New Titles, March, 'Machete', 'Due Date', 'Saw Final Chapter'

With its Mexican anti-hero Machete (Danny Trejo), its choreographed violence and its crude sexism, this gleefully excessive pastiche of an exploitation picture delivers everything promised by its own faux trailer. That trailer was part of the fake ‘Coming Attractions’ section of co-director Robert Rodriguez and Quentin Tarantino’s ‘Grindhouse’ double-bill; this indulgent fanboy vanity project is that cheapskate drive-in movie made real. So if your idea of a nostalgic good time is a nonstop action-movie featuring a tight-lipped Mexican day-worker (Trejo) turned vigilante killer, a sleazeball Mexican drug lord (Steven Seagal), an opportunist Texan politician (Robert De Niro), his corrupt behind-the-scenes fixer (Jeff Fahey), a racist businessman (Don Johnson), a chilli-hot female immigration agent (Jessica Alba), a fiery freedom fighter who runs a taco stand (Michelle Rodriguez), a gun-toting padre (Cheech Marin) and an avenging angel in a nun’s outfit (Lindsay Lohan), this will toast your enchilada. The problem is that the overcooked plot tries to shoehorn in a political subtext about illegal ‘wetbacks’ and right-wing politicians and businessmen who exploit the racist backlash they incite. Other new stuff I'm Still Here A Town Called Panic Police, Adjective Frontier Blues White Material Illusionist, The Saw: The Final Chapter Machete Jackass 3 I Spit On Your Grave City Island My Soul To Take Unthinkable Skyline Switch, The Gainsbourg Loved Ones, The Due Date

March, New Titles, The Town, The American, A Prophet

The Town

This is a slick but inert cops ’n’ robbers yarn from Ben Affleck (with his director-writer-star hat on) that feels all but indistinguishable from the thousands of similar films that have blazed a trail before it. Sporting a neat crew cut, a sweat-glazed six-pack and a nice line in ‘Boston’-emblazoned tracksuit tops, Affleck is Doug, the conflicted leader of a rubber-masked wrecking crew who take down banks on behalf of kingpin (and florist!) Pete Postlethwaite. Doug wants to take his loot and make a break for Florida, a desire fuelled by his relationship with Rebecca Hall's kindly soup-kitchen mama. But Pete’s got dirt on him, and even though the Feds are closing in (led by ‘Mad Men’ heartthrob John Hamm), the team keep breaking banks, leading to a minutely orchestrated take-down of the Boston Red Sox’s home ground.

The American

Anton Corbijn showed with ‘Control’, his film about Joy Division’s Ian Curtis, that, as a photographer-turned-filmmaker, he’s as happy to let his camera linger on a troubled character’s good-looking face or to indulge a moody landscape as to tell a story through traditional means. He pushes that approach to the limit with this attractive, quiet, passive study of Jack (George Clooney in his most downbeat role ever), the American in question, whom we first meet on the snow flats of Sweden and quickly learn has lethal potential despite his calm exterior and love of butterflies.

A Prophet

Malik, a French-Arab convict who enters a concrete-and-steel hell to serve a sentence of six years (so we know he can’t have done anything too dreadful) tries to keep his head down, but this isn’t that sort of place. The ruling bully boys are the Corsican inmates, led by ageing but vicious César (Niels Arestrup), who forces Malik to kill another inmate in a very successful scene that’s one of the most claustrophobic and disturbing episodes I’ve seen in a long while. From here, Malik is César’s vassal, committed to working for him on the inside and, later, using a series of day-release excursions to represent his criminal interests on the outside. But Malik is a clever individualist.

Also out this week

Summer Coda

Night Of The Hunter

Cronos

Hot Millions

Darjeeling Limited (Criterion)

Modern Times (Criterion)

Freedom's Fury

March, New Titles, 'Social Network', 'Paranormal Activity 2'

The Social Network

Director David Fincher (‘Fight Club’, ‘Zodiac’) and writer Aaron Sorkin (‘The West Wing’, ‘A Few Good Men’) have made a mischievous, scaremongering tale about the origins of Facebook that combines the talky rigour of Sorkin’s writing with the spooky crispness of Fincher’s imagery.

It launches us headfirst into an intense exchange between two students, Mark Zuckerberg and his girlfriend Erica (Rooney Mara), sitting in a Harvard bar, opposite each other, nursing beers. You can hardly call it a conversation. She speaks smartly and normally; he avoids eye- contact, talks through her, responds selectively and, when the chat doesn’t go his way, needily asks: ‘Is this real?’

It’s a brilliant scene: on its own because it says so much about the filmmakers’ spin on Facebook founder Zuckerberg and the limits of interaction that his invention seeks to plaster over, and in the context of the work as a whole because it tells us straightaway that this is a film about a creeping void between people, whether or not they’re lovers, enemies, business partners or Facebook friends. It’s a savvy prologue to a story of how a perfect storm of social inadequacy, Ivy League exclusivity and computing genius inspired a global phenomenon.

Other new titles :

Stone
Resident Evil: Afterlife
Buried
Brotherhood
Messenger, The
14 Blades
Let Me In
Social Network Blu Ray
Paranormal Activity 2