Screen150

From the impenetrable novel by Victor Hugo few have read since it was first published in 1862 this is now the world’s longest running musical seen by over sixty million people.

Valjean represents the proletariat in post revolutionary France, set against his arch-nemesis, Police Inspector Javert, the bitter face of traditional values of conservatism. The revolution is writ small as seen through the lives of these two men and through the children it spawns, Cosette and Gavroche.

This is a story about social justice, equality, class, position and fairness. The treacherous Javert is seen to be capable of at least one noble act and in carrying out that act he ultimately redeems himself and natural justice is served but unfortunately the musicality of the film detracts from the epic yet personal sweep.

The revolution may not be televised, but there’s no need to set it to show tunes either.

Les Miserables . 2012 . Tom Hooper

Reviewed by Bobby Pegg

There is a fundamental question at the heart of remakes which usually determines whether they end up being any cop, ‘why bother?’ Why choose to go through the motions with a story that everyone already knows? In the case of Invasion of the Bodysnatchers, The Thing and others in that rare, ‘better than the originals’ pantheon, there’s something new to be said with the story. Then there’s Total Recall, a film so boring, so inept, so utterly pointless, that it isn’t even bad – just entirely forgettable. Colin Farrell yawns his way through a plot that has something to do with the Earth’s core, a bunch of robots and Kate Beckinsale . There’s so much that doesn’t work about the film that I left wishing I could replace this memory with something more like the original. In answer to that question poised at the start, ‘why bother?’ With this film, don’t.

Total Recall . 2012 . Len Wiseman

Reviewed by Dan Carpenter

I watched this film about two years ago, in bed, on a laptop. I think we downloaded it (maybe). I can’t remember. (It was quite a while ago.) I think we decided to watch it because we were going through a ‘sexy late 80’s/early 90’s’ phase (Fatal Attraction, 9 ½ Weeks, Disclosure, etc) and so were looking for other sexy films from the same period to watch. I can remember almost nothing about this film. (I don’t think it was very sexy.) I vaguely remember a scene where someone is forced by magic to float in the air (?), and also some sort of chaotic scene in a swimming pool. This film stars Cher and Jack Nicholson and (possibly) Meryl Streep. Whenever I attempt to think about Jack Nicholson’s performance, I just picture him doing his ‘iconic face’ in a white linen suit. I’d give this film a solid 5/10.

The Witches of Eastwick . 1987 . George Miller

Reviewed by Chris Killen

Future America is a post apocalyptic wasteland: like T S Eliot on crack. From Boston to Washington DC lies Mega City One. The only real law is the ultimate Judge, challenged with ridding the city of its latest scourge “Slo-Mo” peddled by the psychopathically cruel and terrifyingly sexy Ma-Ma

This is law enforcent from Ground Zero. Gritty, ultra-violent, uber-cool and hard as nails with a thumping, dirty, electronic, stripped down soundtrack to rip you along. 

CGI effects are stripped right back to bare minimum and instead relying on old fashioned action. Clearly influenced by Dirty Harry and Assault On Precinct 13 it takes these influences, updates them and serves them back to you in a relentlessly stylish, gloriously brutal film that you can’t take your eyes off even if sometimes you think you should.

Get it seen. Negotiation is over. You have twenty seconds to comply.

Dredd . 2012 . Pete Travis

Reviewed by Robert Pegg

Ok, ok I’m sorry – I’m really truly sorry. I can’t apologise anymore for what happened, and thought I wasn’t supposed to be laughing and then the entire audience did anyway, so I kind of laughed along even though secretly, I felt like we were all committing some grievous faux pas. I’m just feel really bad – for everything to be honest. So, let’s just say: Slavery, we apologise. All of us. Apologising right now. Sorry. Very, very sorry. Is that enough? Hard to tell. I mean, I’m not getting any indication that things are alright now, so I guess I should just keep apologising. Sorry, sorry, sorry. Really I am. I can’t believe all the stuff we did and I feel really bad about it. Really bad. Is there a charity I can donate to that will make it all better? Oh, but you can apologise for Tarantino’s performance. You dicks.

Django Unchained . 2013 . Quentin Tarantino

Reviewed by Dan Carpenter