Only the best, most interesting, or little-known films will be fully reviewed on here moving forward.
Only the best, most interesting, or little-known films will be fully reviewed on here moving forward.
Mr. Robot [Season 1]: follows Elliot – a Cyber Security engineer by day / social vigilante hacker by night – as he’s recruited by a shady anarchist called ‘Mr Robot’. Firstly, the shows gambles everything on a wild main character: an anxious & depressed, socially inept, lonely, mentally unstable, and unsympathetic junkie-hacker! The central plot is told through his paranoid point-of-view, where we hear his thoughts – including some beautiful IT snobbery: “he owns a blackberry” “he likes the music of Josh Groban” / “stupid Marvel movies”. While Malek’s lead performance is outstanding, he’s not alone as the entire show is very well-cast: everyone has a unique look and set of traits & skills – Wallstrom and Slater in particular get a lot of time to shine. The show also looks phenomenal; it’s beautifully shot with lots of bold & striking imagery, vibrant colours, and unorthodox camerawork; like low-level & asymmetrical shots, strong leading lines… you could screenshot almost any moment and hang it on your wall. In fact, the production is so slick that it feels more like a 10-hour long movie. Every character, every sub-plot, almost every scene feels like it’s saying something about our modern way of living; how insipid tech is permeating our lives, and how ‘the masses’ are being exploited. As someone who works in IT I found myself nerding out over accuracy and tech savviness of the show; Hell, even the episode titles like “eps1.0_hellofriend.mov” are smart and cool. As the season marches forward viewers are rewarded with compelling story arcs, Shakespearian twists and turns, and scathing critiques of modern life, big business, & corporate culture. It’s very anti-establishment, and isn’t dumbed down in the slightest. Insightful, intelligent, and crammed with current issues & ‘news story’ plots, Mr Robot is the kind of show that’s setting the bar in terms of style and substance.
Kickboxer: Retaliation – a year after killing Tong Po to avenge his brother’s murder, MMA champ Kurt Sloan is kidnapped and forced to fight a new underground deathmatch champion. After a dubious opening Bond-lite salsa dance / train fight, the film is rigidly punctuated with some outstanding action set pieces. The choreography in a couple of the fights is jaw-dropping, especially the single takes at the jailhouse (3 mins uninterrupted), and riverside rumble (inexplicably set to the Surfaris ‘Wipe Out’). The ‘Final Boss’ fight against Game of Thrones’ “The Mountain” is 20 minutes of bone-crunching savagery that reaches previously uncharted levels of OMGWTF twists and turns. Outside of the fights however, the film doesn’t feel particularly well put-together: the direction is weaker than the previous outing – jerking between various scenes, locations, filler Thailand Tourist Board type shots… and there’s no attempt at updating anything about the generic 80s action plot. Cast-wise, almost everything else is in the shadow of Moussi’s physicality and technical ability: Bjornsson is an intimidating force (when he’s not strumming an acoustic guitar for no reason!); JCVD’s charisma brightens up his scenes; Tyson hams it up and gets some laughs; but disappointingly, Christopher Lambert has nothing more to do than growl some threats and react to big hits (away from everyone else). What it lacks in originality and direction, Kickboxer Retaliation makes up by leaving no stuntman unscathed and no prop unsmashed; the fight scenes are top-drawer, and it makes you wish that Alain Moussi would get the chance to go toe to toe with the likes of Iko Uwais and Donnie Yen.
The Greatest Showman: an original musical loosely based on the life of P.T. Barnum and his “abnormals assemble” crew. You have two choices with this film: enjoy it as a (very) lightweight piece of entertainment, or thumb through the catalogue of issues with its presentation as an actual ‘movie’. My biggest gripe is the songs – they’re all too similar and formulaic; designed by committee – starting with a quiet talky bit, rapidly build into a punch-the-air, feelgood and uplifting sing-a-long major-key chorus, then ending with a more emotional talky bit. Granted, they’re perfect for a musical, but each one is about twice as long as necessary and the core numbers are continually repeated throughout the entire picture. While it makes the most of the cinematic medium through scale and visual effects, it’s unbelievably stagey and theatrical; essentially begging for a live action theatre run. The story is wafer thin; it is the most positive spin on Barnum’s life told through very broad brushstrokes, and whenever someone is about to do a bit of real acting (starting to get vaguely emotional) they spontaneously burst in to song! The critic character is a laughably knowing pre-emptive jibe at how the film itself would obviously land; engineered to be popular with the masses but sneered at by critics – and I can understand both sides. Every family member, friend, and colleague that’s seen this has gone to the cinema for multiple viewings and subsequent sing-a-long viewings, yet the critical response is lukewarm at best. The Greatest Showman is hammier than a hog roast and cheesier than a fondue: it’s unashamedly naff, but is clearly plugging a massive gap in the popular and musical markets.
Three Billboards Outside Ebbing, Missouri: the mother of a murdered teenager goes head to head with the local town’s police department. This film tickles and jokes with you then WHAM, punches you in the kidney, again, and again, and again. I’ve never been in a screening where the audience went from rapturous crying-with-laughter straight in to shock, fear, or dread in a split second. Performance-wise, picking out an individual would be unfair as everyone is sublime: Rockwell steals his scenes with superb comic delivery, whereas Harrelson and McDormand show real heart, and damn near everyone else in the top-to-bottom dream cast brings their A-game. The direction is never in yer face, but it immaculately handles the comedy and emphasizes every twist, turn, and reveal that the ultra-tight screenplay has to offer (no line of dialogue is wasted). The plot is harrowing, yet it unfolds in such an anarchic way that you’re never sure what’s around the corner. The only complaints I can level at the film are that it has about 5 natural endings, but keeps chugging on at an even slower pace (and what’s with the midget obsession; there was no need for the character to be a midget other than the cheap laughs). Three Billboards takes the notion of a ‘Tragicomedy’ and pushes both aspects as far as they can go, making it an absolute rollercoaster of emotions for the viewer. Powerful, emotive, and raw; I wouldn’t grudge this film any of the awards that it’s up for.
Enemy [Mild Spoilers]: when a history lecturer spots his doppelgänger in the background of a movie scene he becomes increasingly fascinated by the actor. Quite a difficult film to articulate, this probably falls vaguely under the ‘Psychological Thriller’ banner. There’s a deliberately slow and intense build up, magnified by a doom-laden score that the intensity relies heavily on. This is completely Jake’s film, as we see him pull off playing two people, and then each character ‘impostering’ the other (Imagine Face/Off^²). Stylistically, there’s an intense amber hue for the duration, which I didn’t really see the point of – or understand. Naturally, there’s a lot of playing around with duality, repetition, mirrors, doubles, from the get-go, and although the film’s not explicitly wrapped up (the ending is a bit of a mystery/clusterfuck) there are a lot of clues and lines in there; namely that our lead may have a split personality. Definitely the least accessible film since he started working with ‘big’ names; this bleak, tense, and dark thriller is the perfect appetiser for Arrival; and lays out the “un film de Denis Villeneuve” style that he’s kept right through to his current, mega-budget films.
Possession (Original Cut): follows the breakdown of a relationship between an international spy and his increasingly disturbed wife. Highly stylized, the masterful direction immediately jumps out; the camera is perpetually moving, with long and involving shots that roam around the actors, thrusting you right into the middle of the powerful, visceral drama. The acting is superb throughout, borderline theatrical but it assists in dragging you further into the intriguing plot. The entire film has an unusual vibe that’s both quasi-religious and heavily-surreal – somewhere between arthouse and exploitation – aided by a phenomenally creepy score that is one of the most unsettling I can remember. Not without it’s flaws, by the 75-minute mark, I was wishing I’d opted for the 90-minute edit, as the film takes a lingering detour into an examination of the body, soul, god, chance, and faith. It’s also a movie that has echoed strongly throughout the years, with a lot of imagery and powerful shots “borrowed” from this, and some of the most photogenic Berlin buildings – inside and out. Capped off with a genuinely crazy, jaw-dropping ending this is a film that you won’t be forgetting in a hurry; yet is such an intense experience that you won be rushing to re-watch. Marginalized because of it’s supernatural and excessive elements, Possession is ripe for a retrospective viewing: almost 40 years on it remains a modern thriller/horror that was way, way ahead of it’s time.
Spring Breakers: to fund their Spring Break, a ‘curvaceous quartet’ of gals rob a diner, which leads them to a decadent gangbanger rapper called “Alien”. Not one to watch with your parents, this opens with some terrible dubstep, and bikini babes partying (and a record-breaking 30 seconds ‘til the first slow-motion beer-covered tiddies). Despite being so sensational in parts the runtime hopscotches between a) surreal mix of “poignant & brilliant coming-of-age moments” (some of the most authentic-feeling ‘college girl’ insights) and b) “handheld/realistic/hedonistic Girls-Gone-Wild-type shenanigans”. It uses a very peculiar – non-standard – cinematic language that takes a while to tune in to; feeling almost dream-like, or stream-of-consciousness. Something more akin to a music video or (trying my hardest not to sound like a wanker here) “Liquid narrative”. There’s a heavily saturated / neon-drenched / golden hour colour palette that bumps already strong imagery up to the next level. Although it sells the film short; Spring Breakers feels like Michael Bay, Gaspar Noe, and Nicolas Winding Refn (content, narrative, cinematography respectively) got together to create a subversive alternative to the coming-of-age genre. The pairing of director Korine and legendary cinematographer Benoít Debie has produced something so sensorial and peculiar that it’s impossible to articulate. Is Spring Breakers a great film? Doubtful. Is it an important film? Possibly. Is it an interesting film? You bechurass it is!