Don't be fooled by appearances. In Hawaii, some of the most powerful people look like bums and stuntmen.

The Descendants

(2011)

An odyssey of self-discovery has been a feature of Alexander Payne's previous two films, and it now feels like it has become a fully-fledged running theme. Not that his central characters necessarily come to some point of profound realisation, but they do take (physical) journeys that leave them more aware and accepting. Payne has a propensity for making deceptively palatable films, where the subject matter (as here) doesn't appear instantly amenable. Perhaps it's just the deceptively loose, easy-going style he infuses his stories with.

George Clooney's somewhat absent father has to fill the void when his wife falls into a coma. Complicating matters is the news (from the older of his two daughters) that his wife was having an affair. Gorgeous George doesn't have a huge amount of work to do to make his character appealing, as he's essential a nice guy if somewhat out of touch. But he does have the gift of making a compelling performance seem effortless.

Great supporting work too from the likes of Beau Bridges, Robert Forster and judy Greer. It's the younger performers who stand out the most, though. Amara Miller and Shailene Woodley don't hit a bum note as his daughters, while Nick Krause steals the film as space cadet Sid. You start off wanting to thump him as much as Clooney does, but by the end you've most definitely seen his better nature. Payne's next film features the great Bruce Dern in the lead, so at least there won't be another seven-year gap between projects.

****

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If you never do anything, you never become anyone.

An Education (2009)
Carey Mulligan deserves all the attention she received for her central performance, and the depiction of the ‘60s is commendably subdued. I worried there was going to be a full-blown music montage sequence at the climax that undid all the good work, but thankfully it was fairly low key.

Alfred Molina and Olivia Williams are especially strong in the supporting roles, and it's fortunate for credibility’s sake that that Orlando Bloom had to drop out and Dominic Cooper replaced him.
***1/2

She writes Twilight fan fiction.

Vampire Academy (2014)
My willingness to give writer Daniel Waters some slack on the grounds of early glories sometimes pays off (Sex and Death 101) and sometimes, as with this messy and indistinct Young Adult adaptation, it doesn’t. If Vampire Academy plods along as a less than innovative smart-mouthed Buffy rip-off that might be because, if you added vampires to Heathers, you would probably get something not so far from the world of Joss Whedon. Unfortunately inspiration is a low ebb throughout, not helped any by tepid direction from Daniel’s sometimes-reliable brother Mark and a couple of hopelessly plankish leads who do their best to dampen down any wit that occasionally attempts to surface.

I can only presume there’s a never-ending pile of Young Adult fiction poised for big screen failure, all of it comprising multi-novel storylines just begging for a moment in the Sun. Every time an adaptation crashes and burns (and the odds are that they will) another one rises, hydra-like, hoping…

Can you close off your feelings so you don’t get crippled by the moral ambiguity of your violent actions?

Spider-Man Worst to Best

I should have mailed it to the Marx Brothers.

Indiana Jones and the Last Crusade (1989)
When your hero(es) ride off into the sunset at the end of a film, it’s usually a pretty clear indication that a line is being drawn under their adventures. Sure, rumours surfaced during the ‘90s of various prospective screenplays for a fourth outing for the whip-cracking archeologist. But I’m dubious anyone really expected it to happen. There seemed to be a natural finality to Last Crusade that made the announcement of his 2007 return nostalgically welcome but otherwise unwarranted. That it turned out so tepid merely seemed like confirmation of what we already knew; Indy’s time was past.

Do you read Sutter Cane?

In the Mouth of Madness (1994)
(SPOILERS) The concluding chapter of John Carpenter’s unofficial Apocalypse Trilogy (preceded by The Thing and Prince of Darkness) is also, sadly, his last great movie. Indeed, it stands apart in the qualitative wilderness that beset him during the ‘90s (not for want of output). Michael De Luca’s screenplay had been doing the rounds since the ‘80s, even turned down by Carpenter at one point, and it proves ideal fodder for the director, bringing out the best in him. Even cinematographer Gary K Kibbe seems inspired enough to rise to the occasion. It could do without the chugging rawk soundtrack, perhaps, but then, that was increasingly where Carpenter’s interests resided (as opposed to making decent movies).

Everyone who had a talent for it lived happily ever after.

Empire 30: Favourite Films of the Last 30 Years
Empire’s readers’ poll to celebrate its thirtieth birthday – a request for the ultimate thirty films of the last thirty years, one per year from 1989 – required a bit of thought, particularly since they weren’t just limiting it to your annual favourite (“These can be the films that impressed you the most, the ones that stuck with you, that brought you joy, or came to you at just the right time”). Also – since the question was asked on Twitter, although I don’t know how rigorous they’re being; does it apply to general release, or does it include first film festival showings? – they’re talking UK release dates, rather than US, calling for that extra modicum of mulling. To provide more variety, I opted to limit myself to just one film per director; otherwise, my thirty would have been top heavy with, at very least, Coen Brothers movies. So here’s they are, with runners-up and reasoning:

You're always sorry, Charles, and there's always a speech, but nobody cares anymore.

X-Men: Dark Phoenix (2019)
(SPOILERS) To credit its Rotten Tomatoes score (22%), you’d think X-Men: Dark Phoenix was a travesty that besmirched the name of all good and decent (read: MCU proper) superhero movies, or even last week’s underwhelming creature feature (Godzilla: King of Monsters has somehow reached 40%, despite being a lesser beast in every respect). Is the movie’s fate a self-fulfilling prophecy, what with delayed release dates and extensively reported reshoots? Were critics castigating a fait accompli turkey without giving it a chance? That would be presupposing they’re all sheep, though, and in fairness, other supposed write-offs havecome back from such a brink in the past (World War Z). Whatever the feelings of the majority, Dark Phoenix is actually a mostly okay (twelfth) instalment in the X-franchise – it’s exactly what you’d expect from an X-Men movie at this point, one without any real mojo left and a variable cast struggling to pull its weight. The third act is a bi…

What, you're going to walk in there like it's the commie Disneyland or something?

Stranger Things 3 (2019)
(SPOILERS) It’s very clear by this point that Stranger Things isn’t going to serve up any surprises. It’s operating according to a strict formula, one requiring the opening of the portal to the Upside Down every season and an attendant demagorgon derivative threat to leak through, only to be stymied at the last moment by our valorous team. It’s an ‘80s sequel cycle through and through, and if you’re happy with it functioning exclusively on that level, complete with a sometimes overpowering (over)dose of nostalgia references, this latest season will likely strike you as just the ticket.

You want to investigate me, roll the dice and take your chances.

A Few Good Men (1992)
(SPOILERS) Aaron Sorkin has penned a few good manuscripts in his time, but A Few Good Men, despite being inspired by an actual incident (one related to him by his sister, an army lawyer on a case at the time), falls squarely into the realm of watchable but formulaic. I’m not sure I’d revisited the entire movie since seeing it at the cinema, but my reaction is largely the same: that it’s about as impressively mounted and star-studded as Hollywood gets, but it’s ultimately a rather empty courtroom drama.

Why would I turn into a filing cabinet?

Captain Marvel (2019)
(SPOILERS) All superhero movies are formulaic to a greater or lesser degree. Mostly greater. The key to an actually great one – or just a pretty good one – is making that a virtue, rather than something you’re conscious of limiting the whole exercise. The irony of the last two stand-alone MCU pictures is that, while attempting to bring somewhat down-the-line progressive cachet to the series, they’ve delivered rather pedestrian results. Of course, that didn’t dim Black Panther’s cultural cachet (and what do I know, swathes of people also profess to loving it), and Captain Marvel has hit half a billion in its first few days – it seems that, unless you’re poor unloved Ant-Man, an easy $1bn is the new $700m for the MCU – but neither’s protagonist really made that all-important iconic impact.

Now In Full Color, with a Happier Ending

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