Woody Harrelson Page 4

It's never helpful when a comedy becomes a bit too smug about its own quirkiness. This movie is wilfully goofy but feels oddly irrelevant, focussing on a colourful central character who never quite seems like a real person. Woody Harrelson pours plenty of energy, humour and emotion into the title role, but it's difficult to identify with this optimistic curmudgeon. Still, quite a few moments are genuinely hilarious.

Harrelson plays Wilson, a guy who can't resist saying whatever he thinks, even though it annoys pretty much anyone within earshot. He over-shares with strangers, complains constantly about everything and refuses to stop offering unwanted advice. In his mind he's making the word a better place, but his life is a mess. And when his father dies, he realises that he has no friends left aside from his dog Pepper. Leaving Pepper with a neighbour (Judy Greer), Wilson tracks down his ex-wife Pippi (Laura Dern) and is shocked to learn that she gave birth to his daughter after they split up, giving the baby up for adoption. So Wilson goes on a quest to find the now 17-year-old Claire (Isabella Amara), barging into her life in the hope of rescuing his own.

There are very few characters in this film who can bear to be in the same room as Wilson, a man with no manners who has no idea that he is rubbing everyone the wrong way. And for the audience, it's not much better to be in his presence for the length of this 94-minute movie. Harrelson is charming, but the script has Wilson veering from giddy to angry to cruel and back, which is a serious challenge for the actor to play consistently. That Harrelson manages it is no mean feat. Opposite him, Dern and Greer are terrific as his long-suffering foils. And Amara takes every opportunity to steal scenes out from under her veteran costars.

Continue reading: Wilson Review

Coarse and not exactly subtle, this dark drama might disappoint viewers expecting a more traditional revenge thriller, but there's something more interesting going on here. And even though it starts at full volume and only gets more intense, the film is actually remarkably thoughtful and measured in its approach.

It's set in the Rust Belt, industrial Pennsylvania, where Russell (Bale) works in a steel mill and worries about his little brother Rodney (Affleck), who's deep in debt to a local bookie (Dafoe). Then a late-night car crash lands Russell in prison, and when he's released everything has changed. He has no job, his girlfriend (Saldana) is now dating the local sheriff (Whitaker), and Rodney is paying off his debts by fighting in bare-knuckle boxing matches. Even more perilous is the fact that all of this puts the brothers on a collision course with vicious local redneck Harlan (Harrelson), who has no intention of making their lives easier.

The film opens with a particularly brutal display of Harlan's menace, so we know what's coming. And as everything goes from bad to worse for our two heroes, the film feels almost aggressively harsh. Of course, Bale and Affleck are terrific as these damaged men whose fierce bond both helps and puts them into danger. And both actors let us see beneath the surface as their lives fall apart. In what could be the thankless ex-girlfriend role, Saldana has some surprisingly powerful moments. And Harrelson is a deeply terrifying force to reckon with.

Continue reading: Out Of The Furnace Review

This lively and engaging documentary may be set out like an informercial, but it teaches us about the drug trade with a pungent sting in its tail. The emphasis is on how America's War on Drugs has only made things worse, criminalising the wrong people and missing the whole point of the drug issue. It's a strong statement, made with passion, intelligence and a refreshing lack of political correctness.

"If the American Dream broke its promise to you, we have an answer!" This is how the film opens, informing us that the American population is the biggest market for marijuana and cocaine on earth. So keeping them supplied is a job that can't help but earn you a fortune as you climb from being a corner supplier to a local dealer to a kingpin to a cartel boss, all while learning lessons from cops and federal agents. And even working with them. Sure, there are dangers, including violence and prison, but the money you can make is worth the risk.

Obviously, this is deeply sarcastic. Telling stories are recounted on-screen by a wide variety of interviewees including activists like Sarandon and Harrelson, former dealers (Jackson), ex-addicts (Mathers, aka Eminem), cops, lawyers, scholars and even a TV series creator (The Wire's Simon). All of them point out the dangers of drugs as well as the fact that people use them because they feel good.

Continue reading: How To Make Money Selling Drugs Review

An energetic sense of the absurd helps make this animated romp entertaining, even though the script is almost painfully stupid. But the pace is so brisk, and the stream of deranged jokes so continual, that kids will find it hilarious and grown-ups won't be able to stop smiling. So who cares if the story makes no sense at all?

Our hero is a scrawny turkey named Reggie (voiced by Wilson), who's an outcast on his farm because he's both smart and naive. When he's accidentally pardoned by the US President on Thanksgiving, he's living the high life until the meathead turkey Jake (Harrelson) kidnaps him, ranting about a mission to travel back in time to stop the pilgrims from starting the Thanksgiving turkey tradition to begin with. Sure enough, they find a time machine and off they go to 1621, where they team up with a colony of native American turkeys led by Broadbeak (David) and his feisty daughter Jenny (Poehler). But they're also being pursued by a relentless human hunter (Meaney).

The screenwriters conveniently ignore the fact that more turkeys are eaten globally at Christmas than at America's Thanksgiving, but never mind. They also pack the script with a continuous stream of riotously warped gags, random movie references and crazed action sequences. Although even a 5-year-old will be confused that 17th century pilgrims are rendered more like 19th century cowboys. This continual sense of incoherence gets even more annoying later, when the plot abandons even its own tenuous sense of logic. But by then we have realised that it's pointless to resist.

Continue reading: Free Birds Review

After 2012's The Hunger Games caught us off-guard with its subtle themes, this sequel more than lives up to the hype, dramatically expanding the scale of the action while letting the actors deepen their characters. It's a full-on action epic that cleverly retains author Suzanne Collins' narrative trick of telling the story through a flawed perspective. And it provides the needed push to give the whole saga real momentum.

We join our heroes not long after the last film ended: Katniss and Peeta (Lawrence and Hutcherson) are in trouble for challenging the authority of President Snow (Sutherland) and sowing the seeds of rebellion in the districts. Now they have to travel around the nation with their team - drunken mentor Haymitch (Harrelson), preening manager Effie (Banks), quietly subversive designer Cinna (Kravitz) - soothing ruffled feathers. But of course they only make things worse. So new Gamesmaker Plutarch (Hoffman) plots a way to force them back into the games with all of the past victors, so they can be wiped out for good. And Katniss is so busy worrying about protecting Peeta that she fails to remember who the true enemy is.

Screenwriters Beaufoy and deBruyn (aka Oscar-winner Michael Arndt) inventively maintain Katniss' narrow, inaccurate point-of-view right through the film, which keeps the audience wrong-footed all the way to the end. It's an exhilarating trick that makes the tour of the districts painfully dull and the return to the games utterly horrifying. It also gives Lawrence the chance to flex her own Oscar-winning chops, further tormenting us with her inability to choose between two good men: Peeta and Gale (Hemsworth), her pal back home. She certainly doesn't trust newcomers like the mouthy Johanna (Malone) or the too-hunky Finnick (Claflin).

Continue reading: The Hunger Games: Catching Fire Review

The idea of magicians conducting a series of heists is a great one, but this under-developed film never quite seizes the opportunity. Even its terrific A-list cast can't make much of the lame plot. And director Leterrier is so enamoured with magic that he packs the film with whizzy digital trickery. Which completely misses the point.

At the centre are four illusionists: card trickster Daniel (Eisenberg), hypnotist Merrit (Harrelson), escapologist Henley (Fisher) and street magician Jack (Franco). They're summoned by a mysterious figure to team up for a series of elaborate performances funded by a wealthy benefactor (Caine). First up is a Las Vegas show that involves stealing millions of euros from a Paris bank and raining them down on the audience. This attracts the attention of FBI Agent Rhodes (Ruffalo) and Interpol's Dray (Laurent), who follow them to their next shows in New Orleans and New York. As does a notorious debunker (Freeman) determined to expose their secrets.

The film never quite gets the balance right, as we're not sure if we should root for these flashy young magicians or the people they're leading on a wild goose chase. But there's plenty of eye candy to keep us happy, as each whizzy stunt goes over-the-top to make us wonder what's really happening here. Everything this quartet does has an anarchist slant, stealing from the wealthy to help the needy, which adds a tinge of topicality. Although the gratuitous action scenes and ludicrous effects leave the film about as realistic as a Road Runner cartoon.

Continue reading: Now You See Me Review

Martin McDonagh gleefully plays with both the gang thriller genre and the moviemaking process with this enjoyably absurd action comedy. It's a little self-indulgent, acknowledging how difficult he found it to follow up his acclaimed film In Bruges. But a continual stream of hilariously clever gags make it thoroughly entertaining, and the seriously great actors are so playful that it's infectious.

At the centre, naturally, is an Irish writer named Marty (Farrell), living in Hollywood and struggling to write his next screenplay. He settles on the title Seven Psychopaths, and decides that his lead character will be a nonviolent Buddhist killer. Otherwise he's stuck. Then he discovers that his hyperactive pal Billy (Rockwell) is running a scam with Hans (Walken), kidnapping dogs and claiming the rewards from their owners. This all goes terribly wrong when they grab the beloved shitzu of the mercurial thug Charlie (Harrelson), sending him into a murderous rampage. And as Marty finds himself in the middle of it, his script starts to take shape.

McDonagh is adept at combining freewheeling wackiness with more astute observational comedy. This film isn't as emotionally resonant as In Bruges, but it crackles with the same sharp dialog and offhanded violent silliness. Most of this plays up the amusing shock value of sudden death, although there are moments that are surprisingly touching, mainly due to a wonderfully textured turn from Walken. Rockwell is the other standout as the manic, unpredictable Billy, an enthusiastic mischief-maker. And Harrelson has a great presence as the funny-terrifying Charlie.

Continue reading: Seven Psychopaths Review

In what was once North America, the ruling class demands an annual sacrifice of the 12 districts that once rebelled: each must select two teens, a boy and a girl, to battle in a wooded arena to the death, with the last one standing crowned victor. In the poor mining District 12, the tributes are ace archer Katniss (Lawrence) and muscly baker Peeta (Hutcherson), who forge an awkward friendship as they're thrust into the televised competition. Trained by Haymitch (Harrelson), promoted by Effie (Banks), groomed by Cinna (Kravitz), interviewed by Caesar (Tucci) - it's simply overwhelming.

Continue reading: The Hunger Games Review

Dave (Harrelson) is struggling to hold his fractured family together while covering up his dodgy activities as a cop in L.A.'s rough Rampart district. He lives with his two ex-wives (Heche and Nixon) and two daughters (Larson and Boyarsky), while developing a tentative relationship with a lawyer (Wright).

But his vigilante-style approach to his job leaves him with few friends, while his addiction to prescription drugs is sending him into a downward spiral. And now he's being harassed by the D.A. (Weaver) and her investigator (Ice Cube).

Continue reading: Rampart Review

After a humiliating breakup, Dylan (Timberlake) meets with high-achieving headhunter Jamie (Kunis) about a new job. Friendship blossoms, and since Jamie is emotionally damaged after a recent split and Dylan is emotionally unavailable, they decide to sleep together without any deeper attachment.

Meanwhile, they get increasingly involved in each others' lives, most notably as Dylan and his sister (Elfman) cope with their senile father (Jenkins). Of course, the main question is whether Dylan and Jamie can remain friends even if they have sex.

Continue reading: Friends With Benefits Review

While on a camping trip in Yellowstone, novelist-turned-chauffer Jackson (Cusack) stumbles across a secret military operation and a raving nutcase (Harrelson) who claims the end of the world is nigh. Sure enough, top government scientist Adrian (Ejiofor) is advising the President (Glover) and his Chief of Staff (Platt) about preparations for impending natural catastrophes. By the time Jackson gets home to Los Angeles, the pandemonium has begun, and he barely gets his kids, his ex (Peet) and her new husband (McCarthy) out. But where do they go now?

Continue reading: 2012 Review

That's Seven Pounds in a nutshell, and it sounds more like Saw 6 than a holiday drama reuniting Pursuit of Happyness director Gabriele Muccino with Will Smith. But unlike Happyness, the feel-good movie of 2006, Seven Pounds is just the opposite -- a feel-bad movie -- and its unpleasant aftertaste lingers in your mouth for days. After watching this depression-inducing saga of sadness, you'll need a Zoloft prescription.

Continue reading: Seven Pounds Review

The events later known as the rape of Nanking happened quickly, over just six horrific weeks at the end of 1937 and into 1938, and because the city was so cut off at the time and the war went on for eight more years, much of the story went untold for decades. It wasn't until writer Iris Chang documented the tragedy in her 1998 book The Rape of Nanking that the true scope of the horror was made apparent. It was that book that inspired Nanking, a highly effective documentary that uses interesting techniques to tell its remarkable story.

Continue reading: Nanking Review

Well, one that I know of.

Continue reading: The Big White Review