Reviews

"Who stole the child's dreams? Krank, in his evil schemes. But the happy tale had a sting in its tail. The genius has a fit of pique, hear the genius shriek, the "genius" is up a creek."

Bursting at the seams with sheer style, imagination and invention, this French-German-Spanish sci-fantasy was championed by the equally-weird Terry Gilliam upon its original release in 1995. The second cinematic team-up for Marc Caro and Jean-Pierre Jeunet, and with a much bigger budget, is a visual feast for the eyes that failed to captivate international audiences at the box office, yet had stood the test of time to capture the imaginations of cinephiles young and old, thanks to its awe-inspiring optical, practical and visual effects outweighing a confusing and paper-thin plot. A triumph in art direction and design, imagine 'steampunk Blade Runner' and you could be close, few movies before or since have stretched cinematic and studio boundaries quite like this macabre fairytale, which feels less like a narrative feature and more in line with a circus freakshow due to its weirdo casting and grotesque nature. Adding wonderfully to the unique, nostalgia-filled experience is a dark and haunting score from Lynchian stalwart Angelo Badalamenti, balancing much of the humour and tension with a deep sadness that might make these 112 minutes too disturbing for younger viewers. Memorable and cartoonish performances are turned in from the hulking Ron Perlman, devilish Daniel Emilfork, wise beyond her years Judith Vittet and the unforgettable Dominique Pinon, whose rubber-faced antics will be burnt into your brain, and dreams, for the rest of your days. Inspiring creative minds beyond the medium of film, Ken Levine's BioShock series specifically borrows heavily from One and Miette's adventure, and presenting conflicting views on capitalism through the eyes of science, religion and wealth, Caro and Jeunet paint a portrait of a Neo-Victorian industrial society where to dream is to truly live, and a life without a family or love isn't worth living at all.

"We are from different worlds, you and me, Andrew. In mine, there was no time for bright fancies and happy inventions, no stopping for tea. The only game we played was to survive, or go to the wall. If you didn't win, you just didn't finish. Loser, lose all. You probably don't understand that."

Take a pair of knighted celluloid icons whose accents embody the term 'class conflict', hand them a scintillating script adapted by a playwright who penned the Broadway stage play of the same name, place both men under the expert eye of a directing virtuoso shooting his 22nd and final film, and what do you have after 138 minutes? A wickedly fun and devilish two-hander that's as sharp and stylish as it is overlong and tiring, resting on the shoulders of two very capable Oscar-nominated leads embroiled in a deadly game of cat-and-mouse. Sparing no corner of the lavish manor set as they swallow entire sequences whole, Sir Laurence Olivier and his young (!) dance partner delight in outwitting each other with acting acrobatics and highly intellectual jabs that are sure to leave a lasting impression on viewers, even if their mileage may vary as the picture runs short on steam heading into its third act. One would be remiss to forget the debuting efforts of Alec Cawthorne and John Matthews, their names appearing in the opening credits as another sly wink to the audience from American director and screen legend Joseph L. Mankiewicz. A daring thriller often imitated yet rarely duplicated, proved to be too difficult a task when a failed rehash was released to middling reviews and returns decades later, not to mention Deathtrap also featuring Sir Michael Caine.

"You know what kind of plan never fails? No plan. No plan at all. You know why? Because life cannot be planned. Look around you. Did you think these people made a plan to sleep in the sports hall with you? But here we are now, sleeping together on the floor. So, there's no need for a plan. You can't go wrong with no plans. We don't need to make a plan for anything. It doesn't matter what will happen next. Even if the country gets destroyed or sold out, nobody cares. Got it?" 🍑

Standing head and shoulders above its awards season competition in spite of an obvious language barrier, Gisaengchung is the smartest film about class warfare for some time, and by and large the best of 2019. A brilliantly brutal masterclass in editing, pacing, writing and everything in between, acclaimed director and now household name Bong Joon-ho does for stairs in this "pitch-black modern fairytale" what he did for trains in 2013's Snowpiercer, and follows in Hitchcock's footsteps by taking the movie medium to a higher level. Raising his game with riveting and nail-biting sequences that rival, if not eclipse, the best of any English-language picture, Bong transfixes audiences regardless of background, race or social status, for a breath-taking and genre-bending 132 minutes that descends deep into the belly of Seoul's semi-basement dwellings in a metaphori-, no, allegorical movie miracle. Demonstrating commanding craftmanship with his scintillating, near-perfect execution, the South Korean director is not the only talent deserving of 'a glass of soju', as the oustanding ensemble cast shine brightly in this black comedy thriller, spearheaded by Bong's male muse Song Kang-ho, and dynamic camerwork from fellow countryman Hong Kyung-pyo completes the impossibly satisfying package, shooting every frame so visually rich in prescient themes that resonate with today's troubled times flawlessly. As close to cinematic poetry as achieved in the 2010s, this sardonic social satire defies genre, clichés and storytelling conventions for surprising narrative turns, gasp-inducing horror and hilarious chamber piece exchanges, all working in service of a filmgoing experience like no other released in many years. Best watched with no prior knowledge of what to expect, yet still encourages and greatly rewards repeat viewings, show this stunning feature to someone you care about, and prepare to have them left speechless by "a comedy without clowns, a tragedy without villains".

What might audiences find when peeking behind the curtain on this vaudeville act? A tense period piece, maybe a transcontinental thriller or perhaps a meditation on movie magic? This dense turn-of-the-century tale is all of those and more, proving Christopher Nolan to be a Hollywood heavy-hitter way back in 2006, and captivating audiences with its spell-binding and complex method for nearly two decades. Assembling his A-team of now-celebrated collaborators for this study on stage sleight-of-hand, such as cinematographer Wally Pfister and production designer Nathan Crowley, the British director is in true command of his craft for the film's somewhat-bloated 130 minutes, at times confounding and confusing viewers due in no small part to its marquee misdirection and sluggish pace. Leading lads Hugh Jackman and Christian Bale steal the show in dual roles as duelling magicians across three acts, daring audiences to sympathise with each protagonist as they pursue Faustian-like pacts with deadly consequences. Michael Caine and David Bowie are deserving of much praise, but sadly Rebecca Hall and Scarlett Johansson find their talents wasted in under-written roles, did someone say dead wife trope? One-upmanship, pride and obsession are the name of the game during the pledge, turn and eponymous prestige, but the film flounders as it covers far too much thematic territory for its own good, and refuses to settle for any singular focus. Peeling back its layers reveals a fractal filmmaking style, trademark elliptical editing and marvellous use of mise en abyme, all of which would be improved in later Nolan features, yet this experience does demand your attention and encourage repeat viewings where keen eyes hope to spot every trick. Abracadabra.

7/10 black cats and top hats.

"And it is up to you to decide if you want to be remembered, or disappear without a trace, like a pitiful grain of sand into a desert of insignificance. To put it plainly. Get your s**t together and sort out your priorities." 🦋

Who else but Hollywood's self-proclaimed "Polynesian Jew" to blend such an audacious concept, serious subject matter and whimsical nature into a rousing Academy Award winning-success? Carefully balancing cutting satire with a sentimental coming-of-age story, the WWII fairy tale is sharp, quirky and pulls few punches, taking audiences from fits of uncontrollable laughter to tear-jerking sequences and everything in between. Making a mockery of the Nazis in 2019 is still a bold decision, and frightening when compared to contemporary politics, plus several jarring tonal shifts can catch unsuspecting viewers off-guard, so be sure to have a tissue or two handy. At the film's heart is its stellar cast and gorgeous production design, injecting every scene with playful exchanges and a light-hearted tone, like our leading couple and future stars Roman Griffin Davis and Thomas McKenzie, heavy hitters Sam Rockwell and Scarlett Johansson, but best of all is the scene-stealing Archie Yates, who's sure to have a place in the on-screen Hitler Youth hall of fame.

A literal deep dive into the depravity and desperation of the human psyche, viewers must be warned before descending on this grim 94 minute ride that jolts and disgusts, particularly in its uncompromising first act that eschews restraint for gross, surreal imagery in gripping fashion. Having survived the first few levels alongside the creepy Zorion Eguileor, auditioning to be a Spanish Hannibal Lecter, you'll be rewarded with a thought-provoking, high-concept sci-fi horror-thriller that's just as engrossing under the surface as it is harrowing, right from start to finish. Top to bottom the imprisoned cast give great performances, especially the cast against type Iván Massagué as our idealistic protagonist sentenced to an ironic fate, and the film's dystopian aesthetic makes pitch-perfect use of its low budget to deliver a dark, twisted take on humanity in crisis. As a metaphor for politics and society at large, the movie is held back by its ambiguity and offers no easy answers, but when viewed for what it is, a midnight movie with a message, this works. Obviously.

8/10 untouched panna cottas.

"That's my job, that's what I do, I'd like to think if you're seeing me you're having the worst day of your life." 📹

Cut from the same sociopathic cloth as Travis Bickle and Patrick Bateman in this wickedly entertaining neo-noir, Jake Gyllenhaal's chilling-yet-charming turn as the supremely narcissistic Lou Bloom oozes dread the second he appears on screen, but compels and dares us to sympathise with a hustle culture anti-hero gone wrong, a true movie monster for the 21st century. Much like the picture's scathing depiction of modern-day mainstream media, filmgoers find themselves glued and unable to look away from its at times grotesque and confronting imagery, thanks to some slick filmmaking from first-time director Dan Gilroy, alongside real wife Rene Russo, and his tight screenplay's smart social commentary permeated with a sick sense of humour, not to mention an intensely moody atmosphere and teeth-clenching sequences. Audiences have prayed to never cross this sort of cold stringer haunting Los Angeles by night since 2014, even if riding shotgun as Riz Ahmed's understated Rick or working alongside the legendary Bill Paxton seems like so much fun.

Ambitious, loud and sublime, almost to a fault, the 2014 sci-fi epic from blockbuster auteur Christopher Nolan fascinates, and drains, on an emotionally charged three hour odyssey that's sure to leave audiences overwhelmed, just as the writer-director intended. Boldly going where few filmmakers have gone before, Nolan, alongside his longtime writing partner and brother Jonathan, proves he's at his best when interweaving breathtaking landscapes, heart-pumping set pieces and stunning cinematography with affecting character moments, poetic storytelling and poignant themes. Receiving a mixed response from critics when first released, much criticism was thrown at the film's lofty runtime, melodramatic sequences and clunky dialogue, yet these fail to tarnish an otherwise captivating and thought-provoking experience. Soon to be seen in the same pantheon of sci-fi classics from Stanley Kubrick and Ridley Scott, Earth's finest all turn in fantastic work, such as a superb leading man performance by Matthew McConaughey, strong supporting efforts from Anne Hathaway and Michael Caine, and the career-best Hans Zimmer score that slingshots this picture into another dimension.

9/10 cold cryostasis cameos.

Developing a cult following for its terrific set design, gruesome sadomasochist iconography and otherworldly Lovecraftian themes, this $60 million cosmic horror shoots for the stars as 'The Shining in space', but slips into a worse dimension with a frustrating sci-fi spin on Clive Barker's Hellraiser. Plagued by many demons during a troubled production, such as its rushed editing schedule, unfinished CGI and poor sound mix, the film falls apart with gory sequences that feel torn to shreds and stitched back together, not too dissimilar from Sam Neill's hokey turn after a strong set-up in the first act. Aspects like the techno-gothic aesthetic and spooky atmosphere contribute to a sense of foreboding and dread, but sadly never pay off, thanks in no part to a mediocre Philip Eisner script and ill-advised studio meddling. Despite horrifying visuals and a host of game character actors, in particular the tonally jarring but hilarious Richard T. Jones, Paul W.S. Anderson misses the mark for a dull 96 minutes that doesn't point to a longer, better cut lost to time and space. Shame he passed on helming X-Men for this.

3/10 pens through folded paper.

"We're working very hard to find out where this virus came from. To treat it and to vaccinate against it if we can. We don't know all of that yet, we just don't know. What we do know, is that in order to become sick you have to first come in contact with a sick person or something that they touched. In order to get scared, all you have to do is to come in contact with a rumor, or the television or the internet. I think what Mr. Krumwiede is uh... is spreading, is far more dangerous than the disease."

Upsetting audience members and riveting critics upon release in 2011, Steven Soderbergh's ultra-realistic take on health authorities battling a viral pandemic is a gripping and uncomfortable experience, notwithstanding its cold and clinical approach. Unsettling in its scientific accuracy and harrowing portrayal of societal order breaking down amidst a global crisis, the film disturbs for a chilling 106 minutes that's sure to have moviegoers buying hand sanitiser and face masks by the pellet, with several sequences straight out of a germaphobe's nightmare. Only a director as skilled in this 'hyperlinking' style as Soderbergh can keep our heads from spinning when we jump from character to character and continent to continent, barely giving viewers and the all-star ensemble cast enough time to breathe. Frequent collaborator Peter Andrews, who mysteriously only ever works this director's projects, makes the most of the RED One MX's 4k resolution with gorgeous cinematography shot on-location across the globe, and Cliff Martinez' score is solid if unremarkable serving as the film's ticking clock, far from his best in 2011. Viewed today as an eerily prophetic and frightening mirror of current real-world events, even boasting the infamous phrase 'social distancing', the movie lacks an emotional core despite the best efforts of a powerful performance from Kate Winslet, a paranoid and vaguely political Jude Law, Jennifer Ehle spinning techno babble like it's Shakespeare and longtime Soderbergh muses Matt Damon and Elliott Gould.

"It wasn't about the dress. I just wanted to walk into the gym and have everybody say, 'WOW!' I was trying to belong. I was trying to connect. I think that no matter how different we are, we're all trying to do the same thing."

Only a true math savant may be capable of connecting the film's many plot threads in convincing fashion, yet this violent action-thriller still entertains for a jam-packed 128 minutes. Gavin O'Connor's skilled direction, highlighted in several well-choreographed action scenes, barely keeps this runaway train on the rails as he's fighting the screenplay's identity crisis, with two or three better features bursting at its seams. The overall picture, like our protagonist battling sensory overload, is stifled by a lack of focus and stuck in second gear, most evident with one noir-influenced sequence in the third act that could have been left on the cutting room floor, or revived in a rumoured TV series. What keeps audiences engaged and on the edge of their seats is a dedicated and sincere performance from leading man Ben Affleck, the ever-charming Anna Kendrick and a who's who of character actors having a ton of fun (look out for the forever shackled-up Jeffrey Tambor, bringing a certain arrested sitcom to mind).

Bond is brash, blonde, & BACK! Stripping down to its bare essentials brought this series into the 21st century, where a cocktail recipe of amazing performances, solid writing, expert editing & skilled direction make this a must-see for any action film fan. "I cannot wait to watch the sequel!"

9/10 lashes to the balls.

Leigh Whannell's third outing as writer-director is a fresh take on old material, bolstered by a strong leading performance from Elisabeth Moss. Thankfully avoiding the cookie-cutter feel of many horror flicks from low-budget powerhouse Blumhouse Productions, it's not without its flaws like some clumsy plot developments & smash cuts, yet where the film truly shines is in its exploration of abuse & gaslighting

7/10 knives at the dinner table..

Richard Stanley's comeback to feature cinema is an equal-parts breathtaking & terrifying experience, highlighted by gorgeous cinematography, overwhelming dread and of course a bizarre Nicolas Cage performance. Some take umbrage with the film's pacing and run-time, I couldn't wait to leave this doomed farm in the best way possible.

7/10 buckets of alpaca milk.

Deeply affecting and hitting nerves in places you don't want to acknowledge, Shia LaBeouf's cinematic therapy is another excellent entry into a landmark year for movies with daddy issues. True standouts from the film include star-making performances from Noah Jupe & Lucas Hedges, a surprising turn from FKA Twigs and Alma Har'el's strong direction but it's Shia taking the crown for the best on-screen clown in 2019.

8/10 pies to the face.

"Someone has hurt my friend Lloyd. And not just on his face. He is having a hard time forgiving the person who hurt him. Do you know what that means, to forgive? It's a decision we make to release a person from the feelings of anger we have at them. It's strange, but sometimes it's hardest of all to forgive someone we love. Let's say hello to my new friend, Lloyd. Shall we?" 👞

It's nigh impossible to discuss this movie without mentioning the sheer joy & wholesomeness whenever Tom Hanks is on-screen, who brings this intelligent script by Micah Fitzerman-Blue and Noah Harpster to life. Bold choices from director Marielle Heller threaten to let the film fall into sappy, over-sentimental territory yet its heart-warming message of forgiveness is too good to discount. Criminally under-rated in this is Matthew Rhys, who does marvellous work to avoid stereotypes and cliches as our jaded, sceptical protagonist and a very special shout-out to Enrico Colantoni, a true delight wherever he pops up.

Sam Raimi was laughing all the way to the top of the comedy horror food chain when this was released in 1987, as he & his Renaissance Pictures cohorts set a new benchmark in b-moviemaking with this low-budget, immensely entertaining masterpiece. A rare exception to the rule "sequels are never as good as the original", here we see a super-talented director's vision fully realised in "groovy" ultra-violent sequences, pulling out every cinematic trick from his hat. How they perfectly blend thrills, laughs & surrealism into a bizarre and blistering 84 minute spectacle still shocks and rocks modern-day audiences and filmmakers alike.

10/10 dancing decapitated girlfriends.

"We're not gonna get rid of anybody! We're gonna stick together, just like it used to be! When you side with a man, you stay with him! And if you can't do that, you're like some animal, you're finished! *We're* finished! All of us!" 🦂

Abhorrent, crude, reprehensible men occupy the screen by any means necessary for a brutal 143 minutes that horrified filmgoers in 1969, and may be more effective today. Etching Sam Peckinpah's name into Hollywood history, this nihilistic, blood-spattered masterpiece revolutionised the entire Western genre with quick cuts & unapologetic slow motion techniques, not to mention an aging cast who are delightfully despicable from start to finish. Every character commits heinous, unforgivable actions, yet we're still swept up in the vehement masculinity of outlaws who live by an anachronistic code of honour, and want nothing more than to go out guns blazing, at least before the modern world finally catch up to them.

"You're nervous. I get it. The truth is, they're more talented than you. Probably got a better coach. But I promise you, they are not a better team. Because they haven't been through what we've been through. They don't know adversity. They don't know what it's like to get knocked down and have to get back up again. They don't know what it is to fight." 🏀

Ben Affleck brings his A-game and a 6-pack of emotional baggage to the court for this powerhouse performance, but sadly he's deserving of a stronger film. This very familiar redemption story is far from new ground for director Gavin O'Connor, however sticking to genre formula is where the movie truly shines. Exploring themes of fatherhood and self-acceptance in touching sequences with the high school students, Ben's surrounded by a solid and serviceable lesser-known cast, yet much of the team's good work is undone by ill-advised plot developments, momentum-halting scenes and a flat, sour ending that leaves audiences wanting more to cheer for.

A complete dumpster fire from early pre-production to its final seconds, this misguided franchise flick was deservedly ravaged by critics in 2003 and sinks even worse against recent superhero fare. Leaving little left to attract a winning, big name cast, Sean Connery's $17 million performance is reminiscent of an elder statesman who didn't understand what he was signing up for... and it's not hard to wonder why. An incomprehensible plot, grating dialogue and under-utilised ensemble drag this to the depths of so-bad-it's-bad. The best action scenes were fought off-camera, leading to both director and leading man permanently retiring from the business, with the former 007 claiming, "it was a nightmare". 'Nuff said.

2/10 final filmmaking efforts

A startling exploration of marital union, gender roles and our disconnected society as a whole, this 2019 dramatic triumph from writer-director-producer Noah Baumbach boasts the hallmarks of an auteur at the top of his game: raw, emotional performances from expertly-casted actors, simple yet gripping cinematography that pulls few punches, and an understated score which gives us that warm, fuzzy feeling when you reconnect with a sorely missed loved one. The film is equal parts devastating and inspiring as it unravels, rewarding moviegoers on their first or fifth watch with a heartbreaking and hilarious family experience.

9/10 holes punched in the wall.

"Peachy, Kate. The world's my oyster, except for the fact that I just rammed a wooden stake in my brother's heart because he turned into a vampire, even though I don't believe in vampires. Aside from that unfortunate business, everything's hunky-dory."

Holding audiences hostage for a wild 108 minutes, this gory genre-bending spectacle from dream pairing Robert Rodriguez and Quentin Tarantino achieved immediate cult status upon release. Each having a chip on their shoulder in the wake of scathing reviews to commercial bomb Four Rooms, the duo team with horror SFX icon Robert Kurtzman to pull off the unthinkable: drive a gritty, crime drama straight off the cliff into this bloody, creature squib show, all in unapologetically ugly fashion. Boasting THE breakthrough cinematic role for George Clooney, one can't discount the murderers' row of film legends like the top billed Harvey Keitel, Juliette Lewis and Fred Williamson, not to mention Rodriguez' troupe favourites Salma Hayek, Cheech Marin and the incomparable Danny Trejo. The less said about some very problematic scenes, pacing issues and a bizarre 'performance' from Tarantino, the better.

Sadly, audiences won't remember much from this dull, run-of-the-mill superhero flick. Squandering an intriguing premise for a drab 108 minute runtime, the cliché-ridden screenplay is less self-aware and much dumber than it believes itself to be, resulting in little substance and an inconsistent tone that reeks of another box-office bomb, John McTiernan's 'Last Action Hero'. Attempting to send up revenge tropes with some inspired genre subversions, first-time feature filmmaker Dave Wilson introduces several grandiose themes, yet, like our generic protagonist, has very little to say about any of them. Despite the best efforts of a committed cast alongside our brooding star, including solid performances from the talented Eiza González and a perfectly cast Guy Pearce (what was the name of that Nolan film again?), and some gorgeous visual effects work, moviegoers and comic book fans deserve much better and will be left wondering why this wasn't adapted as a video game.

4/10 techno babble dumps.