The Lovely Bones (2009)

I've no knowledge of the book that TLB is based on, but the resultant film is not good. Told from the perspective of a murdered fourteen-year-old girl (Saoirse Ronan), with a v/o from the same, it follows the lives of the people left behind, observed by the dead girl from a place beyond the living world.
Colourful and detailed, but tonally a complete mess, Dir. Peter Jackson used some of his $65 million budget on FX shots that add little of anything other than spectacle to the work. The feeling of acute boredom that settled upon me lifted only when Stanley Tucci was onscreen, and at one other time (for the intruder in his house near the end). And why Mark Wahlberg is ever considered for a role that requires emotion is something I don't understand.

2 skeevies out of 5

LOST RIVER [2014]

Actor Ryan Gosling tries his hand at writing & directing with the surreal neo-noir piece Lost River.
It tells the tale of a small family, living in a fantastical poverty stricken midwestern neighborhood, that the rest of the world has forgotten.
The average movie-goer will be quick to compare Gosling's style to David Lynch but that'd make it apparent the viewer doesn't know Lynch.  Gosling's more akin to Nicolas Winding Refn, Harmony Korine, Derek Cianfrance and David Gordon Green, with just a few minuscule hints of Lynch surrealism.  I make these comparisons because, although it's obvious Gosling has a promising knack for film-making in the future, here he has yet to discover a distinct voice of his own.  Criticisms aside, it's actually quite an interesting film that is haunting as it is beautiful in all the right places.

3 dino-heads out of 5

BROOKLYN [2015]

Director John Crowley's adaptation of Colm Tóibín's novel, Brooklyn, is the type of lush, romantic period drama that proves just because it's all of the above doesn't mean it has to be melodramatic schmaltz.
It's the story about a young Irish woman who immigrates to the United States in the early '50's to find herself torn between what country and life she wishes to live with.
Once again lead actress Saoirse Ronan delivers a mesmerizing sophisticated performance that never tries to outperform her other equally talented cast-mates, including the amazing Jim Broadbent and Julie Walters.  Broken up into three distinct parts, the story brilliantly alters it's color palette and style of photography with such subtlety only your emotions will pick up on it.  It's a much-needed quiet little film that sits in the corner waiting for you to discover it for yourself.  The type of good old fashioned storytelling that remains timeless.

4½ barf buckets out of 5

THE GRAND BUDAPEST HOTEL [2014]

When speaking of a Wes Anderson film it becomes redundant to gush over the beautifully colored and framed visuals, but I'm going to anyway because The Grand Budapest Hotel is all that and more.
With it's delightful miniature sets, hilarious camerawork and dollhouse-esque set decoration a film-lover is sure to be in hog heaven.  Not only that but the off-kilter but humorously precise editing, character quirks & movements and all around zaniness had me giggling and chuckling from beginning to end.  Heavily inspired by Austrian writer Stefan Zweig, Hotel never takes itself too seriously but has enough substance to make you love it's characters and where the story will eventually end up.
Juggling silly and sophisticated at the same time, Anderson's latest is simply a delight that's ever so sweet.

4 bisexual, fucking faggots out of 5

THE HOST [2013]

½ Wanderer out of 5

BYZANTIUM [2013]

Director Neil Jordan returns to the world of vampires in Byzantium, based off the play written by Moira Buffini.
A dark, moody tale that jumps back and forth in time to tell the story of two vampire women constantly on the run.  It's broody slow-pacing makes for a compelling character study of these creatures rather than focusing on their powers.  There's no fangs or glittering in the sunlight, yet still manages to wash a rich, dark tone over atmospheric daylight.  The characters are as frightening as they are sympathetic giving Gemma Arterton and Saoirse Ronan a magnificent script to work with.
A very wonderful treat for someone who felt like the vampire films have been done to death.

4 pointy nails out of 5

HOW I LIVE NOW [2013]

Based of the young adult novel by Meg Rosoff, How I Live Now is a terrifyingly bleak World War III film, directed by Kevin MacDonald, that's carried by the always wonderful Saoirse Ronan.
There's some wonderful acting, beautiful tones of a bi-polar nature, great scenes of tension & emotion and never tries to be smarter than most films like this would attempt to do.  There is however some brief moments of horrendous dialogue curiously scattered throughout the film, which is suspect might be last second rewrites.  I had some problems with a lot of aimless plot points that really served no purpose to the story and couldn't help but question the sexual relationship between the cousins.  What?  It's written as if the viewer is to accept as any other sort of relationship in a film.
All in all, it's an beautifully enjoyable hit and miss experience.

3 water tablets out of 5

HANNA [2011]

Actress Saoirse Ronan continues to impress me more and more with each role I see her in. Cate Blanchett, Eric Bana, Olivia Williams and Jason Flemyng all talented actors, take the back seat to allow Ronan to really shine here.
Hanna is more a character study thriller rather than the action-packed Bourne-esque flick it was advertised as in the misleading trailers. While not really original or groundbreaking it perfectly paces each plot reveal, is beautifully shot and entertains with out ever getting too heavy.
Unfortunately it falls apart at the very end and becomes a series of mesmerizing location shots stitched together with an unintentionally comedic chase scene.
Once you get past the boring climatic sequence and a few plot holes, I can highly recommend this film if it's a smart, well crafted thriller that you're looking for.

3 ½ bleeding gums out of 5

THE WAY BACK [2010]

Director Peter Weir is no stranger to large scale epic dramas that manage to still pack a strong feeling of intimacy. The Way Back is no exception.
Jim Sturgess, Ed Harris, Saoirse Ronan and Colin Farrell turn in some beautiful and believable performances that could have easily gone over the top but these fine artists keep it grounded. The photography is absolutely gorgeous as the viewer is taken over 4000 miles of deserted land.
Unfortunately the film never lifts off the ground to reach the same type of quality that Weir's previous films have all done so well at.
The pacing is a little slow and doesn't quite have the emotional impact a story like this should hold. Never the less, it's still a good film compared to a lot of the other films these days being passed off as "epic".

3 ½ tree bark drawings out of 5