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.