"Dunkirk" Review

"We shall fight them on the beaches"

DIRECTOR: Christopher Nolan
CAST: Tom Hardy, Kenneth Branagh,
    Cillian Murphy, Mark Rylance
    Fionn Whitehead, Aneurin Barnard
RUN TIME: 107 minutes
PLOT: May 1940, British, French and
    Belgian troops await rescue in the
    port city of Dunkirk, as advancing
    enemy force attempt to cut off their
    escape.

DUNKIRK IS MOST CERTAINLY NOT A WAR FILM. It is as much of a war film as David Fincher's The Social Network was focused on the joys of Facebook or Taxi Driver extolled the virtues of driving a yellow cab. What it most definitely is, however, is a genre bending epic of diverse proportions. An intimate, yet grandiose, study of one of the worst military disasters in British history. The film is draped in claustrophobic horror, tinged with thriller suspense, whilst having the scale of a full blown disaster film. Prepare more for Apocalypse Now and Das Boot than The Longest Day.

Christopher Nolan has always pushed boundaries, whether intentionally or not. His CV is extensively varied yet no less impressive. Memento, quite literally, turned linear storytelling on its head. The Dark Knight trilogy has had influence on nearly every comic book film since its 2005 beginning. Interstellar and Inception changed perceptions of filmmaking whilst astounding audiences simultaneously. He shows no signs of slowing down in either output nor quality. Quite simply, he is one of the greatest directors of modern times. With Dunkirk, his first true biopic, there feels a genuine compassion to honour the events integrity. Whilst crossing The Channel with future wife Emma Thomas in the 1990s, Nolan was struck with inspiration and a fierce desire to cover the story of the chaotic evacuation of 400,000 British troops from the eponymous French town. Not interested in the blood and thunder firefights nor the excessive explosions, Nolan grounds his film in great acts of heroism from sometimes unexpected places.

The storyline takes on a triptych structure, with focus on the land, the sea and the air, each having a completely different feel and style. On the land, an unnamed Tommy (Whitehead) is desperate to avoid the advancing enemy by any means necessary. Scavenging for escape, he meets other likewise men during his attempts to flee, some more trustworthy than others. On the sea, a determined amateur sailor (Rylance) points his small vessel south in a bid to hoover up as many stranded survivors as possible, one being a shell shocked survivor of a U-Boat attack (Murphy) who refuses to return to the battle. Whilst in the air, daring Spitfire pilot Farrier (Hardy) attempts to offer protection to the beleaguered soldiers from on high. These three stories may initially seem separate, but as characters from each of the story arcs begin to interact, Nolan is able to evoke the spirit of camaraderie and cooperation required to underline the film. It is not always quintessential British "stiff upper lip" however. On many occasions, characters attempt to bluff their way onto departing ships or seek to jump to the front of the queue, as sheer survival mode engages. What honor is there in war?

   

Troops await rescue from "The Mole"

As Kenneth Branagh's Commander Bolton, a composite character based predominantly on James Clouston who oversaw the real withdrawal, attempts to bring order to the chaos, there is a constant sense of dread hanging over everyone involved. Branagh adds gravitas at times as he wistfully observes Blighty on the horizon ("You can almost see home"), further emphasising how close their destination was. In the midst of the officers confabs, all the while there is a lingering threat at the edges of our screens.  This hulking malice, never captured on screen in human form, strikes when the audience or its central characters least expect. We are drawn into the immense anxiety faced by the films protagonists by the almost supernatural, faceless foes who seemingly materialise from thin air. Luftwaffe fighter planes emerge from the sky like monsters, striking down all in their path before retreating to the encompassing cloudy skies. Shots crack and whip from unknown sources, perhaps from German soldiers or demons otherwise. Shells detonate and deafen around from overhead, creating a Kafkaesque nightmare in which there is no apparent escape. No going forward or backwards, just enduring in hell itself; Dunkirk beach. The action is all enhanced by the staggeringly immersive sound design and accentuated by high resolution Imax picture. It is often in silence, however, that Nolan creates his unsettling moments. Whether hiding from danger in an abandoned ship, to sweeping shots of a deathly quiet shore, choked with thousands of lifeless men waiting en masse in orderly ranks for a miracle.

Nolan has begun to assemble a team of regular hands who seem to thrive under his intense stewardship. Hans Zimmer's score heightens the tension to stomach churning levels. Whether by the use of staccato, screeching violins to exacerbate a chase sequence, or the ticking of a pocket watch building into an orchestral score, he is able to add pace and urgency to many sequences.Time was understandably a clear factor in the evacuation, something which is almost tangible in the film and outlined early on in the picture with definitions laid out about how quickly or slowly the events we are witnessing are taking place as day bleeds into night. Frequent collaborator Hoyte Van Hoytema, his trusty Director of Photography, does an excellent job in creating such crispness to the dreary dismal surroundings with the 1940s era seaside town aesthetic jarring with the events on its doorstep. Shot on location in Dunkirk, with Weymouth and the Netherlands doubling in for some scenes, it is the piloting sequences that are most impressive from a technical standpoint. First hand person shots of dog fights and aerial acrobatics don't feel contrived but rather provide an element of slight excitement and a distinct change of pace to the proceedings below. One particular set piece involving an emergency beach landing provokes the same "how did he do that?!" feeling as the unforgettable lorry flip in The Dark Knight or the revolving corridor fight in Inception.

Spitfires form rank overhead

Although the exceptionally strong ensemble are given a minimal script in dialogue terms and back story, it becomes apparent that these usual staples are irrelevant. Words are time wasted, names unnecessary. In the midst of this acting talent, all of which is utilised to various degrees, a newcomer comes to the fore. In the unknown Fionn Whitehead, the movie has a lead able to convey emotions by a fleeting look or a gritted teeth grimace.  His young age and lack of star quality surely a conscious choice, due to the simple fact of life imitating art. In another time, he could easily have been in France in the horrific events unfolding. It is in Mr Dawson (Rylance) and his young shiphands, however, that we have the true embodiment of the tale. With the exploits of the "The Little Ships of Dunkirk" now well renowned, Rylance delivers a performance reflecting the people he is portraying; unassuming, humble yet determined. Conversely, the youthful exuberance of George and son Peter (played by Barry Keoghan and Tom Glynn-Carney respectively) quickly gives way to tragedy and realisation as they are pulled closer to the conflict on their very doorstep.

By the end of the film we are left slightly drained and empty, so much so that the resolution feels marginally tacked on and overplayed. However, as over 400,000 men were saved from annihilation (including French, Belgian, Polish and Dutch soldiers, whose contribution and bravery Nolan does not ignore) its feels rather apt that the picture should end on a softer more optimistic note. After beginning as a twinkle in the icy blue eyes of the director on that ferry crossing all those years ago, it is most definitely worth the wait for the final outcome. A conventional war film, Dunkirk may not be. It could be Christopher Nolan's greatest offering to date. Any man who has the balls to cast Harry Styles and pull out a credible performance must be half decent.

VERDICT: Nolan delivers yet again with his version of Saving Private Ryan. Unflinching, suspense filled, eerie and yet full of heart. This is is a film that needs to be watched on the biggest possible screen over and over again.

James Franco: His greatest performance yet?

Has James Franco's slightly ....ermmm.... odd behaviour over the past few months been an elaborate hoax?

According to The Wrap, a year-long documentary analysing Franco is nearing completion. 

Beary suspicious: Franco cozies up to a furry friend.

"What have you done?...WHAT HAVE YOU DONE?!" James Franco is 25, starring in Sam Raimi's much-maligned Spider-Man blockbuster, playing tormented soul Harry Osborn. Peter Parker's alter ego has just snuffed out his characters father; Willem Dafoe looking uncomfortable as the overly camp Green Goblin, prompting this raging outburst. He is a bright light, out-shining comparable co-star Tobey Maguire, a fresh face with dark good looks and oozing charisma. The year then was 2002, yet here in the present, 12 years later, his legions of fans across the globe are shouting at the same words at their laptops and tv screens, as news breaks about his alleged attempt to woo an underage fan over Instagram. 

Emerging in the cult, Judd Apatow produced Freaks and Geeks in 1999, Franco was picked up for Spider-Man after director Sam Raimi was impressed with his audition "I thought he was an incredibly talented young man, and a little smug. But as I got to know him, he only improved as an actor, and I saw him come out of his shell a little bit more" He appeared in the franchise for its next two outings, before erupting in 2008, where he acted alongside BFF Seth Rogen in the enjoyably haphazard stoner comedy Pineapple Express A month later, he appeared as Sean Penn's lover in the eponymous biopic picture Milk. Currently, the pinnacle of his still fledgling career is Danny Boyle's brilliant claustrophobic thriller 127 Hours, a performance that tested his abilities to their fullest, being able to hold an audience; in a canyon, his arm trapped by a rock, for over an hour, with an Oscar nod shortly following.


His talent is unquestionable, his star quality considerable. On the 13th May 2014, The Wrap broke the story that first-time director Lisa Vangellow had been shooting an account of his experiences since June 2013, with the movie entitled "Franco: A Documentary" Fairly typical so far, its obviously not uncommon for filmmakers to shadow or produce informative work on fellow auteurs in a documentary capacity (see Hearts of Darkness and Room 237) especially after his rapid rise. However, the past year in the Californian natives life will give Vangellow an abundance of material, with some seeming almost too good to be true for the UCLA graduate director.

Franco in his latest film, Palo Alto,
  an adaptation of his own novel. 

16th November, 2013. England's Rugby League team secure a place in the World Cup Semi-Final after a 34-6 victory over France; Ed Miliband's was left red-faced after his emails were leaked, in which he heavily criticised Shadow Chancellor of the Exchequer Ed Balls, and James Franco posts the first in a series of extremely bizarrely half-naked selfies. The modern age "self-portrait' photograph is not going to get the red-top tabloids heart racing, but this snap featured a deranged looking Franco, half-naked, with it simply titled "all the kids are doing it" A plethora of the pictures followed, with a particular highlight being the actor sporting what looks like a BDSM version of a Batman costume, captioned "50 Shades of Batman and Robin"


Next we lurch from the amusingly strange to the down right troubling. After a performance on Broadway in classic Steinbeck work Of Mice and Men, Franco began an apparent attempt to seduce 17 year old Scottish fan girl Lucy Clode over Instagram, after she had tagged a photo of him on the social network site. The toe-curlingly embarrassing exchanges featured Franco asking if he should "Rent a room" and whether Clode "Had a boyfriend" The age of consent in New York state, worryingly enough, is 18 years of age. Franco brushed away accusations, demeaning his actions whilst using buzzword littered phrases such as "I'm embarrassed" and "It was a case of bad judgement." in an interview, shortly after the news broke, on Fridays Live with Kelly and Michael. Whilst this grubby incident was fairly nauseating enough, two things became apparent. The date of his sordid chat-up saga? April 2nd, mere hours after April Fools Day. His new film release? Palo Alto, in which his character is a football (or soccer, if you will)  coach who seduces a schoolgirl. Vangellow must of been rubbing her hands together in anarchic glee, her subject was apparently imploding over the internet for the world to see, in highly fortuitous circumstances for her.

Franco's Ground Zero: The first of the selfies. 

Franco's pet project Bukowski, has now finished shooting and was scheduled for a release in late 2014. The film, which he wrote with younger brother Dave and he himself will be taking up directing duties, focusses on Charles Bukowski semi-autobiographical novel Ham on Rye. Cyril Humphris, who claims he owns the rights to the book, is in the midst of an intense legal battle after Franco's rights to adapt the text expired in 2010. According to the claim, Franco simply ignored this legal precedent and shot the film anyway, understandably enraging Humphris in the process. The performer has also been involved in the courts with former teacher at NYU, Jose Angel Santana, after Franco's previously outspoken comments over his teaching ability and apparent attempts to use the "Bully pulpit of his celebrity to to punish anyone who doesn't do his bidding" The actor has turned into a defendant.


Clearly, Franco currently appears about as likeable as Ashley Cole at a Girls Aloud concert. Yet, despite this, no one is willing to address the elephant in the room, who is desperately tiptoeing to avoid detection. One has to ask, is this unusual, seemingly out-of-character debacle over the past year an elaborate performance art piece? Do Vangellow and himself have us all fooled for this upcoming film? The now infamous I'm Still Here, in which Joaquin Phoenix was able to deceive everyone by stating his intention to quit acting and move into a hip-hop career. He and his brother-in-law, actor/director/writer Casey Affleck, were able to produce a project that even this day has critics arguing of its authenticity as a documentary or simply a performance driven art film. That movie dealt with a vast amount of controversial incidents associated with fame, including mass prostitutes, drug-taking and Phoenix defecating on an unsuspecting gentleman (okay, maybe that was a bit much) Is Franco conjuring up something similar with a year long tirade of apparent breakdowns?


Franco, whilst speaking at the Institute of Contemporary Art in London in July 2012, touched upon that film and the effects of celebrity status "I have this private persona that I present to my family and friends" he stated "and then there is this public persona that is created from the things I do, and from different outlets and how people perceive what I'm doing" Talking about Phoenix and Afflecks film specifically, he expressed "Joaquin was acting in such a way that the repercussions were real, Letterman (David, the victim of the now notorious interview in 2009) and others were responding in a certain way" Still not sold? In February 2013, "The Grandmother of Performance Art" Marina Abramovic also announced she had plans to shoot a film of the polymaths life, with the two collaborating before on previous art pieces. The film has yet to see the light of day, but slight investigation in the stars background digs up these supposed conspiracy theories. Has he, just maybe, given the best performance of his life? Has he convinced the world to believe in a fabricated celebrity image? Like Harry Osborn and his Green Goblin alter-ego in 2002, could James Franco have his own split personality?

"Her" review

Theodore Twombly (Phoenix) enjoys the rays.

DIRECTOR: Spike Jonze

CAST: Joaquin Phoenix,
             Scarlett Johansson, Amy Adams,
             Rooney Mara, Chris Pratt

RUNTIME: 126 minutes

PLOT: Set in an unspecified future,

             lonely writer Theodore (Phoenix)

             embarks on a relationship with 

             his new Operating System 

            (Johansson)

SPIKE JONZE IS ANYTHING BUT A 

CAUTIOUS FILMMAKER. A quick consultation with the auteurs IMDb filmography shows an unexpected amount of diversity, coupled with the sheer mass of content from which the diminutive writer/director can hang his hat on. Minor acting roles in Moneyball and The Wolf of Wall Street rub shoulders with Jackass appearances. Direction for music videos range in genre, from R.E.M to Tenacious D. His last feature, Where the Wild Things Are was an imaginative and daring film, pleasing critically but performing poorly commercially. His latest offering, Her, is sweet, funny, serious and symbolic, where Jonze adds another string to his ever increasing bow. 

Love at first sight between Theodore (Phoenix)
and Samantha (Johansson)

With Shanghai doubling for a postmodern Los Angeles, Jonze's contemporary fable examines our relationship with technology and a possible over-reliance on it. It is not hard to see parallels in this created universe, where people wander aimlessly, with sophisticated operating systems substituted for iPhones, Xbox Ones traded with hologram gaming devices, pine trees replaced with uninspiring video screens sporting scenery. An environmental activist himself, Jonze and his Director of Photography Hoyte Van Hoytema (Let the Right One In, The Fighter, Tinker Tailor Soldier Spy) light the film expressively, with vibrant colours, computer screens and LED bulbs illuminating Phoenix as he potters around his darkened apartment in the film's first act, with Arcade Fires score bubbling throughout these scenes. Emblematically, as his new muse encourages him to dream and move from his comfort zone (Physically and metaphorically), we see beautiful blood Los Angeles horizons mingle with Rocky Mountain-esque fjords, as Jonze juxtaposes the modern with nature. The directors little seen short film, I'm Here, is his most similar previous outing in tone and story, where a isolated robot (voiced by Andrew Garfield incidentally) tries to find companionship on the sun bleached, east-coast city of the United States. 

Divorcee Theodore Twombly (Phoenix) is a character impossible not to root for. Lonely, mildly depressed yet warm hearted, with his only emotional feelings found in his job, which consists of writing "Beautiful Hand-Made Letters" that people have grown too apathetic to print themselves. He wanders through life, uninterested with existence, rebuffing friends and potential dates, with a failed one (a brief Olivia Wilde) only exacerbating this helplessness more.  Craving emotional contact, after a contemporary, nauseating yet humorous attempt at online sex chatting, he installs a new sophisticated operating system named Samantha (Johansson) partly out of these isolated needs. Jonze keeps the story at a quick pace throughout this first act, often adhering to staple relationship signposts, with a "first date" to the funfair both endearing and fulfilling. This trend carries on as Theodore introduces his new cyber-partner to friends, in particular Amy (Adams), in an understated role that mirrors Twombly's current circumstances in more ways than one. Rising star Chris Pratt provides excellent support as a co-worker who embraces his colleagues lifestyle choices, even participating on a quirky double date with the odd couple.

Theodore (Phoenix) and Catherine (Mara) in happier times.

Joaquin Phoenix is a man inspired. After his bizarre stint out of acting to film faux-documentary I'm Still Here, he has roared back with The Master, bringing his darkly simmering rage so often synonymous with his characters. Here, he grounds Twombly, giving him a big, aching heart and a touching quality after a devastating split with a lifelong love (a cold and conflicted Rooney Mara) which is told through an assortment of deceptively vague flashbacks. A writer by trade, he smarts of Byron, Shelley and Wordsworth, desperately trapped in a pit of self inflicted despair. The sheer logistical aspect of developing a romantic story without acting opposite a person is masterfully done, with Phoenix taking this challenge across his checked-shirted shoulders. A pained expression or look of longing expressing more than a thousand words could. Scarlett Johansson, performs admirably, giving a genuine human quality to a box of wires and lights. Due to her husky and distinctive tones, we are able to form an image of Samantha in our minds due to prior knowledge, as she (it, thing?) begins as a naive and impressionable android, who grows to become the most important aspect of Theodore's world. By the end of the picture, the viewer not only stops questioning the morality of a relationship with a robot, but viewing it as extremely beneficial for our muted protagonist.

At 126 minutes run time, the story lags and feels a tad bloated. By the beginning of the third act, the film threatens to reach a conclusion with a definitive end, but this is bypassed quickly as Twombly frantically tries to keep his house of cards from toppling, extending the picture significantly. Amy Adams and Chris Pratt, although excellent performers, sometime feel tacked on without successfully advancing the story. The actual finish of the movie leaves the viewer begrudgingly found wanting, with its ambiguous tone not giving closure, advancing quickly and far too soon. His previous relationship is thinly sketched, with no insight offered as to why a marriage could so disastrously fall apart, despite the inclinations of the volatile and unstable Catherine (Mara) But then again, how many relationships have ended without closure or arriving unexpectedly? After reflection on a finished romance, the viewer is left with the extremely good memories, only slightly tinged with the bad ones.

VERDICT: Spike Jonze effortlessly crafts a parable underlayed with a variety of subtle undertones. Phoenix and Johansson provide one of the most original screen romances in modern history, yet both deceive charmingly and delightfully.

"12 Years a Slave" Review

Solomon Northup (Ejiofor)
faces the horrors of slavery

DIRECTOR: Steve McQueen

CAST: Chiwetel Ejiofor, Michael Fassbender,

            Benedict Cumberbatch, Paul Dano

RUNTIME: 134 minutes

PLOT: Solomon Northup, a free black man 

            living in upstate New York in 1841,

            is kidnapped and sold into slavery in

            Louisiana

FILMS THAT EXPOSE THE TRUE HORRORS 

OF SLAVERY ARE HARD TO FIND. Last years 

Oscar challengers Django Unchained and Lincoln 

touched upon the violence and cruelty surrounding 

this abominable practice, brought crashing down in

1865, yet they were movies that had altogether 

different focus.

12 Years a Slave is the third major directorial outing of Steve McQueen, following his harrowing account of the Northern Irish freedom fighter Bobby Sands in Hunger and the sex addiction picture Shame. Casting his actors seems like a thoughtful process for McQueen, a director who is infamous for demanding and bringing the best out of his performers whilst simultaneously tackling extremely traumatic subject matter. In Chiwetel Ejiofor, he has catapulted an actor; who has been around the fringes of the mainstream, firmly into the spotlight. 

Patsey (Nyong'o) pleads with Epps (Fassbender)

Ejiofor portrays the transformation of Northup, initially a naive, free African-American, captured into slavery by false promises of a job offer; who initially believes that his friends and family in the North will wake him from a hellish nightmare and restore him to his former life, personified by his outburst of "I will not allow myself to fall into despair!" to a grieving mother, separated from her children. However, after witnessing unlawful killings by apathetic racists, torture by cruel masters and forced into physically and mentally debilitating labour, despair is exactly what befalls him, so beautifully portrayed in a scene where he resists joining in on a morose slave song, only to break and tearfully belt out its melancholic tune.

It is reductive to say that one man's experience represents entire generations of men, women and children sold into captivity, but in Northup's true account, McQueen finds a narrative that represents a vast amount of the hardships felt. Lured to Washington DC on promises of a job in the circus to utilise his supreme talent on the violin, Solomon is drugged and sold to blaise slaver, (Paul Giamatti) prodding and examining his on display slaves as if they were cattle, who then auctions him on to genial plantation owner William Ford (Benedict Cumberbatch) Despite his morality being good, a man who treats his property with kindness and respect, every act of compassion he distributes towards Northup has an underlay of unintentional cruelty, such as presenting him a new violin and stating "May it bring my household years of happiness"

After being sold onto another plantation owned by Edwin Epps (Michael Fassbender) McQueen begins to expose the true brutality of the stereotypical slave owner. From his whipping Patsey, (Outstanding newcomer Lupita Nyong'o) a captive he has a emotional obsession with, to Northup coming close to death by lynching from a sadistic overseer (Paul Dano) the Brit director does not shirk away. Holding excruciatingly long shots, with Solomon dangling helpless, whilst terrified and desensitised slaves simply ignore the barbarity and continue their tasks, he achieve the viscerality he craves. In addition, a whipping scene with the camera circling around the bloodshed, leaves the viewer shell shocked, exactly as the inhumanity of slavery should do. Sean Bobbitt's cinematography manages to alleviate some of the tragic atmosphere, from the dazzling white cotton fields to the burning embers of Solomon's abandoned letter, which could have provided an escape.

Solomon and his fellow victims in the fields.

Ejiofor will almost certainly be up for an Oscar, yet his co-star Fassbender could also share the stage with him, as his turn as Epps almost threatens to steal the show. Malevolently misguided, he adamantly growls that the slaves are his property and his savagery is his prerogative. Radiating hatred, the film gradually peels away his character layer by layer until his flaws are exposed for the audience to witness. Confusion surrounding his love for Patsey, dominated by his Lady Macbeth-esque wife (An underused Sarah Paulson) he descends from villain into farce after aptly falling flat in the mud whilst trying to assault Northup.

Fassbender oozes violent tension as McQueen draws us in, we wait for him to lash out, by use of overextended pauses in the dialogue, particularly in a scene where he confronts Solomon after an attempt at escape. The cast as a whole is exemplary, with a minimalist role for Brad Pitt (whose production company Plan B partially funded the film) as a fervent abolitionist working on the Epps estate, with whom Northup begs for assistance.  Eventually, that escape comes but not in the sense we expect, drawing a close to a deeply moving, unflinchingly raw film. 

VERDICT: McQueen delivers yet again, pulling no punches in an abrasive, at times uncomfortable to watch, film. More horror than historical biography, despite its accuracy, expect this to contend at the Academy Awards.

"About Time" Review

Bill and Domhnall participate in the
worse game of "hide and seek" ever.

DIRECTOR: Richard Curtis
CAST: Domhnall Gleeson, Rachel McAdams,
             Bill Nighy, Tom Hollander
RUNTIME: 123 minutes
PLOT: On his 21st birthday, Tim (Gleeson)
             discovers he has the ability to travel
             in time that he inherited from his
             father (Nighy) Putting this gift to use,
             he looks for the love of his life.


RICHARD CURTIS IS ANYTHING BUT 
TYPECAST. With a CV boasting more variety than an evening at Charlie Sheen's house, and with writing credits on everything from Mr Bean to Blackadder to Four Weddings and a Funeral, he delivers another warm and heartfelt film with About Time. His third outing combining writing/directing roles, he delivers his most thought-provoking yet touching film to date.                
 
   Where Four Weddings and Notting Hill delved into how friends become surrogate families, whilst   also having a bumbling, charmingly befuddled Englishman chasing an out-of-his league American woman, About Time, from its opening voiceover, enforces the necessity of being surrounded by a loving household, despite our leading character, Tim, lacking an impenetrable circle of friends. Outlining his adoration for his parents, sibling and addled uncle with whom he shares his home with, he shows his great sensitivity by immediately acknowledging that mates and girlfriends have fallen by the wayside.
 
   Due to the title and synopsis of the film clearly outlining its content, Curtis wastes little time in the what's, why's and how's of the central family's unique skill but delving into the wooing of a potential girlfriend, something which the director/writer tackles with relish, giving one of the auteur's of awkward comedy a new platform on which to play. From the early attempts with his childhood flame, to moving out of his parents house to try his luck with the women of London, we see Tim stumble through his romantic pursuits through, often numerous, do-overs and second chances, which only

Mum's comment on Domhnall's
sweater didn't go down well. 

makes him much that bit more relatable, sweet and honest.

Domhnall Gleeson, in his first long overdue starring role, brings an extremely pale, ginger, nerdy charm to his character. Channelling his best Hugh Grant, with an hint of Simon Pegg's affability and a splash of Martin Freeman's quick draw wit, excels and shines in a portrayal that in other's hands could appear sleazy or stalkerish with repeated advances on unsuspecting women.

    His American sweetheart, Rachel McAdams, delivers a subdued yet subtle performance as the adorably cute Mary, whilst experiencing great chemistry with her English beau in refreshingly dry back and forth. Tom Hollander almost threatens to steal the show as Tim's foul-mouthed playwright landlord, who doesn't seemingly have a redeeming quality about him yet entertains thoroughly in his expletive filled rants.
 
   It is this central relationship where the film thrives, roaring along at a frantic pace as we experience the typical signposts of courting (First date, Sex, Meeting parents) with the added time travelling slant giving the film the repetitive laughs that Bill Murray delivered in Groundhog Day. Towards the second and third act, the film slows and comes full circle. By highlighting Tim's desire to relive his past, Curtis shows the danger of missing his present. Or, even more paradoxically worse, changing chunks of it entirely. By taking advantage of this lull to hit home with great emotional weight, providing tender and touching moments that threaten the tear-ducts, whilst also, metaphorically reflecting the slowing of the tone, presenting a long term relationship where the initial passionate, nervous beginnings are replaced with a slow burning devotion.
 
    The Curtis criticism of the past ("Curtiscisms" if you will) flare up yet again. Love is portrayed as ultra-idyllic and unrealistic, with no pitfalls at all even with the added complication of a time-bending spouse. The unlikely partnership of Gleeson and McAdams thrills yet doesn't fool (Would she REALLY go out with him?) and the character of the kooky sister (relative newcomer Lydia Wilson) is far too overplayed and self-assertive to be likeable, with secondary storylines, despite often hitting their mark, feeling like they are tacked on. However, you fail to bat an eyelid as you're swept along with the story, coupled with the gorgeous Cornish countryside and modern-rustic streets of West London. If Curtis bows out of directing after this film, then he has finished with a film that will live long in the memory. Oh, and Bill Nighy nails it. Again. Of course he does.

VERDICT: Well-written, solid performances and hugely likeable. Curtis turns back the clock and is back to his very best.

Abramovich lifts the
Champions League trophy

Roman Rule: How long till football clubs become Americanised franchises and is "Hire and Fire" the future? 

On the evening of the 19th of May 2012, Didier Drogba converted the deciding spot kick in a tense penalty shootout to seal one of the most famous final victories for Chelsea Football Club in their extensive history. 

Approximately 11 months later, the situation is less elation and more damage limitation. Following a turbulent season in which FA Cup and Champions League winning coach Roberto Di Matteo was cruelly sacked in November, following a key defeat in Italy to European powerhouse Juventus, despite sitting top of the Premier League in October after an emphatic 4-2 win over London rivals Spurs. 

Ex-Liverpool manager Rafael Benitez came in, slapped with a "Interim Manager" tag and instructed to hold the team together until the long overdue appointment of ex-Barcelona coach Pep Guardiola, provided he made himself available following his self imposed exile, with Benitez's appointment met with the chagrin of Chelsea fans everywhere. Guardiola has now signed a 3 year deal with German giants Bayern Munich, to take over as manager at the beginning of the 2013/2014 season, leaving Chelsea to back Benitez until the end of the season and leaving Mr Abramovich with a severed amount of egg on his face.

Chairman Bruce Buck and
Chief Executive Ron Gourlay: Whos in charge?

The often overused expression of "transition season" has been far too commonplace in Abramovich's tenure as Chelsea owner and is set to be labelled this yet again if this yields yet a trophy-less season. Despite Chelsea's managerial hot seat being as stable as a North Korean peace treaty in recent years, no one can argue that he has delivered undoubted success. 3 Premier League Trophies, 3 FA Cups, 2 League Cups and 1 Champions League (2 Community Shields if we are pushing it) coupled with 9 managers (10 if we included Ray Wilkins 1 game in temporary charge), show the level of achievement Abramovich has instilled into the club. 

With a mass influx of American owners and chairman into the Premier League (Randy Lerner at Aston Villa, John W Henry at Liverpool, Stan Kroenke at Arsenal not to mention the Glazer family at Man Utd) are these historic English clubs being simply regarded as franchises to deliver instant success coupled with a lack of emotional involvement? In the modern NFL, the average coaching tenure is only 3.2 seasons, exemplified by the fact that their season only running from September to early January. Bruce Buck, an American lawyer, is the current chairman at Chelsea Football Club and a key adviser to Abramovich himself. The fact of the matter is a man coming from no footballing background has become the no.2 person at one of the biggest clubs in the country, where he has a say in the "Hiring and Firing" of these beloved managers and players in the modern game. Men like Roberto Di Matteo and Jose Mourinho. Has football finally bitten the bullet and become a huge, global,  financial juggernaut where clubs are franchises? The emergence of newly founded franchise clubs like MK Dons, AFC Wimbledon and Rangers, where they simply change location or enter bankruptcy, out of the wreckage of their former teams would suggest so.

50 Million Pound man: Was Torres signed by Abramovich?

If the Premier League goes the way of the NFL or Major League Baseball, then the most worrying aspect of that would be the role of the "General Manager". Similar to the controversial position of "Director of Football" or "Technical Director", this position concerns with off the field matters such as Player and Staff Contracts, Transfers and Head of Scouting. At a club where Abramovich, reportedly, played an important role in the signings of Andriy Shevchenko and Fernando Torres for combined fees of £85 Million, is the threat of an owner or chairman, appointing themselves a General Manager and organising transfers and contracts, possible in the Premiership? Even more concerning would be the fact that a huge majority of the time GM's have no professional playing or coaching experience. Out of 30 Major League Baseball teams, only 5 of their General Managers played professionally and only a few others playing at College or High School level. None of them have any coaching experience whatsoever. 

Football Clubs could be heading the way of McDonald's or Starbucks, something that would be regarded as utterly ridiculous 15 or 20 years ago. The future of football is on a knife edge, with the vast influx of foreign owners growing in English football across all the divisions. Would a salary cap bridge the gap between teams who have and teams who haven't? Possibly. Is FIFA's long awaited protocol of Financial Fair Play a way to remove the possibility of quick buying and selling of teams? Perhaps. Roman's ruble's have undoubtedly pushed Chelsea into the position they are in today, but is he looking to expand his dictatorship further into more worrying territory?

Ulster vs Saints: Analysis of both leg's

Superb Saints shock undefeated Ulster: How did they pull it off?

 

What a difference a week makes. At approximately 10:00 on Friday the 7th Northampton Saints team, management and fans were asking serious questions. Ulster arrived at Franklin's Gardens almost two weeks ago full of vigor and confidence on the back of a 13 match winning streak and looking to take a stranglehold on a tight Heineken Cup pool, with all of the above never looking in danger.

Stunned: Saints Captain Dylan Hartley had no answer to an assured Ulster.

They dominated every single area of the match. Tom Court, Rory Best and John Afoa scrummaged like lions, Johann Muller was majestic at the line out and the back line ran riot, with Tommy Bowe at his marauding best. Saints had no answer to Ruan Pienaar's distribution and control of his forwards, alongside the measured kicking game of man of the match Jared Payne. Chris Henry, Iain Henderson and former Saint Roger Wilson turned over ball time and time again, with the break down firmly in Irish control. 

To call this game a mismatch would be off the mark. To call Northampton bad would be understated. They were abject, woeful, dreadful, take your pick. Defensively, tackles were missed in key areas. Organisation was missing, with overlaps occurring seemingly every time the ball was thrown wide, with fly-half Paddy Jackson and fullback Payne  able to clip the ball down into Saints territory. On the offensive, Saints lacked direction and seemed devoid of all ideas, with stand off Ryan Lamb drifted around the park unable to unlock the Ulster line. The ball rarely went outside the 13 channel, with schoolboy tactics of single ball carriers employed. It felt like Groundhog Day for Saints, repeated attempts at the Irishmen's defense were broken down with ease.

You shall not pass: Jamie Elliot typifies Saints' gritty performance

The Ulstermen had well and truly stood up to a pitiful Northampton challenge. Ulster ran out comfortable 25-6 winners, picking up a 4 try bonus point and leaving the Saints with a crisis of faith. Captain and hooker Dylan Hartley conceded "We speak about intensity, they brought bags of it and we didn't bring enough. They are unbeaten and they showed why. They are a good team but we made them look better than it could of been" What was the rallying call? Pick themselves up, dust themselves off and try again. What game was up next? A return trip to Belfast at fortress Ravenhill against their tormentors Ulster. An opportunity for redemption. Marty Mcfly and The Delorean had to be on standby for Jim Mallinder and his charges so they could go back to last Friday and start all over again.

In a year that saw Europe emerge victorious despite a 6 point defecit going into the final day in The Ryder Cup, and in a week that saw League 2 side Bradford City dump Premier League giants Arsenal out of the League Cup, could Northampton Saints upset the odds and be the first team to defeat Ulster this season or would it be a miracle too far?  Intensity was the buzzword, with fresh reinforcements added to the team. Tom May came into the centres to provide power in midfield, Paul Doran-Jones replaced a jaded Brian Mujati to anchor an out of form scrum and Calum Clark was recalled in a second row berth to give dynamism around the field and counter a deadly Ulster back row.

Delighted: Director of Rugby Jim Mallinder beams at his sides win.

Baseball legend Hank Aaron famously once said "My motto was always to keep swinging. Whether I was in a slump or feeling badly or having trouble off the field, the only thing to do was keep swinging." Saints seemed to have taken this mentality to heart, as a blistering opening 20 minutes to the game saw them come out swinging with everything they had. 

 A role reversal to last weeks game evident, with Northampton roaring into an early 10-0 lead, with no.8 Gj Van Velve's try typifying their performance, which was full of, you guessed it, intensity, bravery and physical determination. Forgotten man Stephen Myler, displacing Ryan Lamb for the away clash, threw a gorgeous pass out to American Samu Manoa, who then worked the ball into Van Velze's hands, who then handed off giant Irish wing Andrew Trimble and crossed the whitewash with two Ulstermen on his back to score the only try of the game.

A wounded animal is often at its most dangerous, and Ulster came back hard at the men in green and gold. On the 42 mintue mark, they cut the gap to a point and the Saints faithful began to grew fearful, with one of their main issues being unable to play consistently for 80 minutes. This was a different beast to last week however. Myler controlled brilliantly and worked the corners. Young hooker Mikey Haywood, coming in for the suspended Dylan Hartley, has an assured head on youthful shoulders, with Saints dominating the line-out ball. The Saints scrum, creaking and squealing so badly last week was formidable, with scrums turned over and penalties won. The stand out performer, however, was undoubtedly giant Californian lock Samu Manoa. A barnstorming display saw him carry, ruck, tackle, scrummage, and win kick off after kick off,and have a perfectly credible try disallowed, all of which saw him walk away with a Man of the Match award.

Despite a late Ruan Pienaar kick at goal, which could of seen them undeservedly take the spoils, being missed, Saints rarely looked in doubt of securing victory. It took fantastic last ditch tackling from wing Jamie Elliot to deny a certain try, and Ulster made countless handling errors, but this was Saints' day, a holy day for Northampton rugby. A tough home match against Harlequins this weekend looms, making this supporter wonder, what performance will we see next?

LV= Cup: Dragons 20-30 Northampton

Centurion Phil Dowson offloads to try-scorer Jamie Elliot

NEWPORT GWENT DRAGONS (10) 20

• Tries: Chavhanga 3
  

• Cons: Prydie
 

• Pens
• : Prydie

NORTHAMPTON (6) 30

• Tries: Dowson, Elliot

• Cons: Lamb
 

• Pens
• : Lamb 5
 

• Drop goal
• : Lamb

• LV= Cup
• 18th Nov 2012
 
• KO 15:15

An industrious performance from Northampton Saints secured their first win in five matches as the courageous Dragons were slain, despite a hat-rick of tries for Newport winger Tonderai Chavhanga. 

Following a last gasp defeat to Harlequins last time out, Saints took a formidable squad down to South Wales in an attempt to gain momentum going into the tricky winter period, which saw Lee Dickson and Phil Dowson recalled following their release from the England squad. 

Despite the Dragons only winning two games this season, a tough afternoon was expected, with Director of Rugby Jim Mallinder stating: "Its never easy to play in Wales, but we're going to be up for it and I'm looking for an 80-minute performance to get us back to winning ways." 

Saints signalled their intent early on, gathering Ryan Lamb's kick off and setting up field position through superiority at the ruck along with powerful ball carriers. Samu Manoa charged forwards and his deft offload to Dowson, making his 100th appearance for Saints, allowed Northampton to open the scoring through a Lamb penalty following a Dragons infringement at the resulting breakdown. 

After increasing pressure on the Newport 22 yard line, Saints manufactured an opportunity through quick hands from Dowson to youthful winger Jamie Elliot, who finished well in the corner, only to be brought back by the linesman for a foot in touch as he sprinted in to score. 

Samu Manoa carries into Dragons tacklers

Newport Fly-Half Dan Evans began to orchestrated things well at stand-off, his distribution effective, and the Dragons won a surprising penalty at the dominant Saints scrum for illegal binding, which was dispatched from 50 meters out by Wales international Tom Prydie. 

Saints scrum power was expected and came to prominence after 25 minutes as the Dragons buckled under pressure up front allowing Lamb to slot his second penalty of the afternoon, putting them back in front at 6-3. However, Newport crossed the whitewash with an expertly crafted 1st phase move through former Springbok Tonderai Chavhanga. A lovely inside ball from captain Ashley Smith carved through the Saints defence, allowing the rangy winger to gallop and score unopposed. 

Lamb missed his penalty kick at goal on the stroke of half time, leaving the visitors trailing at the break. However straight after the restart, Saints regained their scrum dominance and won a penalty straight in front of the posts, which Lamb duly dispatched this time bringing the score to 10-9. 

Dragons roared back and following a ill advised attempted chip by Saints inside their own 22. which was gathered by Newport and skipper Smith, who put Chavhanga in to score his second try of the game with Prydie unable to convert the try. 

Brian "Mooj" Mujati takes the ball into contact.

Northampton up front dominance was key to securing the victory and on 50 minutes their mauling dynamism came to fruition. A catch and drive opportunity was set up and the Saints pack rumbled over the line with Dowson at the bottom of the pile to seal his sentimental day with a try. 

Lamb converted Dowson's try and added his 3rd penalty of the match following offside Dragons players after a poor up and under by Chavhanga. Lamb dispatched another penalty on 56 minutes and ensuing the constant infringement at the break down, referee Pearce produced a yellow card for Dragons replacement prop Nathan Buck. It was only a matter of time before Saints made their numerical command count and on the hour mark a beautifully orchestrated chip kick was gathered by 19 year old wing Elliot to race through and finish. 

However the Newport refused to lay down, and a long pass out to South African international wing Chavhanga allowed the pacey flyer to dive in and complete his hat trick, despite video replays showing his foot was in touch in the process of scoring. Despite this Dragons back lash, Northampton saw the game out with Lamb coolly slotting a drop goal to extend the lead to 10 points, a lead that was never threatened for the rest of the match and secured a win that shot Saints to the top of Pool 4.