THE MEN WHO STARE AT GOATS **** JENNIFER’S BODY ***
Dir: Grant Heslov (15, 90 mins) Dir: Karyn Kusama (15, 102 mins)
George Clooney and a host of cohorts use British journalist Jon Ronson’s scarily Megan Fox has hardly troubled the world of serious thespianism as yet. Her arm
funny collection of essays as a springboard for this inspired ‘true’ story about candy roles in the Transformers films required nothing more than bending over
psychic soldiers: Jedi knights for the military. Ewan McGregor stars as journo Bob in shorts and being sweaty. Jennifer’s Body at least plays on this fanciable female
Wilton who believes he has stumbled on a brilliant story in the shape of George image and, while hardly a stretch, this occasionally feminist horror comedy proves
Clooney’s Lyn Cassady. Clooney is on terrific form as the finest member of the there is slightly more to Fox. Written by Oscar-winning Juno scribe and ex-strip-
First Earth Battalion, a group funded by the US government to combat enemies ping headline-grabber Diablo Cody, Jennifer’s Body casts Fox as a superbitch
using New Age techniques. This group was trained to walk through walls, see the man-eating cheerleader who, following a Satanic ritual with a misguided wannabe
future and use their minds to defeat enemies non-violently. Clooney finds himself rock band, becomes a real man-eating cheerleader. Best friend Amanda Seyfreid
commissioned for a secret mission and McGregor accompanies him, with hilarious notices that Fox is going through some ‘changes’ – eating boys’ intestines and
results. Director Grant Heslov shepherds a wonderful cast through a series of the like – and attempts to stop her before it’s too late. All types of boy get their
bumbling misadventures and comic interludes that ultimately adds up to very comeuppance, the jock and the nerd, and the script, peppered with idiosyncratic
little, but is great fun while it lasts. The idea of a military group into non-violence teen-speak, is smart and knowing. Clearly taking inspiration from 70s slasher
is a charming one and, although there are some satirical sideswipes, it’s the sur- movies, director Karyn Kusama does not horrify as much as she thinks; there is
realism and hilarity that win through. Opens Nov 6 no real bite amidst the gore and sarcasm. It’s a puberty metaphor and a diatribe
against the pretty manipulators lurking in most schools, with saucy moments that
will please fans of the Fox. But it’s no Heathers or Shaun Of The Dead, and seems
more pleased with itself than it should be. Opens Nov 6
A CHRISTMAS CAROL *** THE INFORMANT! **** THE WHITE RIBBON ****
Dir: Robert Zemeckis (PG, 100 mins) Dir: Steven Soderbergh (12A, 108 mins) Dir: Michael Haneke (15, 145 mins)
Charles Dickens’ A Christmas Carol is a fantastic story Matt Damon reveals his comedy chops in this latest Michael Haneke’s Cannes award-winner is not for the
familiar to any Yuletide celebrator, and it’s well trodden agreeable effort from Steven Soderbergh. Based on a faint hearted. No stranger to controversy, the Austrian
territory for film makers. Alastair Sim made a fantastic true story, Damon plays Mark Whitacre, a high-ranking director’s previous films Funny Games, its American re-
Scrooge, but my hat goes off to the Muppets and Michael executive who becomes a whistleblower on corporate make and Hidden are gripping but uncomfortable medita-
Caine for their musical version. Now Robert Zemeckis, fraud. Only trouble is, he’s a fraudster himself. When the tions on violence. The White Ribbon is no exception, shot
director of The Polar Express and Beowulf, has set his FBI exposes the multinational company he works for as in stunningly bleak black and white, and with an equally
motion capture CGI sights on updating this classic, with guilty of industrial espionage, Whitacre offers to become grim view of humanity. In rural Germany in 1913, a small
Jim Carrey playing Scrooge and all the ghosts – festive their informant and expose the company to global price agricultural community suffers a series of unsettling
alarm bells are ringing. It’s very hard to mess this story fixing, wearing a wire to help prove it. He manages to events, and a cycle of violence begins that gains in feroc-
up, and no doubt Zemeckis will work some gobsmacking string the FBI along with this whilst also embezzling ity as the First World War approaches. Wonderfully acted
IMAX friendly magic into the proceedings – a sequence some $9 million himself. A human contradiction, Damon and brilliantly realised, The White Ribbon is hypnotic. Its
where Scrooge is shrunk to the size of a mouse and goes plays Whitacre as an inept spy, clueless yet cunning, emotional violence is relentless, as a whodunit eventually
on an icicle-filled toboggan run being a case in point. Car- who brings down the company and also himself. Director emerges amidst the sharply drawn characters. Haneke
rey, however, remains problematic casting; let’s hope his Soderbergh keeps the almost unbelievable events true, crafts an absorbing snapshot of German history, hinting
glib grandstanding improv does not make it into the final Scott Bakula is fab as a trusting FBI agent, and a chubby at the outbreaks of fascism that were to tragically follow.
cut, or it really will be a case of Bah Humbug. Damon maintains the enigma at the heart of Whitacre. Not an easy watch, but a rewarding one. Opens Nov 13
Opens Nov 6 Diverting and entertaining. Opens Nov 20
Stephen Poliakoff writes and directs a taut thriller set on the eve of World War II starring a host of Brit thesps including ex-Dr Who David Tennant. THE FIRST DAY OF THE REST OF YOUR LIFE (12A) Sprawling
French family drama set over five days. Great performances? Bien sur! NINJA ASSASSIN (18) He’s a ninja, he’s an assassin, he’s a ninja assassin! Plenty of gory martial arts action in this fight-fest from action guru
Joel Silver. LAW ABIDING CITIZEN (15) Jamie Foxx and Gerard Butler face off in this ho-hum thriller about a grieving father out for justice and taking the law into his own hands. Familiar and formulaic.
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