Big Hero 6 (Don Hall and Chris Williams, 2014)

As the first Disney-animated motion picture based on Marvel IP, Big Hero 6 was always going to be carefully scrutinised by both extremes of the target audience. At one end you have the die-hard Marvel comics fans, keen to see their beloved heroes done justice on the big screen. At the other end you’ve got fans of Walt Disney Studios, worried that hot on the heels of Frozen, Tangled and Princess and the Frog, Big Hero 6 might not be for them [1].

For the uninitiated (you mean you never read the comics!?), the story focuses on 12-year-old parentless robotics genius Hiro, who is being looked after by his aunt, along with his older brother and sort-of-guardian Tadashi, who also studies robotics at the local university. When further tragedy strikes through the death of his brother, he is left to pick up the pieces with the help of his brother’s greatest work – healthcare-robot Baymax. Banding together with Tadashi’s fellow student friends, Hiro goes on an adventure of vengeance and self-development as he finds taking matters into your own hands can lead to some shocking revelations.

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So the first thing to clarify is that the Big Hero 6 comics were never very popular. Very few people had heard of them before the film was announced, sparking a huge clamber across the internet to find the comics, read them, then form an opinion on why Disney was going to ruin them. They weren’t completely unknown, but they were nowhere near as popular as, say, Spider-man or X-Men. It was interesting to see the negative reaction the series got when it was announced. It’s amazing how many experts on everything we see now that people can form their arguments in one window whilst Google is open in another. I was one of the people who bought post-announcement – I managed to pick up all five of the 2008 comics and I read straight away (the original three-part series was by then already prohibitively expensive, much like the five-parter is now). They were obviously aimed at children, but were reasonably fun and easy to read. I thought they were a good choice for Disney to tackle, with plenty of characters and merchandising opportunities.

Secondly, I don’t know if you’ve seen any of the recent Marvel Animation films, but they are by-and-large terrible. I picked up the Ultimate Avengers steelbook about a year ago and watched one of the films, but couldn’t get through the second. The animation is really poor and the voice acting is clumsy and difficult to listen to. So if you’re a Marvel fanboy and want to square on an animated film that doesn’t do your source material justice, you should start there.

Finally, the recent films have been very successful, and I’m sure Frozen’s enduring popularity caused a delay to the release of Big Hero 6. I mean, it’s now on the West End in sing-along form! They just play the film on loop there all day. It has been out for 18 months! Princess and the Frog and Tangled were very successful too. But so was Wreck It Ralph, and that definitely wasn’t aimed at the female market. Neither was Bolt (directed by Chris Williams, by the way). Nor were half of the Pixar releases. Or, say, How to Train Your Dragon or Despicable Me. What I’m saying is – who knows what is going to capture the imagination of the children. Probably the main thing to go for is a great storyline, great characters and some top-drawer visuals. You get all three in abundance here.

I think the animation is the really mind-blowing element of a film that scores highly across the board. It’s fast-paced without ever feeling like it’s trying to lose you in action. The detail given to the plethora of uniquely designed characters is notable, too, and this serves to make each character feel worthy of your investment. If they’re going to spend that long making Hiro’s hair look so awesome, he must deserve a bit of attention on an emotional level too.

The storyline, to be fair, isn’t particularly original. I didn’t feel it was too detrimental overall. Its target audience is definitely under 12 years of age, and it was pitched perfectly.

There was, of course, a post-credits sequence that gave us some juicy details and opened the door to a sequel. I really hope this becomes a reality. I’m sure there are plenty more storylines to be told about these characters yet.

Big Hero 6 is out in cinemas in the UK now, and it has also just this week been released on Blu-ray and DVD in USA. If you’re quick and keen, you could buy the 3D Blu-ray steelbook from Zavvi.

[1] Anatomy of an unprofessional reviewer – I’ve deliberately put in several sweeping and largely incorrect statements in the first paragraph to allow me to argue against them later in the review. Oh how clever I am.

Academy Awards 2015 – Full List of Winners

Here’s a simple list of all the winners of Oscars at the 87th Academy Awards last night. I’ve not included the other nominees as I think the lists elsewhere have become cumbersome. Keep it simple!

Best picture
Birdman

Best director
Alejandro González Iñárritu for Birdman

Best actor
Eddie Redmayne for The Theory of Everything

Best actress
Julianne Moore for Still Alice

Best supporting actor
J. K. Simmons for Whiplash

Best supporting actress
Patricia Arquette for Boyhood

Original screenplay
Alejandro González Iñárritu, Nicolás Giacobone, Alexander Dinelaris, Armando Bo – Birdman

Adapted screenplay
Graham Moore – The Imitation Game

Best documentary feature
Citizenfour – Laura Poitras, Mathilde Bonnefoy, Dirk Wilutzky

Best foreign-language film
Ida – Paweł Pawlikowski

Best animated feature film
Disney’s Big Hero 6

Best animated short film
Disney’s Feast – Patrick Osborne, Kristina Reed

Best live-action short film
The Phone Call – Mat Kirkby, James Lucas

Best documentary short subject
Crisis Hotline: Veterans Press 1 – Ellen Goosenberg Kent, Dana Perry

Best production design
The Grand Budapest Hotel: Adam Stockhausen, Anna Pinnock

Best original song
Glory from Selma – Lonnie Lynn (Common), John Stephens (John Legend)

Best original score
Alexandre Desplat – The Grand Budapest Hotel

Achievement in sound mixing
Whiplash – Craig Mann, Ben Wilkins, Thomas Curley

Achievement in sound editing
American Sniper – Alan Robert Murray, Bub Asman

Achievement in costume design
The Grand Budapest Hotel – Milena Canonero

Achievement in makeup and hairstyling
The Grand Budapest Hotel – Frances Hannon, Mark Coulier

Achievement in visual effects
Interstellar – Paul J Franklin, Andrew Lockley, Ian Hunter, Scott R Fisher

Achievement in cinematography
Birdman: Emmanuel Lubezki

Achievement in film editing
Whiplash – Tom Cross

So there you go. I was really disappointed that “Everything Is Awesome” from The Lego Movie didn’t win Best Song, not least because the eventual winner was pretty dreadful (I talk about them here). I was happy about the Disney double of Big Hero 6 and Feast – both are excellent and I’ll no doubt be reviewing them on here when I get around to it. The really obvious ones won, of which for me there was only three: Eddie Redmayne for Best Actor, J. K. Simmons for Best Supporting Actor and Birdman for Achievement in Cinematography. That’s how tight it was elsewhere.

I’m thrilled that Birdman won Best Film over Boyhood and American Sniper. Birdman is a seriously effective piece of cinema and a work of art. It has things that appeal to the Academy: the struggling actor struggling to cope with his own relevance, a technically excellent piece of cinematography that (sort of) uses one shot, some fantastic performances from a range of excellent actors and actresses.

So today is for everyone to digest the results and look back on a fantastic year for cinema. Here’s to the next one.

Academy Award for Best Original Song – A Closer Look

There are five songs nominated in the shortlist for the Best Original Song Oscar. Here’s my take on them.

Everything Is Awesome (from The Lego Movie)
Music and lyric by Shawn Patterson
Performed by Tegan & Sara feat The Lonely Island


Total YouTube views as of 26/01/2015 = 28,675,867
Well, I think this is the one song on the list that you already know. If you’ve not seen this film, then you can bet someone else you know has. And if they have, they will undoubtedly have sung you some or all of this song. It’s catchy as hell. I’m amazed it has been nominated to be honest, but it is a just nomination and it would be a worthy winner. Before the nominations were released I had never heard of the other four songs on this list and if recent track records are anything to go with then the most popular song always wins (see the wickedly talented, the one and only Adele Dazeem’s “Let It Go” in 2013* and Elvian Conchords Brett McKenzie’s “Man or Muppet” in 2012). The best thing about this winning would be Andy Samberg’s acceptance speech, which, if track record is anything to go by, would be awesome.

Glory (from Selma)
Music and lyric by John Stephens and Lonnie Lynn
Performed by Common and John Legend


Total YouTube views as of 26/01/2015 = 1,613,740
John Legend has provided a quality chorus and backing track here, the “One day, when the glory comes” refrain more than catchy enough to stay in my head for a while. I have to say though, Common’s rapping leaves a lot to be desired. Music lovers in the UK may be forgiven for not knowing Common. He’s really a lot more well known in the US. It’s weird though, because here he has the look and feel of a middling defence lawyer in a low-budget made-for-TV courtroom drama. Don’t get me wrong, the words he has written are powerful enough, but the way they’re delivered just left me feeling a little indifferent. Mind you, I haven’t bought a hip-hop album since Mos Def’s 1999 hit “Black on Both Sides”, so maybe this just isn’t aimed at me.

Grateful (from Beyond The Lights)
Music and lyric by Diane Warren
Performed by Rita Ora


Number of YouTube views as of 26/01/2015 = 331,107
By far and away the worst song on the list. I’ve no idea how this got nominated. If there was a special award for Best Diane Warren Song of 2014 it wouldn’t even win (remember Paloma Faith’s “Only Love Can Hurt Like This” was released in 2014). The film isn’t even very popular. Baffling really.

I’m Not Going to Miss You (from Glen Campbell … I’ll Be Me)
Music, lyric and performance by Glen Campbell


Total YouTube views as of 26/01/2015 = 6,858,585
This would be a good shout for the win. The film Glen Campbell… I’ll Be Me has been making waves across the regions it has been available. It charts Glen Campbell’s journey suffering from Alzheimer’s, which is noble subject matter for a film. I’m yet to see it, but this song (Campbell’s last recording) is staunch reminder of his talents. It isn’t by any means his greatest work, but it is proof that the magic is still there as his condition worsens. It’s sad to listen to and should the Academy want to avoid a popular but jokey winner then this will be the one they go for.

Lost Stars (from Begin Again)
Music and lyric by Gregg Alexander and Danielle Brisebois
Performed by Adam Levine


Total YouTube views as of 26/01/2015 = 20,025,920
There’s a clear reason for this being nominated: TV viewing figures. These award ceremonies are often quite uncomfortable affairs. Neil Patrick Harris will inevitably deliver a well-polished and sharp performance as presenter this year, but more often than not the links and prize giving segments are awkward, silence-filled affairs that leaves the audience begging for reprieve. When Adam Levine takes to the stage we will at least know he’ll nail this song. Taken from Begin Again, a film in which he stars alongside Keira Knightley and James Corden, this is actually a solid power-ballad, the type for which Maroon 5 have become household names. It’s one of the better ones too. It has been included on the reissue of their latest album V, which will help boost sales. I don’t think he’ll be gutted when he finds out he hasn’t won – he’ll be more bothered about how critics react to his first major acting role (quite well, I might add)**. If I were choosing and wanted a serious option, this is the one I’d go for.

* If you’ve not heard this song yet, it’s quite the song. You should check it out. If only it was more popular.

** Critics have been widely accepting-to-encouraging of Levine’s big screen acting debut. That will come as a relief to Levine, who was so desperate to land the role he agreed to do it for free. As a business-minded individual I’m sure it was a calculated risk. He’s singing half of the soundtrack so at worst it will serve as a money-maker for the royalties from he’ll get from the OST, whilst he will also get a welcome boost of interest in their latest album V. Clever boy.

Academy Awards Nominations (Full List)

Best picture
American Sniper
Birdman
Boyhood
The Grand Budapest Hotel
The Imitation Game
Selma
The Theory of Everything
Whiplash

Best director
Alejandro González Iñárritu – Birdman
Richard Linklater – Boyhood
Bennett Miller – Foxcatcher
Wes Anderson – The Grand Budapest Hotel
Morten Tyldum – The Imitation Game

Best actor
Steve Carell – Foxcatcher
Bradley Cooper – American Sniper
Benedict Cumberbatch – The Imitation Game
Michael Keaton – Birdman
Eddie Redmayne – The Theory of Everything

Best actress
Marion Cotillard – Two Days, One Night
Felicity Jones – The Theory of Everything
Julianne Moore – Still Alice
Rosamund Pike – Gone Girl
Reese Witherspoon – Wild

Best supporting actor
Robert Duvall – The Judge
Ethan Hawke – Boyhood
Edward Norton – Birdman
Mark Ruffalo – Foxcatcher
JK Simmons – Whiplash

Best supporting actress
Patricia Arquette – Boyhood
Laura Dern – Wild
Keira Knightley – The Imitation Game
Emma Stone – Birdman
Meryl Streep – Into the Woods

Best original screenplay
Alejandro González Iñárritu, Nicolás Giacobone, Alexander Dinelaris, Jr and Armando Bo – Birdman
Richard Linklater – Boyhood
E Max Frye and Dan Futterman – Foxcatcher
Wes Anderson and Hugo Guinness – The Grand Budapest Hotel
Dan Gilroy – Nightcrawler

Best adapted screenplay
Jason Hall – American Sniper
Graham Moore – The Imitation Game
Paul Thomas Anderson – Inherent Vice
Anthony McCarten – The Theory of Everything
Damien Chazelle – Whiplash

Best foreign film
Ida
Leviathan
Tangerines
Timbuktu
Wild Tales

Best documentary
CitizenFour
Finding Vivian Maier
Last Days in Vietnam
The Salt of the Earth
Virunga

Best animation
Big Hero 6
The Boxtrolls
How to Train Your Dragon 2
Song of the Sea
The Tale of Princess Kaguya

Best original song
Everything Is Awesome (music and lyric by Shawn Patterson, performed by Tegan & Sara feat The Lonely Island) – The Lego Movie
Glory (music and lyric by John Stephens and Lonnie Lynn, performed by Common and John Legend) – Selma
Grateful (music and lyric by Diane Warren, performed by Rita Ora) – Beyond the Lights
I’m Not Going to Miss You (music, lyric and performance by Glen Campbell) – Glen Campbell … I’ll Be Me
Lost Stars (music and lyric by Gregg Alexander and Danielle Brisebois, performed by Adam Levine) – Begin Again

Best documentary short
Crisis Hotline: Veterans Press 1
Joanna
Our Curse
The Reaper
White Earth

Best cinematography
Emmanuel Lubezki – Birdman
Robert Yeoman – The Grand Budapest Hotel
Lukasz Zal and Ryszard Lenczewski – Ida
Dick Pope – Mr Turner
Roger Deakins – Unbroken

Best editing
Joel Cox and Gary D Roach – American Sniper
Sandra Adair – Boyhood
Barney Pilling – The Grand Budapest Hotel
William Goldenberg – The Imitation Game
Tom Cross – Whiplash

Best sound editing
Alan Robert Murray and Bub Asman – American Sniper
Martin Hernández and Aaron Glascock – Birdman
Brent Burge and Jason Canovas – The Hobbit: The Battle of the Five Armies
Richard King – Interstellar
Becky Sullivan and Andrew DeCristofaro – Unbroken

Best Sound Mixing
John Reitz, Gregg Rudloff and Walt Martin – American Sniper
Jon Taylor, Frank A Montaño and Thomas Varga – Birdman
Gary A Rizzo, Gregg Landaker and Mark Weingarten – Interstellar
Jon Taylor, Frank A Montaño and David Lee – Unbroken
Craig Mann, Ben Wilkins and Thomas Curley – Whiplash

Best makeup and hair
Bill Corso and Dennis Liddiard – Foxcatcher
Frances Hannon and Mark Coulier – The Grand Budapest Hotel
Elizabeth Yianni-Georgiou and David White – Guardians of the Galaxy

Best original score
Alexandre Desplat – The Grand Budapest Hotel
Alexandre Desplat – The Imitation Game
Hans Zimmer – Interstellar
Gary Yershon – Mr Turner
Jóhann Jóhannsson – The Theory of Everything

Best production design
Adam Stockhausen and Anna Pinnock – The Grand Budapest Hotel
Maria Djurkovic and Tatiana Macdonald – The Imitation Game
Nathan Crowley and Gary Fettis – Interstellar
Dennis Gassner and Anna Pinnock – Into the Woods
Suzie Davies and Charlotte Watts – Mr Turner

Best Visual Effects
Dan Deleeuw, Russell Earl, Bryan Grill and Dan Sudick – Captain America: The Winter Soldier
Joe Letteri, Dan Lemmon, Daniel Barrett and Erik Winquist – Dawn of the Planet of the Apes
Stephane Ceretti, Nicolas Aithadi, Jonathan Fawkner and Paul Corbould – Guardians of the Galaxy
Paul Franklin, Andrew Lockley, Ian Hunter and Scott Fisher – Interstellar
Richard Stammers, Lou Pecora, Tim Crosbie and Cameron Waldbauer – X-Men: Days of Future Past

Best costume design
Milena Canonero – The Grand Budapest Hotel
Mark Bridges – Inherent Vice
Colleen Atwood – Into the Woods
Anna B Sheppard and Jane Clive – Maleficent
Jacqueline Durran – Mr Turner

Best short film (animated)
The Bigger Picture
The Dam Keeper
Feast
Me and My Moulton
A Single Life

Best short
Aya
Boogaloo and Graham
Butter Lamp
Parvaneh
The Phone Call

Oscars 2014 – What missed out

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With the Oscars taking place later tonight, I look at the films that have been overlooked by the Academy.

Monsters University
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Okay, it wasn’t the best picture Pixar has come up with over the years. It wasn’t even the best Monsters film they’ve produced. That said, they did find space for The Croods in the nomination pool, which was fine but could you really say it was better than MU? If Pixar had released The Croods, there would have been mass derision. Miyazaki’s The Wind Rises is a hot tip to take the prize this year, but I can’t comment until it gets a UK release.

Rush
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I feel like this film has suffered because it wasn’t released in the typical awards season. It didn’t play by the book. It came out back in September 2013 and performed well at the box office without an Academy recommendation. Bruhl and Hemsley were both outstanding, not just as eerily accurate take-offs but as flawless acting performances in their own right. The recreation of the classic races was spot on from Howard and the story was as exhilarating as the action. In my eyes, it could have easily come in as the 10th film on the best film list. To not even get an appreciative nod for best makeup (Bruhl’s scarring was critical and spot on) or visual effects (though admittedly this was a strong category this year) is surprising.

Inside Llewyn Davis
It’s the Coen brothers latest release and they usually get nominated, right? Not this year. Whilst it’s a strong year for nominations in the Best Picture category, it should have received a nod for best song. In fact, whole soundtrack could have been considered. It received one for best sound mixing, which is a bit of a throwaway category overall. At least it was appreciated on some level.

The Hunger Games: Catching Fire
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Okay, I don’t agree that this film should have been nominated for best film or best acting or anything else. However, the song “Atlas” by Coldplay is easily one of the best original songs in what was admittedly a poor year for soundtracks. It’s a shame they had a song on the list that was later disqualified, especially one as awful as “Alone, Yet Not Alone” by Bruce Broughton and Dennis Spiegel. There was also space for the bland “Ordinary Love” by U2. Neither of these should have made it and they would have made room for “Atlas” and, well, anything from Inside Llewyn Davis or Her.

Saving Mr Banks
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One of the biggest and most talked about shocks was the lack of a nomination for Emma Thompson in Saving Mr Banks. It’s frustrating to see Meryl Streep nominated for the 18th time for a role that she will never win the top prize for when Thompson could have been a front runner for.

Nymph()maniac
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I would have loved it if the Academy could have found it in themselves to nominate Uma Thurman’s fantastic supporting performance in Lars Von Trier’s latest film. It blew me away and really stood out in what was otherwise a pretty bland film. That said, it may not have qualified this year so we may have to wait another year before we see if this – and indeed Christian Slater’s excellent performance – was overlooked.

Elsewhere
Tom Hanks missed out twice for Saving Mr Banks and Captain Phillips, the latter being the biggest shock as it is probably his best performance for over a decade. Whoever thought the cinematography in 12 Years A Slave wasn’t worth noting must have been on drugs. Nothing for Robert Redford’s performance in All Is Lost was also a big surprise, though I’m not convinced Redford lost any sleep over it. The Butler was a massive omission but maybe a little too much like a typical Oscar nominee.

12 Years a Slave (Steve McQueen, 2014)

12 Years A Slave is a unique film in many ways. Most of the cast are complete unknowns. The budget was very low ($20m USD). There isn’t a massive push to advertise it anywhere, with very few trailers being seen at the cinema and on TV (I do the former quite regularly and I think I’ve seen one). Despite this, it has seemingly grown popular through word of mouth. This is something that’s very difficult to achieve when most of its momentum has come before the release date.

The pattern is similar to that of Shawshank Redemption, though at the time that film really didn’t start well at the box office. It became a sleeper hit and enjoyed success many months after the initial release, thanks to continued praise from critics and several awards nominations and wins.

Indeed, Shawshank’s Dufresne isn’t wholly unlike Northup, the main character in 12 Years. Both are imprisoned against their will for entirely the wrong reasons and are determined to see that justice is realised somehow. It is the kind of story that keeps you captivated and as time goes on you become more and more engrossed in the fact that these people should get the happy ending they deserve.

Steve McQueen is a very clever director. With his background in the visual arts (he won the Turner Prize in 1999), he adds an artistic flair to every shot he takes. Much like his debut Hunger, almost every shot could be framed and put on the wall to enjoy in its own right. The cinematography is just that good. Equally, he doesn’t shy away from allowing the camera to linger on our characters as they encounter struggles. One shot in particular sticks in your mind, when Soloman is partially hung in his first plantation and having to stand on the tips of his toes to draw the smallest of breaths. A less confident director would have cut away several times to show other subplots developing, sporadically cutting back to show he is still in pain. McQueen’s choice to stay with him is an example of how bold he is prepared to be and it is one of the most striking parts of the film.

I got confused by some of the sound editing. Several times there was an active choice to allow clashes between the score and the natural sounds of the scene, and most of the time it didn’t really work. The choice was obviously made to let the clash signify discomfort, and was occasionally exacerbated by bleeding audio into the following shots or scene, and in one particular scene, where Eliza was uncontrollably crying, it was overly confusing and distracted me from what I was supposed to be watching.

That aside, it is rightly being considered to sweep the board at this year’s Oscars. I don’t think it will, because there are too many very strong contenders with no outright frontrunner. If it gets none, there will of course be uproar. However, the same could also be said of Gravity, Dallas Buyers’ Club, Captain Phillips, American Hustle, The Wolf of Wallstreet. The list goes on. It is a tough year to pick a winner in each and every category. The deliberation forced on the Academy panel is a sign of what a fantastic year it has been to be a fan of cinema.

12 Years a Slave in out in UK cinemas now.

American Hustle (David O’Russell, 2014)

Director David O’Russell has had a sudden upsurge in fortune. With his last film – Silver Linings Playbook – he finally realised the promise hinted at with his earlier attempts at cinematic quirky humour. It was both critically lauded and a commercial triumph. It was a must-see film. If you hadn’t seen it you wanted to, and once you’d seen it once you probably wanted to see it again. O’Russell’s stock had never been higher.

It was important, then, that he chose his next film wisely. I’d say American Hustle was exactly that – a wise choice. It’s a film set in 1970s New Jersey, and this allowed a lot of fun to be had with costuming and recreating an authentic world in which the characters can play. To bring the characters to life, he enlisted three key actors from last year’s triumph: Robert De Niro, Jennifer Lawrence and Bradley Cooper. Added to this he also brought Amy Adams, Jeremy Renner and Christian Bale. That is a formidable lead cast if ever you saw one.

The music is spot on. Mixing a superb score from Danny Elfman with some choice cuts from the era (think Elton John, America, Chicago), it all blends together to further enhance the authentic experience.

Yet, after 138 minutes of buying in to the story, I left the cinema feeling a little short changed. There’s enough humour to keep us smiling, some great playoffs between Adams and Lawrence who are at each other’s throats throughout, and the mild twists and turns in the plot are entertaining if not thrilling. I admired the solid performances from the all-star cast, none of whom underperformed but at the same time didn’t shine. The film had the feeling of playing it safe, and I thought there could have been more to it. The final payoff was predictable and in turn disappointing.

The main problem for me was that none of the characters were likeable. Adams and Bale are both untrustworthy con artists, Cooper is an FBI career man who wants a quick rise to the top, Lawrence is a degenerate waster who’s slow on the uptake, De Niro is a mafia overlord. Renner’s Mayor Polito is the only one I felt sympathy for, getting mixed up with the wrong people for the right reasons, but he’s not really a central character. I didn’t have anyone I felt the urge to back and for me that’s a flaw in the scriptwriting. I understand that the aim of the film may have been to portray the fact that nobody in this circle is likeable, but it just wasn’t carried off successfully. With so much time to develop the characters and such an amazing array of talent on offer, it could have been so much more.

American Hustle is out now in UK cinemas.