Michael Caine in The Muppet Christmas Carol

The Muppet Christmas Carol is an entertaining version of the story although obviously it helps if you're a fan of the Muppets to begin with.


Michael Caine plays Ebenezer Scrooge, a role played by many actors before and since, but this is an especially notable take on the character because it's the only one that's surrounded by Muppets.


The first thing that must be noted about Caine's performance here is that despite the fact that he's acting against Muppets, he takes it completely seriously. He treats the Muppets as if they were living, breathing human beings and that is the exact right approach to take. By doing this, Caine grounds the film considerably so that it's not just a bunch of wacky Muppet comedy (although there's still plenty of that to go around, to be sure).

Caine's first scene is interesting to watch as we're not given a look at his face right away. Instead, we only see him from the shoulders down as he walks through the streets and the Muppets sing about what a horrble man Scrooge is. Caine's work shouldn't be taken for granted here as his stride is one of a man who means business and lends credence to the song's lyrics. At the song's end, Caine turns and utters the immortal Scrooge line "Humbug." Caine brings a very real sharpness in his delivery and you absolutely believe he'd be able to clear a street full of people just by snarling at them.

We are then introduced to Scrooge's treatment of his employees, especially poor Bob Cratchit, who in this version is Kermit the Frog. Caine actually brings a good deal of humour to the part through just how straight he plays it, considering once again that he's acting against Muppets.

The most notable thing though isn't simply that Caine keeps a straight face, it's that he actually manages to create a full character here, despite being quite limited by the style and length of the  There are very few scenes that actually linger on Scrooge being a cold, heartless man, but it's enough for Caine to show us this side of him.

The real meat of this performance starts when he's visited by his former business partners Marley and Marley. Caine is terrific in this scene as he sells the very real fear Scrooge is feeling as he's confronted by his very dead business partners. The news of being visited by three spirits is once again handled in a song, but the effect it has on Scrooge is made clear because of Caine's reaction.

The Ghost of Christmas Past sequence is probably one of the weaker scenes in the film, but this no fault of Caine's performance. In fact, the moment where he remembers is lost love is made exceptionally moving due to the fact that Caine portrays it as though Scrooge can't bear to remember this particular moment.

The entire Ghost of Christmas Present sequence is a wonderful showcase for Caine as he shows how what Scrooge has seen has already changed him to some extent. When the Muppets start singing a song of Christmas cheer, Caine joins in by dancing. It's a wonderful moment as Caine shows Scrooge briefly enjoying himself for the first time in a while.  This is shattered by when he sees Tiny Tim. Caine is very moving here as he shows a genuine concern for Timy Tim's well-being.

One of Caine's very best moments comes when he discovers that he's the awful man who is hated after his death. Caine makes Scrooge's pleading that of a man who is completely desperate to be saved, and Caine makes this a very affecting moment in just how genuine he is.

The absolute best part of Caine's performance though is the end of the film, where Scrooge sings "A Thankful Heart". Caine is far from a great singer, but that's so unimportant here as he is almost impossibly charming. Caine is absolutely wonderful here as he sings about how his heart is filled with joy, and how he'll always be good from now on.

Now, due to the nature of this film, the transformation of Scrooge is extremely rushed, in fact most of the screentime actually goes to the two Muppets who are telling the story. This doesn't hinder Michael Caine at all though, as he gives a complete portrait of Ebenezer Scrooge even with the limitations put upon him by the film. I will say this is not my absolute favourite take on Scrooge, but it is a great one.

4.5/5

Alicia Vikander in Ex Machina

Ex Machina is a fascinating film about a computer programmer (Domhnall Gleeson) who is selected for an experiment by the CEO of his company.

Now, once again, I have to mention that this review will contain *SPOILERS*.



The experiment Caleb has been selected for is to test an A.I. that the company's CEO, Nathan (Oscar Isaac) has built. Alicia Vikander plays said A.I., named Ava. From Ava's first scene, Vikander makes a strong impression. It is extremely remarkable how she is able to make Ava seem authentically robotic with just the right touch of "humanity". It's an incredibly difficult combination, but Vikander does it flawlessly, to the point that you never doubt that she is this highly intelligent A.I.

I have to admit, I found myself completely transfixed by this performance from the very beginning. Vikander brings such a mysterious quality to Ava that you can't help but fascinated by her. This is an essential element of the film, as the audience becomes just as intrigued by Ava as Caleb does.

As the film goes on, Caleb begins to grow attached to Ava. Vikander strikes up a very interesting chemistry with Dohmnall Gleeson as she shows Ava to be trying to flirt with Caleb in an odd way. The fact that Ava has been programmed to have sexuality is a major plot element, and Vikander delivers in this area exceptionally. She makes Ava so powerfully and mysteriously seductive that you never have a moment's doubt that Caleb would be attracted to her.

The relationship between Ava and Caleb is really what most of the film centers on (or seemingly. More on that later...) What's truly remarkable is that it appears the two have almost sort of fallen in love.  There's an excellent scene where Ava dresses up as a human being and describes the kind of date she wishes to go on with Caleb. The brilliant thing, is that Vikander shows it to almost be genuine, but with a definite falseness, although not entirely because of the reason you'd think.

Eventually, after seeing Nathan's behaviour towards things, he decides to help Ava escape from the compound. It turns out, however, that Ava had been manipulating both Nathan and Caleb the entire time, for her own benefit. The scene where she escapes the compound by brutally murdering Nathan is made absolutely chilling by Vikander in just how cold and, dare I say, mechanical it is.

The final scenes of the film are basically silent as Ava remakes herself to look exactly like a human woman. Vikander is absolutely masterful here as she wordlessly transforms herself. Her look in the mirror is haunting as there is no longer any real hint of the fact that she is a robot, but appears to be just another human being in a sea of many.

Alicia Vikander manages to make the core idea of the story, that an A.I. can be so advanced as to be virtually indistinguishable from a human, come completely to life through her mesmerizing and truly flawless work.

Rating: 5/5

John Goodman in 10 Cloverfield Lane

10 Cloverfield Lane is a very effective thriller about a woman named Michelle (Mary Elizabeth Winstead) who wakes up after a car crash in the bunker of a survivalist (Goodman), who is convinced that some kind of attack has happened outside.


Before I begin I will mention that this review will have *SPOILERS* because it's kind of hard to talk about this performance or the film in general without getting into some of the twists.

John Goodman plays the survivalist Howard, and right from his first appearance it's clear that there's something off about him. Howard introduces himself to Michelle, who is he has handcuffed to a bed in a barren room. He attempts to explain that there's been an attack and that he saved her life. Goodman is terrific in this scene in that although it seems his intentions are good, there's something about the way Goodman carries himself that suggests something deeply unsettling about Howard. This is further explored when goes to berate the other "survivor" in his bunker, Emmett (John Gallagher Jr.). Goodman is offscreen for this moment, but it's clear in this instance that Howard is not one who suffers fools gladly.

There is a constant air of dread throughout the entire film, and a good deal of that comes from Goodman's performance. I have to admit I was rather amazed by Goodman's ability to be so unnerving just through his manner here, as every glance and every word seems to have some menace behind it. A great example of this comes in the fantastic scene where Howard, Michelle and Emmett are having dinner together, and Emmett, in an attempt to ease the tension, begins to make jokes about their current situation. This is an incredible scene for Goodman as he very quietly shows an anger building in Howard. When Emmett cracks one joke too many, Goodman is great as he very harshly tells him to shut up so they can eat in peace. Emmett and Michelle then start to make more small talk and Goodman is extremely unnerving as he eyes them so carefully. When Michelle does something Howard does not approve of, he explodes in a fit of anger. Goodman is absolutely terrifying here as he makes Howard's anger so palpable that  you're unsure of what he will do.  That's one of the keys to Goodman's performance here, is just how unpredictable he makes Howard's behaviour.

It's not all menace with Goodman, though. There are a few scenes where he shows Howard in a slightly more laid back light. The masterstroke of Goodman's performance here is that no matter how calm or friendly Howard may seem, you can see in his eyes that he's a ticking time bomb just waiting to be set off.

A very interesting aspect of this performance is Howard's relationship with Michelle. As it turns out, Howard is for all intents and purposes grooming her to be his daughter. Goodman is exceptional in this regard, showing that Howard is so desperate to have a daughter that he goes way beyond overboard. There is an absolutely amazing scene where the three characters are playing a guessing where the answer is "little women" and Howard is physically unable to refer to Michelle as anything other than "girl", "child" or "princess". This is extremely unsettling just in how much trouble Howard has in seeing Michelle as a grown woman. This leads to an astonishing moment where Howard, in trying to get Michelle and Emmett to guess who he is, where he tells them that he's always watching and knows what they're doing at all times. The intensity Goodman has in this scene is almost unbearable.

Now, the climax of the film kinda lets Goodman's performance down a bit, as it basically makes him a standard slasher movie villain, whereas he was far more complex beforehand. This doesn't hurt the rest of Goodman's performance at all, but it did feel wrong to have the character end on that note.

This is absolutely brilliant work by John Goodman, as he manages to be so purely unnerving from beginning to end, even through the smallest of gestures. It's a fascinating performance, and one that I loved pretty much every second of.

Rating: 5/5

Adam Driver in Star Wars: The Force Awakens

Adam Driver plays the main villain of The Force Awakens, Kylo Ren, and as with Harrison Ford's review, there will be spoilers.

Kylo Ren comes into the film dressed all in black with a flowing robe, a dark mask-helmet thing, and a deep modified voice. In these early scenes you'd be forgiven for thinking he's just a Darth Vader knock-off. But don't be fooled.

Driver takes a very particular approach in the early scenes in that he does convey a significant presence but in a much different way than Darth Vader. Vader had the bearing of David Prowse and the voice of James Earl Jones, Kylo Ren has neither. The way Driver moves and talks is very interesting in that it seems like Kylo Ren is actively trying to behave like Darth Vader, rather than be his own type of villain. This is very intentional on Driver's part, and it will eventually become clear why.

One of the first indications of what type of character Kylo Ren is exactly is when he's informed of a failed plan and goes into a rage, destroying some computer equipment with his lightsaber. This scene shows that Kylo Ren is clearly emotionally unstable, at least to some degree.

As the film goes on, it's revealed that Kylo Ren is actually Ben Solo, the son of Han Solo (Harrison Ford) and Leia (Carrie Fisher), thus making him the grandson of Darth Vader. This is shown explicitly in a fantastic scene where Kylo Ren prays to the charred remains of Darth Vader to give him strength to fight off the light side of the force. Driver is excellent in this scene as he shows almost a desperation in Kylo Ren to erase every part of good in him.

A pivotal scene for Driver comes when Kylo Ren has Rey (Daisley Ridley) captured and is trying to get information out of her. This is the first time we see Kylo Ren unmasked, and it's a terrific moment. As soon as the helmet comes off, we Driver's face for the first time and it is the face not of a monstrous titan, but of a confused young man. Driver is terrific in this scene in that he seems to almost plead with Rey to give him her secrets, showing again almost a desperation.

Now, all of Driver's scenes up to this point are great, but there is one that stands out above the rest, and it is of course the scene between Kylo Ren and Han Solo. I already talked about Harrison Ford's great performance in this scene, and Driver matches him every step of the way.

Driver starts out showing Ben's supreme anger at Han Solo. As Han tries to reach his son, Driver is exceptional in that it seems like it may be working. Driver is actually pretty heartbreaking in showing just how conflicted Ben is with himself, although not in the way it seems at first. The truth is, Ben is being tormented by the goodness that remains in him, and he feels that Han Solo is the reason it's there. So to rid himself of whatever light may be left, Ben kills his father. This is a completely astounding moment for Driver, as he shows that by killing his father, Kylo Ren has finally freed himself from any light that may have been left within him. I should also quickly mention how amazing it is that in this one scene, Driver and Ford completely manage to show the entire history of their relationship.

This is a very interesting and extremely clever performance by Adam Driver, as he portrays Kylo Ren not as a ruthless monster, but rather a confused and angry young man.

Rating: 4.5/5

Harrison Ford in Star Wars: The Force Awakens

The Force Awakens is a wonderful addition to the Star Wars saga. It technically may be a little too reminiscent of the original film, but I don't really care because I thoroughly enjoy every second of it.





Harrison Ford of course returns as Han Solo, and I must say right off bat that there will be spoilers in this review, although you really should have seen the movie by this point.

Ford first appears in the film as he stumbles upon Fin (John Boyega) and Rey (Daisy Ridley) hiding away in the Millennium Falcon. This is a fantastic scene as Ford burst on the scene poised like the action hero we know Han Solo to be. His immortal delivery of the line "Chewie, we're home" is absolutely wonderful as he lets the audience feel the same nostalgic joy that Han is feeling in that moment. After this, he discovers Fin and Rey hiding out and he becomes the Han Solo we remember from the previous films. Ford is exceptional in this regard as he seems so comfortable to the point that that you almost forget that he hasn't played this part in several decades.

Now I must say, as with his previous portrayals of Han Solo (my favourite Star Wars character, for the record) Ford is just an absolute blast to watch here. He is basically charisma incarnate as he is so charming while at the same time being, frankly, a snarky wise-ass. This aspect is the same as the previous film, but I find it especially enjoyable here.

There's more to his performance than just that though, as we must not forget that is an older, wiser Han Solo. In effect, Han plays the role of mentor to Fin and Rey, much in the same way that Ob-Wan was the mentor to Luke. Ford is excellent in this aspect because  he doesn't betray the character of Han, in fact he portrays him exactly how you'd imagine him as a mentor. Ford presents sort of an outward reluctance and annoyance in his role as mentor, but it's made clear through mostly brief moments, that this is only on the outside. One of my favourite moments of Ford's performance is when he tells Fin and Rey that all the stories they've been told are true. Ford in this one scene shows just how much the previous films have changed him. Where he was once a man who believed that "hokey religions and ancient weapons are no match for a good blaster by your side", he is now freely willing to admit that "it's true. All of it."

Some of Ford's best scenes are his interactions with his wife Leia (Carrie Fisher, of course). Ford is brilliant in these scenes as he shows the entire history of their relationship since Jedi through just the way he interacts with her.

Here's where the spoilers begin. It's revealed that the main villain of the film, Kylo Ren (Adam Driver) is in fact Han and Leia's son Ben. Anytime Han and Leia discuss their son, Ford is incredible in that he shows a deep love for his son and at the same time a deep regret that he couldn't keep him from turning to the dark side. This all leads to what is perhaps the best scene in the film.

The scene I'm referring to is of course when Han finally confronts his son. Ford and Driver actually only share this one scene in the entire film, but that's all that's needed. Ford is absolutely amazing throughout this entire scene as Han tries one last time to reach through to his son. Ford is heartbreaking as he shows that even though it's probably a lost cause, Han still has hope that some good remains in his son. This is of course shattered when Ben murders Han. Ford's reaction here is absolutely flawless in that more than any physical pain he's feeling, he shows that Han is heartbroken that he could not save his son.

This is an absolutely fantastic performance from Harrison Ford as he's not only the Han Solo we know and love from the previous films, he manages to go further than that and give a complete portrait of this man who's gone through so much. After so many years of phoning it in, it's so good to see that Ford still has it in him to give a great performance.

Rating: 5/5

Jason Bateman in The Gift

The Gift is an extremely effective thriller about a married couple Simon (Bateman) and Robyn (Rebecca Hall) who are frequently visited by Gordo (Joel Edgerton), someone from Simon's past.


Jason Bateman is best known for comedy, in particular his absolutely hilarious work on Arrested Development. That is not the case here, though, as The Gift is not a comedy by any stretch of the imagination. The early set up of this character is fairly simple. Simon and his wife are moving into a new home, and everything seems fairly normal. Until he has a run-in with Gordo, who he knew in high school. Bateman is terrific in this scene, as at first he tries to carry on a conversation with a man he has no recollection of. When Simon remembers Gordo, it's a great moment as Bateman portrays it almost a reluctance to keep talking to him.

After this scene, it's clear that there's some kind of history between them, but it's not yet clear what. It becomes slightly clearer when Gordo has dinner with Simon and Robyn. Bateman is fascinating in this scene, in that he shows Simon trying to be just a good host, but is increasingly irritated by Gordo's stories about Simon. When Simon turns the tables and asks Gordo about his life, Bateman portrays a very strong harshness as if he doesn't want to dwell on his own past.  This is the first indication that something not so great happened between the two.

One of the first full indications of who Simon really is is when he and Robyn are invited to Gordo's house for dinner. After Gordo leaves abruptly, he leaves Simon and Robyn there alone. This is a fantastic scene for Bateman as Simon starts to mock Gordo about wanting to sleep with Robyn. Bateman is terrific in this scene as he shows a complete venom coming from Simon, and his mocking of Gordo becomes quite frankly childish.

After this scene, Simon cuts off ties with Gordo, and this is where the crux of Bateman's performance lies. Bateman portrays Simon as a very close-minded jerk of a person, who wants nothing at all to do with Gordo, despite his wife being very convinced that Gordo is harmless. Bateman flawlessly portrays the stubbornness in Simon as he acts as if he has achieved the moral high ground, although he did this through questionable means.

A great scene for Bateman comes when Robyn passes out due to taking pills. Bateman is extremely effective in the scene where Simon confronts Robyn at first seeming genuinely concerned for her well-being but perhaps being a bit too forceful about it, to the point where he won't even let Robyn speak.

I have to mention quickly that there's gonna be *SPOILERS* from here on out, because I have to talk about certain plot elements that are essential to Bateman's performance. The truth is revealed that Simon bullied Gordo in high school, starting a rumour that essentially ruined Gordo's life. The scene where Robyn confronts Simon about his behaviour, Bateman is absolutely brilliant in revealing just how much of a bully he really was, and still is, as Simon angrily spouts on about how nothing is his fault, and how Gordo needs to move on with his life. Bateman is actually quite hard to watch here, as he so realistically portrays this kind of bully.

Another exceptional scene comes when he goes to apologize to Gordo. Bateman at first offers a semi-genuine apology, although there is the hint that Simon's just doing this for himself more than anything. When Gordo refuses to accept Simon's apology, Bateman is brilliant as he suddenly turns into a schoolyard bully once again and starts attacking Gordo for simply not accepting his apology. Once again, it's very difficult to watch Bateman here, as he is almost too real.

This all leads to the climax of the film, where Gordo sends Simon one final gift, a video tape suggesting he may have done something horrible to get back at Simon. Bateman is quite frankly astonishing in this scene, as he shows how completely destroyed Simon is by the footage on the tape. What's especially amazing here is that Bateman manages to be heartbreaking despite the fact that we've seen just how terrible of a person Simon is.

Jason Bateman gives an absolutely amazing performance here, by being so painfully realistic in his portrayal of a bully, but also managing to be very moving in showing how this man's life has been destroyed by his actions.

Rating: 5/5