The Last Stand Movie Review 0 25

The Last Stand movie review

After 10 years of being away from the movies, and dipping his toe back in the water with last year’s The Expendables 2, beloved action hero-turned politician Arnold Schwarzenegger is back in the spotlight with The Last Stand, an energetic and light-hearted action flick that never spares the bullets or comedic relief but fails to leave a lasting mark as any sort of great return to form for the incomparable lead actor.

The Last Stand follows Ray Owens (Schwarzenegger), a Sheriff of the small town of Sommerton Junction, Arizona, where nothing much ever happens beyond the yearly parade and a car being parked in a red zone. But when the boss of a Mexican drug cartel breaks out of custody and heads straight for the border via Ray’s town, it’s down to the Sheriff and a small group of enthusiastic locals to stop him.

It may be down to the fact that Arnie is getting up there in age and therefore isn’t able to do a lot of the action stuff he used to, but he isn’t in it as much as you might expect. The rather derivative script then feels the needs to fill that rather sizeable void with everything from a wise-cracking Jackass in the form of Johnny Knoxville (who ranges from fun to annoying throughout), Luis Guzman as a sort of bumbling deputy and a rather hackneyed Fast and the Furious-esque story about a Mexican drug lord heading for Arnie’s otherwise peaceful town in a car that gets mistaken for a jet plane because it’s so fast. Forest Whitaker turns up in what can only be described as a paycheck role, playing the requisite obsessed FBI man tracking the escapee and who brushes Arnie’s “useless” small town Sheriff to the side as a mere afterthought. Idiot…

This is the English language debut of the masterful South Korean director Kim Ji-woon, whose previous films include A Bittersweet Life, A Tale of Two Sisters, ‘The Good, the Bad, the Weird’ and most recently the insanely violent I Saw the Devil. I think it’s safe to say that The Last Stand isn’t his strongest effort, and I’m not sure if that’s down to the fact that he’s used to directing films that are not in English, or a script that could be considered silly even under the action circumstances, or perhaps a combination of things. Nonetheless he injects the film with a lot of energy and throws caution to the wind in some of the film’s more ridiculous and violent moments.

It takes its time getting to the point with plenty of heated FBI discussions on the one hand and establishing that Arnie is now old (ya know, just in case we couldn’t work that out for ourselves) on the other. However, once it gets to the inevitable final showdown – or last stand as the title suggests – the film really picks up pace and delivers some very fun, tongue-in-cheek action utilising everything from pistols to Gatling guns with bodies getting blown away and cut in half like action movies are going out of fashion. It’s also a nicer looking movie than your average action fare, with a lot of vibrant colours and the like, although some dodgy CGI especially towards the end when the movie’s reach exceeds its grasp and sort of undoes a lot of its hard work.

The Last Stand is an adequate, if not exactly remarkable, action movie with enough shooting, fighting and one-liners to satisfy its target audience, while never getting anywhere near the level Arnie has reached in the past. His role in last year’s The Expendables 2 hinted at his return and while it’s comforting as an action film fan to see him headlining a film of his own again, it’s not the triumphant return to form you might be expecting. Perhaps that was inevitable.

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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 0 346

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