February Film Releases

February’s Film Releases include: Astro Boy, Invictus, Battle for Terra, The Wolfman, Solomon Kane, The Last Station, Percy Jackson and the Lightening Thief

Astro Boy:
Releases 5 February

Futuristic fantasy animations seem to be everywhere at the moment, but Astro Boy is certainly nothing like Avatar or Battle for Terra. Shot in colourful two-dimensions, its a faced paced cartoon feature that will have its young audience dreaming of robots and space flight long after the final credits have rolled.

Set in the future, the film centres on Astro Boy (voiced by young British actor Freddie Highmore) who lives in Metro City. Astro Boy is, in fact, a robot with incredible powers, who has been specially created by a brilliant scientist Dr Tenma (Nicolas Cage) in the exact image of the son he has tragically lost. Although he has been programmed with all of the young lad’s memories and characteristics, Astro Boy is no substitute for the real flesh and blood thing, and is cast out by his inventor father. So the young robot leaves his home on a search for acceptance; a journey which soon turns into an out of this world adventure. Pursued by the military, and Metro City’s President Stone (Donald Sutherland), Astro Boy crashes to Earth, where kids scavenge for discarded robots to take back to their wacky protector Hamegg (Nathan Lane). Of course, happy endings are assured by the film’s PG certificate, and Astro Boy ends up heading back to his space home to reconnect with his father and save the day.

Despite his youthful looks Astro Boy has actually been around for almost 60 years, making his début in a 1951 manga comic by Osamu Tezuka. Since then, he has appeared in a 1960s black and white animated TV series, and again on the small screen in full colour in 1980 and 2003. This, however, is his first big screen outing, and Brit director David Bowers (Flushed Away) has used the latest computer technology to make the most of the additional scope the medium affords. The landscapes are lush, the characters brought to vivid life and everything pops off the screen despite the lack of 3D.

He has also done well to assemble a fantastic voice cast; alongside Highmore, Sutherland and Cage you’ll hear the dulcet and familiar tones of Kristen Stewart, Charlize Theron, Samuel L Jackson, Bill Nighy, Eugene Levy and even Little Britain star Matt Lucas. This will help endear Astro Boy to an older audience, but its the kids who will get the most out of this viewing experience.

As such, everything moves on at a frantic pace, packing a whole lot of action and adventure into its 94 minute running time. There’s certainly no chance for any boredom to creep in, and even the youngest viewer will be kept enraptured. This means that there’s more emphasis on the battle sequences, and less on the actual narrative, so older viewers may notice some plot holes and leaps in logic. But that hardly matters in a film such as this; that everyone has kept Astro Boy’s intended audience in mind, and so has paid vast amounts of attention to the look of the film, means that its safe, entertaining and fun for all the family.

Invictus:
Releases 5 February

If you think about it, there aren’t many living legends left in Hollywood. Although a new generation is doing their very best to mark out a place in cinema history, there are only a handful of people working today who you could class as a genuine icon. Clint Eastwood, however, is certainly one of them. During a career spanning well over five decades, Eastwood has inhabited some of the most memorable characters on the big screen; Dirty Harry, The Outlaw Josey Wales and, of course, as the star of Sergio Leone’s Spaghetti Western trilogy.

And even though he’s slowed down on the acting front in recent years, at the age of 70 Eastwood shows no signs of taking an early retirement as he’s also made a name for himself as an extremely prolific, and talented, director. The last 10 years has seen him helm modern classics like Million Dollar Baby (2004), Flags of Our Fathers (2006), Letters from Iwo Jima (2006) and Gran Torino (2008) and his latest, Invictus, is already generating plenty of awards season buzz. And that its based on a true story, and stars the similarly iconic Morgan Freeman as global figurehead Nelson Mandela, only adds to its weight.

Indeed, it’s impossible to imagine who else could have portrayed Mandela so effortlessly on the big screen (in fact, Mandela himself has said as much). Freeman has a natural presence and gravitas that makes him utterly believable – and watchable – as the recently freed and newly elected South African President, overseeing a country that is divided by huge racial and economic chasms left over from apartheid. Realising that he needs to bring his people together with a united goal, President Mandela joins forces with Francois Pienaar (Matt Damon), the captain of the South African rugby team, to rally support as they make their historic run to the 1995 Rugby World Cup Championship.

It’s always a risk bringing a true story to the screen, particularly one that has such a huge impact on recent history and is populated by a cast of such imminently recognisable  characters. But if anyone was going to pull it off it was Eastwood and his team. Research and preparation is the key to the success of Invictus, and it’s clear that all involved have taken their part in this project very seriously. Freeman, for example, has developed a close relationship with Mandela over the last few years and his attention to detail is extraordinary; the actor absolutely inhabits the great man and, thankfully, there is nothing of the caricature in his performance. Damon, too, is solid as ever, bringing together his immense likeability and everyman charisma to the role of Pienaar; it’s easy to see why he and Mandela struck up quite a friendship, bonding over their shared desire to restore South Africa to the glory they both knew it was capable of.

With solid performances, including those from the superb supporting cast, and typically assured direction from Eastwood, Invictus is another winner from the filmmaker extraordinaire. And that it concentrates on a positive time in South Africa’s chequered history – even if that time may not have been lasting – makes for a refreshing and exhilarating viewing experience.

Battle for Terra:
Releases 12 February

If there’s one thing that James Cameron has taught us it’s that sci-fi is big business. And that animation is big business. And animated sci-fi is a cinematic behemoth of blockbusting proportions; well, at least it is if you’ve made Avatar. Canadian visual effects artist turned director Aristomenis Tsirbas – who cut his effects teeth on films like Hellboy, Dogma and, ironically, Cameron’s Titanic – will no doubt be hoping his animated science fiction adventure Battle For Terra will be following in similar footsteps, particularly as his film is also available in 3D in selected cinemas. And although it is unlikely to reach the record-breaking heights set by Avatar, it’s still a fun family adventure that will enthral the kids and  do enough to keep the adults entertained.

It’s all set on the beautiful planet of Terra where the inhabitants, including Mala (voiced by Evan Rachel Wood) and her best friend Senn (Justin Long), live in peace in an environment filled with culture, love and happiness. Of course, this blissful status quo doesn’t last; soon Terra is besieged by human invaders and when Mala’s father (Dennis Quaid) is abducted she finds herself dragged into the action. Capturing Earthforce soldier Jim (Luke Wilson), Mala learns that humanity has almost died out following the destruction of Earth’s natural resources. She convinces Jim to help her find her father, and the two develop a strong friendship along the way.

It’s impossible not to make comparisons between this and Avatar, and although Battle for Terra may not showcase the same level of visual trickery as in Cameron’s masterpiece, it’s still enjoyable to watch. The animation is strong and colourful, holding the attention even during the more haphazard battle sequences, and the characters are well-defined both by design and the talents of the impressive voice cast who breathe sympathetic life into their on-screen counterparts. It’s certainly worth catching in 3D if you can; technology has evolved in leaps and bounds since the days of red and green glasses, and Tsirbas has used it to great effect. Here the third dimension is no mere gimmick, rather it is immersing without being overbearing and brings the stunning Terra landscape to life. This also grounds the narrative, as you can understand both why the planets inhabitants wish to preserve its natural state, and why the human invaders wish so dearly to colonize it.

One thing Terra does have in common with Avatar, however, is its moral message. In both films it’s the humans, not the aliens, who are the ‘bad guys’, desperate scavengers attempting to save themselves after destroying Earth through their own limitless greed. And indeed, as a piece of social commentary it’s certainly compelling, yet Tsirbas is careful not to let the story descend into sermonising; instead, by weaving his cautionary tale into Mala’s determination to save her home and her family whatever the cost – something we can all identify with – it becomes far more effective a concept. Yet, above all Battle for Terra is a piece of family entertainment, a colourful and energetic experience that will entertain a young audience; that it may impart some education about the way in which we treat our planet is an added bonus.

Percy Jackson and the Lightning Thief:
Releases 12 February

If there’s one thing that Harry Potter has shown filmmakers, it’s that if you hit on a winning, cross-generational formula then you can keep those box office – and merchandising – tills ringing from now until kingdom come. And so it’s no surprise that author Rick Riordan’s kids’ book The Lightning Thief has been earmarked for an adaptation; it’s already got the right mix of magic, adventure and a dedicated young fanbase – plus it’s the first book in a series, so the perfect starting block for a successful franchise. Well, that’s the theory but how does it play out in practice?

Like Potter, Percy Jackson and the Lightning Thief is set in modern times but with its own high-concept view of reality. Percy (Logan Lerman) is an ordinary schoolboy, just trying to get through the trials of adolescence without too much trauma. You know what they say about the best laid plans, however, and Percy’s life is set to undergo an enormous change that he never could have seen coming. For not only does he discover that the legendary Gods of Mount Olympus, including Zeus (Sean Bean), Poseidon (Kevin McKidd) and Hades (Steve Coogan), are still alive, but that they fall in love with mortals and produce offspring who are half human, half God. As Percy struggles with this new knowledge, and with the fact that he may be one of these fabled offspring, he finds himself the prime suspect in the theft of Zeus’s lightning bolt. And when his mother Sally (Catherine Keener) disappears, Percy gets caught up in an adventure he will never forget.

There’s surely a legion of Percy Jackson fans lining up to see his first big screen outing, and so there’s much resting on the shoulders of its director. Luckily for fans, and indeed for the casual cinemagoers who may find themselves watching this on a Saturday night, the filmmaker at the helm is Chris Columbus. As the director of such winning fare as Home Alone (1990), Rent (2005) and, most importantly, two of the Harry Potter movies – Sorcerer’s Stone (2001) and Chamber of Secrets (2002) – Columbus certainly knows how to orchestrate films that are fun for all the family. Blending special effects with an exciting storyline in the same way he did with his double entry into the Potter franchise, Columbus in on course to create a film that will satisfy fans of the book and win over new ones. After all, what kid wouldn’t want to be related to an actual God, and Columbus plays on this fantasy to great effect.

And even if you’ve never read the books, even if the concept doesn’t appeal to you, the impressive cast list certainly makes this worth a look. Along with Bean, McKidd, Coogan and Keener, the film also stars Uma Thurman (as Medusa), Rosario Dawson (Persephone) and Pierce Brosnan (Chiron), all great actors who bring their unique talents to the narrative. And 17-year-old Lerman is great as Percy, a solid young actor whose boy-next-door charms will undoubtedly be at the centre of the film’s success, as well as adorning millions of bedroom walls in the months to come.

The Wolfman:
Releases 12 February

Monsters are something of a hit at the movie theatres at the moment, and many Gothic icons have been resurrected, revamped and reworked into modern box office barnstormers. From the Mummy, given a CGI spin by Stephen Sommers back in 1999, to the slick and sexy vampires currently to be seen in the uber-successful Twighlight franchise, it seems that audiences are happy to welcome these classic characters back with open arms. And now its the turn of the werewolf to bound back into cinemas, with Joe Johnston’s updated remake of the 1941 classic The Wolfman.

Almost 60 years ago, the original made an icon out of star Lon Chaney, and new leading man Benicio del Toro strides admirably into a difficult role. It’s surely tough to emote when you’re dealing with lashings of make-up and computer generated effects that you won’t see until the final edit, but Del Toro brings a sense of vulnerability and well-placed fear to his performance. He is Lawrence Talbot, a nobleman who fled his Victorian hamlet home of Blackmoor the night his mother died. Decades later, her returns to his family estate after the strange disappearance of his brother. Together with his estranged father Sir John (Anthony Hopkins) and his brother’s desperate fiancé Gwen (Emily Blunt) Lawrence sets out to find his missing sibling. When he discovers that something has been killing the villagers, however, he is forced to face his own terrible destiny, and find some answers before Inspector Francis Abberline (Hugo Weaving) uncovers the awful truth…

Del Toro has proved time and time again that he is more than capable of mixing brooding intensity with unbridled power, in films like Traffic (2000), 21 Grams (2003) and Che: Parts One and Two (2008), and its this ability that brings the character of Talbot to life and draws sympathy for his plight. It helps, too, that del Toro can draw strength from his excellent supporting cast. The legendary Anthony Hopkins is solid as ever as Lawrence’s mysterious father,  while rising British star Emily Blunt is the perfect choice for the beautiful, grieving Gwen whose desire to learn the truth may prove to be her downfall.

This is certainly Texan director Joe Johnston’s biggest film to date, but he rises to the challenge with style. Having cut his teeth on family actioners like Honey I Shrunk The Kids (1989), Jumanji (1995) and Jurassic Park III (2001), Johnston knows how to bring a dynamic sense of pace to proceedings. The fact that Marvel Entertainment have chosen him to helm their upcoming summer centrepiece The First Avenger: Captain America is evidence that the industry thinks he can be trusted with a blockbuster, and he certainly keeps a sharp set of claws on the reigns of The Wolfman. And with cinematographer, and regular Johnston collaborator, Shelly Johnson’s atmospheric visuals, this is an entertaining and enthralling viewing experience that, although perhaps not reaching the same heights as the Lon Chaney classic, you’ll want to get your teeth into.

Crazy Heart:
Releases 19 February

Given a limited release in the USA in late 2008, first time director Scott Cooper’s small-scale adaptation of the novel by Thomas Cobb could easily, like so many independent films, have slipped by unnoticed. But, thanks to a career-best performance from Jeff Bridges in the lead role, which has won him a Golden Globe Award for Best Actor and talks of Oscar nominations, Crazy Heart has become one of the first must see films of 2010.

Bridges is Bad Blake, an ageing country music star whose heady lifestyle – including multiple marriages, a heavy smoking habit, many years spent on the road and a chequered history with alcohol – is started to pay its price. Despite this, Blake is looking for salvation, and reaches out to young journalist Jean (Maggie Gyllenhaal) when she interviews him about his life and career. Soon discovering the real man behind the music, Jean helps Blake in his search for redemption but, as the two fall into a risky relationship, she may well be putting her own heart on the line.

Bridges performance is undeniably the heart and soul of this film. Despite the hard edges of his character – who, with his lined face, protruding gut and straggly hair looks worn down both physically as well as mentally – Bridges lends him a rough charm and vulnerability which makes it easy to see why so many women still flock around him, and why Jean wants to get close to him. And he absolutely embodies the country music which acts as the soundtrack to the film, and to Blake’s life; as he sings of broken hearts and long lost dreams, his pain is genuine and palpable – which makes his determination to get his life back on a track an easy thing for an audience to root for.

It’s a stunning turn from the 60-year-old Bridges  who, despite a phenomenal CV including stand out roles in the likes of The Last Picture Show (1971), Tron (1982)  The Fabulous Baker Boys (1989) and The Fisher King (1991), not to mention his iconic role as The Dude in the Coen Brothers’ classic The Big Lebowski (1998), remains one of the most underrated actors in the industry. His turn in Crazy Heart is certainly up there in Oscar-worthy territory so, after four previous nominations for earlier roles, perhaps this is the film that will finally win him that Academy Award

That’s not to say that his supporting cast fade into the background. Gyllenhaal is sweet as ever as the woman determined to save the man she’s falling for, and Irish star Colin Farrell is wonderful as fellow singer Tommy Sweet, once Blake’s protege whose success is leaving his washed-up mentor far behind. It’s great to see Robert Duvall display his trademark gruff dependability as one of Blake’s straight-talking old friends.

New director Cooper handles his talented cast with skill, allowing their characters the space to breathe and letting the story tell itself without the overusing of cliché or contrived setups. It helps that he’s also a musician and a country music fan himself, and so understands how best to handle his subject. So, although Crazy Heart may be Bridges’ film, the skill of all involved means its also a fantastic movie in its own right.

Solomon Kane:
Releases 19 February

Writer/director Michael J Bassett made his movie début back in 2002, with well-received World War I supernatural drama Deathwatch. Since then he’s only made one further film, 2006 thriller Wilderness, and now he returns with his third movie Solomon Kane. Bassett is slowly but surely building a reputation as a filmmaker to watch, and his latest effort should certainly bring him to the attention of the people who control the budgets.

James Purefoy (Resident Evil, TV’s Rome) is 17th Century soldier of fortune Solomon Kane who roams the countryside killing for gold and treasures with no thought of the human consequences of his actions. After one intense pillaging mission he remains the last one standing, and is visited by the devil who tells him he is on a first-class ticket to hell. Managing to escape Satan’s clutches  he seeks redemption and escape by joining a monastery. When he is cast out, he is left to look after himself, a task made difficult by the fact that he has sworn an oath to become a man of peace. Teaming up with some farmers, Kane thinks he can find a new life – until the entire family is slaughtered by demonic disciples, who kidnap their teenage daughter Meredith (Rachel Hurd-Wood). Determined to find her, Kane returns to what he does best; being a first-class warrior.

It’s a fairly straightforward premise, and Bassett has deliberately kept things simple to focus on the character of Solomon Kane. Created by Robert E Howard (the man behind other fantasy icons Conan the Barbarian and Red Sonja), Kane’s exploits appear in Weird Tales magazine from 1982, and he has a legion of fans. Whether they  will respond to this new adventure remains to be seen, however, particularly as its an ‘origins’ story – so popular now, with the likes of Bond and Batman using it to great success – which may alienate those already very familiar with the back story of the character.

But for the casual viewer, it should be an easy watch and entertaining experience. The locations are extremely atmospheric, the visual effects are solid and the cast bring the whole thing to energetic life. As well as Purefoy, who demonstrates a strength and flair for the action hero  in the swashbuckling lead role, and Hurd-Wood, there are notable performances from Pete Postlethwaite, Jason Flemying, Mackenzie Crook and genre legend Max Von Sydow.

True, the obviously small budget has imposed limitations on the scope of the film, and there is some dodgy CGI to be found in amongst all the action, but everyone involved has given their all and done their best with the resources available to them. The result is a hugely enjoyable swords and sorcery adventure that is reminiscent of classic Eighties fare like Highlander and, although its 15-rating does put a cap on the action, there is plenty of hand to hand fight sequences and even a beheading or two – for those who like that kind of thing.

The Last Station:
Releases 19 February

The Last Station is one of those films that lets you know that awards season is well and truly underway. With a stellar cast and highbrow subject, it’s got Academy Award nominations written all over it, and it’s also proving to be something of a hit with critics and audiences alike.

Legendary actor Christopher Plummer plays iconic Russian author Leo Tolstoy (he of War and Peace fame) who is nearing the end of his life, but who has created a whole new worldwide movement devoted to his increasingly extreme ideals of celibacy,  communal property and the like. His wife Sofya (Helen Mirren) is still devoted to him, and is determined that the royalties from and rights to his life’s work should stay in the family. The writer’s close ally Vladimir Chertkov (Paul Giamatti) has other ideas, however, and firmly believes that Tolstoy’s works should be deeded to humanity. To achieve this goal, Chertkov hires the naive young Valentin Bulgakov (James McAvoy) as the writer’s new secretary; a devoted follower of the Tolstoyan movement, Bulgakov is perturbed to discover that Chertkov wishes him to spy on the Tolstoys and so gain information to overthrow Sofya’s claim to her husbands works.

While both Giamatti (Lady in the Water, Cold Souls) and McAvoy (Atonement, The Last King of Scotland) are excellent as the external forces orbiting the Tolstoys, the real strength of the film lies with the dynamic between Plummer and Mirren as Leo and Sofya. Their real life relationship was remarkable – together they had 13 children, and Sofya copied out her husband’s epic masterpiece War and Peace six times in longhand – and director Michael Hoffman has wisely focused the film on their interactions. Hoffman also adapted the script from the novel by Jay Parini, who used as his research the diaries of numerous people who were in contact with Tolstoy during the final years of his life; here the story has been simplified in focus, and the film is all the better for it.

Plummer showcases a relaxed grandeur as Leo Tolstoy, a man who is fully aware of and has come to terms with his greatness and influence, while Oscar-winner Mirren seems to have been born to play Sofya. She brings an austere determination to the role, making Mrs Tolstoy a polar opposite to her husband yet her dedication to him, and to preserving his work, is obvious.

Indeed, the pair have already received a Golden Globe nomination apiece, as well as Screen Actors Guild award nominations among others, so Oscar nomination seems in the bag. Whether anyone involved in the film will actually go home with an Academy Award is, at the time of writing, anyone’s guess, but the fact that The Last Station is most certainly a worthy contender is definitely not in doubt, and is reason enough for it to tempt a wide audience. And the story is so enticing that even those who have never picked up a copy of War and Peace should succumb to its charms.

Everybody’s Fine:
Releases 26 February

During his 45 year career, Robert De Niro has proved himself to be a master of many talents – and of many genres. From intense  roles in like likes of Taxi Driver (1976) and The Deer Hunter (1978), to musicals including New York, New York (1977), thrillers like Goodfellas (1990) and Cape Fear (1991), fantasy adventures such as Stardust (2007) and comedies including Analyze This (1999) and Meet the Parents (2000), he’s made a name for himself as something of a cinematic chameleon. And in his latest film, Everybody’s Fine, he showcases a feel for family drama.

De Niro plays retired factory worker Frank Goode who, after the recent death of his beloved wife, is desperate to spend some quality time with his four adult children. He invites them to his home in upstate New York for the Christmas holidays;  Rosie (Drew Barrymore), Amy (Kate Beckinsale) and Robert (Sam Rockwell) all make excuses as to why they can’t make it, while there’s no sign of other son David (Austin Lysy). So deciding to take matters into his own hand Frank, against doctor’s orders, travels the country to visit the homes of his kids. After attempting to find David in New York City, its on to Amy’s pristine home in Chicago, then on to the Denver home of Robert, who Frank (mistakenly) thinks is a rising orchestra conductor. Finally it’s across country to Las Vegas to see Rosie, who is living well as a performer and baby-sitting for ‘a friend’…

Adapted by British writer/director Kirk Jones (Nanny McPhee) from Giuseppe Tornatore’s 1990 Italian film Stanno Tutti Bene, Everybody’s Fine is not nearly as schmaltzy as its premise may suggest. That’s thanks in no small part to De Niro, who puts genuine heart and soul into his role as a father attempting to reconnect with his adult children. As he tries to slot himself into their adult lives, realising in the process that they have become virtual strangers over the years, it’s a situation that will surely be familiar to many viewers. For families who have lost a parent, or who have become more estranged that they would care to admit, this situation is no cliché, and De Niro handles it with grace and dignity, elevating the film from the melodramatic quagmire it so easily could have become stuck in.

He is certainly the strongest element of the cast, although a cameo by the wonderful actress Melissa Leo (Frozen River) as a driver who picks up a hitch-hiking Frank is also a highlight. Indeed, the short scene between them, as trivial as it is, is a reminder of just how great actors can breathe life into even the most straightforward and everyday situations. Beckinsale, Rockwell and Barrymore are watchable as ever – although Rockwell’s performance may be disappointing to those who have seen his masterclass in Duncan Jones’ Moon – and they are managed well by Jones’s relaxed directorial style. There are surely those who will find its sentiments too sweet for their tastes, but for those who buy into its themes, Everybody’s Fine may well act as a reminder that you should never take family ties for granted.