Sony has a complicated history with Spiderman. After falling at the final hurdle in Sam Raimi's trilogy with Spiderman 3 and then crashing their own Spiderman cinematic universe before it had even begun in The Amazing Spiderman 2, they reluctantly lent the character back to Marvel Studios. It would be easy to accuse Sony of mishandling this beloved hero over the years, almost as though they didn't know what to do with the character. That is certainly not the case with Into the Spiderverse. This film is clearly a labour of love for Spiderman and strikes the perfect balance between appreciating the old and explore the new.
When young Miles Morales (Shameik Moore) finds out he has gained spider-powers, he seeks the advice of Peter Parker (Jake Johnson) to show him the webs. Yet when Kingpin (Liev Schreiber) opens a portal to several other dimensions, Miles must ditch the training and think on his feet to help send his new friends home.
It's a phrase thrown around a lot when discussing superhero movies, but this film genuinely looks like it has jumped out of the pages of a comicbook. Scratch that, this film is a moving comicbook. Into the Spiderverse brings those old pages to life in a way that I have never seen before. The style of the animation is totally original. An almost unnatural mixture of 3D images moving and existing in 2D plains that works so well it's a wonder nobody has thought to do this before. Vibrant explosions of primary colours, zippy movements straight out the cartoon and the genius incorporation of comicbook conventions. This film to a bold swing by committing so hard to it's concept, but it is more impressive that it completely sticks the landing.
The frenetic world created within the animation is the perfect playground to explore the movie's narrative. We get to experience parts of the Spiderman universe never seen before on the big screen. Shameik Moore brings Miles Morales to life brilliantly. He's uber charming and likable, whilst still having that nervousness and dorkiness that embodies Spiderman. The movie's sheer craziness could have easily stolen the limelight from him, but this is very much Mile's story and it's all the better for it. The rest of the Spider-gang all shine too. Jake Johnson turns out to be a really good Spiderman and his arc from the world-weary guy with a beer-belly swinging round in sweatpants to role model for Miles is really satisfying. In fact, there are a tonne of satisfying character moments throughout, some of which are purely having the characters around. Spiderman-Noir is played superbly by a very deadpan Nic Cage and John Mullany as Peter Porker (The Spectacular Spiderham) might be the single best piece of casting in the history of cinema.
Whilst the film never stops covering new ground, it is constantly loyal to everything you love about your favourite web-slinger. There are some new and innovative interpretations of most of Spidey's rogues' gallery. The suits and gadgets are all present and just as you remember them. There are plenty of deep cut references to creators and characters alike (including a beautiful Stan Lee and Steve Ditko tribute) that will have fans smirking throughout. It all feels like classic Spiderman. And whilst the film is constantly pushing the boundaries in new directions, you feel like your in safe hands.
As you might expect from a screenplay produced by Phil Lord and Christopher Miller (The Lego Movie, 21 Jump Street), this film is also a romp. Considering the wealth of characters and animative techniques on display, it's so tightly paced that the nearly 2-hour runtime simply 'thwips' by. The comedy is ingenious - delightfully self-aware and playful. Yet, the meta jokes fit so well into the story and world created in this film they almost lose their meta-ness.
It's too soon to tell right now, but I have a sneaky suspicion that in a few years time this will be remembered as the definitive cinematic depiction of Spiderman. After three iterations in under a decade, Into the Spiderverse achieves the unthinkable of reinvigourating the character for both new and old audiences. Every aspect of the film; the plethora of wild and wacky characters on show, the stunning style of the animation and the 'wink and nod' humour are entirely fresh and original. I can guarantee that you've never seen anything like this before and when you come out of it, you'll be mighty glad you have.
⭐⭐⭐⭐⭐
*Also please be sure to follow me on Twitter (@T_F_T_S_R), Letterboxd (theboymarshall) and Instagram (thatsthemoneyshot) for more film-related fun
Friday 7 December 2018
Sunday 2 December 2018
'Creed II' Review
Creed is one of the best examples of the most recent Hollywood trend - revisiting a popular franchise years later to try and find a new audience. Ryan Coogler created a movie that felt wholly distinctive to the other Rocky films whilst still fitting snuggly into that world. There were concerns that, with Coogler not at the helm of the sequel, Creed II would suffer. Whilst it may lack some of the originality of Creed, Creed II is still a great boxing movie which highlights both the beauty and brutality of the sport.
Adonis Creed (B Jordan), now heavyweight champion of the world, faces his toughest opponent yet when Ivan Drago (Lundgren) reappears with a son, Viktor (Munteanu). As the intense lineage and bad blood between the two families rises, 'D' must risk the life he has built for his family and create his own legacy.
I've read complains that Creed II is a regression to a more familiar story. In fairness, this film is in some ways more of a sequel to Rocky IV than to Creed. But I struggle to see how that's a bad thing. The regular format of a boxing film has always proven to be an ideal vessel for classical storytelling and Creed II is no exception. The history between the two families is practically Shakespearean and it gives this film plenty of fire and drive. It's very nice to the character of Ivan Drago back, and whilst he and Viktor have a few moments of almost pantomime villainy, the film does a great job of letting you understand the torment and struggle the Dragos have been through and even eliciting some sympathy for them by the end. Don't get me wrong though, the hero of this story is Adonis.
Michael B Jordan spoke recently in an interview about wanting to create his own legacy in this franchise, and he certainly achieves that here. His performance is so powerful, both in a physical and emotional sense. He completely owns the fight sequences - his sheer physical presence coupled with some impeccable cutting and sound editing lets you feel every visceral blow. Out of the ring, he presents such pent-up frustration and guilt, which we only get the briefest glimpses of, but he plays the fleeting moments so well that they feel entirely genuine and earned.
Yet, whilst Michael B Jordan establishes himself as the new star of this franchise, so much of the soul of this story still rests on Rocky Balboa. There's just something about Sylvester Stallone when he dons that fedora - a spark comes back to his eye that we don't see a lot of anymore. He bears a lot of the big emotional beats of the film and he handles these moments brilliantly, giving even the most predictable of plotlines or dialogue so much heart. One moment in particular, towards the end of the film, will likely jerk a tear from the sternest viewer. Regrettably, Tessa Thompson's Bianca feels sidelined for much of the movie, which is a huge shame given her chemistry with Jordan is so on point.
Narratively speaking, Creed II hits every element of a boxing movie that you would want it to. The training montages, in particular, are shot and scored fantastically. There are many references to other Rocky films, especially Rocky IV. Some are very subtle, some are very on the nose - regardless there's plenty for fans of the series to enjoy.
Whilst it may lack a little of the originality and vitality that Coogler brought to the first film, Creed II makes up for it with a thoroughly entertaining narrative and performances. It nails all the beats of a classic boxing story and packs a real emotional punch.
4/5 Stars
*Also please be sure to follow me on Twitter (@T_F_T_S_R), Letterboxd (theboymarshall) and Instagram (thatsthemoneyshot) for more film-related fun
Adonis Creed (B Jordan), now heavyweight champion of the world, faces his toughest opponent yet when Ivan Drago (Lundgren) reappears with a son, Viktor (Munteanu). As the intense lineage and bad blood between the two families rises, 'D' must risk the life he has built for his family and create his own legacy.
I've read complains that Creed II is a regression to a more familiar story. In fairness, this film is in some ways more of a sequel to Rocky IV than to Creed. But I struggle to see how that's a bad thing. The regular format of a boxing film has always proven to be an ideal vessel for classical storytelling and Creed II is no exception. The history between the two families is practically Shakespearean and it gives this film plenty of fire and drive. It's very nice to the character of Ivan Drago back, and whilst he and Viktor have a few moments of almost pantomime villainy, the film does a great job of letting you understand the torment and struggle the Dragos have been through and even eliciting some sympathy for them by the end. Don't get me wrong though, the hero of this story is Adonis.
Michael B Jordan spoke recently in an interview about wanting to create his own legacy in this franchise, and he certainly achieves that here. His performance is so powerful, both in a physical and emotional sense. He completely owns the fight sequences - his sheer physical presence coupled with some impeccable cutting and sound editing lets you feel every visceral blow. Out of the ring, he presents such pent-up frustration and guilt, which we only get the briefest glimpses of, but he plays the fleeting moments so well that they feel entirely genuine and earned.
Yet, whilst Michael B Jordan establishes himself as the new star of this franchise, so much of the soul of this story still rests on Rocky Balboa. There's just something about Sylvester Stallone when he dons that fedora - a spark comes back to his eye that we don't see a lot of anymore. He bears a lot of the big emotional beats of the film and he handles these moments brilliantly, giving even the most predictable of plotlines or dialogue so much heart. One moment in particular, towards the end of the film, will likely jerk a tear from the sternest viewer. Regrettably, Tessa Thompson's Bianca feels sidelined for much of the movie, which is a huge shame given her chemistry with Jordan is so on point.
Narratively speaking, Creed II hits every element of a boxing movie that you would want it to. The training montages, in particular, are shot and scored fantastically. There are many references to other Rocky films, especially Rocky IV. Some are very subtle, some are very on the nose - regardless there's plenty for fans of the series to enjoy.
Whilst it may lack a little of the originality and vitality that Coogler brought to the first film, Creed II makes up for it with a thoroughly entertaining narrative and performances. It nails all the beats of a classic boxing story and packs a real emotional punch.
4/5 Stars
*Also please be sure to follow me on Twitter (@T_F_T_S_R), Letterboxd (theboymarshall) and Instagram (thatsthemoneyshot) for more film-related fun
Tuesday 13 November 2018
RIP Stan Lee
Something different on the blog today. I thought it was only fair that I would dedicate a post to the life and legacy of one of the all-time greats.
The influence of Stan Lee cannot be understated. His role in the creation of Spiderman, Captain America, The Incredible Hulk, The Avengers (the list goes on) fundamentally changed the nature of comics. Of course it wasn't a one-man job, credit must also go to Steve Ditko and Jack Kirby for helping to bring these icons to life, but Stan Lee was the showman at the centre of this creation. As he playfully tells Peter Parker in Spiderman 3, "I guess one person can make a difference." This is a person who certainly made that difference. He changed comics, forever. He changed storytelling, forever. He changed movies, forever. He changed our lives, forever. And for that, I want to say thank you.
It's possible that without the existence of superheroes such as Spiderman and Captain America to evoke my love of storytelling and without the existence of the Marvel Cinematic Universe to ignite my love of films that I wouldn't be doing this today. His imagination and creativity has set me, and countless others, on a certain path. He has taught us all, through both his characters and his reputation as an all-round fantastic human being, some of the most crucial lessons there are to learn. It's okay to be different. It's okay to dream. Don't wait for permission - go and break the mould.
The Stan Lee cameo in Avengers 4 is certainly going to be something. Obviously, the movie has finished shooting and his cameo is included in that. It will be interesting to see if it's changed in any way - if it's a cameo that's played for laughs (the majority of them are) it might not sit so well. But the Russos haven't put a foot wrong yet in the MCU an I'm sure that if there was a problem it would be solved to give an appropriate send-off. The issue of future cameos is an interesting one. We're getting Captain Marvel in March and Spiderman: Far from home in July, so presumably his cameos for those movies are already done. But to be honest, I think this tradition should end with Avengers 4. It's an ending point in so many different ways and the inclusion of a poignant and final goodbye to this great man would fit perfectly into that. But after that, it can stop. I know that sometimes they'd film his appearances in advance (his roles in Doctor Strange, Spiderman: Homecoming, Guardians Vol 2 and Thor Ragnarok were all filmed on the same day) and I'm sure they've probably already got scans of his face ready to attempt digital recreations for future movies.
In my opinion, it would just be upsetting to see a CGI Stan Lee or a cameo that feels overly manufactured and forced. Avengers 4 offers a perfect opportunity to say a final farewell and leave our memories of Stan Lee to rest with him.
Thank you for everything Stan Lee. Rest Well. Excelsior!
The influence of Stan Lee cannot be understated. His role in the creation of Spiderman, Captain America, The Incredible Hulk, The Avengers (the list goes on) fundamentally changed the nature of comics. Of course it wasn't a one-man job, credit must also go to Steve Ditko and Jack Kirby for helping to bring these icons to life, but Stan Lee was the showman at the centre of this creation. As he playfully tells Peter Parker in Spiderman 3, "I guess one person can make a difference." This is a person who certainly made that difference. He changed comics, forever. He changed storytelling, forever. He changed movies, forever. He changed our lives, forever. And for that, I want to say thank you.
It's possible that without the existence of superheroes such as Spiderman and Captain America to evoke my love of storytelling and without the existence of the Marvel Cinematic Universe to ignite my love of films that I wouldn't be doing this today. His imagination and creativity has set me, and countless others, on a certain path. He has taught us all, through both his characters and his reputation as an all-round fantastic human being, some of the most crucial lessons there are to learn. It's okay to be different. It's okay to dream. Don't wait for permission - go and break the mould.
The Stan Lee cameo in Avengers 4 is certainly going to be something. Obviously, the movie has finished shooting and his cameo is included in that. It will be interesting to see if it's changed in any way - if it's a cameo that's played for laughs (the majority of them are) it might not sit so well. But the Russos haven't put a foot wrong yet in the MCU an I'm sure that if there was a problem it would be solved to give an appropriate send-off. The issue of future cameos is an interesting one. We're getting Captain Marvel in March and Spiderman: Far from home in July, so presumably his cameos for those movies are already done. But to be honest, I think this tradition should end with Avengers 4. It's an ending point in so many different ways and the inclusion of a poignant and final goodbye to this great man would fit perfectly into that. But after that, it can stop. I know that sometimes they'd film his appearances in advance (his roles in Doctor Strange, Spiderman: Homecoming, Guardians Vol 2 and Thor Ragnarok were all filmed on the same day) and I'm sure they've probably already got scans of his face ready to attempt digital recreations for future movies.
In my opinion, it would just be upsetting to see a CGI Stan Lee or a cameo that feels overly manufactured and forced. Avengers 4 offers a perfect opportunity to say a final farewell and leave our memories of Stan Lee to rest with him.
Thank you for everything Stan Lee. Rest Well. Excelsior!
Monday 12 November 2018
'Widows' Review
An adaptation of a 1980's ITV drama might not be the most obvious choice for Steve McQueen's much anticipated follow-up to his Best Picture winning 12 Years a Slave, but Widows is a film made up of much of the same vitality and voice. It is so much more than it appears to be on the surface. This is not another 'dumb' Hollywood blockbuster - this is a heist film with real sharpness and intelligence behind it.
When four criminals are killed in a heist gone wrong, their widows are forced to band together and pull off a heist of their own to clean up the mess left to them by their husbands.
One of the most interesting elements of this film is the blending of different tones and genres. There are so many aspects covered. The opening throws us right into some gripping heist action, a predominantly POV perspective. Immediately, you're hooked. But over the course of the film, McQueen slows the action beats right down. If you're expecting a zippy action caper á la Ocean's 11, you will probably be disappointed. In place of quips and zingers, McQueen takes time to establish engaging, complex characters and explore some more mature themes. There's a focus on the ugly (and more realistic) side of crime - loss, grief and the fallout of your misdeeds.
This gambit would be bold enough on it's own, but as I said, McQueen doesn't hold back with the topics he's willing to cover. The backdrop of contemporary Chicago provides the perfect setting for insightful comments on political corruption, race issues, poverty. Some lines may feel slightly on the nose, but on the whole these issues are covered with respect and intelligence. One particular tracking shot is the most ingenious piece of visual storytelling that I have ever seen.
McQueen's deployment of this incredible cast must also be commended. It's very easy in large ensemble movies for certain actors or characters to disappear. Yet, of the embarrassment of riches available to him in the cast, McQueen ensures that each and every one of the characters makes a memorable and lasting impression. There are certain standouts of course. Viola Davis is tremendous in the lead role and will definitely be in the Oscar conversation. Each of the widows bring their A game, with Elizabeth Debicki particularly giving a gentle but vibrant performance. Daniel Kaluuya cements his place as one of the best young actors on the planet right now. His presence on screen is immense - so icy and intense - you're genuinely terrified every time he swaggers into frame.
I was massively impressed by Widows. I suspect that it might be a divisive film. There are a few twists you could easily take contention with and the huge amount of themes and ideas covered could be seen as over-stuffing. But there is an awful lot to enjoy. It's a very different kind of heist movie, but these are some very welcomed changes. An intelligent voice speaking out about crucial issues through some outstanding performances.
4/5 Stars
*Also please be sure to follow me on Twitter (@T_F_T_S_R), Letterboxd (theboymarshall) and Instagram (thatsthemoneyshot) for more film-related fun.
When four criminals are killed in a heist gone wrong, their widows are forced to band together and pull off a heist of their own to clean up the mess left to them by their husbands.
One of the most interesting elements of this film is the blending of different tones and genres. There are so many aspects covered. The opening throws us right into some gripping heist action, a predominantly POV perspective. Immediately, you're hooked. But over the course of the film, McQueen slows the action beats right down. If you're expecting a zippy action caper á la Ocean's 11, you will probably be disappointed. In place of quips and zingers, McQueen takes time to establish engaging, complex characters and explore some more mature themes. There's a focus on the ugly (and more realistic) side of crime - loss, grief and the fallout of your misdeeds.
This gambit would be bold enough on it's own, but as I said, McQueen doesn't hold back with the topics he's willing to cover. The backdrop of contemporary Chicago provides the perfect setting for insightful comments on political corruption, race issues, poverty. Some lines may feel slightly on the nose, but on the whole these issues are covered with respect and intelligence. One particular tracking shot is the most ingenious piece of visual storytelling that I have ever seen.
McQueen's deployment of this incredible cast must also be commended. It's very easy in large ensemble movies for certain actors or characters to disappear. Yet, of the embarrassment of riches available to him in the cast, McQueen ensures that each and every one of the characters makes a memorable and lasting impression. There are certain standouts of course. Viola Davis is tremendous in the lead role and will definitely be in the Oscar conversation. Each of the widows bring their A game, with Elizabeth Debicki particularly giving a gentle but vibrant performance. Daniel Kaluuya cements his place as one of the best young actors on the planet right now. His presence on screen is immense - so icy and intense - you're genuinely terrified every time he swaggers into frame.
I was massively impressed by Widows. I suspect that it might be a divisive film. There are a few twists you could easily take contention with and the huge amount of themes and ideas covered could be seen as over-stuffing. But there is an awful lot to enjoy. It's a very different kind of heist movie, but these are some very welcomed changes. An intelligent voice speaking out about crucial issues through some outstanding performances.
4/5 Stars
*Also please be sure to follow me on Twitter (@T_F_T_S_R), Letterboxd (theboymarshall) and Instagram (thatsthemoneyshot) for more film-related fun.
Monday 15 October 2018
'First Man' Review
It's fitting that Damien Chazelle would make a movie about going to the moon, as he has been on his own meteoric rise as of late. Never before has a director arrived on the world stage in such an swift yet spectacular fashion. Both Whiplash and La La Land are nailed-on, 5 star classics. Whilst First Man might appear on the surface to be a vast departure from his other works, it's a very Chazelle movie and is right up there with his best.
First Man tells the story of America's triumphant mission to the moon in a way that you've never seen before. This is primarily a Neil Armstrong (Gosling) biopic, focussing on his personal journey and how the pressure of his country on his shoulder's puts huge strains of his personal and professional life.
One of Damien Chazelle's most notable skills is his ability to get the very best out of his actors. He led both J.K. Simmonds (Whiplash) and Emma Stone (La La Land) to Oscar winning performances, and his use of Ryan Gosling in this film is worthy of similar accolades. I'm a massive fan of Gosling and this is, in my mind, his very best performance. He is exceptional. He treads the line between the likeable and introverted perfectly. He provides a fascinating viewpoint into the psyche of Armstrong. First Man might seem far removed from Whiplash and La La Land, but the through lines of obsession and it's risks are ever present. His performance is nuanced and subtle, but still capable of bearing the weight of the heavy emotional beats this film throws your way. I have a horrible feeling that he won't win best actor, given that Robert Redford's swan-song will surely grab the hearts of the academy, but he more than deserves it. He is simply tremendous.
Opposite Gosling, Claire Foy is superb as Neil's wife Janet. I've heard complaints that she isn't given enough to do but in reality she is the backbone of the story. Neil might be the protagonist, but Janet is the real hero, demonstrating the courage and reserve to hold their family together. The relationship of Neil with his wife and son's is the true core of this film, and whilst the scope is dialled to 11 during the space scenes, Chazelle constantly maintains the focus on the real subject of this film, as signified by the very deliberate choice of ending shots.
Having said that, the sequences in space are breathtaking. Chazelle has such an exquisite eye for detail and it's on full display here. The intricacies of the suits and the shuttles (all specifically built to match the real life machines) are extraordinary. The sound design is incredible, the contrast between the eerie silences of space with the nerve-shredding noise of the rockets and shuttles. Certain shots even let you see events play out through Armstrong's eyes. It all contributes to one of the most realistic depictions of going to space you will ever see.
A major part of that realism is an emphasis on just how dangerous this mission was. The launch sequences are in many instances terrifying. So much intensity is created though the use of light and sound that, from the very first scene, you are constantly on the very edge of your seat. You feel like you're in the cockpit with the astronauts, with is both a delightful and horrifying experience. This film does a terrific job of reminding you just how much was at stake - people risked their lives for this cause and Chazelle doesn't shy away from this. The brutality of certain events and accidents is understated, which only serves to make it all the more devastating.
But this film is just as beautiful as it is harrowing. It takes it sweet time getting to the moon, but the gradual build up makes the pay off all the more satisfying. The sequences on the moon itself are just gorgeous - huge wide lens shots captured on IMAX cameras give such a sense of scale and expanse. The stunning visuals are paired with a fantastic score by Justin Hurwitz. 'The Landing' is one of the most mesmerising compositions I've ever heard.
First Man is one of the most beautiful movies I have ever seen. Trying to identify a standout sequence is impossible, as there are so many scenes and individual shots that I've not been able to stop thinking about since I left the theatre. The space sequences are staggering, a perfect balance of gripping and gorgeous. But amongst the huge scope of these scenes, Chazelle never loses sight of the man beneath the mask. It's one of the most remarkable experiences I've ever had in a cinema (I cried 3 separate times for 3 very different reasons). My incoherent ramblings could never do this film justice - you NEED to see it, preferably on the biggest screen you can find. It's a term that's thrown around a lot these days, but First Man is a genuine masterpiece in every sense of the word.
5/5 Stars
*Also please be sure to follow me on Twitter (@T_F_T_S_R), Letterboxd (theboymarshall) and Instagram (thatsthemoneyshot) for more film related fun.
First Man tells the story of America's triumphant mission to the moon in a way that you've never seen before. This is primarily a Neil Armstrong (Gosling) biopic, focussing on his personal journey and how the pressure of his country on his shoulder's puts huge strains of his personal and professional life.
One of Damien Chazelle's most notable skills is his ability to get the very best out of his actors. He led both J.K. Simmonds (Whiplash) and Emma Stone (La La Land) to Oscar winning performances, and his use of Ryan Gosling in this film is worthy of similar accolades. I'm a massive fan of Gosling and this is, in my mind, his very best performance. He is exceptional. He treads the line between the likeable and introverted perfectly. He provides a fascinating viewpoint into the psyche of Armstrong. First Man might seem far removed from Whiplash and La La Land, but the through lines of obsession and it's risks are ever present. His performance is nuanced and subtle, but still capable of bearing the weight of the heavy emotional beats this film throws your way. I have a horrible feeling that he won't win best actor, given that Robert Redford's swan-song will surely grab the hearts of the academy, but he more than deserves it. He is simply tremendous.
Opposite Gosling, Claire Foy is superb as Neil's wife Janet. I've heard complaints that she isn't given enough to do but in reality she is the backbone of the story. Neil might be the protagonist, but Janet is the real hero, demonstrating the courage and reserve to hold their family together. The relationship of Neil with his wife and son's is the true core of this film, and whilst the scope is dialled to 11 during the space scenes, Chazelle constantly maintains the focus on the real subject of this film, as signified by the very deliberate choice of ending shots.
Having said that, the sequences in space are breathtaking. Chazelle has such an exquisite eye for detail and it's on full display here. The intricacies of the suits and the shuttles (all specifically built to match the real life machines) are extraordinary. The sound design is incredible, the contrast between the eerie silences of space with the nerve-shredding noise of the rockets and shuttles. Certain shots even let you see events play out through Armstrong's eyes. It all contributes to one of the most realistic depictions of going to space you will ever see.
A major part of that realism is an emphasis on just how dangerous this mission was. The launch sequences are in many instances terrifying. So much intensity is created though the use of light and sound that, from the very first scene, you are constantly on the very edge of your seat. You feel like you're in the cockpit with the astronauts, with is both a delightful and horrifying experience. This film does a terrific job of reminding you just how much was at stake - people risked their lives for this cause and Chazelle doesn't shy away from this. The brutality of certain events and accidents is understated, which only serves to make it all the more devastating.
But this film is just as beautiful as it is harrowing. It takes it sweet time getting to the moon, but the gradual build up makes the pay off all the more satisfying. The sequences on the moon itself are just gorgeous - huge wide lens shots captured on IMAX cameras give such a sense of scale and expanse. The stunning visuals are paired with a fantastic score by Justin Hurwitz. 'The Landing' is one of the most mesmerising compositions I've ever heard.
First Man is one of the most beautiful movies I have ever seen. Trying to identify a standout sequence is impossible, as there are so many scenes and individual shots that I've not been able to stop thinking about since I left the theatre. The space sequences are staggering, a perfect balance of gripping and gorgeous. But amongst the huge scope of these scenes, Chazelle never loses sight of the man beneath the mask. It's one of the most remarkable experiences I've ever had in a cinema (I cried 3 separate times for 3 very different reasons). My incoherent ramblings could never do this film justice - you NEED to see it, preferably on the biggest screen you can find. It's a term that's thrown around a lot these days, but First Man is a genuine masterpiece in every sense of the word.
5/5 Stars
*Also please be sure to follow me on Twitter (@T_F_T_S_R), Letterboxd (theboymarshall) and Instagram (thatsthemoneyshot) for more film related fun.
Sunday 14 October 2018
Film Studies - Week 1
Welcome to a new series of posts here on the blog. Now that I'm fully enrolled and settled into university life, I'm going to be watching a lot of movies this year (not much has changed there then). So this is the first instalment of a weekly round-up of all the movies I get to see through my years as a film student. Enjoy.
Avenger's Infinity War (2018)
Viewing - 4th
I don't think I'll ever be truly ready to describe my thoughts on this movie. It's a staggering achievement in film making. Somehow, the Russo's managed to draw together 10 years worth of characters, narratives and sub-plots and combine them into a story that is not only cohesive, but incredibly effective. It still captures the humour and charm of the MCU, whilst feeling tonally distinctive and original. It goes deeper and darker than any other comic-book movie has ever dared to tread and it pulls it of flawlessly.
5/5 Stars
Layer Cake (2004)
Viewing - 1st
This is a very Matthew Vaughn movie. Stylish, wise-cracking protagonists navigating a world of fleeting but extremely graphic violence. There's a lot of fun to be had with it, particularly in the performance of Daniel Craig. It's nice to see that pre-Bond sparkle in his eyes for a change. It suffers from poor pacing in the middle, as the conspiracy begins to unravel. But that whammy ending more than redeems it in my eyes. Well worth a watch.
4/5 Stars
Jaws (1975)
Viewing - 2nd
Despite my personal preference for Jurassic Park, I can fully understand why this is regarded as Spielberg's best work. It's a vital movie in terms of not only Spielberg's career but the state of blockbuster films on the whole. The shark itself isn't at all convincing, and it a lesser movie would be a causer laughter rather than fear. But the limitations of the shark never even cross your mind. It's masterfully suspenseful - even sequences where nothing of any real significance happens have you on the very edge of your seat. Simply fantastic.
5/5 Stars
American Animals (2018)
Viewing - 1st
A movie that I really enjoyed and one of the most inventive an original I've seen this year. The use of documentary-style interviews with the real life perpretators spliced into the reenactment of the event is a really innovative and engaging idea. The core four of the cast are really strong - Barry Keoghan and Evan Peters especially capture the likeness of their real world counterparts. The shift in tone, from joyous watching the gang 'revise' for the heist by watching classic crime movies to the devastation of watching the theft go badly wrong, comes suddenly and serves as a real kick in the teeth. It's a very unglamorous, harrowing depiction of a heist, the potency of which I haven't seen before.
4/5 Stars
First Man (2018)
Viewing - 1st
Be fully prepared for a full review of First Man shortly, as I really need the outlet to vent about just how incredible this movie is. I can't put it much simpler than you NEED to see this movie. Find the biggest cinema screen you can (I envy you if you're near an IMAX theatre) and prepare for one of the most staggering experiences you will ever have in a cinema.
5/5 Stars
That's all folks. See you next Sunday.
Avenger's Infinity War (2018)
Viewing - 4th
I don't think I'll ever be truly ready to describe my thoughts on this movie. It's a staggering achievement in film making. Somehow, the Russo's managed to draw together 10 years worth of characters, narratives and sub-plots and combine them into a story that is not only cohesive, but incredibly effective. It still captures the humour and charm of the MCU, whilst feeling tonally distinctive and original. It goes deeper and darker than any other comic-book movie has ever dared to tread and it pulls it of flawlessly.
5/5 Stars
Layer Cake (2004)
Viewing - 1st
This is a very Matthew Vaughn movie. Stylish, wise-cracking protagonists navigating a world of fleeting but extremely graphic violence. There's a lot of fun to be had with it, particularly in the performance of Daniel Craig. It's nice to see that pre-Bond sparkle in his eyes for a change. It suffers from poor pacing in the middle, as the conspiracy begins to unravel. But that whammy ending more than redeems it in my eyes. Well worth a watch.
4/5 Stars
Jaws (1975)
Viewing - 2nd
Despite my personal preference for Jurassic Park, I can fully understand why this is regarded as Spielberg's best work. It's a vital movie in terms of not only Spielberg's career but the state of blockbuster films on the whole. The shark itself isn't at all convincing, and it a lesser movie would be a causer laughter rather than fear. But the limitations of the shark never even cross your mind. It's masterfully suspenseful - even sequences where nothing of any real significance happens have you on the very edge of your seat. Simply fantastic.
5/5 Stars
American Animals (2018)
Viewing - 1st
A movie that I really enjoyed and one of the most inventive an original I've seen this year. The use of documentary-style interviews with the real life perpretators spliced into the reenactment of the event is a really innovative and engaging idea. The core four of the cast are really strong - Barry Keoghan and Evan Peters especially capture the likeness of their real world counterparts. The shift in tone, from joyous watching the gang 'revise' for the heist by watching classic crime movies to the devastation of watching the theft go badly wrong, comes suddenly and serves as a real kick in the teeth. It's a very unglamorous, harrowing depiction of a heist, the potency of which I haven't seen before.
4/5 Stars
First Man (2018)
Viewing - 1st
Be fully prepared for a full review of First Man shortly, as I really need the outlet to vent about just how incredible this movie is. I can't put it much simpler than you NEED to see this movie. Find the biggest cinema screen you can (I envy you if you're near an IMAX theatre) and prepare for one of the most staggering experiences you will ever have in a cinema.
5/5 Stars
That's all folks. See you next Sunday.
Sunday 23 September 2018
'Crazy Rich Asians' Review.
The rom-com is a genre that has been due a refresh for a while now. With the exception of the marvellous The Big Sick last year, I feel like there hasn't been a standout attempt for quite some time. Until now. Crazy Rich Asians is a delight.
Rachel Chu (Constance Wu) is an American-born Chinese professor who travels to her her boyfriend Nick's (Henry Golding) home town of Singapore for his best friends wedding, only to discover that Nick's family are impossibly wealthy. Rachel has to quickly adapt to the exuberant surroundings and the equally exuberant inhabitants, namely Nick's formidable mother Eleanor (Michele Yeoh) who isn't thrilled by their relationship.
This movie is not shy to deliver what it promises. These Asians are crazy rich. Sun-kissed islands, private jets and a mansion that could fit my house 10 times over and still not be full all contribute to the most glamorous backdrop you can imagine. The various parties and the wedding itself are explosions of primary colours. Whether you're coveting the luxuries for yourself or just blown away by the beauty of it all (I was a bit of both), the entire look of the film is enchanting.
Equally as vibrant as the locations are the characters themselves. Wu and Golding are terrific in the lead roles. Rachel is likeable and sympathetic enough that you as an audience will feel just out of place as she does in the hyper-glamourous setting. Golding is particular impressive given that this is his first feature film. He is effortlessly charming and has for my money cemented his place in the conversation for a certain super spy (#GoldingforBond). Elsewhere, the cast is littered with engaging and entertaining performances. The pick of the bunch is Awkwafina, who is just awesome. Her presence on screen is immense and she offers many of the films best laughs. Jon Chu isn't a director that I'd associate with interesting character interactions but he absolutely nails it here, giving all the supporting cast time to make an impact without ever detracting from the two stars.
What's perhaps most impressive is the originality of this film. Sure, it follows all the familiar conventions of a rom-com - and handles them very well - but there's an overall sense of individuality and distinction. It's a celebration of asian culture and heritage, whilst also addressing issues of race-relations and stereotypes in subtle but meaningful ways. No big deal is made of the primarily asian cast, it's just some super talented actors playing good and important roles - exactly the way is should be.
I have to say, I absolutely adored Crazy Rich Asians. It's a perfect mix of both 'rom' and 'com'. You feel exactly what you are supposed to in any given moment. The performances bring a bunch of fantastic characters to live, the setting is just breathtaking and it manages to feel completely original and familiarly comfortable at the same time. It's joyous.
4/5 Stars
*Also please be sure to follow me on Twitter (@T_F_T_S_R) and Letterboxd (theboymarshall) for more film related fun.
Rachel Chu (Constance Wu) is an American-born Chinese professor who travels to her her boyfriend Nick's (Henry Golding) home town of Singapore for his best friends wedding, only to discover that Nick's family are impossibly wealthy. Rachel has to quickly adapt to the exuberant surroundings and the equally exuberant inhabitants, namely Nick's formidable mother Eleanor (Michele Yeoh) who isn't thrilled by their relationship.
This movie is not shy to deliver what it promises. These Asians are crazy rich. Sun-kissed islands, private jets and a mansion that could fit my house 10 times over and still not be full all contribute to the most glamorous backdrop you can imagine. The various parties and the wedding itself are explosions of primary colours. Whether you're coveting the luxuries for yourself or just blown away by the beauty of it all (I was a bit of both), the entire look of the film is enchanting.
Equally as vibrant as the locations are the characters themselves. Wu and Golding are terrific in the lead roles. Rachel is likeable and sympathetic enough that you as an audience will feel just out of place as she does in the hyper-glamourous setting. Golding is particular impressive given that this is his first feature film. He is effortlessly charming and has for my money cemented his place in the conversation for a certain super spy (#GoldingforBond). Elsewhere, the cast is littered with engaging and entertaining performances. The pick of the bunch is Awkwafina, who is just awesome. Her presence on screen is immense and she offers many of the films best laughs. Jon Chu isn't a director that I'd associate with interesting character interactions but he absolutely nails it here, giving all the supporting cast time to make an impact without ever detracting from the two stars.
What's perhaps most impressive is the originality of this film. Sure, it follows all the familiar conventions of a rom-com - and handles them very well - but there's an overall sense of individuality and distinction. It's a celebration of asian culture and heritage, whilst also addressing issues of race-relations and stereotypes in subtle but meaningful ways. No big deal is made of the primarily asian cast, it's just some super talented actors playing good and important roles - exactly the way is should be.
I have to say, I absolutely adored Crazy Rich Asians. It's a perfect mix of both 'rom' and 'com'. You feel exactly what you are supposed to in any given moment. The performances bring a bunch of fantastic characters to live, the setting is just breathtaking and it manages to feel completely original and familiarly comfortable at the same time. It's joyous.
4/5 Stars
*Also please be sure to follow me on Twitter (@T_F_T_S_R) and Letterboxd (theboymarshall) for more film related fun.
Thursday 6 September 2018
'Upgrade' Review
I'm a big advocate of the Blumhouse Productions business model. Their strategy of producing individual, low budget horror movies that will more than likely make their money back in the opening weekend has allowed them to avoid many of the pitfalls of modern cinema. Without the concerns of franchising, they are free to focus on original, interesting story telling, of which Upgrade is a prime example.
In a near future that is dominated by machines and gadgetry, technophobe Grey (Logan Marshall-Green) is left quadriplegic in an attack that results in the death of his wife. Overcome by anger and desire for vengeance, Grey agrees to become the host of a powerful microchip, STEM, that will allow him to walk again and deal out some hard justice on those responsible. But regaining movement comes with a high price.
If you've been around the blog for a while, you'll know that I love a dystopian future. Considering the low, low budget of this movie, the world that Leigh Whannell creates is really impressive. We get plenty of world building through applications of new and existing technology. The stunning skylines are contrasted with the grimy city streets. Yet, whilst the world clearly draws from future-noir classics such as Blade Runner, steps are taken to give Upgrade an original feel. Many of the locations on display seem to blend futuristic tech with more natural, organic materials, which gives the film a sense of realism - it's not too far a gap to bridge between our world and this one.
Whilst some of the narrative progression does feel quite formulaic, the action scenes are distinctive and really give this film it's own lease of life. The way the fight scenes are shot is delightful - it feels very much like the camera work in Kingsman, in that the camera is constantly on the move to keep the subjects in frame. Only this feels much colder, more clinical and robotic. Minimal cutting and constantly seeing what's going on allows you to be fully immersed in the action. Whannell also sprinkles flashes of his horror roots in sci-fi/action structure. The whole affair is incredibly gory, including some Mortal Combat esque finishing moves that tread the line between gross and sickly entertaining.
Logan Marshall-Green is really terrific. He's an extremely likeable and sympathetic protagonist. Starting out in a tech-dominated world that he doesn't quite understand (or more importantly doesn't want to understand) and then having to come to terms with arrival of STEM in his body as they tussle for control of their now joint body, Marshall-Green plays these conflicting, internal emotions really well. His interactions with STEM are intriguing, and at times very funny, which prevents the whole movie from feeling too grim and gritty. Though the ending is a real kick in the teeth, even though you'll probably see it coming.
Everything about Upgrade is right up my ally. It's a bizarre amalgamation of genres that I love: sci-fi, brutal action and a Black Mirror style message. The story goes pretty much everywhere you expect that it will. But the action is so enthralling and Marshall-Green is so entertaining that it's hard to mind.
4/5 Stars
*Also please be sure to follow me on Twitter (@T_F_T_S_R) and Letterboxd (theboymarshall) for more film related fun.
In a near future that is dominated by machines and gadgetry, technophobe Grey (Logan Marshall-Green) is left quadriplegic in an attack that results in the death of his wife. Overcome by anger and desire for vengeance, Grey agrees to become the host of a powerful microchip, STEM, that will allow him to walk again and deal out some hard justice on those responsible. But regaining movement comes with a high price.
If you've been around the blog for a while, you'll know that I love a dystopian future. Considering the low, low budget of this movie, the world that Leigh Whannell creates is really impressive. We get plenty of world building through applications of new and existing technology. The stunning skylines are contrasted with the grimy city streets. Yet, whilst the world clearly draws from future-noir classics such as Blade Runner, steps are taken to give Upgrade an original feel. Many of the locations on display seem to blend futuristic tech with more natural, organic materials, which gives the film a sense of realism - it's not too far a gap to bridge between our world and this one.
Whilst some of the narrative progression does feel quite formulaic, the action scenes are distinctive and really give this film it's own lease of life. The way the fight scenes are shot is delightful - it feels very much like the camera work in Kingsman, in that the camera is constantly on the move to keep the subjects in frame. Only this feels much colder, more clinical and robotic. Minimal cutting and constantly seeing what's going on allows you to be fully immersed in the action. Whannell also sprinkles flashes of his horror roots in sci-fi/action structure. The whole affair is incredibly gory, including some Mortal Combat esque finishing moves that tread the line between gross and sickly entertaining.
Logan Marshall-Green is really terrific. He's an extremely likeable and sympathetic protagonist. Starting out in a tech-dominated world that he doesn't quite understand (or more importantly doesn't want to understand) and then having to come to terms with arrival of STEM in his body as they tussle for control of their now joint body, Marshall-Green plays these conflicting, internal emotions really well. His interactions with STEM are intriguing, and at times very funny, which prevents the whole movie from feeling too grim and gritty. Though the ending is a real kick in the teeth, even though you'll probably see it coming.
Everything about Upgrade is right up my ally. It's a bizarre amalgamation of genres that I love: sci-fi, brutal action and a Black Mirror style message. The story goes pretty much everywhere you expect that it will. But the action is so enthralling and Marshall-Green is so entertaining that it's hard to mind.
4/5 Stars
*Also please be sure to follow me on Twitter (@T_F_T_S_R) and Letterboxd (theboymarshall) for more film related fun.
Sunday 2 September 2018
'BlacKkKlansman' Review
There are few directors who are as consistently passionate as Spike Lee. All of his films/joints present uncomfortable but necessary truths to his audience. BlacKkKlansman might be his most important work yet. It uses a truly remarkable real life story as a figurehead to exploit an darkness that should have been staring us in the face the whole time.
Rookie cop Ron Stallworth (John David Washington), who is the first African American cop in Colorado Springs, applies to enrol in his local Klu Klux Klan chapter. He enlists the help of his colleague Flip (Adam Driver) to pose as himself for face to face interactions as the partners work to expose the organisations.
It seems unthinkable that this film recounts real events. But they are just that. Real. Sometimes painfully so. Yet, the unlikelihood of the story provides the movie with many of it's best laughs. It might seem strange that a film with such a poisonous subject matter should be funny, but the interplay between the police officers, particularly the chemistry between Washington and Driver, and the sheer ridiculousness of some of the Klan members lead to some genuinely funny moments. But don't be fooled. Whilst the bulk of the film is a quick-witted and often hilarious detective story, Lee still has a message to get across.
The true horror of the existence of the KKK is never really absent from the movie, even in the more humorous scenes. There's a general sense of discomfort and uneasiness maintained throughout. The use of clever camera work and dynamic visual story telling is excellent throughout. Shots intentionally linger on distressing imagery, which gives the film real bite. But Lee does an tremendous job of making sure that the two differing tones of the piece not only work together, but compliment each other. Sure, there is fun to be had at the Klan's expense, but that is not the point of this film.
Amazingly, Lee isn't entirely critical of the Klan. There are, of course, certain members of the chapter who are so grotesque they make your skin crawl, but that's only half the story. Ingeniously, Lee also gives us Klan members who are, at least to an observer, normal. Topher Grace in particular does a great job of portraying the 'grand wizard' David Duke. He is a truly disgusting and delusional man, but Grace treads the line well enough that he doesn't come across as insufferable. He is smarmy, but at times slightly charming. This is an especially effective way to presenting the true danger of the KKK. They are not all 'Neo-nazi's', some are seemingly normal people who have been corrupted by the sick and misguided beliefs of those in positions of power. That in it's self is a lot more scary. All this culminates in one of the most effective endings in recent memory, which left my physically sick to my stomach.
This is a really excellent movie, and one of Spike Lee's best. There is so much passion and anger in overall voice of the piece. It's incredibly powerful and a poignant. There is fun to be had within, but mainly it serves as a reminder of the shittier side of humanity and a warning against ignorance to the evils that lurk in our world.
4.5/5 Stars
*Also please be sure to follow me on Twitter (@T_F_T_S_R) and Letterboxd (theboymarshall) for more film related fun.
Rookie cop Ron Stallworth (John David Washington), who is the first African American cop in Colorado Springs, applies to enrol in his local Klu Klux Klan chapter. He enlists the help of his colleague Flip (Adam Driver) to pose as himself for face to face interactions as the partners work to expose the organisations.
It seems unthinkable that this film recounts real events. But they are just that. Real. Sometimes painfully so. Yet, the unlikelihood of the story provides the movie with many of it's best laughs. It might seem strange that a film with such a poisonous subject matter should be funny, but the interplay between the police officers, particularly the chemistry between Washington and Driver, and the sheer ridiculousness of some of the Klan members lead to some genuinely funny moments. But don't be fooled. Whilst the bulk of the film is a quick-witted and often hilarious detective story, Lee still has a message to get across.
The true horror of the existence of the KKK is never really absent from the movie, even in the more humorous scenes. There's a general sense of discomfort and uneasiness maintained throughout. The use of clever camera work and dynamic visual story telling is excellent throughout. Shots intentionally linger on distressing imagery, which gives the film real bite. But Lee does an tremendous job of making sure that the two differing tones of the piece not only work together, but compliment each other. Sure, there is fun to be had at the Klan's expense, but that is not the point of this film.
Amazingly, Lee isn't entirely critical of the Klan. There are, of course, certain members of the chapter who are so grotesque they make your skin crawl, but that's only half the story. Ingeniously, Lee also gives us Klan members who are, at least to an observer, normal. Topher Grace in particular does a great job of portraying the 'grand wizard' David Duke. He is a truly disgusting and delusional man, but Grace treads the line well enough that he doesn't come across as insufferable. He is smarmy, but at times slightly charming. This is an especially effective way to presenting the true danger of the KKK. They are not all 'Neo-nazi's', some are seemingly normal people who have been corrupted by the sick and misguided beliefs of those in positions of power. That in it's self is a lot more scary. All this culminates in one of the most effective endings in recent memory, which left my physically sick to my stomach.
This is a really excellent movie, and one of Spike Lee's best. There is so much passion and anger in overall voice of the piece. It's incredibly powerful and a poignant. There is fun to be had within, but mainly it serves as a reminder of the shittier side of humanity and a warning against ignorance to the evils that lurk in our world.
4.5/5 Stars
*Also please be sure to follow me on Twitter (@T_F_T_S_R) and Letterboxd (theboymarshall) for more film related fun.
Saturday 1 September 2018
'Christopher Robin' Review
I must admit, I had forgotten about my affection for Winnie the Pooh. That was until I saw the trailer for Christopher Robin and the tender 'Oh bother' of this sweet little bear melted my heart all over again. The appeal of this film really rests on that idea. The movie has it's issues, but it's undeniably charming.
Christopher Robin (McGregor) has long left behind the 100 acre wood and his friends. He has grown up and been made bitter by the mundanity of the real world. But just when it appears that Robin's dead-end job will cost him everything he loves, Winnie, Piglet and the gang decide it's their turn to save Christopher.
This film is just a frothy and warm as you would hope it would be. Catching up with these beloved characters after all this time is a truly joyous experience. Jim Cummings is absolutely tremendous as Winnie the Pooh, and whilst the overall story might be Christopher's, this is very much his movie.
It feels strange to call a stuffed bear nuanced, but he is the perfect blend of melancholic and cheerful. All the creatures are recaptured perfectly, whether it's Piglet's timidness, Tigger's brashness or Eyeore's general distaste to everything he encounters. Whilst there are call-backs to the original books and movies - the prologue is largely told through classic illustrations - it really does feel like these characters have been given a new lease of life and spring in their steps.
Winnie's co-stars are also on great from. Ewan McGregor is really terrific in this film. His performance is made all the more impressive by the fact that most of his scenes are playing off of nothing (or a man in a suit covered in ping pong balls) and he balances the stiffness of an older, wearier Christopher Robin and the inherent silliness of the situation very well. He is playful enough to keep the kids entertained whilst striking the right emotional chords to have the adults welling up (there's a scene in the 2nd act that tore me to bits). It does feel as though Hayley Atwell gets lost among the story at times, but once she is folded back into the narrative, she's certainly game.
Oddly, this movie is not all the fun and games of Pooh-sticks that you might expect it to be. There's plenty of levity but it's running parallel with darker and sometimes painfully relatable ideas. Some of the over-arching themes of growing older and losing your childhood will cut pretty close to the bone for some. This almost underlying sense of dread is conveyed visually as well as through the story telling. It's not as bright and colourful as you might expect a kids film to be and there are certain images that are truly creepy and unsettling.
This certainly gives the film an interesting tone. The mixture of merry and sinister, to me, doesn't quite mesh together and at times leaves you feeling like you're watching two different, conflicting stories both competing for the same screen. I would certainly give Mark Foster credit for trying to tell this story in a way that hasn't been done before. However, the intrigue of that darker underbelly of the narrative has all but vanished by the ending, which feels a little unsatisfactory.
Christopher Robin is certainly flawed. The story feels messy, not sure whether to stray down the ambitious, darker path it initially sets out on or to follow the more familiar, conventional narrative. Yet, the stellar work of Ewan McGregor and the 100 acre wood gang gives this film real heart. It's dripping with nostalgia, but still manages to feel fresh. It may not be as joyous as Paddington, but it's about as sweet as a jar full of honey.
3/5 Stars
*Also please be sure to follow me on Twitter (@T_F_T_S_R) and Letterboxd (theboymarshall) for more film related fun.
Christopher Robin (McGregor) has long left behind the 100 acre wood and his friends. He has grown up and been made bitter by the mundanity of the real world. But just when it appears that Robin's dead-end job will cost him everything he loves, Winnie, Piglet and the gang decide it's their turn to save Christopher.
This film is just a frothy and warm as you would hope it would be. Catching up with these beloved characters after all this time is a truly joyous experience. Jim Cummings is absolutely tremendous as Winnie the Pooh, and whilst the overall story might be Christopher's, this is very much his movie.
It feels strange to call a stuffed bear nuanced, but he is the perfect blend of melancholic and cheerful. All the creatures are recaptured perfectly, whether it's Piglet's timidness, Tigger's brashness or Eyeore's general distaste to everything he encounters. Whilst there are call-backs to the original books and movies - the prologue is largely told through classic illustrations - it really does feel like these characters have been given a new lease of life and spring in their steps.
Winnie's co-stars are also on great from. Ewan McGregor is really terrific in this film. His performance is made all the more impressive by the fact that most of his scenes are playing off of nothing (or a man in a suit covered in ping pong balls) and he balances the stiffness of an older, wearier Christopher Robin and the inherent silliness of the situation very well. He is playful enough to keep the kids entertained whilst striking the right emotional chords to have the adults welling up (there's a scene in the 2nd act that tore me to bits). It does feel as though Hayley Atwell gets lost among the story at times, but once she is folded back into the narrative, she's certainly game.
Oddly, this movie is not all the fun and games of Pooh-sticks that you might expect it to be. There's plenty of levity but it's running parallel with darker and sometimes painfully relatable ideas. Some of the over-arching themes of growing older and losing your childhood will cut pretty close to the bone for some. This almost underlying sense of dread is conveyed visually as well as through the story telling. It's not as bright and colourful as you might expect a kids film to be and there are certain images that are truly creepy and unsettling.
This certainly gives the film an interesting tone. The mixture of merry and sinister, to me, doesn't quite mesh together and at times leaves you feeling like you're watching two different, conflicting stories both competing for the same screen. I would certainly give Mark Foster credit for trying to tell this story in a way that hasn't been done before. However, the intrigue of that darker underbelly of the narrative has all but vanished by the ending, which feels a little unsatisfactory.
Christopher Robin is certainly flawed. The story feels messy, not sure whether to stray down the ambitious, darker path it initially sets out on or to follow the more familiar, conventional narrative. Yet, the stellar work of Ewan McGregor and the 100 acre wood gang gives this film real heart. It's dripping with nostalgia, but still manages to feel fresh. It may not be as joyous as Paddington, but it's about as sweet as a jar full of honey.
3/5 Stars
*Also please be sure to follow me on Twitter (@T_F_T_S_R) and Letterboxd (theboymarshall) for more film related fun.
Wednesday 15 August 2018
My Big Summer Binge (Pt 1)
Now that the hell that was A-Levels is finished, I'm free to kick back and watch as many movies as I want. Rather than bombard you lovely people with several dozen review, I've decided to give a brief summary of each.
1) Brawl in Cell Block 99 (2017) - 4 Stars
I was massively impressed by this movie. It takes it's sweet time to establish the world and it's characters before accelerating into some incredibly visceral action. Vince Vaughn is really terrific, and it's nice to see him playing against type as a Bruce Willis esque action hero. It's a slow burn and it's definitely not for the faint of heart, but it's a really great watch.
2) Garden State (2004) - 4 Stars
Your enjoyment of this movie revolves around your opinions of Zach Braff. Personally, I love him and as a result I really loved Garden State. It's a really impressive directorial debut, with some intelligent and quirky methods employed to create a sense of originality and style. Braff is also great in front of the camera, proving he has some real acting chops. Natalie Portman is tremendous and her performance elevates the whole film.
3) Moon (2009) - 4.5 Stars
Rewatching only further solidifies how brilliant this movie is. With a budget that couldn't by you a Transformer's foot, Duncan Jones crafts a visually stunning world and a captivating narrative. Sam Rockwell's performance is outstanding and made all the more impressive by the fact he is playing off of himself most of the time. As far as I'm concerned, it's one of the most accomplished Sci-fi movies of all time.
4) Atomic Blonde (2017) - 3.5 Stars
David Leitch is one of the best directors of action working at the minute and this is a really showcase of his ability. The whole film oozes style, from the steampunk cold-war aesthetic to a phenomenal soundtrack. Charlize Theron and James McAvoy are great in the leading roles. It has it's issues - some elements of the plot linger on for a little too long and the ambitious triple twist ending doesn't quite stick the landing. However, the one take fight sequence in the middle more than makes up for it.
5) Dunkirk (2017) - 4 Stars
I was gutted to miss out on Dunkirk upon it's release. For my money, Christopher Nolan is one of the best directors to ever live and whilst Dunkirk doesn't quite reach the heights of some of his other works, it's still a great film. The sound effects are editing to perfection. The sense of claustrophobia and tension is consistent throughout. The performances are all strong - even Harry Styles does a solid job. It's a quality movie that serves as an appropriate tribute to the miraculous real life events.
6) Children of Men (2006) - 5 Stars
This falls firmly into modern classic territory - Children of Men is a masterpiece in filmmaking. The story is high concept and compelling. The world that is crafted is the right blend of dystopian and realistic. There are some astonishing performances from a stellar cast . Clive Owen, whom I usually find to be quite dry, gives a career defining turn. The action set pieces are simply exceptional. The lengthy, one shot sequences in the car fight and the war in Bexhill are truly staggering and are among the best action scenes ever filmed. This film is perfect in every aspect.
7) Call me by your Name (2017) - 4.5 Stars
Another of last years Oscar crop that I was really late to. Call me by your Name is a really lovely movie. The story is impossibly charming, the whole film is shot and scored beautifully and the ending will jerk a tear from even the most reserved of audiences.
8) The Prestige (2006) - 5 Stars
This is, to me, one of if not Nolan's best works. Given that it's from fairly early in Nolan's illustrious career (before Batman begun), it's so assured and confident. The dialogue is smart as a whip, delivered brilliantly by the stacked cast. The chemistry between Jackman and Bale adds a whole other level to the turmoil and torture of their relationship. Nolan shows even better slight of hand than the magicians themselves, offering you just enough information to let you think you know what's going on before hitting you hard with an always shocking twist ending.
9) Unbreakable (2000) - 4 Stars
I'm not a massive fan of everything that Shyamalan has done, but I'm very excited for Glass in 2019 and Unbreakable is the main reason why. This is the film that made audiences sit up and take notice of him in his early days as a director. There are some ingenious uses of framing and blocking in this film. Whilst you can argue that many of them are purely style over substance, there is no denying that Shyamalan had such an eye in his early works. Unbreakable also offers one of the few successful Shyamalan twists.
10) Jurassic Park (1993) - 5 Stars
I adore this movie. For a film that is primarily scary - the raptors in the kitchen scene still shocks me to this day - there is so much charm and warmth to the story. The animatronic dinosaurs still looking incredible today. Sam Neil, Laura Dern and Jeff Goldblum are all fantastic. The iconic theme has never sounded better. Frankly, if you don't like this movie, we can't be friends.
That's all folks. Stay tuned for part 2.
*Also please be sure to follow me on Twitter (@T_F_T_S_R) and Letterboxd (theboymarshall) for more film related fun.
1) Brawl in Cell Block 99 (2017) - 4 Stars
I was massively impressed by this movie. It takes it's sweet time to establish the world and it's characters before accelerating into some incredibly visceral action. Vince Vaughn is really terrific, and it's nice to see him playing against type as a Bruce Willis esque action hero. It's a slow burn and it's definitely not for the faint of heart, but it's a really great watch.
2) Garden State (2004) - 4 Stars
Your enjoyment of this movie revolves around your opinions of Zach Braff. Personally, I love him and as a result I really loved Garden State. It's a really impressive directorial debut, with some intelligent and quirky methods employed to create a sense of originality and style. Braff is also great in front of the camera, proving he has some real acting chops. Natalie Portman is tremendous and her performance elevates the whole film.
3) Moon (2009) - 4.5 Stars
Rewatching only further solidifies how brilliant this movie is. With a budget that couldn't by you a Transformer's foot, Duncan Jones crafts a visually stunning world and a captivating narrative. Sam Rockwell's performance is outstanding and made all the more impressive by the fact he is playing off of himself most of the time. As far as I'm concerned, it's one of the most accomplished Sci-fi movies of all time.
4) Atomic Blonde (2017) - 3.5 Stars
David Leitch is one of the best directors of action working at the minute and this is a really showcase of his ability. The whole film oozes style, from the steampunk cold-war aesthetic to a phenomenal soundtrack. Charlize Theron and James McAvoy are great in the leading roles. It has it's issues - some elements of the plot linger on for a little too long and the ambitious triple twist ending doesn't quite stick the landing. However, the one take fight sequence in the middle more than makes up for it.
5) Dunkirk (2017) - 4 Stars
I was gutted to miss out on Dunkirk upon it's release. For my money, Christopher Nolan is one of the best directors to ever live and whilst Dunkirk doesn't quite reach the heights of some of his other works, it's still a great film. The sound effects are editing to perfection. The sense of claustrophobia and tension is consistent throughout. The performances are all strong - even Harry Styles does a solid job. It's a quality movie that serves as an appropriate tribute to the miraculous real life events.
6) Children of Men (2006) - 5 Stars
This falls firmly into modern classic territory - Children of Men is a masterpiece in filmmaking. The story is high concept and compelling. The world that is crafted is the right blend of dystopian and realistic. There are some astonishing performances from a stellar cast . Clive Owen, whom I usually find to be quite dry, gives a career defining turn. The action set pieces are simply exceptional. The lengthy, one shot sequences in the car fight and the war in Bexhill are truly staggering and are among the best action scenes ever filmed. This film is perfect in every aspect.
7) Call me by your Name (2017) - 4.5 Stars
Another of last years Oscar crop that I was really late to. Call me by your Name is a really lovely movie. The story is impossibly charming, the whole film is shot and scored beautifully and the ending will jerk a tear from even the most reserved of audiences.
8) The Prestige (2006) - 5 Stars
This is, to me, one of if not Nolan's best works. Given that it's from fairly early in Nolan's illustrious career (before Batman begun), it's so assured and confident. The dialogue is smart as a whip, delivered brilliantly by the stacked cast. The chemistry between Jackman and Bale adds a whole other level to the turmoil and torture of their relationship. Nolan shows even better slight of hand than the magicians themselves, offering you just enough information to let you think you know what's going on before hitting you hard with an always shocking twist ending.
9) Unbreakable (2000) - 4 Stars
I'm not a massive fan of everything that Shyamalan has done, but I'm very excited for Glass in 2019 and Unbreakable is the main reason why. This is the film that made audiences sit up and take notice of him in his early days as a director. There are some ingenious uses of framing and blocking in this film. Whilst you can argue that many of them are purely style over substance, there is no denying that Shyamalan had such an eye in his early works. Unbreakable also offers one of the few successful Shyamalan twists.
10) Jurassic Park (1993) - 5 Stars
I adore this movie. For a film that is primarily scary - the raptors in the kitchen scene still shocks me to this day - there is so much charm and warmth to the story. The animatronic dinosaurs still looking incredible today. Sam Neil, Laura Dern and Jeff Goldblum are all fantastic. The iconic theme has never sounded better. Frankly, if you don't like this movie, we can't be friends.
That's all folks. Stay tuned for part 2.
*Also please be sure to follow me on Twitter (@T_F_T_S_R) and Letterboxd (theboymarshall) for more film related fun.
'Mission Impossible:Fallout' Review
The Mission Impossible series has clearly missed the memo that 5th and 6th films in a franchise are supposed to be bad. If anything, these films are on an upward trajectory, with Rogue Nation being my personal favourite of the series. Falloutitself certainly follows the pattern - it's a tremendous piece of action cinema.
After an IMF Mission goes wrong, the world is at risk of nuclear catastrophe. Ethan Hunt, of course, takes it upon himself to achieve their original task but his progress is hampered by the presence of CIA agent Walker (Cavill), tasked to keep an eye on Hunt as the government begin to lose faith in him, and the return of Isla Faust (Ferguson), who is working with her own agenda.
Even with such a fantastic cast, Christopher McQuarrie's keeps the emphasis on character scenes short but sweet. Mentions of Ethan's love life or his relationship with his fellow IMF agents are fleeting, but they all land with plenty of impact. In fact, most of the character work is wrapped up in the first hour, which coupled with a fair amount of exposition and a needlessly overcomplicated arc of one of the villains might make the the opening feel a little slow. But it's only slow in comparison to the relentless final hour with is pretty much perfect.
The action scenes throughout are truly spectacular. Without exception, every single set pieces is jaw-dropping. The brawl in the bathroom is incredibly visceral and weighty, the race across London rooftops is the perfect mix of exhilarating and hilarious, and the closing helicopter chase is stunning. The level of technical work that goes into creating these sequences is mind boggling - take the HALO skydive, where Tom Cruise has to steady himself a couple of feet away from another dive with an IMAX camera strapped to his chest. My pick of the bunch in the motorbike chase through Paris, which is just mesmerising. You can genuinely feel the wind whipping past. The commitment of both Cruise and McQuarrie to the authenticity and originality of each set piece is staggering. As far as action set pieces go, these are not only highlights of this franchise but the genre as a whole.
Away from the action, the entire film is shot beautifully. Lots of effort went into scouting and accessing real locations to film in and they are used to full effect. There are numerous long, sweeping shots of some stunning landscapes in Paris, London and Norway.
The beating heart of this movie is Tom Cruise. He and McQuarrie build a fascinating narrative around the audacious action, presenting a character study of Ethan Hunt. The ever-present 'Your mission, should you chose to accept it' is dissected, as McQuarrie questions what kind of man would keep accepting these missions, continually risking his life for others. The answer is simple. Hunt cares about one life as much as the thousands, and he will do everything in his power to save them. Watching Hunt go toe to toe with Walker (played well by Cavill, sporting the most expensive moustache in cinematic history) is the perfect why is illustrate that.
Overall, Mission Impossible: Fallout is a fantastic movie. It's captivating plot and intelligent use of character work is excellent. The action set pieces are truly phenomenal. It's gripping, it's intense, the final hour doesn't let up for a second. It's a brilliant watch and is definitely up there with the best action movies of all time.
5/5 Stars
*Also please be sure to follow me on Twitter (@T_F_T_S_R) and Letterboxd (theboymarshall) for more film related fun.
After an IMF Mission goes wrong, the world is at risk of nuclear catastrophe. Ethan Hunt, of course, takes it upon himself to achieve their original task but his progress is hampered by the presence of CIA agent Walker (Cavill), tasked to keep an eye on Hunt as the government begin to lose faith in him, and the return of Isla Faust (Ferguson), who is working with her own agenda.
Even with such a fantastic cast, Christopher McQuarrie's keeps the emphasis on character scenes short but sweet. Mentions of Ethan's love life or his relationship with his fellow IMF agents are fleeting, but they all land with plenty of impact. In fact, most of the character work is wrapped up in the first hour, which coupled with a fair amount of exposition and a needlessly overcomplicated arc of one of the villains might make the the opening feel a little slow. But it's only slow in comparison to the relentless final hour with is pretty much perfect.
The action scenes throughout are truly spectacular. Without exception, every single set pieces is jaw-dropping. The brawl in the bathroom is incredibly visceral and weighty, the race across London rooftops is the perfect mix of exhilarating and hilarious, and the closing helicopter chase is stunning. The level of technical work that goes into creating these sequences is mind boggling - take the HALO skydive, where Tom Cruise has to steady himself a couple of feet away from another dive with an IMAX camera strapped to his chest. My pick of the bunch in the motorbike chase through Paris, which is just mesmerising. You can genuinely feel the wind whipping past. The commitment of both Cruise and McQuarrie to the authenticity and originality of each set piece is staggering. As far as action set pieces go, these are not only highlights of this franchise but the genre as a whole.
Away from the action, the entire film is shot beautifully. Lots of effort went into scouting and accessing real locations to film in and they are used to full effect. There are numerous long, sweeping shots of some stunning landscapes in Paris, London and Norway.
The beating heart of this movie is Tom Cruise. He and McQuarrie build a fascinating narrative around the audacious action, presenting a character study of Ethan Hunt. The ever-present 'Your mission, should you chose to accept it' is dissected, as McQuarrie questions what kind of man would keep accepting these missions, continually risking his life for others. The answer is simple. Hunt cares about one life as much as the thousands, and he will do everything in his power to save them. Watching Hunt go toe to toe with Walker (played well by Cavill, sporting the most expensive moustache in cinematic history) is the perfect why is illustrate that.
Overall, Mission Impossible: Fallout is a fantastic movie. It's captivating plot and intelligent use of character work is excellent. The action set pieces are truly phenomenal. It's gripping, it's intense, the final hour doesn't let up for a second. It's a brilliant watch and is definitely up there with the best action movies of all time.
5/5 Stars
*Also please be sure to follow me on Twitter (@T_F_T_S_R) and Letterboxd (theboymarshall) for more film related fun.
Saturday 4 August 2018
'Antman & The Wasp ' Spoiler Free Review
It's a minor miracle that Antman is as good as it is. Movies that lose their directors that late into production often turn out to be steaming piles of hot rubbish (cough Justice League cough). It was also a massive shame to see Edgar Wright, whom I love as a director, leave the project because a part of me always wondered what his full version of Antman would have looked like. To me, at least, one of the biggest intrigues about Antman and The Wasp was to see what kind of narrative and world Peyton Reed would create, after being in charge of the whole project this time around. The answer is a fairly conservative but enjoyable Marvel movie.
Two years after the events of Civil War, Scott Lang (Rudd) is under house arrest due to his affiliation with Cap and co. He is called back into action by Hope (Lilly) and Hank (Douglas) as his experience of going sub atomic might hold the key to rescuing Janet Van Dyne (Pfeiffer) from the Quantum Realm. Their progress is halted by numerous threats, including the presence of the mysterious Ghost, who needs their tech for her own personal reasons.
As you would expect from a movie with their names in the title, Paul Rudd and Evangeline Lilly are the two stars of this film. To the surprise of no one, Rudd gives a such roguish charm to the character and is at the heart of most of the films best laughs. Lilly is also great throughout, and this film is generally a really strong introduction of The Wasp. Whilst Scott bears the brunt of most of the comedy, Hope is central to the films best action sequences. It's refreshing to see The Wasp fully powered from the get-go of this movie, and it's used to full effect throughout.
Elsewhere the cast is solid. Douglas and Pfeiffer share good chemistry (good to know that mascara is easily accessible in the Quantum Realm). Michael Pena is terrific again as Luis and Reed is smart to play into his hilarity more, including the much welcomed return of his infamous monologues. Laurence Fishburne is a good addition as Bill Foster, whom I would definitely like to see again. Hannah John-Kamen does a great job as Ghost, offering the right mixture of unhinged and sympathetic. Walton Goggins is suitably smarmy secondary antagonist.
On the whole, this movie serves as an MCU palate cleanser, after the craziness and devastation of Infinity War. The whole situation is far more small scaled (perhaps appropriate for the heroes) and the threat is more on a personal level than any catastrophic event, which allows for more levity in the film's tone. As well as heaps of sight gags, Reed also throughs in some meta jokes regarding the Marvel Incognito starter pack (sunglasses and a baseball cap) or the overly complicated technical mumbo jumbo ("do you guys just stick Quantum in front of everything?"). But not everything is addressed with flippancy. The MCU is expanded even further with the exploration of the psychedelic Quantum Realm, and the shocking end credits scene ties directly into Infinity War.
Whilst I do appreciate the need for a more grounded narrative after Avengers 3, the small scale story of this film does boil down to be a little too simple. A lot of the time we jump from A to B with very little of importance in between. There are some really creative uses of the growing/shrinking Pym particle, but regrettably most of which are spoiled in the trailers (I feel like I've been saying that more and more lately). Also, as much as I love Paul Rudd and enjoy him in this role, I feel like most of his screen time is just devoted to him Rudd-ing about. Hopefully in the future he gets a little more opportunity for character work.
The shortcomings of Antman and The Wasp are probably more of a symptom of the success of the MCU rather than any fault in the movie itself. It is a much needed smaller story, and the performances, action and humour are all solid throughout. Yet, after witnessing the diversity of Black Panther and the scope and emotion of Infinity War earlier this year, Antman and The Wasp can't help but feel a little flat in comparison.
3/5 Stars
*Also please be sure to follow me on Twitter (@T_F_T_S_R) and Letterboxd (theboymarshall) for more film related fun.
Two years after the events of Civil War, Scott Lang (Rudd) is under house arrest due to his affiliation with Cap and co. He is called back into action by Hope (Lilly) and Hank (Douglas) as his experience of going sub atomic might hold the key to rescuing Janet Van Dyne (Pfeiffer) from the Quantum Realm. Their progress is halted by numerous threats, including the presence of the mysterious Ghost, who needs their tech for her own personal reasons.
As you would expect from a movie with their names in the title, Paul Rudd and Evangeline Lilly are the two stars of this film. To the surprise of no one, Rudd gives a such roguish charm to the character and is at the heart of most of the films best laughs. Lilly is also great throughout, and this film is generally a really strong introduction of The Wasp. Whilst Scott bears the brunt of most of the comedy, Hope is central to the films best action sequences. It's refreshing to see The Wasp fully powered from the get-go of this movie, and it's used to full effect throughout.
Elsewhere the cast is solid. Douglas and Pfeiffer share good chemistry (good to know that mascara is easily accessible in the Quantum Realm). Michael Pena is terrific again as Luis and Reed is smart to play into his hilarity more, including the much welcomed return of his infamous monologues. Laurence Fishburne is a good addition as Bill Foster, whom I would definitely like to see again. Hannah John-Kamen does a great job as Ghost, offering the right mixture of unhinged and sympathetic. Walton Goggins is suitably smarmy secondary antagonist.
On the whole, this movie serves as an MCU palate cleanser, after the craziness and devastation of Infinity War. The whole situation is far more small scaled (perhaps appropriate for the heroes) and the threat is more on a personal level than any catastrophic event, which allows for more levity in the film's tone. As well as heaps of sight gags, Reed also throughs in some meta jokes regarding the Marvel Incognito starter pack (sunglasses and a baseball cap) or the overly complicated technical mumbo jumbo ("do you guys just stick Quantum in front of everything?"). But not everything is addressed with flippancy. The MCU is expanded even further with the exploration of the psychedelic Quantum Realm, and the shocking end credits scene ties directly into Infinity War.
Whilst I do appreciate the need for a more grounded narrative after Avengers 3, the small scale story of this film does boil down to be a little too simple. A lot of the time we jump from A to B with very little of importance in between. There are some really creative uses of the growing/shrinking Pym particle, but regrettably most of which are spoiled in the trailers (I feel like I've been saying that more and more lately). Also, as much as I love Paul Rudd and enjoy him in this role, I feel like most of his screen time is just devoted to him Rudd-ing about. Hopefully in the future he gets a little more opportunity for character work.
The shortcomings of Antman and The Wasp are probably more of a symptom of the success of the MCU rather than any fault in the movie itself. It is a much needed smaller story, and the performances, action and humour are all solid throughout. Yet, after witnessing the diversity of Black Panther and the scope and emotion of Infinity War earlier this year, Antman and The Wasp can't help but feel a little flat in comparison.
3/5 Stars
*Also please be sure to follow me on Twitter (@T_F_T_S_R) and Letterboxd (theboymarshall) for more film related fun.
Saturday 21 July 2018
'Hotel Artemis' Review
Hotel Artemis is a movie that I was pretty confident that I would enjoy. Everything about it is right up my alley. Neo-noir dystopian future? Check. Hyper-violent action scenes? Check. Goldblum? You betcha. Thankfully my high expectations din't lead to disappointment because Hotel Artemis is great.
Set in 2028 Los Angeles, where society has been torn apart by riots and street violence, we follow the story of 'The Nurse' (Foster), whom, with the help of her man mountain orderly Everest (Bautista) runs the 'Hotel Artemis' - a secret, members only emergency room for criminals. Tensions start to rise as the patients begin to rub each other the wrong way, threatening to break the rules that the establishment is based upon. The situation reaches boiling point when news that the infamous Wolf King of LA (Goldblum) is on his way.
The cast of this film is absolutely stacked, and the interplay between them is one of the film's strong points. The differing personalities of Charlie Day's obnoxious arms dealer, Sofia Boutella's cold hearted assassin and Sterling K. Brown's calculated bank robber bounce of each other really well and lead to some humourus yet tense interactions. They all have different agendas, not all of which are going to allow for overlap. Jeff Goldblum is suitably menacing and unhinged as the apparent big bad. Dave Bautista is ever present and as usual he is responsible for most of the film's biggest laughs.
The crowning jewel, though, is Jodie Foster, who is truly outstanding. Beneath the hard exterior shell that she portrays to her patients (she greets most of the terrible events that come her way with flippancy - 'Just another Wednesday'), is a fragile, vulnerable old lady who has been through immense tragedy and become tied to the hotel herself as though it's a part of her. There is huge pathos associated with her character and Foster convey's it perfectly. You can sense the weight of responsibility upon her. Even when surrounded by some truly awful people, her willingness to help people is rock solid, which further endears us to her. Her performance really elevates this movie, and she fells like the linchpin that holds the whole thing together.
The action throughout is also strong. We get brief glimpses of extremely visceral violence, but most set pieces are stylised and almost cartoonish. They're not edited as well as some other examples of modern fight scenes, but the idea of cramming such dangerous people in such a confined space adds another element to the stakes and the impact of the action. In fact, the Hotel itself is just as important as it's inhabitants. The blood stained cushions and rickety elevator feel a thousand miles away from the high tech world outside, but this only adds to the intrigue and mystery about the screws the hotel is hiding.
I feel like I've been saying this a lot lately, but this is yet another impressive directorial debut, this time from Drew Pearce. Hotel Artemis is a stylish, uber-violent action film, which main strength lies within the interactions of the stellar cast, anchored by an excellent performance from Jodie Foster.
4/5 Stars
*Also please be sure to follow me on Twitter (@T_F_T_S_R) and Letterboxd (theboymarshall) for more film related fun.
4/5 Stars
*Also please be sure to follow me on Twitter (@T_F_T_S_R) and Letterboxd (theboymarshall) for more film related fun.
'Mamma Mia! Here We Go Again' Review
I'm not ashamed to admit that I have a certain affection for Mamma Mia. I think it boils down to the idea that it's so bad that it's good. In some ways, the sequel is much of the same. However, there are some seemingly intentional precautions taken that lift this movie to heights that the first one never reached.
The story is split between the past and the present day. As Sophie (Seyfried) prepares for her own daughter to enter the world, we learn more of her mother's story through flashbacks of a young Donna (James) arriving on the island. The interwoven stories are actually executed really well, with certain scenes intentionally mirroring prior/future events. There is good balance between the screen time of the old guard and their younger counterparts, although I personally found the flashback sequences far more interesting that the continuation of the present story. One of the biggest improvements is that the whole affair feels more knowing. Fun is poked at the preposterousness of the plot in a way that wasn't the first time round. It certainly feels more like we are laughing with the movie rather than at it. But even with the self referential tone, there are still some really emotional moments. In particular, the ending scene in the church caught me of guard with it's tenderness and heart.
One of the strongest draws to Mamma Mia was it's extremely likeable cast, which is only further bolstered by the new recruits. Jeremy Irvine, Josh Dylan and Hugh Skinner all do solid jobs of capturing the essence of Sam, Bill and Harry, but the lovely Lily James is the star. Her heavenly voice and bubbly screen presence are responsible for much of the films joy. Most of the original cast up their game too. Julie Walters and Christine Baranski are both hilarious. Brosnan's improvement vocally is pretty impressive - he sounds far less like a terrible David Bowie impersonator and offers genuinely emotional moments. In fact, the film as a whole does a good job of making you feel exactly what you should in any given moment. Special mentions must go to Omid Djalili, who's expertly dead-pan persona steals every scene he is in.
My criticism of the film might be due to a fault in myself rather than the movie. I'm a fairly passive Abba fan - I enjoy a lot of their songs but I'm by no means a super fan. As a result, a lot of the songs were unfamiliar to me. Now I understand that I would be a mistake to simply repeat the soundtrack from the first movie song for song. Variety is the spice of life and all that. Yet, another part of me feels like you've got to stick to the hits. Other than the obvious: Dancing Queen, Mamma Mia, Fernando etc, there weren't many songs I recognised which left me a feeling a little disengaged during some of the musical numbers. But as I said, that's probably my fault. One the whole the music is really good and there are noticeable improvements to the choreography.
It may not be spectacular, but Mamma Mia! Here We Go Again is a solid movie. It's a definite improvement from the first movie - the performances, the musical set pieces and the overall tone are all significantly better. As far as feel-good, summer movies go, it's certainly one of the better ones.
3/5 Stars
*Also please be sure to follow me on Twitter (@T_F_T_S_R) and Letterboxd (theboymarshall) for more film related fun.
The story is split between the past and the present day. As Sophie (Seyfried) prepares for her own daughter to enter the world, we learn more of her mother's story through flashbacks of a young Donna (James) arriving on the island. The interwoven stories are actually executed really well, with certain scenes intentionally mirroring prior/future events. There is good balance between the screen time of the old guard and their younger counterparts, although I personally found the flashback sequences far more interesting that the continuation of the present story. One of the biggest improvements is that the whole affair feels more knowing. Fun is poked at the preposterousness of the plot in a way that wasn't the first time round. It certainly feels more like we are laughing with the movie rather than at it. But even with the self referential tone, there are still some really emotional moments. In particular, the ending scene in the church caught me of guard with it's tenderness and heart.
One of the strongest draws to Mamma Mia was it's extremely likeable cast, which is only further bolstered by the new recruits. Jeremy Irvine, Josh Dylan and Hugh Skinner all do solid jobs of capturing the essence of Sam, Bill and Harry, but the lovely Lily James is the star. Her heavenly voice and bubbly screen presence are responsible for much of the films joy. Most of the original cast up their game too. Julie Walters and Christine Baranski are both hilarious. Brosnan's improvement vocally is pretty impressive - he sounds far less like a terrible David Bowie impersonator and offers genuinely emotional moments. In fact, the film as a whole does a good job of making you feel exactly what you should in any given moment. Special mentions must go to Omid Djalili, who's expertly dead-pan persona steals every scene he is in.
My criticism of the film might be due to a fault in myself rather than the movie. I'm a fairly passive Abba fan - I enjoy a lot of their songs but I'm by no means a super fan. As a result, a lot of the songs were unfamiliar to me. Now I understand that I would be a mistake to simply repeat the soundtrack from the first movie song for song. Variety is the spice of life and all that. Yet, another part of me feels like you've got to stick to the hits. Other than the obvious: Dancing Queen, Mamma Mia, Fernando etc, there weren't many songs I recognised which left me a feeling a little disengaged during some of the musical numbers. But as I said, that's probably my fault. One the whole the music is really good and there are noticeable improvements to the choreography.
It may not be spectacular, but Mamma Mia! Here We Go Again is a solid movie. It's a definite improvement from the first movie - the performances, the musical set pieces and the overall tone are all significantly better. As far as feel-good, summer movies go, it's certainly one of the better ones.
3/5 Stars
*Also please be sure to follow me on Twitter (@T_F_T_S_R) and Letterboxd (theboymarshall) for more film related fun.
Tuesday 17 July 2018
'The Incredibles 2' Review
The Incredibles is one of Pixar's many nailed on 5 star classics. It's popularity made the possibility of a sequel a near certainty. Now, after taking several forms in the development merry-go-round over a whopping 14 year gap, the Parr family are finally back in action. Whilst Incredibles 2 doesn't quite reach the same heights as the original, it's still a hugely entertaining movie.
Unlike the 14 year break between films, the story picks up immediately after the first film ends. Supers are still illegal and their reputations are being further tarnished by media. The Parr's fear they will be forced back into hiding, until they are approached by two wealthy benefactors who want to put superheroes 'back in the sunlight'. The catch is that whilst Elastigirl is out trying to catch the mysterious 'Screenslaver', Mr Incredible is left at home to deal with all the obstacles that come with a anxious teenage girl, a hyperactive pre-teen boy and polymorphic baby.
It was a smart move from Brad Bird to resist moving the universe forwards along with the real world. The opening scene of this film comes literally seconds after the epilogue of the first with the Underminer attacking the city. Whilst it might have been fun to the the superheroes with a bit more autonomy (we undoubtedly will down the line), continuing the story in the already well established world gives this movie a point of difference from other superhero films. The heroes' pent up frustrations at the hostility and scepticism thrown their way and their subsequent attempts to break free from them was one of the first film's most joyful elements and it's good to see that concept continued here.
Bird also develops the family drama aspect of the series to good effect here. Pixar movies in general have always been great at blending the ordinary with the extraordinary and this film is a prime example. Among the action and chaos, the movie isn't afraid to slow down and show some more intimate family moments. Certain beats like Mr Incredible struggling to help Dash with his homework because they have 'changed math' and Helen and Bob discussing the intricacies of her new job through mouthfuls of toothpaste feel relatable and familiar, which makes the dynamic of the family all the more genuine.
The action throughout this film is really great and there are some extremely entertaining and humorous set pieces. All of Elastigirl's new assignments are engaging and tense, keeping up with the Bond esque tone established in the first movie. The powers of the Parr family and the new roster of heroes are used in some really clever and inventive ways, with Void being my pick of the new bunch. The star of the show, though, is Jack-Jack. His seemingly unlimited range of powers are at the forefront of many of the movies best scenes, including one particular sequence with a racoon that had my howling with laughter. He is hilarious (almost always unintentionally) and I'm eager to see what they do with his character going forward.
If I had one complaint, it would have to be the villain. The limitations of the antagonist might be the only thing separating this film from the quality of the first. Yet, whilst Syndrome was an original and interesting villain, Screenslaver falls a little flat. The idea of the character is a fairly intriguing one, but the 'reveal' of their real identity comes far too late into the story and is signposted so heavily throughout that even the youngsters will see it coming.
Overall, I had a great time with The Incredible 2. It may have a weak villain, but the enthralling action, charming family dynamic and Jack-Jack's antics ('Jack-Jantics' if you will) ensure this is a highly entertaining film that the whole family can enjoy.
4/5 Stars
*Also please be sure to follow me on Twitter (@T_F_T_S_R) and Letterboxd (theboymarshall) for more film related fun.
Unlike the 14 year break between films, the story picks up immediately after the first film ends. Supers are still illegal and their reputations are being further tarnished by media. The Parr's fear they will be forced back into hiding, until they are approached by two wealthy benefactors who want to put superheroes 'back in the sunlight'. The catch is that whilst Elastigirl is out trying to catch the mysterious 'Screenslaver', Mr Incredible is left at home to deal with all the obstacles that come with a anxious teenage girl, a hyperactive pre-teen boy and polymorphic baby.
It was a smart move from Brad Bird to resist moving the universe forwards along with the real world. The opening scene of this film comes literally seconds after the epilogue of the first with the Underminer attacking the city. Whilst it might have been fun to the the superheroes with a bit more autonomy (we undoubtedly will down the line), continuing the story in the already well established world gives this movie a point of difference from other superhero films. The heroes' pent up frustrations at the hostility and scepticism thrown their way and their subsequent attempts to break free from them was one of the first film's most joyful elements and it's good to see that concept continued here.
Bird also develops the family drama aspect of the series to good effect here. Pixar movies in general have always been great at blending the ordinary with the extraordinary and this film is a prime example. Among the action and chaos, the movie isn't afraid to slow down and show some more intimate family moments. Certain beats like Mr Incredible struggling to help Dash with his homework because they have 'changed math' and Helen and Bob discussing the intricacies of her new job through mouthfuls of toothpaste feel relatable and familiar, which makes the dynamic of the family all the more genuine.
The action throughout this film is really great and there are some extremely entertaining and humorous set pieces. All of Elastigirl's new assignments are engaging and tense, keeping up with the Bond esque tone established in the first movie. The powers of the Parr family and the new roster of heroes are used in some really clever and inventive ways, with Void being my pick of the new bunch. The star of the show, though, is Jack-Jack. His seemingly unlimited range of powers are at the forefront of many of the movies best scenes, including one particular sequence with a racoon that had my howling with laughter. He is hilarious (almost always unintentionally) and I'm eager to see what they do with his character going forward.
If I had one complaint, it would have to be the villain. The limitations of the antagonist might be the only thing separating this film from the quality of the first. Yet, whilst Syndrome was an original and interesting villain, Screenslaver falls a little flat. The idea of the character is a fairly intriguing one, but the 'reveal' of their real identity comes far too late into the story and is signposted so heavily throughout that even the youngsters will see it coming.
Overall, I had a great time with The Incredible 2. It may have a weak villain, but the enthralling action, charming family dynamic and Jack-Jack's antics ('Jack-Jantics' if you will) ensure this is a highly entertaining film that the whole family can enjoy.
4/5 Stars
*Also please be sure to follow me on Twitter (@T_F_T_S_R) and Letterboxd (theboymarshall) for more film related fun.
Sunday 17 June 2018
'Jurassic World:Fallen Kingdom' Spoiler Free Review
Jurassic World is, to me at least, one of the most distinctly average movies of the last decade. It did a decent enough job of kicking off this new set of Jurassic films and there are a bunch of fun moments in it, but there's no denying that it's a flawed film. Still, that didn't stop it from becoming one of 2015's biggest financial hits and making the possibility of a sequel a near certainty. Whilst Fallen Kingdom suffers many of the same pitfalls as it's predecessor, it's certainly an improvement from the last one and is a film that I had a really good time with.
As a volcanic eruption threatens to wipe out the remaining life of Isla Nublar, Claire (Howard) and Owen (Pratt) are enlisted to assist a rescue operation to evacuate the dinosaurs from the island. However, more sinister motivations are at play that result in some good old fashioned dino-madness to ensue.
One of the strongest elements of Jurassic World was the dinosaurs. Thankfully, they are still the main attractions in the sequel. There's a strong blend of returning and new breeds which are all very entertaining. The new big bad 'Indoraptor' is suitably terrifying. The Stygimoloch (look, I had to google it okay - it's the one with the big dome on it's head) is a bit of a breakout star. The creatures are used in some innovative ways and are at the centre of the movie's two best scenes.
As hinted at by the promotional material, the standout set pieces are the chaotic escape from the volcano and the mansion sequence. J.A Bayona does a terrific job with both of these moments. He has expressed in recent interviews his desire to use the third act in the mansion to emulate the horror elements of Jurassic Park, which he has certainly achieved. It's not scary as the original, but the gradual building of tension is used well and there are plenty of effective scares. The escape from the island is also great and a welcome burst of action after a fairly slow start.
However, this movie is another example of overexposure in marketing having a detrimental effect on a film. With only a few exceptions, all of the best moments are in the trailers. The impact of certain action beats, jokes and 'twists' in the story is significantly lessened by the fact you've already seen them, which is a real shame.
Whilst the dinosaurs are used very well throughout, the human characters still aren't really up to scratch. I'm a fan of both of the lead actors, but the charisma of Howard and Pratt only goes so far. A lot of the writing for their character's dialogue is stilted and cheesy. I often find my self struggling to identify any defining trait or motivation of their's, or any other character for that matter. The new cast members over little more, with the new sidekicks Franklin and Zia offering annoyance rather than the intended levity. Rafe Spall does a solid job as the antagonist, but he's just a handlebar moustache away from being the most clichéd of movie villains. Even the painfully brief return of Jeff Goldblum as Dr Ian Malcom can't save the human roster. The saving grace is young Isabella Sermon, who does a great job.
Fallen Kingdom is on the whole a really solid movie. It has issues - the plot suffers from pacing issues and the human characters are pretty poor. But let's face it, we aren't there for them. We're there for the dinosaurs and they really shine.
3/5 Stars
*Also please be sure to follow me on Twitter (@T_F_T_S_R) and Letterboxd (theboymarshall) for more film related fun.
As a volcanic eruption threatens to wipe out the remaining life of Isla Nublar, Claire (Howard) and Owen (Pratt) are enlisted to assist a rescue operation to evacuate the dinosaurs from the island. However, more sinister motivations are at play that result in some good old fashioned dino-madness to ensue.
One of the strongest elements of Jurassic World was the dinosaurs. Thankfully, they are still the main attractions in the sequel. There's a strong blend of returning and new breeds which are all very entertaining. The new big bad 'Indoraptor' is suitably terrifying. The Stygimoloch (look, I had to google it okay - it's the one with the big dome on it's head) is a bit of a breakout star. The creatures are used in some innovative ways and are at the centre of the movie's two best scenes.
As hinted at by the promotional material, the standout set pieces are the chaotic escape from the volcano and the mansion sequence. J.A Bayona does a terrific job with both of these moments. He has expressed in recent interviews his desire to use the third act in the mansion to emulate the horror elements of Jurassic Park, which he has certainly achieved. It's not scary as the original, but the gradual building of tension is used well and there are plenty of effective scares. The escape from the island is also great and a welcome burst of action after a fairly slow start.
However, this movie is another example of overexposure in marketing having a detrimental effect on a film. With only a few exceptions, all of the best moments are in the trailers. The impact of certain action beats, jokes and 'twists' in the story is significantly lessened by the fact you've already seen them, which is a real shame.
Whilst the dinosaurs are used very well throughout, the human characters still aren't really up to scratch. I'm a fan of both of the lead actors, but the charisma of Howard and Pratt only goes so far. A lot of the writing for their character's dialogue is stilted and cheesy. I often find my self struggling to identify any defining trait or motivation of their's, or any other character for that matter. The new cast members over little more, with the new sidekicks Franklin and Zia offering annoyance rather than the intended levity. Rafe Spall does a solid job as the antagonist, but he's just a handlebar moustache away from being the most clichéd of movie villains. Even the painfully brief return of Jeff Goldblum as Dr Ian Malcom can't save the human roster. The saving grace is young Isabella Sermon, who does a great job.
Fallen Kingdom is on the whole a really solid movie. It has issues - the plot suffers from pacing issues and the human characters are pretty poor. But let's face it, we aren't there for them. We're there for the dinosaurs and they really shine.
3/5 Stars
*Also please be sure to follow me on Twitter (@T_F_T_S_R) and Letterboxd (theboymarshall) for more film related fun.
Thursday 14 June 2018
'Cargo' Review
Netflix is having a huge impact on the cinematic landscape. The appeal of having a movie streamed straight to the comfort of your own home in undeniable. Unfortunately, as of the late the quality of the Netflix originals hasn't been that high. Bright, Mute and The Cloverfield Paradox were all pretty underwhelming. Thankfully, Cargo is a step in the right direction, as it's a really great movie.
After becoming infected in the aftermath of virulent pandemic and being given only 48 hours left to live, Andy (Martin Freeman) must struggle across the Australian Outback to try and find a new home for his baby daughter.
Considering this is the directorial debut of both Ben Howling and Yolanda Ramke, the themes and tropes of this movie are handled in really mature and assured ways. It is, technically, a zombie movie which is usually enough to make me groan. To me, zombies have always been an unsparing and boring movie villain, that have already been done to death. Yet this film, rather similarly to A Quiet Place, puts the monsters on the back-burner to let the audience's main focus be the family tragedy at the heart of the story. The zombies are very apparent as a side effect of the disease in this world, but their presence never detracts from character driven story, which makes the narrative all the more compelling.
In fact, there are a few noticeable similarities to A Quiet Place (which is a big compliment considering how much I loved that movie), from an ex member of The Office in the lead role to the creative methods of staying quiet to avoid detection from the creatures. Speaking of the lead, Martin Freeman is really great here. The whole film is centred around some complex human character arcs and Freeman's desperation to protect his daughter at all costs is the crowning jewel. There are strong performances throughout in fact, with special mention going to Simone Landers as Thoomi. The insight into the lives of aboriginal Australians living in the Outback is one of the film's most intriguing elements and she is a big part of that. She also spends much of her screen time going to toe to toe with Freeman, which she handles very well.
Overall, I really enjoyed Cargo. The restraint shown by the creators to hold back on jumps scares and the overcrowding of zombies leaves the story plenty of room to breathe. It's a gripping family drama with some very touching moments and a terrific central performance from Martin Freeman.
4/5 Stars
*Also please be sure to follow me on Twitter (@T_F_T_S_R) and Letterboxd (theboymarshall) for more film related fun.
After becoming infected in the aftermath of virulent pandemic and being given only 48 hours left to live, Andy (Martin Freeman) must struggle across the Australian Outback to try and find a new home for his baby daughter.
Considering this is the directorial debut of both Ben Howling and Yolanda Ramke, the themes and tropes of this movie are handled in really mature and assured ways. It is, technically, a zombie movie which is usually enough to make me groan. To me, zombies have always been an unsparing and boring movie villain, that have already been done to death. Yet this film, rather similarly to A Quiet Place, puts the monsters on the back-burner to let the audience's main focus be the family tragedy at the heart of the story. The zombies are very apparent as a side effect of the disease in this world, but their presence never detracts from character driven story, which makes the narrative all the more compelling.
In fact, there are a few noticeable similarities to A Quiet Place (which is a big compliment considering how much I loved that movie), from an ex member of The Office in the lead role to the creative methods of staying quiet to avoid detection from the creatures. Speaking of the lead, Martin Freeman is really great here. The whole film is centred around some complex human character arcs and Freeman's desperation to protect his daughter at all costs is the crowning jewel. There are strong performances throughout in fact, with special mention going to Simone Landers as Thoomi. The insight into the lives of aboriginal Australians living in the Outback is one of the film's most intriguing elements and she is a big part of that. She also spends much of her screen time going to toe to toe with Freeman, which she handles very well.
Overall, I really enjoyed Cargo. The restraint shown by the creators to hold back on jumps scares and the overcrowding of zombies leaves the story plenty of room to breathe. It's a gripping family drama with some very touching moments and a terrific central performance from Martin Freeman.
4/5 Stars
*Also please be sure to follow me on Twitter (@T_F_T_S_R) and Letterboxd (theboymarshall) for more film related fun.
Sunday 27 May 2018
'Solo:A Star Wars Story' Spoiler Free Review
The odds seemed stacked against Solo from the very beginning. When it was first announced, it was labeled 'pointless' by many. Admittedly, even myself. Then there was trouble caused when Phil Lord and Chris Miller left the project due to 'creative differences'. Next, stories emerged from within Disney that they were preparing for Solo to bomb at the box office and even it's creators had no faith in the project. Given all that, it's miraculous that Solo: A Star Wars Story is as good as it is. It's certainly nothing groundbreaking, but it's a perfectly entertaining and fun movie.
Much of the slickness and brevity of this film must be credited to charisma of it's leading man. Alden Ehrenreich faced the near impossible task of taking on a role that Harrison Ford perfected back in the original trilogy, but he breathes new life into the character. He has pluck and charm by the bucket load and it's fascinating to see a more wide-eyed and hopeful Han. Ehrenreich deserves some serious kudos for sticking to his guns and never once falling into the trap of just trying to impersonate Ford, he gives the role his own spin and is extremely successful in doing so. So much so that I'd quite like to see him don the jacket again. Alden's performance is elevated even further by his interactions with his furry friend Chewbacca. Witnessing the humble beginnings of their friendship is one of the most joyous elements of the film and gave me numerous goofy smiles.
This movie jumps around different locations and events a lot, keeping the audience constantly on their toes. As in Rogue One, we get to see the more grim and gritty corners of the Star Wars universe, that the episodic films tend to omit. We get an industrial wasteland on Corellia, a WWI esque war zone and the mountainous snow planet is home to arguably the best set piece in the film - the train heist. The action throughout is well-scaled and given a real sense of purpose and excitement. Disney also deserve some credit for being willing to zoom out and tell a 'fun little one'. Without the presence of a mega-weapon or the fate of the world being at stake, you're able to just kick back and have buckle up for the ride.
However, the constant switching between time and place means that eventually different ideas and plot threads begin to tangle and seem to become stuck by the third act. Along the way, some of the supporting cast get lost amongst the frantic pace of the story. Characters such a Thandie Newton's demolitions expert Val and Phoebe Waller-Bridge's (of Fleabag fame) social justice droid L3-37 dip in and out too quickly to really be enjoyed and the case could even be made that even Lando, who's played superbly by Donald Glover to nobody's surprise, feels just a little under utilised. Yet, on the whole the cast are all solid, with Harrelson and Bettany being the real standouts.
After the controversy of The Last Jedi you can hardly blame Disney for returning to a more formulaic and safe narrative. But despite the familiarity of the story, there is still plenty of fun to be had. This is a brisk and lively adventure, which is propelled by the performance of Ehrenreich at it's core.
3/5 Stars
Much of the slickness and brevity of this film must be credited to charisma of it's leading man. Alden Ehrenreich faced the near impossible task of taking on a role that Harrison Ford perfected back in the original trilogy, but he breathes new life into the character. He has pluck and charm by the bucket load and it's fascinating to see a more wide-eyed and hopeful Han. Ehrenreich deserves some serious kudos for sticking to his guns and never once falling into the trap of just trying to impersonate Ford, he gives the role his own spin and is extremely successful in doing so. So much so that I'd quite like to see him don the jacket again. Alden's performance is elevated even further by his interactions with his furry friend Chewbacca. Witnessing the humble beginnings of their friendship is one of the most joyous elements of the film and gave me numerous goofy smiles.
This movie jumps around different locations and events a lot, keeping the audience constantly on their toes. As in Rogue One, we get to see the more grim and gritty corners of the Star Wars universe, that the episodic films tend to omit. We get an industrial wasteland on Corellia, a WWI esque war zone and the mountainous snow planet is home to arguably the best set piece in the film - the train heist. The action throughout is well-scaled and given a real sense of purpose and excitement. Disney also deserve some credit for being willing to zoom out and tell a 'fun little one'. Without the presence of a mega-weapon or the fate of the world being at stake, you're able to just kick back and have buckle up for the ride.
However, the constant switching between time and place means that eventually different ideas and plot threads begin to tangle and seem to become stuck by the third act. Along the way, some of the supporting cast get lost amongst the frantic pace of the story. Characters such a Thandie Newton's demolitions expert Val and Phoebe Waller-Bridge's (of Fleabag fame) social justice droid L3-37 dip in and out too quickly to really be enjoyed and the case could even be made that even Lando, who's played superbly by Donald Glover to nobody's surprise, feels just a little under utilised. Yet, on the whole the cast are all solid, with Harrelson and Bettany being the real standouts.
After the controversy of The Last Jedi you can hardly blame Disney for returning to a more formulaic and safe narrative. But despite the familiarity of the story, there is still plenty of fun to be had. This is a brisk and lively adventure, which is propelled by the performance of Ehrenreich at it's core.
3/5 Stars
Friday 18 May 2018
'Deadpool 2' Spoiler Free Review
Making a good sequel is an extremely difficult task. As Wade is eager to remind you, Deadpool was such a runaway success that it became one of the highest grossing R rated movies of all time. How exactly are you supposed follow that up? Well, Deadpool 2's answer is to go bigger, bolder and ballsier. All too often when a sequel attempts to up the ante, it ends up losing sight of what made it's predecessor so great. Thankfully, this is not the case here. Deadpool 2 is a full-on and hilarious romp.
After tragedy befalls Wade Wilson (Reynolds), Mr Pool must enlist the help of some familiar faces and his newly assembled X-Force to help protect a teenage mutant (the always entertaining Julian Dennison) from Cable (Brolin), a fellow mercenary from the future.
The most noticeable difference between this movie and the first is the scale that the significantly larger budget allows for. Everything is bigger: the action, the gag reel, Deadpool's appetite for cocaine - everything has been dialled to eleven and impressively so. Gone are the days of leaving the ammo bag in the taxi 'by mistake' and in it's place we get some frantic, full-throttle set pieces. As you might expect from the man that brought you John Wick and that kickass hallway fight in Atomic Blonde, David Leitch crafts some delightfully brutal fight scenes that show off both the physicality of Cable (seriously, how is Brolin in such great shape at ... he's 50?! God damn!) and the invincibility of Deadpool. There are numerous fun and engaging action beats throughout - one chase sequence in particular is truly enthralling. You could argue that showcasing set pieces of this scale detracts from some of the simplistic charm of Deadpool, which may at times be true, but when the action is this good it's hard to care.
Yet, amongst the explosions, the humour that made everyone fall in love with this character shines through. I might even dare to say it's funnier than the first. There is something for everyone to laugh at. Extremely graphic slapstick? Check. Unapologetically crass testicle humour? By the barrel load. The jabs at the expense of movie studios and the superhero genre are back in full force. The movie also deserves credit for leaning fully into the bizarreness of the source material and including some of the more ridiculous characters in the X-Men roster. There are so many jokes and they are pretty much all funny. Personal highlights included the end credit scenes (which are oh so worth sticking around for) and an extended gag in the middle of the film that provoked the biggest laugh I've heard in a cinema in a very long time.
Perhaps the most surprising element of this movie is the inclusion of some surprisingly emotional moments. Between the curse words and dick jokes we get some really moving moments between the characters and the creators show some real restraint to avoid undercutting the tenderness of these moments with a joke, which gives this sequel a sense of stakes that the first may have lacked at times. In fact, all the character work is really strong. Josh Brolin gives a sinister and menacing performance, whilst putting in the effort to distinguish Cable from a certain other big baddie that he played recently. Zazie Beetz really shines as Domino and her personality elevates her character to one of the stars of the film. Of the retuning members, TJ Miller and Stefan Kapicic's Colossus are the standouts. Despite the strength of the supporting cast though, this is still very much Ryan Reynold's show, as he continues to demonstrate why he was born to play the merc' with a mouth.
Deadpool 2 is an extremely entertaining movie, without even a whiff of 'bigger-and-better-itus'. It takes everything that you loved about the first outing and quadruples it, adding some fresh and exciting elements along the way. It may even be better than the first.
4/5 Stars
After tragedy befalls Wade Wilson (Reynolds), Mr Pool must enlist the help of some familiar faces and his newly assembled X-Force to help protect a teenage mutant (the always entertaining Julian Dennison) from Cable (Brolin), a fellow mercenary from the future.
The most noticeable difference between this movie and the first is the scale that the significantly larger budget allows for. Everything is bigger: the action, the gag reel, Deadpool's appetite for cocaine - everything has been dialled to eleven and impressively so. Gone are the days of leaving the ammo bag in the taxi 'by mistake' and in it's place we get some frantic, full-throttle set pieces. As you might expect from the man that brought you John Wick and that kickass hallway fight in Atomic Blonde, David Leitch crafts some delightfully brutal fight scenes that show off both the physicality of Cable (seriously, how is Brolin in such great shape at ... he's 50?! God damn!) and the invincibility of Deadpool. There are numerous fun and engaging action beats throughout - one chase sequence in particular is truly enthralling. You could argue that showcasing set pieces of this scale detracts from some of the simplistic charm of Deadpool, which may at times be true, but when the action is this good it's hard to care.
Yet, amongst the explosions, the humour that made everyone fall in love with this character shines through. I might even dare to say it's funnier than the first. There is something for everyone to laugh at. Extremely graphic slapstick? Check. Unapologetically crass testicle humour? By the barrel load. The jabs at the expense of movie studios and the superhero genre are back in full force. The movie also deserves credit for leaning fully into the bizarreness of the source material and including some of the more ridiculous characters in the X-Men roster. There are so many jokes and they are pretty much all funny. Personal highlights included the end credit scenes (which are oh so worth sticking around for) and an extended gag in the middle of the film that provoked the biggest laugh I've heard in a cinema in a very long time.
Perhaps the most surprising element of this movie is the inclusion of some surprisingly emotional moments. Between the curse words and dick jokes we get some really moving moments between the characters and the creators show some real restraint to avoid undercutting the tenderness of these moments with a joke, which gives this sequel a sense of stakes that the first may have lacked at times. In fact, all the character work is really strong. Josh Brolin gives a sinister and menacing performance, whilst putting in the effort to distinguish Cable from a certain other big baddie that he played recently. Zazie Beetz really shines as Domino and her personality elevates her character to one of the stars of the film. Of the retuning members, TJ Miller and Stefan Kapicic's Colossus are the standouts. Despite the strength of the supporting cast though, this is still very much Ryan Reynold's show, as he continues to demonstrate why he was born to play the merc' with a mouth.
Deadpool 2 is an extremely entertaining movie, without even a whiff of 'bigger-and-better-itus'. It takes everything that you loved about the first outing and quadruples it, adding some fresh and exciting elements along the way. It may even be better than the first.
4/5 Stars
Friday 27 April 2018
'Avengers: Infinity War' Spoiler Free Review
Here it is folks. The culmination of 10 years, 18 films and a childhood worth of memories. Avengers: Infinity War has to be one of the most hyped up movies in history, which of course made it all the more likely that it wouldn't live up to people's elevated expectations. Thankfully though, not only does it meet those expectations and even surpass them, it shatters any feeling of safety or comfort, resulting in a film that is both shocking and brilliant in equal measure.
The mad titan Thanos (Josh Brolin) strives to unite the six Infinity Stones and use them to wipe out half of the universe. Earth's mightiest heroes, with the help of some very familiar faces, must attempt to stop him.
Let's start with the big bad, Thanos. Ever since he leered his big old chin at the end of Avengers Assemble, we had been promised that he was the ultimate foe for our heroes to contend with. This claim was yet to come to fruition - until now. From the very first scene, we get a clear demonstration of just how powerful Thanos is, even without the aid of the Infinity Stones. Yet, as with all great villains, there is a clear reason behind his desire for destruction. The Russos said in a recent interview that this film was more of a Thanos story than it was an Avengers one, and there is certainly an air of truth to this. We spend a lot of time with him, growing to hate him more and more by the second, but we also get a real understanding of his motivations. You might even be lulled into agreeing with him for a fleeting moment of madness. His presence on screen is immense, and a testament to Brolin's performance. Marvel are often criticised for weak depictions of villains, but Thanos is tremendous.
Another frequent complaint of the MCU is the apparent 'lack of stakes'. Infinity War goes a long way to correct that. The fight scenes are, as you would expect, awesome. However, they are taken to new heights by the genuine fear you feel for the heroes. Even characters you felt were certain to survive feel at risk. No one is invincible. That sense of dread that anyone could be killed at any moment keeps you hooked throughout what will feel like the shortest 160 minutes of your life.
Of course, coupled with the intensity and the drama is genuine hilarity, most of which comes from the stellar exchanges between this insane cast. The Russo brothers have done a really excellent job of finding organic and interesting ways of bouncing some very different personalities off of each other and it is all executed perfectly. The balance of screen time between the actors is handled very well - everyone gets their moment, whether it's a joke, a great action beat or even just a cool entrance (there are a few of them). The Guardians bear the load of most of the humour, Drax being the particular highlight. Tony Stark is back at his quick-witted best, and his interplay with Doctor Strange and Spiderman is especially amusing. Thor is the standout for me, getting a solid mix of great jokes, emotional burdens and epic action sequences.
Whilst feeling like the end of this current chapter of the MCU, this film also extends the world and opens new narrative doors in a big way. We get a whole host of new magic courtesy of Doctor Strange, who has clearly been honing his skills. The Infinity Stones themselves are used in some extremely innovative ways. There is also a huge range of wacky and fresh cosmic destinations on show. In fact, this movie jumps around different locations and narrative threads a lot, but never to it's detriment. No scene feels like a waste of time, and wherever or whomever we cut to there is always something of interest going on.
If you somehow haven't gotten into the MCU yet then this is not a good starting off point. For the rest of us though, Infinity War is an event. It has everything you'd want from a Marvel movie - quippy one-liners and exhilarating action set pieces. But this film is nothing that you predicted it to be. It takes the narrative and this whole cinematic universe in unexpected directions and leaves you chomping at the bit for answers to the countless questions that arise. Marvel have changed the game. I laughed. I cried. I had goosebumps from the title card to the post credit sting. Nobody is ready for the events of this movie, but the end result 'does put a smile on my face.'
5/5 Stars
The mad titan Thanos (Josh Brolin) strives to unite the six Infinity Stones and use them to wipe out half of the universe. Earth's mightiest heroes, with the help of some very familiar faces, must attempt to stop him.
Let's start with the big bad, Thanos. Ever since he leered his big old chin at the end of Avengers Assemble, we had been promised that he was the ultimate foe for our heroes to contend with. This claim was yet to come to fruition - until now. From the very first scene, we get a clear demonstration of just how powerful Thanos is, even without the aid of the Infinity Stones. Yet, as with all great villains, there is a clear reason behind his desire for destruction. The Russos said in a recent interview that this film was more of a Thanos story than it was an Avengers one, and there is certainly an air of truth to this. We spend a lot of time with him, growing to hate him more and more by the second, but we also get a real understanding of his motivations. You might even be lulled into agreeing with him for a fleeting moment of madness. His presence on screen is immense, and a testament to Brolin's performance. Marvel are often criticised for weak depictions of villains, but Thanos is tremendous.
Another frequent complaint of the MCU is the apparent 'lack of stakes'. Infinity War goes a long way to correct that. The fight scenes are, as you would expect, awesome. However, they are taken to new heights by the genuine fear you feel for the heroes. Even characters you felt were certain to survive feel at risk. No one is invincible. That sense of dread that anyone could be killed at any moment keeps you hooked throughout what will feel like the shortest 160 minutes of your life.
Of course, coupled with the intensity and the drama is genuine hilarity, most of which comes from the stellar exchanges between this insane cast. The Russo brothers have done a really excellent job of finding organic and interesting ways of bouncing some very different personalities off of each other and it is all executed perfectly. The balance of screen time between the actors is handled very well - everyone gets their moment, whether it's a joke, a great action beat or even just a cool entrance (there are a few of them). The Guardians bear the load of most of the humour, Drax being the particular highlight. Tony Stark is back at his quick-witted best, and his interplay with Doctor Strange and Spiderman is especially amusing. Thor is the standout for me, getting a solid mix of great jokes, emotional burdens and epic action sequences.
Whilst feeling like the end of this current chapter of the MCU, this film also extends the world and opens new narrative doors in a big way. We get a whole host of new magic courtesy of Doctor Strange, who has clearly been honing his skills. The Infinity Stones themselves are used in some extremely innovative ways. There is also a huge range of wacky and fresh cosmic destinations on show. In fact, this movie jumps around different locations and narrative threads a lot, but never to it's detriment. No scene feels like a waste of time, and wherever or whomever we cut to there is always something of interest going on.
If you somehow haven't gotten into the MCU yet then this is not a good starting off point. For the rest of us though, Infinity War is an event. It has everything you'd want from a Marvel movie - quippy one-liners and exhilarating action set pieces. But this film is nothing that you predicted it to be. It takes the narrative and this whole cinematic universe in unexpected directions and leaves you chomping at the bit for answers to the countless questions that arise. Marvel have changed the game. I laughed. I cried. I had goosebumps from the title card to the post credit sting. Nobody is ready for the events of this movie, but the end result 'does put a smile on my face.'
5/5 Stars
Tuesday 24 April 2018
'The Shape of Water' Review
The core premise of The Shape of Water is an unsettlingly, verging on disturbing, one. It's takes an immense level of skill to get your audience to root for a lady to hook up with Abe Sapien's more ferocious cousin, without ever feeling weird about it. Guillermo del Toro is a man of such skill. He has both the finesse and the confidence to blend horror, fantasy and romance in a seemingly effortless fashion. The result of which is a truly beautiful film.
Set in the 1960's, a sketchy underground lab is running tests on a humanoid creature (Doug Jones). Led by repulsive government agent Strickland (Michael Shannon), they are trying to exploit this 'thing' to get an edge on the Russians. However, matters become complicated when mute cleaner Elisa (Sally Hawkins) begins to develop an intimate connection with the creature.
Sally Hawkins' performance is astonishing. She conveys the frustration of a lack of voice (a literal hinderance that is explored more metaphorically throughout the movie) perfectly and uses every muscle in her expressive face to ensure that the audience always understands exactly what she is feeling, so much so that her sign language doesn't need to be subtitled. Despite living in silence, her presence on screen is powerful.
The way that del Toro crafts the love story at the heart of this piece is very clever. It's established early on that Elisa craves a connection that her disability has prevented her from getting - her only two friends in the world are a closeted gay-man (Richard Jenkins) and an African American co-worker (brilliantly played by Octavia Spencer), both of whom also lack a voice in the bigotry infected culture they live in. Her relationship with the creature is forged of similar ideals. There is never any notion of him being a pet to her. Their communication through actions rather than words means they are both equals in conversation, which is something Elisa has never known before. It's a potent idea and is executed brilliantly.
The film is visually stunning, littered with striking and profound imagery. Extended sequences set underwater in unexpected locations are mesmerising. There are musical dream-sequences that pay fitting lip service to 40's and 50's musicals. Fantastical elements are plentiful but this is not a straight up fairytale, as behind the wonder there realistic bluntness to the world. The biting moral and political undertones of the story are not so subtle - it's easy to draw comparisons to certain modern day political figures. Elisa herself is a very practical women, evidenced by certain precautions she takes throughout her everyday life. Of course, del Toro indulges in his horror roots, the grimness of which is embodied by Agent Strickland. Shannon adds yet another detestable villain to his repertoire. He is all of societies faults folded into one monster that makes a fish-man look cute in comparison.
Whilst the concept sounds foul, the result is truly magical. Guillermo del Toro has a gift for weaving a tapestry of genres that have no right to mesh together, whilst making sure you feel safe among the chaos. The Shape of Water is a powerful and moving story, elevated by an outstanding performance from Hawkins, which lives up to the fantastic in it's fantastical idea.
5/5 Stars
Set in the 1960's, a sketchy underground lab is running tests on a humanoid creature (Doug Jones). Led by repulsive government agent Strickland (Michael Shannon), they are trying to exploit this 'thing' to get an edge on the Russians. However, matters become complicated when mute cleaner Elisa (Sally Hawkins) begins to develop an intimate connection with the creature.
Sally Hawkins' performance is astonishing. She conveys the frustration of a lack of voice (a literal hinderance that is explored more metaphorically throughout the movie) perfectly and uses every muscle in her expressive face to ensure that the audience always understands exactly what she is feeling, so much so that her sign language doesn't need to be subtitled. Despite living in silence, her presence on screen is powerful.
The way that del Toro crafts the love story at the heart of this piece is very clever. It's established early on that Elisa craves a connection that her disability has prevented her from getting - her only two friends in the world are a closeted gay-man (Richard Jenkins) and an African American co-worker (brilliantly played by Octavia Spencer), both of whom also lack a voice in the bigotry infected culture they live in. Her relationship with the creature is forged of similar ideals. There is never any notion of him being a pet to her. Their communication through actions rather than words means they are both equals in conversation, which is something Elisa has never known before. It's a potent idea and is executed brilliantly.
The film is visually stunning, littered with striking and profound imagery. Extended sequences set underwater in unexpected locations are mesmerising. There are musical dream-sequences that pay fitting lip service to 40's and 50's musicals. Fantastical elements are plentiful but this is not a straight up fairytale, as behind the wonder there realistic bluntness to the world. The biting moral and political undertones of the story are not so subtle - it's easy to draw comparisons to certain modern day political figures. Elisa herself is a very practical women, evidenced by certain precautions she takes throughout her everyday life. Of course, del Toro indulges in his horror roots, the grimness of which is embodied by Agent Strickland. Shannon adds yet another detestable villain to his repertoire. He is all of societies faults folded into one monster that makes a fish-man look cute in comparison.
Whilst the concept sounds foul, the result is truly magical. Guillermo del Toro has a gift for weaving a tapestry of genres that have no right to mesh together, whilst making sure you feel safe among the chaos. The Shape of Water is a powerful and moving story, elevated by an outstanding performance from Hawkins, which lives up to the fantastic in it's fantastical idea.
5/5 Stars
Friday 13 April 2018
'A Quiet Place' Review
Full disclosure: I am not a horror movie guy. Then again, neither was John Krasinski until very recently. Not that you'd be able to tell this from his latest directorial effort. A Quiet Place is a quite incredible achievement, given that it's only his third film and his first foray into horror. It's so accomplished that you'd be forgiven for assuming that this was the work of a seasoned director. It's an incredibly effective and immensely scary monster movie.
It's 2020. An otherworldly attack has annihilated the majority of the world's population. The few survivors are forced to live in near silence to avoid detection from creatures (some grotesque amalgamation of a Xenomorph, Venom and a demogorgon) who hunt through sound. The tagline "If they hear you, they hunt you" is incredibly apt. We follow the lives of the Abbott family, as parents Lee (Krasinksi) and Evelyn (Blunt) are prepared to risk everything to protect their children.
One of the strongest elements of this film is the fear that is established early on is maintained throughout out the blissfully short 90 minute runtime. A brief prologue appears to be setting up the rules of this world is a subtle and sombre way. Then massive tragedy befalls the family before the title card is even shown, solidifying the notion of just how ruthless this movie is willing to be. From that moment onwards you are constantly on the edge of your seat, as you have been categorically shown that awful things can happen a literally any moment. That intensity is never dropped throughout a series of increasingly more terrifying set pieces.
The concept of this movie - effectively don't make a sound or you're dead - is what initially drew me to this film. Horror, for me, tends to be most effective when there's a thought provoking idea in the middle of all the blood and jumps. In this case, the central idea is incorporated into the narrative masterfully. The movie can't be classed as 'silent', despite most of the dialogue being delivered throughout sign language, but it does demand the silence of the audience as the quiet is such an integral part of the scares. Typically in horror, you can tell when a jump-scare is coming when the score stops. Here, there is no music, minimal noise at all in fact, so the scares almost seem to come out of nowhere. Even more effective are the scenes where we are taken into the perspective of deaf daughter Regan. Watching monsters that she cannot hear advancing towards her is truly horrifying. There are a few examples of frights that border on the line of cliché, but for the most part they are handled with poise and originality.
Yet arguably what makes this such a great film is the family dynamic at it's core. Krasinski cleverly avoids the trope of apocalypse survivors gradually turning on each other - this is a story about a family who love each other and whose love is only strengthened by the adversities they now face. As you might expect from a real life husband and wife, the chemistry between Krasinski and Blunt is amazing and they are the figureheads of some extremely emotional scenes. Whilst the intensity is never compromised, the film isn't afraid to pull back from the visceral action and allow for some impossibly tender moments between the family. Krasinski proves himself as an actor as well as director - not once do you think "Hey, that's Jim from The Office". Emily Blunt is sensational. Many of the film's most captivating and chilling scenes are centred around her and she absolutely nails it (too soon?). Noah Jupe and Millicent Simmonds are also both terrific.
A Quiet Place is not only an exceptional horror flick, but is just generally a great movie. A heartbreaking tale of family validates the nerve-shredding scares, which never let up.
5/5 Stars
It's 2020. An otherworldly attack has annihilated the majority of the world's population. The few survivors are forced to live in near silence to avoid detection from creatures (some grotesque amalgamation of a Xenomorph, Venom and a demogorgon) who hunt through sound. The tagline "If they hear you, they hunt you" is incredibly apt. We follow the lives of the Abbott family, as parents Lee (Krasinksi) and Evelyn (Blunt) are prepared to risk everything to protect their children.
One of the strongest elements of this film is the fear that is established early on is maintained throughout out the blissfully short 90 minute runtime. A brief prologue appears to be setting up the rules of this world is a subtle and sombre way. Then massive tragedy befalls the family before the title card is even shown, solidifying the notion of just how ruthless this movie is willing to be. From that moment onwards you are constantly on the edge of your seat, as you have been categorically shown that awful things can happen a literally any moment. That intensity is never dropped throughout a series of increasingly more terrifying set pieces.
The concept of this movie - effectively don't make a sound or you're dead - is what initially drew me to this film. Horror, for me, tends to be most effective when there's a thought provoking idea in the middle of all the blood and jumps. In this case, the central idea is incorporated into the narrative masterfully. The movie can't be classed as 'silent', despite most of the dialogue being delivered throughout sign language, but it does demand the silence of the audience as the quiet is such an integral part of the scares. Typically in horror, you can tell when a jump-scare is coming when the score stops. Here, there is no music, minimal noise at all in fact, so the scares almost seem to come out of nowhere. Even more effective are the scenes where we are taken into the perspective of deaf daughter Regan. Watching monsters that she cannot hear advancing towards her is truly horrifying. There are a few examples of frights that border on the line of cliché, but for the most part they are handled with poise and originality.
Yet arguably what makes this such a great film is the family dynamic at it's core. Krasinski cleverly avoids the trope of apocalypse survivors gradually turning on each other - this is a story about a family who love each other and whose love is only strengthened by the adversities they now face. As you might expect from a real life husband and wife, the chemistry between Krasinski and Blunt is amazing and they are the figureheads of some extremely emotional scenes. Whilst the intensity is never compromised, the film isn't afraid to pull back from the visceral action and allow for some impossibly tender moments between the family. Krasinski proves himself as an actor as well as director - not once do you think "Hey, that's Jim from The Office". Emily Blunt is sensational. Many of the film's most captivating and chilling scenes are centred around her and she absolutely nails it (too soon?). Noah Jupe and Millicent Simmonds are also both terrific.
A Quiet Place is not only an exceptional horror flick, but is just generally a great movie. A heartbreaking tale of family validates the nerve-shredding scares, which never let up.
5/5 Stars
Tuesday 10 April 2018
'Three Billboards outside Ebbing, Missouri' Review
Three Billoards outside Ebbing, Missouri is the third feature film to be both written and directed by poet Martin McDonagh. It has central themes of tragedy, grief and revenge. However, it is by no means a conventional story of loss. It's much more than a tale of a mother trying to cope with the pain of losing a child. It's a biting satire at the expense of the American justice system, it covers some delightfully dark themes in an intentionally humerous manner and the natural progression of the characters at the core of the narrative encourages the belief that maybe, just maybe, all hope is not yet lost.
Mildred Hayes (McDormand) is seeking justice for her dead daughter and is sick of waiting around on the Ebbing police force who seem to be getting nowhere with her case. She decides to take matters into her own hands by erecting three billboards, pressuring Chief Bill Willoughby (Harrelson) and his left-hand officer Dixon (Rockwell) into action. Her act isolates her from the rest of the town but allows for some of the secrets kept to finally come to light.
You wouldn't expect a film centered around the death of a teenage girl to be funny. Yet, from the first to the last beat of the movie, every character is cracking wise and making light of the vulgar situation that faces them. This has to be a result of the profoundness of McDonagh's script. Everyline feels real - you've no doubt heard people speak to each other in real life the way they do in this film. As well as adding to the realism, this gives the dialogue a genuine feel, which makes it all the more hilarious. Some minor characters are included purely to offer levity but it never feels forced and is blended expertly with the plentiful moments of intensity and drama.
The performances throughout are outstanding. The town of Ebbing is made up of a purposefully diverse bunch. We get a smart-ass advertiser, a 'friendly midget' and a pretty girl so dumb she doesn't know the difference between polo and polio. The crowning jewels are the award winning turns from McDormand and Rockwell. Mildred is a cold-hearted rock of a women with edges sharp enough to cut through anything (even, let's say, a finger nail). She is warrior esque, donning her bandana and prison-yard overalls, and relentless on her mission to achieve vengence for her daughter, no matter how brutal her methods get. She's eager, desperate even, to pass the guilt on to anyone else - she blames the cops, her ex husband, even her local priest gets an especially colourful tongue-lashing. In fact, she's a stubborn and unpleasant person, with only the slightest glimpses of her true vulnerability and pain ever surfacing. However, the combination of McDormand's delivery and McDonagh's dialogue demands empathy for her even though it often seems none is warranted.
But this is not just Mildred's story. The character arc of Sam Rockwell's Officer Dixon is an immensly satisfying one. Rockwell cements his status as a terrific character actor. Just like Mildred, he'd be insufferable if not for the hilarity of his demeanour. He's exceedingly aggressive, openly racist though blissfully unaware of it, and in fact serves as an amalgamation of all the flaws present in the American police. However, through his relationship with Harrelson's Chief Willoughby (who is also great) he grows as both a cop and as a man, learning the lesson that lies at the heart of this film - love and hope will always be more powerful than hate.
Exhilerated by an incredbilely raw screenplay by McDonagh and two barnstorming central performances, Three Billboards is hilarious, brutal and simply beautfiul. More than worthy of all of it's Oscars.
5/5 Stars
Mildred Hayes (McDormand) is seeking justice for her dead daughter and is sick of waiting around on the Ebbing police force who seem to be getting nowhere with her case. She decides to take matters into her own hands by erecting three billboards, pressuring Chief Bill Willoughby (Harrelson) and his left-hand officer Dixon (Rockwell) into action. Her act isolates her from the rest of the town but allows for some of the secrets kept to finally come to light.
You wouldn't expect a film centered around the death of a teenage girl to be funny. Yet, from the first to the last beat of the movie, every character is cracking wise and making light of the vulgar situation that faces them. This has to be a result of the profoundness of McDonagh's script. Everyline feels real - you've no doubt heard people speak to each other in real life the way they do in this film. As well as adding to the realism, this gives the dialogue a genuine feel, which makes it all the more hilarious. Some minor characters are included purely to offer levity but it never feels forced and is blended expertly with the plentiful moments of intensity and drama.
The performances throughout are outstanding. The town of Ebbing is made up of a purposefully diverse bunch. We get a smart-ass advertiser, a 'friendly midget' and a pretty girl so dumb she doesn't know the difference between polo and polio. The crowning jewels are the award winning turns from McDormand and Rockwell. Mildred is a cold-hearted rock of a women with edges sharp enough to cut through anything (even, let's say, a finger nail). She is warrior esque, donning her bandana and prison-yard overalls, and relentless on her mission to achieve vengence for her daughter, no matter how brutal her methods get. She's eager, desperate even, to pass the guilt on to anyone else - she blames the cops, her ex husband, even her local priest gets an especially colourful tongue-lashing. In fact, she's a stubborn and unpleasant person, with only the slightest glimpses of her true vulnerability and pain ever surfacing. However, the combination of McDormand's delivery and McDonagh's dialogue demands empathy for her even though it often seems none is warranted.
But this is not just Mildred's story. The character arc of Sam Rockwell's Officer Dixon is an immensly satisfying one. Rockwell cements his status as a terrific character actor. Just like Mildred, he'd be insufferable if not for the hilarity of his demeanour. He's exceedingly aggressive, openly racist though blissfully unaware of it, and in fact serves as an amalgamation of all the flaws present in the American police. However, through his relationship with Harrelson's Chief Willoughby (who is also great) he grows as both a cop and as a man, learning the lesson that lies at the heart of this film - love and hope will always be more powerful than hate.
Exhilerated by an incredbilely raw screenplay by McDonagh and two barnstorming central performances, Three Billboards is hilarious, brutal and simply beautfiul. More than worthy of all of it's Oscars.
5/5 Stars
Friday 6 April 2018
'Ready Player One' Review
Steven Spielburg is undoubtedly one of the greatest directors to ever live. However, the quality of his movies is steadily declining. In fact, I would argue he hasn't made a universally adored film in over a decade. Unfortunately, Ready Player One is more of the same. There are fleeting moments that feel reminiscent of the classics from his earlier career. Yet, they are only brief glimpses that get lost amongst the unbridled chaos that plagues this film.
In the year 2045, people choose to escape the hellish conditions of the real world in the OASIS, an fully immersive artificial reality in which you can 'go anywhere, be anyone and do anything'. The creator James Halliday (Rylance) has left his immense fortune and ownership of the OASIS to the winner of three challenges designed to find a worthy heir. Unlikely hero Wade Watts (Sheridan) teams up with his gang of friends to win the contest and prevent the villainous IOI, led by Nolan Sorrento (Mendelsohn), from privatising their playground.
I should mention that I've never read Ernest Cline's novel of the same name that this movie is based on. I tried. The one chapter I managed to get through was just the protagonist reeling off a long and arduous list of all the pop culture references he knows. Regrettably, this has bled over into the movie. There are numerous moments where the already bare-thin plot grinds to a halt so that Wade can prove to us all that he knows more about Battlestar Galactica than you do. To his credit, Spielberg goes all in with the references. It's essentially a moving version of 'Where's Wally?'. There must be millions of references throughout to all forms of media: movies, books, games, music - if you can picture it it's probably in this film in some capacity. Admittedly, it's quite fun to search through seemingly endless waves of avatars to find your favourite characters. At least, at first. However, the movie very quickly crosses the line into 'over the top'. I'm confident that no matter how many times you watched this film you would never be able to catch them all, which in this instance is detrimental to the movie. In the end there are simply too many references, meaning that it's impossible to ever focus on any one individual, which draws you right out of the narrative and massively lowers any of the stakes.
When the film does narrow it's focus on specific elements, it works so much better. The best set piece in the film, for example, is a drawn out tribute to Kubrick's The Shinning. Exploring a impressively accurate recreation of The Overlook Hotel with a few twists and turns thrown in along the way is very engaging (may even cross over into full horror at one point) and I only wish there were more scenes like it. The opening challenge is also really entertaining. Watching the DeLorean, the A-Team' van and the Akira bike race, whilst trying to avoid King Kong and a T-Rex is undeniably cool. But by the end, so much has been crammed into the climatic final battle that it becomes a huge disappointment. So much is going on on screen at once that any sense of realism quickly vanishes and you're left with a bunch of indistinguishable cartoons crashing into each other.
The performances are on the most part pretty solid. Ben Mendelsohn is expectedly strong, but it's shame to see him being typecast as a one-note villain - you could copy and paste his character from Rogue One into this a probably not notice the difference. Tye Sheridan and Olivia Cooke are both fine, but for whatever reason I never found myself relating or even caring about what happened to them, or any of the heroes for that matter. Mark Rylance is great and he shares quirky and genuine chemistry with Simon Pegg. The shift in their relationship is one of the most intriguing developments in the movie, but sadly it's cast aside for less interesting protagonists.
To me, Ready Player One is certainly not Spielberg's 'return to form' as some have labeled it. There are some redeeming moments, glimpses of a better movie within this one. Yet, on the whole it's a huge disappointment. What was intended to be a celebration of pop culture gradually devolves into an incoherent mess. It's less of a movie than it is a cultural recycling bin that's way too full.
2/5 Stars
In the year 2045, people choose to escape the hellish conditions of the real world in the OASIS, an fully immersive artificial reality in which you can 'go anywhere, be anyone and do anything'. The creator James Halliday (Rylance) has left his immense fortune and ownership of the OASIS to the winner of three challenges designed to find a worthy heir. Unlikely hero Wade Watts (Sheridan) teams up with his gang of friends to win the contest and prevent the villainous IOI, led by Nolan Sorrento (Mendelsohn), from privatising their playground.
I should mention that I've never read Ernest Cline's novel of the same name that this movie is based on. I tried. The one chapter I managed to get through was just the protagonist reeling off a long and arduous list of all the pop culture references he knows. Regrettably, this has bled over into the movie. There are numerous moments where the already bare-thin plot grinds to a halt so that Wade can prove to us all that he knows more about Battlestar Galactica than you do. To his credit, Spielberg goes all in with the references. It's essentially a moving version of 'Where's Wally?'. There must be millions of references throughout to all forms of media: movies, books, games, music - if you can picture it it's probably in this film in some capacity. Admittedly, it's quite fun to search through seemingly endless waves of avatars to find your favourite characters. At least, at first. However, the movie very quickly crosses the line into 'over the top'. I'm confident that no matter how many times you watched this film you would never be able to catch them all, which in this instance is detrimental to the movie. In the end there are simply too many references, meaning that it's impossible to ever focus on any one individual, which draws you right out of the narrative and massively lowers any of the stakes.
When the film does narrow it's focus on specific elements, it works so much better. The best set piece in the film, for example, is a drawn out tribute to Kubrick's The Shinning. Exploring a impressively accurate recreation of The Overlook Hotel with a few twists and turns thrown in along the way is very engaging (may even cross over into full horror at one point) and I only wish there were more scenes like it. The opening challenge is also really entertaining. Watching the DeLorean, the A-Team' van and the Akira bike race, whilst trying to avoid King Kong and a T-Rex is undeniably cool. But by the end, so much has been crammed into the climatic final battle that it becomes a huge disappointment. So much is going on on screen at once that any sense of realism quickly vanishes and you're left with a bunch of indistinguishable cartoons crashing into each other.
The performances are on the most part pretty solid. Ben Mendelsohn is expectedly strong, but it's shame to see him being typecast as a one-note villain - you could copy and paste his character from Rogue One into this a probably not notice the difference. Tye Sheridan and Olivia Cooke are both fine, but for whatever reason I never found myself relating or even caring about what happened to them, or any of the heroes for that matter. Mark Rylance is great and he shares quirky and genuine chemistry with Simon Pegg. The shift in their relationship is one of the most intriguing developments in the movie, but sadly it's cast aside for less interesting protagonists.
To me, Ready Player One is certainly not Spielberg's 'return to form' as some have labeled it. There are some redeeming moments, glimpses of a better movie within this one. Yet, on the whole it's a huge disappointment. What was intended to be a celebration of pop culture gradually devolves into an incoherent mess. It's less of a movie than it is a cultural recycling bin that's way too full.
2/5 Stars
Sunday 1 April 2018
My top 10 favourite films of all time
When I set out to write this list, I thought it would be a brisk and enjoyable process. I was wrong. I'd forgotten a crucial factor - that I love film. In my humble opinion, it's the purest and yet most complex art form and it's that complexity that makes clarifying the 'best' movie such a difficult task. There's an endless amount of amazing movies out there and they are all brilliant in very different ways. Because of this, my list of 'favourite' films changes on the hour depending on my mood. If you asked me this question tomorrow, I'd probably give you a completely different answer. But then again, that's part of the fun. So, as of right now anyway, these are my top 10 favourite films of all time. (feel free to leave some of your own in the comments below)
10. The LEGO Movie (2014)
Intelligent, hilarious and so much more than the shameless cash-grab is was initially perceived to be. The comedic talents of an all star cast are showcased under the improv heavy environment Phil Lord and Chris Miller create in their projects. The attention to detail in visual gags and the design choices of the animation is staggering, the humour is well balanced and irreverent and there's a surprisingly heartfelt emotional payoff. The best endorsement for LEGO that the brand could have ever hoped for. The LEGO Movie will have your inner 10 year old jumping for joy.
9. Anchorman: The Legend of Ron Burgundy (2004)
Probably the movie I've seen more times than another. Everybody has those comedies that are integral in crafting a person's sense of humour, and in my case Ron Burgundy is the moustached linchpin of what I understand to be comedy. The humour is somehow both crass yet tasteful at the same time, and there are so many jokes throughout that you could watch Anchorman 100 times and still find something new to laugh at. Arguably Will Ferrel's best work and his chemistry with Carell, Rudd and Koechner is incredible. Up there with the most quotable movies ever made. 60% of the time, you'll love it every time.
8. Eternal Sunshine of the Spotless Mind (2004)
I don't love Jim Carrey, but his performance in Eternal Sunshine of the Spotless Mind is essential to the immense impact of the narrative. Taking the universal experience of going through a traumatic breakup and presenting it in a way that feels both authentic and totally unexpected hits the emotional sweet spot expertly. Some of the scenes crafted are genuinely breathtaking - Joel's sprint through his childhood is dizzying to watch. A movie that opened my eyes to exactly what film as an art form is capable of. If you haven't seen it, you must.
7. Whiplash (2014)
As Charlie Parker once said, "They teach you there's a boundary line to music. But, man, there's no boundary line to art". The umbrella theme may be drumming, but in reality Whiplash is about sacrifice, revenge and how the line between dedication and obsession can easily be blurred. There is literally nothing wrong with it. Not a frame is wasted in a rather lean 107 minute runtime - every single scene offers something significant. The music throughout is incredible, much of which is played by Miles Teller himself, who is fantastic. The crowning jewel is J.K. Simmons. I'd equate his character to Dr Cox from Scrubs on steroids. Emotionally and physically abusive at almost every chance he gets, he is almost otherworldly in his villainy. Yet, at the time, his character's relationship with Teller is so brutally relatable. His Oscar winning performance is to me one of the greatest supporting turns in the history of cinema.
6. The Dark Knight (2008)
I love Christopher Nolan. I also love Batman. It was inevitable that I was going to love Nolan's gritty superhero trilogy. The Dark Knight, however completely transcends the genre of a superhero movie. It's outstanding in every aspect. Incredible action set pieces that are a perfect blend of practical and digital effects. Gripping and gritty throughout with no dull moments in between. Amazing performances from the entire cast. In my mind, Heath Ledger's Joker is the best cinematic villain of all time, and one of the greatest performances ever given. His posthumously awarded Oscar is one of the most deserved in the Academy Awards history.
5. Hunt for the Wilderpeople (2016)
Taika Watiti is quickly becoming one of my favourite directors and Hunt for the Wilderpeople is the film that introduced me to his immense talent. The balance of cheeky and dark humour is spot on, as you'd expect from Watiti, but it's intertwined with a narrative filled with genuine heart. Julian Dennison's breakout performance is hilarious and his presence on screen even rivals that of veteran Sam Neil, who of course smashes this role. Seeing their relationship flourish over the course of the film is hugely satisfying and leads to a tear-jerking conclusion. It's heart warming, tragic and like all great comedies gets funnier every time you watch it.
4. LA LA Land (2016)
As well as reminding the world of how great musicals are, LA LA Land pays fitting homage to the classics whilst offering a fresh and original take on the genre. Every part of the film is gorgeous, especially the bold and inventive uses of colour. Damien Chazelle is a master of framework and this allows for the stunning choreography to be appreciated to the full. Ryan Gosling and Emma Stone both give fantastic performances. The music is impossibly catchy and upbeat. Yet, underneath the feel good tone is a powerful sentiment of choosing what's really important to you and a twist on a typical love story. There's a reason that it nearly won 'Best Picture'.
3. Captain America: Civil War (2016)
As soppy as it may sound, the Marvel Cinematic Universe is one of the main reasons that I love movies. A culmination of everything that has come before it, Civil War serves a wish fulfilment to comic-book and superhero fans everywhere. Almost as entertaining as watching the Avengers Assemble is watching them beat the crap out of each other. Tense and enthralling action set pieces are rife throughout, including not one but two of the best scenes from any comic-book movie. However, whilst the digital effects and action beats are flawless, the conflict is so entertaining is you completely buy the reasoning and motivations behind it. Robert Downey Jr and Chris Evans draw from years of experience as their respective characters and as a result offer two outstanding performances. It might well be eclipsed by Infinity War, but for now it stands the best Marvel movie and one of my all-time favourites.
2. Fantastic Mr Fox (2009)
I loved Roald Dahl as a child, in particular Fantastic Mr Fox, but Wes Anderson's adaptation somehow manages to improve a near perfect story. It's a very Anderson movie in all the best ways. The stop-motion animation is simply brilliant, with ridiculous amounts of effort going into making the puppets feel alive. The framing and the look of each shot is perfect, with smooth lateral and vertical movements that always keep the frame centred on exactly what you want to be looking at. The pragmatic delivery of the lines from an amazing cast blends some darker subjects with unconventionally hilarious comedy. If you don't like Anderson's movies, then it's definately not for you. If you do, this is one of his best. A truly enjoyable movie.
Before I reveal my number one, here are some honourable mentions (Shut up - it's hard to narrow it down to 10!) The following are all unlucky not to make my list:
Kingsman: The Secret Service
10. The LEGO Movie (2014)
Intelligent, hilarious and so much more than the shameless cash-grab is was initially perceived to be. The comedic talents of an all star cast are showcased under the improv heavy environment Phil Lord and Chris Miller create in their projects. The attention to detail in visual gags and the design choices of the animation is staggering, the humour is well balanced and irreverent and there's a surprisingly heartfelt emotional payoff. The best endorsement for LEGO that the brand could have ever hoped for. The LEGO Movie will have your inner 10 year old jumping for joy.
9. Anchorman: The Legend of Ron Burgundy (2004)
Probably the movie I've seen more times than another. Everybody has those comedies that are integral in crafting a person's sense of humour, and in my case Ron Burgundy is the moustached linchpin of what I understand to be comedy. The humour is somehow both crass yet tasteful at the same time, and there are so many jokes throughout that you could watch Anchorman 100 times and still find something new to laugh at. Arguably Will Ferrel's best work and his chemistry with Carell, Rudd and Koechner is incredible. Up there with the most quotable movies ever made. 60% of the time, you'll love it every time.
8. Eternal Sunshine of the Spotless Mind (2004)
I don't love Jim Carrey, but his performance in Eternal Sunshine of the Spotless Mind is essential to the immense impact of the narrative. Taking the universal experience of going through a traumatic breakup and presenting it in a way that feels both authentic and totally unexpected hits the emotional sweet spot expertly. Some of the scenes crafted are genuinely breathtaking - Joel's sprint through his childhood is dizzying to watch. A movie that opened my eyes to exactly what film as an art form is capable of. If you haven't seen it, you must.
7. Whiplash (2014)
As Charlie Parker once said, "They teach you there's a boundary line to music. But, man, there's no boundary line to art". The umbrella theme may be drumming, but in reality Whiplash is about sacrifice, revenge and how the line between dedication and obsession can easily be blurred. There is literally nothing wrong with it. Not a frame is wasted in a rather lean 107 minute runtime - every single scene offers something significant. The music throughout is incredible, much of which is played by Miles Teller himself, who is fantastic. The crowning jewel is J.K. Simmons. I'd equate his character to Dr Cox from Scrubs on steroids. Emotionally and physically abusive at almost every chance he gets, he is almost otherworldly in his villainy. Yet, at the time, his character's relationship with Teller is so brutally relatable. His Oscar winning performance is to me one of the greatest supporting turns in the history of cinema.
6. The Dark Knight (2008)
I love Christopher Nolan. I also love Batman. It was inevitable that I was going to love Nolan's gritty superhero trilogy. The Dark Knight, however completely transcends the genre of a superhero movie. It's outstanding in every aspect. Incredible action set pieces that are a perfect blend of practical and digital effects. Gripping and gritty throughout with no dull moments in between. Amazing performances from the entire cast. In my mind, Heath Ledger's Joker is the best cinematic villain of all time, and one of the greatest performances ever given. His posthumously awarded Oscar is one of the most deserved in the Academy Awards history.
5. Hunt for the Wilderpeople (2016)
Taika Watiti is quickly becoming one of my favourite directors and Hunt for the Wilderpeople is the film that introduced me to his immense talent. The balance of cheeky and dark humour is spot on, as you'd expect from Watiti, but it's intertwined with a narrative filled with genuine heart. Julian Dennison's breakout performance is hilarious and his presence on screen even rivals that of veteran Sam Neil, who of course smashes this role. Seeing their relationship flourish over the course of the film is hugely satisfying and leads to a tear-jerking conclusion. It's heart warming, tragic and like all great comedies gets funnier every time you watch it.
4. LA LA Land (2016)
As well as reminding the world of how great musicals are, LA LA Land pays fitting homage to the classics whilst offering a fresh and original take on the genre. Every part of the film is gorgeous, especially the bold and inventive uses of colour. Damien Chazelle is a master of framework and this allows for the stunning choreography to be appreciated to the full. Ryan Gosling and Emma Stone both give fantastic performances. The music is impossibly catchy and upbeat. Yet, underneath the feel good tone is a powerful sentiment of choosing what's really important to you and a twist on a typical love story. There's a reason that it nearly won 'Best Picture'.
3. Captain America: Civil War (2016)
As soppy as it may sound, the Marvel Cinematic Universe is one of the main reasons that I love movies. A culmination of everything that has come before it, Civil War serves a wish fulfilment to comic-book and superhero fans everywhere. Almost as entertaining as watching the Avengers Assemble is watching them beat the crap out of each other. Tense and enthralling action set pieces are rife throughout, including not one but two of the best scenes from any comic-book movie. However, whilst the digital effects and action beats are flawless, the conflict is so entertaining is you completely buy the reasoning and motivations behind it. Robert Downey Jr and Chris Evans draw from years of experience as their respective characters and as a result offer two outstanding performances. It might well be eclipsed by Infinity War, but for now it stands the best Marvel movie and one of my all-time favourites.
2. Fantastic Mr Fox (2009)
I loved Roald Dahl as a child, in particular Fantastic Mr Fox, but Wes Anderson's adaptation somehow manages to improve a near perfect story. It's a very Anderson movie in all the best ways. The stop-motion animation is simply brilliant, with ridiculous amounts of effort going into making the puppets feel alive. The framing and the look of each shot is perfect, with smooth lateral and vertical movements that always keep the frame centred on exactly what you want to be looking at. The pragmatic delivery of the lines from an amazing cast blends some darker subjects with unconventionally hilarious comedy. If you don't like Anderson's movies, then it's definately not for you. If you do, this is one of his best. A truly enjoyable movie.
Before I reveal my number one, here are some honourable mentions (Shut up - it's hard to narrow it down to 10!) The following are all unlucky not to make my list:
Kingsman: The Secret Service
Toy Story
Jurassic Park
Get Out
Baby Driver
1.The Shawshank Redemption (1994)
I redrafted the rankings for this list several times but my number one slot never changed. The Shawshank Redemption is a perfect movie.The score by Thomas Newman is phenomenal. The characters are an eclectic bunch played brilliantly by the cast.The writing and the dialogue is so profound and yet feels completely real. Despite the story continually turning from triumph to tragedy, as a viewer you never give up the unrelenting hope for Andy Dufresne and witnessing his gradual redemption is incredibly moving. It's a beautiful film that is filled to the brim with charm. It is, in my humble opinion, the best movie ever made.
Get Out
Baby Driver
1.The Shawshank Redemption (1994)
I redrafted the rankings for this list several times but my number one slot never changed. The Shawshank Redemption is a perfect movie.The score by Thomas Newman is phenomenal. The characters are an eclectic bunch played brilliantly by the cast.The writing and the dialogue is so profound and yet feels completely real. Despite the story continually turning from triumph to tragedy, as a viewer you never give up the unrelenting hope for Andy Dufresne and witnessing his gradual redemption is incredibly moving. It's a beautiful film that is filled to the brim with charm. It is, in my humble opinion, the best movie ever made.
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