Tag Archives: Movie reviews

THE CINEMA FIX: TWELVE FAVOURITE FILMS OF 2018

TWELVE FAVOURITE FILMS OF 2018

Hello 2019! So, here are my favourite twelve films of last year. It was a very decent and enjoyable year across cinema and streaming platforms and these are, not necessarily the best, but the ones I enjoyed the most that were released in the last twelve months. I obviously may have missed some films so please do point must see movies if I have. For the record I have taken into account all cinema, Netflix and film festival releases I have seen. Lastly, for comparison I also include 2017’s list first.

Favourite films of 2017!

A GHOST STORY (2017)
BABY DRIVER (2017)
BLADERUNNER 2049 (2017)
BRAWL IN CELL BLOCK 99 (2017)
COLOSSAL (2016)

THE DISASTER ARTIST (2017)
DUNKIRK (2017)
FENCES (2016)
INGRID GOES WEST (2017)
SILENCE (2016)
THREE BILLBOARDS OUTSIDE EBBING, MISSOURI (2017
WAR FOR THE PLANET OF THE APES (2017)

Favourite films of 2018!

A QUIET PLACE (2018)

Image result for a quiet place photos

A STAR IS BORN (2018)

Image result for A STAR IS BORN

BLACKKKLANSMAN (2018)

THE FAVOURITE (2018)

FIRST REFORMED (2018)

Image result for FIRST REFORMED

FIRST MAN (2018)

Image result for FIRST MAN

GAME NIGHT (2018)

Image result for GAME NIGHT

PETERLOO (2018)

Related image

PHANTOM THREAD (2017)

Image result for PHANTOM THREAD FILM POSTER

SORRY TO BOTHER YOU (2018)

THE SHAPE OF WATER (2017)

Image result for SHAPE OF WATER FILM POSTER

UPGRADE (2018)

Image result for UPGRADE FILM POSTER

CREED II (2018) – MOVIE REVIEW

CREED II (2018) – MOVIE REVIEW

Directed by: Steven Caple Jr.

Produced by: Sylvester Stallone, Kevin King-Templeton, Charles Winkler, William Chartoff, David Winkler, Irwin Winkler

Screenplay by: Juel Taylor, Sylvester Stallone

Starring: Michael B. Jordan, Sylvester Stallone, Tessa Thompson, Wood Harris, Phylicia Rashad, Dolph Lundgren etc.

**MAY CONTAIN SPOILERS**

The boxing rags-to-riches story of Rocky (1976) was one of the film classics I grew up watching as a kid. With several successful subsequent sequels the franchise would come to a reasonably decent end with Rocky Balboa in 2006. But, you cannot keep a good man down and Rocky was back in 2015 acting as a boxing coach and life guide to Apollo Creed’s illegitimate son, Donny. Subsequently, Creed (2015), in the deft directorial hands of Ryan Coogler and with a bona fide star turn by Michael B. Jordan, became a big sleeper hit, ensuring a sequel was very much on the cards.

We all know the beats of the story; it’s a sub-genre formula that works very well. Our boxing hero must overcome insurmountable odds inside and outside the ring in order to become or sustain his place at the top. Donny Creed’s story in the first film was that of an angry “orphan” knocked from pillar to post in foster homes before being adopted by his father’s wife into a lap of luxury. However, he desires a ring career to make his mark and succeeds with Rocky’s help. The sequel finds Donny settling down with Tessa Thompson’s Bianca and continuing his successful fight career.

With our hero on terra firma what the narrative demands is a nemesis. Enter a blast from the past and beast from the east in the guise of the Ivan Drago and his son Viktor. Virtually exiled to the Ukraine, Dolph Lundgren’s Drago is a bitter and broken man who lost everything after to his defeat by Rocky in the fourth instalment. Living vicariously through his son he craves revenge. Similarly, Donny is prepared to take the fight in order to gain revenge for Drago killing his father. While Lundgren doesn’t have much dialogue his chiselled and lined face aches with desolate pain, rendering him a key antagonist within the film. Indeed, the moment the older Drago and Rocky meet is pure filmic dynamite.

Sylvester Stallone, who also co-wrote the screenplay, once again brings his sage-like experience and star quality to a role he was born to play. The script is full of thematic power with a trio of father and son relationships at the heart of the drama. In fact, the family dramas almost shade the fight scenes for impact. However, the final ring battle and the preceding desert training montage do not disappoint for explosive style and action. Overall, while very familiar, Creed 2, is a well-crafted film that will not disappoint Rocky and boxing movie fans.

(Mark: 7.5 out of 11)

AMERICAN ANIMALS (2018) – CINEMA REVIEW – moronic middle-class criminals waste everyone’s time!

AMERICAN ANIMALS (2018) – CINEMA REVIEW

Directed/Written by: Bart Layton

Produced by: Derrin Schlesinger, Katherine Butler, Dimitri Doganis, Mary Jane Skalski

Starring: Evan Peters, Barry Keoghan, Blake Jenner, Jared Abrahamson, Ann Dowd, Warren Lipka, Spencer Reinhard, Chas Allen, Eric Borsuk and Betty Jean Gooch (all appear as themselves.)

Music by: Anne Nikitin

Cinematography: Ole Bratt Birkeland

**MAY CONTAIN SPOILERS**

m-americananimals-2018

Ever watch a film which is brilliantly written, performed and directed but the characters are so annoying it actually makes you dislike the movie?  I’ll explain. To me to steal from people is a big negative. To use violence exacerbates the negativity too. Some crimes are committed out of economic and social necessity but these are still inexcusable to me. To be from a privileged background and still commit robbery makes you some kind of arsehole!  In fact, the characters on show here are four of the biggest morons I have experienced in a cinema for some time.

Personally I do not usually enjoy the so-called “true crime” genre in televisual or film documentary form. Paradoxically, I love crime films, thrillers and heist movies but as works of fiction. True crime documentaries or docu-dramas make my blood run cold as I hate the idea of these people getting air time; even if they are caught and made to pay for their deeds. The main “true crime” stuff I will watch are usually the miscarriage of justice shows, for example, Netflix’s Making a Murderer (2015) was particularly riveting but even then the horror of how the justice system and law enforcement behaved was beyond ridiculous.

American Animals.  Photo: Courtesy the Orchard

Set on the campus of Transylvania University in 2003, the story involves four college students who, aside from being bored and narcissistic, do not seemingly have much to complain about. They are: Evan Peters as Warren Lipka, Barry Keoghan as Spencer Reinhard, Blake Jenner as Chas Allen and Jared Abrahamson as Eric Borsuk. Collectively they plan a heist to steal – not money or jewels or gold – rare books from the college library. Wow, what tough guys they were!! Interspersed between the planning of the heist is dramatically ironic commentary from the real-life characters as they give their version of events. This device, overall, creates an interesting narrative dynamism where regret for their crimes is to the fore. The real Rheinhard, a talented artist, and fantasist Lipka are arguably the most interesting as the latter appears to be a very unreliable narrator.

screen-shot-2018-04-10-at-5-17-36-pm.png

So, while American Animals (2018) is a brilliantly constructed story with a very interesting mix of the actual people involved in the crime and fictional re-enactments, the sheer dumbness and moronic nature of said criminals really pissed me off! I guess I should disengage critically from the content enough and look at the cinematic work on show. Because, based on his work here Bart Layton is clearly a very talented filmmaker. Moreover, Evan Peters and Barry Keoghan absolutely nail their respective roles and mark themselves down as actors very much to look out for in the future. Ultimately, while the film works well as a morality tale, it completely fails as drama as I did not give a crap about the selfish protagonists and I could not wait to get away from their pathetic company.

Mark: 6 out of 11

SCREENWASH HOLIDAY ROUND-UP including FILM REVIEWS OF: ANT MAN & THE WASP (2018), SEARCHING (2018) and THE MEG (2017) etc.

SCREENWASH HOLIDAY ROUND-UP

Having a little blog break for a few weeks or so, thus here are some quick catch-up reviews of films I saw recently at the cinema, with the usual marks out of eleven.

ANT-MAN AND WASP (2018) – ODEON CINEMA

Paul Rudd, Evangeline Lilly and Michael Douglas return in this simultaneously microscopic and gigantic work of Marvel entertainment. The story follows after the events of Civil War (2016) with Scott Lang under FBI house arrest due to breaking the Sokovia Accords. Thus, he must, alongside new crime-fighting partner, The Wasp, battle criminals, freaky super-villains and the FBI without leaving his home. While the original Ant-Man (2015) was anchored within the heist genre, this energetic sequel follows an action meets romantic-comedy plot and on the whole really works thanks to great chemistry between Rudd and Lilly. Throw in some mind-bending shenanigans involving the quantum realm and a memorable car chase set-piece, you get another fun-packed and witty Marvel film. (Mark: 8.5 out of 11)

THE MEG (2018) – ODEON CINEMA

Just when you thought it was safe to go back in the cinema a gigantic budgeted shark movie comes at you. Derivative and overly serious The Meg is nonetheless, at times, a spectacularly decent guilty pleasure with some wonderful shark action. The ensemble cast led by the compact but powerful Jason Statham try their best with a functional script while director, John Turteltaub, hacks his way through a seen-it-done-better narrative. The best bits belong to Statham and the sharks but it should’ve been funnier and bloodier! I mean look at the size of the Megaladon and its bite radius. There should have been more gore and bloody death in this entertaining, if over-inflated monster movie.

(Mark: 6.5 out of 11)

 

SEARCHING (2018) – ODEON CINEMA

You wait ages for a smartly scripted genre film and two come along at the same time with Upgrade (2018), and now, Searching (2018).  I’m not usually a fan of “found/live footage” films but this format absolutely worked for this film. The thriller plot finds John Cho’s computer programmer hunting down his missing daughter. As the images and sound derive from news footage, social media sources, YouTube, Facetime, and Live online chat sites it could get boring but it never does. This is because the script is so well written with a twisty plot which creates superb drama and tension throughout. John Cho is excellent too in a very entertaining genre movie that raises the pulse and tugs at the heartstrings too.

(Mark: 8 out of 11)

SCREENWASH MOVIE REVIEW ROUND-UP – SUMMER 2018 – including: Alone in Berlin (2018), Call Me by Your Name (2017), Leave No Trace (2018), Testament of Youth (2014) and many more.

SCREENWASH MOVIE REVIEW ROUND-UP – SUMMER 2018

I watch a lot of stuff. It keeps me out of the pub and my liver safe from further harm. In between a July dominated by the World Cup in Russia, over the last few months I’ve been mainly re-watching Star Trek (OST) and catching up with the first two seasons of Mad Men in my downtime. But, in the last month, I decided to have a break from those fine shows and catch up with some movies via Netflix and Sky. I also include some quick reviews of a few films I saw at the cinema too. All reviews are, as usual marked out of eleven.

ALONE IN BERLIN (2016) – NETFLIX

Emma Thompson and Brendan Gleeson give subtle and compelling performances in this excellent WW2 drama. They portray a German couple who have lost their son in the fighting and retaliate by waging a ‘quiet’ war distributing anti-Hitler leaflets.

(Mark: 8 out of 11)

Alone_In_Berlin___Quad_artwork

ANON (2018) – SKY CINEMA

Clive Owen stands out in this under-cooked sci-fi drama inspired by Philip K. Dick and Black Mirror. He’s a future cop where crime is contained by point-of-view surveillance techniques. The idea is stronger than execution as it falls apart in the final act. (

Mark: 6 out of 11)

CALL ME BY YOUR NAME (2017)SKY CINEMA

Luca Guadagnino’s direction is exquisite, while Armie Hammer and Timothee Chalamet are exceptional in their portrayal of romance in 1980s Italy. A fantastic soundtrack and beautiful scenery cannot save the characters who I found narcissistic and tedious.

(Mark: 6 out of 11)

 call

CARGO (2018) – NETFLIX

Martin Freeman leads the cast in this Australian horror film which finds his kind father at the mercy of outback zombies. It’s a slow moving film which offers characterization over gore, effective moments of tension and the always dependable Freeman.

(Mark: 7 out of 11)

DEEP WATER HORIZON (2016) – NETFLIX

This is an intelligent disaster movie about one of the biggest oil spills ever. BP’s drilling practices are criticized as the slow-build direction gives way to explosive action at the end. Overall, the excellent cast and script make this a very compelling drama.

(Mark: 7.5 out of 11)

GIFTED (2017) – SKY CINEMA

Chris Evans takes a break from both battling Hydra with an altogether more everyday fight. He plays guardian and uncle to a gifted child (brilliant Mackenna Grace) who finds himself in a bitter custody battle for the child, in a very touching human drama.

(Mark: 7 out of 11)

GODS OF EGYPT (2017) – NETFLIX

This is a really bad attempt at creating a Star Wars like franchise in mythical Egypt. Gerard Butler shouts throughout as though he’d swallowed the Brian Blessed guide to acting! Terrible waste of $150 million and my precious time.

(Mark: 4 out of 11)

 

HAPPY DEATH DAY (2017) – SKY CINEMA

Groundhog Day (1993) meets slasher film as College super-brat portrayed by Jessica Rothe finds herself dying again and again in various horrific ways. Turning detective she must solve her own murder in this derivative but well executed horror movie.

(Mark: 7 out of 11)

happy-death-day

HITMAN’S BODYGUARD (2017) – NETFLIX

Ryan Reynolds’ cynical performance and Samuel L. Jackson’s sparky turn make this assassin-action-film very watchable. Reynolds has to get Jackson to The Hague to testify against a nasty dictator; cue bullets, car chases and one-liners galore!

(Mark: 7.5 out of 11)

JURASSIC WORLD: FALLEN KINGDOM (2018) – ODEON CINEMA

In Fallen Kingdom Bryce Dallas Howard and Chris Pratt, once again pits their wits against mighty prehistoric creatures. J. A. Bayona brings a gothic style to the final act but ultimately, despite the incredible effects on show, the narrative feels tired.

(Mark: 6.5 out of 11)

LEAVE NO TRACE (2018) – CLAPHAM PICTUREHOUSE

The intense Ben Foster and brilliant newcomer Thomasin Mackenzie act their hearts out in this subtle family road movie. Opting out of society they play father and daughter attempting to stay ahead of the authorities in a very touching and heartfelt drama.

(Mark: 8.5 out of 11)

Leave-No-Trace-quad

THE LIMEHOUSE GOLEM (2017) – NETFLIX

Bill Nighy, Olivia Cooke and Douglas Booth are acting stand-outs in this watchable murder mystery set in Victorian London. The cinematography is impressively moody, however, the narrative runs out of steam by the time the twist kicks in.

(Mark: 7 out of 11)

OCEANS 8 (2018) – ODEON CINEMA

An excellent ensemble cast including: Sandra Bullock, Anne Hathaway, Sarah Paulson, Helena Bonham-Carter etc. cannot save this by-the-numbers heist film. It looks gorgeous but was low on jeopardy and ultimately, I didn’t care about the characters.

(Mark: 6.5 out of 11)

 

TESTAMENT OF YOUTH (2014) – NETFLIX

Alice Vikander is outstanding in this heart-breaking story of the impact of World War One on Vera Brittain and those she loves. Based on a seminal work of literature, it features themes relating to: war, death, pacifism, violence and the struggle of women combatting everyday prejudice. It’s very touching story, stellar cast and deeply empathetic characters which make it a highly recommended period drama.

(Mark: 9 out of 11)

Testament-of-Youth-Poster

WHAT HAPPENED TO MONDAY (2018) – NETFLIX

Always interesting Noomi Rapace stars as septuplets in hiding during a dystopic future that allows one child per family. The intriguing premise starts well but gives way to O.T.T violence which detracts a tad from an otherwise entertaining sci-fi film.

(Mark: 7 out of 11)

BRAWL IN CELL BLOCK 99 (2017) – LONDON FILM FESTIVAL 2017 REVIEW

BRAWL IN CELL BLOCK 99 (2017) – LONDON FILM FESTIVAL 2017 REVIEW

“Through me you go into a city of weeping; through me you go into eternal pain; through me you go amongst the lost people.”
Dante Alighieri, The Inferno

**CONTAINS MINIMAL SPOILERS**

The concept of Katabasis is a descent of some kind, such as moving downhill, or a military retreat, or in this context, a violent journey into the underworld. The term has multiple related meanings in poetry, psychology and Greek Mythology. Heroes such as: Orpheus, Odysseus and Lazarus went down into the depths of Hades to locate lost loved ones, collect information and battle their demons. Conversely, writer-director S. Craig Waller has produced something akin to Sam Peckinpah reinventing the story of Orpheus. But instead of employing beautiful music to crush the enemy, Waller’s anti-hero Bradley Thomas, uses his fists, head, body, bats, bars, guns, and hulking power to defeat his foes.

Brawl-In-Cell-Block-99-Trailer

The story opens with a stunning shot from behind of Vince Vaughn’s bald, bulking head emblazoned with a startling crucifix tattoo. As a means of establishing character and showing us the world we’re in it is emphatic, visceral and deviously economic. You know immediately not to mess with Bradley Thomas as he is a coiled spring of masculine power, yet he also has a strong moral compass. Finding himself out-of-work and in difficult financial times, Thomas takes up drug courier work to support his pregnant wife portrayed by Jennifer Carpenter. All is going smoothly until a deal with a Mexican drug cartel goes awry and, from when Thomas enters prison, all manner of sickening and brutal hell breaks loose.

The film is shot on a low budget but the style is impressive. The cinematographer, Benji Bakshi, along with the director Waller, are brave in their choices; utilising natural light, drained colours, shadows and darkness. Often Thomas’ is lit by a slit or shaft or box of light as his character finds himself trapped in corridors and cells as well as his own life choices. Much will also be made of the ultra-violence which includes some impressive bone-crunching Foley sound work. But, the hyper-real violence, while reminiscent of the cartoon horror gore of early Peter Jackson and Sam Raimi’s Evil Dead series, is paradoxically not exploitative. This is because it is contextualised within the brutal crime setting and driven by Thomas’ powerful desire to save the people he loves.

brawl_2

The screenplay, also written by Waller, is full of witty one-liners and deadpan repartee between hard-bitten, desperate criminals and jailers who look as though they have been transported right out of hard-pipe thrillers such as: John Carpenter’s Assault on Precinct 13 (1976), Sam Peckinpah’s Bring Me the Head of Alfredo Garcia (1974) and Don Siegel’s crime gem Charley Varrick (1973).  While over two hours long the plot moves pretty quickly, yet Waller takes his time deliberately building character, suspense and tension before busting out into spectacular violence. Having previously directed the stunning B-movie Western Bone Tomahawk (2015), S. Craig Waller is certainly making a name for himself as an independent film director of some note.

Waller finds a compelling cinematic partner-in-crime in Vince Vaughn too. Vaughn, who burst on the scene with a hilarious performance in brilliant indie-hit Swingers (1996), could be argued to have not lived up to his full acting potential. While he has performed in some excellent movies his CV is also peppered with unfunny comedies, soporific romances and bland family films. Don’t get me wrong, we have to pay the mortgage but there’s always been a nagging sense Vaughn was not utilising his meaty acting ability. Having said that in Hacksaw Ridge (2016) and now Brawl in Cell Block 99, he proves himself to be a character actor of some force. Indeed, his natural comedic timing, muscular frame and searing intensity are all utilised here to mesmeric impact in a career-best performance.

brawl.jpg

Katabasis, as aforementioned, is about descent; but the archetypal hero will usually return triumphant in victory. Brawl in Cell Block 99 offers an alternative vision of moral redemption though within Bradley Thomas’ avenging-angel-versus-the-devil narrative. As such, Brawl in Cell Block 99 joins a list of recent lower-budgeted-independent-minded movies such as: Cold in July (2014), Green Room (2015), Out of the Furnace (2013) and Hell or High Water (2016), which rip into the dark underbelly of United States’ industrial and criminal landscape leaving us in no doubt to the destructive nature of the American dream.

(Mark: 9 out of 11)

 

SCREENWASH CINEMA REVIEWS – SEPTEMBER 2017 – including: IT, WIND RIVER and KINGSMAN 2

SCREENWASH CINEMA REVIEWS – SEPTEMBER 2017 – including: IT, WIND RIVER and KINGSMAN 2

**MINIMAL SPOILERS**

I’m a tad tardy on my cinema reviews for last month mainly because I have been writing a couple of short script projects to be filmed. One is a sharp little horror story called Flatmates and I’m looking to shoot in November. The casting has been going well, after which I will rehearse and film on HD video. The other is a follow-up to our Star Trek fan film Chance Encounter (2017) released earlier this year online, which has now has over 40,000 views on YouTube!!  Not quite Gangnam Style or dancing cats on a piano but pretty good nonetheless to have one’s work viewed that much.

Anyway, enough of the filmmaking hobby momentarily to switch back to the film reviewing pastime. Below are reviews of three excellent genre films, plus a little reprise of my opinions on Aronofsky’s two hours of hell that was Mother (2017). As usual they are marked out of eleven in tribute to This is Spinal Tap!

IT (2017)

Stephen King is clearly a genius. To be able to maintain creativity and longevity as a writer, plus give birth, as it were, to any number of iconic narratives, characters and events is a testament to his massive energy and talent. When I was young one of the scariest things I ever saw on TV was the horror serial Salem’s Lot (1979), which was about vampires taking over a small town. His book Carrie (1976) was also adapted into one of the best horror films of the seventies too. Moreover, the ‘80s TV and cinema screens were peppered with King’s work notably: The Shining (1980), Stand by Me (1986) and the under-rated Pet Semetary (1989).  In 1990, Tommy Lee Wallace directed a mini-series of IT, with the terrifying Tim Curry as Pennywise the Clown. IT proved to be an excellent horror story until the – faithfully sticking to the novel of course – ridiculously silly ending.

Stephen King's It Trailer screen grab

Flash forward twenty-seven years and Pennywise is back to haunt the dreams, drains and sewer pipes of Derry, Maine, using manipulation and fear to lure teenagers to their death. Developed by, among others Cary Fukunaga, the film was eventually directed by Andy Muschietti and has deservedly become a big box office hit. I say deservedly because, while it is not a particularly amazing cinema offering, it is a highly entertaining genre horror film. As an experienced Stephen King cinema and TV viewer all the staples are there such as: geeky-small-town-outsider-kids; abusive tough-guy-bully types; negligent parents or appropriate adult; monstrous beings hidden in the shadows; plus coming-of-age teenage friendship and love.

PW-1

The clown in this case is portrayed with fiendish joy by Bill Skarsgard and there are some fantastic stand-out scares. My only criticism is, and this is my fault being over-familiar with King’s work, is that with the recent Super 8 (2011) and over-hyped Stranger Things (2016), I felt as if I had seen it all this before. I also felt they crammed too much into the two hours and some of the character emotion was lost at times. However, the cast of kids are excellent in their respective roles, the horror set-pieces are brilliantly staged and King’s iconic bad guy Pennywise makes it well worth the cinema admission fee alone.

(Mark: 8 out of 11)

 KINGSMAN: THE GOLDEN CIRCLE (2017)

The first Kingsman: The Secret Service (2014) film was one of my favourite genre films of the past couple of years. It showed a clean pair of spy heels to the, occasionally brilliant but overlong Bond disappointment Spectre (2015); while at the same time confirming Taron Egerton as an actor with great star potential. Having done the business at the box office then Jane Goldman and Matthew Vaughan have once again written and directed an explosive, funny, pacey and adrenaline-filled spy spoof sequel.

kings2

In this story, Eggsy / Galahad is back with Merlin (Mark Strong), battling with the United States counterparts The Statesmen, against Julianne Moore’s perky, yet deranged, Americana obsessed drug baroness. The Statesmen are represented by such heavyweight acting talent in Jeff Bridges and a cracking turn from Pedro Pascal as the hilariously named Jack Daniels. Channing Tatum pops up too but he is lightweight compared to the effervescent Pascal. Poppy’s fiendish plot is actually quite a decent motivation for the story and the subplot involving a Lazarus-type-return from a major character from the first film is well developed.

Kingsman-The-Golden-Circle-1st-Day-Box-Office-Collection

To be honest the story is just the bare bones to hang a series of fantastic set-pieces, car chases, shoot-outs and fights, as Eggsy and his kick-ass team once again attempt to thwart the end-of-civilisation as we know it. My main criticism is the film is probably too long with an unnecessary gratuitous sex-driven sequence set in the Glastonbury Festival. It also lacks that sense of characterisation from the first film which had the working class underdog Eggsy battling the upper-class sneers of the over-privileged. Nonetheless, Matthew Vaughan is a great gag-heavy-action-director and the plot has some decent twists and turns throughout making it well worth a watch.

(Mark: 8 out of 11)

MOTHER (2017)

While Darren Aronofsky is a cinematic artist of the highest level, I connected badly with this two-hours-of-hell-excuse-for-entertainment. My full review can be found here but, in a nutshell, this is what I thought of it:

“It was an awful, pretentious heap of a film which exists as an entertainment void both nihilistic and dull. Because this film abuses the privilege and patience of the audience delivering a technically brilliant but overall clichéd, first-world-problems-poet-with-writer’s-block-world-murdering-art-fan-hating two hours I will never get back.”

Mark: 3 out of 11 (for the film)
Mark: 9.5 out of 11 (for Darren Aronofsky)

Mother-920x584

WIND RIVER (2017)

Taylor Sheridan has carved himself a fine reputation for writing very solid character driven genre films such as Sicario (2015) and Hell or High Water (2016). Wind River (2017) is his first writer-director effort and it is a fascinating study of: grief, murder, racial tension and dark humanity. Sheridan is adept at choosing specific areas of America with which to place his stories. Sicario reflected on the war on drugs, located betwixt the violent border of Mexico and the U.S.A. Hell and High Water illustrated the financial ruin of the sub-prime mortgage crash and its effect on West Texas. In his latest screenplay Sheridan focusses on the Indian Reservation territories of Wyoming and the people who inhabit the stark wintry landscapes.

wind_river2

The quietly impressive Jeremy Renner, as Cory Lambert, takes most of the acting plaudits as the respected, expert tracker and estranged family man. He is an individual who, while in perpetual control on the external Reservations and snowy terrain, finds himself crumbling internally due a horrific event from his past. Renner is ably supported by his Avengers co-star, Elizabeth Olsen, who imbues the rookie FBI agent with a steely determination, despite her lack of experience and confidence. The portrayal of the Native Americans I feel was sensitively presented as their lives are further marginalized by corporate America as its venal greed destroys the environment and humanity within the area. While this is a beautifully looking film there is a dark murderous heart within the stunning vistas and natural beauty.

windriv

Sheridan again confirms he is adept at combining social commentary with an impressive crime plot.  Moreover, throughout the film he also bleeds in a compelling study of grief as well as a subtle critique of patriarchal capitalism and its’ destruction of the Native American’s land and people. Yet, the message could arguably have gone further in its criticism; however, as he proved with his prior screenplays Sheridan prefers subtext and a rising tension rather than polemics. Quietly, Sheridan is building an impressive filmic body of work and Wind River manages to be a thrilling police procedural drama, empathetic character study and socio-political examination of American corruption; all amidst the cold, harsh and white-washed landscapes of Wyoming.

(Mark: 9 out of 11)