Trainspotting (Boyle, 1996)

Well, I've just written an entire chapter of dissertation on it, so I feel a review is in order! Trainspotting, originally a novel by Irvine Welsh, is set in late 80s/early 90s Edinburgh and the narrative follows a group of heroin addicts and the pleasures and pitfalls of a life on junk. Straightaway, we're introduced to the main characters as the film kickstarts with a chase scene, accompanied by Iggy Pop's 'Lust for Life' and the infamous 'Choose Life' voiceover delivered by Ewan McGregor's Renton. What follows is a journey through addiction, relationships and friendships, with Renton eventually attempting to escape his past, when he moves to London and tries to live a 'respectable' life. But nothing's that simple, and he finds his previous lifestyle hard to escape...

The film often rattles along at the pace of an out of control train, with the pulsating soundtrack of Britpop and dance tracks, and the editing often reflects this. However, at times the pace is slowed, at points where the group's drug use rears its negative head.Ironically, the chase sequence from the beginning is featured later in the film - but in a starkly different context. On the second round, it follows a scene in which one of the junkies, Allison, finds her baby dead due to neglect. During the chase, the reckless and jaunty sounds of 'Lust for Life' are replaced by Blur's 'Sing', a much more downbeat song which, along with the context, completely changes the whole mood of the sequence. At the end, we see Renton and Spud caught, and Spud being given a jail sentence.

Parts of the film have elements of the surreal - particularly when we see Renton forced to go cold turkey by his parents. Lying in his childhood room, he begins to hallucinate, resulting in scenes that range from the disturbing to the darkly humorous - such as an imagined TV show where Dale Winton dangles the prospect that Renton may have contracted AIDS. This disjointedness is unnerving, and made even more so by the slightly too-bright visuals and pumping beats of the accompanying trance-style track (or, boof-boof music as your parents might describe it). Parts of the film often meander into the realms of bad taste, particularly in its subject matter and showing a dead baby, but within the tone of the film, it doesn't seem out of place (and I do love a good bit of bad taste cinema...).

The film features a cast of predominantly Scottish actors, many of which either had or went on to recieve acclaim for their roles. As Begbie, Robert Carlyle is intimidating and gives the impression that you'll never know what he'll do next. McGregor is indistinguishable from later roles as sappy poet Christian in 2001's Moulin Rouge and serious writer in 2010's The Ghost Writer, and his diverse career marks out his impressive acting abilities. Even if his character does get it on with a schoolgirl...

It's easy to see how Trainspotting made the BFI's Top 10 British films list and gained both critical and commercial acclaim. The soundtrack itself is impressive, featuring music from Pulp, Blur, Leftfield, and classics from Lou Reed and Iggy Pop, to name but a few. Although Trainspotting is often thought of as a 'drugs film', there's a lot more to the story than addiction. Relationships and friendships are foregrounded, and I'd argue them to be more relevant to the narrative than heroin. And although we see the negative consequences of drug use, the film doesn't preach at the audience about the effects. Seemingly, its a film aimed at an intelligent audience, and allows the viewer to come to their own conclusion with regards to meaning, showing the highs and the lows of drug consumption.

7/10

American Beauty (Mendes, 1999)

The tagline for Mendes' American Beauty (1999) reads '...look closer' - and that closer look is at the trappings of traditional expectations in a too-perfect American suburb. White picket fences, perfectly pruned gardens and polite chat with the neighbours - it looks like the families here have it all, including the Burnham family - Lester (Kevin Spacey), his wife Carolyn (Annete Bening) and daughter Jane (Thora Birch). But Lester's marriage is unfulfilling and fraught, and his relationship with awkward adolescent daughter Jane is rocky at best. However, after a cheerleading performance at a football game, he develops a perverted fascination with Jane's best friend Angela (Mena Suvari), represented in a somewhat surreal manner, with sequences showing a recurring motif of red rose petals - coming from her open jacket, and a night time fantasy of her bathing naked in them as they fall onto his pillow. He also starts to smoke marijuana with Ricky Fitts (Wes Bentley), son of new neighbour Frank Fitts (Chris Cooper), an uptight ex-military man.

Meanwhile, Jane faces her own developing relationship with Ricky, who she initially brands a pervert after she sees him filming her, but gives a second chance. As they grow closer, their relationship grows darker, with a clear bond coming from their outsider status to the superficial world around them. Both actors give stunning performances, with intensity and teenage angst that hits the spot perfectly. And Wes Bentley is nice to look at (despite his character being a little on the wrong side of creepy), which is always a bonus.

The story is narrated by Lester in a depressingly frank, self-deprecating way (wanking in the shower being the 'high point' of his day). Bleak humour and dark comedy intersperse the constantly intensifying storyline, from Jim and his lover, Jim, and Frank Fitts' confused reaction when they drop round a welcome basket to Lester's amusing attempts to relive his youth in the midst of a mid-life crisis. The visuals are often striking too - the recurring motif of red is, if slightly cliched, atmospheric, closely linked to feelings of passion...and danger.

Spacey gives a subtle, layered performance as Lester, and does a great job of showing a middle-class man in the midst of a mid-life crisis, as he learns about himself and those around him. Bening's Carolyn is wonderfully all-American, with her determination to sell her latest house using her excessive pep and never-fading permagrin, but we see this begin to fall apart as she embarks on an affair with Buddy Kane (Peter Gallagher). And I've always been a big Thora Birch fan, and as the perfect dark, disturbed teenager she doesn't disappoint. The film has an excellent ensemble cast, all demonstrating the slow disintegration of the 'American Dream' - and exactly what effect it has on their mental states.

I could go into a Film Studies-style analysis here, but as it's a review I'll keep it short and sweet (and I feel like it's a film you need to see and work out your own personal interpretations of). American Beauty has various complex readings, about sex, freedom and the mental state of its characters. A story of rebellion, it takes a satirical look at American suburbia- where things may seem idyllic on the surface, but under the shallow depths of the perfectly manicured lawns, secrets and unspoken desires create a dark undercurrent.

9/10

The Social Network (Fincher, 2010)

Chances are, most of you will have logged into another site before this one. You might even be as cool as me, and have it open in another tab. With over 500million users, Facebook is the most used social networking site in the world, making creator Mark Zuckerberg the world's youngest billionaire. And it was only a matter of time before Hollywood grabbed hold of his story. The Social Network tells the story of the conception and consequential explosion of the site, starring Zombieland's Jesse Eisenberg as Zuckerberg. The story is framed by two lawsuits, one between Zuckerberg and Eduardo Saverin (Andrew Garfield) another original Facebook founder, and the other with fellow Harvard students Cameron and Tyler Winklevoss (Armie Hammer - with Josh Pence as body double) and Divya Narendra (Max Minghella), who claim Zuckerberg stole their idea for an exclusive social networking site.

After being dumped by girlfriend Erica (Rooney Mara), Zuckerberg returns to his Harvard dorm and, with the help of Sanchez, creates a site called FaceMash, where students can rate the attractiveness of girls on campus. Its massive success prompts the Winklevoss twins and friend/business partner Narenda to approach Zuckerberg with their proposal for a new dating/networking site, Harvard Connections. Zuckerberg agrees to code the site for them, but instead embarks upon his own similar idea, The FaceBook. The site begins to spread to other schools, and attracts the attention of Napster founder Sean Parker (Justin Timberlake).

Exactly how much of the movie is rooted in truth is debatable - Zuckerberg himself has stated that his life was nowhere near as exciting as the screen portrayal makes out, and the team behind the film also state that his story has been dramatized for storytelling, rather than straight factual detail. However, these exaggerated, possibly completely fabricated, events make the film watchable for a general audience.

Despite his original attitude that money doesn't drive him, Zuckerberg comes across as a driven and slightly manipulative character, particularly after meeting Parker, a hedonistic party animal who seems more interested in the fame and perks than the project itself. Although it seems he is being taken advantage of in some ways, it's hard to sympathise with his cold, clinical attitude towards business, and instead lean toward the interests of Sanchez. Knowing that Sanchez was the only member in any way involved with the screenplay could perhaps some way to explaining this biased representation of the characters...

The Social Network works well as a comedy/drama, the seemingly quite dull (unless you're a computing nerd, anyway) subject matter is made far more interesting by the sprinkling of dry, witty humour, which is, on the whole, delivered excellently - particularly by Eisenberg. There are some real laugh out loud (or to appropriately reference internet speak, LOL) moments, including Sanchez's psychotic girlfriend Christy Lee (Brenda Song) raging about a Facebook founder being unable to change his relationship status. And also, Trent Reznor's involvement with the score means a slightly dark, jarring accompaniment that contrasts with the film's comedic attitude.

The editing between the story and lawsuits is well-thought out, and frames the story perfectly with enough factual detail, but not so much as to bore people. Garfield, soon to hit the big time as the new Spiderman, shines as the likeable Sanchez, although Eisenberg gives a somewhat one-dimensional performance. In the lawsuit scenes, the character came across more like a moody teenage boy than a young billionaire businessman. Indeed, the film seems to depict his journey as more partying than working, and that the success was more down to luck - whereas Zuckerberg himself says it took a lot of hard work and years of coding, rather than drinking, to get Facebook where it is today.

Putting the controversy and notions of realistic representations aside, The Social Network is an enjoyable film. One major criticism is the ending - something which seems rushed and comes very suddenly, with titling on-screen explaining the outcome of the court cases, which seems like a bit of a cop-out, really. Mind you, seeing Zuckerberg in the final scene adding ex-girlfriend Erica and refreshing the page over and over raises a chuckle - something I'm pretty sure some members of the audience related to. Facebook is an integral part of society, and along with being a watchable movie, The Social Network shows how one man's dorm-room project became one of the world's biggest internet sites - a pretty fascinating concept, in all.

6/10

The Twilight Saga: Eclipse (Slade, 2010)

I'll admit now, I'm certainly no 'Twi-hard' - I thought the first film was dreadful, and can't stand the whole attitude that comes with the crazy Twilight fans. Robert Pattinson is an actor, Edward Cullen is a character - and a pretty horrific one at that. Anyone who fails to observe this fact is a moron of supreme proportions in my eyes, and hopefully the eyes of anyone with half a grain of sanity. The whole fan culture of Twilight baffles me, as it seems to be everywhere, and if I see one more 'Team Edward' t-shirt, I might have to puke on it.

But now that's out of the way,  I'm going to put aside any feelings I have towards the whole phenomenon of Twilight, and base this review on the film itself. Hopefully this one will generate some discussion, as it certainly splits opinion.

In the opening scenes, we see new character, Riley Biers (Xavier Samuel), leaving a bar on a conveniently dramatic rainy night, where he is attacked by an unknown creature. It turns out later in the movie that it was Victoria (Bryce Dallas Howard), planning to turn him into one of the fanged ones. Her purpose is to raise an army of 'newborns' - freshly converted vampires, to set upon the Cullens and to get to Bella (Kristen Stewart), seeking vengeance against Edward (Robert Pattinson...see...character, actor..) for killing her lover, James.

After this quite exciting opening, we've got some very pretty shots of countryside and trees and things accompanied by a Bella voiceover of some poem about fire and ice and stuff. Edward and Bella are sitting in their 'romantic moments' field when Edward brings up the subject of marriage - something Bella disagrees with at her young age. But she wants Edward to 'turn' her - and marriage is his compromise. His old-fashioned nature is something that pops up throughout the film, particularly in an 'almost-sex' scene, where he talks some babble about 'courting' and 'stealing a kiss'.

Thankfully, as opposed to in previous films, Bella seems to have grown into a more likeable character in Eclipse. Instead of being a mardy loner, she socialises and seems to mope about a lot less. Edward is being his usual possessive self, trying to keep his grip on Bella, but shows that she's no longer willing to pander to him, demonstrated by her jumping on the back of Jacob's motorbike, despite Edward's attempts to prevent her from seeing him.Unfortunately, in the end she agrees to do the 'life' things his way - marriage, sexytimes THEN becoming a vampire. Siiigh. Despite moves forward, the Bella character still seems to be there for 'normal' girls to be given the hope that they too can find someone as 'perfect' as Edward. A prime example of unrealistic romance films.

A much better choice from where I'm standing is friend, werewolf and Edward's love rival, Jacob Black (Taylor Lautner). As with his appearance in New Moon, he spends plenty of time without a shirt on (something I quite enjoyed...), prompting a  rare moment of humour from Edward - 'does he OWN a shirt?'. His attempts to win Bella round are futile, and her seeming inability to let him down gently is frustrating.

Although Edward and Bella's relationship features centrally to the saga, Eclipse thankfully gives us more from the Cullens - who are much stronger and interesting characters. Although brief, insights into Rosalie (Nikki Reed) and Jasper (Jackson Rathbone) are welcomed. The former gives her story of being raped and left to die, but becoming a vampire and taking revenge, the latter his tales of training newborns to fight, but being 'saved' by Alice Cullen (Ashley Greene). Alice has the power to see visions of the future, and is therefore invaluable to the group - although Victoria manages to 'hide' behind the newborns to prevent Alice having full knowledge of her plans. This exploration of the characters surrounding the central love story colours the film and is something I'd actually have liked to see even more of.

The fight between the 'newborns' and the strange Cullen-werewolves alliance is actually well choreographed and exciting - the one thing about the earlier Twilight films I did enjoy were the more action-based scenes. If there were more of these, and less whining in meadows, perhaps the films would have been more appealing. The script at times seems is rather cringeworthy - although I've never read the book series, I can imagine much of the writing being down these lines.

Despite the mysogynistic undertones of the story, pushing the romance aside Eclipse is actually not a bad film. Visually, it delivers, with a beautiful setting and some well-thought out sequences. It's not brilliant, has a very annoying central character in Edward, and it won't be accepted by the film snobs of the world. But, for mainstream 'romance' drama, it delivers a watchable two hours.

6/10

Adventureland (Mottola, 2009)

In Adventureland, directed by 2007 hit Superbad's Greg Mottola, James Brennan (played by Jesse Eisenberg, another graduate from the Michael Cera school of gawkiness)'s plans to travel Europe fall apart, and he is forced to get a summer job at Adventureland, a slightly run down, tacky amusement park. Reluctantly arriving at the park, he is immediately thrown into work by eccentric park management team Bobby (Bill Hader, sporting a fantastic eighties 'tache) and Paulette (Kristen Wiig), and befriends super-geeky Joel (Martin Starr) and quirky Em (Kristen Stewart).