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 รก 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 รก 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.
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