The Forty-Three Thoughts I had while watching A Deadly Adoption (2015)

The few months preceding the TV debut of this Lifetime movie were filled with doubt that it even existed, and the nature the film would take if indeed it did. Ferrell and Wiig released several statements claiming the movie was a hoax, and that it would never be made, and then admitted that it would and so on and so forth. This invariably piqued my interest, which says nothing of the films interesting plot or even of the star quality of the films leading roles. It does, however, tell you everything of my gullibility to publicity stunts. Even when I know something is a publicity stunt, I still burn to see it and satisfy the curiosity that was brought about by fake campaigns and righteously indignant actors who feel so betrayed that their movies were leaked ahead of time (ahem, looking at you Rogen and Franco). Of course, what is genuinely interesting (or is it?) about this film is that it’s a Lifetime movie. You know? The type of film that claims to be inspired by true events and that they show on channels like 5* at 2am, and particularly at Christmas, when they know we’re all trapped by our inability to cope with cold weather and darkening skies. It’s not just any Lifetime movie though. It’s a satire Lifetime movie. A spoof with two comedy veterans no less. Which can only mean one thing, obviously – it will either be brilliant, or even worse than the genre it is spoofing.

No time like the present to find out.

Okay, so the film is two minutes in and I already know that Will Ferrell is an alcoholic, a past-his-prime writer, and responsible for his wife’s miscarriage. Oh how I love a film with no subtext.

Should I find this flashback showing the tragic loss of their unborn child so funny? I feel like a bad human right now. Seriously though, I can’t stop laughing. I can feel the bad karma points just wracking up. *Its like those slot machines in casinos that make that incessant beep-beep sound when you've won and dispense coins, except in my case, its bad karma and I have hit the jackpot* 

So the pregnant chick just ripped up a picture of Wiig and Ferrell. CRAZY BITCH ALERT. (…no shit Rachel, it’s called A Deadly Adoption…)

Why is Will Ferrell’s hair so blonde? He looks like a 50 year GP from a Southern Belle TV programme.

So Ferrell can’t go on a book tour because last time he partied and blacked out and this is really bad. Hmmm, maybe I should reconsider how I’ve spent my life so far…?

They’re having a moment whilst discussing sunblock? Ugh, no wonder I haven’t found a boyfriend! I’ve been missing all of the deep-rooted conversational topics. *Note to self: talk about sunblock and insect repellent the next time you see a really hot guy and you will be married within six months* I’m going to call it the Will Ferrell guarantee.

Ewww, according to this guy that Wiig should clearly be with, men just can’t get enough of those six-month pregnant women. Really? I mean I know people have weird fetishes, but how could that be a turn on?

Oh she’s having a secret phone conversation. Yet more evidence that SHE IS A BADDY.

Should she really be drinking coffee when she’s pregnant? Doesn’t that stunt the babies growth? (In all seriousness, I wonder how much coffee my mam drank when she was pregnant with me.)

Well clearly crazy-pregnant-girl is creepily watching that little girl sleep because she’s not really pregnant and she wants her own kid. Though frankly she has taken a very unnecessary and confusing course of action in pursuit of this goal. Moron.

Of course crazy-pregnant-girl has an extensively tattooed boyfriend wearing a wife beater with greasy hair, because there wasn’t enough Lifetime-movie clichés in this Lifetime movie as it is.

No wonder housewives love these films, it’s hilarious-yet-addictive predictability galore.

The pregnant chick (what the hell is her name?!) is telling the little girl that she can’t trust men. Steady on, you don’t wanna ruin her teenage years just yet, she's only six years old. She's got plenty of time to have her romantic illusions shattered by the male species' inability to live up to the expectations forced on us by films.

DUDE! Don’t tell her you don’t love your wife when you’re going to adopt her non-existent baby. That should be like the first rule in the When Adopting a Baby Handbook – do these fictional fathers know nothing?! (I’m looking at you Jason Bateman from Juno).

Okay on second thought, don’t trust the pregnant chick. She’s smiling and being cryptic. I hate people who smile too much. Gives me the creeps. People who smile too much almost always have an agenda.

Dun-dun-dun. She’s wearing a fake bump and the kid has seen. That kid is totally getting murdered now. P.S. I was right about that agenda. Go me.

Okay, so now we’ve got a flashback showing that Will Ferrell and the pregnant chick had a drunken one night stand ages ago and we’re expected to believe that he just forgot this? SERIOUSLY. This is actually hilarious. You don’t forget the face of the person you recently slept with; I don’t care how drunk you are.

So the child has been kidnapped and the pregnant chick is using a false name. This is all happening way too fast, I’m so confused. I am clearly an idiot.

God, I wish Ferrell would dye his god-damn hair and I wish Kristen Wiig would stop talking about ORGANIC FOOD. UGH. (Okay, so she hasn’t discussed organic food for a while now, but I can’t stop thinking about it, she’s so stupid JUST STOP IT KRISTEN)

So this dude who’s in love with Wiig has just described the getaway vehicle as “old, not too old though”. Good going there, you’re being SUPER helpful. They’re totally going to find the kid now.

Why does putting clip-in blonde and purple streaks suddenly make the pregnant-but-not-actually-pregnant chick a badass? My childhood experiences tell me this is most definitely not the case – a purple streak does not a badass make. My words of wisdom for the day.

Don’t follow the bad guy by yourself dude-who-should-be-with-Wiig, you will get murdered and Kristen Wiig will cry because you’re a dumbass

He just got punched and the screen went black I TOLD HIM NOT TO DO IT WHY DON’T CHARACTERS EVER LISTEN

I think I should just write a film where people make only logical choices that way they won’t get shot needlessly

Gotta love a film with a slow-motion shot of litter rolling softly through the wind. How American Beauty of them…

Kristen Wiig you are a comedy BADASS kick this crazy bitch in the face. Screw the gun, you should just slay her with your vicious, vicious words

Finally, a bitch fight

Oh, I genuinely thought Wiig would win that one. A for effort I guess

Will, your wife is in the car being poisoned get off your ass and SAVE HER

OH-MY-GOD he’s face after being shot, that was my second favourite part of this movie. It’s the expression one would wear when a friend tells them they look a little fat, not the expression you would associate with agonising pain. I’m so happy right now.

Will Ferrell doing a slow-motion dive for a gun was never gonna end well was it? He just doesn’t have the right build. Not to mention he didn’t jump with his legs. I know all the moves, I should just be a professional stunt coordinator and maybe his stunt double.

Why are the people in this film getting shot and handling there fatal wounds so well? Like seriously, this dude was shot in the stomach and all he can muster is a feeble “Ow”?! You're literally going to die, why can't you have an existential crisis or something?!

Note to self: readjust expectations and stop being uptight. Its a Lifetime movie. *practices calm breathing* (I am legitimately practicing calm breathing as I watch/write)

Will Ferrell is having a slow-motion superman moment and I am getting so god damn sick of all of this slow-freaking-motion. Stop. It. 

I mean I should probably preface this entire thing by acknowledging that I know it’s a shoddy lifetime movie, but seriously, why are Ferrell and Wiig being so pathetic? Grow some balls guys and maybe tell a joke or something. I don’t know, I’m just spit balling right now…

Ferrell has walked into the middle of the road to stop the crazy bitch from driving away. I hope he ends this whole thing by holding out his arm and shouting NONE SHALL PASS. That would be such a beautiful moment

Why is the little girl clutching her stomach like that? She doesn’t look like she is in need of her diabetes medicine, she just looks constipated.

Oh would someone just shoot the crazy bitch already, maybe then the slow-motion will end.

Nope. Even when she gets shot we still get slow-motion. Writing the words “slow” and “motion” is starting to fry my brain. I am losing the will to live.

At least Wiig finally grew some lady balls

Oh my god, they’re seriously going to end this with a cheesy dance party? I literally want to kill myself and yet I can’t stop smiling. I’m ashamed of myself right now.

It’s finally over. I feel so overwhelmed.

Meryl Streep’s line from Doubt keeps running through my mind. Meryl feels the feels that I feel which is kind of ironic because that’s the only film of Meryl’s that I was never too keen on.

So its official, A Deadly Adoption might be the best worst thing I have ever seen. Like Meryl said – “I have such doubts”. One thing I can say of this film is that it made me realise a lot of things about myself as a person - specifically that I should really try to avoid these types of films at all costs. Spoof or not. Mainly because they impair my ability to write without an exclamation mark every other sentence, which is obviously the end of the world. 

The Affair - Episodes 2-6

Okay, so yeah, the whole episode-by-episode review thing didn’t quite pan out. I have a good reason though. Well, no, not really. Unless you count binge-watching and not wanting to stop this cycle of binge-watching to write a review a good reason?

My binge-watching and neglect of the reviewing does prove something about this show though – that being how mind-consuming and brilliant it is. Honestly I was hard-pressed to write this, but I figured if I left it too long then it would be pointless even writing my thoughts down, because who’s gonna wanna read a review that skips so many friggin’ episodes. Anyhoo, enough excuses and pointless rambling…

The plot has definitely thickened between these two characters, as you would expect for a show called ‘The Affair’. Episodes two and three concentrate primarily on establishing a foundation for the relationship between Noah and Alison. It’s not quite just lust that motivates the endless sex between them anymore, but an understanding of one another and an understanding of the fact that both are completely dissatisfied with their marital lives. What starts off as an undeniable attraction soon becomes a relationship where the two admit things to each other that they fear to speak about or admit to anybody else in their lives. When Alison confesses to Noah the death of her son and explains that sometimes she cuts herself to relieve the pain, you can sense a palpable change in the dynamic between the characters. This scene is quickly followed by yet more sex, except it isn’t just sex this time but something more. I hesitate to use the expression ‘making love’, a. because I detest that expression and b. because they’ve barely known each other a week, but it’s definitely a step in a less detestable direction.

As for the personal progress of the characters themselves, I remain loyal to my initial summary in the first post. I still dislike and distrust Noah. There is something about his character that just screams ‘secret sociopath’ and every time I look at the guy I question the sanity of Alison for picking him over her constantly loving and supporting husband Cole (but maybe that’s just because he’s played by Joshua Jackson who was basically the love of my life during my formative years when he played Pacey from Dawson’s Creek). I think the crux of my problem with Noah is that I feel like during his perspectives he is painting Alison out to be something she’s not. The guy has an ulterior motive, of that I have no doubt. Because don’t forget, at the heart of this romance lies a murder mystery, a murder mystery that undoubtedly involves Noah and Alison in some way. The victim, by the way, is none other than (SPOILER ALERT!!!) Scotty Lockheart – Alison’s brother-in-law and, might I add, one fine specimen of a human being. Could it be that Noah murders Scotty because he starts a secret affair with Noah’s 16 year old daughter? It would certainly be an interesting twist and would explain why Alison would help keep Noah out of the firing line with regards to the endless police questioning the pair face. PLUS, who says the show is about Alison and Noah’s affair at all? Scotty is married after all… OH SNAP, mystery solved by yours truly. (No but seriously, don’t listen to me because anybody watching the show would have jumped to that conclusion almost immediately. It ain’t gonna be that easy.)

Moving swiftly on… My love for the character of Alison is unwavering. That woman is so damn vulnerable and relateable I can’t help but think that she’s just being taken advantage of in her grief. She is clearly very damaged, and though she tries to put on a brave face and get on with her life, it’s very obvious that it’s just an elaborate act. Some of the reveals within the last 4 episodes though certainly do colour my opinion of the future Alison. For one, she is married (and since she was already married to begin with I can only assume it’s to somebody different) and what’s more she also has a child. This really makes me wonder how far in the future these characters are reminiscing from, because the Alison we see being interviewed by police is far removed from the Alison conducting an illicit affair in the midst of grief. Future Alison seems more aloof, calmer and collected. I get the sense that she is hiding something big, and as odd as it sounds the juxtaposition of past Alison and future Alison makes me uneasy. Clearly this show has a lot more to give and explain before we’ll finally find out what happens between this messed up pair and their involvement with Scotty’s death.

I’ll leave this post with both a friendly warning and deep encouragement. Foremost: FOR THE LOVE OF GOD DO NOT WATCH THIS SERIES WITH YOUR PARENTS/FAMILY. THERE IS A LOT OF SEX AND GRAPHIC CONTENT (AND I MEAN A LOT), SO JUST STAY AWAY. Secondly, apart from the fact that you should avoid watching with family, you should definitely not avoid watching. Its compelling, complex and absolutely must-see TV. 

A rambler's rating? 

The Affair - Episode 1 (2014)

I’m a bit confused as to how I should start this post to be honest, because I’ve literally just finished watching the first episode of this programme and I’m…well, I’m at a loss for words. It’s completely spellbinding and intriguing, and I want more. A lot more. Like, right now.

The episode is structured into two sections, the first half narrated by Dominic West’s character Noah while the second half is narrated by the gloriously talented Ruth Wilson as Alison. Both half’s tell a story that follows the same pattern with odd details here and there altered, to reflect how memory can distort a person’s opinion of events. The first half begins with West, showing him go about his routine as a happy (or relatively so) family man set to vacation with the in-laws for the summer. It’s typical in its portrayal of the dissatisfactions one can feel when they feel there life is becoming stale. He seems vaguely fatigued by the role he has taken on in life, but not enough to make the viewer question his loyalty to this life. When he meets Alison, the connection seems instant. She is sexy and mysterious and everything he doesn’t have. She is the siren come to ruin him. We see this emphatically so when, after walking her home from a beach party at night, she invites him to view her outdoor shower, and then to use it. When he politely declines, she shamelessly undresses in front of him and hops in. (I like the confidence lady!). When he leaves to go home he suddenly hears arguing from her house and goes to check everything is okay, only to walk in on her and her partner having hateful sex against the car while she encourages Noah to watch, smirking in satisfaction and gaining some sort of voyeuristic pleasure in having him witness this carnal act. It was shocking to say the least, not because of the graphic content (well, yeah, kinda because of the graphic content) but because watching a woman play the role of confident and sultry seducer completely in charge is a rarity in TV. There is something both intensely empowering about this version of her character and something verging on psychotic.

I say ‘version of her character’ because in the second half we are introduced to a very different woman. A woman clearly broken and a shell of a human. The audience soon learn this is down to the loss of her young child two years prior to the events of the story, which adds a completely new depth to her character. Instead of the strong sexy Alison of the first half, we are given an intensely vulnerable Alison. One who the audiences heart go out to as she struggles to cope with the loss of her child and the effects this has on her marriage. When she meets West’s character she is timid and shy, yet clearly drawn to him as he was to her in the first half. If one thing can’t be denied between the two versions, which both present very different perspectives, it’s that Alison and Noah are attracted, perhaps even connected, to one another. In this version though Noah is the instigator and the voyeur, and there is something very letchy and unlikeable about his character, as if he senses her vulnerability and is using it to his advantage.

Throughout both sections we here the two characters narrate their respective stories, prompted by questions from a man we can only assume is a police officer given the context and isolation of the room they are being questioned in. Knowing this almost immediately as the programme begins, I couldn’t help but wonder what led these two characters into this situation. Did they fall so madly in lust or love with each other that they plotted the murders of their partners? Did they plot the murder of each other? Are they this generations Bonnie and Clyde?  So many questions which already have me begging for me of this delicious psychological drama, which earned Wilson a Golden Globe award for Best Actress in a drama series. I’m only one episode in and I can already tell it was well deserved. She is undoubtedly the driving force of this series, her talent and ability to portray two drastically different versions of this character the foundation for my already obsessive love for this programme.

If I’m certain of one thing with The Affair (which is bold of me to say, because I feel like this could literally go anywhere), this Alison and Noah certainly ain’t gonna have the happy ending of another fictional duo under the same monikers. Nope, I do not predict a happy ending. And I can’t bloody wait. Keep your eyes peeled for more episode-by-episode (hopefully) reviews.

A film rambler’s rating? 

Psycho (1960)

IMDb Top 250 Ranking - #32

Despite only having recently seen Psycho for myself, the word has always been synonymous with the name Norman Bates, which is quite a legacy in and of itself. It might be down to its famous director, its infamous protagonist or the compelling story-line but the film has lived on and became a classic not just of its genre, but of film. Now I've said it before, and no doubt I’ll say it again, but when it comes to movies with such a huge reputation I often find myself hesitant to see it for myself. I don’t want to be disappointed; I don’t want to be the only one who says they didn't think much of the film. This might make me a sheep, but I can take that, because most people are. My verdict, however, is a generally positive one.The film was rather fascinating, and finally understanding the legacy of the original “psycho” brought a lot of things into perspective for me. For example, knowing that Anthony Perkins’ career basically tanked after this due to type-casting makes total sense. When an actor can inhabit such an intricate and complex character, why wouldn’t directors and audiences expect this of him again and again? Sucks for the actor, yeah, but makes sense from the audiences perspective. And boy did Perkins inhabit the character of Norman Bates! He captured both the childlike vulnerability and the sinister madness of the character beautifully. The fact that he could so quickly transition from meek mannered Norman to smirking and axe-swinging “Norma” is an impressive feat, and it’s really no wonder Psycho was Hitchcock’s most famous picture with an actor such as this at its helm.

While the film was impressive, and I enjoyed and appreciated the fact that it was shot in black and white, which heightened the terror and inherent isolation of the film, I do have a few bones to pick. For example, the book from which the film was adapted, by Robert Bloch, had more detail which explained thoroughly Norman’s motives and the relationship with his mother which is the centre of the movie. I know that its impossible to include every last detail in an adaptation, but some of the plot points – such as the fact that Norman was the one who poisoned his mother and her lover, and that his father didn't die, but in fact abandoned his family when Norman was a child, and finally that Norman caught his mother having sex with her lover – seem like significant facts that would help the audience understand Norman so much more than they ever get to. But then, maybe Hitchcock didn't want his audience to totally understand Norman? After all, a terrifying psycho isn't quite as terrifying if the audience totally understand him, is he? Lack of understanding can often be an essential component in feeling horror and immersing yourself in this feeling. Not to mention a filmmaker, and Hitchcock in particular, always seem to have a reason for the things they keep and the things they omit. Regardless, these are just the minor frustrations of a literature student, and didn't hinder my overall enjoyment of the movie.

The acting was superb, with standout performances from Perkins (its seems needless to say) and Janet Leigh, who, despite her minor role, packed her performance with just the right amount of vulnerability and strength. The shower scene was a standout for her, and she captured the terror of this scene perfectly. My favourite aspect of this movie was the music. I've always been an advocate for the idea that a movies soundtrack can determine whether a film will be remembered in history and I firmly believe that if it weren't for the tension created by the music in key scenes of this film it wouldn't have stood the test of time quite like it has. The quick pace and rhythm guides the viewer through the film, subconsciously telling them how they should feel at certain points and adding to the movies quiet horror.

One thing I love about the classic horror movies of the 20th century is that they kept it simple, telling stories of horror that could happen in any normal person’s life. That’s where modern movies of the genre have gone wrong I believe, trying to sensationalize the gothic rather than understanding that there is nothing more terrifying than a normal person committing an unspeakable crime. That’s a fact Hitchcock understood, and that’s why his movies will go down in history – he understood the genre and loved the simplicity of it. So to you, my reader, I say that if you truly want to feel fear, go back to the classics. Especially the black and whites – Rebecca is a particular favourite of mine.

To end today's ramble, I’ll keep it short and sweet – see Psycho (if you haven’t already) and enjoy the atmosphere, the characters, and that shock ending that’ll leave you shocked for hours after seeing it. It really does live up to its reputation.

To cut a long story short…

Would I recommend this? Yes. A classic is a classic for a reason, I ALWAYS find.

A film rambler's star rating?

That's it for now folks.

Zero Dark Thirty (2012)

If there is one event in human history which can draw fear and tears it is the events of 9/11, which witnessed the death of over 3000 people and the destruction of a sense of safety in western civilisation. With that event came an age of war and terror that is associated with the man who orchestrated the terrible events of September 11, 2001. Given that the age of terror in which we live began on this date it seems appropriate that Zero Dark Thirty begins our tale for the manhunt of Osama Bin Laden at this point. Director Kathryn Bigelow (Point Break, The Hurt Locker) takes us back to this day with a simple yet hauntingly effective montage of real-life phone calls from the twin towers from people desperately yet fruitlessly calling for help. Bigelow begins the film in this way perhaps to set the tone for the rest of the movie, which is a sobering and mind-boggling dramatization of the 10 year effort to capture Bin Laden.

When we think back to the day that our TV’s were barraged with the news that Bin Laden was captured we remember the images of smiling faces celebrating his death and we especially remember the moment that Barack Obama was broadcast across the world to confirm this death. On every newspaper we read headline after headline and feature after feature declaring one thing: that Obama had captured Bin Laden. Zero Dark Thirty, however, offers us the true story which is of special CIA operative Maya (Jessica Chastain) and her on-going and arduous battle to overcome the many obstacles in the way of such an operation. Given that this manhunt lasted for 10 years and that many attacks and terrorist operations happened in between this period it would be easy for ZDT to be bogged down by the facts and seem more like a documentary than a gripping yet faithful-to-the-events film. Bigelow and the writer behind this film, Mark Boal, manage to avoid this trap however and offer a gripping narrative which is separated by specific events that not only show the personal efforts of Maya, but also emphasise the network of people that helped bring down Bin Laden.

In this scene we see Chastain's determination and no-nonsense attitude come to the forefront in her bid to convince  her superiors that she has finally uncovered Bin Laden's location.

The film is a searing and at points uncomfortable biopic of the effort that went into gathering information and building up a profile of key people within al-Qaeda. Bigelow does not shy away from offering the audience the hard truth and this is intensely evident when at the beginning of ZDT we witness the torture of an al-Qaeda member who may or may not have vital information of terrorist activity. This makes for rather uncomfortable viewing and the fact that it was done in the effort of gaining information is a hard fact to bear, reminding the viewer that Bin Laden was not merely a man but rather an institution of fear and terror from which many drew inspiration, and whom many died to protect. The fact that torture was an oft-used instrument in gaining the necessary information speaks volumes of the personal character of Maya, who at the beginning of the film seems too vulnerable and feminine to be able to withstand such acts. But as the film progresses this vulnerability turns to hardness and her humanity and character all become fixed on one goal – to capture Bin Laden at any cost.

Chastain’s performance of this character is one deserving of the Oscar-nomination she received not only for the fact that Chastain could depict a person who so dramatically changes to assimilate with the pressures and necessities of capturing such a figure, but because she so effortlessly captures a feeling which many felt when news reached that Bin Laden had been killed. That feeling of ‘What now?’ which is so clearly etched upon Chastain’s face as the film comes to a close is perfect and transcendent of the global feeling. The many questions that we face seem to be embodied by Chastain’s character, a character (who is based upon a real CIA operative known only as ‘Jen’ in “No Easy Day”, a book written by one of the Navy SEAL members involved in the Bin Laden operation) whose whole life revolved around Bin Laden.

Here Chris Pratt and Joel Edgerton play two of the SEAL team members preparing for the operation. There roles are brief but pivotal in this History-thriller. 

The actual scene which depicts the capture of Bin Laden comes at the end of the nearly 3-hour film and is an intense 25-minute sequence (very close to the actual time it took for the Navy SEAL team to carry out their mission) which left me on the edge of my seat. Shot in the cover of darkness it depicts the accuracy and efficiency of the Navy SEAL team and takes us through those final moments which saw the death of those closest to Bin Laden and depicted the purportedly accurate compound in which Bin Laden spent the final months of his life. This scenes sense of adrenaline and camaraderie are fabulously depicted by the actors depicting the Navy SEAL team, most notably Joel Edgerton and Chris Pratt, whose sense of triumph is almost contagious as the film draws to a close. The intensity of this scene is aided by its claustrophobic setting and the darkness under which these men were operating, which is as true a reflection of the real events as the audience will ever get.

The intensity of this film is a product not only of the main and ensemble cast (Mark Strong, James Gandolfini, Mark Duplass and Jason Clarke to name but a few), whose performances depict rather wonderfully the sense of urgency and desperation in capturing this terrorist figure, but also of our own feelings as the film progresses. As we witness torture and bribing and the many other tactics that were involved in Bin Laden’s capture our own feelings of urgency and wonderment become a part of this films intensity. This film is a searing and intense experience because for so many it draws to conclusion the decade-long hunt to end terrorism and restore hope into all of those, young and old, caught up in its effects.

To cut a long story short…
Would I recommend this film? I would. The sense of closure it offers is hugely cathartic despite that ‘What now?’ question that is left hanging at the end of this film. 
A film ramblers star rating?

That's it for now folks...

The Impossible (2012)

The Impossible is a film which will invariably cause conflict and backlash among critics and perhaps even victims of the event upon which this film is based. It is virtually impossible to avoid criticism when you are making a film which dramatizes a tragic disaster in human history – that event being the 2004 tsunami which struck Thailand on Boxing Day and claimed the lives of over 200,000 people.

In this film we follow the lives of the Bennett family, a perfectly normal family who were unprepared for the tragedy of the event and its repercussions. This is one stumbling block the film has faced in its critique, with many questioning the narrative approach. Why follow one family (who are English and don’t have to live with the long-term repercussions that a local Thai family would have to deal with) when you can look at many with a wider range of perspectives? This is a valid question, however I have to disagree with those who take this stance. I believe that by concentrating on one family we are forced to empathize with the emotional difficulties that they face. The unflinching depth to which the audience is shown this one family’s struggle is where the backbone of this film lies and heightens its sense of claustrophobia making the film much more realistic and emotionally resonant.

The film is based upon the real Belon family (who are Spanish in real life) and many of the events in the film depict the harrowing near-death experiences of the mother, Maria (played by Naomi Watts). The real Maria Belon, who hand-picked Watts for the role, acted as a consultant for this film and much of it was shot on location where the tsunami hit – which is a surreal and somewhat shocking piece of trivia that heightens the reality of the production. 

The film doesn't shy away from the true ferocity and destruction of those tsunami waves. Here we see the waves as they come crashing down and through the resort that the Belon/Bennett family were staying in. 

The shining stars of this piece are undoubtedly Watts, McGregor and the young Tom Holland who plays Lucas Bennett. It is with these three actors that much of the emotional burden of the film is left because there characters are the ones left with much of the responsibility. The film is separated into two parts – the first shows Maria and Lucas fighting to survive first the fraught tsunami waves and then Maria’s frequent encounters with death, the second part of the film shows McGregor trying to find the remaining members of his family with a heart-breaking determination and desperation. 

Watts gives an outstanding performance as a character suffering from the fear of the unknown while also struggling with the paradoxical need to maintain a show of responsibility for her child. With this performance Watts reminds us all that even adults get scared and need to be looked after, which is where Tom Holland’s character Lucas comes to the forefront. Holland’s character in this film undergoes a swift transformation from petulant teenager to responsible and kind-hearted adult with the burden of his Mother’s ailing health and he rises to this challenge admirably and with a youthful charm that reminds me of Jamie Bell in Billy Elliot (if you knew how much I love Billy Elliot then you would know this is quite a commendation!). 

The relationship between mother and child is subverted as Watts becomes increasingly dependent upon her frightened son, yet the love between these characters is a driving force of the film.

As ever McGregor gives an impeccable performance which, I’m sure, would resonate with many who have faced the possibility that they may never see their loved ones again. In one scene McGregor is burdened with a call home where he must admit that he can’t find his wife and son and in this scene, as McGregor breaks down in a room full of strangers, we see how his plight echoes on the face of all those he tells his story to. This is just one scene of many where the desperation of the situation is like a punch- to-the-face for the audience because suddenly this tragic disaster becomes a reality and not just something we saw on the news and read about in the newspapers. You can see this harrowing scene here: 

All-in-all (I’m sorry if I overuse that phrase in my posts) this film is a harrowing one which reflects not just a tragic event but also its tragic repercussions – mainly the loss of childhood innocence and the knowledge/burden that adulthood is, in part, just a title and state-of-mind. In desperate times, as this film teaches, humankind can only rely on the kindness of those around us and the hope that we can all rise (whatever our age or situation) to responsibility – even a responsibility that we fear, as Holland’s character shows in this film. This film is an inspiring tale of strength and hope and one which everyone should see...

To cut a long story short…Would I recommend this? Yes, but be warned that this is heart-breaking and in no way plays up to Hollywood ideals of a happily-ever-after. 
A film ramblers star rating? 

That’s it for now folks…

Gangster Squad (2013)

WARNING: THIS MAY CONTAIN SPOILERS!

As mobster movies go, the first five minutes of this one should set this off as one of the best I’ve seen in my movie-loving years. A stylish monologue is where we meet our main characters, and as Sean Penn beats a punch bag and looks thuggishly into the camera we hear Josh Brolin recount his days in the war and the plight of the good man against the bad. All of this within the first three minutes, but the real action begins as we witness the brutish criminals led by Italian-American-accented Penn tear a guy in half as he’s chained between two vehicles. With this he declares ‘Mickey Cohen owns Los Angeles now’, and boy can you not help but believe him. That is, of course, until John O’Mara (Brolin), the vigilante reluctant-hero of the piece enters the story and we see the damage he can do, when so inclined. This involves beating senseless a couple of scumbag criminals and sticking another’s hand between the floor and the elevator shaft – cue horrible scream and a ‘this-shit-just-got-real’ moment. Suddenly the audience is left wondering if Mickey Cohen does own Los Angeles, or if the real fight has just begun… (which, considering it’s a nearly-two-hour-long film, is a fairly good assumption to make)?

Here we have our rough-round-the-edges Gangster Squad. From L-R: Giovanni Ribisi, Josh Brolin, Ryan Gosling, Anthony Mackie, Michael Pena and Robert Patrick. 

As Cohen's influence over Los Angeles grows and seeps into law officials who love their “whores” just a little too much, O’Mara, with the prodding of the chief of the LAPD who tells him rather inspiringly that he “want[s] to talk about the war for the soul of Los Angeles”, takes it upon himself to bring together a rag-tag team of vigilantes whose sole aim is to drive Cohen out of LA before he can “own the West” through the central book, which controls all western gambling and puts Cohen in a pretty sweet position both in terms of money, prestige, and position on the law vs. criminals scale. All of this happens against the backdrop of personal relationships, which play a big part in the characters decisions and motivations – namely that of Brolin and his heavily pregnant wife, as well as Ryan Gosling and Emma Stone, whose on-screen chemistry oozes sex-appeal.

Of course, with the havoc the ‘gangster squad’ are wreaking, while not actually claiming any monetary benefits, it’s not long before Cohen figures out that the ‘gang war’ isn't actually a gang war, but a war against those in the law who have grown sick of crime seeping into everyday society. With this Cohen sets our hero-vigilantes up by using there spyware equipment against them and telling them he has a high-stakes trade in China-town. Gosling’s character, Jerry, quickly realizes after Stone’s life is threatened by a couple of Cohen’s lackeys and saves the day, but not without a heavy price for the vigilante-gangster-squad and their loved ones.

Gosling and Stone ooze romantic chemistry in each and every scene and their individual sex-appeal make them the perfect onscreen couple. Who couldn't help but fall for their combined charm in this film. 

Suddenly we make our way to the bloody-climax, thanks to the promise of a testimony from Gracey (Stone), who witnessed Cohen savagely murder one of the good guys making a stand against the face of his tyranny. With warrant in hand the remaining gangster squad make it to Cohen’s hideout, a swanky hotel laden with Cohen’s men. With gun-toting ferocity and an epic face-off between O’Mara and Penn the final minutes of gangster squad rear, and we are faced with the bloody and raw remnants of the antagonist and protagonist as they face off in a Tybalt-and-Mercutio-in-the-style-of-Lurhman battle. Its bloody, its raw, it’s ferocious. It’s an incredible final act.

Though the mobster action and gruesome style death in the film are plentiful and stylistically drawn, it is the emotion and heart in this film that have the greatest impact. After all, it is for the “soul” of their home that the gangster squad risk their lives, and this is most definitely where the strength of this film lies. Particular praise must be paid to Gosling, whose soul and heart counteracts with Brolin’s brain and brawn perfectly. Each character comes to life in the hands of this talented cast and the fierce madness of Penn is astounding, echoing his phenomenal performance in Mystic River.

Surely this film will become a classic of its genre, not just for the stellar cast and awesome style, not to mention the pack-a-punch one-liners (some seriously brilliant ones in this movie people), but for the heart behind the awesomely-action-packed story of mobster-brawn against heart-driven vigilante justice.

Best line: (there's almost too many to choose from, but this is definitely memorable, and seems to sums up the film...)

Mickey Cohen: Los Angeles is my fucking destiny, you motherfucker!

To cut a long story short...
Would I recommend this? Yes. A film ramblers star rating?

That's it for now folks...