25 June 2018

Hereditary review


Empathy is a funny old thing. The ability to put ourselves in someone else's shoes and imagine what it must feel like to be in the same situation as them is, as far as I'm aware, a uniquely human trait, one that allows us to be more compassionate than any other creature on the face of the planet. It's also something that we often choose to ignore when it might be an inconvenience, shutting ourselves off from the plight of others if it might disrupt something as simple as the way we like to think of the world, or the ease with which we go about living our lives. Empathy is behind all that humanity should be most proud of; our ability to ignore it is responsible for our most terrible acts.

Which is part of what makes Hereditary, a film that plays with empathy throughout, such an interesting movie. It's a horror film first and foremost, but behind that there's a story of family, loss and the strain that can put on any relationship that ultimately ends up being Hereditary's most compelling feature. Yes, it's a film that asks more of its audience than a lot of horror films do, both in the level you're expected to engage with the material and in accepting a handful of what can only be described as goofy moments - but it's also got a lot more to offer than a lot of horror films too, a trade off that is at least in my eyes completely worth it.

1 June 2018

Solo: A Star Wars Story review


There never should have been a Han Solo prequel movie. Before we can talk about Solo: A Star Wars Story in any meaningful way, this is a fact we simply have to accept - not only is it a really boring, tired idea for a film (who the hell cares what Han might have been up to before meeting Luke and Obi-Wan in Mos Eisley?), it's also continuing the franchises inability to look beyond the original trilogy in any meaningful way, falling into the same trap of the prequel trilogy by assuming that the more details we know of a character's backstory, the better. Coming just a handful of months after Star Wars: The Last Jedi dared to do something new with the franchise, that can't help but feel like a huge step backwards - but around the clumsy references and eye-roll inducing nods at the audience, Solo: A Star Wars Story is at its core just an excuse to see some characters you know and some you don't on a mostly standalone and refreshingly small-scale adventure, and from that perspective... well, it's not bad.

At the very least it's more entertaining than you might expect, especially once you take into account its more than just troubled production. For those not in the know, original directors Phil Lord and Chris Miller had been filming Solo: A Star Wars Story for four months before they were unceremoniously fired and replaced by Ron Howard, who went on to reshoot approximately 70% of the film. That the end product isn't a complete and utter mess is nothing short of a minor miracle, one only made all the more impressive by the film somehow feeling more cohesive as a movie than Rogue One: A Star Wars Story (which had a significantly less troubled production) ever did.

6 May 2018

Avengers: Infinity War review


It's too damn big.

I mean, no doy, right? All but one of Marvel Studios' previous "event movies" have felt at times overstuffed, and they were only trying to juggle a fraction of the characters - Avengers: Infinity War is attempting to balance an unprecedented twenty-two, and that's not even including those who only show up for a couple of scenes. Something with this many moving parts was always going to be far too big to function as an actual movie - that it still somehow ends up being a quite entertaining (and at times genuinely shocking) piece of blockbuster entertainment is frankly nothing short of a modern miracle.

You know the story, or at least how it starts. Thanos, the big purple guy in the chair who was first teased in the post-credits scene of Avengers Assemble some 6 years ago, has finally gotten off his ass in order to unite the Chaos Emeralds and become the most powerful being that the universe has ever known, and the only people standing in his way are... well, almost everyone that we've ever met over the last ten years of the Marvel Cinematic Universe. That's Avengers: Infinity War's main selling point - it is also quite obviously the source of all its biggest flaws.

26 April 2018

Ghost Stories review


It's hard to look back over the last half a decade or so and not come to the conclusion that horror is having one hell of a comeback. I mean, in the last 2 years alone we've seen the release of a virtual glut of genuinely great and massively varied horror films - you've got Jeremy Saulnier's Green Room, a grounded, violent and incredibly tense siege thriller; Andy Muschietti's It, which garnered the kind of mainstream attention most films would kill for; Jordan Peele's Get Out, a razor sharp social satire that should've won Best Picture; Robert Eggers' The Witch, which is like nothing else I've ever seen; and even more recently John Krasinski's A Quiet Place, which has been released to both rave reviews and unexpected box office success. Horror seems to be host to a lot of interesting voices at the moment, and they're all doing an incredible amount of work towards helping the genre shed the trashy slasher image that the 80's/90's left it burdened with. But until now, they've almost all been American voices - what happens when the British speak up?

The result is Ghost Stories, a supernatural horror anthology that's both radically different to any of the aforementioned films and, unfortunately, not quite as successful at doing what it sets out to do. Written and directed by Andy Nyman and Jeremy Dyson, it started life as a stage play in 2010, and follows paranormal investigator/skeptic Professor Phillip Goodman as he is given three cases by ex-skeptic Charles Cameron that supposedly prove the existence of the supernatural. The first of these follows a nightwatchman as he works a graveyard shift in an abandoned asylum for women; the second follows a young man who has been left deeply shaken after his car broke down in the middle of nowhere; the third follows a wealthy businessman forced to spend the night alone in his enormous, isolated house while his pregnant wife is in hospital.

23 April 2018

A Quiet Place review


Cinema may be an audiovisual medium, but silence is one of the most effective tools a film-maker has at their disposal. When used well, the absence of any and all noise can draw an audience into a moment like nothing else, instantly ramping up the tension as they tentatively wait to see what might be behind the sudden need for quiet. It's a very primal reaction that films, TV and even video games have been taking advantage of for decades now, and it's one that A Quiet Place uses to great effect, making well-established techniques feel incredibly fresh in the process.

I mean, it's kind of genius really. By setting a horror movie in a world where making any kind of noise is likely to get you killed by a lightning fast and virtually invulnerable alien predator, A Quiet Place finds an in-universe excuse to never allow its audience the release of tension that something as simple as a conversation or the hustle and bustle of normal life often provides. Most of the time, a dead silence in a horror film indicates that something is about to jump out and scare you - here, it's indicative of nothing in particular, offering no clues about if the characters we follow throughout (the Abbotts, a fairly typical American family of 5) are in immediate danger or not, and that can't help but imbue every single scene with a staggering amount of suspense that the film itself doesn't even need to work that hard to maintain. Even the most ordinary of day-to-day tasks to take on extra significance when you know that the smallest of slip ups will have deadly consequences, and that's something that A Quiet Place takes great pleasure in playing with.

13 April 2018

Isle of Dogs review


It's been the best part of a decade since writer/director Wes Anderson first ventured into the world of stop-motion animation with his wonderful take on Roald Dahl's Fantastic Mr. Fox, but Isle of Dogs quite handily proves that his time away from the medium has done nothing to lessen his ability to effectively utilise it. It might be a long way from perfect thanks to some story decisions that feel insensitive at best, but between its stunning animation, a stellar voice cast, Alexandre Desplat's gorgeous score and Anderson's unique sensibilities, Isle of Dogs is probably going to end up being both the most charming and the best looking film I'll see this year.

Not that you'd guess that from the film's premise, of course, which in a vaccuum sounds about as far away from "good looking" or "charming" as you could possibly imagine. Set in the wake of fictional Japanese city Megasaki choosing to send all of its dogs to the appropriately named Trash Island after an outbreak of Snout Fever, we follow Atari Kobayashi - the adopted son of Megasaki's ruler, Mayor Kobayashi - as he searches for his guard dog/best friend Spots, who was the first to be deported. While searching for Spots, Atari befriends a pack of five dogs who decide to help him, accompanying him across Trash Island as Mayor Kobayashi attempts to both "rescue" his son and put an end to Snout Fever once and for all.

28 March 2018

Ready Player One review


"Come with me / And you'll be / In a world of pure imagination". So goes Willy Wonka and the Chocolate Factory's "Pure Imagination", a version of which scored the first trailers for Steven Spielberg's Ready Player One and promised an imagination fuelled adventure in the process - a promise only reinforced by main character Wade Watts' description of The Oasis (a virtual reality that most of the population of Earth spend the bulk of their time in 2045) as a world where "the limits of reality are your own imagination". So with that in mind, how is it that Ready Player One has ended up being one of the most deeply unimaginative and creatively bankrupt films I've even seen?

The answer is simple but depressing: it's a film that seems to be operating under the wild misconception that grouping a lot of recognisable things created by other people's imagination under one roof counts as using your own. It doesn't, obviously, and yet it's so busy doing this throughout that it forgets to do much of anything else, meaning that while those looking for a seemingly never ending parade of pop culture references presented to the audience with all the intelligence, elegance and wit as an episode of The Big Bang Theory are in luck, those looking for an engaging story or interesting characters or... well, a real movie, are going to end up feeling more than just a little bored and frustrated with a film that simply doesn't even seem to be trying.

20 March 2018

Mom and Dad review


"Brilliant!" I hear you say through the microphone(s) I've hidden on your person, "a film where parents are driven to kill their children by a mysterious radio transmission? Starring Nicholas Cage, written and directed by the guy behind the Crank films? This is going to be a blast!"

Well not so fast, my clueless friend. Your line of reasoning makes sense - it's always fun when Nicholas Cage goes full Nicholas Cage, and the idea of seeing that happen in a film about child murder that's written and directed by Brian Taylor is an exciting one - but there are two pretty fundamental problems at the heart of Mom and Dad that stop it from ever being the film you think it might be. The first is simple: Nicholas Cage is the main reason that most people will want to see Mom and Dad, but there are large stretches of it that he's entirely absent from, presumably because the film doesn't have a high enough budget to pay Cage's fee throughout. The second is... a little more complicated.

8 March 2018

I, Tonya review


"Good artists copy; great artists steal". It's a fairly well-known saying that speaks to the way art evolves over time as the innovations of influential artists seep into the work of those who come along later, but it's worth breaking down what exactly the phrase means by "steal". Mimicry or simple replication isn't enough; you have to make something your own in order to steal it, add your own unique spin or use it in a particular way that stamps your name on it, and that means that I, Tonya - a biopic whose style was quite clearly heavily influenced by the work of Martin Scorsese - doesn't qualify as an act of theft. Appropriately then, it also doesn't qualify as great art - merely quite good.

At the very least it's a vast improvement over the pale Scorsese imitation that David O. Russell has been doing for the last few years, thanks in large part to director Craig Gillespie's much firmer grasp of how to make the particulars of this style - such as the fourth-wall breaking narration, or the eclectic soundtrack - work on-screen. But just as important to why I, Tonya works where films like Joy don't is the simple fact that the story of disgraced American figure skater Tonya Harding is both a) actually worth telling and b) well-suited to this style of film-making, hitting all the required funny, sad and tense beats as it focuses on a number of vibrant, almost larger-than-life characters who you actually want to learn more about and see interact with one another.

20 February 2018

Black Panther review


I don't think it's going to come as a massive shock to anyone to learn that Black Panther, the 18th film in the Marvel Cinematic Universe, is worth seeing. Marvel Studios have been releasing films that are good at worst for so long now that it almost feels like a foregone conclusion, which means that the real question at this point is if each new instalment in this mega-franchise can meet the expectations set for it. In the case of Black Panther, those expectations are sky high thanks to the character's impressive debut in Captain America: Civil War and the fact it's written/directed by the brilliant Ryan Coogler - and unfortunately, I don't think it quite manages to meet them.

Don't get me wrong, it's without a doubt one of the stronger films in the Marvel Cinematic Universe to date, introducing us to a ton of great new characters and telling an interesting, thematically complex story that I'm sure people will be analysing and talking about for a long time to come - but it's also Ryan Coogler's weakest movie by a fair margin, lacking the sense of craft and rich emotional substance that made both Fruitvale Station and Creed as deeply engaging as they are. It's a really good superhero film for sure, certainly one with more ambition and intelligence than most, but the realities of making a Disney-backed Marvel Studios film means that it's also ultimately *only* a really good superhero film, rather than the legitimately great piece of cinema it often feels close to becoming.