Rating: MMMM

Director: Drew Barrymore
Starring: Ellen Page, Kristen Wiig, Marcia Gay Harden, Eve, Drew Barrymore, Juliette Lewis
Running time: 111 mins
Cert: 12A

Don’t be put off by the fuschia pink UK poster, covered in the faces of smiling women – this is not The Sisterhood of the Travelling Pants or any of that saccharine-soaked ‘girl power’ drivel (that in fact evokes the very opposite of female empowerment). Whip It is a kick-ass, feisty and intelligent sports movie that neatly combines multiple genre elements (pop culture comedy, family drama, teen romance) to create and warm and entertaining film that is full of what Americans call ‘attitude’.

Whip It centres around 17 year old Bliss Cavendar (Ellen Page), a disillusioned misfit resident of dead-end town, Bodeen, Texas. Bliss lives her life as put-upon waitress of kitsch diner the Oinkery and dutiful daughter, reluctantly  entered into beauty pageants by her mother (Marcia Gay Harden), a straightlaced postwoman who runs the Cavendar household as a tight ship.

On a shopping trip with her mother and sister in nearby city Austin, Bliss sees a flyer advertising a roller derby match – tough, scantily clad girls on skates speeding around a track, tackling and shoving each other violently in order to score points. Accompanied by best friend Pash, Bliss goes to the match and is immediately struck by the sport and particularly the women playing it – players with tough-girl names such as ‘Smashley Simpson’ and ‘Eva Destruction’. After the match, Bliss approaches one of the ‘Hurl Scouts’, Maggie Mayhem (Kristen Wiig) who suggests that she should try out for the team as they are looking for new members. A tentative Bliss attends the trial, demonstrating a speed on skates that surprises even herself, consequently making the team and becoming a Hurl Scout by the name of ‘Babe Ruthless’.

Whip It combines sports movie, broad comedy, coming of age tale and teen flick to great effect – it is a highly engaging, entertaining and moving  film –  one of the final scenes involving Marcia Gay Harden’s mother character in particular will undoubtedly moisten a few eyes, as will a piercing moment of betrayal. Also, the early stages of Bliss’s relationship with love interest Oliver are equally charming, as are the tender swimming pool scenes, shot to great aplomb by debut director Drew Barrymore.

The script too is funny, witty, warm and clever. Barrymore’s directing is excellent, particularly the aforementioned underwater sequences, demonstrating she has considerable talent not just in the fields of acting and producing. She has a clear understanding of her characters and her scene: the rough and ready world of womens’ roller derby, the action of which is deftly handled in exciting, adrenaline fuelled scenes on the track, with Bliss and her team mates speeding around, giving and taking ‘hits’.

Whip It is great fun, despite the fact it not being exactly original. It is however, thoroughly enjoyable, with excellent little moments, and a great balance between sport and character relationships. In terms of acting, Barrymore’s cast does well. Ellen Page delivers a likeable, convincing performance as main character Bliss Cavendar, as does Kristen Wiig who is really impressive, proving she is capable not only of hilarious deadpan comedy (Knocked Up), but proving she is a credible dramatic actress. Juliette Lewis is deliciously malevolent in the villain role of ‘Iron Mavin’, and  Barrymore herself gives a hilarious cameo as knuckle-headed Hurl Scout, ‘Smashley Simpson’.  The film’s supporting characters are also played very well – feisty best friend Pash (Alia Shawkat) is great, as is Bliss’s father, Earl (Daniel Stern).

All in all, Whip It is a great slice of easy-going American fun. Barrymore has not only made a hugely enjoyable film, but she has made the world of women’s roller derby accessible and interesting to a whole new audience – the heady mix of intimidating toughness, strength and machismo balanced with a female sexiness and power is thoroughly mesmerizing. And perhaps more importantly, the film bucks the girly teen movie trend in its closing act (not to give away too much) and proves that women’s lives do not centre around the wants and desires of men – they can be their own hero and go after whatever it is they wish. And who’d have thought all this from the little girl from E.T.? Get your skates on and see Whip It (if you’ll forgive the excruciating pun). Expect sales of roller skates and eyeliner to skyrocket.

Rating: MMMM

New slick comedy-drama from the award-winning director of Juno, Jason Reitman.

Director: Jason Reitman
Starring: George Clooney, Vera Farmiga, Anna Kendrick
Running time: 109 mins

In Jason Reitman’s new film Up In The Air, George Clooney plays Ryan Bingham, self-confessed lover of the business and executive class lifestyle, spending more days ‘up in the air’ than days living life on the ground. His job is to fly to different cities across the USA to various company offices to fire employees because the people they work for haven’t the heart to do it themselves. The vacuous corporateness and emptiness that others find so repugnant is Ryan’s lifeblood. Until his life takes an unexpected and unwelcome turn in the form of bright new upstart Natalie (Anna Kendrick) whose ideas and plans would bring Ryan’s jet setting to a grinding halt.

In Up In The Air, Jason Reitman seems to have produced two very different films in one: the first two-thirds of the film explore the executive void of Ryan’s life and his contentedness with it, whilst it being under threat from a ’shift in company direction’ from Natalie’s cost-cutting and economising ideas. This is a slick corporate world, driven by money and a veneer of politeness with complimentary bath robes thrown in, a world which is well executed by Reitman. However, the problem comes when Ryan seemingly begins to question his values and moral behaviour and starts to view his life from a different perspective. From this point onwards the film changes tone entirely – almost like you left the cinema screen to get more popcorn and wandered into a different screen, except the characters are the same, just playing out a different story. And this is where the film inevitably falls down. Without giving too much away, the last third becomes more of a family centred tv movie than a glossy and hip George Clooney film. This tone change has a sadly negative impact on the film, as Reitman seems unable to follow through his initial ideas to the end with adequate conviction. On paper, the film works fine – on celluloid it fails somewhat.

However, all the ingredients of the film are essentially very good. George Clooney, while simply doing his charming, golden matinee idol smile that he seems to have patented, is very good and likeable as ever. Vera Farmiga as Clooney’s female opposite is also good, providing a convincing twist in the final act that comes as a genuine surprise. Anna Kendrick however delievers a standout turn as the young and naive Natalie, building on her solid work in Twilight as Jessica Stanley.

The script is well written and delivers some laughs, and there are some nice visual gags – most notably, the pilot’s ridiculous moustache which provided me with one of the biggest bellylaughs since The Hangover. In contrast too there are some genuine moments of shock, pathos and poignancy, with Natalie’s ill fated relationship and the fateful effects of some of the employees being let go from their jobs. The film is well directed, well acted and well scripted, just not really thought through, needing the courage to avoid the now hackneyed ‘man on a journey’ plot and stick to its guns of vapid corporateness and the emptiness so loved by the George Clooney character.

Engaging, witty, entertaining and funny, just not as good as expected.

Rating: MMM

Rating: MMMM

Review of Richard Linklater’s 1930s set period piece about the great Orson Welles’ theatrical triumph – his version of Shakespeare’s Julius Caesar.

Director: Richard Linklater
Starring: Zac Efron, Claire Danes, Christian McKay
Running time: 114 mins

Richard Linklater’s latest film sees Orson Welles (having already taken the airwaves by storm on radio) perched on the brink of conquering the stage, starting with his production of Shakespeare’s classic history play Julius Caesar, set to be performed at the Mercury Theatre on Broadway. The ‘me’ of the title is teenager Richard (Zac Efron), the audience’s window onto the theatrical world of Welles and his company.

The casting of Efron in this particular role (a serious part and one lacking the squeaky, shiny happiness of the High School Musical franchise from which Efron made his name) may surprise a few, but Efron delivers a solid and utterly convincing performance as Richard, the young man who falls under Welles’ beguiling charms and finds himself part of the cast, playing Lucius, Brutus’ (played by Welles himself) servant boy and resident ukulele player. Efron, as previously mentioned, demonstrates that he is clearly a young actor blessed with multiple talents, being able to perform like an old Hollywood star with skill in singing, dancing and acting – the former and latter of which are on display here. Efron’s credible performance will with any luck silence harsher critics often out for his blood.

Claire Danes is as good as ever, in a role that pleasingly sees her in a bitchier role than usual with a character more reminiscent of Sookie in Igby Goes Down than the pure Juliet (William Shakespeare’s Romeo + Juliet). However, as good as Efron and Danes’ performances are, the film belongs to relative newcomer Christian McKay in a role he was seemingly born to play. It is no wonder by playing someone as egocentric, selfish and charismatic as Welles that he steals the show – he has a bewitching way of drawing the audience to him – but his performance is of such tremendous excellence, vivacity and believability that any scene without him is left wanting and rendered almost flat, lacking the energy his performance brings to the piece – something which becomes almost detrimental to the film as a whole. However, come awards season, McKay presents himself as a dead cert for acting nominations.

The story is an interesting one, avoiding the now saturated genre of biopics and concentrating on the character of Orson Welles in one specific time period. Linklater’s 1930s setting is convincing and well produced, with exquisite art direction that passes the Isle of Man for New York city. Linklater has produced an entertaining and enjoyable film in Me & Orson Welles, however a problem is posed by a rather languorous third act, an almost plodding final section which could perhaps have been avoided by better editing. The last few minutes really do slow down proceedings, a great shame in a film that is otherwise funny, intelligent, entertaining and engaging.

Rating: MMMM

Rating: MMM+

Delayed review of director Chris Weitz’s The Twilight Saga: New Moon, the second instalment in the 4-part series of  the teen vampire romance, based on the novels by Stephenie Meyer.

Director: Chris Weitz
Starring: Kristen Stewart, Robert Pattinson, Taylor Lautner, Michael Sheen
Running time:130 mins

In the last Twilight film, star cross’d lover Bella Swan made a request of her vampire boyfriend, teen dream Edward Cullen, to change her from her state of “fragile little human” to one of vampiric immortal. Edward declines, reluctant to end Bella’s life for her and transform her into a “monster”. It is this desire and denial between the two (coupled with Edward’s uncertainty about how wise it is to carry on the relationship, based on earnest concerns for Bella’s safety) that creates palpable tension at the beginning of New Moon, eventually reaching crisis point after a tiny papercut at her birthday party puts Bella’s life in danger. Edward consequently breaks up with her, leaves the town of Forks, apparently out of Bella’s life forever.

As one might be able to predict, given the level of eye-gazing and soul searching our lovers engaged in during the first film and the level of besotted infatuation between them, Bella does not take the break-up well. In fact, to say that is an understatement – she enters a downward spiral of what can only be described as depression and near mental breakdown. Socially alienated and tortured by horriffic nightmares, Bella is a lost soul. That is until she is reawoken by friend Jacob Black. By spending time with Jacob, Bella’s emotional healing begins – until a dark secret Jacob is harbouring threatens their friendship.

In New Moon, Chris Weitz has crafted a faithful adaptation of Stephenie Meyer’s novel of the same name but a film which sadly maintains the book’s langorous quality and lack of pace, slowing down and picking up in an awkward fashion, exemplified in the film’s anti-climactic third act in Italy (however, this is arguably the fault of the poorly structured source material). However, the film opens well, picking up soon after the events of  Twilight and makes good use of flashback footage of the first film, using Bella’s silvery scar and other reference points to link thematically and narratively with Catherine Hardwicke’s initial outing. However, a detail in which Weitz has done the film a disservice is his decision to change the film’s colour palette; Twilight is shot in a cool, glassy blue, capturing the striking beauty and coldness of both the Cullen family and the film’s location of Washington state (played in reality by Portland, Oregon).

Weitz’s New Moon departs from the frosty colours of Twilight to warm, golden hues which give the pale vampire make-up and contact lenses a garish theatricality and falseness – see above picture of Robert Pattinson’s chalky complexion. New Moon also uses a different composer for its score, which again changes the tone of things – gone is the lilting and decorative piano theme of ‘Bella’s Lullaby’ and in place is a fairly nondescript score, a real shame as there could have been room for linking themes, creating a sense of a whole ’saga’ (as the film is so reticently marketed). We must acknowledge that Lord of the Rings this isn’t, and we will get no such musical continuity here. The featured songs in the film however are excellent, with great tunes from Death Cab For Cutie (who provide the film’s promo single ‘Meet Me on the Equinox’), Bon Iver, Thom Yorke and Muse.

Another area where the film succeeds is in its casting and main players. Kristen Stewart as Bella is very good, anchoring the story convincingly and sensitively. As Edward, Robert Pattinson doesn’t make much of an appearance in the film, but when onscreen is credibly haunting and of course, achingly gorgeous. But Pattinson is not to be outdone in the looks department by Taylor Lautner who is really the film’s show stealer. At all times believable, endearing and generating many scenes of palpable sexual and emotional tension between Bella and the newly ‘buff’ Jacob – for his role, Lautner bulked up considerably, a fact that it is impossible not to notice, spending so much time bare-chested, cinemagoers will undoubtedly leave with his rippling abs burned into their retinas. The first de-shirting is one of many that will cause more than a few giggles, and is something many critics will knock, but as Mark Kermode argues, the film clearly knows its target market (the teenage female) and really there is nothing wrong with the boys getting a little bit naked in face of the plethora of degrading female nudity seen accross the global media.

With more action, more melodrama, more staring and more angst, New Moon would seem on the face of it to be more of the same, but really this second episode has lost some of the quality and fun of the original, sadly making it less enjoyable as a result. Nevertheless, a solid effort that will please fans and Twi-hards alike and guaranteed to be box-office gold.

Rating: MMM+

As soon as I did so, my vegetative state took on a new guise as one rapt, transfixed by what I saw: glossy visuals, beautiful shots and clever mise-en-scene, stellar acting and a script on a level with Aaron Sorkin’s best work.

Set in early 60’s America amongst an elite community of advertising executives, the show explores politics, socioeconomic issues, sexism and ethnicity with apparent aplomb and proves what a hellish world the office workplace could be for women at the time, unprotected by the sexual harassment laws of today.

Admittedly this is all based on the first episode alone, but this is the first intelligent, high-quality series since ‘The Wire’ that I’ve got really excited about.

Director: Alex Proyas
Starring: Brandon Lee, Ernie Hudson, Rochelle Davis, Anna Thomson
Running time: 97mins

Simply put, The Crow is a revenge tragedy from the mid 1990s that is more famous for the tragic and untimely death of its star Brandon Lee (son of Bruce, killed accidentally by a faulty prop gun) than for the film itself. Based on James O’Barr’s original graphic novel of the same name, the film tells the story of Eric Draven, who rises from the dead a year later after he and his girlfriend were murdered (on Devil’s Night, the night preceding Halloween) to wreak revenge on their killers. Guided by a mysterious crow, Draven goes on a rampage of violence that boasts one grisly death after another, signing the bodies with his talisman’s winged outline. One by one he crosses them off his list, but is impeded along the way by the new resident crime lord who does not take kindly to the systematic slaughter of his associates.

The film draws on the gothic genre with references to Edgar Allen Poe and features a delicious show-down in a church, yet despite its dark tone and even darker atmosphere and palette, The Crow is essentially a story of love – a backstory of Draven and fiancée Shelly is told through flashback where they are painted beautifully as a couple very much in love, brutally murdered the day before they were to be married – there are touching and poetic moments throughout, including a scene where Draven tearfully retrieves his lover’s engagement ring from a white-trash pawn shop. The film also boasts an intriguing sub-plot in alienated young teen Sarah who turned to Shelly (when alive) as a surrogate parent after being more or less abandoned by her heroin addict mother.

Sadly, as with River Phoenix and his role as Chris Chambers in Stand By Me, the late Brandon Lee’s performance adds a further haunting element to an already dark film. Had he lived, Lee would arguably have built on the talent so clearly on display here. As Eric Draven, he gives a commanding performance with a great deal of presence and energy. The film is dedicated to him and his partner Eliza, and is a fitting tribute to a young actor so full of promise. Gothic, violent, dark and cool with a killer soundtrack to boot, The Crow is a cult hit that should rank among the best of graphic novel adaptations – and as the perfect Halloween film.

On the sofa with the 2008 glossy adaptation of Noel Coward’s 1920s set comedy of errors, Easy Virtue.

Director: Stephan Elliot
Starring: Jessica Biel, Colin Firth, Kristin Scott Thomas, Ben Barnes
Running time: 92 mins

Based on Noel Coward’s original play, Easy Virtue is set in late 1920s England and sees young John Whittaker (Ben Barnes) bring his blonde bombshell new wife Larita (Jessica Biel) home to meet his family. The couple are greeted somewhat frostily however, as Mrs Whittaker senior (Kristin Scott Thomas) does not approve of her son’s choice of bride – what ensues is a tense battle between the two women with unexpected consequences.

The film’s narrative follows a neat three act structure, with some great sight gags, poignant scenes and as one might expect from a Coward-scripted drama, dialogue of the highest wit and calibre. The costumes are perfectly designed and created (Larita’s blouse and trouser combinations in particular), with the photography subtle and dramatic in turn. The production value is high throughout the film, with the exception however being the film’s music. Instead of a low-key score with traditional and realistic select tunes from the likes of Cole Porter (these are in attendance, although few in number), instead we are ‘treated’ to songs modern songs orchestrated in a 1920s style – Tom Jones’s ‘Sex Bomb’ for instance, which as soon as one recognises that familiar melody, becomes increasingly irritating. These numbers effectively ruin what would otherwise be a solid and credible musical score, with some tunes sung credibly well by members of the cast (Jessica Biel sings ‘Mad about the Boy’ to great aplomb).

In comparison with some dodgy choices with Easy Virtue’s music, Stephan Elliot must be praised for his casting, as both Kristin Scott Thomas and Jessica Biel are perfect in their respective roles as the stubborn battle-axe mother Mrs Whittaker and glamorous American Larita. Biel presents Larita as a complex and intriguing character with hidden depths and a spirited, passionate past, whereas Scott Thomas demonstrates again her fantastic range and ability to transform what might be two-dimensional roles into well developed characters. However, as Mr Whittaker, Colin Firth seems uncharacteristically lacking in presence, leaving Coward’s fabulously witty dialogue to fall flat at times – a real waste of such good excellent source material. Similarly Ben Barnes, while looking very much the part as the gorgeous young hero, lacks depth. His two younger sisters in comparison are played very well by Katherine Parkinson (Jen from the IT Crowd) and Kimberley Nixon, creating a wonderful chorus effect when coupled with Scott Thomas’s matriarch.

Easy Virtue is a beautifully shot and crafted film, with some good performances, a very well structured plot (undoubtedly due to Coward’s theatrical text) and enough laughs to keep audiences smiling after the credits roll – but is unlikely however to be as memorable as other period pieces of recent memory.

Rating: MMM

Review of Julie & Julia, the meeting of two true stories about love, cooking and the love of cooking.

Director: Nora Ephron
Starring: Meryl Streep, Amy Adams, Stanley Tucci, Chris Messina
Running time: 123 mins

Nora Ephron’s Julie & Julia tells the two true stories of American celebrity chef Julia Child coming to write her bestselling cookbook Mastering the Art of French Cooking in the mid to late 1950s and Julie Powell, a woman who in 2002 sets herself the challenge to cook the entire range of recipes from Child’s book in the space of one calendar year.

Julie Powell (Amy Adams) works for the Lower Manhattan Development Corporation in the turbulent aftermath of the September 11^th attacks. A self proclaimed ‘failed writer’, stressed in her job and disillusioned with her power-dressing career-driven friends, Julie seeks solace and comfort in doing something she really enjoys: cooking. Suffering from failed-potential syndrome, Julie’s self confidence takes a knock when she discovers that one vapid, gaudy member of her group of Manhattan girlfriends writes an online blog about her garish personal exploits, tales of scandal that are read by hundreds of fans. Knowing that she herself could write anything much better, Julie sets about writing about cooking and her love of all things gastronomic, turning to 1960s American cooking icon Julia Child for inspiration.

Soon Julie is living her life by the book that ‘taught America to cook’, garnering herself support, fans and personal problems in equal measure. As with many unwavering routines (Julie sticks to the recipe count religiously), committing one’s life to the cause eventually begins to be a burden – not only on Julie herself but those around her too.
Meanwhile in the second of the dual-strand narrative, Julia Child (Meryl Streep) and her devoted husband Paul move in to a house in 1950s Paris, falling in love with the city, its people and its food.

However, although Julia enjoys her life in Paris, she feels she wants ‘something to do’ and decides to pursue her penchant for food, enrolling in the Cordon Bleu school of culinary arts and defying the social rules of the time, being a female student in a male dominated environment. The end result is Julia’s ascendancy to famed television cook, one whose kitchen is made a replica of and displayed at the renowned Smithsonian Museum.

A lesser director than Ephron might be unable to marry the two strands together, yet what we have is a flowing, wonderful joy of a film with sympathetic and beautifully crafted characters whose lives complement each other across the years. Julie & Julia is the second time that Amy Adams and Meryl Streep have appeared alongside each other (see review of Doubt), but it is a real shame that the two never share any screen time as both actresses’ performances are excellent. Amy Adams confirms her reputation as a leading lady with presence as Julie Powell, portraying the real-life blogger with convincing and subtle quirks. Meanwhile Meryl Streep once again proves that she is without doubt one of the greatest actresses to appear on celluloid. Her Julia Child is a heart-warming, loveable and charming woman, a spirited bon-viveur drinking in all the world has to offer. Supporting her all the way is Stanley Tucci as Paul Child in a similarly winning performance.

With its mix of endearing and interesting plot, likeable characters and incredible spirit, Julie & Julia is a delicious treat for all.

Rating: MMMM

Rating: MMM+

Review of Spanish auteur Pedro Almodóvar’s latest film, Broken Embraces (Los Abrazos Rotos), starring his current screen muse Penélope Cruz.

Director: Pedro Almodóvar
Starring: Penélope Cruz, Lluis Homar, Blanca Portillo, Tamar Noves, José Luis Gómez
Running time: 127 mins

Broken Embraces marks the fourth collaboration between director Pedro Almodóvar and actress Penélope Cruz and is one with similar themes to their previous outings together All About My Mother and Volver – family, parenthood, sex and love affairs that lead ultimately to danger and heartache. Set in 2008, Broken Embraces centres on blind director/screenwriter Harry Caine (Lluis Homar) who, before losing his sight was a famous film director. However, events in 2008 in the lives of Harry, his personal assistant Judit (Blanca Portillo) and her son Diego (Tamar Noves) bring back past memories and the ghost of a shared trauma that as yet has been left unresolved. Going back 14 years, we see Harry (then known by his real name, Mateo Blanco) embarking on a doomed love affair with his charismatic lead actress Lena (Penélope Cruz), whose infidelity towards her partner (José Luis Gómez) has disastrous consequences.

As much as Broken Embraces’ first half hour is relatively engaging, it lacks the essential clarity of narrative so crucial to the establishing of premise and plot – it seems the easiest way for the audience to really connect with the characters and the action is to let it wash over them instead of attempting to understand it. Although the film is certainly not 21 Grams style anti-chronological, it certainly isn’t the most linear, and sadly this is where its problems lie. The first act sees Cruz and Gómez in 1992 and then in 1994, a series of scenes which seem to be primarily for character development but which do not further the main action, even if they do throw up some vaguely interesting sub-plots. However, the central part of the film is solid and well crafted, with some excellent location photography (look out for the stunning aerial shots of Lanzarote), art direction and classic Almodóvar mise-en-scene with vibrant reds, blues and yellows, and with solitary figures preparing food in kitchens.

It must be said that Pedro Almodóvar really knows how to direct his actors and is a master of casting; Penélope Cruz as ever is mesmerising in terms of both her beauty and performance as the not-always likeable Lena. Fellow Volver actress Blanca Portillo is nuanced and convincing as Judit, as is her Lluis Homar as Harry/Mateo. Although few of the characters generate as much sympathy as other figures in Almodóvar’s films, there is enough charisma and charm between them to keep the audience entertained. However, the narrative problems make Broken Embraces just that little bit harder to engage with – the film loses its way slightly in the deployment of a third act that seems tacked-on and a plot point that those familiar with Almodóvar’s work will see coming and arguably feel cheated by.

A challenging, intelligent, moving and well-crafted drama not without its charm, but not without its problems either.

Rating: MMM+ (add another M if you’re an Almodóvar fan)

Rating: MMMM

Review of Adventureland, which  follows young James Brennan one summer in the mid 1980s as he takes up a crappy summer job at the local down-and-out theme park.

Director: Greg Mottola
Starring: Jesse Eisenberg, Kristen Stewart, Bill Hader, Ryan Reynolds
Running time: 107 mins

There really is something about a shitty job that has the power to unite people. Knowing that your co-workers also hate working in the place you do provides a certain camaraderie and team spirit. This, and the charms of fellow ‘Adventureland’ worker Em (Kristen Stewart) is what gets James Brennan (Jesse Eisenberg) through a long summer working for an out of date, kitsch theme  park. During his time working there, he encounters tricky customers, big-ass pandas and new relationships, not all of which are comfortable learning experiences.

Director Greg Mottola deftly handles and maintains a subtle tension between  the film’s comedic elements and summery high spirits with James’s melancholy and disappointment  (being let down by his parents forces him to take up the job at Adventureland) and his alienation from others around him. This alienation and disillusionment comes as a result of James looking forward to a summer trip to Europe, followed by enrolment at Columbia University and being with like minded people – dreams which are trodden on and painfully replaced by returning to live with his parents – a disappointment familiar to this critic in particular. However, Mottola contrasts James’s bitterness with physical comedy, and witty dialogue between likeable characters, hitting a perfect tone that suits the film’s indie-cool style.

The success of Adventureland really does rest on the chemistry and interplay between Eisenberg and Stewart. Both are excellent as James and Em respectively, creating sympathetic, likeable characters that are utterly compelling. Eisenberg at times is reminiscent of Michael Cera (Juno, Superbad), with a nervous energy that completely suits the role. Kristen Stewart, away from the blinding spotlight of her role in the Twilight saga, is a complete natural, and should be awarded for such a believable and compelling performance. The rest of the cast lend their support well, particularly Bill Hader, Kristen Wiig and Martin Starr. Also worthy of note is the art direction, lighting and soundtrack, all of which are excellent and perfectly portray the mid-80’s period setting – seen particularly in the Razzamataz club scenes.

However, in light of the promotional material for the film, one feels that Adventureland has been marketed wrong – advertising it as another slacker gross-out comedy sells the film short of its integrity and quality. Greg Mottola (as both director and screenwriter) has crafted a warm, funny and wise tale of work, play, friendship and love that is both as intelligent as it is engaging.

Rating: MMMM