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Welcome To The N.H.K Complete Collection

4 Discs (Distributor: MVM) Running time: 546 minutes approx.

Tatsuhiro Sato is a hikikomori – someone completely withdrawn from society with no education or job prospects, locked up in his messy flat all day long barely subsisting on a living allowance from his parents. Sato’s exclusion from the outside world, and the influence of the talking appliances in his flat, leads him to conclude that his condition is in fact the result of a conspiracy by the N.H.K (Nihon Hikikomori Kyōkai) to keep the younger generation under control. A rare venture outside leads to a chance meeting with Misaki Nakahara, a young girl who later contacts Sato with a contract which she says will cure him of his hikikomori ways. In denial of his condition, Sato falsely claims he is in fact creating a computer game and will show Misaki the results. However, the next door neighbour who is driving Sato to despair with the perpetual playing of an anime theme song turns out to be old school friend Kaoru Yamazaki who is, in fact, a computer game programmer. Together they plan to make an eroge (erotic game) to make their fortune and help Sato break out of his self-imposed isolation. If only it were that easy…

This adaptation of Tatsuhiko Takimoto’s novel and eight volume manga has finally arrived on UK shelves after almost four years in the wilderness. Originally scheduled for release in August 2008, this title was pushed back to 2009 then finally abandoned when then licensees ADV films collapsed. Thanks to MVM, the anime gets to see the light of day and - let joy be unconfined - it was certainly worth the wait. It needs to be pointed out first of all that the N.H.K referred to here is not the TV broadcaster of the same name (Nihon Hōsō Kyōkai) who, even though they show a lot of anime in Japan, not unsurprisingly didn’t air this series.

The story runs across many terrains over twenty four episodes with the key thread being the people upon whom Sato relies for his salvation are just as troubled as he is. Misaki is clearly hiding something and is far from the angel Sato believes she is. Yamazaki is a full blown otaku whose heavy handed introduction to the world of anime, moe girls and eroge pushes Sato into a porn obsession as he researches material for his role as game story writer. Then we have Sato’s high school senpai Hitomi Kashiwa, now a pill popping depressive who unwittingly takes Sato along to a suicide party. Finally Sato’s former high school class rep Megumi Kobayashi reappears in Sato’s life with the intention of conning him into joining a pyramid scheme. And yet while some of them may end up making progress in beating their woes, Sato is pushed deeper into his. To watch this tale unfold, one has wonder how unlucky one person can be but as much as the actions of the others hamper him, Sato only really has himself to blame. There are no heroes here – just a bunch of people all living their lives as a lie and are looking to everyone else to help them find that sliver of happiness and fulfilment – yet it is difficult not to warm to the cast even if they are essentially a dodgy bunch.

By now, nothing here probably sounds like a barrel of laughs yet the show is rife with jet back, satirical humour with its social commentary and a few hearty giggles at the overreactions of Sato and company to the many revelations and situations of this often bleak reflection of modern Japanese society. The rise of the hikikimori in Japan over the last few years is an extension of the NEET (Not in Education, Employment or Training) problem which affects many teens and people in their early 20’s. The timing of this release here will no doubt resonate greatly with UK viewers as the current crumbling economical climate in this country is producing its own increasing army of NEETs. Hopefully no-one watching this series will end up in the same situations as Sato although the dangers he carelessly wanders into here are very real indeed, making this one of the more incisive and biting anime series to come out in quite some time.

With the source material being considerably darker and more explicit, acclaimed animators Gonzo have opted to lighten things up with some surreal turns to make Sato’s world a little more accessible for the rest of us, and in turn present us with a show that looks unlike any other the famed studio has produced thus far. Fans of the manga will notice the liberties taken with the story, with some arcs given more attention and room to develop while others are dropped or rearranged. Sato’s drug reliance and later overdose isn’t in the anime while some characters like Hitomi’s fiancé Jōgasaki is given a different role here. The ending is also different and open to subjective debate as to its effectiveness but a conclusion is at least offered. Even with this heavy editing and significant changes, the story is not compromised or loses any of its cynical edge or pathos, allowing this series to serve as an essential companion piece to the written works rather than a poorly realised cash-in adaptation.

Welcome To The N.H.Kis a show which is both easy and difficult to recommend. Its central premise is likely to both intrigue and repel potential viewers while its content will either entertain or appal. Rather than celebrate the world of the otaku and the NEET, it holds a mirror up to it and the reflection is not always pretty – much like real life itself. An astutely observed show which offers a darkly entertaining experience for the viewer unlike any other this is a great way to kick of the year!

Extras: 

English Language Version

Japanese Language version with English Subtitles

Disc 4 only:

Clean Opening Credits

Clean Closing Credits

Man In Black

Samurai Girls Complete Collection

3 Discs (Distributor: Manga Entertainment) Running time: 275 minutes approx.

In the alternate land known as Great Japan, the Tokugawa Shogunate has remained the ruling force of the country and the way of the samurai lives on in the women of the realm. At the Buou Academy for trainee samurai, Muneakira Yagyu returns to his dojo to find it taken over by two young ladies, fifteen year-old Yukimura Sanada and her loyal bodyguard Matabei Goto. They are embroiled in a dispute with the Student Council, represented by Sen Tokugawa – a childhood friend of Muneakira - and her faithful maid/bodyguard Hattori Hanzo concerning the mystery of disappearing students. While trying to act as peacemaker, a naked girl falls from the sky and into Muneakira’s arms. This ditzy and confused girl named Jubei steals a kiss from Muneakira and undergoes a remarkable transformation into a fearsome Master Samurai. It transpires that Muneakira is a “General” who can unlock this latent power; a timely discovery as Sen’s brother, the sinister Yoshihiko Tokugawa is planning on creating his own race of Master Samurai.

Don’t be fooled by the conflict element at the end of the above plotline, this is a harem comedy first and foremost. Having the female leads being re-imaginings of famous figures from the feudal periods of Japanese history is flimsy camouflage at best. Indeed the main thrust of the story doesn’t come to the fore until the final four episodes of this twelve episode outing from the kings of the ribald harem show, Studio ARMS. The remaining episodes introduce us to the buxom beauties indulging in the usual shenanigans endemic within this type of show as they either try to encourage Muneakira to unlock their inner Master Samurai or, in the case of Hattori and Matabei, avoid making this lip locking pact.

The transformation into Master Samurai usually entails an increase of one’s skills by an incredible rate and is not something that is easily controlled as Sanada, the second to make the pact, discovers. Jubei is the only one who undergoes a personality transplant after transforming which is explained at the end. Even though Jubei shares the same surname as Muneakira, it is clear (we hope) that they are not related, otherwise this show would be entering into some VERY dodgy territory. Hattori - who sports a pair of hi-tech glasses which can read the power levels of each samurai - and Matabei are largely reluctant to smooch with Muneakira for fear of breaking the loyalty bonds with their masters while Sen is the resident tsundere of the bunch – keeps Muneakira at arm’s length yet harbours strong feelings for him while displaying signs of extreme and violent jealousy whenever the other girls get close to him. An old acquaintance of Sanada’s, Kanetsugu Naoe, the self professed “Warrior Of Love” shows up to settle an old grudge dating back to their infant years but has really been assigned to spy on Sanada by Sen. Naoe, with her giant mallet, is the comic relief of the show, never taken seriously by the others. Then another mysterious maiden falls from the sky and into Muneakira’s arms. This time it’s the eye patch wearing Gisen Yagyu who makes no bones of her desire to do more than just kiss Muneakira. Of course, this is just a small part of a sinister master plan she has been tasked with fulfilling.

Believe it or not, in between the “Carry On” style mishaps between Muneakira and his near naked female companions there are some battle scenes to be enjoyed, although they feature mostly as the show reaches its (pardon the pun) climax – just in case one felt this show was trying to present a samurai show with no sword swinging action! Aside from the often depicted Asian icons, a slice of French history creeps into the proceedings with the inclusion of Charles d'Artagnan, a (what else?) busty French babe under the employ of Yoshihiko Tokugawa.

It may be hard to believe that this show has anything to separate it from every other ecchi harm show on the market but it does – the animation and artwork. From the opening frame this looks like no other anime with its pallid colours and bold use of thick black lines bordering the characters. The back grounds are suffused with a grainy effect which creates a sense of austere sparseness and lack of depth to the picture. There is also the omnipresent addition of the ink blots which may serve well as a great segue way device but their random appearance is distracting at best – more so for Japanese TV viewers where the nudity was conveniently obscured by these blotches (this release is uncut). One can probably imagine the character designs without prior viewing and you’d be right with the girls all possessing impressive mammaries – aside from token flatty/butt of all jokes Sanada – and curvaceous bodies to die for. Indeed for Matabei, Jubei and Gisen, clothing seems to be an easily disposable inconvenience so their wares are often on regular display.

On the surface Samurai Girls doesn’t appear to offer anything new or original for the viewer and merely panders for the fan service/sub porn addict audience. In actual fact, for all of its tawdry and unashamed low brow content there is enough to engage the more discerning viewer, the main strength being the comedic interaction between the samurai girls themselves – thanks mostly in part to Naoe’s misguided arrogance and determination inbeing taken seriously by her peers who take great pleasure in either ignoring her and beating her up!

In all honesty, this is not a title that can be easily recommended – unless you really can’t get enough of naked boobs and scenes of risqué prurience – but to dismiss it outright would somehow be churlish and unfair. If you view this title fully prepared for what it has to offer there is no reason to feel disappointed or short changed.

Extras:

English Language Version

Japanese Language version with English Subtitles

Disc 1:

OVA Episode 1

OVA Episode 2

4 Cases Manga 1-6

Disc 2:

OVA Episode 3

OVA Episode 4

Trailers 1-2

English & Japanese Subbed Opening

English & Japanese Subbed Closing

Disc 3:

OVA Episode 5

OVA Episode 6

Promotional Video

Video Clip

Man In Black

Fruits Basket Complete Collection

4 Discs (Distributor: MVM) Running time: 582 minutes approx.

Tohru Honda is a recently orphaned high school girl, having just lost her mother in a car accident, living in a tent while her grandfather’s house is being renovated. She also works a part time job as an office cleaner to pay for her tuition fees. When running late for school one day, Tohru discovers the house of aloof classmate Yuki Sohma and his elder brother Shigure. Learning of Tohru’s current living arrangements the brothers offer her a room with them and the role of housekeeper in lieu of board, which fiercely independent Tohru reluctantly accepts. The arrival of hot tempered Kyo, another family member, leads to a scuffle during which Yuki, Kyo and Shigure all collide with Tohru and something rather unexpected happens – they all transform into animals! Tohru is now sworn to secrecy concerning the ancient Sohma family curse, where random members of the family are possessed by the spirits of the animals of the Chinese Zodiac, and whenever they are hugged by a member of the opposite gender from outside the family, they morph into their animal forms.

Already something of a beloved title, Fruits Basket gets a re-release for a new generation of anime fans to enjoy one of the most popular shoujo series of the past decade. The original manga by Natsuki Takaya remains one of the best selling titles in both Japan and abroad although it was far from over when this anime series first appeared in 2001. Since then it is been the recipient of much critical acclaim and a stalwart favourite among anime fans, and now UK fans get another chance to see what all the fuss is about.

Takaya’s tale is a largely comic one, as you may have already divined from the synopsis, with all of the anime comedy staples present and used in abundance, yet it is never afraid to tackle darker issues, largely revolving around the back stories of the extensive Sohma family. Indeed, in total contrast to everything that has preceded them the final three episodes are bleak, almost depressing and emotionally desperate slices of melodrama with nary a giggle or chortle in sight. Many of the histories of the cursed cast are equally quite dark affairs, incorporating parental and social rejection, heartbreak, prejudice and death. It’s hardly any wonder that they are so resentful of this curse but via Tohru’s osmotic like influence they slowly began to let go of the past and take a step closer towards a possible brighter future. That said, within the diegesis of this tale and in keeping with the central influence of the Chinese Zodiac, the Sohma clan also exhibit much of the characteristics of their animal counterparts whilst in human form: Kyo, being a cat – actually not part of the Chinese Zodiac which is why he feels like an outsider – and Yuki being a rat, are at constant logger heads with each other with the former always looking for a fight. Stepping in as mediator is Shigure who not unsurprisingly is a dog thus is able to quell any physical disputes between the two with ease. Other Sohma family members cursed include headstrong girl Kagura (boar), who is in love with Kyo but shows this with violence; Momiji (rabbit), an androgynous lolicon boy; Hatori (dragon although his form is a seahorse), a doctor; Haru (cow), a boy with a split personality; Yuki’s older brother Ayame (Snake), a dress designer; Kisa (tiger), a young autistic girl; Hiro (ram, although he becomes a sheep), a troublesome boy in love with Kisa; and Ritsu (monkey), a manic depressive cross dresser.

But, while Tohru’s magic wand of positive thinking cheers up the Sohma clan, she herself is slowly crumbling under the weight of shouldering everyone else’s problems while the burden of her own vicissitudes gradually take their toll, remaining oblivious to the army of a support she has around her - not limited to Yuki and Kyo, both of whom have quietly fallen in love with our saucer eyed heroine – which includes unlikely school friends, former gang member Arisa Uotani and deadpan psychic Saki Hanajima. They all constantly remind Tohru that she needs to think about herself every now and then, which Tohru is loathe to do as she doesn’t want to be a burden to anyone. The one source of comfort and support Tohru puts all of her faith in is her late mother, who remains by Tohru’s side via a framed photograph which Tohru constantly talks to as if she were still alive.

Modern anime fans weaned on the current crop of hi-tech visuals will surely find the animation and artwork almost archaic despite being a decade old, recalling the styles and character designs of a previous era, with its lightly drawn backgrounds and low key and often static animation. Ironically, the aforementioned closing three episodes feature some of the best and most focused animation and artwork of the entire series which is probably for the best since it enhances the depth and power of the content. The character designs for the males are textbook shoujo figures while Tohru is the possessor of arguably the largest set of eyes in anime history, taking up half of her small triangular face!!

Fruits Basketat its heart is a tale of hope and positivity concerning the search for identity and acceptance in both the self and within social frames, wrapped up in an overt comedic style. While the presentation may seem hackneyed to modern audiences simply because they have seen everything that came in its wake, making this the template for many of today’s favourite titles, it is not difficult to see why this has secured its place in the hearts and history of the anime universe.

If you’ve not seen it before, be sure to check out this seminal work and let yourself be charmed. If you are already familiar with it, now is a good time to reacquaint yourself with Tohru and her cursed friends.

Extras:

English 2.0

Japanese 2.0

English Subtitles

Disc 1:

Behind The Scenes Featurette

Textless Opening

Character Profiles

Disc 2:

Textless opening

Akitaro Diachi Interviews

Character Profiles

Fruits Baskets Room No 1

Eyecatch Gallery No 1

Disc 3:

Textless opening

Character Profiles

Fruits Baskets Room No 2

Eyecatch Gallery No 2

Disc 4:

Textless opening

Character Profiles

Fruits Baskets Room No 3

Illustration Gallery

Man In Black

Tekken: Blood Vengeance

1 Disc (Distributor: Manga Entertainment/Kaze) Running time: 88 minutes approx.

Chinese student and skilled martial artist Ling Xiaoyu has caught the eye of Anna Williams of G Corporation and recruits the feisty schoolgirl to infiltrate another school to seek information on a male student, Shin Kamiya, who has the unusual and rather unnerving habit of throwing himself off the top of the school building and surviving. Upon arrival Ling literally bumps into a maid outfit wearing girl named Alisa Bosconovitch who appears to have a crush on Shin. In fact, Alisa is a humanoid robot sent by the Mishima Zaibatsu, who counts Anna’s sister Nina as an employee, with the same mission as Ling. 

If you are a rabid computer game player then the name Tekken will no doubt prompt squeals of recognition and this release may create some excitement for you. If, like this reviewer, you don’t play computer games nor have any knowledge of any of the current popular franchises this is just another CGI animated film that offers little in the way of nourishment since it assumes one is already familiar with the key players and diegesis of the Tekken universe. Right from the onset when leather clad biker chick Nina is being chased by a number of armoured vehicles at the behest of cheongsam attired Anna, outsiders such as myself were not to know why this was occurring, who the antagonists were or indeed that the battling babes were in fact siblings! This was just a portent of things to come as many more faces appear with huge fanfare and no introduction for the uninitiated, but then again this isn’t aimed at newcomers so this consideration is obviously not a priority.

And so to the plot which one can at least safely assume is not canon as far as the computer games narrative is concerned. Ling’s first meeting with Shin comes after the lad’s latest attempt to throw himself off the school roof only for our heroine to catch and save him - not that her efforts would have mattered as Shin appears to possessor of an immortality gene. Shin is later kidnapped and when Ling goes to the rescue learns of Alisa’s true identity but after a quick scrap realise they should be friends instead and are now refugees from both of their employers. Cue some hurried and heavy handed sentimentality as Ling decides that Alisa is capable of human emotion despite being a robot and a mutual bond forms between the two. Meanwhile Shin’s eternal life giving gene leads to the appearance of more power hungry muscleheads with silly haircuts, leading to a number of Matrix-esque fights and beastly transformations in the battle which presumably is between good and evil for established followers of this franchise or between two shape shifting hulks for the rest of us.

As a newcomer to this world of Tekken one feels like they have joined a conversation half way through and nobody is prepared to offer a quick recap before continuing, a tremendous handicap indeed. For instance, is one supposed to take this seriously as a young man’s life is in the balance as two rival factions vie for the genetic wonder inside his body? Or does one treat this as a convenient distraction to the fact that the schoolgirl heroine lives with a giant panda (yes, you read that right) which is capable of running at impressive speeds and shows up at a critical point when the young lass is about to be gunned down by a small army of G Corporation soldiers? If this was a “regular” anime this would all be taken with a truckload of salt and accepted as the typical esoteric whims of those crazy Japanese; somehow as a CGI animated product where maximum authenticity and verisimilitude is the key objective, it just seems well, silly and frivolous.

In fact, this is a peculiar observation one can derive from viewing this opus: that it appears to employ all of the “typical” anime facets and elements but the visuals in this instance just don’t seem to lend themselves to them particularly well. Even the helium tinged female Japanese voices seem ill fitting to the computerised characters on screen, most notably with Alisa, whose voice just doesn’t work on such a “human” looking figure and is best reserved to accompany the big eyed “cartoon” equivalent we all know and love. Perhaps this sounds glib and confusing, but to this writer, it felt as though more mature voices with natural delivery would have suited the images better.

But it is not all bad. The visuals are very impressive with Digital Frontier having presented a detailed and convincing piece of motion capture animation. The movement of the characters is as perfect as can be with all of the subtle nuances and individual affectations duly replicated. The only let down is with the faces, the emotional reactions for which still seems to be beyond the reach of animators everywhere. While every care has gone to create a shiny skin surface, the authenticity of the facial reactions is still overlooked, not helped by the fact that every character is a the possessor of a set of glassy dead looking eyes which are incapable of any kind of expression other than blankness. But when it comes to objects, clothes, vehicles, set pieces landscapes, buildings and of course the special effects, there is no complains to be made whatsoever. A true visual feast indeed.

It’s a fairly safe conclusion then that Tekken: Blood Vengeance is a bespoke release for fans only. Even if the presentation is spectacular enough to draw interest, the lack of accessibility for newcomers limits its appeal and enjoyment factor outside of the diehards, who will be getting essentially an 88 minute extended bit of side story in between their own chance to kick some CGI butt.

Extras:

English Language

Japanese Language with English Subtitles

Man In Black

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The Grey 

Liam Neeson returns to our screens with his best effort at action thriller to date.  (For the record this reviewer did not like either Taken or Unknown).  In the Grey he plays John Ottway who works in Alaska hunting the wolves that threaten an oil drilling team. On his last day on the job, Ottway pens a letter to his wife Ana (Anne Openshaw) and plans to commit suicide. While holding his gun to his mouth, however, Ottway hears the howl of a wolf, which stops him.

Upon the completion of the job, the team and Ottway embark on a plane home in a blizzard. The plane cannot withstand the weather and it crashes in the middle of nowhere. Ottway awakens and finds Todd Flannery (Joe Anderson) along with Talget (Dermot Mulroney), Diaz (Frank Grillo), Hendrick (Dallas Roberts), Burke (Nonso Anozie), Hernandez (Ben Bray) and a dying Lewenden (James Badge Dale).

Ottway assumes leadership of the group and sets the survivors to task collecting material for a fire. However while completing this task Ottway discovers a pack of gray wolves, which then start to prey on the survivors of the crash.  Ottway decides that their only hope for survival is to head south into the woods and try and find civilization before it's too late.  However, they find themselves at every turn not only battling with a hungry pack of wolves but also the elements as well.

The Grey is one of those films that promises a lot from its trailer.  In fact it almost comes across as a full blown actioner; however this is a tad misleading as what you have here is a survival movie more in the vein of The Thing with elements of Cliffhanger and the Sidney Poiter & Tom Berenger 80's film Deadly Pursuit.  The cast are slowly whittled down after fulfilling their various character traits of those in a survival movie, (The scared one, the ill one, the leader, the family man & the voice of reason.)  So the film probably would have been a harder sell, if they portrayed it as it is a slow building nerve shredder.  Although the only real moments of fear come from the wolf howls which punctuate the soundtrack, much in the same way that Tobe Hoopers Texas Chainsaw Massacre did with the mono soundtrack comprised solely of a woman’s screams.

As the group slowly get whittled down to the final few, the desperation creeps in and you begin to feel it, however the characters development leaves a lot to be desired as they really don’t bother with it, despite the near 2 hour run time, which actually makes you not really care when they die, but actually make you want the trailers promised moment of Liam Neeson facing off against the furry foes with the mini bar broken bottles taped to his fists in a makeshift knuckle duster.  But it's at this moment that the film's strength really lies as Ottway goes through the collected wallets from all those who have fallen that you begin to form an attachment.  But by this time it's all a little too late.

This then leads to the films finest moment, its conclusion.  We mean this in a nice way not that the film has ended.  It's a brave choice to end the film from the director Joe Carnahan, but it works and makes the entire journey worthwhile.  In fact Carnahans direction is beautifully bleak as the cast run and scramble through the barren snow landscape, jumping from cliffs & being pursued through the forest.  Far better than what he did with The A-Team anyway.  In fact if he had put this much effort into the woeful A-Team, that would have come across a lot better.

Of his cast, only his Hannibal, Liam Neeson & Dermot Mulrooney come across well, of the rest of his cast, they are nothing but merely fodder for either the elements or the wolves.

A nice little thriller that will while away a couple of hours.  If you happen to not like the ending, then stick around for the end of the credits.

MB

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The Descendants 

It’s Hawaii – but not as we know it. Writer-director Alexander Payne has set one of star George Clooney’s most anticipated releases, The Descendants – since its unveiling at the BFI LFF 2011 – in paradise. But it’s a paradise of a viewing kind that is the perfect combination of dramedy, tragedy and familiar fallouts that simultaneously brings tears of joy and sorrow, with seemingly effortless effect. And with a sprinkle of the Clooney magic in this, its possibilities are endless for the route the story will take.

Matt King (Clooney) is a workaholic lawyer who has lost touch with his wife, Elizabeth (Patricia Hastie), and his two teenage daughters, Alexandra (Shailene Woodley) and Scottie (Amara Miller). After a freak boating accident that hospitalises his spouse, King must reconnect on his less-than-idyllic home life. But in doing so, dark secrets bubble to the surface, while King must decide on whether to sell his family’s prized strip of sun-kissed Hawaiian land to property developers.

Admittedly, in one of Clooney’s most perfect castings to date that has seen the actor get nominated for Best Actor at the Oscars this year, as well as take the Golden Globe for Best Performance by an Actor in a Motion Picture – Drama, Clooney is given the opportunity to focus on all the screen characteristics that make him so appealing, all within an anti-charm offensive. King is by no means an instantly ‘likable’ character – overcoming the envy at his surroundings, his flaws are more apparent than his positives. However, the lure of the scenery plays wonderfully in contradiction with the daily troubles of a man who pretty much ‘comes of age’ in this story, re-learning some long-forgotten life lessons and priorities. As we go along on King’s journey, we grow very fond of him and all he has accomplished, and his ‘rebirth’ leaves you with a huge sense of fulfilment and ultimate joy – plus there is a lot of laughter along the way.

Payne’s film has an almost naturalistic flow to it – like tuning into a reality TV show about the goings-on in the Hawaiian ‘burbs. Again, Clooney’s easy manner works a treat in this setting, but not without the story’s little antagonists to break the lush daydream. US TV actress Woodley has made a big impression after this – including being nominated at the Golden Globes. She expertly hones her sharp and dry comic retorts with that of Clooney’s, especially in one of the funniest, quirkiest comedy duo scenes in a long time, when father and eldest daughter confront sleazy property developer Brian Speer (Matthew Lillard) on the porch of his holiday condo. Nick Krause is your typical, irresponsible teen as dopehead Sid, who ironically starts to make more sense in King’s topsy-turvy world than the things he used to hold dear.

Judy Greer as Speer’s cheated wife comes into her own – with a subtle supporting effort from Clooney – in Elizabeth’s hospital room, in a heart-wrenching confessional that is laced with black humour. In fact, Payne and co-writers Nat Faxon and Jim Rash have stayed fairly true to Kaui Hart Hemmings’ touching novel, really getting the essence of what makes these characters work, and picking up on some highly astute observations that anyone in their situation would want answers to and react as such.

Payne’s The Descendants is intelligent comedy, never trying to coerce the situation into gaining some false laughs where they are unjustified, or gratuitous within the seriousness of the moment. Its relaxed tone – a delightful far cry from the situations you and the characters are faced with – is replicated throughout right to the very end that is a curious scene, but one that succinctly concludes the family’s next chapter. This is a Clooney triumph not to be missed.

LGK

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J. Edgar 

This is yet another film full of promise about another enigmatic icon, J. Edgar Hoover, the man who created the FBI, and one of the most complicated and feared characters to walk the US corridors of power. The parallels between this film and the recently released The Iron Lady, starring Meryl Streep, are apparent: both films allow the controversial protagonist the chance to tell their side of events, but both brush over further enlightening those not in the know as to the seismic impetus their individual reigns had on politics and power.

The story explores the public and private life of J. Edgar (Leonardo DiCaprio), and his rocky rise to infamy as the first Director of the Federal Bureau of Investigation (FBI) of the United States, as well as the man credited with modernising police technology with finger printing and forensic evidence. It also touches on Hoover’s close relationships with his mother, Anna (Judi Dench), his colleague and companion, Clyde Tolson (Armie Hammer) and his loyal personal assistant, Helen Gandy (Naomi Watts).

It seems awards season encourages such films that calculatingly rely on a central performance to get the public intrigued and manoeuvre them to the top of the box office. Of course, this is no criticism directed at the actors themselves, with DiCaprio as J. Edgar giving the expected masterly and award-worthy performance, ensuring director Clint Eastwood’s latest biopic never completely runs out of puff. Indeed, watching DiCaprio age gracefully – unlike the farcical aging effects on Hammer as Tolson, who looks like a peeling extra from a horror film – is absolutely fascinating as the versatile actor moves between embodying the younger and older versions of J. Edgar very comfortably.

The rest of the film, though, feels cumbersome, overly long and too Hoover-biased to ever delve deeper into why J. Edgar really riled ex-Presidents, short of being a stick-in-the-mud and stubborn as a mule until his grating voice was heard. The only unpleasantness about the character established from the film was his childish fashion of making recordings of people in power to use at a later date – sounds like an early version of phone tapping, so feels very relevant today.

There is one memorable and well-acted scene involving Hoover and Tolson fighting on a weekend break in a hotel room that is the only glimmer of passion Eastwood manages to inject; it’s also the only evidence of Oscar-winning Milk screenwriter Dustin Lance Black at work, trying to ignite an emotional core to this story by tapping into the closeted homosexual element that threatens to expose a public figure. However gifted DiCaprio is at capturing the inner workings of the colourful characters he plays, he is only as good as the material at hand, and sadly, Eastwood’s story often runs out of energy and excitement when the pace needs intensifying – much like his steadily wearier-growing elder protagonist.

Eastwood misses a trick in investigating the more compelling psychological influence J. Edgar Hoover had over his counterparts, and what inner personal battles really raged beneath the hardened exterior – even with a dress-up scene involving a grieving J. Edgar to hand at the end. Unfortunately, most will come out of viewing this film none the wiser about Hoover, but their faith in another DiCaprio triumph will be further endorsed.

LGK

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The Sitter 

Jonah Hill may appear to have grown up in Moneyball, and got some intellectual credibility in an adult environment, but he reverts back to the same self-depreciating man-boy role we all know him for in David Gordon Green’s new mainstream comedy, The Sitter. It’s really a half-hearted, mischievous Noughties twist on zany 1980s comedy adventure, A Night on the Town – more commonly known as Adventures in Babysitting, starring Elisabeth Shue, but minus the hot babysitter and the child-friendly fun.

Hill is immature Noah Griffith, a suspended college student fixated on one sexy girl down the road, Marisa (Ari Graynor), who he gives ‘personal favours’ to. Planning to hook up again later that night, Noah begrudgingly agrees to stand in and baby-sit instead, so that his mother can go on a date. Inexperienced and out of his depth, Noah is tasked with looking after the neighbours’ three dysfunctional kids: an anxiety-riddled, pill-popping, closeted son called Slater (Where The Wild Things Are’s Max Records), a potty-mouthed, celebrity-wannabe daughter called Blithe (Landry Bender), and adopted Hispanic son Rodrigo (Kevin Hernandez) who is hell-bent on causing maximum disruption and has an unhealthy interest in cherry bombs. Against the parents’ wishes or knowledge, and with an urgent errand from Marisa, Hill ventures into New York City with the kids to visit drug kingpin Karl (Sam Rockwell). What seems like a fairly straightforward task snowballs into utter chaos, and a few life lessons are learned by all.

Green and writers Brian Gatewood and Alessandro Tanaka never step out of the original 1980s’ mould, delivering the inevitable wild night combination of freaked-out anti-hero babysitter, out-of-control weirdo kids who come to respect their minder, and crazed bad guys on their tail; even the drug explosion incident in the car fails to be fully exploited, sidelined in favour of safer flatulence jokes. However, in true Pineapple Express style, the filmmakers have overloaded the expletives and borderline-offensive racial stereotypes, dished out the serious drugs and turned up the volume, possibly so Hill’s character Noah doesn’t seem as annoying as first thought. That said Hill easily plays within his comfort zone here, dripping with sarcasm and harsh home truths that it merely helps enforce what makes him appealing to fans in such coming-of-age comedies, rather than offers anything new to his CV.

In all honesty, the film’s hit-or-miss first impression all hangs on the opening scene, which gets down to business and firmly establishes this film’s R-rated, frat-boy stance of the Apatow-school ilk. Unlike the original, Green and co aim for the outrageous, rather than the genuinely funny to grab shock laughs; even down to young Blithe’s musical tastes and choice street slang – it’s only funny because it’s a naïve and corrupted kid delivering the adult lines, even though Bender does a commendable job. The real humour is actually in the background and random supporting acts that bolster the whole insanity, especially around Karl’s aerobics lair. Nevertheless, Rockwell is still enjoyable to watch, camping it up with guns blazing, but never giving anything different from the token drug dealers in Pineapple Express and the like.

All of the above absurdity needs to have a purpose, and Hill as Noah is perfectly positioned to be the unwitting messenger and ironically, the voice of reason to coax the kids out of their respective troubles. Green peppers the film with elements of Noah’s unsatisfactory existence, conveniently laying the blame for this screw-up on a parent. Disappointingly, this allows Noah to come out of this virtually unscathed, simply by wearing his heart on his sleeve that leads to the inevitable healing process for him and his charges. The Sitter is a lazy, write-by-numbers dramatic comedy that even has nauseating time for picking up a foxy lady. The end result is neither poignant nor clever – unless you’re a confused kid with identity issues, aged 15+, so some good could come from watching this.

LGK

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Get ready for hard-hitting, hi-impact fight action from the cinematic tradition that brought you Ong Bak and The Warrior King. Set in the ancient Kingdom of Ayothaya, this incredible true story brings to life the adventures of Yamada Nagamasa, a young Japanese Samurai warrior, who gave up his homeland to protect the sovereignty of the Thai people. Betrayed and left for dead by treacherous Japanese forces, he finds a new family in a remote village and masters the devastating fighting art of Muay Boran (Thai boxing). Fearless, he ascends to the royal bodyguard of King Naresuan The Great, but will soon face his greatest ever battle against the elite Japanese warriors he once regarded as brothers...

Blu Ray Extras: Audio Commentary by Bey Logan,  Masters of the Ring - Cine Asia Exclusive featurette,  Deleted Scenes,  Trailer Gallery

We have copies of Yamada - Way Of The Samurai on Blu Ray to giveaway. To enter just answer the following question:

Which ancient kingdom is Yamada - Way of the Samurai set?

a) Kyothaya

b) Gyothaya

c) Ayothaya

Please email your answer with your name, age address and contact number titling your email 'Yamada Competition' to:

competitions@screen-one.com

Yamada - Way Of The Samurai  is out on DVD and Blu-ray 30th January 2012 Courtesy of CIne Asia.

Competition closes 5th March 2012. 

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The premiere season of Keeping Up with the Kardashians introduces viewers to the quirky Kardashian clan as they live life in the Hollywood fast lane.



Kim, the leader of the pack, is already a paparazzi favourite and is ready to become a pop culture staple. But with two fiercely competitive sisters, two impressionable half-sisters, her menopausal mom (who also doubles as her manager!) and a conservative Olympian step dad Bruce Jenner, life in the Kardashian household is far from harmonious.



See what happens when the family celebrates their parents' wedding anniversary (with strippers), orchestrate a scandalous Girls Gone Wild photo shoot in Puerto Vallarta, and Kim bares all for the cover of Playboy. Will they be able to work together as one? Or will their individuality end up fracturing the family?

DVD Extras:

• Parental Advice With Kris And Bruce
• Junk In The Trunk Includes Bonus Scenes

To celebrate the DVD release of the first season of Keeping Up With The Kardashians on Monday, January 23, we have 3 copies of the DVD to be won. Just answer the following question to be in with a chance of winning.

How long did Kim Kardashian’s recent wedding to NBA star Kris Humphries last?

A)     52

B)      72

C)      96

Please email your answer with your name, age address and contact number titling your email 'Kardashians Competition' to:

competitions@screen-one.com

Keeping Up With The Kardashians Season 1 is available on DVD courtesy of Universal Playback.

Competition closes 27th February 2012. 

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30 Minutes or Less

  Hilarious McBride,    From Outrageous Behind-the-Scenes Crew Commentary!      

Action-Comedy of the Year Arrives on  Blu-ray™ and DVD January 23   

Jesse Eisenberg (The Social Network, Zombieland) and Danny  McBride (TV’s “Eastbound hilarious action-comedy 30 Minutes Sony action-comedy inept criminals (McBride & Nick Swardson) and forced to rob a bank. 30 Minutes or Less also stars Nick Swardson (Just Go With It, You Don’t Mess With the Zohan, TV’s “Reno  911!”) and The special features on the DVD include deleted scenes, outtakes, and “Blowing Up with the  Cast & Crew of 30 Minutes or Less” where the cast and crew discuss their experiences on  set and behind the scenes.

The Blu-ray Disc contains everything included on the DVD, plus  a Picture-in-picture Commentary track with Jesse Eisenberg, Danny McBride, Aziz Ansari,  Nick Swardson and Director Ruben Fleischer, as well as the featurette, “The Perfect Crime:  Action & Comedy in 30 Minutes or Less,” and a look into the car chases, flamethrowers, and gunplay that make this film not only hilarious but awesome. 30 Minutes or Less will Nick the big plans of two wanna-be criminal masterminds (Danny McBride and Nick Swardson).  The impossible task, Nick enlists the help of his ex-best friend, Chet (Aziz Ansari). As the clock ticks, the two must deal with the police, hired assassins, flamethrowers, and their own tumultuous relationship.

30 Minutes or Less was Diliberti & Matthew produced by Stuart Cornfeld (Tropic and Jeremy Kramer (Submarine, She’s All That, The Ruins). 

Monica Levinson (Brüno, Zoolander, The Insider) and Brian Levy served as executive producers.      

DVD and Blu-ray Special Features Include:

• Deleted Scenes          
• Outtakes         
•  “Blowing Up with the Cast & Crew of 30 Minutes or Less” Featurette  
• Exclusive Blu-ray Bonus Features Include: Picture-in-Picture  Visual  Commentary  with  Actors  Jesse  Eisenberg,  Aziz  Ansari       
•  “The Perfect Crime:  Action and Comedy in 30 Minutes or Less” Featurette          
• 30 Minutes or Less PS3 Theme/Wallpaper 30 Minutes or Less has rated 15.

We have copies of 30 Minutes or Less on Blu Ray plus a £25 voucher for online takeaway service Just Eat to giveaway. To enter just answer the following question:

What fast food does Jesse Eisenberg's cahracter deliver ?

a) Curry

b) Chinese

c) Pizza

Please email your answer with your name, age address and contact number titling your email '30 Minutes Competition' to:

competitions@screen-one.com

30 Minutes Or Less is out on DVD and Blu-ray 23rd Jan 2012.

Competition closes 27th Feb 2012. 

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Based on a true story, "Killer Elite" races across the globe from Australia to Paris, London and the Middle East in the action-packed account of an ex-special ops agent (Jason Statham) who is lured out of retirement to rescue his mentor (Robert De Niro). To make the rescue, he must complete a near-impossible mission of killing three tough-as-nails assassins with a cunning leader (Clive Owen).

We have copies of Killer Elite on Blu Ray to giveaway. To enter just answer the following question:

Which character isJason Statham lured out of retirement to rescue?

a) Robert De Niro

b) Clive Owen

c)  Dominic Purcell

Please email your answer with your name, age address and contact number titling your email 'Killer Elite Competition' to:

competitions@screen-one.com

The Inbetweeners is out on DVD and Blu-ray 16th Jan.

Competition closes 27th Feb 2012. 

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Arriving by boat at her family's Louisiana lake island cabin, Sara (Sara Paxton) and her friends quickly strip down to their swimsuits for a weekend of fun in the sun. But when star football player Malik (Sinqua Walls) stumbles from the salt-water lake with his arm torn off, the party mood quickly evaporates. Assuming the injury was caused by a freak wake-boarding accident, the group realizes they have to get Malik to a hospital on the other side of the lake, and fast. But as they set out in a tiny speedboat, the college friends discover the lake has been stocked with hundreds of massive, flesh-eating sharks! As they face one grisly death after another, Sara and the others struggle desperately to fend off the sharks, get help and stay alive long enough to reach the safety of dry land.

We have copies of Shark Night 3D on Blu Ray to giveaway. To enter just answer the following question:

Where in the US is the lakeside cabin they visit?

a) Atlanta

b) Louisana

c) New York

Please email your answer with your name, age address and contact number titling your email 'Shark Night Competition' to:

competitions@screen-one.com

Shark Night 3D is out on DVD and Blu-ray 9th Jan 2012.

Competition closes 13th Feb 2012.