Review: Cineworld VIP Experience 0 432

I’ve been a Cineworld customer for many years now and an Unlimited member since my Uni days back in 2008. As a blogger (here and elsewhere) and film critic for The National newspaper, it’s been an invaluable and extremely cost-effective way of seeing as many movies as I can.

The recent refurbishment at the Renfrew Street location – hats off to Cineworld for keeping the cinema open as best as possible while all of this was going on – has promised big changes to how you can experience a trip to the movies. First the superscreen, then the fun novelty that is 4DX. But now they’ve added something of luxury that truly takes things to the next level.

I’m talking about the much anticipated VIP Experience, which is housed on the top floor of the humongous cinema. Straight away when you walk in you’re greeted at the doors by staff into a private lounge area with various comfortable seats and stools dotted around. There’s plenty of room – an impressive capacity of almost 160 people – so you don’t feel like you’re being crowded as you wait for your film to start. There’s a nice laid back atmosphere that’s quite hard to put your finger on without experiencing it for yourself.

VIP at cineworldPhotograph by Martin Shields Tel 07572 457000www.martinshields.com© Martin Shields
VIP at cineworldPhotograph by Martin Shields Tel 07572 457000www.martinshields.com© Martin Shields

Most impressive of the pre-showing experience, however, is the food and drink on offer. There’s a gourmet buffet to choose from prepared locally by a chef, featuring everything from pizza to fresh salads to cake bites. There’s also a stocked bar (not an open one, sadly, but reasonably priced!) and the usual cinema snacks like popcorn, nachos and hot dogs. It feels like something that you could really make a trip of, treating it as a date or family night where you count it as a meal as well as seeing a movie.

VIP at cineworldPhotograph by Martin Shields Tel 07572 457000www.martinshields.com© Martin Shields
VIP at cineworldPhotograph by Martin Shields Tel 07572 457000www.martinshields.com© Martin Shields

By far my favourite aspect of the VIP experience – I saw The Accountant on this occasion, which I’ll be reviewing next week – was the actual screening rooms themselves. It used to be that there was one big hall on the top floor with two smaller, frankly not-so-comfortable ones squashed together down the corridor but that is no more.

The new rooms are state-of-the-art, chic and intimate but still suitably spacy. Most importantly, as far as I’m concerned, there are large, leather La-Z-Boy chairs that recline for ultimate comfort. There are also little swiveling tray tables to hold all your snacks and drinks – a nice little touch. As comfortable as the new seats Cineworld has installed in the regular screens are, I have to see the reclining ones this experience offers are far superior.

VIP at cineworldPhotograph by Martin Shields Tel 07572 457000www.martinshields.com© Martin Shields
VIP at cineworldPhotograph by Martin Shields Tel 07572 457000www.martinshields.com© Martin Shields
VIP at cineworldPhotograph by Martin Shields Tel 07572 457000www.martinshields.com© Martin Shields
VIP at cineworldPhotograph by Martin Shields Tel 07572 457000www.martinshields.com© Martin Shields

The VIP Experience is a little pricey – £29 for standard ticket, £19 with an Unlimited card – but I would definitely say it’s worth it considering all the things you get with it, especially if you’re treating it as a big night out. Be warned though – once you’ve tasted it, you might not want to see a film any other way!

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I'm a freelance film reviewer and blogger with over 10 years of experience writing for various different reputable online and print publications. In addition to my running, editing and writing for Thoughts On Film, I am also the film critic for The National, the newspaper that supports an independent Scotland, covering the weekly film releases, film festivals and film-related features. I have a passion for all types of cinema, and have a particular love for foreign language film, especially South Korean and Japanese cinema. Favourite films include The Big Lebowski, Pulp Fiction and 2001: A Space Odyssey.

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Movie Review: Home Again 0 345

This review was previously published at The National.

Despite an obviously talented leading lady in Reese Witherspoon and a family pedigree behind the camera in making this sort of rom-com flutter sweetly off the screen, Home Again struggles to finds its way out of cloying cliché and narrative contrivance.

This is the directorial debut of Hallie Myers-Shyer, daughter of genre stalwart Nancy Meyers (The Holiday, What Women Want). It focuses on the life of Alice Kinney (Witherspoon), a single mum who has just turned 40 and tries her best to raise her two daughters Isabel (Lola Flanery) and Rosie (Eden Grace Redfield) in Los Angeles with her job as an interior decorator.

Freshly separated from her British music mogul husband Austen (Michael Sheen), she embarks on a drunken birthday night celebration that leads to her meeting a trio of 20-something lads – Harry (Pico Alexander), George (Jon Rudnitsky) and Teddy (Nat Wolff) – who are trying their best to break into the Hollywood movie business.

The young men improbably end up staying in Alice’s guest house while they work on finishing the script for their first film. Before long they become an integral part of her life, from Alice embarking on a romantic relationship with Harry to George helping out Isabel with her school play. To quote the title of the director’s mother’s 2009 film – it’s complicated.

Except the film mistakes the kind of enjoyably frothy complexity exemplified by the best of the genre for skin-clawing convolution that renders much of the romantic and comedically-tinged drama of Alice’s life lacking in authenticity. Not that it needs the ring of truth that comes with, say, a Ken Loach picture but you need to be able to invest and believe in these characters’ lives as presented.

The approach to gender and generational relationships is simplistic which, of course, is nothing new to a genre that, at least in its Hollywoodized state, so often throws up films meant to be taken as easy-going fluff. But it’s particularly frustrating here when it squanders the potential thrown up with the initial concept of a woman trying to find herself again once she’s out of a stale relationship by entering into one with a much younger man.

It strangely seems far more interested in the plight of the three young men working as three cogs of one creative machine – director/producer, writer and actor – to get ahead in the movie business.  But even then it smacks of implausibility, like a cheap rom-com version of the bromance found in Entourage but without any of the snarky wit or Hollywood satire. Despite decent chemistry between a likeable assembled cast, Home Again is a tough pill to swallow as it rings false through and through.

3.5 out of 10

Movie Review: Goodbye Christopher Robin 0 370

This review was previously published at The National.

The world of celebrated children’s author A. A. Milne and the creation of his beloved Winnie the Pooh stories are chronicled in this frightfully polite biopic from director Simon Curtis (My Week with Marilyn) that flirts with dipping its toes into darker waters but steadfastly clings to safe tropes and always with its top button firmly fastened.

We start off in 1941 where we find an ageing Milne (Domhnall Gleeson in questionable make-up and greyed hair) and his wife Daphne (Margot Robbie) living on their secluded East Sussex farm. They receive a telegram informing them that their son, C.R. Milne, is missing presumed dead after heading off to fight in World War Two.

We then jump back in time to Milne on the front lines of the First World War. He returns from the fighting a changed man; suffering from PTSD (popped balloons evoking sudden gunfire et al.), becoming increasingly sick of just making people laugh with his West End plays and the general hustle-bustle that comes with big city life.

He convinces his reluctant wife to move to the country for some peace and quiet and where his infant son, Christopher Robin (played by Will Tilston at the younger age, Alex Lawther as he gets older), can go on the childhood adventures he deserves with the support of loving nanny Olive (Kelly Macdonald).

Settling into the kind of serene life he craves, he is inspired to create Winnie the Pooh and the rest of his soon-to-be-beloved friends inspired by the stuffed animals with which his young son has become so enamoured. Unfortunately for Christopher – referred to by everyone as “Billy Moon” – his father uses his real name in the stories, turning him into one of the most famous boys in the nation.

Despite the obvious attraction of it exploring the world famous Pooh stories, it’s a film much more interested in the effect it has on a fractured family clinging on to peacefulness, not least the unwanted attention thrust upon a young boy who simply isn’t equipped to handle it and how his parents carry on oblivious.

If anything it takes a curiously bleak outlook on what these stories mean to the world once they’ve been put out there, conveying a somewhat confusing message for a film that ultimately wants us to celebrate these stories as immortally cherished tales; that the Winnie the Pooh embraced immediately by the public and has now stood the test of time for almost a century is in some way missing the point of what it truly means to the author and a son who, inadvertently or not, was used as a tool of innocence to sell the idea of an idyllic childhood in Milne’s Hundred Acre Wood.

It’s bolstered by almost uniformly moving performances; Gleeson plays Milne with a kind of damaged empathy that makes you feel like you get to know the author beyond the public persona. Macdonald is oftentimes heart-breaking as Christopher’s devoted caregiver and Tilston walks away with the film as the adorably sweet-natured young Christopher. It’s only with Robbie that the film makes a misstep; she’s miscast as Milne’s wife and never stepping out of the shadow of cold motherly cliché.

In spite of its darker leanings, the film remains too buttoned up to properly wrestle with those themes in any sort of lasting way, far too polite to ever dive head first into the murky waters into which the drama intermittently peers.

Wrapped in Ben Smithard’s handsomely old-fashioned cinematography and soaked in Carter Burwell’s perpetually swelling score, it’s an aesthetically and emotionally appealing but nevertheless fairly vanilla period biopic best suited to being enjoyed on a rainy Sunday afternoon with tea and biscuits.

6.5 out of 10