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Film Stars Don't Die in Liverpool (2017)
a cry/laugh/mellowcholly feast of a film
I FINALLY got to catch stars don't die in Liverpool and what an emotionally fuelled story it was.
I was swept up in a world dedicated to Gloria Graham's from the first moment we experience her getting ready for a show. Meticulous details are sewn into this crucial and telling sequence like the milk she drinks before a show the objects she cherishes and a music shift that happens when she puts her cigarette into the cradle of an ash tray - this can only be a cue for one thing. I knew nothing about Gloria Grahame before this film but minutes in and the second the camera made a foreshadowing focus on that cigarette; I knew this would be a story about how an actresses glamour and vitality would be punctuated by cancer.
Stars don't die in Liverpool isn't afraid to take its own make up off at points as the story takes sharp transitions between the glossed romance of nostalgia and the stark raw light of the present day. The story follows real life romance between a Liverpudlian actor (Jaime Bell) and the much older Hollywood actress Gloria Grahame as portrayed by Annette Benning. The film is based upon a memoir written my Peter Turner and the story is constantly dipping back into the past as the last days of the terminally ill actress are retold. There was a fascinating use of transitions as the past and present would be stitched together by peter walking through a doorway in the present day and arriving on the other side in a memory. Usually this shift in chronology would be triggered by a reminder of an event in the past and Peter would be thrust back into this moment. The story looks at moments when the couple meet and celebrates the unique pairing of the two. The film was more implicit in its focus on the significant age gap as it respected the relationship enough not to let it become a defining feature. Although I found some of the scenes emotionally challenging there where definitely joyous moments to be savoured. When the couple first meet in their shared house Gloria invites Peter in for a drink and they dance exuberantly around Gloria's flat in a beautifully uninhibited way.
If the source material is correct then I shall take all my hats off to Peter's family for being such heroes in the story. I think one of the true hero's of the tale is Peter's mother, portrayed by Julie Walters who delivered on her usual stunt of being completely and utterly perfect. You could feel maternal warmth emanating off her every line as if she was giving it to you personally. Walter always gives the most richly sincere performances and in this film it made for some truly poignant moments.
this film is a very worthy watch and one of its main delights is how Benning and Bell manage to achieve a rare quality; making a unique onscreen relationship feel real, nuanced and captivating.
The Florida Project (2017)
A hard cake to swallow but the icing is pretty
For me I didn't immediately click with the story but the quality which caused this barrier early on ultimately became of one the films main assets. This film is unique in its presentation of the events and whilst I tried to catch hold of a thread of narrative I soon realised the film is less of an actual story and more of an immersive dip into a very particular world. Once you become familiar with the films tone it is much easier to appreciate the piece as an observant piece of art. The film follows a community living within a low-cost motel struggling to keep a head above water in a world where the basic needs are met in a haphazard way. More importantly, the film captures the ingenuity from both the children and the adults to create good times and how they relish the freedom within a rule-less micro-society in which they live. The story loosely follows a young mother called Halley (Bria Vinaite) trying to keep up with her weekly rent as her charmingly anarchic daughter Moonee (Brooklyn Prince) turns the run down town into a playground and chance for exploration. A lot of the films energy comes from the exceptional performance by Prince who manages to capture so many qualities of childhood so perfectly that I found her performance to be almost nostalgic. Her performance was not just child-like it also expressed an inner maturity that comes from a challenging upbringing where no hardship is hidden. Halley at one point resorts to taking bikini shots in order to sell herself online and involves Moonee in fun of the photography process. Interestingly when moments like this occur the film doesn't tonally condemn her actions. What is presented is an interesting documentary-style of conveying the extreme and unhealthy parenting methods from mother Halley but without inferring any judgement either way. The film seems to shine a sympathetic spotlight however on all the characters through Willem Defoe's Character 'Bobby' who runs the Motel. Bobby is conflicted through his duty to collect rent and maintain order but is almost a vehicle for the film to express a strong empathy towards the characters who act out against the system but are unable to change their status. I think it is a fascinating element of the film that whilst everything feels uncontrived and raw the action is surrounded by garish colour and quirky backdrops. A lot of the shots in the film where taken from down low and often you where able to take a child's perspective in the scene. The choices made with lurid building colour's and clothes effectively show the world through a child's eye, viewing everything as an opportunity for imagination and adventure whilst remaining oblivious to the hardship of the real world. The detail in this film is breath-taking there are so many small touches made with props or script which make the events feel so real to watch. If this film was a picture you could zoom in for miles and still find details that make up this richly constructed world.
Thor: Ragnarok (2017)
This film was pure gold(blum)
It is one of those marvellous films that place no strain on your focus because it is relentlessly entertaining. It still looks very much like a marvel film but has somehow managed to achieve a superb balance of combining the dry humoured, quirky identity of a smaller Waititi film with the large marvel proportions. There seemed to be a different comedic set up in each scene almost like a sketch show and in general the film felt almost more like a comedy then an action film in terms of genre. It was really great to see Chris Hemsworth showing his skills as a comedy actor and it wasn't just down to the moments of genius within the written dialogue as Hemsworth shows he has a really funny instinct and great use of physical humour. A great quality of the film too was how meta and self deprecating the characters where and it gave the villains in particular more depth. This was particularly in the case of 'Hella' (Cate Blanchett). Hellas darkness and power are presented alongside moments that ridicule her failed attempts to demand respect. The film also uses its special effects in a spectacularly creative ways. When Hellas Hair turns to horns it is a beautifully fluid action that for some reason caused certain people in the screen I was in to exclaim "GO KATE" I don't think they necessarily thought it was the actress's personal skill, but I understand the sentiment. her whole performance was great! there is something about her which really commands your full focus whenever she is on screen. My only criticism would be I would have liked to have seen more Blanchet. I also really felt with this film that the SciFi moments where constructed with great tangibility. Everything in this film looked touchable and correctly weighted which is rare for a glossary high CGI Blockbuster. There is a visually interesting scene taking place in a festival for the Hulk and everything looked like a real life spectacle and yet had the convincing feel of a far away planet. I think what Waititi proves with this film is that he is very accomplished as an action director as well as with comedy as he uses the action sequences to showcase his creative ingenuity. In a flash back scene the texture of the action is that of an old dramatic oil painting in which a fight involving the Valkyries is taking place. The dramatic lighting design in this scene beautifully impressive. Whether a marvel nerd a Waititi fan a comedy snob or just someone who needs escaping into another world for a few hours; this film is well worth the watch!
Goodbye Christopher Robin (2017)
A true atmosphere of 'pooh era' loveliness
What 'Goodbye Christopher Robin' achieved best, for me; was it's ability to generate that childlike sensibility of entering another world within another time. Winnie the Pooh was a story I can vividly remember being transported to as a child and when the narrative in this film enters the Hundred Aches wood I could grasp that sense of escape just as vividly. it's difficult to really unpack the atmosphere of sheer 'pooh era' loveliness because it's a tingle on the top of your skin when you experience the light flares of the forest and enchanting music. The cinematography and music is at its most effective during the father- son woodland bonding moments. There is an effective sense of scale as the harsh scenes of war and PTSD are contrasted with the transformative yet small moments too. When Milne is having to parent alone for the first time and serving dinner he becomes animated and present for the first time in so long and starts bringing the animals personalities to life. One theme the film manages to capture really effectively is the important role art and imagination plays in dark times. There is a constant atmosphere shift in this film distinguishable by 'slightly saccharine flute' and 'foreboding oboe' for when a dark scene finds the light - and with very wonderful visual transitions. The stories we all remember are interwoven in a 'Saving Mr Banks' kind of way, in that they seem to bring an extra layer of meaning to the original stories. There is a really magical moment when snow starts to fall upward as they are coming out of an imaginary world and I thought there are many visually creative moments like this that really worked. Strangely enough however the moments that I was less convinced by was the negative transpiring of Christopher robins fame. I felt like they rushed into this plot point and made Christopher Robin very quickly object in an abrupt 'first world problems' tone and I was aware of the script slipping into a more cliché traps. The scenes during 'Winnie the Poohs' success showed a very appealing and visually charming life style it was difficult to experience the building of pressure and the robbing of childhood that was spoken about. Overall I would praise the beauty of the film, the ingenuity of its transitions and the sobbing noises I could hear in the auditorium around me at the end.
Blade Runner 2049 (2017)
this film appreciates lurid yellow almost as much as me
I found the atmosphere of the 1985 'Blade Runner' uniquely unsettling yet strangely moreish so I was delighted to feel that many qualities of the Original had been seamlessly carried over. The film managed to really capture the chilling magnitude of the over industrialised dystopian world. There was an eye feast of fascinating sculptures and settings. What the film achieved so well was very cinematic contrasts. The early on flight sequences show the domineering shapes of the city and the air itself is muddy with pollution. An effective backdrop for the lurid, neon lights of the leering Japanese commercials. When 'K's mission takes him to the Wallace Corporation the murky landscape changes to sharp clean architectural lines and set choices that are impressive works of art. The film managed to achieve an extraordinary art-house feel despite its blockbuster proportions. I know what will not go by unmentioned in most reviews; the frequency of breasts in this film. In my opinion I don't feel that the film was misogynous in tone for its use female nudity and subservient artificial intelligence. I think the points when woman where sexualised, where grotesque in tone to highlight how our future world has the potential for excessive objectification in its quest to fulfil an uncontrolled appetite for fantasy. It also fits in with the dystopian sense of excessive up-scaling. The twists and turns of the story kept my mind enticed and I didn't notice the sneaky extra hour added to the conventional running time. The plot manages to smartly swerve any predictable plot points. The creativity alone would have kept me satisfied but the film for me managed to deliver the on all elements. 'Blade Runner 2049' also has a fantastic score which pulled me fully into the story and I could feel the mechanical tonality and bass reverberating through my chair!
Mother! (2017)
Haunted most by the regimented linen draw
I had read enough to be deterred on reasonable grounds from watching this film so I went in with my expectations around shin level but exited to get a slice of the scandal. The conditions where perfect I was on the front row of an impressive screen with sound quality reverberating in my bones I was completely thrust into the mother house where the whole story takes place. The audio in this film is very effective, even the quieter sounds get eerily under your skin. For anyone who takes to YouTube for the ASMR videos, then the noise quality of Jennifer Laurence mixing paint shades will massage your ear drums royally. J-law's character 'Her' (as credited) represents an purely natural entity with garden of Eden updoo's and clothed in crisp Cotten whites. The grading and texture quality of this film early on is almost oily, like a still life painting - the serene calm before humanities gory metaphorical decline. Very early on we see her mixing powders and spreading them lovingly on the wall and giving the same attentive warmth to her cold husband. The more we see her nurturing the house the more we feel her becoming dangerously intertwined within the very fabric of the home. There has been question over the genre of this film, whether or not it slots into the horror genre. I certainly felt a bizarre discomfort during this film. Not just because 'Her' life is snatched up by chaos but because of the lifeless, inescapable beige prison 'Her' was creating around herself. The moment she opens the militantly ordered linen draw it makes you feel the sting of unease when even just one unannounced guest arrives, let alone the horrors to come. The unresolved conflict for me in this film was how the seemingly picturesque woodland house was lacking in humanity but when the humans arrive a different kind of horror erupts and you get a sense that there is no optimum ground to be found within this story and this made me feel relentlessly uncomfortable. 'Mother!' Is very much like watching a piece of instillation theatre where it doesn't seem like there is a substantial plot but it certainly feels like you are in amongst the escalating action. I felt a certain degree of motion sickness coming out of this film as the camera seems to make a lot of quick spiralling shots. It almost almost mimics the snapping round of the head when you hear a sound over your shoulder. Very effective, but also very effective in making me feel slightly woozy. For me; 'mother!' felt like something I hadn't experienced before, it was fearless and left me exhausted and for that I have to give 'mother!' my respect.
It (2017)
Chessy like a cheese sandwich made with an entire wheel of cheese.
I went to see 'IT' armed ready with the criticism of the film not being scary enough, and tried to view it as suggested- a mildly chilling adventure story. The problem with changing my point of view to suit this film is that I could really sense the makers trying like a dad in a Halloween costume to scare the audience. Since the films monster lives and thrives of fear it seemed strange to me that the film itself didn't engage the concept of generating suspense. There were many moments where the changing manifestation of IT would pop out of nowhere and try and be 'scary' with out much lead up and I just wasn't buying it. These scary creature sequences had my mind distracted with thinking 'this is a person in a costume doing a silly walk'. I think it was definitely a fault of the film to show too much and too quickly. I was really hoping for the, 'breath on the back of the neck' atmosphere you get when the impending horror slowly creeps up on you but I was was almost never transported into the world where these threats exist. There were definitely problems with the script. Whilst I found many of the characters likable and interesting; I did find that I wasn't convinced in people's reactions to events in the film. Moments after something grotesquely horrific happened the characters seemed to make miraculous emotional recoveries. The film had the sensibility of a cheesy 80's quest film but without the charm of it being actually made in the the 80's. If this film was made a few decades ago, i'd probably have grown up fondly ignoring the errors however, it wasn't and therefore I cannot ignore the clunky flow of the film, the lack of fear and the cheese on toast that was the dialogue. As much as this film wasn't for me I do have to praise how it kept me entertained even when sceptical as the worst thing a film can be is boring and 'IT' never was. I also thought there was an amazing craft behind appearance of 'IT' as he was beautifully Gothic looking like an Pagliacci clown, and was striking with every appearance! I also really enjoyed the performance of Sophie Lilis who had a captivating charm about her and I thought her challenging range of emotions where convincing. What 'IT' does have going for it; is a really great score and an empowering message about strength, bravery and uniting as a team.
American Made (2017)
garishly top class colour grading
Whenever there is any kind of historical, political or cartel speak in a film; my brain turns to soft cheese, and so I cannot rely in great depth the full plot of American Made. I think however this fact makes it even more significant that I LOVED this film. I have watched so many dull and uninventive films recently so I may find myself a bit overzealous in my review but I did have fun! Right from the first moment; the shots where visually interesting and snappy. Barry seals' restless cot pit antics comically establishes the job apathy and dangerous gusto that leads to the characters illicit journey. Tom cruises skilled but naive character becomes swept up in seemingly impossible missions (sorry I just had to) to ship illegal goods over seas with the constant threat of death and incarceration. The film however doesn't take itself too seriously and at some moments becomes a bit ridiculous, which only added to my levels of enjoyment. There where many creative, teetering on surreal, features of this film. The highly saturated shots in the first half made everything look stylised and vibrant and even in a very functional shot there is plenty of lurid feasts. The garish early on shots I think where to mimic the hyper-real grading of 80s video cameras. As the film progressed the colour quality got progressively more modern and I thought this was a very innovative way of presenting the time frame of the film. My favourite section was the over the top montage with a spectacularly excessive classical music remix playing as Barry and his wife are dining out on their wealth in the most ostentatious ways possible. Another very mention-able part of the film was Domhnal Gleeson and his charming, weaselly performance as the CIA agent trying to entangle Seal in the films daring operations. To be fair to Seal if Gleeson had approached me with those levels of biting Charisma I probably would have been shipping Crack and Weaponry to Miami myself.
Wind River (2017)
I felt so empty after I had to have a share bag of M&Ms
Half way throw watching this film my sister turned to me and said "Is it freezing in here or is it just the snow?". Now I, too was feeling chilly to the marrow of my bones but less to do with the snowy visuals and more to do with the relentlessly sombre atmosphere of the film. I would go as far as to say I left with frost bite of the soul. I have heard it said from critics that the desolate portrayal of this story was perhaps daring and effective but as an audience member I felt stretched to my limits without moments of relief. The beautiful wide shots of snowy Wyoming where reminding me that I'd rather be watching an arctic episode of Planet Earth, at least our David Attenborough actually enunciates. One big issue I found with this film was that I couldn't understand what the characters where saying! The audio quality just wasn't sharp enough but even when I was understanding I found the conversations about grief too over-laboured. I think in order to establish real poignancy in these more emotional scenes there needs to be some light and shade in the films presentation. I think if the film had established some contrasting scenes with moments of comedy or warmth then I would have felt more emotionally invested in the film during the tragic moments. I don't understand why the film was presenting as a murder mystery because in reality the reveal at the end felt like a presentation of the information we already new from the start.
The Limehouse Golem (2016)
"ewww" and "ooooh" in perfect measures.
If you have a yearning for a juicy Gothic murder mystery thriller then I would insist you catch 'The Lime-house Golem' or if you are my dad 'The Lime-house Gollum'. You do get a baptism of fire with the more extreme moments at the start; however the film quickly establishes an effective contrast between the stylistically daring murder scenes and the warm flamboyant theatre antics. There was almost an atmosphere of live-theatre about the film and there where some very exuberant performances; Eddie Marsan and Douglas Booth where particularly entertaining. This film never lets your mind leave the story as the pace is very urgent and captivating and I was very absorbed by the mystery. There is a real Gothic beauty about Lime-house Golem and It does a great job of capturing the atmosphere of a grisly Victorian London. I would have killed (figuratively speaking) for a rummage around the costume department for this film as it has a spectacular use of costume and design and a great command of colour. There was a greenish hue for the scenes that where chillier in tone which clashed effectively with the orange tinted glow of the theatre scenes. Before going to see Lime-house Golem I had read that the identity of the Golem was obvious and this caused me to second guess my instinct and predict wrong. (Thank you critics for your assistance.) I do feel however that whether you guess the ending or not; the reveal was very succulent because it made complete narrative sense and you didn't feel cheated by having a tenuous character be revealed as the murderer. I thought the stories interlaced in a really engaging fashion, and I was going "ewww" and "ooooh" in satisfying measures.
Atomic Blonde (2017)
Atomic-I don't understand what is going-onde
I was VERY intrigued about seeing David Leitch's Atomic Blonde because the trailer was a scrumptious collection of garishly coloured and edgy shots and my artists beady eyes zipped straight down to my nearest big screen.
-However- My experience of the film felt very much as if I was wondering round a retro-contemporary art exhibition, thinking; "ooh look at the cool vibes from this bathtub full of ice, still why are all the information plaques in Braille?" I had no idea what the plot was doing one minute to the next. As far as I could understand the premise of the film is this; a spy agent called Lorraine is on a mission with James-rogue-chic-Mcavoy to retrieve some codes in Berlin, before the baddies did bad things with them. There where so many stylistic visual moments that I strongly appreciated but I felt isolated as a viewer because I was constantly confused by what was happening. The stakes didn't feel high enough to be able to experience the tension of the action that makes you urge the protagonists to succeed at their mission. To be fair, I didn't fully understand what they were trying to succeed at. I did think however that Charlize Theron, Sophia Boutella and James McAvoy had a great energy to their performances and were very watchable start to finish. I think Theron tackles the action sequences very masterfully, she has an incredible ability to draw your full attention. The costumes and design of the film were bold yet minimalist. I thought Therons' edgy renegade look was well curated so much so it culminated in me purchasing a black p'leather skirt on my way home. There were a few definite moments of humour in the film and when they happened the frown of confusion on my face settled briefly. I thought the comedic moments seemed to be much more coherent then the plot in general. One section of the film I was impressed with however was the long shot of the stair case fight scene, It was complex and evidently took a lot of skilled choreography and filming techniques. My ambition now is to be as athletic and unstoppable in heels as Charlize Theron.
Logan Lucky (2017)
The names Bang, Joe Bang
I'm sure there was a context to understand about Lucky Logan and perhaps meaning to unearth but what I got most from Lucky Logan (in the most complimentary way possible) was good fun! It wasn't a challenge to get drawn into the plot despite not completely following all steps of the Charlotte speedway heist. The pace of the plot was very punchy and did keep me consistently entertained and I don't mean trashy entertainment I mean high nutrition well shot, written and cast, entertainment! I, like so many, am guilty of unconsciously assuming Daniel Craig's repertoire to be pure 100% undiluted, Bond. So I was magnificently satisfied with Craig's character 'Joe Bang' as the actor has a strong comedic instinct and physicality about him. I was weirdly energised by Craig's portrayal of this eccentric bomb virtuoso, and I hope the world will be graced with more Craig comedies. I thought that all the characters worked tremendously well together like a good recipe. Tatum played the flawed yet doting and determined dad with real conviction and had a really endearing energy with his on screen daughter. Mellie, the sister was also a really great character! She had all of your classic visual Hollywood signifiers of a ditsy female with her transparent tops and short skirts except FINALLY this wasn't exploited by the film and the character herself was sharp and savvy and had a respected authority in the film.
I thought Lucky Logan had a great sense of visual narrative in details like the painted cockroaches, jelly beans in the bomb and the repeat appearances of Joe Bangs favourite; two hard boiled eggs and salt. There was some really well composed shots particularly ones including the strangely artistic stripy prison onesies. I thought many steps of the Heist where very comic and creative and kept me laughing and engrossed throughout.
Dunkirk (2017)
I came out of this film with no nails left to bite
I would prescribe that anyone going to see Dunkirk bring with them 1) a defibrillator 2) strong anti perspirant 3) a stiff drink for afterwards. (Oh and some tissues for the end when Elgar accosts your already tattered emotions!)
Going into this film I was emotionally under-prepared for such a fiercely evocative experience! The film is an immediate sensory explosion and has your heart beating at an alarming rate pretty much within the first 5 minutes. When I came out of the cinema I had bite marks in my knuckle and here's the magic formula for how you put exhilarating and slightly cruel levels of tension on your audience. First off the music has a constant ticking beat which seems to slowly become more frantic as the film progresses. Han Zimmer manages also to interweave an almost mechanical quality into the score which ramps up the tension especially when there is large scale damage. The quality of the ambient sound and shots made me feel scarily involved in the unrelenting Dunkirk conditions. The shots were so wide and dynamic it felt at times like virtual reality. There are three different stories that cleverly interweave as the film progresses; Land, Sea and Air. Land is explored over the course of a week, the sea explored over a day and Air over the course of an hour. As the stories weave together you are often pulled between three different perilous scenarios. I love how Nolan play's with around with time lines in his films and I thought it was a very original concept to have three different time frames in one film.
Dunkirk did an impressive job of capturing the immensity of the damage as we experience ships being torpedoed and sinking from various terrifying angles and perspectives. In amongst these large scale sequences though the film also hones in well on the micro moments. There where some beautiful facial reactions that expressed real depth of emotion without the need of dialogue. I think the film had an interesting presentation because as Christopher Nolan said in an interview he wanted the whole story to be very present tense and there was no focus on backstory. Some people disliked this approach to character presentation but I thought it worked well for the film that everything was happening in the moment. There are some very breathtaking sky shots in this film and when the planes where diving I can say I felt on the cusp of queasy. Definitely catch this film on a huge screen with an all guns blazing sound system as you will feel the bombs and music in your seat! A fantastic film and a very emotional ending (bring tissues or at the very least a porous sleeve)
Baby Driver (2017)
Edgar got this one 100% wright (dya see what I did there)
There was an infectious energy about the film the moment it started. SO many films have opening scenes which have my mind peddling hard to try and become absorbed by the story but with Baby Driver, I didn't have to put any effort into getting completely and utterly sucked in!
It was definitely like watching a musical without singing numbers and the beat and theatrical choreography of the film felt like something I hadn't experienced before. I think whilst the film has a cracking script I thought that what the film explored most was ulternate forms of communication outside of scripted dialogue. There were poignant and humorous moments with sign language and often the lyrics in the songs would say something of a scene the actor wouldn't have to.
It is a familiar feature of Edgar Wrights work to max out on visual communication and it was great to see Baby Driver upholding this trade mark. As an audience member who is not a natural fan of the car chase genre, I was actually very taken with the action in this movie it was very exhilarating and creative. The characters are so well written and watchable, it makes the stakes and tension much higher when experiencing them engage in an intense car chase. This film has many experimental uses of music and it's truly refreshing to see this kind of innovation with film making.
Kevin spacey has great presence as usual, his characterisation was deliciously layered and has a suave atmosphere about him. I also enjoyed the energy of Lily James' performance it had a buoyant innocence about it and she was great to watch. I've often heard it said that Edgar wright has a presence in his films almost like an extra character and it is very true in the case of Baby Driver. You can almost feel him conducting the film as it flows and cracking jokes from the back seat.
War for the Planet of the Apes (2017)
A tidal wave of khaki and brown and angst
I personally struggled to stay motivated with this one. Whilst we should applaud the magician worthy skills of the CGI technicians, I found myself emotionally disconnected from the story and my eyes where craving that other 75 percent of the colour wheel by the end.
Structurally I think it is always a rocky choice to put a fight scene at the very start of the film as even in the case of sequels we are not as emotionally invested in the outcome of the characters and you loose the important fight scene tension. I needed the person beside me to check my pulse for how little I felt for the opening battle. If we had seen some touching exchange between ape families with some heartfelt music I may have felt more about the outcome of the opening 15 minutes.
Planet of the apes doesn't offer much in the way of relief from the dreary colours, angst and rain. The film doesn't have much of a sense of humour about it other then the token laugh an hour character 'bad ape' who was charming but not enough to save the film for me. I don't want to let it go by unmentioned though that I think Andy Serkis is Devine and endlessly watchable. I think that the sincerity within Caesars portrayal was mesmerising. It was almost a well crafted duet between Serkis and the breath taking capabilities of modern CGI.
Unfortunately I'm gonna have to return to the small matter of me not enjoying the film. Another point I have to made is that I felt that the moments of tenderness where at times a little contrived. The film needed more poetry as a whole but the few attempts at a heartfelt scene for me where a little tenuous I don't wanna include spoilers but you might agree that the 'sad' scene with the 'reprised blossom behind the ear' didn't quite have the right foundation for actual poignancy.
Right at the start of the film a drunk man arrived late and made his way to his front row seat across the front of the auditorium with his bottle of water held high in a victorious manner (perhaps he sneaked in) he continued to walk with vigour until he collided with the wall opposite. I know that the people I watched Planet of the Apes with also weren't particularly taken with the film because when we filed out the cinema the drunk man was the first and only thing my friends wanted to talk about.
Laggies (2014)
A coherent delight!
I was really surprised by the film 'Say When'/'Laggies' Something about the out set lead me to harshly expect a personality-less film. I was delighted however when I realised I was enjoying it from the word go. I think it was refreshing to see Keira knightly holding court as a brazen socially rebellious character as I have literally only really seen the pouting in corsets version of Knightly (entirely my fault) I now realise she has the gumption and watch-ability of a leading woman.
I'm not American so it's not watertight for me to say that the accent was spot on but it felt confident and I believed it! When I read the synopsis I was intrigued to see it because I love a film about unlikely partnerships it is the ultimate way to pull out more unique details in a story and the script was great! Sam Rockwell who played the scathing Lawyer dad was lathered in wit and I thought his performance was deliciously captivating. His character was a brilliant father figure both responsible and loving but really suave at the same time. Moretz also performed well in her role I really warmed to the dynamic pairing of her and knightly - it was smart casting. Throughout I felt the film had some great observations and moments that I could really connect with as the film draws on themes of late blooming and not following life's script the way our peers around us do. I did feel however that the resolve at the end wasn't as succulent as I'd hoped and perhaps a little self indulgent but what I did feel at the end was that I wanted to spend more time with these characters as the script and performances where distinctive and believable!
Mindhorn (2016)
I laughed my eyeliner down my face
Mindhorn is the ultimate treat for anyone who has an appreciation for ludicrous humour. The film is set on the Isle of man which in my eyes sets the plot up for greatness as the clash of action and crime with understated countryside life is always a winner for me! I love to see the quaintness of British life being fondly ridiculed by a silly parody action sequence! Mindhorn is immediately funny and the 80s Mindhorn montage sequence reached both people who feel nostalgic about the 80s action genre (my dad was roaring) but it also tickled a 22 year old like myself. I love the parody form and Mindhorn's purposefully cheesy devices landed with rip-roaring comedic success.
The acting in this film was spot on because the actors had amazing command of physical humour and timing and the script didn't scrimp on funnies! Visual comedy is a really intelligent and inventive form of humour and the mark of a good script. Mindhorn has some brilliant moments of this and you can clearly tell from watching the film that the art department had a whale of a time! l also thoroughly enjoyed the use of garish colour in this film there was a strong use of carefully considered yet brazenly bold costumes and set. A piece of art as well as a good comedy! I'm sure I could pick faults but because I laughed the entire way through I don't think I need to.
This Country (2017)
Many a laff to be had
I tend to find I don't laugh out loud when I'm watching comedy's on my own but I was crying with laughter sat by myself through every episode and for that I just had to give it a ten. The series writers brilliantly capture a specific region of the country with characters very unlike myself, and yet I still found the dialogue really observant. The humour was often that great mix of being silly yet perceptive. I really like how understated the settings and story lines where it really brought out the strength of the writing and performances. I also thought the structure of each episode was really strong as each one came to a satisfying conclusion often with an emerging reference to something that was said or done at the start and through out there was never a line or comic moment wasted!
Life, Animated (2016)
a very powerful use of art to words
I love how art can be used as a tool to capture real life stories and I always love a story that affirms the important role films play in our lives and 'Life Animated' achieves this so brilliantly. I felt incredibly effected by Owens story at may points a little teary! This is testament to how well the journey is retold. The documentary creators, family and Owen gave me as an outsider an emotional insight into to a condition I'd never connected with or fully understood before. The animation sections within the film were breath taking and beautifully illustrated. The flow of the various mediums were well created as home videos would flow into animation that would flow into present day filming and I think it is this careful sequencing which makes the story so poignant to receive.
20th Century Women (2016)
Brilliant!
What I loved about 20th century women was how evocatively it built the atmosphere of the time it was representing. The film was a sensory mood board of features from the years it captured and I really felt I was experiencing a passionately curated dip into the past. The films keeps up the momentum of engaging narrative, music and visuals and even the small intimate moments captivate the attention. I always love an unconventional pairing within a story and there was a sensitive exploration of relationships within this film which where fascinating because of the clever combination of differences. I Loved the matriarchal mother Dorothea she was a brilliantly tough sharp minded woman but her character highlighted the repressively resolute attitudes from the older generation within the set time of the film. In one scene, even an older woman as forward thinking as Dorothea didn't want to address the stigma of menstruation or the freedom women should have to talk about sex when two young female characters try to open up, and it really reflected the teething period of quickly changing ideologies. The film was a refreshing break from all the motivational career pursuit films, as the lives of the characters seem happily enriched through the exploring of literature and art in their own homes. The end sequence was unexpectedly emotional and gave a lot of wisdom to mull over!
Hunt for the Wilderpeople (2016)
Taika Watiti is a genius
I was initially concerned about seeing this film because going to the cinema having forgotten your long distance specks can turn a fresh 2016 release into an 80s home video. It wasn't so bad though as I was the keeno in the front row and I didn't notice that the film was slightly fuzzy because of how relentlessly entertaining it was! There was something instantly inviting about the plot and the well curated quick shots, quirky style and humour had won me over within the first 5 mins. Taika Waititi continues to deliver the treat that is the dry kiwi sense of humour which was on tremendously high form and I was roaring with laughter at many points (causing a rather niche pain in my collar bone). This films style of humour is that winning combination of being both ludicrously silly and intelligently observant. The characterisation of tough yet quirky farm lady Bella will warm every ventricle of your heart! We only see her for the first 15 minutes of the film but in that small time frame we become very fond of her eccentricities, and the relatable familiarity that comes from the details in this brilliantly portrayed character. She is a refreshingly strong female who I feel I've been waiting so long to see depicted so triumphantly! Oh how I love a good old unlikely protagonist. The gorgeously rotund lead character Ricky was portrayed amazingly by Julian Dennison. The character was charming in his errors. He is written off at the start for being a useless foster home reject and then as the adventure unfolds develops a strength of character that retains and celebrates his differences at the end. The clash of contemporary trend in this movie with traditional raw hunting life was a fascinating feature of the film. Whenever there is modern references within a film it generally falls flat as a embarrassing bid to be accepted by young audiences, but this film tackled up to date references in a very switched on way! The film was a sarcastic adventure tale of an unlikely union between two of society's rejects one old and bitter the other young and naive which allowed for such poignant chances for the characters to learn from each other. The film definitely doesn't lack for moving moments and because of how successfully sensitive the film seemed to be in capturing the human condition through humour I just knew the film would expertly deliver on the inevitable emotional scene! (which yes defiantly stole a tear or two) I would definitely recommend this film if you are deficient in genius references, beautiful New Zealand landscapes, and some tear shed attributable to both laughter and mild sobbing. It is not one to be missed!
Fantastic Beasts and Where to Find Them (2016)
couldn't warm to fantastic beasts..
I was hoping to feel impressed by this film. We all cherish the harry potter world I think because there are so many warming intricate details that make the story feel real. Fantastic beasts -in my opinion- however failed to be as inventive or as detailed it felt like the up-scaling had lost some of the intimacy and I didn't feel attached to any of the characters at all. I definitely feel that I would have rather the story happen on a smaller scale and that the the world within the film establish itself, because at times it felt negatively like a glossy block buster. I said I wouldn't get stuck on drawing comparisons BUT. The Philosophers Stone though. Even if I had an extraordinary amount hands I still wouldn't be able to count on my fingers how many times I have seen the 1st harry potter film. It is great! I wouldn't however, feel motivated to watch Fantastic Beasts again. I think the fist harry potter film is considerably better even though within this film there were no impressive graphics or big action sequences that the fantastic beasts film relies upon. The world we entered in the Philosophers stone feels magically absorbing and the pace of the narrative in the first half of the film gives us the space to to get to know the amazingly well written characters, as fans we are pleasantly convinced by all of it! I was expecting this same tone when I went to see fantastic beasts but I felt very alienated by the action in this film which wasn't inventive enough to justify itself. Watching Fantastic Beasts kind of felt like watching a friend become filthy rich and because of it loosing some sense of their personality. I also felt that some of the darker scenes with Credence and Graves wasn't developed so well. Both Farrell and Millar are amazing actors but something felt a bit off about the scenes. I don't disagree with the actual content being uncomfortable to watch as I like to be effected as an audience member in many different ways! I just felt it was executed a bit awkwardly and it could have been better. There are good things I could say of this film but they are obvious merits and I am not feeling motivated to detail them. Obviously costume - FAB. Set design - NAILED IT. The rain scene I thought was very touching and I liked Queenie Goldstein she was exquisite! I really don't want to neglect mentioning our Eddie but I don't have a lot to say because despite him being the only person who should play newt and doing a scrumptious job of the characterisation, I wasn't captivated by the story around him and so I feel unsure how I feel about his role within the film, but my love and admiration for Eddie remains undying!