Hotel Artemis (2018)

hotel-artemis-poster

It pays to get care in this directorial debut from ‘Iron Man 3’ writer Drew Pearce, but did I really care that much about the film? Well, it certainly boasts a talented line up and story potential but it doesn’t break free from being a generic and an almost online streaming kind of movie.

After a botched robbery, the criminals led by Sherman (Sterling K. Brown) head to a members only location in Los Angeles. Hotel Artemis is a hotel and hospital establishment run by Jean (Jodie Foster), that is specifically designed to cater only the crooks of society, to keep them away from police attention. However, LA kingpin The Wolf King (Jeff Goldblum) is on route and one of the members have something that belongs to him.

For a start, that aspect of the story also featured in the trailer never seems to come to anything, the King of Wolves never really gets to grips with that missing item because he has his own problems to deal with. The plot itself also from Drew Pearce finds itself located at a cool starting point, what with a dystopian LA of 2028 providing futuristic visuals and an underground means of operation that’s quite interesting. Sadly, the film doesn’t become as engrossing as it could have been and feels like a fun watch, but a forgettable one.

There’s dialogue within this movie that sounds like it’s come straight out of the Roger Moore era of Bond, with sign off lines that are cheesier than a cheddar block. Thanks to the designated rules listed by the Artemis, any promise of action is left til the dying moments, which does make the film somewhat less exciting to get through. Thanks to the cast though and some blasts of poppy music and a thankfully engaging score from Cliff Martinez, this film doesn’t fail too badly.

Jodie Foster is on top form as the nurse of the joint, she totters around and as the main centrepiece she’s a brilliant presence. She brings her character a sweet anxiety and a nice homely if not shady level of care. Sterling K. Brown is a fine actor and a charismatic chap but he doesn’t get much to do in this and he’s just an uninteresting character to follow. Dave Bautista destroys any rule breakers with great ease but shows he’s more than muscle, acting nicely opposite Foster and providing his orderly character touches of compassion. Charlie Day does more of his usual shouty stuff and Goldblum is underused. Sofia Boutella plays Nice, a for hire killer and she’s seriously bad ass, showcasing awesome skills of chopping bad guys down and cloaked in her thigh high sliced dress she looks like an Electra or Red Sonja and she’s a talented, fierce actor that deserves a leading role like that.

If anything, ‘Hotel Artemis’ tries throwing a bit too much of everything into the mix and becomes overcooked. There’s flashes of something special but it never checks in to those heights.

6/10

Advertisements

First Reformed (2018)

first_reformed

The writer behind great and iconic films ‘Taxi Driver’ and ‘Raging Bull’ has, it’s fair to say, had quite a run of middling to poor releases but this recent drama has gained lots of attention and acclaim. It’s a slow-burning watch that sheds light on Paul Schrader’s quality scripting of central figures facing conflict.

Ernst Toller (Ethan Hawke) is a reverend at the First Reformed church in New York, a building soon facing its 250th anniversary. In the build up to this, Toller begins keeping track of his thoughts in a journal for a year. He also gets asked by church-goer Mary (Amanda Seyfried) to help counsel her husband Michael, who is becoming isolated through his strong views about global warming.

In contrast to what a lot of people seem to be saying, I found the first 90 minutes or so of the film to be the strongest. The final 20 are indeed out there moments and give the movie a bold spiritual identity, but I liked the gentile almost unnerving pace of watching the reverend’s character being set up and then dismantled as his paths and beliefs cross with Michael.

This conflict of belief makes for an engrossing watch and Schrader keeps the majority of scenes in a static, square aspect ratio of 1.37:1. This screening gives the film a vaguely claustrophobic feel, his decision to have little-to-no non-diegetic sound also adds a theatricality to the movie, as if they’re playing out these unexpected turn of events on n intimate stage. It’s only as the final minutes arrive that the camera becomes more animated, circling around characters and moving more than it had been, this works with the dramatic interpretative ending and makes the choices of Toller that much more elevated.

‘First Reformed’ does have transcendent moments which have us literally floating through the beauty of Mother Earth and the consequent destruction it bears, thanks to the actions of the human race but it’s this moment that the weighty climate change theme becomes too on the nose. However a scene between Toller and Michael discussing the horrors of pollution, deforestation etc is brilliant; it’s fuelled with bitterness from Michael and struggle from Toller as he worries for the future and questions his faith.

Amanda Seyfried excels in a turn as a grief-stricken wife bearing a child. I’m sure it’s no coincidence that she’s called Mary, as Seyfried plays a comforting welcome presence to the toils of Toller’s journey. Their pairing certainly takes unpredictable turns but she and Hawke act the binding of their souls well enough to almost forgive how annoyingly the film took me out of the story by the end. Ethan Hawke is quite hypnotising as this pastor facing near Travis Bickle levels of anguish. He never over eggs the performance, ensuring the subtlety of Toller gives him that shaky edge of instability and his problems become a believable oil slick on his life.

If you don’t like slow films…or like Trump, you don’t believe that climate change is a thing then this emphatically underlined story of faith, loss and a parable for the modern era with politics and global warming, is not for you. Aside from a hugely disappointing ending, this is a film that’s thought provoking and will stick with me.

7/10

Scary Movie 5 (2013)

scary-movie-5-poster-scary-movie-40628975-351-500

My ears hurt and my eyes are bleeding. This truly is a scary movie to watch unfold, with jokes that are scarily bad and performances that go past exaggerated silliness to downright painful.

Jody (Ashley Tisdale) and her husband Dan (Simon Rex) go to collect the children of Charlie Sheen after he died. As Dan is their uncle, they are allowed to keep them but back at their ‘Paranormal Activity’ CCTV laden home, an entity known as Mama begins wreaking nonsense and through spoofing of ‘Black Swan’; Jody wins a new friend to try and help get to a wooded cabin and put a stop the evils of the spirit.

The ‘Scary Movie’ franchise was never a golden series anyway, but I did enjoy the first two for the sheer bonkers yet smart angle of ripping apart tropes from the horror genre. It’s no surprise this fifth instalment was the weakest box office performer and it’s likely killed the saga plus the tiresome parody genre that was spilling over into lunacy about 10 years ago. The fact that original players like Anna Faris and Regina Hall aren’t on board either doesn’t do this film any favours.

David Zucker and Pat Proft throw in ‘jokes’ from punching children, partying hoovers, masturbation gags and a baby on fire with many other misfiring attempts at humour in between. The entire run of this film is an ordeal to get through and it made me sigh in exasperation many many times. The fact that even the bloopers in the credits aren’t funny shows how much this movie hurts your brain.

The first two films of the franchise managed to keep their sights on just a couple of movies to spoof, whereas this one terribly riffs on multiple films whether they’re in the horror realm or not. I didn’t laugh once, a chuckle was a feeling I almost forgot could exist, as this groan inducing nightmare kept on forcing out dud joke after slapstick after toilet humour after dud joke.

An outtake with Tisdale getting flustered with her lines and saying there’s “so many penises” followed by an off screen voice retorting “welcome to Hollywood” showcases the amount of juvenile genital based stabs at comedy, moreover this small exchange is more skin-crawling thanks to the weight of Weinstein producing this movie and what we know of the man. That was the scariest part of the entire feature.

I honestly don’t get this film and how people would have possibly enjoyed it in cinemas, it’s like watching a tired zombie trawl through lame pop cultural gags and wildly unfunny horror parodies.

1/10

The Incredibles 2 (2018)

incredibles

After almost 14 years, the supers are back! It’s the one Pixar movie that everyone (well definitely I) thought deserved a sequel but was it worth the mega-wait or should they hang up their masks for good?

Kicking off where the last film ended, we see the Parr family aka The Incredibles try and put a halt to the fiendish plans of the Underminer. The consequences of their actions put more strain on the legal battle of super-powered individuals but Winston Deavor (Bob Odenkirk) who works in telecommunications, is keen to get heroes back in the spotlight for good and starts this idea by getting Helen aka Elastigirl (Holly Hunter) to prove that supers shouldn’t be hiding in the shadows.

It was always going to be interesting to see how the animation heads of Pixar would fare creating a follow-up to their beloved 2004 feature, more so because of the comic-book movie saturation that is filling up cinemas. Brad Bird does a spectacular job in directing an animated superhero adventure that feels fresh. It’s a hugely exciting film to watch and it zips along with such breakneck speed as if you’re taking an adrenaline shot.

Bird also writes the story for the next phase in the Incredibles ongoing journey and though they’re still at the same age, the family has certainly got plenty on its plate to keep the film from feeling repetitive. Admittedly the progression of the plot is fairly predictable, in terms of the big baddie reveal being no surprise but that does little to put a dampener on a truly colourful and enjoyable movie.

Elements of how the world is today; our obsession with technology becomes ripe for the picking and the plot plays with this screen-happy culture very well. The constant tug of war with the legality of the superheroes’ presence is explored further and makes for a deeper thread running in and out of the family dramas and Elastigirl led antics. It’s refreshing to see Helen be front and centre and show off her skills in the field. The house bound tribulations of Bob trying to juggle stresses of homework, an adolescent girl and a baby developing jittery powers are a perfect balancing act with the awesome action set pieces featuring their mum.

Michael Giacchino’s score is a triumph and hands every sequence a perfectly energetic buzz or sounds trickling with notes of spy intrigue. That theme tune of his is as glorious as ever and gave me goosebumps, it’s like some jazzy fanfare that makes you feel indestructible. I have to comment on the lighting within this film also, gorgeous scenery with orange/red skies are stunning to look at, a literally flashy fight sequence in an electric cage is dazzling and generally the movie is an impressive work of art.

It’s no surprise that has the prize of having the best debut for an animation film because this is a supremely fantastic, fun, engaging and super superhero family movie. Here’s hoping the Parr family come back a bit sooner next time.

8.5/10

The Secret of Marrowbone (2018)

the-secret-of-marrowbone-uk-poster-600x450

Produced by J.A. Bayona; this ghostly tale sees the writer of ‘The Orphanage’ step forward as a first time director and on the most part, Sergio G. Sanchez does a good job in bringing a level of intrigue to the forefront, but the characters and any horror scares get slightly pushed aside.

At a house in the middle of nowhere live a family called the Marrowbone’s. There’s some dangerous past that they’ve run away from and Jack (George MacKay), the eldest does his best to protect his sister and two brothers. After becoming friends with Allie (Anya Taylor-Joy), the children think life is just grand but a tragedy swiftly arrives and their home seems to harbour a menacing spirit.

It would be a disservice to call this film a horror because in terms of that genre this is not a very scary movie in the slightest. It’s way more effective as a paranormal thriller, one of those almost alarming psychological yarns that spin around in your mind and get you reeling. It takes a while to get there but when the events of what happened six months ago are shown, this story comes crackling alive. It’s also one of those films that once the secret is revealed I kicked myself for not realising the truth earlier. ‘The Secret of Marrowbone’ progresses in a clever way, drip-feeding clippings of the past to distract you from what every minute detail of the secret could be.

The house of Marrowbone itself is a neat character, the blackened ceilings, covered mirrors and locked doors all combine to make the building feel like a foreboding presence throughout the movie. Though there weren’t many times that the film provides scares and if it did they were through the cliche of jump-scares, I must admit that the most frightening points involve shadowy nooks and crannies.

I’m still thinking on the aftermath of the movie now and I probably still shall be in a couple of days time. It definitely is a ghoulish mind-f**k of an ending and I would compare the narrative and twist to another film but I won’t because that will spoil the drama. It’s a story from Sanchez that I’m not sure if I fully liked, it’s mysterious but also confusing and with deep thought would likely sway to the side of negativity because the melodramatic family angle feels like it doesn’t make sense as to what the ending shows.

The cast of home-dwelling siblings are good on the most part. Mia Goth has elements of the screaming Shelley Duvall about her but in the quieter moments her performance is quite stunted but gets better. Matthew Stagg plays the young lad and as all horrors utilise, he captures that creepy kid aspect well. Charlie Heaton possesses a lonely angst but doesn’t get to explore his turn as Billy that much. The true star is MacKay who deals with a lot as the leader of the pack and his acting progresses in more ways than one.

‘The Secret of Marrowbone’ will sit with me for a while and for now I can say I liked what it was going for, the characters may not be as interesting as the curvature of the narrative but for the last 20-30 minutes alone, this is a chilling feature that plays on shocks and family connections.

6.5/10

Skyscraper (2018)

48f7030f00000578-5363195-image-a-1_1518017698466

Juggernaut action star Dwayne Johnson is back for his second blockbuster of the year, after ‘Rampage’. This time around he’s tackling terrorists, Hong Kong cops and a star-piercing blaze.

Former FBI Hostage Rescuer Will Sawyer (Johnson) now assesses security, which has landed him and his family a stay in the new residential section of the worlds tallest building. The Pearl is meant to be perfectly safe but whilst Will is out and about, a group of terrorists storm the skyscraper and start a fire in the hope of smoking out something valuable and Will’s children and wife Sarah (Neve Campbell) are also trapped inside.

Director of ‘We’re the Millers’ and writer/director for ‘Dodgeball’, Rawson Marshall Thurber is in charge of this summer action movie. He’s clearly handled comedies well before but this film feels like a strange combination of trying to be serious and gritty yet also self aware of it’s ridiculousness. Saying that, he manages to ensure the film which clearly echoes ‘Die Hard’ has some of it’s own cool set pieces to sell.

In terms of spectacle, ‘Skyscraper’ has a good couple of stand out examples. The crane sequence is finely executed if not totally unrealistic, a makeshift bridge within The Pearl racks up some fiery suspense and the inner workings of the spherical top to the building itself provides us a Truman Show-esque shot of Sawyer over a city skyline and this same venue becomes the backdrop for a genuinely great sense-meddling final act battle.

All the visual effects team deserve mention because they’ve made this humongous skyscraper feel somewhat believable, plus the cinematic quality of The Pearl’s design are massively sleek and hands the film an awesome visual flair. Even with this futuristic, gleaming quality I felt that the movie wasn’t anywhere near as exciting as I’d expected, it’s not overly fun or silly like it should have been. The attempts of tension and strained family drama never hooked me in. It’s almost like they were shooting for a genuine disaster movie with tongue in cheek aspects duct taped on, which feels a bit off for me.

The rocky mountain himself provides that expected charm that he’s proven over and over. It’s also nice to see Mr. Johnson playing a character with a physical flaw and being someone that can actually get hurt and pushed around instead of the usual indestructible roles he’s become the poster boy for.

Some flashy visuals and a handful of action don’t do enough to stop the film suffering from not being as heart poundingly engaging as it deserved to be. Turn your brain off and don’t turn it back on again to enjoy ‘Skyscraper’ to the fullest.

6/10

Mary Shelley (2018)

http3a2f2fmedia-cineblog-it2fc2fc7e2fmary-shelley-trailer-e-poster-del-biopic-con-elle-fanning-2

“It’s Alive!” Yes, Dr Frankenstein, the story of how you and your creature came to be, comes almost alive in this Irish/British/Luxembourgian joint production captained by Haifaa al-Mansour.

Mary Godwin (Elle Fanning) has a writer for a father and works in a bookshop, so it’s no surprise that she loves to read and someday she hopes to be a writer. After a trip up to Scotland where she meets poet Percy Shelley (Douglas Booth), Mary becomes besotted with the man and he too returns those romantic affections. It isn’t long before fractures in their relationship show and these darker moments lead Mary to find her voice and write her story.

Alternatively titled ‘A Storm in the Stars’, this period drama seems to be lost in space at points. It’s a two hour run-time and a good portion of the film feels like a slow crawl. There’s no dazzling spark of a star in the story to be found, it’s almost like the movie is making her hectic late-teenage years feel more mundane than they clearly were. It definitely reached a point where I was internally begging Mary to write the damned story.

Emma Jensen has a good grasp on the poetic language and manages to weave in some nice moments between Mary and her sister Claire but amongst that are a lot of examples that come across with a pretentious tone, which I guess when you have a story featuring English Romantics is to be expected. The script itself isn’t helped further by the actors delivering their lines in a way that’s reminiscent of a stage play, as if they’re projecting their voices up into the rafters which isn’t necessary in cinema. It gives some scenes a distracting hammy quality.

Gladly, ‘Mary Shelley’ the film and the figure herself progress as we enter the stages of the second half. As a Geneva-set ghost story challenge swings into action and Mary’s keen, blossoming interest in science plays on her mind, the film gradually lifts itself out of the dragging mire and lights up a creative bulb within the title character. Haifaa al-Mansour’s previous works that feature strong women help her direct the learning curve of Mary; her troubling years with Percy gift her the experience to work on writing this bold material called ‘Frankenstein; or, The Modern Prometheus’.

Elle Fanning is superb in this, she captures an essence of courage in a girl not quite confident to have her own distinctive voice. Yet, you believe that she’s an intelligent and brave woman and Fanning shows great emotion playing the part of a neglected soul. Douglas Booth utilises his acting chops in a genre he’s well used to by now, that dashing charm works in selling Percy as the sophisticated poet, but there’s an extra something there which he carries and ensures Mary’s beau isn’t a man that can fully be trusted. Joanne Froggatt basically becomes the Lady Tremaine of the act and performs in such a way that wouldn’t be amiss in pantomime. Tom Sturridge revels in his grandeur and mascara as Lord Byron. There’s no denying that the poet is flamboyant and smart but he’s almost a villainous chap too, the misogyny within him is fairly extreme and he has no cares for the feelings or intellect of women.

This film is by no means a terrible one, but the fantastic performance from Fanning isn’t enough to stop me thinking that the real Mary Shelley deserves better than what this story gives.

5/10