Fountain Of Youth (2025)

There's no real question about what Fountain Of Youth is, but there is a lack of clarity about who it belongs to. Is it the film of director Guy Ritchie? Perhaps writer James Vanderbilt would want to claim some ownership. And star John Krasinski is certainly given a role that makes the film feel like a star vehicle for him. Maybe we should just ignore these people, however, and spend some time instead acknowledging those who gave us the National Treasure movies and (of course) Indiana Jones. 

Krasinski plays Luke Purdue, a man who we first meet escaping pursuers while trying to keep hold of a painting that doesn't belong to him. It may not belong to those pursuing him either, but it's established that Purdue isn't too bothered by pesky things like security measures and legal recriminations as he aims to get his hands on various paintings. This isn't the best news for his sister, Charlotte (Natalie Portman), who happens to have an important role in a large art gallery. One hijink follows another as we learn that Luke and his crew (Patrck and Deb, played by Laz Alonso and Carmen Ejogo, respectively) have been tasked by a mega-rich individual (Domhnall Gleeson) to find a mythical fountain of youth. Some people don't want it found though, and the main one running interception is the dangerous and lovely Esme (Eiza González), allowing for a number of scenes in which both she and Luke fight one another while engaging in surprisingly ill-timed flirty banter. Oh, Charlotte also ends up letting her young son (Benjamin Chivers) tag along, and there's a determined cop (Arian Moayed) also on their tail.

Hugely derivative, tonally odd, and with a level of smarm and predictability that ensures you will know the ending even as the opening credits play out (especially if you've watched any of those Indiana Jones movies . . . and if you watch any of those instead of this then you have chosen wisely), Fountain Of Youth also relies almost completely on the appeal of Krasinski, who is allowed to dance through the events of the film as if wearing some cloak of invulnerability. His character has no depth, he never really takes anything as seriously as he should, and he is as selfish and careless as his sister accuses him of being. BUT, and I'll admit that this was unexpected, I did end up enjoying a lot of his patter, for want of a better word. There are a number of other actors who could have done better in this role, but it feels a bit more fun because of it being a bit of a step away from the other movie roles that Krasinski has had in the past decade.

It may also be a fact that Krasinski seems better in comparison to the rest of the cast. González is also good fun, no complaints there, and young Chivers has a few good moments, but everyone else is pretty bad. Alonso and Ejogo aren't given enough to do, sadly, Moayed is as misplaced as the tone, Gleeson is forced to play someone usually seen in a 1980s cartoon series, and Portman suffers while being forced to play the wet blanket (although, as mentioned above, she's proven to be quite correct in her disapproval of her brother's actions).

Neither the script nor the direction have anything helping to define their creators. Vanderbilt seems to have done no more than watch a pile of better movies that he then threw into a mental blender and poured into a book titled "Dan Brown Plotting For Dummies". The set-pieces generally work well though, and Ritchie helps out there with his handling of all the moving parts, but even those are shaded with a feeling of something just being a bit off, probably due to the light-heartedness of the "antics" while real blades are being swished around and real bullets are being fired at people. This is a movie with a bodycount that tries to make use of the adventuring and charisma of the main character to distract you from the fact that it has a bodycount. 

In case you didn't notice, I have to end this review by saying that I did still manage to enjoy this.  It was a fast food film. I enjoyed it while it was on, as derivative and predictable as it was. I won't ever watch it again, and there's a part of me that thinks I should jump in the shower and scrub myself down after writing this, but it was a perfectly serviceable way to spend part of your evening. Nobody excels, but everyone works together to try and help viewers escape reality and have something to laugh at (intentionally, but also unintentionally) for a couple of hours. 

6/10

If you have enjoyed this, or any other, review on the blog then do consider the following ways to show your appreciation. A subscription/follow costs nothing.
It also costs nothing to like/subscribe to the YouTube channel attached to the podcast I am part of - https://www.youtube.com/channel/UCErkxBO0xds5qd_rhjFgDmA
Or you may have a couple of quid to throw at me, in Ko-fi form - https://ko-fi.com/kevinmatthews
Or Amazon is nice at this time of year - https://www.amazon.co.uk/hz/wishlist/ls/Y1ZUCB13HLJD?ref_=wl_share 

Roman J. Israel, Esq (2017)

There are good things in Roman J. Israel, Esq, quite a few good things, not least of which is the lead performance from a superb Denzel Washington. It's just a shame that the film suffers from a real lack of clarity. Does it want to be a character study, or a magnifying glass hovering over some of the biggest flaws in the American justice system, or a look at the slippery slope you can end up on when you make a wrong moral choice even just the one time?

Denzel is the titular character. He's a man who knows the legal system inside out, he has almost total recall of court statistics and numbers, and he's a good man to have on your side if you're ever in trouble. He doesn't appear in court, however, because he does the work behind the scenes while his partner makes the court appearances. That's an ideal situation until his partner has a heart attack, and when Roman turns up to court it doesn't take long to see why he's normally hidden away behind the scenes. He has no filter, which can lead to trouble for himself, and perhaps even his clients.

Trials are expensive. The American system is designed in a way to minimise people actually going to trial. So lawyers will offer plea bargains. Go to trial and risk a sentence of 25-30 years if found guilty, plead without going to trial and we'll give you 5, you can get out in 3 with good behaviour. That kind of thing. Which means, on a lot of occasions, people are too scared to even take a gamble on their RIGHT to a trial, even if they may actually be innocent of the crime.And that's what writer-director Dan Gilroy seems to want to look at here. Then he wanders over to a different area. Then back to the right to trial idea. And then somewhere else. He looks at it, and goes away and comes back to look at it some more, but not as pointedly. It leaves viewers feeling exactly how my wife feels when she sees me hovering around a nice new movie boxset I want to buy, going to other parts of the store before going back to it, making my pleading face until she caves in and says I can buy it. The frustrating thing is that Gilroy doesn't need our permission to commit to his idea, he just thinks that he does. Or he doesn't think he can make a whole movie from it, so he mixes in other ideas that just don't feel as if they belong there.

The great shame is that this confusion, this muddying of the waters, will lead to a lot of people missing one of the better Washington performances in recent years. Despite some of his familiar tics appearing here and there, this is far removed from the usual confident and cocky turns Washington has given us over the past couple of decades. There's also two fantastic supporting performances from Colin Farrell, playing someone who seems like an enemy to Roman but is actually a slick lawyer looking for a chance to improve things somewhat while still working well within the system, and Carmen Ejogo, a young woman who is inspired by Roman, as he is in turn further inspired by her.

In terms of actual dialogue, the script works well. Characters are fleshed out, exchanges are sharp and smart, and interesting ideas are drip fed throughout the main narrative. Again, it's just the meandering lack of focus and structure that undoes a lot of the good work. Viewers don't really get a feel for the time and place, the events take place over three weeks and yet it all feels as if it stretches out for much more than that, and instead of provoking more thought the jumble of elements simply results in a bit of a disinterested shrug.

But those performances make it worth your time. They are THAT good. You also get a very good soundtrack, some cracking songs interspersed by a decent score from James Newton Howard, and at least things move along quickly enough that the 2-hour runtime feels slightly brisker than it otherwise might.

6/10

Americans can buy it here.

The Purge: Anarchy (2014)

The Purge was an okay movie. It was a decent idea marred by poor execution. Written and directed by James DeMonaco, the central idea was all about an America which allows any crime to be committed on one night of the year. There is no police, no medical assistance, and no way that you want to be caught out of your home, unless you're out to commit crime. It's The Purge.

This sequel, with DeMonaco back at the helm, moves away from the household setting of the first film. It takes viewers on to the dangerous streets. Subsequently, thanks to a nice building of tension and craziness, and a great main role for Frank Grillo, this is a much better film. Yes, it's a sequel that greatly improves on the original film.

The plot is pretty simple. It is, once again, time for the annual purge. One man (Grillo) heads out on a specific mission, but he ends up sidetracked when he spots a mother and daughter (Carmen Ejogo and Zoe Soul, respectively) being manhandled by some soldier types. Allowing them to accompany him for a short while, the three soon become five when they find a young couple, Shane (Zach Gilford) and Liz (Kiele Sanchez), who had some car trouble that left them stranded outside on a night when they really want to be hiding indoors.

Aside from the solid lead performances (and a turn from Grillo that puts me in agreement with everyone else who thinks he should get the next shot at playing The Punisher), The Purge: Anarchy really benefits from two things. First of all, there's a real sense of danger throughout. It's not just danger specifically aimed at the main characters. As DeMonaco shows snapshots of the night unfolding it soon becomes clear that, as cliched as it seems, danger really does lurk around every corner. Second, there's the madness of it all. While watching this movie you may start to feel as if you've been locked inside a lunatic asylum, despite being completely sane (okay, relatively sane,in some cases). Rather than treat the premise as something pretty standard, as the first movie did, this sequel encourages many more questions. The morality of it all was always dubious, of course, but this also mixes in much more commentary regarding the class divive, and the effective use of The Purge as a tool to maintain a balanced society. This aspect was inherent in the first movie, but here it's put to the front and centre, although it never detracts from the sheer entertainment value of the film.

Everyone does well, especially Ejogo and Soul, with a fun, small role for Justina Machado leading to a memorable sequence, but this is Grillo's movie for every moment that he's onscreen. He is, as he's so often been in other roles, a believable badass, and the journey that his character goes on takes one or two interesting turns before the end credits roll.

All credit to DeMonaco, who very possibly had a lot of this planned as he worked on the first movie. He knows that taking the action to the streets creates a huge amount of potential, and he realises a lot of it. Snipers, roving gangs, rapists, rich people arranging their own "safe" purges, family disputes that can turn deadly, boobytraps, and much more. All come together to ensure that this purge is a memorable night indeed.

8/10

http://www.amazon.com/Purge-Anarchy-Blu-ray-DIGITAL-UltraViolet/dp/B00LWLX99A/ref=sr_1_1?s=movies-tv&ie=UTF8&qid=1408177898&sr=1-1&keywords=the+purge+anarchy