Posts Tagged ‘Aaron Taylor-Johnson’

Kraven the Hunter

Director: J. C. Chandor

Cast: Aaron Taylor-Johnson, Fred Hechinger, Russell Crowe, Alessandro Nivola, Ariana DeBose, Christopher Abbott, Levi Miller, Billy Barratt

Running Time: 2 hours and 7 minutes

Film Rating: 6.5 out of 10

A  Most Violent Year director J. C. Chandor takes on a fringe superhero film in the eagerly anticipated Kraven the Hunter starring Golden Globe winner Aaron Taylor-Johnson (Nocturnal Animals) as Sergei Kravinoff, the eldest son of Russian gangster Nikolai Kravinoff played with a vodka infused accent by Oscar winner Russell Crowe (Gladiator).

The 34 year old British star, Taylor-Johnson got into seriously transformative physical shape to play the Hunter, a highly skilled trained assassin and general tough guy who is protective of his creepy younger brother, the chameleon like Dimitri, wonderfully played by Fred Hechinger last seen in Gladiator 2 as the crazy bloodthirsty Emperor Caracalla.

Kraven the Hunter starts off in Siberia then the action moves swiftly to London and then onto Ghana where a hunting expedition goes bad when Nikolai takes his two young sons to hunt wild animals to toughen them up. The younger characters are played by Levi Miller and Billy Barratt respectively.

As entertaining and exciting as this film is, Kraven the Hunter lacks two essential elements to make a narrative mesmerizing: a truly depraved villain and a sexy leading lady.

Alessandro Nivola (A Most Violent Year, Ginger and Rosa, American Hustle) plays the rival gangster villain Aleksei Sytsevich also known as the Rhino due to his unique ability to turn his skin into that of a rhino and deflect any bullets. Unfortunately, Nivola does not make the villain Rhino that menacing and he comes off as a crazy pastiche of bad CGI villains in a mediocre film saved only by some great action scenes.

Then there is Oscar winner Ariana Debose (West Side Story) playing the poorly written character Calypso, the only woman in a film about male bravado, aggression and predatory behaviour. Calypso battles to fit into this male world of hunting and killing.

Unfortunately there is no love interest between Calypso and Kraven and she serves as the voice of reason in a crazy revenge fuelled film about male power, domination and the fight for survival and succession.

As Calypso rescues the crossbow wielding Kraven a second time she tells him flirtatiously that legends don’t die.

Fred Hechinger’s Dimitri has a more fascinating character arc and provides a surprising plot twist at the end. Christopher Abbott (Poor Things) pops up briefly as an equally strange henchman called the Foreigner with inexplicable supernatural powers.

Sexualize your characters and make the villain really brilliant. If the screenwriters had done that then Kraven the Hunter would have been a far more superior film.

Kraven the Hunter is a reasonably good action film with cool stunts and weapons, helped by a believable Aaron Taylor-Johnson in the main role but it is not brilliant. It’s an average superhero film which ties masculine strength with aggression and the fight for survival.

Kraven the Hunter gets a film rating of 6.5 out of 10 and is recommended viewing as an entertaining action film whose storyline could have done with some sharpening.

See it if you have two hours to kill and need tips on how to decorate your man cave.

The Fall Guy

Director: David Leitch

Cast: Ryan Gosling, Emily Blunt, Aaron Taylor-Johnson, Hannah Waddingham, Teresa Palmer, Stephanie Hsu, Winston Duke, Ben Knight, Adam Dunn

Running Time: 2 hours and 6 minutes

Film Rating: 7.5 out of 10

Stuntmen never get that much credit. All those car chase sequences and falling out of windows and only the main action star gets his name in lights.

This disparity between film star and stunt man is brilliantly explored with a heavy dose of loud music, lots of stunts and energising entertainment in Bullet Train director David Leitch’s new film The Fall Guy bringing together Barbie star Ryan Gosling and Oppenheimer star Emily Blunt, both of which were Oscar nominated for those films.

Gosling and Blunt make a great onscreen couple all blond hair, blue eyes and perfect teeth but it is really Ryan Gosling who steals the film as the hapless but courageous stunt man Colt Seavers who accidentally stumbles upon a plot to cover up an accidental death on a big budget Hollywood Sci fi film being shot on location in Sydney, Australia.

Emily Blunt plays the no-nonsense aspiring film director Jody Moreno who is frantically trying to complete a huge star studded big budget film about a battle between cowboys and aliens. Moreno’s hard edged menacing producer Gail Meyer wonderfully played by Ted Lasso star Hannah Waddingham who is trying to keep the studio off their back while secretly trying to find out where the main action star really is.

Aaron Taylor-Johnson (Nocturnal Animals, Kick-Ass, Tenet) plays the macho big action star Tom Ryder, who is basically a poster boy for toxic masculinity, recklessness and an ego gone wild. Ryder and Seavers do not get along, although when both dressed as space cowboys they look identical so kudos to the casting director, who managed to get Aaron Taylor-Johnson and Ryan Gosling together.

The Fall Guy with its cinematic self-reflexive narrative is filled with lots of noisy action sequences and multiple scenes of Ryan Gosling getting shot at, beaten up or falling off buildings. A notable scene is the garbage truck fight sequence through the pristine streets of Sydney between Gosling and henchman with a man bun Dressler played by Australian actor Ben Knight. Another Australian star Teresa Palmer (Hacksaw Ridge, Point Break) makes a memorable appearance as Tom Ryder’s volatile girlfriend Iggy Star.

While parts of The Fall Guy are very over the top, it is Ryan Gosling’s lovable star persona which saves The Fall Guy from being just another action film as he imbues each scene with a hint of goofy sexiness and almost naiveté. Gosling’s version of Colt Seavers is relatable and funny, mad and mischievous, a remarkable tribute to the stunt men in the film industry as alluded to in the original 1980’s TV series of the same name starring a young Lee Majors.

Although the storyline is weak, The Fall Guy is recommended viewing as an entertaining popcorn film with some outlandish action scenes cleverly making use of its Australian location, while the film’s hero discovers a deep fake Sydney style.

See The Fall Guy for Gosling, some explosive action sequences and a surprising cameo at the end.

The Fall Guy gets a film rating of 7.5 out of 10 and is loud and crazy like Colt Seavers and his outlandish outfits from neon to space cowboy. See it at a cinema near you.

Please note all images used courtesy of Universal Pictures approved images. UPI Media

Bullet Train

Director: David Leitch

Cast: Brad Pitt, Joey King, Sandra Bullock, Aaron Taylor-Johnson, Brian Tyree Henry, Andrew Koji, Hiroyuki Sanada, Michael Shannon, Logan Lerman

Film Rating: 7.5 out of 10

Running Time: 2 hours and 6 minutes

Based upon the novel by Kotaro Isaka, Dead Pool 2 director David Leitch stitches together a complex crime film in Bullet Train featuring a lot of dialogue and some bizarre action sequences, referencing Pulp Fiction but set on a high speed train from Tokyo to Kyoto involving a group of very weird assassins including the twins Lemon and Tangerine wonderfully played by Brian Tyree Henry and Golden Globe winner Aaron Taylor-Johnson (Nocturnal Animals), the Hornet played by Zazie Beetz (Joker) and the main star Ladybug played with charisma by Oscar winner Brad Pitt (Once Upon a Time in Hollywood).

Bullet Train involves a sinister crime boss named White Death, a Russian emigrant who infiltrates the Yakuza or Japanese organized crime and the length he goes to to draw out his arch rival The Elder, played with panache by Hiroyuki Sanada (Mortal Kombat, Mr Holmes, The White Countess) and the Elder’s son Kimura played by Andrew Koji.

As the Bullet Train speeds from the Japanese capital of Tokyo to the artistic capital Kyoto, a menagerie of assassins appear on board including Lemon and Tangerine, The Prince played by Joey King and Ladybug whose simple task it is to steal a briefcase filled with cash and alight at the next station. Literally everything goes wrong, from bad guys drinking sleeping tablets to an escaped boomslang slithering through the high tech train.

Using multiple flashbacks to such places as Mexico and Johannesburg to establish backstory, the assassins square off against each other, as one by one they get eliminated or so we think, as they speed ever faster with deadly efficiency to the showdown in Kyoto whereby The Elder is going to meet The White Death.

Fortunately Brad Pitt’s charm carries Bullet Train to its thrilling conclusion amidst lots of witty dialogue, the occasional samurai sword, many guns and an errant poisonous snake. Amidst all the nuanced innuendo’s and gory action, there is a complicated plot which unravels itself like a boa constrictor killing everything in its path.

With flashes of anime, traditional Japanese imagery and sparkling with originality, Bullet Train is a fascinatingly bizarre film with sufficient action and fight sequences to keep audiences glued to the screen. Of particular note is the brilliantly choreographed fight sequence between Tangerine and Ladybug played by Aaron Taylor Johnson and Brad Pitt.

If audiences are looking for a weirdly entertaining film filled with cameo appearances, gory action and an exotic location, then buy a ticket for Bullet Train and make sure not to disembark before the showdown in Kyoto. It’s a riveting ride.

Bullet Train gets a film rating of 7.5 out of 10 and will find an audience that enjoys quirky action with strangers fighting each other on a high speed locomotive.

The King’s Man

Director: Matthew Vaughn

Cast: Ralph Fiennes, Harris Dickinson, Gemma Arterton, Rhys Ifans, Djimon Hounsou, Matthew Goode, Charles Dance, Daniel Bruhl, August Diehl, Alexandra Maria Lara, Tom Hollander, Alison Steadman, Aaron Taylor-Johnson

Film Rating: 7 out of 10

Running time: 2 hours and 10 minutes

Topping the two previous Kingsman films, this highly anticipated prequel simply titled The King’s Man follows the adventures of Orlando Oxford, or the Duke of Oxford wonderfully played with a nuanced panache by Oscar nominee Ralph Fiennes (Schindler’s List, The English Patient) as we track his valiant attempt to protect his son Conrad Oxford from harm.

The King’s Man fortunately is steeped in historical references and is set between 1902 and 1918. Director Matthew Vaughn places the story between the Anglo-Boer War in South Africa whereby the British were brutally confining Afrikaners in concentration camps to the outbreak of the 1^st World War in Europe which was sparked off by the untimely assassination of Archduke Ferdinand in Sarajevo in 1914.

Orlando Oxford is ably assisted by Shola played by Oscar nominee Djimon Hounsou (Blood Diamond, In America) and Polly played by Gemma Arterton (The Quantum of Solace).

As World War I breaks out, the Duke’s son Conrad played by Harris Dickinson who was brilliant as the kidnapped J. Paul Getty III in Danny Boyle’s excellent TV series Trust, is desperate to fight in the front line. The Duke of Oxford in the meantime is trying to find a way of ending World War One, this atrociously bloody conflict as started by 3 first Cousins, all grandchildren of Queen Victoria: King George of Great Britain, Kaiser Wilhelm of Germany and Tsar Nicholas II of Russia all of whom are dexterously played by Tom Hollander (Gosford Park, Pride and Prejudice).

In a particularly bizarre scene at a Russian ball, The Duke of Oxford and his son battle the outrageous Grigori Rasputin expertly played with sinister flamboyance by Rhys Ifans (Notting Hill, Anonymous).

As the action shifts around the world and director Matthew Vaughn efficiently cuts through all the historical cobwebs to reignite the story of The King’s Man with some stylishly entertaining action scenes, it is Ralph Fiennes as the Duke of Oxford who becomes the action hero in a role which he clearly delighted in playing.

Audiences should look out for some great cameo roles, particularly veteran British actor Charles Dance (The Imitation Game, White Mischief) as Kitchener, Matthew Goode (Brideshead Revisited, A Single Man) as Morton and German actor Daniel Bruhl (Rush, Inglorious Basterds) as the shady Erik Jan Hanussen a malignant advisor to Kaiser Wilhelm of Germany.

Historically, The King’s Man is an intriguing action film, thoroughly entertaining and as a prequel it is sophisticated without taking itself too seriously.

If audiences enjoy a dazzling swashbuckler then The King’s Man which gets a film rating of 7 out of 10 and is far better than the other two Kings Men films Kingsman: The Secret Service and the outlandish Kingsman: The Golden Circle.

This time director Matthew Vaughn does this franchise justice and reiterates the motto that Manners Maketh Man.

Nocturnal Animals

Director: Tom Ford

Cast: Amy Adams, Jake Gyllenhaal, Armie Hammer, Isla Fisher, Michael Shannon, Ellie Bamber, Aaron Taylor-Johnson, Laura Linney, Andrea Riseborough, Michael Sheen

Retrospective Film Review

Austin Wright’s beautifully written novel Nocturnal Animals originally published in 1993 about a young couple who break up and the ex-husband Edward Morrow writes a startling graphic revenge novel to prove to his ex-wife that he is a brilliant writer came to the big screen in 2016 by stylish director Tom Ford amidst little fanfare except for some adequate recognition by the Hollywood Foreign Press and a cursory glance by the Academy Awards.

It was perhaps Tom Ford’s unconventional approach to the retelling of such a bizarre novel into a hyper-stylized film noir crime drama set in a murky Los Angeles and in the outback of Texas.

Assembling an all-star cast including Oscar nominees Amy Adams (Doubt, Junebug) and Jake Gyllenhaal (Brokeback Mountain) as the pivotal couple Susan and Edward along with two brilliant performances by Michael Shannon as the tough but persistent Sheriff Bobby Andes and Aaron Taylor-Johnson (Anna Karenina) as the violent rapist Ray Marcus who assault and murder Laura and India Hastings played respectively by the gorgeous actresses Isla Fisher (The Great Gatsby) and Ellie Bamber, was the key to making an extravagant and captivating film noir thriller.

From the provocative title sequence featuring naked obese ladies dancing on pulpits at an avant-garde art exhibition in Los Angeles, to the dynamic costumes designed by Arianne Phillips who also worked on such films as A Single Man and received three Oscar nominations for Costume Design for films including Quentin Tarantino’s Once Upon a Time in Hollywood, James Mangold’s Walk the Line and Madonna’s W. E.  

Director Tom Ford skilfully uses the semiotics of colours to guide the viewer through the breakup of Edward and Susan to the inner world of the novel aptly titled Nocturnal Animals which uses garish reds and scorched earth browns to reflect a harsh and dangerous world of men who kill women and psychologically manipulate other men especially when they are most vulnerable, driving on dark rural highways in Texas miles away from civilization.

The contrast of the dangerous world of the novel to the hyper-realized art world of Los Angeles populated by bright and gritty characters, signified by the brief appearances of Carlos and Alessia extravagantly played by character actors Andrea Riseborough and Michael Sheen is the environment that Susan Morrow has chosen to inhabit aided by her dashing young husband Hutton Morrow played by Armie Hammer.

Although Nocturnal Animals did not receive as much critical acclaim as A Single Man, for any cineaste it is a film worth watching for its diverse colour palette filled with opulence, horror and complexity. Tom Ford beautifully combines a stylish aesthetic with a superb mix of violence and mystery to create a cinematic film which is both fascinating and repulsive.

Nocturnal Animals gets a film rating of 7.5 out of 10 and is worth seeing for its extraordinary use of semiotics by a talented film director.

Tenet

Director: Christopher Nolan

Cast: John David Washington, Robert Pattinson, Kenneth Branagh, Elizabeth Debicki, Michael Caine, Aaron Taylor-Johnson, Andrew Howard, Himesh Patel, Jack Cutmore-Scott, Clemence Poesy, Wes Chatham, Martin Donovan

If a man goes back in time and kills his own grandfather then he would never have been born.

That is the Grandfather Paradox and the basic notion of director Christopher Nolan’s stylish and innovative, time-bending espionage action film Tenet set in Kiev, Ukraine, Mumbai and Oslo in Norway.

Besides the mesmerising action sequences, the critical part about Tenet is the clever casting of the son of Denzel Washington, Golden globe nominee John David Washington (BlackKKlansman) as The Protagonist opposite the dashing British actor Robert Pattinson (Cosmopolis, Twilight, Queen of the Desert) as Neil.

Tenet is like Inception but set within the rough estimates of a spy genre, superbly written and directed by Christopher Nolan and featuring an outstanding original music score by Swedish film composer Ludwig Goransson who won an Oscar for original score for Black Panther.  

To describe the plot of Tenet as a paradox is an understatement. It is a carefully constructed set of semiotic images punctuated with some astounding action sequences especially on a Norwegian highway and on an opulent skyscraper in Mumbai.

While the protagonist is in Mumbai, he comes across his Tenet contact Mahir wonderfully played by Yesterday star Himesh Patel, which leads him into the murky world of international arms dealing and he discovers a nefarious inversion machine that can alter both the past and devastate the future.

From the eye-catching hostage scene in an Opera house in Kiev, Ukraine to the final time-bending battle sequence spliced with a rather poignant confrontation by the femme fatale Kat superbly played by Elizabeth Debicki (Widows, The Great Gatsby, The Tale) with her vicious misogynistic Russian arms dealing husband Andrei Sator, played with an Oscar worthy performance by Kenneth Branagh (Dunkirk, My Week with Marilyn, Murder on the Orient Express) aboard a luxury yacht off the coast of Vietnam, Tenet is an exotic, elegant and asymmetrical action film, with an innovative plot that will challenge the viewer to watch carefully.

For sheer originality and perfect casting, Tenet is worth seeing. For incredibly intricate and carefully orchestrated action scenes especially those involving a transport plane crashing into Oslo Airport, Tenet is phenomenal.

After months of being deprived of real original and ground breaking cinema, Tenet is a must see film on the big screen with surround sound and should be a good reason to get back to the auditorium to see this spectacularly complex and clever piece of cinema.

Tenet gets a film rating of 8.5 out of 10 and is highly recommended viewing.

Once again, the multi-talented director of The Batman Trilogy, Dunkirk and Inception, Christopher Nolan does not disappoint.

74th GOLDEN GLOBE AWARDS

Took place on Sunday 8th  January 2017 hosted by

the Hollywood Foreign Press Association in Beverly Hills, California

GOLDEN GLOBE WINNERS IN THE FILM CATEGORIES:

Best Film Drama: Moonlight

Best Film, Musical / Comedy: La La Land

Best Director: Damien Chazelle – La La Land

Best Actor Drama: Casey Affleck – Manchester by the Sea

Best Actress Drama: Isabelle Huppert – Elle

Best Actor M/C: Ryan Gosling – La La Land

Best Actress M/C: Emma Stone – La La Land

Best Supporting Actor: Aaron Taylor-Johnson – Nocturnal Animals

Best Support Actress: Viola Davis – Fences

Best Foreign Language Film: Elle directed by Paul Verhoeven (France)

The Avengers: Age of Ultron

Director: Joss Whedon

Cast: Chris Evans, Chris Hemsworth, Robert Downey Jr, Don Cheadle, Paul Bettany, Mark Ruffalo, Jeremy Renner, Scarlett, Johansson, Samuel L. Jackson, Elizabeth Olsen, Aaron Taylor-Johnson, James Spader, Cobie Smulders, Hayley Atwell, Stellan Skarsgard, Thomas Kretschmann, Julie Delpy, Andy Serkis, Anthony Mackie.

The Avengers are back in director and writer Joss Whedon’s much anticipated sequel The Avengers: Age of Ultron featuring all the Marvel superheroes and some new ones in a CGI laden special effects extravaganza, which is at times confusing and other times absolutely fascinating. At a running time of two hours and twenty minutes, director Whedon has sufficient screen time to flesh out all the characters individually as well as give nuance to some of their more complicated relationships.

Like the relationship between The Hulk, aka Bruce Banner wonderfully played by Oscar nominee Mark Ruffalo (Foxcatcher) and the Black Widow played by Scarlett Johansson who seems to be the only avenger that can calm the Hulk’s penchant for destructive anger.

The relationship between goodie two shoes Steve Rogers aka Captain America, played by Chris Evans and Nordic God Thor played by the hunky Chris Hemsworth is also subtly explored considering that the former is a World War two hero and the latter from another dimension.

Robert Downey Jr reprises his role as egotistical Billionaire Tony Stark, aka Iron Man and his irrepressible desire to mould any technological discovery, in this case the power artificial intelligence to his own advantage.

The Age of Ultron refers to the ubiquitous Altron a powerful A.I. force which is hell bent on human destruction and vain enough to realize that he can survive the aftermath, beautifully voiced with an underlying menace by James Spader (Bad Influence, more recently in the hit TV show The Black List).

The sexy Jeremy Renner as Clint Barton aka Hawkeye ‘s character is fleshed out as a devoting family man which is entirely incongruous with his status as a member of the Avengers, but hey who cares?

Elizabeth Olsen and Aaron Taylor-Johnson play evil orphaned Eastern European twins Pietro and Maximoff who soon turn on Ultron when they realize his megalomaniac tendencies. Even Lord of the Rings’ Andy Serkis makes an appearance as a South African mercenary Ulysses Klaue and the Johannesburg downtown sequence is truly phenomenal to watch as is the action scene in Seoul, South Korea.

If audiences get confused with who all the avengers are, there are ample filmic references to each of their own background stories from Thor: The Dark World, including a brief appearance by Idris Elba and also Captain America’s Agent Carter, played by Hayley Atwell. Marvel is indeed expanding their universe exponentially and if The Avengers: Age of Ultron’s audience figures are anything to go by, this will prove to be another superhero box office smash hit.

The Avengers: Age of Ultron is fun entertainment and definitely aimed at Iron Man, Thor and Captain America cinema fans especially all the witty references and innuendo’s involving lifting Thor’s hammer which are neatly laced into a script which may seem convoluted but then again when it comes to Artificial Intelligence its more an infinite mess which at some point needs to be reined in.

Audiences should look out for brief cameos by Anthony Mackie, Stellan Skarsgard, Julie Delpy, Don Cheadle and Thomas Kretschmann. If The Avengers: Age of Ultron appears to be a pastiche of all the previous Marvel films, then director Joss Whedon has certainly achieved the impossible, not to mention making a narrative out of the dangers of artificial intelligence plausible and entertaining.

It’s best for audiences to suspend their disbelief and enjoy The Avengers: The Age of Ultron for what it is: a comic book orgy with a giant budget and loud, awe-inspiring special effects which will be sure to nurture any young adult’s imagination for awhile.

Godzilla

Director: Gareth Edwards

Cast: Aaron Taylor-Johnson, Elizabeth Olsen, Bryan Cranston, Sally Hawkins, Ken Watanabe, Juliette Binoche, David Strathairn

At the heart of any disaster film, is the struggle of a nuclear family to survive the impending devastation. The brilliant film The Impossible directed by J. A. Bayona about the 2005 Boxing Day Tsunami which wrecked Thailand and beyond proves that.

The Original 1956 Godzilla film

In the 2014 remake of the Japanese director Ishiro Honda’s http://en.wikipedia.org/wiki/Ishir%C5%8D_Honda original 1956 classic Godzilla, King of Monsters, director Gareth Edwards retains the Japanese mythology of Godzilla setting the 21st century Godzilla in a range of Asian Pacific rim cities from San Francisco to Honolulu to Tokyo. Assembling an all star and eclectic cast similar to Guillero del Toro’s Pacific Rim, director Edwards adds a global flavour to this ultimate retro Asian inspired disaster movie.

With an international mix of supporting stars like Bryan Cranston (Argo), Sally Hawkins (Blue Jasmine, Great Expectations), little seen Oscar winner Juliette Binoche (The English Patient), Ken Watanabe (The Last Samurai) and David Strathairn (Good Night and Good Luck), Godzilla boasts an impressive cast to support the rising stars Elizabeth Olsen and Aaron Taylor-Johnson (Anna Karenina, Savages) who star as Elle and Ford Brody who have a young son Sam, played by Carson Bolde.

As the looming threat of nuclear transformed monsters emerging from the depths of the Pacific Ocean looms, it is this nuclear family that Godzilla focuses its narrative on, not that there is much deep characterization necessary or acting to make Godzilla credible. Serving as a historic metaphor for the nuclear bombings of Hiroshima and Nagasaki ending World War II and permanently etched in the Japanese psyche, Godzilla become a symbol of all that was wrong with nuclear energy and its transformative effects on the natural world, creating gigantic monsters as a horrific by product of nuclear testing in the South Pacific.

Director Gareth Edwards as a former visual effects artist for a range of scientific TV series (Perfect Disasters, Space Race), naturally in this version of Godzilla, the monsters and special effects take precedence over the acting, leaving the talented cast literally dwarfed by the sheer scale of Godzilla and its two malignant monsters the Moto. Visually this is where Godzilla excels especially in 3D maybe not to the imaginative scale of Guillermo del Toro’s Pacific Rim, but definitely in the set design and the sheer scope of this disaster film, as the action moves swiftly from the Philippines to Japan to the Californian Coastline and beyond. Even sin city, Vegas is not spared by the wrath of these  destructive creatures.

Godzilla will surely impress audiences with all the mayhem, dazzling visual effects and sheer destruction on screen, however the second half of the film is literally overshadowed by utter devastation to such an extent that it does not make the action seem plausible. Whole cities from Honolulu to San Francisco and parts of Tokyo are destroyed inconsequentially as these monsters play havoc with nature and humanity.

Unfortunately the action erases any attempts at credible acting but then again this is a fantasy disaster movie of nuclear proportions. Cranston and Binoche are underutilized and Taylor-Johnson and Olsen are left struggling to survive this horrific assault on themselves and their city, whilst protecting their only son. The action sequences are incredible especially the Hawaii and Honoulu devastation which is like a combination of Jurassic Park and The Impossible on acid.

For viewers that enjoy big budget disaster movies like Pacific Rim, then Godzilla is not to be missed. What is noteworthy is the allusion in Godzilla to the many natural disasters that Japan has suffered recently from the Fukushima nuclear leak in 2011 following the devastating earthquake which destroyed Sendai.

Director Gareth Edwards does his best to maintain a balance between the characters survival narrative, and a visually impressive disaster film which pays homage to its unique Japanese heritage. Its Godzilla which ultimately triumphs leaving the cast a little underutilized and at times superfluous to the incredible spectacle of the King of Monsters battling its alien nuclear usurpers against an obliterated urban landscape.

Albert Nobbs

We are all disguised as ourselves

Directed by Rodrigo Garcia (son of Colombian Magic Realist author Gabriel Garcia Marquez) the extraordinary film Albert Nobbs see Glenn Close play the title role along with an equally impressive performance by Janet McTeer as the mysterious painter Hubert Page. Both Glenn Close and Janet McTeer give startlingly brilliant performances as Nobbs and Page respectively and deservedly garnered a 2012 Oscar nomination for Best Actress for Close and Supporting Actress for McTeer.

The central tenet of Albert Nobbs is that of woman being disguised as men so that they can survive economically in 19^th century Ireland and is set in the plush Dublin hotel Morrison’s with Mrs Baker being the hotel owner, played with a dramatic panache by Pauline Collins (Shirley Valentine). Nobbs as a waiter has aspirations of owning his own tobacconist shop and when he meets the brash painter Mr Page who show him that despite their disguise, they can achieve their dreams. Mr Page even shares a home with his ‘wife’ Kathleen and shows Nobbs that the possibilities are endlessly disguised.

At a time when homosexuality was reviled and Oscar Wilde would soon be sentenced to two years hard labour in 1895 for sodomy after the public exposure of his affair with Lord Alfred `Bosie’ Douglas by Bosie’s father the vile Marques of Queensberry as elegantly told in the 1997 film Wilde, Albert Nobbs shows a different side of homosexuality, lesbian women who cannot be themselves financially, sexually and socially especially in 19^th century Europe and have to disguise themselves as men in order to survive.

All the extraordinary complex relationships which the Morrison’s Hotel have are gradually revealed as the film progresses and even the one so called traditional relationship between Helen, the Hotel maid played by Mia Wasikowska (Alice in Wonderland, The Kids are Alright, Jane Eyre) who falls for the charms of the rough boiler maker Joe played by Aaron Taylor-Johnson(Anna Karenina, Savages) is steeped in deceit and disloyalty. Jonathan Rhys-Meyers makes a brief appearance as Viscount Yarrell whose preferences when staying at Morrison’s is for inter leading doors to his male lover in the adjoining suite.

At the centre of Albert Nobbs, director Garcia really emphasizes the plight of women, whether they are abandoned by an ambitious lover after becoming pregnant or having to disguise themselves as men to survive financially in a patriarchal society which stifled any form of female freedom, not to mention lesbian women who have to hide their homosexuality behind a mask of conformity even if that means dressing as a man.

Albert Nobbs is a brilliantly told film featuring a superb performance by the ever versatile Glenn Close (Dangerous Liaisons) as a gaunt and cautious waiter saving up his pennies to one day fulfil his dreams, and how those dreams through a series of events are tragically thwarted leaving a rather unusual scenario by the films close. This is an exceptional and thought-provoking period film, commenting not just on the period of the late 19^th century but on the costumes which define the characters and the disguises people hide behind in order to survive and how those disguises define who they are.