Monthly Archives: August 2022

Cinema, Netflix, New Releases

NETFLIX FILM REVIEWS: DAYSHIFT (2022), THE GRAY MAN (2022) & SPIDERHEAD (2022)

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NETFLIX FILM REVIEWS: DAYSHIFT (2022), THE GRAY MAN (2022) & SPIDERHEAD (2022)

Along with fashion, football, and Formula One, the cinema is one of many capitalistic and cyclical industries which spends and makes money that seems to self-perpetuate its own existence. My lord though there are many more. But isn’t it a bit obscene that so much money is spent on movies while so many people struggle in the world?

Maybe I’m just old. Jaded. Drifting away from the dream factory where such large amounts of cash should be spent on film folly. People are starving, energy bills are rising and there are so many sick across the world, can we not divert some of that money to them? Some people may say I’m a dreamer, but I’m not the only one. Plus, I’m a hypocrite. Using film and alcohol to divert my mind from the world’s problems.

What has prompted this sober reflection? Netflix! Now, I have no idea about business and money and algorithms and subscription revenue. What I have read is that $370 million dollars have allegedly been spent on these three blockbuster films. Could the cash have been spent on more interesting and entertaining product? I mean, why not give $15 million to a whole host of up-and-coming filmmakers to produce thirty lower-budgeted films? Why not concentrate on script, characterisation and strive to explore more original concepts. Surely, the law of averages dictate that there would be a number of gems produced?

Blumhouse Productions and A24 both seem, from the outside, to have industry models which produce successful genre and arthouse films. One may not rate all of their releases, however, these studios appear to avoid burning huge sums of money on their cinematic offerings. Netflix, continue to invest in tentpole monsters which are NEVER released on a cinema screen and are of questionable quality. What of these films? Here are three short reviews of new Netflix releases I have watched recently. With the usual marks out of eleven.

DAYSHIFT (2022)

Directed by J. J. Perry

Screenplay by: Tyler Tice, Shay Hatten

Main cast: Jamie Foxx, Dave Franco, Natasha Liu Bordizzo, Meagan Good, Karla Souza, Steve Howey, Scott Adkins, Snoop Dogg etc.

I’d say this is a cheap, photo-copied and terrible rip-off of Blade (1998) drizzled with John Wick (2014) style fight-scenes, but Dayshift (2022) isn’t bloody cheap. It’s a gigantic waste of money and the viewer’s time. Jamie Foxx, portrays a pool cleaner moonlighting as a vampire hunter, pitted against a den of uber-vampires threatening to take over Los Angeles.

An insult to my intelligence, the script plunders Men in Black (1997) and the execrable R.I.P.D (2013), with the villain’s plan making no sense at all. Dave Franco adds some humour as the unlikely buddy/partner, but this one of those films where the stuntmen get most credit for some amazing fight and vehicle work. It’s a shame the story, plot and characters are so anaemic.

Mark: 5.5 out of 11

THE GRAY MAN (2022)

Directed by Anthony Russo & Joe Russo

Screenplay by Joe Russo, Christopher Markus and Stephen McFeely

Main cast: Ryan Gosling, Chris Evans, Ana de Armas, Jessica Henwick, Regé-Jean Page, Wagner Moura, Julia Butters, Alfre Woodard, Billy Bob Thornton etc.

The apparent reports that $200 million dollars were spent on this film make The Gray Man (2022) a crime against humanity. This is such a bad film. Nikita (1990) is the template as Ryan Gosling’s lifer is offered the chance to become an assassin for a secret US government agency. Flash forward a number of years and Gosling, who doesn’t look any older, gets screwed on a mission and psychotic Chris Evans has to take him down. Cue expertly choreographed death, explosions, shouting, shoot-outs, and zero emotional connection.

I like all the talent involved in this. Gosling, Evans and Ana de Armas are genuine stars. But were they trapped on a brainless rollercoaster that wouldn’t stop? Did it even have a script? And if it did who thought it was worth spending money on. The camera swoops around the globe like a maniac hoovering up the budget. Everyone takes a grand payday as the bullets fly and fire fills up the screen. I was with Gosling’s anti-heroic blank until they introduced the girl moppet and I deflated. Everyone involved is better that the $200 million spent.

Mark: 5 out of 11

SPIDERHEAD (2022)

Directed by Joseph Kosinski

Screenplay by: Rhett Reese, Paul Wernick

Based on: “Escape From Spiderhead” by George Saunders

Main Cast: Chris Hemsworth, Miles Teller, Jurnee Smollett etc.

This is actually a brilliant film concept absolutely ruined by the miscasting of Chris Hemsworth and a director obsessed with filling the dark themes with inane humour and incongruous 1980’s music. Maybe these elements were all in George Saunders original short story from The New Yorker, but I doubt it. It’s a butchered adaptation from my instinct. By the way, Chris Hemsworth is a brilliant film star, but he cannot act.

So, imagine a Black Mirror episode done really badly with Miles Teller’s criminal being given certain freedoms within a prison as long as he tests drugs and adheres to the rules of the medical experimentation. The plot beats are impactful and Teller’s character arc is very moving. as he tries to escape his past wrongdoings and guilt, but Kosinski and Hemsworth piss over the potential with awful creative decisions that grate and drain all emotion away. It’s a character drama trapped in an insulting action comedy, which must be called out.

Netflix. Stop wasting money.

Mark: 6 out of 11

Articles, Cinema, music, New Releases, Oscar Bingo

CINEMA REVIEW – ELVIS (2022)

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CINEMA REVIEW – ELVIS (2022)

Directed by Baz Luhrmann

Screenplay by: Baz Luhrmann, Sam Bromell, Craig Pearce, Jeremy Doner

Story by: Baz Luhrmann, Jeremy Doner

Produced by: Baz Luhrmann, Catherine Martin, Gail Berman, Patrick McCormick, Schuyler Weiss

Cast: Austin Butler, Tom Hanks, Helen Thomson, Richard Roxburgh, Olivia DeJonge, Kelvin Harrison Jr., Xavier Samuel, David Wenham , Kodi Smit-McPhee etc.

*** MAY CONTAIN HISTORICAL SPOILERS ***

Since 1992, Baz Luhrmann has directed only six feature films. Each of them, aside from the lower-budgeted, Strictly Ballroom (1992), is a gigantic and epic extravaganza, full of colour, imagination, verve, energy, music, poetry and larger-than-life characters. Even Strictly Ballroom contains many of the stylistic and formal elements which would become part of Luhrmann’s oeuvre. I pretty much feel this auteur’s excessive approach to filmmaking including the fast-cutting, opulent settings, big musical numbers, all-star casts, plus grandiose and melodramatic narrative delivery are always a wonderful spectacle to experience.

Arguably, adapting the American novel, The Great Gatsby (2013), in this periphrastic packaging, took away from the enigma and majesty of Fitzgerald’s classic. However, with Elvis (2022), Luhrmann and his incredible production team, marry such genius excessive style with the perfect subject matter: the King of Rock and Roll! Because in colliding the life, music and films of Elvis Aaron Presley with Luhrmann’s stunning methodology brings to the screen one of the best films of the year Indeed for Luhrmann, Elvis (2022), is evidently a stylistic, subjective and thematic labour of love, marking it as his best film to date.

I wasn’t even going to watch Elvis (2022) at the cinema. I’d recently seen Spencer (2021) on Amazon Prime and was happy to have streamed that. While that eerie adaptation was a valiant attempt to breathe life into the ghost of Diana. An elegiac attempt to explain the oppressive result of her naïve choice to land her Princess dream. With Kristen Stewart’s exceptional impression rescue breathing Diana’s tragic existence, I knew the story. I knew enough to care for someone whose mental health was discarded by the heartless Windsor’s. But the monarchy have been killing the working class for years, so why should I care deeply for one singular spoilt individual? Similarly, I pondered whether I wanted to watch another film about Elvis Presley. A God-given talented singer, heartthrob, actor, musician and legendary performer had a story I was already familiar with. But, I am so happy I overcame my ignorant prejudice because Elvis (2022) is a humdinger of a part-musical-part-biopic-part-drama-part-American tragedy.

Elvis (2022) is structured around the memories of shadowy manager, Colonel Tom Parker (Tom Hanks). He is suffering illness in his old age, close to hospital demise. Parker is a grotesque in a billowing gown, drifting around the nightmarish Vegas slot-machines as Elvis’ voice echoes within his mind. Is it the guilt or the morphine? The story flashes back to a younger Parker promoting country singers at a travelling Carny. Until that fateful day when he hears a miracle on the radio, a young singer who everyone thinks is Black. But he isn’t. In the markedly racist times of 1950s America (has it really changed in certain States or Police departments?), a Black singer won’t sell records like this white dude will. Seizing his chance Parker attends Elvis’ first gig and witnesses a phenomenon. An attractive, sexual, gyrating and angelic powerhouse with an incredible voice who sends sex-waved into the audience, especially the teenage girls.

A star is born, and it takes a star to play a star. Take as many bows as you want, Austin Butler. He is a genuine phenomenon in Elvis (2022). Of course, the wardrobe, postiche and make-up artists work wonders to help recreate Elvis’ iconic looks as the narrative flashes through various stages of Presley’s devastatingly successful career, Yet, Butler just lights up the screen, producing acting fireworks in a physically, spiritually, emotionally and musically astounding screen presentation. It is not an impression, but a tour-de-force for a relatively unknown actor who has jettisoned his career to glory.

Butler, lives and breathes the King. This rendition and great direction from Luhrmann make you feel tragic empathy for a career which was manipulated and controlled by grubby gambling addict, Parker. Hank’s portrayal of the Colonel feels unnatural and theatrical compared to Butler’s organic turn. Perhaps that was the intention? Deliver a pantomime villain to boo and hiss at. Although, Hanks’ cigar-chomping and jowly make-up made me think the evil touch of Orson Welles’, Captain Hank Quinlan, had somehow been resurrected.

I cannot praise Elvis (2022) enough as a cinematic biopic and musical spectacle. While the choppy editing style is jarring at the start, once the film settles down into a groove, Butler’s stunning incarnation shines through. Overall, I was enlivened by, not only the constant remixing of Elvis Presley hits, but Luhrmann’s choice to alloy gospel, rhythm and blues, rap, rock, pop, ballad and protest songs throughout the scintillating soundtrack. Much, quite rightly, is made of how much diverse music influenced Elvis’s formative life and how he connected with Black musicians of the era. Luhrmann also ensures we are aware of how much of a threat Presley was seen by the establishment due to the sexual nature of his sang satanic verses. Sent to Germany to prevent him demonising America, his comeback special after seven years in movies is one of the finest movie set-pieces I have seen in many a year. Funny, rocking, poignant, effervescent, beautiful and astounding, just like Elvis, the man and myth, and Elvis (2022) the film.

Mark: 10 out of 11

horror, Reviews

CINEMA REVIEW: THE BLACK PHONE (2021)

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CINEMA REVIEW: THE BLACK PHONE (2021)

Directed by Scott Derrickson

Screenplay by: Scott Derrickson & C. Robert Cargill

Based on “The Black Phone” by Joe Hill

Produced by: Jason Blum, Scott Derrickson, C. Robert Cargill

Main cast: Mason Thames, Madeleine McGraw, Jeremy Davies, James Ransone, Ethan Hawke

Cinematography Brett Jutkiewicz

** MAY CONTAIN SPOILERS **

Halloween party-goers now have a new mask to wear on their faces in the guise of The Black Phone (2021) villain daubed, “The Grabber”. Although one must point out the mask is highly influenced by Japanese classic horror, Onibaba (1964). Anyway, the Grabber is a sick individual who prowls and abducts kids from the Denver suburbs in the 1970s, using black balloons and a creepy van as his signature. Portrayed by Ethan Hawke, he isn’t most subtle or interesting of killers, but his chilling behaviour drives this effective horror film from director Scott Derrickson.

The story is the essence of every parent’s living nightmare. Their child goes missing having been snatched off the street in broad daylight. The film takes the time to establish many of the children’s characterisations so we have time to bond with them and feel the horror of their plight. Central to the story are teen brother, Finney (Mason Thames), and younger sister, Gwen (Madeline McGraw). Even without the threat of the murderer, their mother has passed and they are brought up by abusive and alcoholic father (Jeremy Davies). To add further woe, Finney, finds himself bullied by older kids at school. Could things get any worse? Of course! Finney finds himself the next victim of the evil Grabber!

Plunged into a gloomy and sound-proofed basement, Finney, is trapped with no way out from the Grabber’s nefarious plans. Ah, but Finney suddenly gets assistance from, not one, but two supernatural sources. Firstly, the titular black phone which hangs on the wall of the basement and scares us half to death when it rings. Who is on the other end? Well, lets just say they are not of the living. The second magical helper for Finney is that Gwen has the second sight in her dreams. Over time she is able to conveniently assist the police at significant stages of the narrative. Much suspense is raised from Finney’s attempts to escape as time begins to run out for him. His conversations on the black phone are imaginatively delivered as he reaches some weird dimension beyond life and death.

The Black Phone (2021) is both a suspenseful and silly ride, efficiently directed by expert genre filmmaker, Scott Derrickson. The characters are nicely written and you really root for them as the kids deal with all manner of terror. Themes relating to sibling community, stranger-danger, and sticking up for yourself against bullying are intelligently explored also. However, I must say the film has, for all the emotional depth felt and evocative 1970s locations and costumes displayed, a number of serious plot-holes struck me as incredibly questionable. I also thought Ethan Hawke’s villain while visually striking, lacked intelligence and a proper characterisation. I get that he is masked symbol of evil, but a great actor like Hawke was wasted in such casting. Overall though, The Black Phone (2021) is definitely a cinematic call worth answering.

Mark: 7.5 out of 11

Cinema, disney, Reviews

“CINEMA” REVIEWS: FRESH (2022) + WHERE THE CRAWDADS SING (2022)

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“CINEMA” REVIEWS: FRESH (2022) + WHERE THE CRAWDADS SING (2022)

Two entirely different types of film on the surface, one a black comedy-horror and the other a romantic murder-mystery. Although both feature examples of the female outsider fighting against variant elements of toxic masculinity and the patriarchy. What they also have in common is impressive acting performances from rising star, Daisy Edgar-Jones. Thus, I thought it interesting to review said films side-by-side. With the usual marks out of eleven.

*** MAY CONTAIN SPOILERS ***

FRESH (2022)

Directed by Mimi Cave

Written by Lauryn Kahn

Main cast: Daisy Edgar-Jones, Sebastian Stan, Jonica T Gibbs, Charlotte Le Bon, Andrea Bang etc.

Essentially a beat-by-beat replica of Get Out (2017) as the main protagonist finds themself under threat from a nefarious force as their best friend desperately seeks to rescue them from grisly danger. Rather than raising important points about racism within the horror genre, Mimi Cave’s deliciously directed horror story with comedic elements, explores the precarious threat of singledom, toxic masculinity, gastronomy and relationships.

Daisy Edgar-Jones portrays cynical twenty-something, Noa, who is sick of the dating game and feels isolated where romance is concerned. I empathised with her decision to remain single, but then she has a meat cute with likeable charmer, Steve (Sebastian Stan), in the supermarket. They go on a date and more than hit-it-off. Before you can say “no-don’t-go-away-for-the-weekend-with-a-man-you-hardly-know!” Noa goes away with Steve and the plot ingredients really come to the boil.

Sebastian Stan and Daisy Edgar-Jones have fine chemistry throughout and are attractive protagonists. The first half of the film builds raw suspense, before the revelation arguably over-cooks the central relationship on the menu. Providing excellent support to the leads is Noa’s bestie, Mollie (Jonica T. Gibbs), who turns detective to locate Noa before the knives come out for her. Fresh (2022) runs out of steam toward the end as the plotting unravels with the characters making dumb horror movie decisions. However, I really want to see what writer, Lauren Kahn and director, Mimi Cave, deliver next as their debut feature Fresh (2022) is a very tasty starter.

Mark: 8 out of 11

WHERE THE CRAWDADS SING (2022)

Directed by Olivia Newman

Screenplay by Lucy Alibar (Based on Where the Crawdads Sing by Delia Owens)

Main cast: Daisy Edgar-Jones, Taylor John Smith, Harris Dickinson, Michael Hyatt, Sterling Macer, Jr., David Strathairn etc.

Adapted from the best-selling phenomenon written by Delia Owens, I went into Where the Crawdads Sing (2022) cold without any prior knowledge of the story. I hadn’t read the novel and even the trailer, thankfully, didn’t give swathes of plot away when I saw it. But what’s it all about? Well, it’s a sprawling cake mix of genres including murder-mystery, court drama, period piece, romance, and rites-of-passage with a movie-of-the-week cherry on top feel.

Daisy Edgar-Jones sensitively portrays Kya Clark, a young girl living in the North Carolina marsh, dealing with all manner of drama and trouble throughout her life. Considered an outcast and weirdo by the town locals of Barkley Cove, the film quickly places Kya as the main suspect in the murder of a privileged jock, Chase Andrews (Harris Dickinson). Via flashbacks we are then introduced to the misery of Kya’s abusive childhood, with her father frightening away Kya’s mother and brothers with his drunken battery. When Kya is ultimately abandoned by everyone, she finds some solace in her fledgling romance with Tate Walker (Taylor John Smith) and her interest in wildlife and art.

There are many elements of Where the Crawdads Sing (2022) that felt extremely familiar, notably the Nicholas Sparks-inspired love triangle. Kya having to choose between generic good boy/bad boy types. However, it is integral to the character-driven aspect of Kya growing from a shy caterpillar and blossoming into a radiant butterfly. While the arguably patronising characterisation of the black characters did not convince, Kya’s character arc is certainly compelling, thanks to Edgar-Jones intelligent performance. Moreover, I enjoyed the locations and some wonderful scenery too. Overall, while it is undemanding and generic, I found Where the Crawdads Sing (2022) a pleasing diversion with a couple of obvious, but decent twists in the tale. The kind of film my mum would love.

Mark: 6.5 out of 11