Tag Archives: The Cinema Fix reviews

SHUDDER HORROR REVIEWS – KILLERS

SHUDDER HORROR REVIEWS – KILLERS

For my final slew of Shudder horror film reviews (with one television series write-up to come), I have combined a series of films which contain murder and killers central to the plot. I mean, most horror films feature these types of terrible situations, but the following movies are grounded very much in reality. Ghosts and ghouls and zombies and monsters are to the fore of the horror genre, however, for me, the shocking violence of human beings can often be far more scary on screen. Thus, these films feature assassins, revengers and serial killers which reflect the blackest part of the human soul. Marks out of eleven, with best rated first. You know the drill.

**MAY CONTAIN SPOILERS**



KILLER JOE (2011) – DIRECTED BY WILLIAM FREIDKIN

Tracy Letts’ incendiary, critically acclaimed dark comedy play was adapted by himself and directed brilliantly by genre auteur, William Friedkin. Matthew McConaughey arguably relaunched his serious acting career as the eponymous and corrupt lawman, Joe Cooper, who takes a fancy to Juno Temple’s southern Lolita-type. Killer Joe (2011) is full of bleakly biting noir dialogue and some amazing performances, especially from McConaughey and Temple. Playing out like the Coen Brothers doing a horror film, the memorably disturbing ending almost put me off chicken for life. This is a true cult classic from a director, screenwriter and cast, all at the top of their game.

Mark: 9 out of 11


A PERFECT GETAWAY (2009) – DIRECTED BY: DAVID TWOHY

Kind of like Agatha Christie meets holiday show Wish You Were Here, I had a lot of fun with David Twohy’s clever-clever-meta-thriller. Steve Zahn and Milla Jovovich are the honeymooners in Hawaii who find death in paradise, as a pair of serial killers are murdering holidaymakers. Having helped Vin Diesel to stardom in Pitch Black (2000), Twohy tries again with the laconic and likeable Timothy Olyphant as Macgyver-type island tourist. I’m a big Olyphant fan and he steals the show here in this nifty, twisting cat-and-mouse plot, however, the actor who would go onto massive things in the film world in none other than Chris Hemsworth. Thor pops up here portraying a tattooed-beefcake-with-an-attitude. Anyway, loads of actions, twists, pace and lovely locations make this film worth a visit.

Mark: 8 out of 11



WILDERNESS (2006) – DIRECTED BY: M.J. BASSETT

An efficient low-budget British thriller with a youngish cast led by charismatic actor, Toby Kebbell. Here, Sean Pertwee, takes his gang of youth offenders into the woods for a team-building exercise, only to find the team being destroyed by an unknown assailant. There are some decent thrills and kills throughout, but Christopher Smith’s film Severance (2006) did this idea much better. Still, it rattles along at a fine pace and Kebbell again demonstrates why Hollywood came knocking for his acting talent.

Mark: 7 out of 11


SMALLTOWN KILLERS (2017) – DIRECTED BY OLE BORNEDAL

Two Danish builders are having marital difficulties and one night when drunk, accidentally hire a Russian hitman on the ‘Dark Web’ to kill their wives. Mildly amusing, this comedic thriller is predictable with some haphazard plotting. Lastly, while the warring couples are pretty unlikeable characters, Marcin Dorocinski and Gwen Taylor, as the two hired assassins, provide some belly laughs with their hilarious performances.

Mark: 6.5 out of 11


WHITE OF THE EYE (1987) – DIRECTED BY DONALD CAMMELL

David Keith and Cathy Moriarty star in this serial-killer tale adapted from Margaret Tracy’s novel, Mrs White. Their relationship is put to the test when he becomes prime suspect in a series of murders. Cammell gets compelling performances from the leads but mishandles the plotting as the sudden twist near the end felt mildly ridiculous and contrived.

Mark: 6 out of 11


MY CINEMATIC ROMANCE #20 – KATHRYN BIGELOW

MY CINEMATIC ROMANCE #20 – KATHRYN BIGELOW

If there’s specific resistance to women making movies, I just choose to ignore that as an obstacle for two reasons: I can’t change my gender, and I refuse to stop making movies. It’s irrelevant who or what directed a movie, the important thing is that you either respond to it or you don’t. There should be more women directing; I think there’s just not the awareness that it’s really possible. It is.“— Kathryn Bigelow in 1990


Having most recently directed the searing period drama, Detroit (2017), Bigelow has been making feature films, since her debut, The Loveless (1981), for over thirty-nine years. With a strong academic background, having studied at the San Francisco Art Institute and Columbia University, it’s fascinating to review a career which has eschewed arthouse cinema and essentially been spent working mainly on big-budget genre films. However, one can see in her directorial canon that Bigelow, while striving for commercial success, is constantly testing the boundaries of genre storytelling.

Along with a powerful visual style that attains symbiosis with the core material, she intelligently explores themes relating to violence, individual freedom versus the system, masculinity in crisis, gender representations and socio-political corruption. Lastly, her characters are often outsiders, morally complex and dealing with deep personal trauma. In short: Bigelow’s worldview is one of both healthy scepticism and cynicism, but also an element of hope within the longing for control. So, here are five of Kathryn Bigelow’s most impactful cinematic releases.

***ARTICLE CONTAINS FILM SPOILERS***



NEAR DARK (1987)

While The Lost Boys (1987) is rightly regarded as a very entertaining 80’s vampire film, Near Dark (1987) is way, way superior. Despite not catching fire at the box office, this neo-horror-western contains a fantastic cast of James Cameron alumni, including: Lance Henriksen, Bill Paxton and Jenette Goldstein. These great character actors inhabit this snarling gang of vampires perfectly as the film contains shockingly brutal violence and hard-bitten dialogue amidst a tender love story.



BLUE STEEL (1990)

While Jamie Lee Curtis is generally better known for her horror and comedy film performances, Kathryn Bigelow made excellent use of her dramatic acting ability as a rookie police officer caught up with Ron Silver’s psychotic commodities trader. Blue Steel (1990) is a variegated genre film which takes a standard police procedural narrative and twists it into something far more psychologically compelling. Lee Curtis excels, as does vicious bad-guy Silver, aptly named Eugene Hunt!



POINT BREAK (1991)

This classic heist meets surfing movie meets gay subtext bromance is jam-packed with classic action scenes and faux-deep philosophical musings. Keanu Reeves is the daftly named cop, Johnny Utah, who goes undercover, amidst the beach brigade to find a bunch of bank robbers. His suspicions fall on Patrick Swayze’s elemental surfer-dude-god and a dangerous “bromantic” game of cat-and-mouse ensues. Bigelow scored her first major hit with Point Break (1991), infusing it with some incredibly visceral stunt, surfing, robbery and chase sequences in an exhilarating film experience.



THE HURT LOCKER (2008)

After the box office failures of her previous three films, the under-rated sci-fi thriller, Strange Days (1995), enigmatic mystery, The Weight of Water (2000), and stodgy cold war film, K-19: The Widowmaker (2002), Bigelow’s seemingly took a career break. She would, however, come back with her most critically acclaimed and Oscar-winning film, The Hurt Locker (2008). From a brilliant script by Mark Boal and led by Jeremy Renner’s standout lead performance, The Hurt Locker (2008), put the audience right at the heart of a bomb disposal unit in Iraq. Putting aside the politics for a moment, the film is full of incredibly tense and superbly edited scenes which have your heart in your mouth. Simultaneously too, the film also shows the devastating emotional, physical and mental effect war has on the people of Iraq and the soldiers sent to fight this horrifically unjust conflict.



ZERO DARK THIRTY (2012)

Whereas The Hurt Locker (2008) had highly emotional and empathetic protagonists, Bigelow and Boal’s next film Zero Dark Thirty (2012), is a much more clinical and technically efficient cinematic experience. In parts, both a war drama and espionage thriller, the story also has a feel of an old-fashioned Western as American military and CIA operatives, led by the excellent Jessica Chastain and Jason Clarke, hunt down Osama Bin Laden. Politically speaking this is a film which makes me feel very uncomfortable for a number of reasons. It plays out like a revenge story. It also seems to both criticize and vindicate torture in the early scenes. This makes me uneasy as I understand the 9/11 attacks were just horrific, yet they seemed to get used as a motive for many more atrocities by the United States government. I guess that was what Bigelow and Boal were going for. They attempted to create a morally and emotionally complex war thriller that lets you interpret the events yourself and conclude one’s own judgements.



FX /BBC TV REVIEW – DEVS (2020) – ONE OF THE BEST TV EXPERIENCES OF 2020!

FX / BBC TV REVIEW – DEVS (2020)

Created, written and directed by Alex Garland

Executive producers: Alex Garland, Andrew Macdonald, Allon Reich, Eli Bush, Scott Rudin, Garrett Basch

Cast: Sonoya Mizuno, Nick Offerman, Jin Ha, Zach Grenier, Alison Pill, Stephen McKinlay Henderson, Cailee Spaeny, Karl Glusman, Jefferson Hall, Liz Carr, Janet Mock, Aimee Mullins, Linnea Berthelsen etc.

Cinematography: Rob Hardy

Composers: Ben Salisbury, Geoff Barrow, The Insects

Distribution / Screening Platform: FX / Hulu / BBC


*** MAY CONTAIN SPOILERS ***



“I read more about science than anything else, and it started with two things. One was getting my head around this principle of determinism, which basically says that everything that happens in the world is based on cause and effect. . . One is that it takes away free will, but the other is that if you are at a computer powerful enough, you could use determinism to predict the future and understand the past.” Alex Garland – Creator of Devs


Alex Garland has an impressive literary, cinema and now televisual curriculum vitae. He gained acclaim as the writer of the novel, The Beach, before moving onto screenwriting duties with fine films such as: 28 Days Later (2002), Sunshine (2007), Never Let Me Go (2010), and Dredd (2012).  He made his directorial debut with Ex Machina (2014), which earned him an Academy Award nomination for Best Original Screenplay. His second film, Annihilation (2018), garnered further acclaim, so much so, FX bypassed a pilot and went straight to series for his latest science fiction narrative, Devs (2020).

While I am a massive fan of Garland’s work, I wasn’t too enamoured of Annihilation (2018). I found it brilliantly made with some fantastic concepts and incredible moments, yet overall it was too slowly paced. With the eight superlative episodes of Devs (2020), Garland has kept the meditative pace of Annihilation (2018), but also delivered a story which really connected with me this time. With Devs (2020) he has successfully merged a compelling technological espionage plot to an intelligent exploration of philosophical thought and behaviour. Moreover, Garland presents a complex group of themes and characters relating to Silicon Valley tech firms and how their work could control individuals, companies, governments, society as a whole, and actual time itself.



Set now in San Francisco, the narrative opens with two employees of the Amaya Corporation, Lily Chan (Sonoya Mizuno) and Sergei Pavlov (Karl Glusman), attending work. Sergei has a big presentation to pitch to Amaya CEO, Forest (Nick Offerman) and chief designer, Katie (Alison Pill). It goes well and Sergei is invited to work on the mysterious DEVS project. At DEVS he finds wondrous halo-style lighting in the woods and an incredibly expensive set of buildings, capsules, platforms, workstations and screens. Dominating the landscape also is a gigantic model of a young girl (Forest’s daughter, Amaya) who looms over the company and the San Franciscan horizon. These spectacular props, sets and locations are complimented by impressive cinematography from Rob Hardy throughout the eight episodes.

Sergei’s tenure at DEVS does not last long though as he goes missing. Lily, who was in a loving relationship with Sergei, is distraught and, with the help of ex-CIA head of security, Kenton (Zach Grenier), attempts to locate him. When Sergei turns up dead from an apparent suicide, Lily is convinced there is a conspiracy occurring in the Amaya company so begins a dangerous investigation. Even more intriguing, however, is the work that is occurring at DEVS itself. Led by Forest’s desire to “resurrect” his deceased daughter, this complex computer programme can somehow view events from the past, recreated via particle-driven software and projected on huge screens. Using this application the developers and programmers are attempting to determine the future from what has occurred in the past. If they can determine the future they may be able to control it. Mind blown yet? Safe to say, Lily’s investigation into Sergei’s death and the DEVS system become inextricably linked as the drama unfolds. As such, the drama works well as a conspiracy thriller as well as thoughtful sci-fi as Garland punctuates the brooding pace with some crushing stunts and brutal murder set-pieces.

I’ll be honest, the technological side of Devs (2020) was outside my knowledge repertoire as I do not comprehend coding or programming jargon. Nonetheless, I did understand what was occurring in the narrative as it was presented in a clear and digestible fashion. Unlike say the most recent seasons of HBO’s Westworld, which tied itself in knots with looping and over-lapping timelines, Alex Garland’s deft script, excellent direction and fantastic cast make Devs‘ (2020) complex science and tech theories comprehensible throughout. While Garland is dealing with theories relating to free will and deterministic cause and effect, the elegant structure, both linear and with flashbacks, builds a gripping narrative which maintains emotional impact for the characters and the choices they must make. Indeed, Lily Chan is a very empathetic leading protagonist and Sonoya Mizuno gives a compellingly magnetic acting portrayal. It was also fascinating to see Nick Offerman outside of his Parks and Recreation ‘Ron Swanson’ persona playing a highly driven and grieving father. Thus, to conclude, if you enjoy clever, meditative and Kubrickian style television in the science-fiction genre, then you should definitely use your free will and be determined to watch Devs (2020).

Mark: 9.5 out of 11


NETFLIX TV SERIES REVIEW – THE STRANGER (2020)

NETFLIX TV SERIES REVIEW – THE STRANGER (2020)

Created by Harlan Coben – based on The Stranger by Harlan Coben

Writers: Harlan Coben, Danny Brocklehurst, Charlotte Coben, Karla Crome, Mick Ford etc.

Directors: Daniel O’Hara, Hannah Quinn

Cast: Richard Armitage, Siobhan Finneran, Jennifer Saunders, Shaun Dooley, Paul Kaye, Dervla Kirwan, Kadiff Kirwan, Jacob Dudman, Ella-Rae Smith, Brandon Fellows, Anthony Head, Stephen Rea, Hannah John-Kamen etc.

No. of Episodes 8

Network release: Netflix

***MAY CONTAIN SPOILERS***


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Imagine sitting in a bar or restaurant or at the gym or in a coffee shop minding your own business. A stranger approaches you and tells you something that your spouse or partner or relative was hiding from you. This is a secret which rips apart your life and turns everything upside down in the process. This is the basic premise of Harlan Coben’s adaptation of his own novel, The Stranger. Over eight gripping episodes the drama hooks you in from this point forth. Secrets, lies, violence, corruption, blackmail, betrayal and murder drive the narrative in a compelling and serpentine plot.

In what is the TV equivalent of a right page-turner, the main protagonist, Adam Price (Richard Armitage), is the first person to be approached by the titular Stranger. He is given information regarding his wife (Dervla Kirwan) and this threatens to tear his whole family apart. This is just the tip of the iceberg though in regards to the plotting. Other individuals are being targeted too by the Stranger. At the same time a teenager has been comatosed following a woodland rave. It’s not long before Siobhan Finneran’s DS Johanna Griffin investigates this crime, the bizarre beheading of a llama, plus murder, extortion and abduction.

At first, I thought it may be a metaphysical figure revealing guilty secrets to the cast of characters in a Stephen King supernatural-style narrative. However, Harlan Coben’s contemporary crime thriller is firmly set in reality, as it privileges familial and police procedural drama compellingly. Over the eight episodes I was glued to what happens next, as we get so many cat-and-mouse chases and character surprises throughout. Richard Armitage is excellent as the lead protagonist, desperately trying to keep his family together. The teenage character subplots are not so successful as the some of their acting is pretty dire. However, the likes of Siobhan Finneran, Jennifer Saunders, Paul Kaye and Stephen Rea add real quality to what is a conventional, but always watchable genre production.

Mark: 8 out of 11



THE NETFLIX PROCLAMATION – REVIEWS OF: EARTHQUAKE BIRD (2019), i LOST MY BODY (2019), THE KING (2019), THE TWO POPES (2019) and more…

THE NETFLIX PROCLAMATION – FILM REVIEW CATCH-UP MARCH 2020

With COVID-19 threatening the world’s population, it is a time to remain calm and, if required, stay indoors out of the way of potential infection. As long as the Internet holds then there are thousands of films and TV shows to watch online to keep us all occupied. Obviously, one must also take a deep breath and pray that aside from the illness affecting the world, society manages to keep it’s social, financial and medical structures in place too.

Clearly, we need distractions at this difficult time. Films may not be the solution, but they can offer diversion at least. Thankfully, I love staying in and watching movies as it is a major hobby of mine. Indeed, I have been busy lately catching up on some of the latest releases Netflix has to offer. Thus, I present some quick reviews of films currently on the streaming platform, all with the usual marks out of eleven.

***MAY CONTAIN SPOILERS***



A PRIVATE WAR (2019)

Rosamund Pike is absolutely enthralling as the brave war correspondent, Marie Colvin. Putting her life and sanity on the line to report the terrors of conflict in Sri Lanka, Libya and Syria, to name a few, Colvin was both fearless and crazy in equal measures, but remains an incredibly powerful voice. This fine biopic feels haphazard and structurally chaotic but is certainly an impressive tribute to an iconic journalist. (Mark: 8 out of 11)


DESTROYER (2018)

Nicole Kidman gives another excellent performance in this gritty neo-noir-cop-procedural drama. The clever structure — which tracks back and forth between Kidman’s burnt out character in the present and her violent past going undercover in a crime gang — arguably works against the emotional power of the film. However, director Karyn Kusama and Kidman make a formidable team in delivering a moody, bruising and bitter revenge thriller. (Mark: 8 out of 11)


EARTHQUAKE BIRD (2019)

I really loved director Wash Washmoreland’s previous film, Colette (2018), because it was such a vibrant. colourful and sparkling biopic of a fascinating character. I was thus surprised to see he had followed it up with an under-cooked thriller like Earthquake Bird (2019). Alicia Vikander portrays a dour ex-patriot in Japan who gets drawn into a love triangle involving the effervescent, Riley Keough, and photographer, Naoki Kobayashi. The film felt, like Vikander’s protagonist, depressed; ultimately drifting toward a tepid denouement. (Mark: 6 out of 11)


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ENTEBBE (2019)

Rosamund Pike again! Here she is cast alongside Daniel Bruhl as they portray two Germans who joined a Palestinian military group that hijacked an Air France Flight in 1976. While the politics of the Israelis versus the Palestinians is explored to some extent, I felt more could have been done during the hostage situation to examine such complex issues. Instead, we get something more generic from director Jose Padiha, who inexplicably uses dance troupe montage to convey nebulous emotion and meaning. (Mark: 6 out of 11)


I LOST MY BODY (2019) – (Contains spoilers)

Both original and generic in terms of story, this romantic drama contains some of the most wonderful animation concepts I have seen in a long time. Brilliantly rendered and directed by Jeremy Chaupin, the narrative has two major strands. A severed hand – yes, a hand – seeks to unite with its body. Simultaneously, flashbacks reveal young Naoufel attempting to romance the girl he loves, Gabrielle. I really wanted to enjoy this more as the filmmaking is stunning. But, the final act of the film was too poetic, and it left me feeling cold and confused. (Mark: 7 out of 11)


THE KING (2019)

David Michod has been a filmmaker worth keeping tabs on since the release of brutal Australian crime film, Animal Kingdom (2010). After the big budget military satire War Machine (2017), failed, in my view, to hit the target, Michod has gone with another big production in The King (2019). Adapting Shakespeare’s Henry V trilogy (co-writer with Joel Edgerton) is no easy task and they deliver a film full of bravura cinematic moments. Timothee Chalamet is impressive in the lead role as the reluctant, but strong-of-heart young Prince Hal/King Henry. Lastly, Sean Harris, Robert Pattinson, Edgerton (as Falstaff) and Thomasin Mackenzie provide excellent acting support in a stirring period epic. (Mark: 8 out of 11)


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THE LAUNDROMAT (2019)

Filmmakers Scott Z. Burns and Steven Soderbergh are usually so reliable in their cinematic endeavours. However, a star-studded cast including: Meryl Streep, Gary Oldman, Sharon Stone, Antonio Banderas, Matthias Schoenaerts and Jeffrey Wright cannot save this misguided comedy-drama about the Panama Papers scandal. I’m sure there is a great film in such financial crimes, but this was not it. (Mark: 5.5 out of 11)

MID 90s (2019)

Jonah Hill adds director to his already very successful acting, writing and producing curriculum vitae. Mid 90s (2019) owes much to the low-budget, improvisational and gritty style of filmmakers like Harmony Korine and Larry Clark, however, Hill’s approach is less extreme. The loose and episodic rites-of-passage narrative centres on Los Angeles based skater gangs and specifically Stevie (Sunny Suljic). He longs to grow up too fast and his experiences reminded me of an American version of Shane Meadow’s This is England (2006). While it’s a solid work of cinema, full of heart and believable performances, it’s ultimately quite underwhelming from an emotional perspective. (Mark: 7 out of 11)


THE TWO POPES (2019)

Fernando Merielles directs this adaptation of Anthony McCarten’s play featuring two giants of the acting world in Anthony Hopkins and Jonathan Pryce. The two heavyweight actors portray the real-life Pope Benedict XVI (Hopkins) and future Pope Francis, Cardinal Jorge Mario Bergoglio (Pryce). The duo conflict, debate and laugh about serious matters related to the history of the Catholic Church; plus, some not-so serious matters such as pizza and football. Having sat through Paulo Sorrentino’s uber-pretentious TV series The New Pope (2020) recently, I was not in the mood for more theological drama. However, the two leads are excellent, especially Pryce; and while the film is very dialogue driven, the flashbacks of Argentine history from Cardinal Bergoglio’s early years were powerfully evoked. (Mark: 8 out of 11).


TWO CHARACTERS ON THE EDGE OF A NERVOUS BREAKDOWN – FILM REVIEW DOUBLE BILL – HORSE GIRL (2020) + THUNDER ROAD (2018)

HORSE GIRL (2020) + THUNDER ROAD (2018) FILM REVIEWS

Having seen both these fascinating character studies, Horse Girl (2020) and Thunder Road (2018) recently, I was compelled to write a double bill review because similarly they feature: lower budgeted production values, a singularly powerful lead acting performance, characters who have recently lost their mothers, very uncomfortable emotionally charged scenes; as well as both exploring themes relating to mental illness. Thus, I thought it interesting to review the films with these elements in mind.

In regard to mental health, it is quite rightly being addressed more and more in society in a respectful manner. The barriers and prejudices of the past are being eroded and people are talking about it more openly. I have first-hand family experience of someone who has suffered with mental illness. Plus, I have experienced the loss of a close friend to suicide due to debilitating anxiety and have other friends on anti-depressants. I have tried to be of assistance to those people, but it is incredibly difficult to help anyone. Likewise, medical professionals seek various ways of attempting to assist, treat and counsel individuals with mental health problems.

Ultimately, it so tough to deal with such illnesses as they are powerful and invisible. I have utmost empathy for anyone suffering from anxiety, depression and serious mental health problems. It’s such a shame that I feel kind of helpless when it comes to helping people I am close to. It is not always enough to listen and understand, thus professional medical help should be sought and sometimes even that is not enough. It is not surprising therefore that cinema is also exploring such stories and themes.

With Joker (2019), mental illness was examined in a comic book genre setting in a powerful way for me. Some critics felt it trivialised mental illness. I felt that it was, while stylised and theatrical, actually accurate in the disturbing disintegration of Arthur Fleck’s downward mental spiral. Horse Girl (2020) and Thunder Road (2018) are two very different films in terms of genre, but with similar thematic trajectories as Joker (2019). Indeed, while they are independently produced and smaller in scale, they feature two frightening renditions of characters on the verge of a mental breakdown.

***THESE REVIEWS CONTAIN SPOILERS***



HORSE GIRL (2020)

Directed by: Jeff Baena

Written by: Jeff Baena and Alison Brie

Cast: Alison Brie, Molly Shannon, John Reynolds, John Ortiz etc.

Depicting mental illness accurately is a very tricky thing on film in my view. Obviously, we have over the years had all manner of psychotics and mad people chasing and killing others in horror films and thrillers. There have also been many films centred around characters in mental institutions. Some are respectful examinations, but many more could be seen as exploitation films. Horse Girl (2020) is not exploitational, but rather an oddity that falls somewhere between the gaps of arthouse drama and weird character study. Such films are difficult to assess as, however impressive the technical aspects of the production are, the strange events of the film could alienate an audience in terms of entertainment.

Despite Alison Brie’s exceptionally brave performance as Sarah, the narrative consistently disengages you emotionally, taking you to very dark and weird places. Sometimes you have to wonder whether the actor is holidaying in weirdness for the sake of it, or is genuinely drawn to characters who exist with mental issues. Given Brie is an intelligent and highly talented actor, plus she co-wrote the script, you cannot help but feel this is a very personal project. Her portrayal of a shy loner dealing with the suicide of her mother, sleepwalking, day delusions, fragmented time loss and nightmares makes Horse Girl (2020) a disorientating experience. However, in conveying the chaos and frightening nature of mental illness, the film is commendable but tough to recommend.

Mark: 7 out of 11



Thunder Road Jim Cummings

THUNDER ROAD (2018)

Written and directed by: Jim Cummings

Cast: Jim Cummings, Kendal Farr, Nican Robinson, Macon Blair etc.

Talking of films that are difficult to recommend, Jim Cummings self-produced, written, directed and acted film Thunder Road (2018) is another. Rather than giving us, like Horse Girl (2020), an unreliable narrator and escalating series of surreal events seemingly separated from reality, Cummings film deliver very real feelings of embarrassment and anxiety to the audience. Advertised on certain film sites as a comedy-drama, neither the comedy nor drama are conventionally enacted. The film is based around a series of hysterical monologues and stream of consciousness dialogues from Cummings grieving and soon-to-be-divorced troubled cop, Jim Arnaud.

Arnaud’s mental issue is not psychosis, but rather a circumstantial and emotional nervous breakdown precipitated by grief and a personality disorder. The opening scene at a funeral for Arnaud’s mother, is a case in point. Based on his original short film of the same name, Cummings produces a tour-de-force acting exercise in both awkward comedy and distanciation. Subsequently, the film’s narrative events find Arnaud attempting to be a good father, friend and police officer, however, he is constantly on the edge of an angry outburst or outpouring of emotional honesty. His character makes us empathise as he is in grief, but at the same time he’s very difficult to like due to his extreme reactions. Ultimately, as a low budget feature for Jim Cummings acting abilities, Thunder Road (2018) is a compelling character study. However, it’s tough to watch and the slightly misogynistic ending left a sour taste in what was a fascinating emotional exploration of grief and mental instability.

Mark: 7.5 out of 11



THE INVISIBLE MAN (2020) – MOVIE REVIEW

THE INVISIBLE MAN (2020)

Directed by: Leigh Whannell

Screenplay by Leigh Whannell – based on H. G. Wells The Invisible Man

Produced by: Jason Blum, Kylie du Fresne

Main cast: Elisabeth Moss, Aldis Hodge, Storm Reid, Harriet Dyer, Oliver Jackson-Cohen, Michael Dorman,

Music: Benjamin Wallfisch

Cinematography: Stefan Duscio

***MAY CONTAIN SPOILERS***



Many a work, home, pub, dinner party and school conversation has started with the following question: what would YOU do if you were invisible? Depending on the company it’s something that can descend into wild fantasy territory. Being invisible will allow you the freedom to spy and become the ultimate voyeur. You could also become a criminal and creep into places without being seen to thieve. You could be a prankster and play tricks on your friends and family. You could become a superhero, battle crime and help people. You could simply just disappear not just literally, but philosophically from society. The possibilities are endless.

H. G. Wells original novel is an absolute genre masterpiece. Arguably the most famous version was filmed in 1933 with incredible practical effects and an exceptional performance from Claude Rains. In this new version the conventional invisible scientist-goes-mad story is twisted successfully into an exhilarating horror suspense film with themes relating to toxic masculinity and abusive relationships. Here invisibility is used to control and instil fear, as the recently deceased Griffin (Oliver Jackson-Cohen) is, according to his ex-partner, Cecilia (Elisabeth Moss), targeting her from the grave.


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Leigh Whannell has great experience writing and producing low-budget horror films including: Saw (2004) and Insidious (2010). His last directorial release, Upgrade (2018), was a fantastic mix of 1980’s B-movies, sci-fi and horror cinema. Building on the crowd-pleasing thrills of Upgrade, Whannell has crafted a paranoiac classic with Elisabeth Moss giving a fantastically nerve-shredding and physically adept performance. From the tense opening scene, we empathise with her desire to escape a controlling and malevolent force. Building slowly throughout the first act, Whannell’s script brilliantly picks up the pace and plots Cecilia’s descent into a living hell. Consequently, Cecilia’s anxiety reaches peak stress as no one believes she is being set up by a gas-lighting, unseen and venal monster.

It pays to see this film on the big screen with the finest sound quality available. I watched it on an IMAX screen where the sound design and Benjamin Wallfisch’s amazing score really enhance the fear-inducing visuals. How the production team made this film for a reported $7 million dollars is beyond me. Yet, Whannell is an economical and highly efficient filmmaker. His writing is lean and mean, as the script is full of fantastic set-pieces and plot reversals. Moreover, the story is very relevant, exploring the themes of the day relating to domestic abuse, depression and mental illness. However, it’s not an overbearing message movie, but rather a smart and surprising thriller.

Overall, The Invisible Man (2020) starts strongly and proceeds to deliver a series of gripping and, at times, heart-in-the-mouth cinematic moments. There are none of the usual scientific and over-expositional set-ups that can slow down such films. The visuals, sound, score and performances deliver the story most effectively. I felt like there were a few fuzzy plot moments that Whannell could have explained in more detail, however, that could have hindered the pace of the story. Finally, with Elisabeth Moss imbuing her character with resilience, energy and steel, we get an individual who will never give up. She sees through her ghosting nemesis and will fight to the last breath to prove her innocence and remain in control.

Mark: 9 out of 11


1917 (2019) – CINEMA REVIEW

1917 (2020) – CINEMA REVIEW

Directed by: Sam Mendes

Produced by: Sam Mendes, Pippa Harris, Jaybe-Ann Tenggren, Callum McDougall, Brian Oliver

Written by: Sam Mendes, Krysty Wilson-Cairns

Cast: George McKay, Dean Charles-Chapman, Mark Strong, Andrew Scott, Colin Firth, Claire Duburcq, Benedict Cumberbatch etc.

Cinematography: Roger Deakins

Music by: Thomas Newman

**CONTAINS HISTORICAL SPOILERS**


Image result for 1917 film

If Roger Deakins doesn’t win every single award for best cinematography in the world, I will be completely shocked! Together with Sam Mendes’ and their respective creative and production teams they have delivered a barnstorming, aggressive and beautiful work of pulsating cinema with 1917 (2019). In fact, the whole project is such a feat of technical brilliance, I think Sam Mendes will probably win best direction and the film will most likely win best film at the 2020 Academy Awards.

The form and style of the film are dictated by Mendes and Deakins audacious decision to film in one long continuous take. Set, as the title states in 1917 during World War I, we open with a long tracking shot and from there the shot never ends. Establishing the main protagonists Lance Corporal Will Schofield (George MacKay) and Lance Corporal Tom Blake (Dean-Charles Chapman), the camera glides along as they make small-talk, creating humour, warmth and calm before the storm to come. That storm derives from their mission to carry a message through perilous territory and prevent 1,600 British soldiers falling into a German trap. Immediately the stakes are high and these two brave men set out to achieve this dangerous task.



The choice to film in one continuous shot is a fascinating one and here it is executed brilliantly. Of course, there are occasions where a cut has occurred, but this is masked by darkness, water, camera movement or CGI. I personally am not a massive fan of longer takes though. They can be seen as a stylish, but empty process and usually work best in opening scenes. Moreover, by not cutting or using montage techniques I feel you can lose suspense, impact and pace from a film. However, that is certainly not the case with 1917 (2019). Here it works perfectly with the camera following, tracking, running, falling and stalking the characters, so much so, the audience becomes the camera. We are right in this war with them!

As we track Blake and Schofield through bunkers, trenches, fields, farmhouses, derelict buildings and villages, the stench of death and destruction surrounds them. Mendes and his writing partner, Krysty Wilson-Cairns, also create some heart-sweating and explosive set-pieces for the soldiers to overcome. Indeed, the pace with which they regularly find themselves under attack, married with the filmmaking style, puts you in the heart of the action and fight. The final battle where Schofield valiantly strives to reach his final destination and relay the message is utterly exhilarating and spellbinding cinema.



As the two everyman soldiers, George MacKay and Dean-Charles Chapman give convincing performances. MacKay is especially memorable as his tall frame, hollowed cheekbones and haunted eyes dominate the screen. Furthermore, the two leads are supported ably by a “who’s-who” of British actors. The likes of: Mark Strong, Colin Firth, Benedict Cumberbatch and Andrew Scott puncture the action throughout with their quality. Scott is especially excellent as a cynical officer, drunk and bereft of hope. The two heroes ignore his jaded battle worn persona, but soon find themselves surrounded by corpses, quickly coming to understand this character’s despairing heart.

Like Dunkirk (2017), the film is arguably thin on characterisation and character development, but stylistically impressive in it’s rendition of the horrors of war. Indeed, when the events switch to night, Deakin’s lighting skills dominate as he paints images with darkness, moonlight and fire with majestic results. Thus, overall, one could argue this is just one long chase film; an extended version of the climax of another World War I classic, Gallipoli (1981). However, the cinematic marvel that is, 1917 (2019), overcomes it’s narrative and thematic familiarity with an amazing technical achievement in both form and style. Awards glory beckons for all involved; and more importantly the film pays fine tribute to the gallant soldiers who served in an ultimately senseless war.

Mark: 9.5 out of 11


THE GENTLEMEN (2020) – MOVIE REVIEW

THE GENTLEMEN (2020) – MOVIE REVIEW

Written and directed by: Guy Ritchie

Produced by: Guy Ritchie, Ivan Atkinson, Bill Block

Story by: Guy Ritchie, Ivan Atkinson Marn Davies

Cast: Matthew McConaughey, Charlie Hunnam, Henry Golding, Michelle Dockery, Jeremy Strong, Eddie Marsan, Colin Farrell, Hugh Grant etc.

**MAY CONTAIN SPOILERS**



THE GENTLEMEN (2020)

Having dipped a big foot in the Hollywood studio pool with franchise hits like Sherlock Holmes and most recently Disney’s live action version of Aladdin (2019), Guy Ritchie is back to the crime genre where he made his mark. His reboot of The Man From Uncle (2015) was very under-rated, and while his King Arthur: Legend of the Sword (2017) didn’t quite work as a swords and geezer epic, Ritchie remains an excellent genre director and almost always produces very entertaining movies.

With Lock, Stock and Two Smoking Barrels (1998)Snatch (2000) and Rock N Rolla (2008), Ritchie excelled at carving himself a name in fast-paced-twisting-crime stories. They are full of hard nuts, femme fatales, dodgy geezers, businessmen, travellers, assassins, gamblers, plus working- and upper-class types all trying to outwit and out do each other in a variety of dodgy dealings. The films also feature fine ensemble casts, crunching violence, colourful language and cracking soundtracks. All of this combines to create fine entertainment all round. It may lack subtlety, suspense and emotion, but crime has never been so much fun.



The Gentlemen (2020) continues Guy Ritchie’s decent form in the gangster comedy genre. Matthew McConaughey is the “Kingpin”, Mickey Pearson, whose underground marijuana empire is about to come under threat from various rival gangs. The plot is essentially a story of a capitalistic hostile takeover with added bullets, punch-ups, YouTube viral videos, boxers, junkies and copious use of the C-word.

Ritchie may not be everyone’s cup of tea, but he certainly knows how to put together a movie. Using lashings of music to compliment the freeze frames, voice-overs, whip-pans, flashbacks, flash-forwards, close-ups, canted frames, slow motion and anything else that smashes the story along is fine by me. Plus, don’t forget the over-the-top, but ever quotable zinging dialogue and the unreliable narrator that is Hugh Grant’s weasly tabloid newspaper investigator. Grant is the standout performer here along with Colin Farrell and Charlie Hunnam’s cool but deadly fixer and second-in-command. Able support also comes from Jeremy Strong, Michelle Dockery, Eddie Marsan and Henry Golding.

Overall, The Gentlemen (2020) is not a particularly subtle film. In fact, many may find the language rather offensive in this age of the woke generation. Don’t get me wrong I’m all for political correctness and equality, but sometimes it’s just great to have a laugh and Ritchie provides this in many hilarious scenes of action and dialogue. There’s an element of substance provided in regard to the destruction drugs can cause and very mild analysis of England’s class system. However, such themes only skim the surface in what is a wonderfully irreverent, over-the-top, violent, offensive and entertaining crime comedy.

Mark: 8.5 out of 11


MARRIAGE STORY (2019) – NETFLIX FILM REVIEW

MARRIAGE STORY (2019) – NETFLIX FILM REVIEW

Written and Directed by: Noah Baumbach

Produced by: David Heyman, Noah Baumbach

Cast: Scarlett Johansson, Adam Driver, Laura Dern, Alan Alda, Ray Liotta, Julie Hagerty, Azhy Robertson, Merrit Weaver etc.

Cinematography: Robbie Ryan

Distributed by: Netflix

**MAY CONTAIN SPOILERS**



I think one of the trickiest things that can hinder a writer, is that doubt whether it is worth telling one’s story. This is especially true of privileged or first world narratives involving wealthy characters or those deemed not having to struggle daily. For me the way to beat such doubt is to write the hell out of your story. Moreover, you’ve got to make the story relevant to all audiences by concentrating on universal themes and creating empathetic characters. Noah Baumbach achieves this by writing and directing the hell out of Marriage Story (2019); a moving drama that focuses on something we can all relate to — a relationship break-up.

The film centres on a couple of creatives, Nicole and Charlie Barber, portrayed by Scarlett Johansson and Adam Driver. Charlie is a New York theatre director; Nicole is a Los Angeles actress. They have both been committed to forging successful careers. The film opens brilliantly as they attend relationship mediation, attempting to divorce amicably without the use of lawyers. Baumbach’s superb script starts strongly with each character delivering bittersweet monologues that describe what attracts them most to each other. Sadly, for them and their young son, Henry (Azhy Robertson), mediation fails and it’s not long before they are drawn into the Kafkaesque, manipulative and financially draining American legal system.



This is a gem of a film which finds a seemingly suited couple learning that their differences have slowly been driving a wedge between them. Charlie is a controlled and respected director who has worked his way up from nothing. Nicole is a more privileged, but equally talented actress; however, her free-spirited nature is locked in his shadows. Geographically too they are very different. While he is originally from Indiana, he has made New York his home. Moreover, while his avant garde plays have gained him critical acclaim, she yearns for the sunlight of Los Angeles and the offer of TV work. Thus, through sheer brilliance of the writing we, in a short period of time, understand and empathise with both characters’ situations.

As the narrative develops Baumbach’s script is brought to life with two incredible central performances by Adam Driver and Scarlett Johansson. They imbue Nicole and Charlie with a humanity and warmth, that even when we do not agree with their actions, we are still with them. As the story was inspired by his own divorce, Baumbach cares very much about these people. Indeed, he gives each actor the chance to shine during a number of fine monologues, bitter exchanges and heartfelt scenes of acceptance and potential reconciliation. Further, the supporting cast members are also really great too. Ray Liotta as a bitter shark of a lawyer and Laura Dern, as his legal adversary, have some wonderfully biting lines of dialogue. Meanwhile, Alan Alda, as Charlie’s other legal representative, is arguably too nice and avuncular for this cutthroat business. Together these collective legal minds, while shining a plausibly negative light on divorce proceedings, added strong energy to the comedy and drama of the film.

Ultimately, I have always respected Noah Baumbach’s films because he is a very solid independent writer and director. However, with Marriage Story (2019), he has matured beyond belief to create a compelling and funny relationship drama. It is full of standout scenes, with Adam Driver ever impressing and Scarlett Johansson delivering the best performance of her career. Lastly, as someone who has experienced a very difficult break-up involving a child, I felt every moment of grief, heartache, humour, love and relief on the screen. Yet, it’s worth reliving those moments because you know you survived; and so will Charlie, Nicole and their son, Henry.

Mark: 9.5 out of 11