THE LONGEST RIDE REVIEW

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It really was the longest ride.

Easygoing enough but memorable? Another Nicholas Sparks adaptation hits the silver screen and it’s everything you could expect.

Schmaltzy, cliched, predictable and far too bloomin’ long!

After an automobile crash, the lives of a young couple intertwine with a much older man (Alan Alda), as he reflects back on a past love.

As you might not have gathered, these sort of films are not my cup of tea. They will always be corny and cringe-inducing BUT I’m happy to keep my thoughts to myself if the characters are interesting enough. Or the story.

Okay, the characters were not that interesting. Or the story. BUT the cast played their parts very well.

Scott Eastwood (Yes, the son of the legend of all legends Clint Eastwood) will soon be in the scopes of young teen girls everywhere. And for the lads . . . Britt Robertson.

I’m kidding. I was happy to see Robertson take on a leading role. She even managed NOT to annoy the hell out of me. Her turn in Tomorrowland left me anxious. I didn’t think she would be strong enough. BUT she excelled in this. All aided by some cracking chemistry with Eastwood.

I cannot believe how much he looks like his old man in his hey day. Crazy.

Robertson and Eastwood did their best with the ambitious career-minded college girl meets rugged daredevil rodeo cowboy love story. It really is as predictable as you could imagine. Not to say there weren’t moments to be enjoyed. When the leads were allowed to break free from the bland rom drom checklist, they were brilliant.

BUT their romance was always going to play second fiddle to the other (and slightly more interesting) love story of Ira and Ruth. A car crash and one befuddled (and incredibly old) Alan Alda later and we are thrust back to the 1940s.

Alan Alda (M*A*S*H) was brilliant. Bringing a much needed sincerity to the miserable pensioner Ira. A man who lost his love. It isn’t long before a slow burning but charming journey is set. Robertson begins to read all the letters that Ira wrote to his wife over the years.

Jack Huston (Boardwalk Empire) and Oona Chaplin (Game of Thrones) were fantastic together. Chaplin played the vibrant and passionate Ruth to perfection. The woman that would change the life of a shy store clerk for the rest of his life. Aww. Yuck.

Their story was hardly groundbreaking but we see their initial introduction and their blossoming romance. We laugh at their highs and get a little teary eyed at their lows (If you’re into that sort of thing). The pair do endure some struggles along the way which made for some interesting moments.

BUT it never really hit the heights I expected nor was it as dramatic as I hoped BUT the will-they-won’t-they? with Eastwood and Robertson soon became nothing but filler by comparison.

Their relationship ironically hits little snags alongside the retelling of Ira and Ruth’s. A perfect example being when Eastwood’s cowboy is invited to an art gallery. He soon makes his views known with the pretentious admirers. One of them being none other than Jeanie from ER. Ol’ Gloria Reuben. Yes, I’m a ER fan. Make of that what you will.

There wasn’t a bad supporting cast. The soon to be Supergirl Melissa Benoist managed to make a memorable turn as Robertson’s crazy college room mate. BUT more could have been made with Lolita Davidovich as Eastwood’s mother. She seemed too passive and laid back but with a son so stubborn, passivity seems to be the only route.

The problem with these sort of films is that no matter what hardship the couple endures, the result is always the same. I’m not for cynical and miserable endings but to do they have to be so sugary sweet?

The closing minutes were unbelievably corny BUT nicely done. A little side story from the ailing Ira came full circle and made a nice surprise. I will stay as cryptic as possible with that one.

I haven’t read the book and this . . . doesn’t make me want to BUT if you love romantic dramas and easygoing stories than I can think of worse ways to kill a couple of hours.

But unlike the adorable romance of Ira and Ruth, I don’t think this film will stand the tests of time. The cast do their best and have cracking chemistry but we’ve seen it all before.

2.5/5

AMERICAN SNIPER REVIEW

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Has Bradley Cooper got that Oscar in his sights? Only one way to find out . . .

Clint Eastwood delivers a riveting, if overlong, war biopic on the most lethal sniper in US history.

Bradley Cooper in one word. Fantastic.

I have been impressed by his versatility and range. To be able to go from The Hangover to American Hustle. His performances continue to surprise. As does this one.

The 132 minute length does test you a little in parts but every time I felt my eyes wandering, there was a revelation or a battle sequence to bring me back into the action.

It’s not perfect by any means BUT certainly one of the better ones.

The cinematography by Tom Stern (a regular Eastwood stalwart) provided a grainy murkiness to the Iraqi war zone. The panning shots as we followed the troops through the labyrinthine cityscape (now an open battlefield) got me right in the thick of it.

I couldn’t believe how much Cooper looked like Chris Kyle. Bulking up for the role and delivering a dusky drawl. A deserved nomination.

A simple cowboy who decided one day to become a SEAL. There were moments where I felt the whole ‘Murica spiel was a little schmaltzy for me BUT hey, that’s the cynic talking. I respect the man for his patriotism and that’s what he was. A patriot. He wanted to fight for his country. People have fought for less. So make of that what you will.

It didn’t spoil or hamper the film for me. The first act zipped along quite well. The opening certainly grabs your attention with Kyle having to make a serious judgement call involving a young boy and a suspected weapon.

It flicks back and forth showing his life as a young boy, his days as a cowboy and his SEALs training. The training montage was covered extensively in the opening of Lone Survivor BUT it was good to see the cast go through the process.

To be honest, I was happy to see more of this. It zipped along a little too quickly. It didn’t really put Kyle’s father in the best light. A stern man who wants his sons to be sheepdogs NOT wolves. Yeah, that didn’t make sense to me in the film. Nothing a good belting won’t straighten out.

It certainly gave you a sense of the man Kyle would become but maybe a little bit more depth would have been better.

The sniper sequences were tense and riveting. Seeing it through the POV of Kyle’s scope was harrowing and brutal. Hardly original to the Call of Duty nuts but effective.

There were moments of horror and suspense. It certainly plays the ethics card. Split second decisions that could save or kill the unit. Decisions I couldn’t even imagine making. Some heart in mouth stuff.

The sandstorm sequence was exhilarating. Some would argue that it was shot terribly but that’s kind of the point. You couldn’t see a thing. You couldn’t tell who was your enemy and in an ambush?! Words fail me.

I felt Eastwood spent a little too much time on the unit dynamic with a supporting cast that for a majority of the time either kept changing or were hardly that memorable. This was where marks got knocked down. I know this is Kyle’s story but there aren’t many who get a look in, including his own wife.

Sienna Miller was very good as Taya Kyle. She had great chemistry with Cooper. I never rated Miller’s past roles; the sex pot. But we got to see some actual acting from the gal. She nailed the accent and played it really well. I would have liked to see more of her. (No, not like that. Acting wise. Honest!)

I wanted more of the family dynamic. The last act does focus on that which certainly hits home by the closing minutes. BUT (for example) I wanted a little more explanation on Kyle’s brother, Jeff. Someone who we followed, with Chris, for a good 30-40 minutes of the film who then disappears without a real reason.

You get a general idea of what happened by how Jeff acts after his first tour in Iraq BUT it would have been nice to see him again, a passing comment OR at least a mention in the closing credits.

You can see Kyle’s dedication soon become an obsession. The more tours he embarks on, the harder the strain on his family. It certainly doesn’t paint Kyle as the all American patriot. Intent on catching The Butcher (Mido Hamada) and a (free-running) sniper hell bent on claiming the bounty of the legendary sniper felt like a morbid competition.

I’m a little concerned that Hamada and Navid Negahban (Homeland) have become typecast in the terrorist roles. They both play them so well but still . . .

Kyle’s re-adjustment into civilian life was heartbreaking. Every little sound keeping him on edge. His inability to cope. It was captured well and was subtle in it’s approach. The legend around him taking its toll.

This is where I became more engrossed. The final 30 minutes unearthed more on the treatment of the returning veteran and allowed for some harrowing statements.

I felt the CGI left a little to be desired. Cooper superimposed on a bull and the deer really stuck out. Also, don’t let the fake baby put you off. If you’re thinking, “What?” and are not aware of this; there is a scene in which Cooper is supposed to be holding his daughter and it is the worst fake baby I’ve seen. BUT don’t let this little plastic prop spoil what was a well acted scene.

This may not be the best war film. It’s tough not to compare it to so many other classics BUT it hooked me for the majority of the time (A challenge in itself) and by the closing minutes it got to me. I don’t want to spoil the film too much because I want people to see this.

BUT now, I find my loyalties torn on the Best Actor category now. I have to agree after seeing the majority of the Oscar nominated pics (Whiplash this week! EXCITED!) that the right people have been chosen this time around (Tatum should have got a nod BUT that’s another review 😉

With all the Oscar excitement, Cooper has to ask himself one thing. Does he feel lucky? Well . . .

If my pick loses, then I wouldn’t complain if Cooper took his place.

A sterling performance from a fantastic actor and an engaging, if flawed, biopic makes this one worth taking a shot.

3.5/5

JERSEY BOYS REVIEW

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Big Girls Don’t Cry! Big Girls Don’t Cry! Clint “Do You Feel Lucky, Punk?” Eastwood applies his directing gravitas to the Four Seasons musical biopic to . . . mixed results. The cast are fantastic, the songs are . . . to be expected terrific but somehow amidst all the toe tapping fun, I can’t help but feel there is something missing that stops this from entering the greats.

Now, I haven’t seen the theatre musical which respectively has earned numerous awards but I am a fan of the Four Seasons but clearly not as big as I thought as I didn’t know how many hits they actually did. I was surprised that Eastwood took this on. It is such a different direction which makes a change. But somehow, I think he went a bit soft on it.

The Eastwood traits are there. The dark visuals, the glossy cinematography of Tom Stern but even the crime back stories and shady figures that linger behind the scenes are done in such an easy going and jovial manner, it’s tough to take it seriously. It zips along at a good pace. The breaking of the fourth wall for the characters to narrate the story should be irritating, but made a breath of fresh air. Vincent Piazza (Boardwalk Empire) leads an impressive cast and if these guys have definitely sung these parts, then spot on.

Special mention to John Lloyd Young as Frankie Valli. Uncanny and fantastic. Piazza pretty much plays Lucky from Boardwalk with more of a cheeky swagger but the erratic behaviour is still there. The coming together of the group and the origins of certain songs is done in such a corny manner. Some moments you can’t help but tut, others there’s a cheeky smile. But once they start singing and busting out the moves, it’s all forgotten for a little while. It’s funny, entertaining, well shot and performed but the drama in the more serious moments leave a little to be desired. It’s not all bad. A particularly funny scene in which Piazza’s DeVito is pushing around a young Joe Pesci was a nice touch. DeVito even believes that his roasting helped Pesci develop into the fine actor that he has become.

It’s all done too lightly that any danger or conflict put on the group is hardly tense or suspenseful. One of the problems of filming a biopic, you normally know the end result. There is a particular revelation that happens in Valli’s life that comes out of nowhere but doesn’t quite match the tone of the film. It’s tough as this did happen. But the film was so easy going that when it does try and take itself seriously, it just doesn’t quite gel. This is certainly one of the better films that I have seen this week and will most certainly surpass the karaoke catastrophe that is Walking on Sunshine. There aren’t many supporting characters that manage to make an impression, bar Christopher Walken who applies his spiel to the mafioso Gyp DeCarlo and Mike Doyle as the ultra-camp Bob Crewe.

It also zips along then ends quite quickly and a bit abrupt. Of course, do stay on for the credits as all musicals of late have succumbed to adding on a musical montage. It’s fun, entertaining but if you’re expecting a musical with a bit of drama and a story, it does feel like it’s pieced together around the songs but then . . . duh it’s a musical. Still worth a watch for sure. Also did anyone notice that Erich Bergen’s beard looked really bad? All that money and they could have spent a little more on make up. Especially when the lads have supposed to age twenty years. Doyle didn’t age at all, while grey powder spread across your hair does not constitute old age. This isn’t a primary school panto.

Otherwise it was good to be true to become an instant classic but don’t cry and walk like a man, talk like a man . . . or woman and get to the big screen. 3/5

Currently ranks 61 out of 191!