The last film to REALLY grind my gears...

I\'d look ashamed too Martin - Ben's jacket is by far the most impressive thing to come out of this production..

...was Scorsese's ravaging of Dennis Lehane's pyschological thriller "Shutter Island".

From clumsy start to lacklustre finish I was utterly disappointed with everything from the cast and setting to the poor acting in this ham-fisted re-hashing of an excellent book. In less than 2 hours I lost faith in Scorsese, DiCaprio and mankind (too much?)

I read the book in one sitting, and this is not because I have little else to do with my time, quite the contrary in fact, but this is a skillfully crafted thriller brimming with excitement, doubt, terror and fear. The characters and setting are vividly brought to life from page one. Lehane's writing style is akin to that of Cormac McCarthy: cinematic, stark and instantly recognisable as a book that would transfer to film in one slick transaction.

But no.

Instead of sticking to Lehane's captivating and instantly enthralling opening scene, Scorsese instead opts for a bumbling and unconvincing boat-ride, omitting any sensitivity and key insight into DiCaprio's character "Teddy" and, infact, failing to even mention the significance of being out at the sea, and water - an intrisic piece of imagery that is recalled time and time again throughout the story.

Mark Ruffalo completely misses his side-kick role of "Chuck" entirely, appearing as less of the suspicious friend as intended, and more of an unconvincing oaf in an over-sized suit.

Ben Kingsley was well cast as the mysterious and cold Dr. Lawley, but even he left me feeling like something was array. The chief inspector and many of the inmates shrank in comparison to their spine-chilling descriptions in the book and were, quite frankly, laughable.



Leo's just realised what he's done in making this my reaction at the end credits...

Leonardo DiCaprio was, without doubt, the saving grace of this meagre offering but even he couldn't bring it anywhere near up to the standard of the book. His scenes with Michelle Williams were relatively emotive and believable, but nonetheless, disappointing.

Such a rich and captivating book would be a gift for any director, and when I saw Scorsese's name roll up at the end credits I just about cried. All emotion, style, sensitivity and...what's that other thing...oh yeah... NARRATIVE, were void in this adaptation.

Verdict: EPIC FAIL.

Justin Fever (and i ain't talkin' Bieber...)

This weekends newspapers had something in common - not just the slamming of Craig Levein - all had one mans face strewn across them. The man I refer to is Justin Timberake.

The all-singing, all-dancing tour de force is now all-acting too (and apparently not too shabby) in eagerly anticipated new film The Social Network.

Big JT's name has undoubtedly elevated this film in terms of international press status, but as we all know attaching a famous name to film can be a danger, especially when that name also belonged to the credits of the boak-worthy Mickey Mouse Club.

We need only think of ANY film Madonna has ever made (Evita aside, she was allowed to sing in that one) to be horrifically reminded that singers make terrible actors, turning the best script into a festering turd of a film, so really director David Fincher was taking a risk in allowing Justin to participate in to his latest offering. But alas, if reviews are anything to go by we need not worry, he may just be an exception to that rule.

Timberlake, playing Sean Parker, co-founder of Napster, is in good company with Jesse Eisenberg playing Facebook founder Mark Zuckerberg and Andrew Garfield as Eduardo Saverin, another brainbox behind Facebook. This adaptation of Ben Mezrich's 2009 nonfiction book "The Accidental Billionaires" tells the tale of internet social networking phenomenon Facebook, and promises geeks, betrayal and big bucks!

As I sit with my Facebook account open on another tab, and the trailor having just taken over my tv to the tune of Kanye's pounding beats "No one man should have all that pow-er?!", I can't help let the geek in me take over.

"You don't get to 500 million friends without making a few enemies" - let's hope it lives up to the hype!

Watch this space for a scathing review :-)

The Social Network


Carlin's other October "Must Sees":
- Mr Nice
- The Town

Want to be disturbed? Read on...

Which scene in Disney classic "Bambi" are you more likely to remember: the one with the woodland creature blissfully scurrying through the forest full of content and undisturbed OR the scene in which Bambi's mum is slaughtered?
It's the latter, yes? My theory is viewers like a shock, a real fright, something sick, something that'll stick in our minds and make us think: "Why did that have to happen?! she was a wonderful deer and a good mother!"

With this thought in mind, the subject I wish to discuss in this, my seminal blog, is films that disturb me.

Hell, I'll put it out there - i LOVE a good disturbance. Some of my favourite films have been ones involving bloody, savage assaults, haunting images and blood-curdling sounds. Perhaps this says more about me but these images remain in mind long after a film has ended, and keep us up at night, unable to sleep yet strangely intrigued to watch again. Baffling isn't it?

I'm not just talking about slasher-style gore-fests either, in many ways violence seems like a bit of a cop out.
Psychological thrillers are more likely to linger in mind than the run-of-the-mill slasher flick.

Michael Haneke's "Funny Games" is a prime example of this as it plays with the threat of violence and sinister activity without actually indulging in any gratuitous action until quite far into the film.

The American remake of the German original manages to maintain the "fear factor" in this unsettling tale of two polite and articulate young men who enter the holiday homes of rich families upon invitation and are reluctant to leave until they've carried out a series of sinister and excruciating games on the unfortunate souls that welcome them.

Michael Pitt and Brady Corbet (pictured) capture the essence of "creep" perfectly, with Tim Roth and Naomi Watts weeping and pleading their way through a series of torture in their own comfortable home.

It's the creeping sense of terror that slowly takes over the viewer combined with the placid, unchanging temperament of the killers that really locks this film in your mind and has you walking out of the cinema with the chilling sense of anxiety that forces you to tell everyone you know about it, lest it fester in your mind until you begin to worry about anyone that chaps your front door...

Funny Games Trailor

"Little Children" is another example of pyschological disturbance, and in this case it's all down to excellent casting. Whilst the central storyline follows the affair of Kate Winslet and Patrick Wilson, it's the disturbing and malevolent presence of the town paedophile that chilled my bones. Now, offensive and "un-PC" as this may be, the image that haunted me FOR WEEKS after this film was the face of Jackie Earle-Haley.

Now THAT's what I call good casting.

The only downside with powerful and effective casting is the likelihood I'll be able to watch another film starring Jackie Earle-Haley without seeing a self-castrating paedophile are slim - that's one hell of an unlucky pigeon-hole to be thrust into. All in the name of art though, eh?

Swimming Pool clip from Little Children

The third and final example of "disturbing" I'd like to highlight is Argentinian masterclass "The Secret In Their Eyes" (El Secreto de Sus Ojos). This tale of a tormented councillor unable to move beyond a horrific murder case from years ago works on various levels. The audience join the protagonist on a tormented journey through a vast array of human emotion: love, turmoil, revenge, hatred, fear and ultimately forgiveness.

Writer/director Juan José Campanella's ability to evoke each of these emotions gives this excellent film such power before hitting us with one last breathe-taking blow that will undoubtedly linger on in the mind for weeks after viewing.

I couldn't shut up about this film after watching, and I defy anyone to watch and be unphased.
Challengers are welcome...
The Secret in their Eyes trailor


Also worth a "disturbing" swatch:
- The Exorcist (1973)
- Clockwork Orange (1971)
- The Magdalene Sisters (2002)
- The Human Centipede (2010)
- Anything by David Lynch (Blue Velvet, Eraserhead, Mullholland Drive)