Wrath of the Titans Review – Swords and Sam-dals


Director: Jonathan Liebesman

Writers: Dan Mazeau, David Johnson

Stars: Sam Worthington, Liam Neeson, Ralph Fiennes, Rosamund Pike


Release date: March 30th, 2012

Distributor: Warner Bros. Pictures

Country: USA

Running time: 99 minutes


 

2½/5

Best part: The sumptuous visuals.

Worst part: The lack of depth.

Illustrating a world of grotesque monsters, bearded gods and vivid desert landscapes, Wrath of the Titans, despite conveying many problems from the lacklustre 2010 original, emphasises and exaggerates its mythological action-adventure appeal; creating a fun, special effect fuelled popcorn feature aimed primarily at fathers and sons, but not carved into the stone of memorable Hollywood spectacle.

Sam Worthington.

Sam Worthington.

This enjoyable romp through fantasised Greek mythology cleverly begins its journey with re-telling the brave events of fisherman turned demi-god Perseus (Sam Worthington) in the first adventure. We revisit him in a small village, fishing with his young son and teaching the ways of honest living. But war between the gods almost immediately disrupts the peace Perseus created as titans and traitors threaten the existence of mankind. With Zeus in great peril and murmurs of the titan’s release, its up to Perseus, spirited warrior queen Andromeda (Rosamund Pike) and the son of Poseidon, Agenor (Toby Kebbell), to reach the underworld and destroy the minions and masters of hell once and for all.

Liam Neeson.

Liam Neeson.

Wrath of the Titans lives up to its name by delivering exactly what it promises. There’s Wrath, and there’s Titans. The film’s simplicity leaves room to showcase one cracking action sequence after another. Director Jonathan Liebesman (Battle: Los Angeles) Turns what could easily be video game-like hack and slash monster mashes into breath taking set pieces, each one excitingly increasing in quality. The fast pacing aids the brisk yet captivating action set pieces while the threats of annihilation by monsters, gods and the almighty Kronos build to a thrilling and climactic final third. With shaky cam and quick cuts plaguing the original, the sequel defies all expectations in its most appealing elements by showcasing immersive tracking and panning shots, fluid choreography, beautiful CGI effects and sharp sound editing. The maze sequence is filmed and designed with the ingenuity and epic scope of a labyrinth inside the mind of  Christopher Nolan. Unlike the disappointing misuse of the monsters in the original, the raw, wriggling and disgusting creations in this film create one startlingly imposing threat after another. They range from slobbering minotaurs, to blood stained siamese twin warriors called Makhai, to Cyclops’s looking remarkably like British soccer hooligans. Much like the original, its over dependence on action set pieces leaves much to be desired with the script and story telling.

“We may not be gods. But we do what people say can’t be done, we hope when there isn’t any… whatever odds we face, we prevail.” (Andromeda (Rosamund Pike), Wrath of the Titans).

Rosamund Pike & Bill Nighy.

Rosamund Pike & Bill Nighy.

With a story solely based on following the characters struggle against every monster in the Greek isles, it falls flat on its face as its hollow interior leaves nothing but a straightforward quest for our gaggle of misfit characters. Plot twists based on the bonds between fathers, sons and brothers become increasingly confusing as this theme is just one of many opportunities sorely wasted by a conventional screenplay. One and two dimensional characterisations and stilted dialogue also harm proceedings as Wrath of the Titans noticeably lacks a necessary emotional connection. The cast does an adequate job with the little they’re given. Worthington drastically improves on his dull performance in the original through a charismatic yet stoic portrayal of this fabled yet modest hero, while surprisingly convincing in his comedic moments. Kebbell as the wise-cracking thief and demigod Agenor lifts the tone slightly with clever one liners. Pike as the love interest seldom gets enough screen time to make her normally gorgeous presence known. While older actors such as Liam Neeson, Ralph Fiennes, Danny Huston and Bill Nighy are captivating yet suffer due to lacking screen time, unclear character motivation or diminutive story involvement. Fiennes and Neeson deliver great chemistry between each other; creating a believable relationship as brothers.

Banking on the success of Worthington and Liebesman, Wrath of the Titans is obviously a made-by-focus-group action flick. Being a sequel to one of the biggest flops of 2010, the movie barely scrapes by on pure adrenaline and brute force.

Verdict: A shallow yet entertaining action-adventure sequel.

The Hunger Games Review – On Fire!


Director: Gary Ross

Writers: Gary Ross, Suzanne Collins, Billy Ray (screenplay), Suzanne Collins (novels)

Stars: Jennifer Lawrence, Josh Hutcherson, Liam Hemsworth, Woody Harrelson


Release date: March 23rd, 2012

Distributor: Lionsgate

Country: USA

Running time: 142 minutes


 

3½/5

Best part: The dynamic performances.

Worst part: The frustrating shaky-cam.

The first of this enormously successful trilogy of young adult novels by Suzanne Collins, The Hunger Games, has finally been translated to the big screen. With the notoriety this book has received and the difficulty of projecting this harsh story to large audiences, you have to wonder how they could possibly do a competent job. Thankfully they have; creating a beautiful yet sombre perspective of a reality show contestant in the most dangerous competition ever imagined.

Jennifer Lawrence & Liam Hemsworth.

Jennifer Lawrence & Liam Hemsworth.

The Hunger Games starts out in the realm of District 12, one of 12 districts working their fingers to the bone to satisfy the needs of the futuristic landscape known as ‘The Capitol’. With the 12 districts given the appearance of coal mining towns in the 1800s, its inhabitants work hard and follow the oppressive rules to survive. Teenage wanderer Katniss Everdeen (Jennifer Lawrence) envisions a life away from restraints. Her protective nature over her sister Primrose is brought to light when Prim is chosen to be in the capitol’s favourite annual event, the Hunger Games, in which 24 citizens, two from each district, between the ages of 12 and 18 are chosen to forcefully participate in a bloodbath. 24 go in, one comes out. After volunteering for the event to save her sister, Katniss is accompanied by Peeta (Josh Hutcherson). They must both physically and mentally challenge themselves in and out of the arena as their moral judgements, both for humanity and social indifference, will be greatly tested.

Lenny Kravitz, Josh Hutcherson & Woody Harrelson.

Lenny Kravitz, Josh Hutcherson & Woody Harrelson.

Someone who hasn’t read the books (myself Included) may see this for what it is; a bloodthirsty battle for survival featuring the teenage fantasy of good looking characters and romance in the face of danger, with an aim of pleasing the entire family. The translation of this book, while a hard one to pull off, brings elements from different genres and visual styles together in a charming fashion. The witty dialogue and chemistry between the characters is a unique and enlightening trait, sadly missing from similar adaptations such as Percy Jackson or The Golden Compass. Director Gary Ross (Pleasantville, Seabiscuit) creates a rightfully sombre depiction of events while being able to inject an appropriate amount of charisma. His direction in the slow, dialogue based parts is powerful. Poignant yet romantic technicolour dreams of The Capitol and moral ambiguity in the face of death is the perfect balance found right off the bat. The visual style delicately reflects Katniss’s strong emotional shifts. District 12 is reflected as a decrepit and colourless land surrounded by green forests, simulating her desperate desire to leave the borders of this lower class society. While The Capitol is certainly a sight to behold. A powerful and fixating mixture of Tokyo anime and New York fashion week depicts the technicolour plethora of futuristic yet concrete grey city settings and elaborate characters decked out in outrageous costumes and hairstyles. The performances also add to the charm needed for this depressing story.

“May the odds be ever in your favour.” (Katniss Everdeen (Jennifer Lawrence), The Hunger Games).

Donald Sutherland & Wes Bentley.

Donald Sutherland & Wes Bentley.

An impressive supporting cast including Woody Harrelson, Elizabeth Banks, Wes Bentley, Stanley Tucci and Donald Sutherland deliver fun yet nuanced performances. While singer Lenny Kravitz is a revelation as Cinna, a stylist making the best of a bad situation for the participants. This is not a perfect film however as some of the more confronting themes and directions the book is known for are sadly lost in the translation. The film’s overall problem matches a similar problem with the Harry Potter films, in that it feels like there are so many elements brought in from the novel that the film loses focus and leaves behind any sense of emotional impact or connection. Jennifer Lawrence, Hutcherson and Hemsworth deliver dynamic performances, but the love triangle between them, when eventually touched on, feels forced. While the supporting characters fail to deliver a dramatic affect on any level and are strangely left out of most of the second half. Another major flaw is the game itself. The direction is uninspiring as Ross fails to deliver the technical ingenuity needed to tell this interpretation of kids being tested in brutal combat. Despite its shocking violence at certain times; quick cuts, uncomfortably close shot framing and an irritating shaky camera style unfortunately turn what should be affecting scenes of death into completely incomprehensible fist fights and blood splatters.

The Hunger Games, if anything, points directly at our love of big-budget entertainment. Revelling the hypocrisy, the movie utilises its impressive cast, solid writing team, and efficient director to bolster the YA genre. This adaptation is certainly worth fighting for!

Verdict: A flawed yet engaging action-drama. 

21 Jump Street Review – Charismatic Cops


Directors: Phil Lord, Chris Miller

Writer: Michael Bacall

Stars: Jonah Hill, Channing Tatum, Brie Larson, Ice Cube


Release date: March 16th, 2012

Distributor: Columbia Pictures, Metro-Goldwyn-Mayer

Country: USA

Running time: 109 minutes


 

4/5

Best part: Hill and Tatum’s chemistry.

Worst part: The bare-bones sub-plots.

The perfect mixture of old and new; 21 Jump Street smartly caters to different age demographics by gleefully commenting on our high school years. Whether 14 or 44, the issues and cliches of high school life are highlighted in a reflexive, relevant and witty fashion. This adaptation of the famous 80’s TV series also works through the electric chemistry of its two popular male leads.

Jonah Hill & Channing Tatum.

A flashback to high school in 2005 provides the basis for the issues of our two bumbling top cops. Schmit (Jonah Hill) is a nerd failing to find a girl for the prom, while Jenko (Channing Tatum) is an obnoxious yet stupid jock living the shallow life he loves. Years later, their bitter reunion comes with enrolment into the police academy. With Schmit an academic whiz and Jenko a lean, mean fighting machine; they work together to complete their police training and become the cops they desire to be. Their crazy, unprofessional antics however get them ousted from the force and transferred to an undercover division revived from the 80’s, down on 21 Jump Street. With an angry police chief breathing down their necks, they must go back to high school to find the supplier of a new synthetic drug sold by students before it spreads like a stupid Facebook message in the public sphere.

Ice Cube.

With an impressive writing, directing and production team under its belt, 21 Jump Street is a strong contender for this year’s funniest comedy. The direction by Phil Lord and Chris Miller (Cloudy With A Chance of Meatballs) provides a consistent level of funny gags while finding room for a sincere fish out of water story. The comedy may be hit and miss at points, but what works are the consistent comparisons to high school life between the 1980’s, 2005 and present day. With a slick 80’s edge due to its TV show origins, the film subverts and conforms to 80’s action film and TV clichés; finding a way to make them both entertaining for younger viewers and hilarious to anyone aware of cheesy 80’s conventions. Cameos from two members of the original show, including one of the most beloved and dynamic actors in the world, are handled in a surprisingly effective manner. Its no surprise the script was co-written by Michael Bacall, co-writer of Scott Pilgrim vs. the World, as both films find a perfect relationship between believability, cultural relevance and insane fantasy. The stand out gag involving the many stages of tripping on hardcore drugs, provides several hilarious moments and the visual stimulus of ascending levels and pixelated colour patterns of an arcade video game. The screenplay also delivers when depicting the changing labyrinth and factions of present day high school.

“Hey, hey! Stop f*ckin’ with Korean Jesus. He ain’t got time for yo problems, he’s busy wit Korean sh*t!” (Captain Dickson (Ice Cube), 21 Jump Street).

Our cool characters.

Providing suitable groundwork for this story of opposition and adaptation on evolved high school turf, the crazy vision provided depicts a world of environmentally friendly and study hardened popular kids and one type of culturally and technologically advanced hipster after another. Adding immensely to 21 Jump Street’s stock standard story are the performances and characterisations from everyone involved. It’s Hill and Tatum who wholeheartedly commit on every level, not only producing the film but playing on what their own lives may have been like in high school before their current popularity. With Hill’s acting and co-writing talents consistently proving worthy of his recent Oscar nomination, his influence on modern comedy pays off as this re- invigoration of the odd couple relationship provides strong chemistry and believable friendship between Schmit and Jenko. Tatum on the other hand, proving himself to be a very unconvincing actor in previous roles, silences his critics with powerful and charismatic comedic delivery as the jock turned imaginary lightsaber fighting science nerd. The supporting cast also provides a large amount crazy thrills and fun gags. Rob Riggle and Ellie Kemper as wacky members of the faculty, Dave Franco (James’s brother) as the most popular kid in school and Brie Larson as the love interest all provide laugh out loud performances in their small roles. While Ice Cube is a comedic stand out as the Black police Chief strongly embracing his stereotype while encouraging the embrace of stereotypes in others.

Ultimately, the odds of making a truly successful 21 Jump Street adaptation are about one in a billion. However, in this universe, the odds have jumped up to two in seven billion. Our two shining stars make the most of this glorious opportunity and boost their once-ailing careers.

Verdict: A bold and hilarious action-comedy.

Ghost Rider: Spirit of Vengeance Review – Up in Flames


Director: Mark Neveldine, Brian Taylor

Writers: Scott M. Gimple, Seth Hoffman, David S. Goyer

Stars: Nicholas Cage, Idris Elba, Violante Placido, Ciaran Hinds


Release date: February 17th, 2012

Distributor: Columbia Pictures, Warner Bros. Pictures

Country: USA

Running time: 95 minutes


 

1½/5

Best part: Idris Elba.

Worst part: The comedic moments.

Nicholas Cage proves once again that his crazy antics and bad script choices are still in full effect. This adaptation of the infamous Ghost Rider comic book series, Ghost Rider: Spirit of Vengeance, may look cool, but one incomprehensibly ridiculous story and character element after  another turns what could’ve been a fun exploitation flick into a barely watchable and stupid waste of time.

Nicholas Cage.

With Ghost Rider: Spirit of Vengeance, Things start off promisingly however when we’re immediately thrown into the thick of the action. Moreau (Idris Elba), an alcoholic French outcast but loyalist of the church, desperately tries to save a young boy, Danny (Fergus Riordan), and his mother, Nadya (Violante Placido), from the forces and leather clad henchman of the devil, in the form of Rourke (Ciaran Hinds). His need for a saviour leads him to the Ghost Rider himself, Johnny Blaze (Nicholas Cage). With Blaze clinging onto the hope of exterminating his own demonic torment, its up to this gang of misfits to expel the forces of evil from both themselves and the Earth forever.

Idris Elba.

Despite having a completely different vision and team behind it than the original, the many embarrassing flaws will give any comic book film fan a reason to audibly sigh and sense of deja vu at the same time. Agonisingly pursuing to tie this sequel into the lacklustre 2007 original while depicting a rebooted version of the Devil’s bounty hunter, Ghost Rider:  Spirit of Vengeance still carries similar pathetic script and directorial failings. Most noticeably, the film stops every few minutes to throw in terrible moments of slapstick comedy and cheesy dialogue. Its painful to sit through scenes of pointless religious preaching and  groan-able one liners making up the film’s entirety. Face-palming when Ghost Rider throws a villain under a moving car and says “roadkill” to himself or when pissing fire and laughing at the audience would be completely agreeable. The script goes even further into the bowels of hell with a cliche story, quickly turning from gothic action film to boring road trip, that moves increasingly slow throughout the second and third acts. The idea of the devil trying to force his body into a prepubescent boy is a stupid Exorcist style cliche to begin with. Not only do several plot twists throughout involving character consistency make no sense, but the final scene is forced to a point of throwing in one more cliché within the space of a minute.

“He’s scraping at the door. Scraping at the door! And if you don’t tell what I wanna know, I’m gonna let him out. And when he’s done with you, there won’t be anything left, you understand?” (Johnny Blaze/Ghost Rider (Nicholas Cage), Ghost Rider: Spirit of Vengeance).

Johnny Whitworth.

Mark Neveldine and Brian Taylor (The Crank Movies, Gamer) have taken  their schizophrenic but innovative visual style and focus on a character perfect for their film-making eye. Their interpretation of the incinerating motorcycle rider starts off promising; bringing tight editing, cinematography and gritty 2D animated origin sequences together with the thrill of the chase and a climactic score to create a somewhat entertaining first 25 minutes. But soon their crazy style conflicts with the boring script to become increasingly irritating and somewhat useless, creating the obviously uneven pacing and tone. Also descending in quality after the strong opening are the performances. Cage plays it too far over the top to become an impersonation of himself, particularly when trying to contain the Ghost Rider. While Hinds and Johnny Whitworth as Carrigan start off exuding charisma but soon turn into corny and ineffectual villainous caricatures. Putting out the fires somewhat is Elba. Still sporting the same contact lenses he had in Thor, his cool reserve and endless charm provide a notable performance, despite delivering a strange French/Caribbean accent.

Adding to Nicholas Cage’s disastrous run of critical and commercial slip-ups, Ghost Rider: Spirit of Vengeance doesn’t even pack enough Cohoes to be considered a guilty pleasure. Sadly, this fire fizzles out quick!

Verdict: A lifeless and pointless superhero sequel. 

John Carter Review – Kitsch’s Catastrophe


Director: Andrew Stanton

Writers: Andrew Stanton, Mark Andrews, Michael Chabon (screenplay), Edgar Rice Burroughs (novels)

Stars: Taylor Kitsch, Lynn Collins, Willem Dafoe, Mark Strong


Release date: March 9th, 2012

Distributor: Walt Disney Studios Motion Pictures

Country: USA

Running time: 132 minutes


 

2½/5

Best part: The Tharks.

Worst part: The cliched narrative.

The perfect way to describe this adaptation of the Barsoom series by Edgar Rice Burroughs is by comparing it to every classic action adventure film of its type. Charming yet tedious, John Carter is a sci-fi fantasy flick that will leave you underwhelmed, as great actors and a beautiful visual style are dragged through a slow pace and unoriginal script.

Taylor Kitsch.

The clichés begin with a young Rice Burroughs (Daryl Sabara) reading from the memoirs of civil war veteran and all around badass John Carter (Taylor Kitsch). Suddenly we are taken back to the end of the civil war, with Carter looking for lost treasure while trying to avoid both the cruel american forces and savage native american indians. Carter’s dangerous discoveries and run ins with the law of the land lead to his transportation from Earth (Jarsoom) to Mars (Barsoom). With the realisation of his new home comprising of warring factions not resembling any nationality on earth and a spiritual alien tribe, its up to Carter and feisty princess Dejah Thoris (Lynn Collins) to save the dying planet from the forces of evil, with their hearts skipping a beat for each other along the way.

Lynn Collins & Ciaran Hinds.

John Carter is Avatar, Star Wars and Dances with Wolves all rolled into one. The film wears its cliches and influences on its sleeve, without displaying an even vaguely imaginative sci-fi action fairytale simultaneously. Despite this series of books being written in the early 20th century, this film was clearly the result of box office successes such as Avatar and Disney’s Pirates of the Caribbean. Carter’s exploration of Mars is surprisingly dull due to the very simple quest our characters are placed in. Unlike Avatar, the film quickly loses focus and spends little time with its most unique characters. Whereas Avatar saw to the detailed exploration of a planet’s native inhabitants, The ‘Tharks’ in John Carter stand only for plot devices and comic relief. Unfortunately, the film focuses almost entirely on the warring Romanesque factions. Despite several clever moments of comedy, the human characters throughout are two dimensional at best while bland performances from British actors Ciaran Hinds and Dominic West prove costly for this already unenterprising adventure. Mark Strong is charismatic as the snarling, shape shifting Thern but suffers from a one dimensional character used specifically as a plot contrivance. This film proves that Hollywood’s fresh crop of young lead actors aren’t up to the task of carrying major Hollywood blockbusters.

“When I saw you, I believed it was a sign… that something new can come into this world.” (Tars Tarkas (Willem Dafoe), John Carter).

Mark Strong.

Kitsch and Collins are completely dull. Their thick accents and lack of expressions add to the tedium as they soon become uninteresting to watch. Their developing relationship also feels forced upon finding out Carter’s recently troubled past. This largely predictable quest and tale of love among the stars is not without its share of enjoyable moments. The technical aspects of the film reign supreme, especially when dealing with the alien characters. The Tharks are depicted as war ravaged and spiritually guided praying mantises. Their tusks, four arms and slender figures create a wonderful interpretation of the ancient Earth bound tribes from Africa to North America. While their strange body movements and reactions to  John Carter himself create many fascinating character interactions. Willem Dafoe, Samantha Morton and Thomas Haden Church provide their usual screen prowess in their motion capture turns as tribe members Tars Tarkis, Sola and Tal Hajus respectively. The setting of Mars is also used to full effect. The idea of undiscovered worlds carved into the bright red planet is expressed through giant mechanised cities, flying machines, scary creatures, gigantic battles and alien inhabitants sticking to the old ways; brought to life through impeccable special effects and sickeningly harsh desert landscapes.

John Carter, for all the bravado and good-will of its typical summer blockbuster vibe, can’t help but trip over its own two alien feet. Despite the epic scope and fine cast, the movie comes off like a slap-dash studio decision. Sadly, Avatar‘s shadow is still too big!

Verdict: A perfunctory and uninspired sci-fi blockbuster.

Project X Review – Frat Boy Farce


Director: Nima Nourizadeh

Writers: Matt Drake, Michael Bacall

Stars: Thomas Mann, Oliver Cooper, Jonathan Daniel Brown, Kirby Bliss Blanton


Release date: March 2nd, 2012

Distributor: Warner Bros. Pictures

Country: USA

Running time: 88 minutes


 

3½/5

Best part: The party.

Worst part: The unlikeable characters.

With the increasing popularity of found footage films hitting theatres, the movement is constantly having to spread into different genres to stay fresh. Recent hits Chronicle and now Project X have both successfully interpreted common genres through the exploration of the american teenager. Project X re-invents the frat boy comedy through fun yet shocking almost apocalyptic events.

Thomas Mann, Oliver Cooper & Jonathan Daniel Brown.

With a similar set up to the 2007 cult hit Superbad, we are introduced to three horny, unpopular teenage boys all desperately wanting the life of boozing, drugs and girls so many of their classmates already have. Thomas (Thomas Mann) is forced by his obnoxious friends Costa (Oliver Cooper) and JB (Jonathan Daniel Brown) to throw a huge party for his 17th birthday. With his parents conveniently out of town for the weekend, what should’ve been a small get together soon spirals out of control as their insane desire for popularity and girls leads them into several preposterous situations.

Alexis Knapp.

Catering specifically towards the teenage audience definitely works for this film. It cuts all the crap as rules and curfews are replaced with one insatiable temptation after another. A bevy of topless chicks, drunken debauchery, drugs and even a large bouncy castle are on display, creating the perfect image of an insanely fun shindig. First time director Nima Nourizadeh does a surprisingly impressive job with keeping a tight leash on this documentation of american house parties. One montage after another, accompanied by one hell of a Rap and Hip Hop soundtrack, creates the slow motion turn on for any teenage boy. Bouncing bodies, destruction and instant popularity for geeky teenagers take up every hand held frame. This comes as no surprise from producer Todd Phillips as his directorial efforts (The Hangover films, Old School) illustrate exactly how to party. Every scene of this film is a reminder of the photo montages at the end of The Hangover films as we see what could have happened on both those nights. With the consequences of this off the wall gathering ready to kick in at any moment, the anticipation of what will set it of and where it will go, constantly builds; leading of course to one over the top and destructive plot twist after another. The cinema verite style strives to realistically document the ultimate night for an american public school teen.

“I’m gonna go have a long cry, and then start calling some lawyers.” (Costa (Oliver Cooper), Project X).

The host’s dog.

Though uncontrolled and unfocused at points, the characters behind the cameras manage to stay away from temptation and effectively capture everything going right and wrong for our three dweeby main characters. The hand held style does however feel unbelievable at points. Despite crediting Warner Bros. for the different sources of footage (an over used gimmick in itself), the constant slow motion montages and underwater effects distract from this so called ‘realistic’ version of event documentation. This celebration of bad behaviour owes many of its predictable plot lines and unrealistic characters to comedies such as Superbad and American Pie, with many of its themes of rebellion and positive new experiences paying homage to the Richard Linklater cult classic Dazed and Confused. The three main characters are completely unrealistic. Their views on girls and even each other rings true with Superbad, yet the chemistry between them never reaches the peaks met by the Judd Apatow produced comedy. Costa, remarkably looking like a cross between Jonah Hill and Shia LeBeouf, never shuts up. His sexist attitude towards women pushes it over the edge, while never delivering a feeling of growth for his character throughout the course of events. Thomas and JB however are nondescript to a point of coming off as stupid for following through with every one of Costa’s outrageous plans.

While already outraging many and probably influencing others, The main star of Project X is the party. Even the most cynical part of you will be shocked by how far events go. Vulgar, cruel and hilarious all at the same time, the stuck up critic in everyone will be thrown away at the sight of a midget being shoved in an oven or a neighbour being tasered by a small security guard.

Verdict: An outrageous and stylistic party flick.