Tag Archives: reviews

THE NETFLIX EQUINOX – HORROR FILM REVIEW ROUND-UP

THE NETFLIX EQUINOX – HORROR FILM REVIEW ROUND-UP

Wow, Netflix just keep churning out the content; either original, bought and on hire. I just don’t know how they can make a profit; especially on their big-budget movies,which DO NOT get a cinema release. Perhaps it’s a loss leader gamble they hope will pay off in the long run? Nonetheless, Netflix remains a solid go-to-place for viewing pleasure.

So, over the last few weeks I’ve caught up on a number of horror films on Netflix; some good, some not too bad, and some dreadful. Anyway, here they are with marks out of the usual eleven.

**MAY CONTAIN SPOILERS**

APOSTLE(2018)

I felt that all the elements were there to make this a classic cult horror thriller and Dan Stevens was brilliant in it. However, his character was so rushed at the beginning I did not feel that connected to his drifter searching a religious cult for his kidnapped sister. Still, the film had some fascinating themes, searing gore and horror moments, which altogether made it well worth a watch.  

(Mark: 7.5 out of 11)

BEFORE I WAKE (2016)

Having been impressed with Mike Flanagan’s direction of The Haunting of Hill House (2018), I decided to check out his other films. Before I Wake tells the moving story of an orphaned boy fostered by Thomas Jane and Kate Bosworth’s grieving parents. This was a dream like and touching tale with a powerful element of horror which benefits from great performances by Bosworth and Jacob Tremblay.

(Mark: 8 out of 11)

THE BOY (2016)

Lauren Cohan stars in this gothic chiller which flirts between intriguing suspense and silly horror moments.  Cohan is Greta, an American nanny, who escapes to a big manor house in England, only to find herjob is to babysit a boy dummy for an eccentric old couple. Director William Brent Bell, despite the strange premise, gets a decent tune out of this story and I really enjoyed it; even when it goes pretty bonkers at the end.

(Mark: 7.5 out of 11)

GERALD’S GAME (2017)

Mike Flanagan directs again, this time adapting Stephen King’s psychological horror novel into a very satisfactory movie. Carla Gugino and Tony Greenwood play a middle-class and wealthy couple attempting to spice up their sex life with some role-play and bondage. Safe to say the “game” goes awry and Gugino must battle physical and mental challenges, plus a haunted past, in order overcome a grim and horrific ordeal.

(Mark: 8 out of 11)

HOLD THE DARK (2018)

Jeremy Saulnier directs this ponderous thriller which centres on a search for a missing child on a Native American reservation. Jeffrey Wright, as a wolf expert and novelist, does his best with the paucity of material as Alexander Skarsgard sleep-walks through another role. Saulnier holds back a key piece of the narrative for no apparent reason and aside from gratuitous shoot-out in the middle I was bored.

(Mark: 6 out of 11)

I AM THE PRETTY THING THAT LIVES IN THE HOUSE (2016)

Even the brilliant Ruth Wilson cannot save this horrifically slow and dull horror film which literally has NO story and hardly any scares. It is genuinely one of the worst and most pretentious films I have ever seen. 

(Mark: 2 out of 11)

THE INVITATION (2015)

Another hidden horror gem I found on Netflix, this moves slowly but with brooding dread and suspense. Logan Marshall Green portrays, Will, a grieving ex-husband invited with his girlfriend to a dinner party thrown by his ex-wife. Soon the dinner takes a strange turn of events as the odd behaviour of the hosts raises his suspicion and paranoia. Overall, this is a compelling movie directed withsubtle aplomb by Karyn Kusama.  

(Mark: 8 out of 11)

JIGSAW (2017)

Another attempt to re-do one of the best low-budget horror films ever made in Saw (2004), fails to engage or horrify. It is really just a pointless retread of everything we’ve seen before and while there’s some decent gore in it, the characters are paper-thin and one for franchise completists only.

(Mark: 5 out of 11) 

MALEVOLENT (2018)

Even the very talented Florence Pugh cannot save this bang-average medium-in-a-haunted-house story. The screenwriter Ben Ketai has some decent horror credentials but this one did not really make much sense narratively or emotionally. Lastly, Pugh’s brother in the film was so dislikeable that I could not wait for him to die horribly. 

(Mark: 5 out of 11) 

THE VAULT (2017)

This was almost a decent horror thriller as it had such a great premise. Bank robbers –includingFrancesca Eastwood and Taryn Manning – hold up a bank only to find ghosts haunt the Vault and are intent on hurting the criminals. Despite the horrific monsters in the basement and James Franco’s intriguing turn, the script doesn’t make much sense until the reveal at the end. But by that time I was too confused to care very much.

(Mark: 6 out of 11) 

SCREENWASH – OCTOBER 2018 – FILM REVIEW ROUND-UP

SCREENWASH OCTOBER FILM REVIEW ROUND-UP

I watched a load of films in October due to the London Film Festival mainly. I also wrote a lot of reviews too and realise that, with not enough hours in the day, or desire to read the ramblings of a narcissistic cineaste most people may not have had the time to read them all.

So, I have consolidated all my October reviews into one post and made it a quick and easy reference point for films currently out or coming out in the future. Here are quotes from the reviews with the usual marks out of eleven!

A SIMPLE FAVOUR (2018)

“Director Feig is able to blend the comedy, noir and thriller very well. While I would have preferred the tone to be darker we may not have got Blake Lively’s stunning comedic turn as the bitchy femme fatale, and that is worth the admission fee alone.”

(Mark: 8 out of 11)

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A STAR IS BORN (2018)

A Star Is Born (2018) is a great cinematic experience. The story is familiar but the performances, direction and the songs all combine to create a very emotional journey; making a fine example of classic Hollywood storytelling at its best.

(Mark: 9 out of 11)

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BAD TIMES AT THE EL ROYALE

“Overall, Drew Goddard deserves praise for delivering a very sharp script. . . mainly style over substance, ultimately this is a satisfying B-movie-pulp-fiction-violent-extravaganza with twists that provide an entertaining blast in the noir night sky.”

(Mark: 8 out of 11)

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BALLAD OF BUSTER SCRUGGS (2018)

“… feels like Coens-lite, without the existential depth of No Country for Old Men (2007). However, the Coen’s films improve with each viewing as you’re laughing so much you miss the philosophical happenstance occurring between the lines.”

(Mark: 8.5 out of 11)

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BORDER (2018)

“. . . is very brave filmmaking with fascinating themes relating to: ritual and child abuse; nature versus nurture; good versus evil; and how those humanity believes to be outsiders should not be treated as monsters but respect and love.”

(Mark: 8.5 out of 11)

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DOGMAN (2018)

“Overall, this film made me feel really sad. This is a haunting character study of the outsider; a man who is literally like a dog. He is faithful, loyal and eager to please but ultimately let down by the human cruelty of those who exploit him.”

(Mark: 8.5 out of 11)

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THE FAVOURITE (2018)

“Lanthimos’ direction of his three stellar leading actors is superb; with Olivia Colman delivering one of the most memorable performances of the year. Weisz and Stone are also quite brilliant in a devilishly quirky Machiavellian and lustful tale.”

(Mark: 9.5 out of 11)

The-Favourite

FIRST MAN (2018)

“. . . is methodical, slow-burn and restrained in performance and shows Chazelle’s expert range. It is a wonderfully striking film. The visuals and scientific renditions relating to space travel are incredible and contains a moving human story at the heart.”

(Mark: 8.5 out of 11)

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THE NUN (2018)

“. . . has lots of shadows, darkness, blood, screams and a gruesome supernatural monster but, despite Farmiga’s committed performance, makes little narrative sense and suffers from poor characterisation.”

(Mark: 5 out of 11)

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PETERLOO (2018)

“Peterloo is a long epic with a plethora of dialogue heavy scenes. Yet, I was enthralled as the language and passion of such discourse is very eloquent and heartfelt. The sheer scale of the filmmaking itself is also impressive. . .”

(Mark: 9.5 out of 11)

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THE PREDATOR (2018)

“. . . is a mash-up of: science fiction, action, war, spy, and TV-movie-of-the-week tropes.  It moves at such an alarming pace you get an explosive film which, while moving rapidly, does not make much logical sense.”

(Mark: 7 out of 11)

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VENOM (2018)

“What works is the connection between Brock and his extra-terrestrial host. . .  it’s turned into something of a comedy double act; albeit with Venom biting the heads off baddies. Tom Hardy’s rat-a-tat spats with his parasite make it worth a watch!”

(Mark: 7.5 out of 11)

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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)

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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)

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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)

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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)

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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)

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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)

SCREENWASH – WORLD CINEMA SPECIAL including reviews of: THE SQUARE (2017), ISLE OF DOGS (2018), JULIETA (2016) etc.

SCREENWASH – WORLD CINEMA REVIEW SPECIAL!

Technically speaking all films made can be labelled World Cinema because all films made were made on this Earth or World. As yet we know of no movies from other planets, so World Cinema has come to refer to films made in a foreign language or language other than English. I mean what do people from other countries call films made in English?  And does it matter. All this fluffing is really a means to introduce a selection of films from various countries other than the United Kingdom (another debatable term these days), that I have watched at the cinema, on DVD or streamed off the box. As usual I accompany my reviews with marks out of eleven.

**A SUGGESTION OF SPOILERS**

 

THE INNOCENTS (2016) – FRANCE / POLAND

Brace yourself for a truly heart-breaking and tragic WW2 narrative. This film inspired by true events finds a young French doctor assisting a nunnery and the various occupants who became victim to vicious rapist Soviet soldiers. This is a grim story that is shot and directed with great pathos and compassion. It brought a heavy heart and a tear to the eye as the heroic women battle against the dogs of war, while bringing new life into this retched world.

(Mark: 8.5 out of 11)

ISLE OF DOGS (2018) – JAPAN / USA

Put aside ridiculous millennial online accusations of cultural appropriation and submerge yourself within Wes Anderson’s rich narrative and stop-motion tapestry. I’m not always a fan of his story subjects but he is a master of style and form. Isle of Dogs is no different and was a wonderful cinematic experience. Set, obviously, in Japan we concentrate on, hence the title, a bunch of stray dogs dumped on a wasteland left to die. This is much darker than prior Anderson films but full of the imagination, wit, colour and brilliant technique, containing funny gags and twisting drama throughout.

(Mark: 8.5 out of 11)

JULIETA (2016) – SPAIN

I only really got into Pedro Almodovar’s cinema in the last few years and Julieta, while not as complex in terms of structure as other films, is just as emotionally effective.  It concerns our eponymous protagonist who on chancing an encounter with her estranged daughter’s former school mate finds her past colliding disastrously with her future. Emma Suarez and Adriana Ugarte portray the older and younger versions of Julieta as she reflects on the events which tore her life apart. Containing some beautiful filmmaking and one incredible cut halfway through, this is mournful, meditative and mature storytelling of the highest order.

(Mark: 8.5 out of 11)


L’AVVENTURA
(1960) – ITALY

Michelangelo Antonioni is rightly lauded as one of the great Italian auteurs. He has directed some incredible films including: Blow Up (1966), The Passenger (1975) and the film L’Notte (1961). I watched L’Avventura on a Sunday morning and perhaps I wasn’t in the mood but it did not connect with me. I found it slow and pretentious and while the mystery of a missing socialite had some element of suspense the rich, narcissistic characters bored me. The acting from Monica Vitti was especially impactful and the scenery was beautiful, however, Antonioni’s existential narrative was a let-down. It was especially surprising to find that historically the film had been voted one of the best films ever made.

Mark: 7 out of 11)

THE ONE-ARMED SWORDSMAN (1967) – HONG KONG

I recorded this one on Film Four on a whim having been drawn in by the fact it was directed by the Shaw Brothers Studio. Their films were of course a massive influence on Tarantino’s Kill Bill (2003/4) duo of kung-Fu revenge films. The One-Armed Swordsman I found to be slightly cheesy due to the dubbing but overall an excellent wuxia epic with loads of great sword fights and a very effective narrative. Ultimately this is Great Expectations with weapons as a young servant child is adopted by a rich family only to grow up disrespected by his adopted siblings. Gang warfare rages in the rural territories and the young man grows up to be a fighter of some repute; even with only one arm. Both a tremendous action film and effective socialist critique of the ruling classes I found this an entertaining, funny and emotional wuxia classic.

(Mark: 8.5 out of 11)


THE SQUARE
(2017) – SWEDEN / FRANCE / GERMANY

The 2017 Cannes Palm D’Or winner is half brilliantly funny arthouse satire and half sub-Haneke allegorical mid-life crisis thriller. Written and directed by Ruben Ostlund this is bravura cinema of the highest order as we find Claes Bang’s museum curator bumbling through various work, romance and private disasters.  Throughout there are some wonderful digs at the nature of modern art and how essentially people will believe any old crap to be art if it is put in a gallery. There are a number of hilarious satirical set-pieces including the “Tourette’s” scene and the “performance ape-ist” scene. While a tad overlong and bogged down slightly in the lead protagonist’s personal life this is a wonderfully, funny film with some great commentary on modern art, mocking of the bourgeoisie and a warning re: the rise of social media.

(Mark: 9 out of 11)


SHIN GODZILLA
(2016) – JAPAN

Having seen Hollywood appropriate their Gojira creation for two films in 1998 and 2014, the Japanese released their own resurgent version in 2016. Part-disaster-part-monster-part-social-commentary this creature feature is actually pretty good. It is driven structurally at first by a flurry of government meetings where hundreds of officials spend their time in meetings rather than actually solve anything. Clearly, this is a critique of Japanese government bureaucracy and the movie works well on that level. The characters who later come to the fore are left behind somewhat and the romantic subplot is poorly done.  Yet, when the Godzilla monster brings Tokyo to the edge of destruction the effects, while a bit wonky in places, are a riotous mix of laser CGI and man-in-suit-green-screen shots.

(Mark: 7.5 out of 11)

 

MY CINEMATIC ROMANCE #13 – MIKE LEIGH

MY CINEMATIC ROMANCE #13 – MIKE LEIGH

There is no way a mere simple page of words from my keyboard can do justice to the decades of incredible theatrical, televisual and cinematic work of the genius that is Mike Leigh. He has, since the 1960s, worked tirelessly creating: drama, comedy, pathos, empathy, love, hatred, politics, harmony, conflict, nihilism and hope through an orchestra of characters and creative endeavour.

For me Mike Leigh is a true artist. He has not only been involved in innumerable film, TV shows and plays since the 1960s but also created his own production modus operandi in the process. He is rightly well regarded for working intimately with his actors organically creating character and stories from the kernel of an emotion or idea. His works are legion and often feature representations the working or under-classes. There are no superheroes or special effects but rather raw emotion and feelings within his body of work.

The My Cinematic Romance series has always sought to praise filmmakers and actors I really love and Mike Leigh is no different. I would have to say though that to pick FIVE of my favourite works is an impossible task as there is so much choice. Nonetheless, these are five of my favourite Mike Leigh works but do check out any of his films as they have much to say about humanity and life and are also very entertaining in their own inimitable style.

**CONTAINS SPOILERS**

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ABIGAIL’S PARTY (1977) – BBC TV PLAY

Opening as a stage play in 1977, the seminal tragic-comedy Abigail’s Party sold out for months at the Hampstead Theatre when first released. A filmed TV version was released later to much acclaim that year and starred: Alison Steadman, Janine Duvitski, John Salthouse, Thelma Whiteley and Tim Stern. It’s a comedy of crumbling relationships featuring the passive aggressive clashes between the aspirational classes. The performances, notably from Steadman as the brash and formidable Beverley, are astute, over-the-top but somehow hilariously nuanced too. Moreover, the barbed dialogue and bitchy asides are perfectly delivered during a dinner party that, once seen, will have you laughing throughout. But, like much of Leigh’s work, by the end you somehow feel sad too.

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MEANTIME (1983) – CINEMA

The epitome of classic working-class-kitchen-sink-council-estate tragic-comedy, Meantime, features a “Who’s-Who” of now famous actors including: Gary Oldman, Tim Roth, Phil Daniels, Alfred Molina; plus an early appearance from Leigh favourite Peter Wight. Set amidst the bleak concrete landscape of East London the episodic story focusses on the Pollock family, notably the unemployed brothers portrayed by Daniels and Roth. The former is an answer-for-everything-clever-dick while Roth’s Colin is the more subdued, shy and possibly autistic one, very much in his brother’s shadow. Furthermore, a very young-looking Oldman pops up as a bored, thuggish, glue-sniffing and racist skinhead who bullies those around him, especially Colin. Overall, Meantime evokes memories of my own childhood growing up on a rough Battersea council estate and captures the ennui and inertia of unemployment in Thatcher’s Britain. While it may sound depressing there’s also some classic dialogue and a number of hilarious exchanges between the family and characters which certainly silvers the dark, grey clouds on the horizon.

NAKED (1993) – CINEMA

We need to talk about, Johnny! Arguably, of all the characters and creations from Mike Leigh, Johnny Fletcher is the darkest manifestation and representation of his worldview. Unlike the permanently positive Poppy from Leigh’s Happy Go Lucky (2008), Johnny is a dress-in-black, biting and bilious shadow who drifts like smoke from North to South with no aim other than to attack those around him. Sardonic and severe in his outlook, Johnny’s misanthropy knows no bounds as he angrily castigates his ex-girlfriend’s lack of ambition, portrayed by Lesley Sharp, before beginning a doomed sexual liaison with her flatmate, the self-hating Sophie (Katrin Cartlidge).  It is not an easy film to watch due to the flagrant and offensive misogyny exhibited by the male characters and the seeming lack of hope throughout. Yet, it remains a compelling portrait of pre-millennial nihilism with some epic monologues delivered by the rasping and mercurial voice of David Thewlis’ in a never-to-be-bettered acting performance.

SECRETS AND LIES (1996) – CINEMA

After the nihilistic dissonance of Naked (1993) Leigh’s next film would return to familial roots and gentler, if still emotionally resonating, domestic drama. The story centres on Marianne Jean-Baptiste’s optometrist attempting to locate the birth mother who gave her up for adoption. In an extremely tender and serene performance, Baptiste as Hortense Cumberbatch finds her search turn up unexpected results. Brenda Blethyn, in the more melodramatic role of Cynthia Purley, runs the gamut of emotions; while the imperious Timothy Spall steals the floor with his noble rendition of Cynthia’s brother, Maurice. Spall’s Maurice is an ordinary, yet noble man, trying to hold the disparate family strands together. I especially loved the opening vignettes of Maurice’s photographic customers which established themes of surface appearances contrasted to hidden family secrets. This overall is what I class as a small epic containing so many brilliant character details, funny looks, and very touching moments where the emotion, quite often, is in the silence. Secret and Lies (1996) was, to date, Mike Leigh’s most accessible and emotionally satisfying film and would deservedly garner acting and directing awards and nominations from the Academy, BAFTA and Cannes.

VERA DRAKE (2004) – CINEMA

Having presented the lively Topsy Turvy (1999) world of Gilbert and Sullivan a few years before, Leigh created another period piece with Vera Drake. Set in 1950s London it centres on Imelda Staunton’s kind housewife who harbours a secret life. Amidst her family and work existence Vera assists young woman who accidentally get in the “family way”. I don’t want to say too much but this is a gut-wrenching and tragic story which highlights the issues of the day with a stunning emotional power. Imelda Staunton is one of the best actors I have ever witnessed on stage and screen and she brings to Vera’s character sympathy, pride and passionate inner strength. The supporting cast of Philip Davis, Eddie Marsan, Daniel Mays, and Sally Hawkins are superb; and a special mention to cinematographer Dick Pope, who has lit most of Leigh’s films. Pope creates, within a palette of greys, greens and browns a salient mood which enhances the performances and Leigh’s masterful direction.

 

Mike Leigh’s new film PETERLOO (2018) will be released this year in cinemas.

 

THE NETFLIX PARADOX: RANDOM THOUGHTS, including reviews of: ANNIHILATION (2018), MUTE (2018), OZARK (2017) and more.

THE NETFLIX PARADOX: RANDOM THOUGHTS ON A MODEL including quick reviews of: ANNIHILATION (2018), BRIGHT (2018), MUTE (2018), OZARK (2017), and others etc.

I first subscribed to Netflix around four years ago when my Sky TV dish was out of action. Being a film and TV addict, Netflix was a godsend and easily fixed my desire for continuous viewing. It was cheap and had loads of older and not so older content including: drama box-sets, comedy, new film releases and classic cinema. Then, a couple of years ago Netflix decided to begin producing its own original content and many of the shows released have been excellent.

There’s SO many great shows to mention but programmes such as: It’s Always Sunny in Philadelphia, Daredevil, Jessica Jones, Black Mirror, Mindhunter, Breaking Bad, Making a Murderer, Better Call Saul, American Horror Story, Doctor Who, Stranger Things, Fargo, American Crime Story; plus the back catalogue of: stand-up comedy specials, documentaries, BBC, ITV, Channel 4 and US cable shows I’ve re-watched all make Netflix a brilliant virtual online video shop. In fact, given the amount of output I have NOT seen one might say there are TOO MANY shows with not enough time to consume them all.

Of late they have released a number of, what one would class as, proper cinema films such as: Okja (2017), Beasts of No Nation (2015), Cloverfield Paradox (2018) and many more. But rather than being given the chance to watch them on the big screen they have gone direct to the streaming platform. I think this is a shame as experiencing a film in the cinema can enhance the enjoyment. It cannot save a poor story yet it would be great to have the choice to see these films on the silver screen. I wonder how sustainable it is though. Surely a big budget film makes its profits from cinema-goers as well as subsequent DVD and BLU-RAY sales. How do, aside from subscriptions, Netflix make their money back on big budget products? And should I care?  I probably shouldn’t worry at all. I’m just an ordinary Joe who at the moment is binge watching Mad Men and Star Trek (original series onwards) and only have to pay a tenner a month for the privilege.

Ultimately, the Netflix streaming model grows bigger and bigger and their model may prove revolutionary and make going to cinema a thing of the past. I doubt that but you never know. They once said sound wouldn’t take off and look what happened there. Anyway, enough of the random debate, during the last few months I’ve continued watching some of Netflix’ biggest releases and here’s a few quick reviews of said product with the usual marks out of eleven.

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ANNIHILATION (2018)

Alex Garland is a brilliant writer and his debut film Ex Machina (2014) was a stunning sci-fi character drama. His second film is an adaptation of a book by Jeff VanderMeer. In it a group of scientists venture into an apparent alien invasion in order to investigate a weird landscape called “The Shimmer”. Slow and meditative with flurries of monstrous action, Annihilation, was brilliantly made but Garland’s steady pace does the story no favours and I failed to connect with the characters or narrative. Natalie Portman and Jennifer Jason Leigh stand out amidst an excellent cast but while beautiful to look at the film left me cold. (Mark: 7 out of 11)

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BETTER CALL SAUL (2017) – SEASON 3

We are now onto Season 3 of Vince Gilligan and Peter Gould’s legal prequel to Breaking Bad and once again it proves itself a brilliantly written character drama. Still working under his original name, Jimmy McGill continues subtle battle with his big-shot lawyer brother Chuck, portrayed superbly by Michael McKean. With Jonathan Banks and Rhea Seehorn again provide fantastic acting support, this is always an absorbing watch as Bob Odenkirk again steals the show as the cheeky ducker-and-diver-lawyer. (Mark: 9 out of 11)

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BRIGHT (2017)

David Ayer follows up the almighty mess that was Suicide Squad (2017) with a kind of remake of his early millennial classic Training Day (2001). But rather than Denzel Washington and Ethan Hawke doing battle with gangs and crooked cops we get Will Smith and Joel Edgerton doing battle with orcs, dwarves, elves and crooked cops. It’s a bloody weird mix of magical fantasy and buddy cop drama but I was pretty entertained by it all and Smith and Edgerton were worth watching despite the meshing of two unlikely genres. (Mark: 6.5 out of 11)

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MUTE (2018)

Duncan Jones’ directorial follow up to the disappointing Warcraft (2017) is another massive fail all round. Everything about it fails to entertain despite a cast including the brilliant Paul Rudd and Justin Theroux. Alexander Skarsgaard portrays an Amish mute hunting down his missing girlfriend in a futuristic Berlin setting. Aside from the pristine Bladerunner style visuals there is no real reason for the futuristic setting and the noir story just does not add up to anything in terms of drama, proving ultimately to be both illogical and in poor taste.   (Mark: 4 out of 11)

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OZARK (2017) – SEASON 1

This is a fantastic crime drama featuring an enthralling narrative and brilliant acting from both Jason Bateman and Laura Linney. Bateman plays an accountant who has to go on the run with his family to Ozark, Missouri while working for a murderous Mexican drug cartel. I won’t give anything else but this is up there with Breaking Bad at times with its violence, twisting plots and dark humour. Bateman, who directs many episodes too, is like a metronome of perfect delivery as his Marty Byrde flies by the seat of his pants staying one step ahead of: the local gangsters, religious nuts, the FBI and the aforesaid Cartel. (Mark: 9 out of 11)

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THE PUNISHER (2017 – SEASON 1

Marvel’s latest TV offering in conjunction with Netflix suffers similarly to other shows in that it struggles to stretch the story over 13 episodes. Having said that, any show starring John Bernthal, literally bursts off the TV screen with machismo, crunching physicality and some sensitivity too. Set after the events of Daredevil (S2), Frank is off the grid trying to overcome the grief of losing his family but it’s not long before he’s battling military bad guys looking to finish him off. The script has some depth too as in delves into the horror of post-war stress disorder and those soldiers disregarded by society. Yet it’s Bernthal’s brutal performance that holds the interest through this very watchable series.

(Mark: 8 out of 11)

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THE SINNER (2017) – SEASON 1

Starring Jessica Biel and Bill Pullman this expertly crafted six-part crime drama begins with a cracking opening episode that pulls you right into its grasp. Biel portrays Cora Tannetti, a mother and wife, who suddenly finds herself in the midst of a criminal investigation that threatens to tear her life apart. Pullman, the sympathetic police detective with dark secrets of his own, investigates the crimes and attempts to uncover the truth. This is a twisted tale full of sexual tension, religious fervour and sudden violence; and aside from one gaping plot hole it had me gripped throughout. Biel and Pullman are especially committed to their roles as the script, based on Petra Hammesfahr’s novel, goes to some very dark places.  (Mark: 8.5 out of 11)

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SCREENWASH: FILM REVIEW ROUND-UP including: CHRISTINE (2016), I, TONYA (2017), LADYBIRD (2017) etc.

SCREENWASH: FILM REVIEW ROUND-UP – MARCH 2018

Rather coincidentally I have watched a number of films recently with female lead protagonists and hopefully this harks a more progressive move toward equality in leading roles. As a humanist myself I applaud any movement which proclaims and pursues empowerment and equality to every human being. For far too long people have been oppressed, including women, and we must rid the world of prejudice and negativity based on gender, race, sexuality, health, shoe size, hair colour and looks in general.

Thus, in mild tribute to yesterday’s International Women’s Day I am reviewing some very different films where female characters are to the fore. In these reviews I will consider the characters and their strengths and place in their given setting and world; as well as my own subjective appreciation of the films. As usual the marks are out of eleven.

 

 

AMERICAN HONEY (2016) – SKY CINEMA

Andrea Arnold is an incredibly talented filmmaker and her films Red Road (2006) and Fishtank (2009) were bleak, honest and brilliant representations of working class British life. In American Honey she tackles the on-the-road-under-belly-working-class representations of American life with mixed results. Sasha Lane portrays Star, a young, transient and energetic character attempting to find hope, love and money on the oily, grimy roads of the USA. She joins a rag-tag troupe of magazine sellers led by Shia LaBeouf and Riley Keough, who drink, smoke pot and fuck while crossing various States! Star’s character is naïve and feisty, and as she falls for LeBeouf’s charismatic Jake, she finds her life choices coming into question. Overall, this is a beautifully shot and directed film and Arnold gets some very interesting performances from an amateur supporting cast, but the film is TOO LONG and many of the characters are just too unlikeable and stoned to care about. With editing Star’s journey could have been even more fascinating but despite some enthralling scenes I struggled to connect. (Mark: 6 out of 11)

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CHRISTINE (2016) – SKY CINEMA

Christine Chubbuck was a Sarasota TV news journalist who became infamous for an incredibly sad act she carried out live on TV. I won’t reveal what is was for fear of spoilers BUT safe to say it was not pretty. Rebecca Hall portrays this complex character with an artistic and haunted beauty; with Christine’s character totally infected by stark depression. She just does not fit in as she seeks artistic more human stories at work and clashes with her ratings-seeking boss, portrayed sympathetically by Tracy Letts. Michael C. Hall as the handsome news ‘anchor’ also tries to connect with Christine but her mood swings, paranoia and punishing work schedule pushes her away from those around her. Family, friends, and colleagues all rally round but ultimately Christine’s depression defeats her. Rebecca Hall is brilliant as Christine and this is a very absorbing, character study which sticks in the heart and mind. (Mark: 8.5 out of 11)

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GHOST IN THE SHELL (2017) – SKY CINEMA

The ubiquitous Scarlett Johansson once again takes on an impressive kick-ass futuristic female role which finds her “ghost” inserted in to a computer-powered “shell”. Despite incredible visuals and fight scenes and Scarlett again proving a dominant screen presence the film is a let-down from a narrative and script perspective. There is a decent story in there as Johansson’s Major uncovers a nefarious murder plot being carried by evil corporations (is there any other kind?); but while looking pretty and carrying some impressive special effects this is an underwhelming adaptation of the original Japanese anime cult classic. (Mark: 5.5 out of 11)

 

I, TONYA (2017) – CLAPHAM PICTUREHOUSE CINEMA

Tonya Harding was an incredibly talented and driven ice skater who went on to represent the USA at the Worlds and Olympics.  She was also the first American female skater to perform two triple axel jumps in the same set. However, she also surrounded herself with and married fucking idiot men who ruined, along with her poor decisions, her career. As portrayed by Margot Robbie, Tonya is a potty-mouthed, bitter, energetic, unlikeable person yet effervescent and funny. Off the ice she continually chooses to go back to her abusive husband Jeff Gilhooly (impressive Sebastian Stan); while on the ice she skates with passion, determination, and brilliance. Steven Rogers script and Craig Gillespie’s direction present the story in mockumentary form with some comedy sketch-style cutaways which on occasion take away from the emotional core. Alison Janney is formidable as Harding’s hard-faced, pushy mother. However, it is her aggression and abuse which, while creating an incredible sportsperson in Tonya, also crushes all the love from the mother-daughter relationship. (Mark: 8.5 out of 11)

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LADY BIRD (2017) – CLAPHAM PICTUREHOUSE CINEMA

Greta Gerwig’s very personal rites of passage character study is a breezy, touching, emotional and funny hop through the life of Christine “Lady Bird” McPherson, as she navigates from High School to College. Lady Bird is a complex representation of young womanhood as her character is irrational, bitchy, kind, irritating, neurotic and somehow kind of loveable. Saoirse Ronan, Tracy Letts, and Laurie Metcalfe excel in a great ensemble cast and Gerwig’s script begins like a train with a flurry of very quick and funny scenes involving Lady Bird, her family, school friends and objects of desire. Later, notably with Lady Bird’s strained relationship with her mother, the film tugs at the heart strings to enthralling effect. Lady Bird has received a lot of critical acclaim and deserves much praise as Gerwig shows she is going to be a directorial talent to watch out for.

(Mark: 8 out of 11)

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PERSONAL SHOPPER (2016) – NETFLIX

Another ambiguous, cerebral arthouse film from filmmaker Olivier Assayas containing both thriller and ghostly elements. The haunted Kristen Stewart plays a grief-stricken individual who is both a psychic and personal shopper. Stewart’s character Maureen is a lost soul working a job she hates searching for closure.  While attempting to connect psychically with her deceased brother she is also stalked by an unknown person or “force”. As a character study the film works very well but I would have preferred the ghostly element of the story to play out emotionally as the other story did not successfully merge for me. I guess it’s open to interpretation but it felt like the filmmaker was telling two stories which did not hold together successfully. Stewart though imbues Margaret with a cold, distanced but powerful empathy and her fear and paranoia drives the story, notably in a couple of very creepy scenes. (Mark: 7 out of 11)

 

Thoughts on Cinema, TV and Life!