Duplicity ****½

Coming just three weeks after action thriller The International, Duplicity once again sees Clive Owen on the cinema screen. This time, however, he takes second billing to Julia Roberts in their first on screen pairing since appearing together in 2005’s Closer. This film also showcases Roberts’ first out and out leading role in five years. With such a terrific duo of actors in the leading roles and the presence of writer/director Tony Gilroy, the man behind 2007’s critically acclaimed award winning Michael Clayton and writer of all three Bourne movies, at the helm this film certainly has the credentials that promise something quite special, and this is exactly what the film delivers.

Ray Koval (Clive Owen) is a former MI6 agent and Claire Stenwick (Julia Roberts) is a former CIA agent. Now they both work privately in the world of corporate espionage, finding themselves in a war between two corporate giants headed by bitter rivals Howard Tully (Tom Wilkinson) and Richard Garsik (Paul Giamatti). Both are working for Garsik but Claire is working as mole on the inside of Tully’s organisation. Tully has just announced a new miracle product that will complete revolutionise his company, and Garsik is determined to get his hands on it at any cost. However, he didn’t count on a past romantic history between Ray and Claire and the fact that they are planning to pull a con of their own. However, in the world of corporate espionage nothing is ever as it seems so what is really going on and who can really be trusted?

One part corporate espionage thriller, one part romance, Duplicity is a film that effectively and slickly combines the two genres to produce something that really stands out from the crowd, with virtually everything about it being pitch perfect. Tony Gilroy’s work on the film is excellent in all aspects, with his script providing a plot that is constantly clever, interesting and engaging, and extremely sharp dialogue that the film’s actors deliver with great aplomb. The dialogue is a particular strong point, with Gilroy using it in such a way as to give the film make the film seem sexy without us ever seeing anything and without the film losing any of its class. Here, mere words count for far more than anything more explicit ever would. Gilroy has also created one of the very few films that actually has genuinely surprising and cleverly executed plot twists that really do come as a shock when they are finally revealed. The presentation of the film works particularly well in this regard, with the flashback sequences being used very effectively as part of the main plot to show not only the back-story of the two main characters but also illustrate all the intricacies of what is going on. This is essential considering how complex the storyline is, and while some may have a degree of difficulty following it all, observant viewers will find it perfectly compelling. Gilroy’s direction is also excellent with everything from cinematography to editing being of a high standard. Particularly of note is his use of split screen (which can be a very poor technique if not used properly) is both stylish and effective and really works in every instance. Gilroy also gets excellent performances from his entire cast. Clive Owen is perfectly suave and sophisticated while Julia Roberts is spot on class, and the two share a sizzling on-screen chemistry that is both convincing and thoroughly entertaining. There are also great performances from the always excellent Paul Giamatti and Tom Wilkinson as the two rival corporate bosses, although sadly they don’t get much screen time together, except for the well executed opening credits sequence involving a showdown between them. Overall, Duplicity is a slickly made film that works on virtually every level, working well as an engaging thriller and also being extremely enjoyable as a piece of entertainment. It is also one of the most ingenious films seen in a long while and makes for a must see piece of cinema.

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Paul Blart: Mall Cop ***

A huge surprise box office smash success in the states, Paul Blart: Mall Cop is a film that has repeatedly defied expectations since its release there, with the Kevin James vehicle becoming one of the most successful comedies in quite a while, actually outperforming the recent efforts of such Hollywood comedy royalty as Adam Sandler (whose production company Happy Madison produced this film), Jim Carrey, Seth Rogen and Will Ferrell, not to mention countless others. So, why has this film been so successful? After all, it is hardly one of the most original or distinctive comedies to be put onto celluloid. This question has a very simple answer. The film is fun. This is pretty much all there is to it. In a time when many people are in serious need of some cheering up, cheer is something that this film has in spades.

Paul Blart (Kevin James) is a mild-mannered security guard working at a mall who takes his job very seriously and for years has been attempting to become a cop. However, every time he applies he fails the physical exam. He is also very lonely with his wife having walked out on him and the only two people in his life being his mother (Shirley Knight) and his daughter Maya (Raini Rodriguez). However, he is developing a bond with Amy (Jayma Mays), a girl who works at the mall. When the mall is overrun by an organized group of criminals, Paul finds himself being the only person who can stop them and rescue the hostages they have taken, Amy being one of them. With an overwhelming sense of duty and a desire to save Amy, he steps up to the challenge and unleashes the hero within, utilizing all his knowledge of the mall, taking on the criminals one by one. With the police outside powerless Paul is on his own and he gets the opportunity to show what he is really capable of and to win the girl.

The main reason that Paul Blart: Mall Cop works is in the casting of its lead role. Kevin James (who also co-wrote and produced the film) is excellent as Paul Blart, finally moving up from supporting roles in films like Hitch and I Now Pronounce You Chuck & Larry to leading man. His portrayal of the character makes for a performance that is not only extremely amusing and very likable but also very sympathetic, making it easy for us to empathise with his situation. James has a genuine talent for comedy and he alone makes this film worth seeing. He is also ably backed up by a strong supporting cast with Jayma Mays standing out with a sweet and charming performance as the romantic interest of the piece. There is a lot to enjoy in the film’s humour with some of the potential scenarios of a mall setting being exploited to great comic effect, but unfortunately the film is a bit too lacking in really big laugh out loud moments. As it is the film is extremely enjoyable but with some more belly laughs it could also have been quite memorable too. The storyline is very predictable also and there is not much to speak of in terms of the dialogue, but these are not really much of a problem, given that this film is only really intended to be a fun piece of popcorn entertainment and nothing more substantial. Ultimately, if you are looking for the next great Hollywood comedy, this will not be for you. The film fails to excel in any area but accomplishes what it sets out to do effectively, thus if you are looking for a fun way to spend an hour and a half and forget about your troubles, Paul Blart: Mall Cop is one film that you will love.

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Lesbian Vampire Killers NO STARS

Following the success of their award winning (to the bemusement of this critic) TV series Gavin and Stacey new comedy actors on the block James Corden and Mathew Horne have gone from being relatively unknown television stars to being comic superstars. Now, like Simon Pegg and Nick Frost before them, they have broken out into the medium of cinema, with their horror comedy Lesbian Vampire Killers. A sort of spoof of cheesy 70s horror flicks (something that the marketing has played on heavily), Corden and Horne are clearly hoping for a success to rival that of Pegg and Frost’s Shaun Of The Dead. However, the result couldn’t be much further away from that comedy classic.

When Jimmy (Mathew Horne) is dumped by his girlfriend and his best mate Fletch (James Corden) loses his job, they decide that the best way to forget about their troubles is to go away on holiday. However, both are skint, so their only option is to go hiking. Heading to an extremely remote and isolated village they get more than they bargained for when they come across a group of young European students who are there on a field trip. That’s not all, though, as they soon discover the village is under a curse that was placed long ago by vampire queen Camilla that turns all its girls into lesbian vampires when they turn 18, and it just happens that Jimmy may be the only one who can bring an end to the curse. Thus, with assistance from the village Vicar (Paul McGann) and one of the students named Lotte (MyAnna Buring), Jimmy and Fletch finds themselves forced to become reluctant heroes and save the world from the threat of the lesbian vampires.

I never thought I would see the day when I would deride a major film enough to give it no stars whatsoever, but that day has come with the release of Lesbian Vampire Killers. Quite why James Corden and Mathew Horne are so popular is beyond me, as there is nothing in this film that suggests that either has any discernible talent as actors or comedians. The only thing bigger than James Corden’s lack of talent is his ego which seems to make him believe that he is actually funny when there is absolutely nothing remotely funny about anything he says or does. He is just irritating, something which he should not be applauded for. Mathew Horne is slightly less so but this merely means that he isn’t as brash or as crude, not that he is any better and actor or any funnier a comedian. The rest of the cast don’t fare much better with even Paul McGann unable to salvage this travesty of a movie. Whoever actually thought that this film was a good idea – Corden and Horne apparently – is someone who has no concept what good comedy is, with the film failing to be even remotely funny or even scary come to think of it, a major problem for a horror comedy. The concept would barely have made for a decent sketch and there is certainly no justification in it being made as a full length movie, and even with the short running time the film is a drag to sit through. A disaster of a script doesn’t help matters, delivering a weak storyline and lousy dialogue and failing to produce a single decent comic scenario, and the film fails in pretty every other area too, including effects, which are just cheap looking, editing and cinematography. To put it simply this is a film with absolutely nothing to recommend it, the kind of which hardly ever gets made. And absolutely abysmal film, Lesbian Vampire Killers is a lock for the worst film of 2009 and ranks quite highly in this critic’s worst films of all time. The only thing that is funny about it is how unfunny it is and the only thing shocking is that it ever got made. Don’t’ waste your time on this. Instead just re-watch Shaun Of The Dead, a film that shows how a British horror comedy should be done.

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Reviews by Robert Mann BA (Hons)

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