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Reviews
Poor Things (2023)
Asks Far Too Much
This film has its merits. Stylistic conematogrpahy, interesting set design and costumes, but the 150 minute run time, relative to the pay-off, asks an awful, awful lot of its audience. I don't mind weird. Many of my favourite films are incredibly weird but a story without characters you can care about is a waste of everyone's time. I can't comment on the source novel, but I find the story's premise both cloyingly insistent and thematically vague at the same time. The usually excellent Emma Stone's acting - tipped for an Oscar, no less - is of the kind rightly parodied by Ben Stiller's character in Tropic Thunder all those years ago. I would not have sat through it in the cinema and only for its inclusion in a pre-paid streaming service did I see it all the way to end.
Empire of Light (2022)
Empire Lost?
First and foremost, this film is considerably better than the mixed critic reviews, although it is far from perfect as well. I would argue that the film is a good script editor away from being a masterpiece. I cannot fault the cinematography (Deakin, of course) and the Reznor & Ross soundtrack is typically fantastic. Having now watched it twice, I think the drawbacks are minor but they ultimately pull back the whole endeavour. Firstly, the affair between Hilary and Steven feels forced and distracting. Secondly, the scale of Hilary's mental illness is underplayed. Both plot points need to occupy far more dramatic space than the small, second act locations the script provides. All that said, this film is better than 90% of movies out there and more than rewards the viewer's investment.
The Last of Us (2023)
Not the Best of Us
It's absolutely fine. Really, I can't think of anything much wrong with it. But is it doing anything new, anything special? Not really. I can't help but think many of the people raving about this show mustn't have seen very many zombie movies, because there's rarely a beat that does not draw directly, and with miserably slow pacing, from numerous other examples of the genre. For example, the short scene in 28 Days Later where Jim revisits his parents house and briefly goes into their bedroom to find them both dead? That achieves everything in terms of dramatic impact that the much hyped Episode 3 of The Last of Us does, and all in under a minute. I could pick similar examples for almost the entire show aired to date. As I say it's fine. But it's a real disappointment following the incredible Chernobyl.
Lockwood & Co. (2023)
Stylish and gripping
Having no knowledge of the source novels, I enjoyed that the world building was steadily paced and not spoon fed like so many adaptations. The.directing is inspired. This ghostly alternate London is moody and eerie, full of human and ex-human intrigue. The principal cast perhaps build up to chemistry rather than instantly fizz, yet you still get the sense of their personalities amongst the whiplash adventures. I disagree with claims that this is kids' drama. They may be young, but their abilities weigh them down with harsh responsibilities. I hope this show gets backing to develop over a number of seasons so we can really get to know these characters and the world they inhabit.
Spirited (2022)
Can't stick to its own rules
I wasn't sure what to expect with this but I had some if not high hopes. The Christmas Carol story may be very well trodden, but it's the evergreen holiday tale in my opinion. We learn a few minutes into this latest take on the story that the afterlife is a musical. Ok, we'll go with that. Then in literally the next scene a very much alive Reynolds-Vehicle Stock Character launches into song with choreographed audience moves and the works. There's absolutely no need for this movie to be a musical, and no narrative justification for it in the story. Dickens' ghosts as Monsters Inc is a fun enough conceit, but the singing element is just all over the place.
A League of Their Own (2022)
Disappointed at the bat
I had high hopes for this. A great movie as it's basis, a decent cast - it seemed so promising. What results is a complete mess, determined to work against its wartime setting and underdog sport story at every turn on the diamond. The direction and soundtrack puts you in the 1960/70s, the dialogue is millennial valley girl and the sexual politics are...a wish fulfilment fantasy? I have no idea. The characters are all written to accelerate the bizarre plot and therefore seem paper thin, folded into paper planes to float with the ridiculous wind. And this is all before you get a headache watching the CGI baseball zip from hand to glove like a supersonic missile, presumably an effort to amp up the flat, soulless ball games. Steeee-rike.
Moonfall (2022)
Banterstellar?
If ever there were a movie too confused for it's own good, this is it. From a British Jack Black riff, to a rusty Battlestar Galactica humanity's origin trope, to a rancid porridge of Independence Day, Armageddon and perhaps Arrival, it's a narrative mess so perplexing it gives you a migraine. In it's favour, it doesn't entirely induce boredom or annoyance, it's a passively enjoyable watch, albeit one that punishes any attempt to pay attention with a full-brain assault.
Midnight Mass (2021)
Midnight Masterpiece
Superb writing, direction and acting. I think it will only improve with additional viewings. So refreshing to see a speculative drama that treats viewers with the intelligence and attention span to go the distance along with it. My only critical thought was that some of the plot reveals are signposted a bit, but to argue against my own point, I equally liked the show's refusal to rely on episode-end cliffhangers and keep the faith (no pun intended) in the slow build.
Choose or Die (2022)
Choose or suffer endless reboots
Issues first.
1. Some clunky edits and dialogue take you out of the story at times.
2. Could have been a bit braver with the final showdown, it had earned a bit more gristle by then I think.
On the positives, it has a strong premise and the daylight hours between levels build up tension throughout. Some good interludes of comedy and nice interplay between the 80s and present day. I know many reviews here found it slow, but give me this over any more tedious Scream or Halloween movies. A really promising debut for the director, many of the film's missteps should be tightened up with experience. If it could maintain the impact of the first level in the diner throughout it'd be a remarkable piece of filmmaking.
Murderville (2022)
Wasted opportunity
For anyone not familiar with the British original (Murder in Successville) that pre-ceded this, it was predicated on the concept that everyone in the city was a celebrity, played in mawkish caricature by the comic cast. This, by removing that aspect, has rendered the show without any surreal touches, where the more obvious improv sections seem more jarring than they should. A real shame, the US setting and talent pool could have made this very special - perhaps the lawyers were worried about upsetting Hollywood?
De slag om de Schelde (2020)
Dutch courage
The scale of production is phenomenal and a real credit to the Dutch film industry. The principle characters are well cast, underused in some cases, and the unfolding battle is gripping. I felt the final act and a slightly contrived ending let down the picture to an extent, I was much more captivated by the different perspectives, somewhat reminiscent of Chris Nolan's Dunkirk in the opening scenes than the unlikely conclusion. Well worth watching, however, and glad Netflix brought this to a wider audience.
Escape Room: Tournament of Champions (2021)
Let down by sound mix
The movie is formulaic and contrived, of course, in the vein of so many concept-driven light horrors that go before it (Final Destination etc.) It would be decent enough Friday night entertainment with a pizza and a few drinks if it weren't let down by an atrocious sound mix. The music and sound effects cut through with piercing treble and booming bass, while the dialogue drowns in a muddy mid as though the actors are speaking with their face in a bowl of cold porridge.
Eternals (2021)
Avengers this ain't
Avengers this ain't...and to an extent that sums up both the drawbacks and successes of this movie. Avengers relied on scores of set-up movies to introduce characters and meandering, lengthy buddy capers for the team-up storylines. By the end(game), they couldn't continue in the same vein any longer. Eternals has a different approach. Slower, more meaningful dialogue and richer world building. It's an enjoyable journey is many ways, bogged down by a constants tension between heavy mythology and comedy one liners, the latter betraying the meddling hands of studio execs and too many script passes. I hope they make another one, in this format there are questions to pursue. A welcome relief from a 9-movie lead up to another over-edited destruction of downtown Manhattan. Treat your audience with the unibrain they have, MCU!
Greyhound (2020)
Imperfect gem
This is a great little film: keen, lean and no flab around the edges. If you can accept the concept of the ships/subs being the leading characters in the cast, you'll be immersed in a very small portion of a very big war and feel the tension every nautical mile of the way.
World Trade Center (2006)
Stories told at (under)ground level
There was surprise when Stone released this good-hearted movie given his track record for raging tales that criticise American power. I actually think what Stone has done here has more shall we say, righteous anger, than any of his previous work. He doesn't deem the politicians or journalists or even the terrorists worthy of a frame of his time. The story occurs at ground, and often underground level. We experience the atrocity how it may have felt for ordinary New York citizens. Dutiful, uninformed civil servants with families, cracking wise and seeing Jesus while the world ends around them. If you can't extrapolate up to the thousands of similar stories of 9/11 to feel a pinch of the anger Stone's movie conveys, I feel you've missed the point.
Kong: Skull Island (2017)
King of the Monsterverse
Give me this over some of the po-faced city smashers in this series any day. There are some gorgeous shots, a few schlocky lines from grizzled war vets and monster action from the get-go. There have been obvious comparisons made to Apocalypse Now, although it steers away from the tension and madness to a slightly lighter and redemptive closing act. The characters weren't all fully drawn but thank the king of skull island we were spared any more tiresome origin stories.
Mank (2020)
Gags on the silver screen
This is a very enjoyable movie with some great writing, great acting and evocative cinematography. It is, however, difficult to get past a couple of bum notes in the production. Firstly, I'm not sure Fincher was the right director for the stylised homage. I'd love to see what the Coen Brothers would have done with this script, and what Fincher would have done with a straight period piece of the story. Secondly I think the long monologue in the costume party near the end rather spoils the pace. It tries to be whipsmart like Kane the whole way through, and the long speeches by Mank and Hearst slow the movie to a halt. Overall, it's a good film and well worth your time but like (whisper it) Citizen Kane itself, perfect it ain't.
Yesterday (2019)
Well below the toppermost
The premise is good, what would a struggling musician realising they could get away with passing off the back catalogue of The Beatles as their own do and...then what? The movie has no conflict, no tension, no consequences. Every set up for some kind of character development is abandoned in favour of a pop culture reference, a wish fulfilment fantasy or worst of all, yet another vindication of the sociopathic indulgences of the temporal plagiarist in the lead role. The only interesting idea in this film was a short scene where the lead first plays various Beatles songs to disinterested audiences, exploring the idea that "right place, right time" is often what really matters in art.
The Vast of Night (2019)
Lots to like
I'm surprised by some of the low score reviews on here. Sure, the movie is small-scale sci-fi but if you want to go into the stars and beyond there are at least two cinematic universes to cater to your needs. There's no point criticising a movie for what it's not. This is a film about paranoia and mass communication, how new technologies can both open and close your field of vision. The dialogue is machine-gun sharp, at least until things go wrong and the characters are forced to look and listen. The occasional pullback to the "Twilight Zone" style TV show was a nice touch: someone is always watching, but who? A good point of reference might be Jeff Nichol's Midnight Special, if you liked that you'll probably like this.