Looper

Brian Cox always says that time is the one constant in the universe. It predictably marches forwards always and forever. So a film about time travel demands our trust so we enter into a world of make believe where the laws of physics are a little (time) wharped. You shrug your shoulders and accept with a casual 'okay' anything that is shown to you, so long as it makes some kind of linear sense. But in essence, by it's very name, Looper doesn't seem to.

Writer and director Rian Johnson said "For me it's a trope of time travel movies and there's a slight about of magic logic that you have to apply in order for a story like this to make sense."

So here goes... (SPOILERS!)

In the future, time travel is invented, but is immediately outlawed and only available on a dark, criminal black market. When the mafia want to get rid of someone they send their victim 30 years into the past where a hired assassin called a 'Looper' is waiting to kill and dispose of the body. Joe (Joseph Gordon-Levitt) has been doing a good job working for the Gat men leader Abe (Jeff Daniels) as a Looper, killing accurately and sensibly saving his cash, until one day, a mysterious mob boss called the 'Rainmaker' starts to close the loops and sends Joe's future self (Bruce Willish) back in time to be killed. Naturally, it's Bruce Willis, so he escape his younger self to hunt down and eliminate the infant Cid (Pierce Gagnon) who will become 'the Rainmaker'. Hiding on Sara's (Emily Blunt) farm, Joe waits to finally close the loop, so he can live out the next thirty years on his own terms.

Loops and Layers

Get it? I didn't the first time. There's a scene in the TV show Community where Troy breaks down and cries because he didn't get Inception. "So many layers!" I laughed. Smugly. I did. I even worked out that the start of In The Night Garden is inception. But, now, I'm Troy, blubbering "I don't get it" to my husband, who explained several times in a manner befitting CBeebies. Clearly, I am a film toddler.

Avoiding sock puppets as a visual aid, I eventually reasoned in my head that the young Looper (Joe) has a set of futures like light going through a prism. One action (like killing his older self) then spurts out different future time lines. The ending is tricky as who's sacrifice makes them the hero? Joe's death or Sara's mothering? More on that later...

There's LOADS of questions and riddles about this film. Let's start with...

Telekenesis

Oh yeah. Mind control, that favourite of sci-fi movies. This is a strange one, as the film is a bit flippant, embarrassed almost, about the fact that some characters are 'TK'. For these telekenetic weirdos it seems their power is limited to flipping coins in the air. Not for the Rainmaker, who as a two year old can make a grown man fly up into the air and explode, just by having a screaming fit. It certainly has made me take a sideways suspicious glance at my toddler when he's gearing up for a tantrum. But this just seems a bit convenient. Why him? He appears to be the only one, and it's not really explained why, other than 'Sara' his mother can spin a lighter.

Why the loopers have to kill themselves

The whole narrative is based on the Rainmaker closing all the loops, one at a time. The Loopers accept this as their fate, and when they day comes they get a a tonne of gold strapped to the body to take back and blow on drugs for the next thirty years.

There's a fabulously imaginative and gruesome scene after Joe's friend Seth (Paul Dano) escapes his younger assassin self and is brutally maimed in order for him to return and have the loop closed. He starts to miss fingers, his nose, a hand - all appearing on the older Seth as historic scars. It's a very effectively grim scene. It makes no sense. To wipe out the old Seth (now in the past) they only have to kill young Seth - so why bother with the torture? Why doesn't the Rainmaker send one guy back to wipe out all the Loopers in one go and save himself some cash?

Old Joe is late... twice

Both times that Bruce Willis comes back to the present, he's running late on Goron-Levitt's watch. One time he breaks free from a future fight, which explains the delay. The time he dies (so Young Joe can grow up to become him) why would he also be late?

Cid the Rainmaker

Old Joe (Bruce) killing Sara, eventually make Cid into the Rainmaker. Bruce can't exist without letting Young Joe grow up, get married, and return for revenge at his wife's death. That means, at the same time, Cid would grow up normal because no-one killed his mother. How does Cid the Rainmaker exist in a timeline where Old Joe didn't kill his mother?

Mothers' love

This is the idea that's been going around in my head after watching this movie. What is is saying about Mums?

I've just read a very interesting article about 'theories of motherhood' and it's got me thinking. For a film with very few women, there is a strong sense of the lasting power of women. The only reason Young Joe can save Cid is because he sees himself in the little boy. Ostensibly, an abused orphan who watched others kill his mother.

In terms of representation theory, the 'mother' in film is usually a good way to establish what the film maker thinks is 'normal' or 'good' in society. What are the characters' experiences of the 'mother'.

• Haunted by this experience, young Joe clings to the memory of the soothing touch of his mother's hand on his hair. It's a motif mentioned a few times; once when he speaks to Cid in the bunker, once with his stripper girlfriend Suzie (Piper Perabo) and again, once he's dead, Sara offers him this gesture for comfort.
• Old Joe (Bruce) marries a 'pure' woman (Qu Xing) who is desperate to be a mother.
• Cid becomes/ doesn't become the Rainmaker because of his mother.
• Sara lives with the guilt of initially rejecting motherhood.

The way the film ends suggests the future for Cid is to grow up with the love and support of his mother Sara. It's for the audience to believe Sara's hope, that so long as he has her, he can use his TK for good and not become 'the Rainmaker'. It's certainly a compelling idea.

Is Rian Johnson suggesting that society needs and must protect and respect the role of mothers?

I've just finished reading The Handmaid's Tale, a great novel by Margaret Atwood which shows a dystopian future where women are reduced down to their biological function as mothers. While Atwood is concerned with the subordination of women into this role, I think Johnson is making a sociological point: without mothers, men grow violent. Well, it's not quite that reductive, but he's kind of making a point about valuing love, and specifically that from mothers.

In the post war period, influential child psychologist John Bowlby had a theory of 'maternal deprivation' which stated a child could be mentally damaged by its removal from its mother in the first three years of life. (It's worth pointing out his theories were based on the already 'damaged' children who arrived in his practice for help and he was partially discredited). His view is shown through the infants Joe and Cid (in one version of his life) who take this trauma to fuel an adult life of drugs and violence.

New wave feminist theories protested against societies' view that 'good' mothers were devoted and pure and 'bad' mothers were sexualised and selfish. This theory is shown through Joe's girlfriend - a stripper. She doesn't die as such, but Old Joe takes away her reason for living, by killing her son, believing he's a potential Cid. Young Joe's mother was a prostitute, who, yup, you guessed it, dies. Then there's Sara. She escapes death, but renounces her party dress days and atones for her liberal lifestyle by mindlessly chopping at a tree stump for several scenes in the film.

So which 'mother' is represented as 'good' in Looper? All of them. However, the film does essentially end on a positive. For all the blunderbusting and TK mayhem at the end of the film, ultimately, it's Sara, the single mum, who will actively shape the future, not passively become a victim of it.

This film can become a mental rubix cube to wrestle with. Answers on a postcard please.

Jurassic World

Oh my. This film is a bag of cats. Entertaining, makes a lot of noise but makes no sense at all.

I really wish Doctor Ian Malcolm, (that's Jeff Goldblum to you), could have had a bit part, just so he could have looked earnestly at the park's latest horror and said 'You're going to need a bigger island'. You know, like that legendary line in Jaws.

So what's the deal? Located somewhere exotic near the coast of Costa Rica lies Jurassic World. The humble theme park of the 90s has been replaced with a slick, luxury resort providing self drive hamster balls for the (notably absent obese) tourists that visit to view the many more species present on the island. Here, the scientists have been let loose, creating hybrid 'designer dinos' to excite the flaccid and bland visitors that, in between mouthfuls of fast food, demand more terror with each visit.

Nothing like a good obvious serving of hubris for park co-ordinator Claire (Bryce Dallas Howard) to seem baffled and forlorn when their new Queen of Hyprids escapes. Oh no! What ever shall we do? Fortunately, there's a navy seal Owen (Chris Pratt) who happens to have an unexplained and odd passion for raptors. Half Doctor Doolittle, half Rambo, he's able to save everyone from an all out prehistoric assault.
 
Feminiazi

Claire never removes her heels. Ever. But this isn't a feminist issue, as she's clearly a baddass. For in those five inch Molonos she can outrun a T-Rex. Now if that isn't a role model for sport I don't know what is.

This girl needs to be on the next Nike Ad #ThisGirlCan

Owen 

In between tours of duty with the US Marine corp,  Owen was studying up on raptors. 'No thanks guys, I don't fancy a run, I'm studying tonight'.

I can't get over this character. I flipping LOVE Parks and Recreation and Andy is my favourite. 'Owen' is like that episode where April helps complete Andy's bucket list by filming a home-made action movie. I'm not tarring Chris Pratt's acting ability - he's great in Zero Dark Thirty -it's the unintentionally hilarious script.

Here's a short summary of some of my favourite Owen moments:

• He lives like Huckleberry Finn on the island's best mud hole.
• This image.
• He gives a respectful nod to a raptor, a kind of 'cheers' for not getting eaten.
• He covers himself in petrol then runs around with a flame thrower.
• His motorbike is as fast as a raptor. 
• His idea of romance is extreme and clearly puts him off his A game, as he can't kiss.

Elitism
Mudbloods, District 12, the Servants at Downtown Abbey - the underdogs and heroes are usually a good mix of folk who take sweet vengence on their elitist, inbred, web-toed, horse mouthed oppressors. Tut tut, that's not how to treat people.

Not in Jurassic World! An unexpected advocate of pure breeding. You can bet Crufts wouldn't except this Rex. With a name that sounds like a Catholic Mass, poor old Indominus is the Heinz 57 of the dinosaurs and the least scary set of pixels I've ever seen. She's an incredible (literally) mix of any species which has ever graced the planet. Need a beast who can disappear? No problem, it's half snake. How about one who hunts in packs? Yup - he's part raptor. What about glow in the dark? Look no further, it's part jellyfish. Can it breathe in outer space? Sure, why not, it's part alien... okay, maybe save that for the sequel.


Sadly, this cocktail Dinosaur is not as scary as a cup of pulsating water. It's like Cloverfield - once you see the monster it becomes a joke. Nothing is more terrifying than what we imagine - even Bambi understood that.

Architect
Sack the stylist. In the process of designing this park, the architect for Jurassic World made the sensible decision to house this Monster Lizard way up into the jungle, far away from the boat loads of tourists arriving.

Evidently, he then look a long 'working' lunch at the pub and finished up his day sticking the T-Rex immediately next to the food hall. I can see him now, bleary eyed, tie loose, friends calling him back to the bar. It's Friday, he's been working on this project for weeks. Yeah, that'll do. Hit submit and leave the office, good job done.

With her new people adjacent location, good old T-Rex sits back and patiently waits for the climax of the film where she bursts forth screaming 'Did you forget about me?!' Fortunately, she seems quick to forgive and after saving the day, is happy to schlep her way back to the feeding pen, dejected and tired. So tired, she hasn't even got the energy to munch up one of those pesky humans. So that's it. We're expected to believe that 20 years alone on the island has mellowed this previously terrifying cinematic creation. I don't know how long a T Rex lives, but it seems 20 is a bit young to be taking on retirement in such a bland fashion.

SeaWorld
Perhaps I'm not giving director Colin Trevorrow credit for his subtle social commentary in the film. Let's not forget the whale/dino/shark that jumps out of its pool to splash and excite the audience. I notice it's keeper didn't take a flying dive off the end of it's mouth. Maybe they'd seen 'Blackfish' and decided that performing fish is still a vicious killer, silently plotting your end with every show they perform.
Hubris
Like all good tragedies lessons have to be learnt. In ancient Greek Tragedies, hubris (excessive pride and arrogance) lead to the protagonists facing nemesis. Back in the day that was usually something more subtle than a 60ft high dinosaur.

So who suffers the deadly sins of nemesis?

• Greed: Masrani (Irrfan Khan) dies in his helicopter trying to save the day in an oddly 80s Action Hero kind of way.
• Wrath: Hoskins (Vincent D'Onofrio) the war-mongering-peace-hating military advisor is munched up.
• Sloth: fat tourists that haven't been doing enough cardio to escape the pterodactyls
• Pride: Claire discovers that love is greater than money oh, yeah ... and looking after a tonne of insanely dangerous animals.
• Lust: sleezy older brother and teenage Beiber wannabe, Zach (Nick Robinson) learns bro's before ho's.

So who learns their lesson? So many people. What's more annoying than their irritating screen presence is that's is annoyingly easy to predict the minute they walk onto the screen how and when they'll die. The plod plods through their timely deaths at a predicable 15 minute pace, just enough to keep the morons at the cinema interested.

The end...

Maybe this film is super post modern. There's an attempt to be ironic or self referential in a way that any hipster would be proud when the scientists say the reason they create these ever more ridiculous monsters is to satisfy the ever demanding public who come to the park. These morons, who turn up, numb to horror because they've been watching ISIS beheadings on YouTube while scanning Facebook - there's a roll of a scientists eye to know we're in on the joke. But we're not. We're treated like the morons they talk about with idiotic plot decisions, thin characters, predictable narrative and a march of set action sequences.

Jurassic Park was so awesome because it was a relatively simple idea written by a talented author Michael Criton, who like all good dystopian writers wanted to explore the consequences of human progress. Ostensible, what happens if you take generic engineering to the nth degree? Again, we can thank Jeff for a little pearl of wisdom.

There's no such hypothesis for Jurassic World. I've said it before, Chris Nolan has proven you can make commercially successful blockbuster movies that raise interesting ideas and still smash you in the face with action. Jurassic World assumes it's audience is still an amoeba in the prehistoric quagmire. So we're back to Dr Ian Malcolm, who's advice director Colin Trevorrow could have taken - just replace 'scientists' with 'CGI artists'.

Having said all that, this was a HUGELY entertaining way to spend an afternoon on a dreary Saturday and I'm pretty sure my son is going to love this when he's old enough to watch it.

The Help

I'm going all out. This isn't a film about civil rights per se. The more I think about it, it's a film about women and the traps they created and found for themselves in 1960s America. The title of this film reveals a little of the emotional distance and detachment we see between the characters, and it's not always because they are separated by race.

There's so much you could discuss about this film, so I've only chosen a few ideas ...

Returning from college, Skeeter (Emma Stone) arrives back in 1960s Jackson, Mississippi with ambitions to be a serious writer. Following the prejudices of the day, the male editor of her local paper offers her the 'cleaning' column post and seeking help to fill the content, Skeeter seeks out 'The Help' for assistance. It's Aibilene (Viola Davis) the housekeeper of Skeeter's school friend who will speak first, prompted by the injustices she sees, as the Civil Rights Movement makes slow progress in the Southern States. Over time, more of the housemaids and cooks come forward to speak with Skeeter and finally have their voices heard.

Civil Rights
Jackson, Mississippi was a hot mess for Civil Rights during the 1960s. It was more violent, dangerous and tense than a Quinten Tarantino movie, and sadly, it was where civil rights campaigner Medgar Evers was murdered by Hilly Holbrook's (Bryce Dallas Howard) friends; the White Citizen's Council. And this is why this film isn't really about the Civil Rights movement as this momentous and heinous murder is a just background news report and a broken bus ride for Abilene.

Civil Rights is a complex period of American history with a rich mix of heroes and villains from all races. So to say this film is about civil rights is a bit reductive. It's not. It's really about women, who have no voice, (the Maids and Skeeter) getting a chance to make their's matter and be heard.

Feminism

No voice? Well, the devil makes work for idle minds.

The problem with no name that Betty Friedman wrote about was ten fold more in the Southern States during the Cold War. At least in the north it was 'patriotic' to be a doting mother, dutifully promoting capitalism by religiously cleaning with your mod cons (take that Soviet Russia). But in the South, if you're rich, you do as little as possible. Why? Because those historic slaves you had are now called 'Maids' and do all the work they've done for generations.

So if you can't work, clean or parent what are you left with? Childish obsessions which make rich pickings for petty drama.

Queen Bees and Wannabees

So who stops the white women being heard?

It's the ultimate queen bee Hilly Holbrook. With serpent like control, her gaggle of mini-me-wannabees flit around her, showing in no uncertain terms that her hateful views are the only ones that matter. Like all good villains, we see Hilly revel in her power, patronise and control all those around her, but ultimately take one big bite of humble pie. Literally. Best. Scene. Ever.

I think Hilly's character represents how women in America during the early 60s were little more than high school girls when they were expected to settle down and 2.4 their way to domestic bliss. Nothing more American than a woman who cares to win 'Yard of the Month' and essentially, this community never left high school.

Hilly is the same acid mouthed, pompous Prom Queen she ever was and the other women march to her breeding beat, popping out babies in a regimented order to be cared for by 'The Help'. They have no voice because society (as Friedman discovered) dictated they should be happy with domestic servitude. The only voices they have are among themselves, except fear robs them of that liberty as they're too scared to go against Hilly.

Human Identity

Friedman also argued that the problem for woman marrying so young and being encouraged to find sole fulfilment in housewifery meant they couldn't mature and find their human identity. It is only Skeeter, who rejects Hilly's hierarchy, who has been away to college, who has ambitions beyond matrimony and motherhood who finds her human identity.

She finds a way to quietly rebel against the inhuman treatment of the maids. While Hilly's crew are building humiliating outhouses, Skeeter sees the true value of the maids. She loved Constantine her own nurse and maid, she values Abeline's voice and respects Minnie's (Octavia Spencer) 'sass mouth'.

I think in a similar way, the maids learn from Skeeter a different identity for white people. Decades of oppression are not going to be swept away by seeing Skeeter in a different light, but it does work towards forming a new identity. Segregation distorts the soul and damages the personality. It gives the segregator a false sense of superiority, and the segregated a false sense of inferiority. You can thank Martin Luther King Jr. for that gem. It's true, by Skeeter and the maids coming together, the sense of heirachy is abolished. They speak on equal terms.

Community

Having recently moved back to the city I grew up in, I felt a little bit like Skeeter. Returning to Jackson she sees the same old hierarchy still stands. Every secondary school has a Hilly, and mine was no different, but it amazes me these Queen Bees can exert their influence long after the final bell has sounded. 

Skeeter is an outsider, but oddly plays along with those around her. Uncomfortable with what she sees in the group she still turns up at Bridge, goes to the benefit balls, even agrees to go on blind dates. She appears like a lost lamb. It's her female New York editor who tells her to 'write about what bothers her' that finally gives her the impetuous to go from lamb to lion. Ultimately, she becomes isolated but independent.

Ironically 'The Help' are a close, caring community. They worship, wash, clothe, feed each other with grace, taking time to laugh and enjoy each others company. For a group that has genuine fear of being 'outed' in society, who is exposed to very real and dangerous risks, they demonstrate true love and bravery towards each other.

By contrast, Hilly's queens control, bitch, isolate and manipulate each other - under what fear or risk? Not being invited to Hilly's Bridge club. Please, there are bigger fish to fry.

Men 

There are so few represented, it feels like a twilight zone. There should be a reverse characters Bechdel test. It seems you are either a violent brutes or passive husbands. Ultimately, the male characters appear non-existent.

Minnie has to suffer the violence of LeeRoy on a disturbingly regular basis. But William Holbrook (Ted Welch) has to suffer the humiliation of being emasculated by the common knowledge that Hilly is still sweet on ex boyfriend Johnny (Mike Vogel) the now husband of the vivacious and vibrant Celia Foote (Jessica Chastain). Interestingly, there must be tenderness between Minnie and LeeRoy as she wistfully recalls during her Crisco pitch it can be used to 'soften your man's hands.' Passion is as cold as Hilly's soul in her marriage as we see no affection in the Holbrook house. 

Skeeter's isolation, that I mentioned earlier, culminates in a strange 'love story' crammed into the edges of the plot. Stuart Whitworth (Chris Lowell) is a friend of ice maiden Hilly, who after behaving like a complete jerk during a first date, convinces the otherwise sensible Skeeter to go out with him again. This jars with me. Why does Skeeter go for such a prize twat? I can only conclude, that the overbearing, oppressive mantra of her mother (get married, have a baby!) has taken it's toll on confidence so she'll settle for anything. However, for a man who we are lead to believe loves an independently minded woman, he can't stand one who is for equal rights. Fortunately, Skeeter's bland indifference at his hissy fit exit suggests she's seen the light.

Here's another one from the great man himself "The ultimate measure of a man is not where he stands in moments of comfort and convenience, but where he stands at times of challenge and controversy". This sums up the film well. Skeeter gets out of her comfort zone to be independent from Hilly, family and men who don't live up to her liberal values. Abeline takes courage from God to step out boldly and have the black women of Jackson heard.

Shamefully, this film has made me realise too many people (myself included) focus their lives on the comfort of petty, high-school-style dramas, while comfortably ignoring the real controversies around them. I'd like to think I could be an Abeline but I thank God, I've not been tested yet.

Mad Max Fury Road

Much has been said about this film by the femininazi, as, for an action film fuelled with explosive set pieces, it expectantly passes the Bechdel test. However, it's pants. Here's my fair and full review.

They run away. Turn around. Come back.

That is all.

Yawn. Two hours of my life I won't see again.

If you want a film with narrative, plot and dialogue you can hear this isn't for you. If you have a penchant for steam punk and explosions - then, I guess this is for you.

Whip It!

Drew Barrymore's directorial debut is a charming, coming of age, rockabilly, retro, grunge skatefest - and I loved it. I don't know anything about roller-derby, in fact, I didn't know it existed. Now I do, I need to join a team, yes, even though I bruise like a peach.

Bored, quiet and dutiful Bliss Cavendar (Ellen Page) lives in a small-town in the Lone Star state and seems restless to escape. Her mother (Marcia Gay Harden) has coerced her into a world of beauty pageants and she blandly participates so not to upset her. On a chance evening out she meets the 'Hurl Scouts' a local roller-derby team, and taking her first steps towards rebellion, she tries out for the team and wins a place. In the roller-derby-drome Bliss comes of age, learning who she really is, and relishing in the freedom the games brings. However, a conflict with a rival team mate the Iron Maven (Juliette Lewis) threatens to expose her world of lies to her parents and friends.

Make life happen
This film is hipster, but not too cool for school. The dialogue is slick, but (thankfully) has none of the verbal gymnastics of Juno, and was written by the original Maggie Mayhem, LA Derby Dolls star, Shauna Cross. And like the screenwriter herself, this is a sweet film about an underdog finding their place in society (Shauna grew up in Austin, moved to LA, joined a Derby team) and I think the tag line is very fitting 'Be Your Own Hero'.

In my humble secondary school teaching experience, too many teenagers are waiting for the world to pay them that favour they feel they deserve. They're bored, restless and got little confidence to do anything about it. This movie unequivocally says, no one is going to do it for you. If you're bored, do something about it. If you want to find out who you really are, then get stuck into life. If you're lonely, join a team. Travel, be rebellious, stretch yourself, be independent. The results are clearly worth is, as Bliss finds a new family (without abandoning her old) and really uncovers a new and very exciting path for her life.

Dead mother syndrome
My friend Helen complains about how many films have a 'dead mother' literally and figuratively. She feels too many film makers have to get rid of the sensible, nagging woman before the fun can really start. Not so in this film.

At first glance, Bliss's mother, seems to perpetuate the southern belle nuclear family, making her girls pretty to compete in pageants, act like 'ladies' and generally continue life as if the 1950s never ended. The problem that had no name now does, and different ideas of feminism pop up throughout the movie.

1. Maggie Mayhem is a single Mom, who is the sensible, warning voice of experience to Bliss.

2. Iron Maven is older and bemoans to Bliss that she didn't start the sport until 33, making the point that women of all ages are always trying to find their place in society. Her ultimate respect for Bliss shows that fighting other women out of envy or spite ultimately only harms women, so isn't it better to join forces? Or at least, take your revenge on the track.


3. This league is so far removed from the dainty virtues of the pageants, yet the women uphold the best aspects of femininity: caring, loyalty, courage.

4. Bliss finds her self respect through the support of the women in the league, and finds the courage to ditch her cheating, flaky boyfriend in a classy but satisfying way. Their romance is sweet and PG appropriate (a nice change) but Bliss's revenge edge, shows Hollywood can present girls to be something more than sexualised, insipid, passive people pleasers. Not your average teen-romance flick. Huzzah!

4. Finally, back to Bliss' mother. She's not the overbearing housewife stereotype, but in one touching scene, we see she is actually secret rocker, secret smoker and honest, blue collar worker with more in common with Maggie Mayhem than the starched wives of the country club pageants.

Sports training montage

This film does follow the convention of every sports movie, and trundles along (or should that be skates along?) at a pleasingly predictable pace. The joy comes not from predicting the plot (which is obvious) but in the little moments of Bliss's victory. We see her nervously uncover her Barbie skates for the try outs. Get up after her first fall. Practice for hours outside in the street. Take a secret bus ride. Stay out at a party. Have her first kiss. Stand up to her friend. Defend her choices in life. Challenge her parents, and finally come out on top, sure of her self and happy to face her future.

As we watch the growth of this young protagonist we see Bliss ultimately triumphs without trampling those around her. A perfect bildungsroman... with a rocking soundtrack.

Whiplash

Oh my. I've not seen such a tense film in a long while, especially one which doesn't involve murder, a woman in black, or some kind of heist. I sat for various set pieces of this brilliant movie, directed by Damien Chazelle, with my hands scrunched into my face, teeth set and eyes anxious.

In summary, Andrew (Miles Teller) is a talented, young musician who, having earned a place at a top music academy, finds himself chasing the mentorship of the notorious Professor Fletcher (A K Simmons). After a pressured audition, Andrew joins the prestigious 'Studio' band, where he is mercilessly pushed to succeed by Fletcher, a man who wants to achieve greatness at any cost. A man who despises student's settling for a 'good job' and not suffering and yearning for legendary status. Fletcher's mission in life is to push students further than they knew they were capable of. His teaching style makes jazz school seem like SAS training.

This is not your average, nerd-to-hero, movie. Neither is it your average kung-fu, the-student-becomes-the-master, type of film. It's not an average, full stop.

Talent Vs Grit - the cost of being a legend: I saw this flick with my Mother, who's passion for ballet is only slightly less of that of Fletcher's for jazz. Afterwards, we spoke about what it takes to become a 'legend' and decided talent is not enough. Really it's about grit.

The unseen student 'Stephen' is Fletcher's first prodigy/ victim and we hear his obvious talent at the beginning of one practice session. Movingly, Fletcher reveals Stephen died. A tragedy. But who are Fletcher's tears for: the death of a talented musician, or the death of a potential legend he could tailgate his reputation on? Andrew also has the talent, but the film is really about whether he has the grit and determination to succeed past the self doubt, exhaustion, physical pain, social isolation, bullying, torment and anxiety which ultimately claimed Stephen's life.

Mum made a parallel to Royal Ballet legend Darcey Bussell. She started late to the School, so had two years to catch up and was unusually tall for a prima. Yet she managed to become the youngest principal dancer the company ever had. Was she the only one with talent? No, but clearly she had more grit than the others.

This film makes you wonder if you are a Stephen or an Andrew. Are you motivated or depressed by being cajoled, badgered, harassed, belittled and tormented. Do you want to 'prove them wrong' or walk out in a huff. I think I'd have flounced out of that Studio after the first session and that's why I'm not a living legend, or ever will be. It doesn't mean I don't have talent, I just definitely, don't have the grit needed to sustain that sacrifice for success.

How to win a battle - the central conflict in this film is between the master and the student, one that many kung fu movie fans have seen for decades. How does the master inspire and motivate? Fletcher's tactic is a master-class in misdirection. This man goes from birthday candle to atomic bomb at breathtaking speed, adopting the poetic rhetoric of Shakespeare to fire out insults mixed with pure acid. Owch.

Andrew's naievity is heartbreaking when a couple of weeks in with the Studio band he tells his Dad 'I think he's beginning to like me'. That smile will not be wiped, but smacked off his face before he knows it. After an hour of watching this boy fail every 'test' given, you are desperate for revenge. Fisty-cuffs after his car crash isn't satisfying enough, especially when you realise he abandons his passion once his college career is halted.
So how do you win a battle? With a simple 'F*ck you' and an epic, five minute 'double swing' drum solo. That's how. And it feels so much more satisfying than any blood bath my vengeful heart wished for. Andew's revenge is to prove Fletcher is nothing more than a man waving his hand about at the front of the stage. He usurps his power, bends the band to play to his tempo and takes his time to prove his point. Brilliant. Brilliant. Brilliant.

Underdog - what I enjoyed about this film is the subtle play around with stereotypes. Andew is not Hollywood handsome, just an average looking teenager, who one could easily overlook or forget. He tells Nicole (Melissa Benoist) on one of their dates that the people at his college don't really like him, he socialises mainly with his Dad and he avoids eye contact with those he meets. He appears meek and humble in the band practices, politely turning the pages and apologising so much, he makes the English look positively rude.

This film is too clever, to have a cheesy grand reveal, where the geeky guy removes his glasses and turns into Bradley Cooper. No. There are subtle hints throughout there's more to this timid chap. He asks the hot girl at the cinema out on a date. Isolated by the stone-faced soldiers of the band, he alone answers back to Fletcher. But best of all, he's got razor sharp wit; much more devastating than the bombastic insults flung about by Fletcher. This is showcased most aptly at one family dinner party - where his obnoxious relatives dismiss his artistic talent, preferring the macho gloating of his jock cousins. Andew's slicing comebacks show this is a mouse who believes in his heart, he is a lion.

Overall, I really enjoyed this film. However, there are some crass stereotypes about suffering to become a genius.Sat in the bar afterwards, Mum and I couldn't decide if Fletcher was a justified barbarian, or socio-pathic masochist. It's up to you to decide if their relationship is inspirational or destructive.

Trainwreck

Not quite a Hatfield disaster, more like a 'leaves on the line' kind of Trainwreck for director Judd Apatow.

Since childhood, magazine writer Amy (Amy Schumer) has been schooled by her wayward father that monogamy doesn't work. Taking that learning, she has applied it to living a life of inhibited freedom, avoiding commitment of all kinds and generally doing what she pleases, when she pleases, with whom she pleases. Taking an assignment to write a bio on successful sports doctor, Aaron Connors (Bill Hader), she falls for his humble and honest ways. Feeling true love for the first time, she begins to question her life and debates whether now it the time to clean up her act.

First up, full disclosure: this did pass the Mark Kermode laughter test. I did laugh out loud at least five times, with many chuckles and smirks thrown in every couple of minutes. But, in the words of the previously mentioned doctor, 'here's the thing' - this film doesn't know if it's a crass ladette comedy or fairly traditional rom-com. There's too much drama for it to be the first and too many surreal moments for it to be the latter.

I saw Amy Schumer on Graham Norton a few months ago and had never seen or heard of her before but immediately liked her self-deprecating, sassy, quick fire response to his questions. They didn't feel rehearsed, she seemed to be one of the those genuinely quick and hilarious women we'd all like to have as a best mate. And the same can be said for the dialogue in Trainwreck as clearly the improvised lines drew the biggest laughs for me. 'No, he's not hot, he's like a Puerto Rican Gollum'.

However, Bill Hader is a bit of a odd casting choice for the romantic lead, as he's so well known for being the weird-out odd ball from SNL and I couldn't get beyond that. He's definitely charming, just not sure I want to see him smooching Amy (tongues and all) at the end of the film.

Taking up the 'odd ball' mantel instead if LeBron James. His fame was a bit lost on me, not being a basketball, (or for that matter sports), fan of any sort. Luckily, nether is Amy, so there is a bit of in-joke for some of the audience as she acknowledges she has no clue who he is. Nice to see a sports star without such a serious ego. His best lines are when he's acting like a teenage girl, interrogating her or Aaron about their blossoming relationship - 'when you feel the wind, do you hear his name? Well, do you?' 

Kathy Beale

But stealing the limelight is Amy's cold, cruel, callous boss played by... Tilda Swinton. Yup. The girl can do comedy. My goodness me, she's got brutally good timing for her lines. For about ten minutes I didn't recognise her, and convinced myself it was Kathy Beale. 'Fair play' I thought, 'she's broken into Hollywood' so unrecognisable is she.

Overall, this was ideal Friday night, irreverent entertainment, BUT, for the babysitters it was a bit long. I didn't really expect a rom-com to bounce the two hour mark, and frankly it didn't need to. Unlike Amy, who's 'real girl' figure is actually very trim and enviable, this film could have lost a few inches around it's baggy middle.