's a furious and slightly unhinged quality to Peter. He's essentially a good guy, but he's not above punching a child or rage induced animal cruelty. A less likeable actor could have easily left the character feeling like a hysterical bully.

Due Date's plot and characters draws obvious comparisons with classic road movie "Planes, Trains and Automobiles", but it's grungy gross-out humour doesn't have quite the same warmth to it. It's certainly interesting watching our mismatched duo lurch their way through a series of escalating fiascos but it's not always joyous.

If you're a fan of The Hangover this should keep you happy till the sequel comes out next year. If you don't quite get the Hangover hype then you won't get this either.

The Runaways Review

Twilight stars Kristen Stewart and Dakota Fanning take a raunchy vacation from angst ridden vampires by starring in coming-of-age rock biopic The Runaways. Unfortunately the film isn’t nearly as thrilling or fun as a guilty pleasure should be. Like a disappointing rockstar, the film pouts and postures, but fails to entertain. It’s all just a little too self-assured in its own allure.

The Runaways is loosely based on lead singer Cherie Currie’s autobiographical account of life in the 1970’s all-girl rock band. After just a couple of years of successful notoriety they’re best remembered now for a handful of songs and the subsequent solo success of guitarist Joan Jett. What’s most remarkable about their story is how unremarkable it is. It’s the generic story of every promising band that ever fell apart.

Michael Shannon plays the band’s loathsome manager Kim Fowley, who plucks the girls from obscurity to craft them into stars. It’s a painful rock and roll cliché to watch a sleazy manager exploit naive young wannabes. He directs a never ending stream of abusive motivation at the girls, but it’s a little too vile and nasty to be enjoyably comedic. Maybe that ugliness is intentional and an accurate reflection of the true nature of rock and roll, but it’s not fun to watch.

Casting former child starlet Dakota Fanning as the increasingly debauched and damaged Cherie will draw mixed reactions. There’s a sharp contrast between her previously innocent image and her character’s hedonistic self destruction. It’s an awkward juxtaposition and can be distracting for an audience. It doesn’t help that Cherie is also an increasingly unlikable character, making it hard to sympathise during her predictable downward spiral.

Opinion is divided on whether Kristen Stewart’s stalwart refusal to smile on camera constitutes talented performance or just unappealing glumness. Armed with a mullet and a leather jacket she does an impressive impersonation of Joan Jett. Unfortunately a shallow script doesn’t allow her to prove she’s capable of more than simply sullenness. Likewise the other band members and supporting characters barely have any presence or personality.

There are a lot of great films examining the infamous pleasures and perils of rock and roll. Unfortunately The Runaways is neither satirical nor effectively poignant. The film seems to try and revel in rebelliousness and lament lost innocence at the same time. It’s a confusing contradiction. Unless you have an existing fondness for the band or the cast of Twilight, The Runaways probably won’t be that captivating.

Scott Pilgrim Creator Interview

Scott Pilgrim creator Bryan Lee O'Malley chats while meeting excited fans at Forbidden Planet in London ahead of the red carpet European premeire of Scott Pilgrim vs the World. Bryan talks about the origins of Scott Pilgrim and his real life inspirations. He shares the secrets of mysterious dreamgirl Ramona Flowers and the seven evil exes. Bryan also shares his artistic and video game passions and his excitement for seeing his creation on the big screen. Full movie review below

Scott Pilgrim vs.The World Review

For those unfamiliar with the epic awesomeness of Bryan Lee O’Malley’s graphic novels, the basic plot of Scott Pilgrim is both devastatingly simple and brilliant. Awkward twentysomething slacker Scott Pilgrim (Michael Cera) has to fight and defeat the seven evil ex-boyfriends of his mysterious dream girl Ramona Flowers in order to date her. Set in a world fuelled by ninjas and alternative rock, it’s a perfect metaphor for the painful obstacles people readily overcome to be with someone utterly unobtainable and alluring.

Director Edgar Wright is rapidly distinguishing himself as an impressive indie-savant. His unique talents for fusing nerdish pop-culture with intelligent visual comedy are a perfect match for O'Malley's own genius. Wright is completely fluent in the language of cherished video games and old kung fu movies that defines the world of Scott Pilgrim. His flair for rapid fire editing and joyous insanity also made him just about the only person equipped to bring Scott Pilgrim to the big screen.

Michael Cera’s signature brand of post-adolescent awkwardness divides opinion intensely. His nuanced shyness treads a fine line between indie charm and irritation. Cera’s fiercest critics have accused him of being a one note performer overly reliant on geek-chic. Whilst deploying all his typical mannerisms, Scott Pilgrim does also add determined anger to his repertoire of emotions. But if you still really can’t stand Michael Cera, at least you can console yourself with seeing him repeatedly punched in the face and thrown through walls.

The film’s fight sequences are a dizzying explosion of colour and motion, propelled by a blistering paced garage rock soundtrack that sound exactly like a rush of adrenalin in sonic form. Understandable doubts about Cera’s action hero credibility melt away instantly as we witness him efficiently dispatch foes with brutal Kung Fu combos or a flaming Katana sword. The only danger is that the neon blur of computer game graphics might cause a sensory overload for some people. There’s an awful lot of information and imagination thrown at audiences.

The film does differ from the graphic novels, particularly in its later stages. Subplots are sacrificed and simplifications made in the quest for fluid storytelling and a run-time less than two hours. But the movie remains fiercely faithful to the tone and style of the books; preserving practically all of their humour, heart and raw visual charm. The film sets a new standard for seamlessly integrating comic book art and wonders into a credibly mundane real world.

Beyond the debated charisma of Michael Cera, Scott Pilgrim has a likeably magnificent supporting cast. Particular highlights include Brandon Routh’s amusingly vacant vegan rock star and newcomer Ellen Wong as an adorably infatuated high schooler. Mary Elizabeth Winstead is also perfectly aloof as Ramona, the understandable object of our hero’s affection.

If you’re a fan of Wright’s previous films or the original graphic novels, then this will be a satisfying 112minutes of familiar magic. For the uninitiated, this will still likely be an enjoyable ride, unless you have a particularly strong aversion to Michael Cera. Go see Scott Pilgrim vs. The World... the winner is you

Marmaduke review

The miracle of CGI has created a monster, an unwelcome tidal wave of talking-animal comedies. Now, with the novelty of watching lips move on animals wearing dangerously thin, Owen Wilson lends his likeable voice to a Great Dane called Marmaduke. In a film based on the inexplicably long running and rarely amusing newspaper cartoon.

It’s a real challenge to stretch a one joke comic strip into a feature length story. So the film predictably relies on all the familiar elements of a standard family comedy. A success-hungry father drags his reluctant family and troublesome pet dog to a new life in California, where his demanding boss keeps him too busy to notice his unhappy children. Meanwhile, our canine hero has to deal with doggy social cliques, love interests and a pedigree bully in a new park.

The most magical films are those which have the power to enchant children and adults in equal measure. Unfortunately, Marmaduke panders aimlessly to both audiences and rarely satisfies either. A few misplaced pop culture references won’t keep mum and dad interested and young kids will likely grow grouchy at the surprising lack of silliness. It’s impossible to avoid unflattering comparisons with the wealth of wonders that Disney and Pixar have gifted to the world.

The most confusing thing about Marmaduke is that the film seems frequently targeted at teenagers, the one demographic guaranteed to avoid watching it at all costs. Marmaduke’s journey of self discovery, as he loses sight of his real friends in an effort to fit in with the popular dogs, is borrowed heavily from classic teen movie Mean Girls. Different doggy breeds are an easy analogy for high school social clichés but it’s not that relevant to an audience of toddlers and grownups.

It’s surprising how much vocal talent has been lured into this film. Kieffer Sutherland, Emma Stone, Christopher Mintz-Plasse and Sam Elliot all do their very best with mostly recycled material. But even Owen Wilson’s resilient charms can’t disguise a lack of genuine wit in Marmaduke’s constant narration. The film’s real problem is that the essence of almost every joke is the same. It’s all supposed to be funny because the characters act like people but really they’re dogs.

Twenty years ago a genuine talking dog would have been a must see attraction, but sadly they don’t impress anyone in a world where meerkats sell us insurance on TV. Pigs, Gerbils, Chipmunks and Chihuahuas... they’ve all talked and shamefully we’ve listened. But it’s not enough anymore, unless they have something new to say and Marmaduke doesn’t.

If you’re looking for a film that allows you to combine your mutual love of dogs and Owen Wilson you’re better off sticking with your Marley and Me DVD.

The Expendables

This film is an unprecedented act of muscle-bound unity. A vast posse of waning action stars have thrown themselves together in one film in the hopes of creating a macho supernova dazzling enough to impress their collective army of fanboys and save them all from a tragic fate of straight to DVD sequels. Written and directed by Sly Stallone, it’s a brave effort to recapture action hero glory which doesn’t quite succeed.

The film’s plot is standard issue B-movie fare. An elite team of mercenaries gets hired by the CIA to take out a local tyrant and his drug dealing puppetmaster on an obscure South American island. It’s an obvious suicide mission which predictably turns personal and explosive. By the looks of things the script was basically the phrase “It blows up!” written about a hundred times in very angry crayon.

To give the film its fair dues, they really do blow up an awful lot of stuff. Helicopters, trucks, buildings, people... it turns out absolutely anything can explode. The films’ hulking cast is also very gifted at punching, stabbing or shooting other people in the face. Clearly, they’ve had practice. There’s an abundance of bone crunching brawls and excessive CGI blood splatter to keep genre fans happy. It’s grisly and ruthless, but lacks much of the one liner charm of the best old school action flicks.

Sly Stallone, Mickey Rourke and Jason Statham have never been great enunciators, but their growling mumbles leave portions of this film in dire need of subtitles. For most movies this would be a major problem, but it probably won’t bother fans content with big bangs and bruising mayhem. It helps that the intricacies of the plot can be explained in one sentence and the cast basically play broad stereotypes of themselves.

The Expendables’ most interesting scene is the much hyped but brief onscreen union of Stallone, Bruce Willis and Arnold Schwarzenegger. It’s hard to imagine a more curious and unlikely spectacle than seeing these three titans of testosterone together at last. It’s just a pity that Arnie couldn’t be persuaded to make more than a token appearance at the party. That really would have been worth watching.

The Expendables squeezes every drop of adrenalin leftover from the 80s and 90s into one glass, but unfortunately it still feels only half full. The films’ parade of familiar faces will delight hardcore fans, but mostly misses the opportunity for greatness and self-referential humour. A mix of curiosity, nostalgia and star power should guarantee box office success. It might even force a sequel. Let’s just hope it’s not straight to DVD.

Knight and Day Red Carpet Interviews

Chatting to Tom Cruise and Cameron Diaz on the red carept at the UK Premiere of Knight and Day.

James McAvoy Interview

Helen Mirren Interview

Up in the Air

It’s tempting to suggest that Jason Reitman has inherited his considerable talents as a writer and director from his father, the popular filmmaker Ivan Reitman. However, the truth is that Jason Reitman’s films have a humour, wit and sophistication which is entirely his own. His latest film ‘Up in the Air’ represents the finest work yet of his short but dazzling career.

Ryan Bingham (George Clooney) spends his life in the skies, travelling across America to use his well practiced charm to give people the bad news that they’ve lost their jobs. He carries his entire life in one small suitcase and prefers the perks of first class travel to the baggage and problems of real life on the ground. But when he is forced to mentor a naive young protégé and makes an unexpected connection with a beautiful fellow traveller, he finds his selfish attitudes and solitary existence challenged.

Reitman’s impressive debut ‘Thank you for Smoking’ focused on an arrogant tobacco lobbyist and his Oscar winning follow up ‘Juno’ was a comedy about teenage pregnancy, both demonstrated an impressive ability to achieve the delicate balance between comedy and drama. ‘Up in the Air’ matches and exceeds these achievements by once again gracefully blending hilarity with intricate social themes and affecting personal drama.

It would be natural to assume that the film’s backdrop of corporate downsizing is knowingly topical and designed to grab the attention of a world in the grip of serious financial crisis. However, Walter Kim’s original novel was written in 2001 and Jason Reitman spent many years trying to bring his adaptation to the big screen. In that time, worsening global economies have turned the theme of unemployment from a coincidental plot device into a serious focal point for audiences. Scenes of loyal employees being unceremoniously fired are now too uncomfortably close to the real world to be a source of easy comedy. But thankfully, the film and its superb cast handle this delicate subject matter with intelligent sensitivity.

The film’s close relationship with reality lends it an aura of authenticity. In fact, with the exception of a few star cameos, Jason Reitman chose to use real life victims of recession instead of actors to help capture the true emotions of scenes where Ryan dispatches the workforces of cowardly businesses. The sincerity and effectiveness of these exchanges gives the cast a solid ground upon which to build their own dramas.

As the world’s most famous eligible bachelor, George Clooney could be dismissed as a very obvious choice to play the role of a man who refuses to be tied down by love, family or relationships. However, playing a character that invites such obvious and potentially unwelcome comparisons with his own life is a brave decision for the actor. It’s true that in many ways this is another typical Clooney performance, but it’s also a particularly brilliant and subtle portrayal from one of the best actors of his generation.

Actors often speak of finding the ‘role of a lifetime’, in this case it could be said that George Clooney has found the role of ‘his lifetime’. This film provides the perfect opportunity to explore his suave public persona and delve beyond the charming Hollywood idol status which has shadowed much of his career. Seeing glimpses of uncertainty and loneliness gradually emerge beneath Ryan’s confident facade is like watching a magician accidentally reveal his secrets. It’s fascinating to see the true vulnerability of someone you once believed to be magical.

While much of the film's focus is on Clooney’s magnificent central performance, the powerful supporting cast is just as essential and enthralling. In Hollywood films, lazy writing often seems to leave the roles of women as two dimensional stereotypes. In contrast, some of the most impressive qualities of Jason Reitman’s films are the strength and complexity of his female characters.

In ‘Up in the Air’ Vera Farmiga is ultimately alluring as Alex, a ‘love interest’ who is every inch the confident equal of Ryan’s debonair lone wolf. The intensely charged chemistry between these two characters is a thoroughly believable catalyst for Ryan’s re-assessment of what really matters in life. Anna Kendrick is similarly magnificent as Natalie, the girl that Ryan reluctantly takes with him on his travels. Her naive enthusiasm for life and love represents the film’s most direct counterpoint to Ryan’s jaded and selfish cynicism. It’s a role that could very easily have become an annoying cliché, but instead it gives the film another dimension of dry wit and thoughtfulness.

Both actresses’ performances have already earned them significant award recognition and this is likely to be continued with nominations at this year’s rapidly approaching Oscar ceremony. It will not be a surprise to see Jason Reitman and George Clooney join them on stage to be similarly rewarded for their own astonishing work. 'Up in the Air' demands attention and acclaim as a smart graceful commentary on our uncertain times.