Showing posts with label Bradley Cooper. Show all posts
Showing posts with label Bradley Cooper. Show all posts

Friday, 25 July 2014

GUARDIANS OF THE GALAXY - FILM REVIEW



GUARDIANS OF THE GALAXY

Release Date: 31 July 2014 (UK)
Director: James Gunn
Running Time: 122 Minutes
Starring: Chris Pratt, Zoe Saldana, Dave Bautista, Vin Diesel, Bradley Cooper, Lee Pace, Michael Rooker, Karen Gillan, Glenn Close
Screening Reviewed: London Press Screening

Reviewed by Kyle Pedley

As the second phase of their ‘Marvel Cinematic Universe’ gears inexorably towards next summers’ behemoth-to-be, Avengers: Age of Ultron, the studio seems set on demonstrating it still has plenty of aces left up its sleeve and fresh fuel left in the can. Just as we seemed ready to begin slipping into a lacuna of comfortable (over?) familiarity with the Tony Starks and Thors of the cinematic Marveldom, and Captain America: The Winter Soldier had seemingly hit the creative apex of the ‘standalone yet part of the whole‘  formula they had been tweaking to nigh-perfection since the original Iron Man (I disregard Edward Norton’s The Incredible Hulk for reasons of taste) the seemingly indefatigable vim and invention of Marvel throws a very welcome curveball to proceedings in introducing us to Peter Quill a.k.a Starlord, and his fellow Guardians of the Galaxy. 


Thursday, 23 May 2013

THE HANGOVER PART III - FILM REVIEW



THE HANGOVER PART III

Release Date: 23 May 2013 (UK)
Director: Todd Phillips
Running Time: 100 Minutes
Starring: Bradley Cooper, Ed Helms, Zach Galifianakis, Justin Bartha, Ken Jeong, John Goodman
Screening Reviewed: London FDA Press Screening

Reviewed by Henry Kelly


The Hangover was one of the big suprise hits of 2009; a shock filled R-rated comedy with an incoherent yet likeable plot that had an instantly relatable ethos to anyone who had woken up after an alcohol fueled night of regret. A more divisive sequel followed in 2011 and now with the release of The Hangover: Part III the franchise is concluding. With that conclusion comes the expected resolution and reflection of its central characters. The main problem this presents is simply that the first film never had anything particularly meaningful to say, meaning director Todd Phillips and co-writer Craig Mazin have to inject some heavier ideas that attempt to widen its dramatic approach but stunt the films comedic potential in the process.

The Hangover: Part III begins with an action set-piece that in many ways sets the tone for the rest of the movie. Chow (Ken Jeong), a minor character in the original, but now a featured protagonist, escapes from a Bangkok prison in the midst of a dangerous riot. It’s a well shot and adequately thrilling opening, but one that certainly doesn’t feel like the beginning of a comedy film. The proceeding plot then diverts from the norm of revolving around a central wedding, and rather instead focuses on Alan’s (Zach Galifianakis) descending mental state and Chow’s escape from prison that coincide to send the Wolfpack on another adventure. 

Tuesday, 2 October 2012

HIT AND RUN: MOVIE REVIEW



HIT AND RUN
Release Date: Friday 12 October (UK)
Director: Dax Shepard, David Palmer
Running Time: 100 Minutes
Starring: Kristen Bell, Dax Shepard, Kristen Chenoweth, Tom Arnold, Bradley Cooper
Screening Reviewed: London Press Screening

Reviewed by Kyle Pedley


There’s a running gag throughout Hit and Run that is in many ways a fitting metaphor for the experience you’ll likely have with the film. Tom Arnold’s character Randy repeatedly finds himself and his car flung into a series of mishaps and misfortunes - rear-ending a police truck, almost mowing down two children as they play on their lawn, and generally suffering the kind of vehicular damage reserved for the denizens of over-zealous Vin Diesel flicks. As an audience we too are repeatedly flung into these highly unlikely and generally unmotivated set pieces and sequences of events with such randomness and convenience that suspension of disbelief becomes a thing of vague memory and any genuine investment in plot, character or humour is replaced with something more akin to Stockholm syndrome.