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.
Sunday, 23 September 2018
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.
Subscribe to:
Posts (Atom)