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chrisjhembury
Reviews
I, Tonya (2017)
I, Tonya ***
I, Tonya ***
I, Tonya tells the true life story of the American Ice Skating champion Tonya Harding, her raise to fame and her downfall.
The film is really, proudly and unapologetically true grit story telling. Tonya
Harding (Margot Robbie) is a product of her environment and that environment is toxic because of the hard hitting, abusive, chain smoking, drinking Mother (Allison Janney) who'll stop at nothing to push her daughter into becoming a ice skating champion.
The film told in flash forward interviews inter cut with the back story of Harding's whole life is directed with huge amounts of energy and passion keeping the scenes flowing seamlessly in a ambitious stylized cinematic effort that pays off.
The performances are really career bests from the lead Margot Robbie who lives and breathes her part moving through various moods, emotions, hardships, confusions, time lines and issues handling all this with ease captivating a world of emotion through her face as if it was a second language.
Allison Janney almost scene steals every frame chewing up her foul stinking dialogue of this detestable Mother and gives a performance that should see her walk off with a Supporting Oscar this year.
The film provides great retelling of a event of 90s that most of the new generation would have totally been oblivious to and gives traumatic and very often comedic insight into a story that's hard to believe but that's what makes it great entertainment.
The film is truly loyal to series of events that really happened but in consequence the film's narrative struggles in the third act with a concluding a story structure which instead has the free flowing nature of a true life story that isn't going to have the same predesignated story beats that ultimately complete a neat payoff.
Hard hitting story, acting and directing produce a loyal account to crazy real life event worth witnessing to believe, with Robbie proving she's a leading actress on the road to greatness.
Finding Your Feet (2017)
Finding Your Feet ****
Finding Your Feet ****
Finding Your Feet is British Romantic Comedy Drama telling a mature love story of life, starting again and discovering yourself.
The story see Lady Abbot a high class socialite who discovers that her Husband of 34 years has been having a on going affair and is forced to stay with her free spirited poor sister.
The film delivers on all sides of it's mixed genre format perfectly blending the comedy the romance and a healthy dose of Drama that cements the story and various points is spot on.
The rarity of a mature Rom Com being made is totally capitalized on by the amazing array of talent they have in the cast. Everyone involved smashes their lines and relishes the scenes which they most know do not come along that often in the mainstream for their age.
Imelda Staunton and Celia Imrie as the sisters work very well together whether they are arguing, bonding or crying there is a chemistry that hits the screen.
Timothy Spall as a leading love interest is not something ever associated with the actor and yet fits the part superbly gritty, heart felt, comedic and tender.
The first hour shoots bye with a well paced scripted story that delivers not only the laughs but the dramatic moments as well.
The care that has gone into the characters is refreshing with almost everyone having a back story, with them all being tragic with works in contrast to the happiness they put out.
There's a slight halt in pace at the mid way point which is not long lasting and replaced with tidy third act that delivers a beautiful story that should leave the audience with a smile.
A love story that looks at life with a such a over view it begs the question of not just love but the meaning of happiness that only occurs in such overview until older years.
To pull off that maturity in the Romantic Comedy genre whilst still hitting all the right beats is a real achievement and a wonderful additional to famous British Rom Com collection.
Phantom Thread (2017)
Phantom Thread **
Phantom Thread **
Paul Thomas Anderson and Daniel Day Lewis reunite after the intense There Will Be Blood with Phantom Thread.
Phantom Thread is a psychological Drama about a emotional dysfunctional highly regarded dressmaker Woodcock (Day Lewis) who after he dispatches his current girlfriend begins a new romance of kinds with a waitress he just met Alma.
Woodcock is basically a emotional crippled highly sensitive perfectionist who catching him smiling is about as often as the full moon who can make life for those around him pleasant or painful.
Women are drawn into his life as his muse as he make dresses for them and they become the face of his label but they all fall under the hammer once his interest or patience runs out which is frequently.
Woodcock regards little or no need for the permanence of Love treating his girlfriends coldly and like staff not quite Romeo but point made. Alma however is going to try to break Woodcock and get into his life whatever the cost.
Loyalty to the script is paramount with the direction painfully slow and purposefully dated, it looks as through this could have been made decades earlier in the directorial style employed here.
This helps the style but certainly not the pace which moves with the urgency of a snail. We are here to engage with every single character trait exposed at every single point.
It's effectively a punishing watch to get through, much like Silence was but Silence pulled it off where as here unless your hardened fan or have the patience of a saint this film will deliver a outcome that may require repeated viewings I was told I understood it in one and one was enough.
Day Lewis puts his all into his role but after Gangs Of New York and There Will Be Blood it's a shame this performance will be his rumored last in a love or hate film that may be interesting in a film study class in a University classroom or in film journalist coffee room but to the average viewer this film will be hard painful work like making a wedding dress.
Film Stars Don't Die in Liverpool (2017)
Film Stars Don't Die In Liverpool ****
Film Stars Don't Die In Liverpool ****
Fantastic Anette Benning and Jamie Bell hand in powerhouse performances in this emotional packed true life Drama.
Jamie Bell plays the struggling actor who becomes romantically involved with Annette Benning's former Hollywood star twice his age.
The film adapted from a book based on the real event captivates in it's bitter originality of such a unlikely romance occurring in such unlikely of circumstances and directed with elegance.
The unlikely romance begins and true story of love unfolds in the rarest of kinds from Hollywood bold, sad, honest and with sterling performances from all involved.
That cast by the way happens to include Stephen Graham, Julie Waters and Vanessa Redgrave who all hit their parts hard adding to the nice ensemble.
Benning really does give it her all in career best that unfortunately has occurred the same year as 3 Billboards otherwise an Oscar for Benning's work could well have been guaranteed. Meeting her every step of the way is Bell who not since Billy Elliot has worn his heart on his sleeve with his every emotion captivated across his face we feel every aspect of character's emotion just looking at him.
Whilst Graham and Redgrave are some what underused they still make the most of their scenes but it's Waters who has the most lines from the supporting cast and hits them all. Kenneth Granham plays the quiet spoken Father, who hands in a underrated performance with sadness, humor and ultimately a moral compass for the film. This is summarized in touching little scene in the pub with his son where the full complexity of the situation is captivated through a full array of emotions and thought process. Certainly the casting director can raise a class of champagne as the right actors were assembled for the right tasks here.
The story unfolds at a nice pace and utilized a change of perspective in the third act effectively to pull on the heartstrings and add to the tragedy of circumstance.
In many viewers the dark subject matter at times will become a little too heavy for some to enjoy with a depressing tone as romantic comedy this is not.
This is not easy watching or for the casual viewer but if you do invest you will come away with a story that captivates the emotions from such unlikely of origins of human attraction and love from a multitude of angles and emotions.
The 15:17 to Paris (2018)
The 15:17 To Paris **
The 15:17 To Paris **
Hot off Sully Director Clint Eastwood returns to the true story big screen adaption genre with The 15:17 To Paris the true story of the foiled terrorist attack on a train heading to Paris by three Americans.
It sounds great on paper, with Clint's CV as well what could go wrong? Well the problem is that is does unfortunately.
Clint's riskiest choice was to cast the real life people in the film as themselves. Its sounds bizarre but in an attempt to reach real life accuracy Clint changed them from consultants to actors or both I suppose technically.
The real problem is they are heroes yes but actors no and unfortunately no matter how hard they all try, they never actually reach a point of true naturalism or fit that comfortably into the roles of themselves.
A reinforcement of this point was when I saw all three stars a Talk Show where they all seemed relaxed happy and different to the onscreen personas. So if the film versions still weren't a true version of them it doesn't seem a move worth the risk really and certainly didn't make my day Clint.
Spencer even asked Eastwood whether they should have acting lessons, which Clint declined wanting it just be natural. However it doesn't appear to be natural, how could it be reenacting your life in front of a camera is not a natural thing to do, were not all Kardashians you know Mr Eastwood.
Then the back story which perhaps starts with relevance slowly differs in and out of the point, finishing on something that resembles a tourist promotion video rather than a thriller or drama or whatever.
The most useful part of the back flash was establishing what a flawed character Spencer is. The amount of failure he has in his life building to the vital moment of the train but it's kind of white washed amongst such absolute non relevant sequences selfies, wine sipping, walking during their European travels. It almost seems like an attempt to simply boost the running time. It's almost the equivalent of seeing Sully taking a shit the morning he landed on the Hudson. Yes maybe it is historically accurate, but does that make it pulse racing entertainment? I find it definitively unlikely.
In Sully the inciting incident is short but it shown from different perspectives, different emotions built up and revealed.
Instead of filling the running time with such non relevant, interesting scenes before the train why didn't they show (like Sully) what happens afterwards to beef out the story? We could have seen the parent's reactions, the ill judging Head Teacher's reaction, the Military's reaction? The vindication of being a hero after years of negativity would have been a rewarding pay off.
What did the boys do next wit their hero status? They became stars. They talked a Hollywood Director into making there film! There lives were changed! Do we see that? No, we see scenes of them drinking flat beer in Dam instead, damn indeed.
This film seems rushed into production and as a result the script lacks a more interesting narrative and when linked to such a interesting amazing story it's a accomplishment in their own right how they got it so misjudged.
A great idea misjudged none the less that does deflect from the amazing actions of bravery from tourists who did prevent a potentially massive disaster.
Fifty Shades Freed (2018)
Fifty Shades Freed **
Fifty Shades Freed **
The third and final part of the fifty shades trilogy has arrived!
Finally the Climax is here (see what those witty marketing department execs did there) in Fifty Shades Freed.
Each film usually jumps straight into action (not that type of action) with Freed no exception so the opening credits begin over Christian and Anastasia getting married. Then the honeymoon of a life time begins no not your standard Benidorm weekender the happy couple embark on a round the world trip.
The first peril that beseeches our happy couple is Anastasia wanting sunbath without a bikini on a semi naked beach where no one is wearing a bikini at this point Billionaire Christian must thinking "Mo money, Mo problems".
Fear not make up sex can not be far away only to be interrupted by trouble back at the office with someone breaking into Christian's computers and sabotaging. The culprit is none other than Jack Hyde Anna's cruel boss from the previous film who has a dark vendetta against the Christian!
You may have gathered I may not be taking this review all that seriously but seriously that's the key to enjoying this film. The minute to spend a second taking it in on a serious note your going to have problems.
There gaping holes of logic for one that really require us to just shut down and follow the beats of the film (Or in this motion picture case abbs, cheekbones and breasts)
Then some of dialogue is a little frowning in terms of Anna telling Christian he is "Honorable man" which yes is a compliment and sweet but let's be serious he still beats birds in his red room and tips ice cream down her privates so perhaps he won't be nominated for Pride Of Britain Award this year.
However there is some funny writing (perhaps we could have used more of) involving security trying to restrain someone and ask Anna if she has anything they could use, with the red faced response she might have cuffs.
The other aspect about the film is notorious reputation of the sex. It's the sex which is the selling point. It's the sex that has the groups of girls queuing up with their mates for their fun night out. But all in all it's really quite tame. Not just tame it really doesn't go for it when in terms of a trilogy surely there is an escalation to make each film bigger than the last. An opportunity to make it the riskiest one yet is not capitalized on here.
Like some sexual endeavors this might feel like anti climax for the amount of work put in but a climax none the less, that at least ties up the franchise securely like the cuffs from the red room.
Let us all just hope with their rampant sex life, good looks and billions of dollars the couple finally find some glimmer of ever lasting happiness.
Den of Thieves (2018)
Den Of Thieves ****
Den Of Thieves ****
A modern day heist movie thriller that sees a gang of ex soldiers turned bank robbers hunted by renegade corrupt cops whilst they attempt the ultimate heist of robbing the Federal Reserve.
A two hours four minute run time does ask the question of how that time is going to be filled in a genre that has been done time and time again.
Den Of Thieves plays well into the format and offers many twists and thrills in a film that Is trying desperately hit above it's weight.
The film which is going to be compared on some level to great Heist genre films like Heat does attempt to stray into it's own unique territory.
The first element that provides uniqueness in this story is it's totally unknown who we really are rooting for if anyone. We have the cop killing bank robbers on one side and corrupt torturing cops on the other.
In fact as the film reaches its climatic shoot out it's debatable who you want to win? By definition alone it has to go to the police surely but frankly with characters this faulted it's hard to know.
Talking of which it's a pleasure to see Gerard Butler after years of hollow pay check roles in Geo Storm or London Has Fallen, and let's not forget (No matter how much the therapy cost) Gods Of Egypt that here he actually hands a great performance of a haggard, drink abusing, suspect abusing, wife abusing, hard as nails corrupt sheriff.
He plays it well and unlike other 90% of characters we explore his personal life of which is a complete disaster. In fact it makes it obvious his only ambition to succeed to derived from the fact his no good at doing anything else nor has anything else to do.
The bank robbers on the other hand it's hard to really sympathize with any after the opening sequence sees them kill half a dozen cops and security men just doing their jobs.
This however is the uniqueness of it all the real life aspect of trying to separate good from bad or bad and worse well you get the idea.
The film offers twists in the tale that one point play out the genre beat by beat then start providing alternate beats to misdirect then back on the main plot.
Being a LA Heist Movie and being in the same genre as Heat which was which contained a epic climatic shoot out you know Den Of Thieves is going to try and give it a run for it money and surely its does.
The build up to the shoot out is thrilling and with characters as flawed as these you have no idea who's for the fatal bullet.
A final Ocean's 11 sequence near the end breaks the tone of the overall film but still its faults, mini plot holes etc are forgiven with a ambitious thriller that tries harder than most.
Black Panther (2018)
Black Panther ***
Black Panther ***
Black Panther hits the big screen as another of the Marvel Universe characters get the big blockbuster treatment.
There's a Shakespearean power struggle for the crown of the Black Panther and the future of the secret technological advanced empire Wakanda.
There's a nice sense of maturity to the film in it's theme establishing the conflicts between family, friends, foes and outside forces as betrayal is rife.
The good news is the film is a big solid hit. It provides all the thrills, excitement and most importantly the quality that marvels seems to assure its films get.
Stand out performances really come from the villains in this film with a energetic Andy Serkis keeping it fun whilst Michael Jordan capitalizes on a generous character ark to fledge out a villain on multiple levels of emotion.
In the scheme of things how does it land in the Marvel Universe well it's less funnier than Thor 3, less demanding than Civil War, better than Age of Ultron and better plotted than Guardians 2.
Yes it's becoming a complicated old universe but all in all Black Panther holds it's own establishing another strong Marvel Character.
12 Strong (2018)
12 Strong **
The true life story of how after 9/11 the U.S government sent a group of 12 special forces members on a mission to take a Taliban hot spot within 3 weeks.
Chris Hemsworth (Thor) leads the charge with a excellent supporting cast with Micheal Shannon (The Shape of Water),Micheal Pena (End Of Watch) and Navid Negahban (Homeland).
The story itself is captivating but the mistake here is the telling the story as commercial as possible this could have a been a TV movie by the Producers Bruckhiemer's company that tel the film as if it was one. This is a American story the error is Americanising the telling of it in the usual fashion. If they could have told the story in a independent gritty way it could have been totally absorbing.
Mel Gibson made big choices of how Hacksaw Ridge would have to play out in two halves and the second is full out absorbing horrific war. Spielberg made Saving Private Ryan visually
12 Strong features almost TV coverage from the swirling aerials, pans and dolls shots by fails to have a distinctive independent style or vibe.
The film's true life story is well worth telling and in the hands of someone like Joe Carnahan (Narc) for instance it could have really found it's tone.
By trying to look and feel like every other commercial film it loses chance to be truly original like it's source story.
One sequence in particular where the soldiers charge the Taliban with missiles flying over their heads is a thrilling set piece. This shot POV or Normandy Beach style from Saving Private Ryan's opening could have been a masterpiece of a cinematic battle.
A by the numbers style war film of a truly remarkable achievement. It's not a bad film by any means it just fails to be as remarkable as the achievement that was made in the story. If the filmmakers had been as fearless as the real life heroes who knows how daring this could have been.
A nice touch is showing the statue dedicated to the soldiers at the 9/11 site, fitting tribute.
Maze Runner: The Death Cure (2018)
The Maze Runner: The Death Cure ***
The third and final instalment of the Maze runner franchise arrives seeing the final showdown in the apocalyptic new world of the survivors of the disease that has wiped out population battle the powers that be for the cure.
The film hits the ground running setting the tone for this action packed finale with a prison break train heist. It's this action heavy hand of the film's narrative that really helps you forget any weak areas of the script of potential plot holes by hitting you hard with action after action which is all handled and delivered very well.
The film never raises to the heights of greatness but certainly completes the franchise very well and you'll struggle to find to may films that tie up trilogies as entertaining as the film here does. Sure there's Return of the King, Return of the Jedi but then there's Godfather part 3, The Dark Knight Rises, Spiderman 3, God forgive them Taken 3.
The Maze Runner has delivered a entertaining trilogy where by each sequel has gone bigger than the last and delivered a finale that will please loyal fans and newcomers as well.
The trilogy may not be Shakespearean in content but popcorn pleasing fan fare in it's purest indulgence.
The Post (2017)
The Post ***
In the era of the Nixon Presidency The Washington Post Newspaper has a choice to publish papers indicating the government has been misleading the public over the Vietnam War with the punishment potentially being prison and bankruptcy.
Meryl Streep plays owner of the family newspaper opposite Tom Hank's no non sense editor in the pursuit of the truth and cost it could have on them both.
Such a important interesting story is bogged down by a lengthy screen time due to clunky slow narrative from the script that unfortunately dose not use it's time entertainingly enough to engage the audience at all times.
The first act contains many elements that no matter how interesting aren't that essential in the moving forward at any exciting pace.
The film directed by the master Steven Spielberg suffers from a lack of excitement from someone so achieved with the first hour made of countless dolly pan shots and simplistic coverage. Later on some more interesting shots in the crucial dialogue scenes get nice subtle direction and impressive mood setting angles which helps the emotion and flow of the film. Many shots you could have envisaged Hitchcock using in many of his closed intimate scenes back in the day.
Streep and Hanks hand in engaging performances but never have the goods in the script to deliver stand out or memorable roles.
The film in itself is extremely important in reminding us all of the importance of the free press in era of time that looks in many ways to have come full circle in Washington in terms of suppression of the media.
A nice touch ending also indicates the irony of the film's message that is imprinted in history.
Coco (2017)
COCO *****
The latest animation by Disney is a modern day triumph showing that in ever changing climates that they still have the power to provide the heartwarming classic tales to new generations.
Coco follows the story of a young Mexican boy banished from following his dream of music by his family and on the celebrated Day of The Dead he triggers a curse that sends him to the world of the Dead. Yes, yes I know not quite Bambi in fact the pitch raises the question as to whether Disney was taken over by a morbidly obsessed fan of the latest Mexican hating President but evidently that is not case.
Coco is a beautifully crafted story that has to be one of the more original animations from Disney for some time. The premise fresh playing on the traditions of the Mexican nation. The film highlights their diverse culture and celebrations in a glowing light instead of the hate filled rants coming from a certain White House Resident. The film makers have almost purposely taken the film as a climate orientated opportunity to , show the world that not everyone is painted with the same brush.
The story flows in the rather standard way in the first act but is truly notched up there onwards to propel expectations and style of the modern day animations much like Frozen allowed the twist to freshens it's style.
The animators are in no doubt of their audiences which accounts not only for children but the adults accompanying them with a story that in the third act has borrowed a narrative that is almost Shakespearean in it's tragedy and unites the audience with it's common humanity.
Knowing full well that the prime audience is children the makers impose good morals and messages in a story that touches, amuses, entertains and surprises you with sweet tenderness.
The jokes are funny, the songs are catchy and the effects are the standard spot on animations that just seem to fail to age.
I was skeptical of how Disney would pull of a hard sell premise of a kid who spends the film hanging out with dead talking skeletons but hey it works and I can't wait to see what they do next.
The Commuter (2018)
Fun ride but could have been upgraded to first class
Liam Neeson reunites with action director Jaume Collet-Serra after working together on Unknown, Non-Stop, Run All Night now comes there latest Thriller (and Neeson's rumoured last action film) The Commuter.
The story unfolds as Neeson plays the Insurance Salesman who on his daily commute home on the train is approached by a mysterious stranger (Vera Farmiga, Conjuring fame) to find a particular passenger who "doesn't belong" and he will get $100,000 in return. Shortly here after his life spirals into a chaos that makes Northern Rail look phenomenal.
The two most successful parts of this production are the leading actor and the director. They know there stuff and smash the Action genre with great success. Neeson embraces the genre with ease, reliability and hops, skips and jumps (in some scenes really far) his way through the narrative that in recent years has given him such a successful platform.
Image result for the commuter stillsThe Director strives to be as creative as possible instantly proving the trapped location of the train is no trap for his creative visual style creating cool SFX shots that keep the plot rolling with speed. Particular fun is shown taken setting the stage in the opening credits fast cutting his daily commute with footage of the hundreds of times his carried out this routine, with fast cutting and shot merges we learn allot fast, kicking us into the set stage.
Image result for the commuter stillsThe let down really is the script that feels particularly rushed, what could have been a wicked Hitchcockian adventure like The Lady Vanishes on acid is replaced with a almost half thought out scenerio that needs much more time in the creative oven to have been developed.
Great talented cast additions like Jonathan Banks (Breaking Bad) and Sam Niel (Jurassic Park) are given very little to do and their skills as actors are not rewarded by great dialogue either both have pretty unexciting lines to phone in.
Darkest Hour (2017)
Darkest Hour ****
Gary Oldman is unrecognisable as Winston Churchill in war time drama set during the first five weeks of the war time Prime Minister taking office.
The story restricts itself to the first five weeks of Winston's Premiership as he battles the escalating war against Hitler, the back bench revolts and his own mind under the massive pressure now thrusted onto his shoulders during this monumental moment that History is watching intrepidly closely.
The film rejects the temptation to make itself to big or too far reaching by just covering this particular time frame and more to the point this particular mind frame of Churchill as dark and difficult times are waged all around him. Or has Churchill says receiving the job in these times is "Not a reward, it is revenge" to the amusement of himself.
Never once pulling punches of the frailties or faults of Churchill from his temper, drinking, smoking, rants or loss of thought the man is exposed (and in one scene in every way) to show that he is just a man. A flawed man. But cripplingly his psychological journey from backbencher to Prime Minister in one of the most taught, stressful accusations of power (making even Mrs May think she has it easy) shows this flawed man was designed for this moment in history where he would represent the spirit of the nation against the worst dictator the world had ever seen.
Joe Wright keep a massive film small but showing allot through the eyes of Churchill keeping sweeping shots mainly POV and consisting of the view of the world from a smaller perspective. Whether it be London streets from Churchill's car or France from the window of Churchill's plane hard work has been made to keep the world objectively exposed to the viewer. Special effect shots are also used sparingly and effectively to spice up the story telling from swooping grand shots from the roof of the war rooms to trenches in Europe.
Gary Oldman should receive the Oscar nomination and win for a role that is truly mesmerising to the viewer exposing so many aspects of Churchill's nature is truly tremendous and difficult feet the versatile actor has successfully done and should be rewarded.
Stand outs in this cast are Ben Mendelsohn taking on the role Of King George a role that won Colin Firth a Oscar only a few years ago might have caused trepidation but the Australian actor pulls off the voice, lisp with great effect and performs the character ark well creating a new memorable cinematic entry to the performances of the role.
Kristen Scott Thomas plays Clemintine Churchill to great effect (as usual) but unfortunately doesn't have a complete character ark to accomplish like Churchill and the KIng and Chamberlin for that matter but plays the scenes she does have well but will not obtain the memorability that I'm sure the other Characters will.
A great well told account of the one greatest struggles the world had seen through the eyes of the most memorable figures the world had ever seen proving that every dog has his day.
From the writing, directing and acting this film truly excels in it's execution and I'm sure Gary Oldman will doing V for Victory on Oscar night.
All the Money in the World (2017)
All The Money In The World ***
Ridley Scott directs this true story of how billionaire Getty was the richest man in the world and refuses to part with a penny for the ransom of his missing favourite grandson Paul Getty.
Not short in length this film carries the story through at a engaging pace that's keeps you interest but very rarely takes it up a gear to get you truly riveted.
The film has gathered most publicity from the high profile replacing of Kevin Spacey in the role of Getty amongst accusations and replaced by Christopher Plummer who apparently re shot all the scenes in just six days.
Plummer does a great job of the miser modern day Scrooge, with Michelle Williams putting in a excellent performance as the Mother and outsider of the Getty Family. Mark Wahlberg is effective as the ex CIA consultant which is a rather forgettable role but more of a opportunity for the actor to have worked with Ridley Scott one would imagine. The supporting cast of multiple kidnappers are well cast and talented in the roles as we variate from to and from the nice kidnappers and the bad ones.
A interesting film that tells a true life story is worth watching but could have worked just as well as a TV adaption. There is also now a big intrigue to see how Kevin Spacey played the part perhaps a blu ray feature?
The Greatest Showman (2017)
Fun, Hollywood Musical with great catchy soundtrack
The Greatest Showman is musical that tells the story of P.T Barnum (Hugh Jackman) as he creates the circus and instigates start of modern show biz in this glitzy Hollywood singalong.
We see P.T Barnum's story unfold from a toddler to the entrepreneur that creates the world's first circus creating a home and business for anyone of life's out cast to come to and be celebrated for their individual uniqueness. Whether it's the bearded lady, the Irish Giant, the dog boy or world's fattest man they now become the stars of the show!
The narrative structure is stronger than one would have expected and carries the story at a good beat, which is not always the case but pleasant viewing here.
The cast lead by the enthusiastic Jackman who you can tell is loving every minute of this opportunity to flex his singing and dancing talents is on top form performing his socks off wit the energy like his first year in Drama school. Backed up with a strong cast like Zac Efron who has less to do than Hugh but still shows his strong High School Musical routes and joins in the film effortlessly.
With a great cast and catchy songs any lovers of the genre who were sat on the fence with LA LA LAND can rest assured this musical knows what it's doing and performs the genre majestically.
Some Critics have said the film's rebranding of the true life story deflects from the real life gritty aspects but I honestly think the glitzy make over with Hugh Jackman in the lead would get the approval of the spot light loving Barnum.
With strong messages about outcasts, lower classes vs higher classes, snobbery and acceptance the film advocates good morals and life lessons.
A great feel good modern Hollywood Musical at it's best.
As the film quotes
"The noblest art is that of making others happy"
-- P. T. Barnum
And in this day and age that ain't no bad thing.
Three Billboards Outside Ebbing, Missouri (2017)
Three Billboards Outside Ebbing, Missouri ****
A desperate grieving Mother (Francis McDormond) takes a drastic step in order to put pressure on the local Police Department investigating her Daughter's murder by renting three billboards and erecting messages that taunt the Chief of Police (Woody Harrelson) lack of progress.
What unfolds is a gripping black comedy Drama that mixes moments of humour with instant moments of such humanity and sadness it becomes a impossible not to be absorbed undeniable into it's story.
This is a film that portrays itself as a "who done it" but makes that a brave choice to become a rich character study of people just trying to people in amongst the wake of tragedy and circumstance.
Doesn't sound a laugh a minute but honestly most of the time it is, establishing dark laugh out statements of pure angry and grief.
Whether McDormand is berating a Vicar, reporter of the chief of Police the foul mouthed rants are wonderfully written and delivered with fire.
That's another beautifully crafted aspect of the film are the tiny moments of the film's balance between rage and humanity. Whether amongst McDormond's hate filled mission she takes time out to put a upside down bug back on it's feet to screaming at the Chief Of Police than instantly finding common humanity amongst tradegy.
A story of good people all reacting to circumstances that life has handed them and acting accordingly the only way they know how from their grass roots.
It's truly a stand out out performance by Francis McDormand that has to earn her a Oscar Nomination she's frankly that good. Her face never stops working, when ever she's spoken to her face is still processing, expressing and captivating a woman in constant torment from the first shot to the end she's working 100%.
Woody Harrelson is on top form delivering a performance which like the film is comedic and sad with also one of the best character arks of the narrative along side Sam Rockwell as the racist child like deputy who does some growing up on the way.
This is storytelling unlike anything were normally used to from Hollywood. It's Bold, Engaging, Risk Taking Power House Drama that will surprise and leave you pondering long after it ends.
It won't be everyone's cup of tea but that is defiantly the point.
The Commuter (2018)
Fun ride but could have been upgraded to first class
Liam Neeson reunites with action director Jaume Collet-Serra after working together on Unknown, Non-Stop, Run All Night now comes there latest Thriller (and Neeson's rumoured last action film) The Commuter.
The story unfolds as Neeson plays the Insurance Salesman who on his daily commute home on the train is approached by a mysterious stranger (Vera Farmiga, Conjuring fame) to find a particular passenger who "doesn't belong" and he will get $100,000 in return. Shortly here after his life spirals into a chaos that makes Northern Rail look phenomenal.
The two most successful parts of this production are the leading actor and the director. They know there stuff and smash the Action genre with great success. Neeson embraces the genre with ease, reliability and hops, skips and jumps (in some scenes really far) his way through the narrative that in recent years has given him such a successful platform.
Image result for the commuter stillsThe Director strives to be as creative as possible instantly proving the trapped location of the train is no trap for his creative visual style creating cool SFX shots that keep the plot rolling with speed. Particular fun is shown taken setting the stage in the opening credits fast cutting his daily commute with footage of the hundreds of times his carried out this routine, with fast cutting and shot merges we learn allot fast, kicking us into the set stage.
Image result for the commuter stillsThe let down really is the script that feels particularly rushed, what could have been a wicked Hitchcockian adventure like The Lady Vanishes on acid is replaced with a almost half thought out scenerio that needs much more time in the creative oven to have been developed.
Great talented cast additions like Jonathan Banks (Breaking Bad) and Sam Niel (Jurassic Park) are given very little to do and their skills as actors are not rewarded by great dialogue either both have pretty unexciting lines to phone in.
The Greatest Showman (2017)
Fun, Hollywood Musical with great catchy soundtrack
The Greatest Showman is musical that tells the story of P.T Barnum (Hugh Jackman) as he creates the circus and instigates start of modern show biz in this glitzy Hollywood singalong.
We see P.T Barnum's story unfold from a toddler to the entrepreneur that creates the world's first circus creating a home and business for anyone of life's out cast to come to and be celebrated for their individual uniqueness. Whether it's the bearded lady, the Irish Giant, the dog boy or world's fattest man they now become the stars of the show!
The narrative structure is stronger than one would have expected and carries the story at a good beat, which is not always the case but pleasant viewing here.
The cast lead by the enthusiastic Jackman who you can tell is loving every minute of this opportunity to flex his singing and dancing talents is on top form performing his socks off wit the energy like his first year in Drama school. Backed up with a strong cast like Zac Efron who has less to do than Hugh but still shows his strong High School Musical routes and joins in the film effortlessly.
With a great cast and catchy songs any lovers of the genre who were sat on the fence with LA LA LAND can rest assured this musical knows what it's doing and performs the genre majestically.
Some Critics have said the film's rebranding of the true life story deflects from the real life gritty aspects but I honestly think the glitzy make over with Hugh Jackman in the lead would get the approval of the spot light loving Barnum.
With strong messages about outcasts, lower classes vs higher classes, snobbery and acceptance the film advocates good morals and life lessons.
A great feel good modern Hollywood Musical at it's best.
As the film quotes
"The noblest art is that of making others happy"
-- P. T. Barnum
And in this day and age that ain't no bad thing.
Insidious: The Last Key (2018)
Fun Prequel to the Franchise
The forth film in the franchise hits our screens and teenagers looking for some more cinematic jumpy frights are in for a treat. This was much evident from my trip to the cinema where teenagers had even brought their blankets to hide behind.
The storyline road map for the franchise has been a little convoluted but The Last Key is another prequel set just before the original Insidious.
Whilst the film attempts to ground the origins of the central character of the franchise it does in turn create a story arc which is satisfying and interesting but not overwhelming. This is the general summary of the film.
All the elements are there from the haunting case, the comedy relief, effective performances from all involved and jump scares we've come to expect and enjoy from the franchise.
Aside from a couple of nice little twists this tale adds nothing tremendously new to the proceedings but still provides a effective, enjoyable contribution to the franchise which may be running on fumes but still hasn't run out of gas.
The Shape of Water (2017)
Year's Most Original Love Story
Let's face it one of the most artistic, visual, imaginative Directors alive and working today in Hollywood is Guillermo Del Toro.
A CV with Pan's Labyrinth, Crimson Peak, Hellboy and Pacific Rim is definitely going to get your attention and defiantly make you wonder what a director/writer like that is going to concoct next.... well look no further for The Shape Of Water has arrived.
The story set in the 60s follows a lonely mute Elisa (Sally Hawkins) who whilst working as a cleaner at secret government Area 51 style facility comes starts to slowly form a bond with a underwater creature that has just arrived to be experimented on under the watchful eye of violent, paranoid, unstable government agent Strickland (Micheal Shannon).
The films spins a highly original fairytale yarn that pulls the audience on a journey of the years most unexpected love stories.
The script negotiates multiple genres, moods and themes in order to carefully unfold the story through its generous two hour running time.
Care and attention to details has been employed here to really justify any choice our characters make by giving all involved real features, flaws and frailties that isn't always the case in many films.
The cast lead by Sally Hawkins are on top form clearly making the most of the script Shannon shines as the deeply troubled flawed government agent, Octavia Spencer hot of Hidden Figures performs charismatically as the best friend and Richard Jenkins lavishes his diverse character journey he goes on.
Nicely and neatly shot but certainly not as trade mark stunning say as Crimson Peak the director navigates this film with the experienced skill that comes with his twenty plus years experience and shows us here that risks can certainly still be made. And worth the gamble.
Whilst the film may not be for everyone, a highly engaging, entertaining and original modern day fairy tale love story like this should prove that originality like romance is not dead.
Dying of the Light (2014)
Production Problems = This Film
When the first publicity you hear about a film is the fact that accomplished director Paul Schrader (Wrote Taxi Driver and Raging Bull), Academy award winning Actor Cage and Producer Nicolas Winding Refn (Drive) all denounce the film by wearing matching shirts quoting their contracts that say they are unable to publicly denounce the film it doesn't inspire confidence in the final product .
This is because the director and co were booted out the edit suite and the backers edited the movie to there liking. I suppose one way or another you really do get what you pay for. This might explain the slightly mis matched film in front of you. In future maybe just have a better contract before you take the King's shilling.....
And so the story goes...
Evan Lake (Cage, sporting his probably natural grey hair) is a seasoned CIA agent looking at a terminal illness that will rot his brain is suddenly given the chance to take down the terrorist that tortured him decades earlier. After he sales pitches his mission to his boss who points out to Cage that the now elderly terrorist his after hasn't been active in 20 years, is now terminally ill, facing a painful death that will kill him soon anyway so what's the point? Screw it Cage loses his temper, then his job, then goes rogue with a young weird voiced colleague (Anton Yelchin) who's willing to risk it all (His Job! His freedom!) if its gives him some field work!... that's seriously his motivation.
(spoiler) In a nutshell....
After a slow endeavor, then a semi meaningful confrontation, comes a random, violent and crazy rushed conclusion with all diplomacy out the window with Cage even declaring " Salam alaikum a*****e!" in his deadly showdown with a heavily crippled elderly terminally ill terrorist!
Afterthought.....
I had read that perhaps the initial intention of the story was showing the effects of burnt out agents, or post traumatic stress who knows, no answers here.
The film doesn't back up the plot really despite how hard it tries in its last shot of quickest plot tidy edit I've seen in some time.
More disturbingly perhaps the title was given the most literal meaning it could of done in the last three minutes so any metaphoric idealism over the title's true meaning can be brain energy better saved for Sudoku or Candy Crush on the ipad, these editors want to give you exactly whats on the tin.
There was brief bit of acting delight from Cage where he denounces his boss's and CIA's actions in modern American history after his lifetime's dedication to the service, that to me was the height of the acting and script writing in this film, unfortunately it was near the start.
Summary...
What had potential is now a strange unbalanced film that will never quite show us what the filmmakers were planning. Would love to read the original script to see exactly what the true intention was.
One thing is for sure I bet the director's commentary will be hilarious.