Stan and Ollie (2019)

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Double acts are a common thing to come by but not many of them have become as instantly recognisable in the same way that Laurel & Hardy did. Just from their bowler hats alone, you’d have to be living under a rock not to know who is underneath the famous head wear, so it’s surprising it’s taken this long to get a biopic about them but it’s worth the wait.

In 1937, Stan Laurel (Steve Coogan) and Oliver Hardy (John C. Reilly) were at the top of their game, a pairing known the planet over but this film follows them 16 years later, as they hope to shoot a feature in England but in the meantime they tour small venues across the UK, hoping to retain their sparkle and put aside past differences.

This comedy/drama is directed by Jon S. Baird and it’s definitely a departure from other works he’s been behind. Swept away are the ruder and more adult examples like ‘Filth’ and TV series ‘Babylon’ and bouncing forward is this clean and family friendly film. Baird really captures the sheen of their career highs, managing to present the current UK dreariness of tired music halls and strained tensions as a great opposite to the golden years. That isn’t to say that the director is stating that their later years were less special, if anything, it is more delightful to watch them as they tour, appear for press snapshots and witter away with one another.

‘Stan & Ollie’ may be somewhat gentile and doesn’t completely immerse you at all points; it possesses  that generic TV movie atmosphere but the magical partnership between the lead actors does more than enough to warrant it’s big screen outing. It’s not a story bursting to life and breaking the biopic mould, you know what beats will be hit and when they will happen but a tried and tested model isn’t broken so why fix it, especially when a predictable yet fantastic final showcase does its job in making you well up slightly.

It’s certainly a film that mirrors the charm of Laurel & Hardy; from a sublime tracking shot in the open which initiates the audience into the Hollywood studio lot and the cinematic world of which the comedy duo are so at home in to a good couple of skits which are tame yet visually pleasing to tickle the funny bone and show off their unmistakable chemistry.

John C. Reilly and Steve Coogan are a joy to watch, hitting the highs and lows of their friendship and work-life to glorious effect. The movements and mannerisms they’ve honed not just in dance routines and theatrical set pieces but off stage also, are expertly done and really help you feel like you’re watching the real deal. Shirley Henderson and Nina Arianda are marvellous too, as a back-up double act to their husbands showing their adoration in different ways through emotion and well scripted squabbling.

One word can sum up this film: delightful.

7.5/10

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The Favourite (2019)

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One year after his magnificently disturbing ‘The Killing of a Sacred Deer’, Yorgos Lanthimos returns with this historical comedy/drama based on Queen Anne’s life. It’s the first ever film not to be penned by Lanthimos and it faintly shows but the context, acting and absurd re-telling of history are worthy of fanfare.

Queen Anne (Olivia Colman) is suffering with poor health and cannot even seem to sustain interest in politics for her country. The majority of her time and interest is spent on her relationship with Duchess of Marlborough, Sarah Churchill (Rachel Weisz). However, when Sarah’s cousin Abigail Hill (Emma Stone) arrives and Sarah gives her a position it isn’t long until the Queen takes a liking to the new girl and thus a rivalry to be Anne’s favourite begins.

Scripted by Deborah Davis & Tony McNamara, what really solidifies the engagement with this film is the sheer absurdity of it all. The fact that it is all based on real people and true actions of the time only go and make this a more interesting story to behold. If you didn’t know about the triangle of female figures between Anne, Sarah and Abigail you’d be let off for thinking this was a bonkers yet brilliant made up farce.

The Lanthimos trademark of entrancing camera work and aptitudes to building kooky and precise landscapes are utilised to great effect in this film. Robbie Ryan’s stunning English set cinematography and movements of panning cameras coupled with uses of the fisheye lens make ‘The Favourite’ a bold looking film finely textured with regal style.

It can be said that, from a Yorgos feature, this doesn’t go as dark and twisted as you’d imagine but it is instead lit up like a grand palace by touches of theatrical humour and spite. The wiles of women and their strength become a fascinating game to watch. Special mention must also go toward the costuming; the baroque draping of dresses, corsets, ruffles and wigs are positively dripping in luxurious splendour and go a long way to making this tale more pristine and attention-grabbing.

Colman takes the throne and wheelchair as a perfect choice for Queen Anne. She hilariously and alarmingly spits out when prone to raging, alongside these bursts of anger are fantastic moments where Colman shows her knack for emotion and comedic timing. Stone develops the strongest in terms of character, she showcases the most effective change from mud covered servant to lady. Weisz is a formidable performer, the icy bluntness of Sarah reigns supreme and together Stone and she light up the screen with their scheming as they vie for the attentions and affections of a scene-stealing Colman. Nicholas Hoult is note-perfect in this also, he plays an Earl named Robert with exquisite definition of the C-word and further insults.

‘The Favourite’ is an absurd delight; what with it’s incredible trio of leading ladies and the sending up of royal and political establishments, this is a film rich with smart asides. It also boasts a dance scene to perhaps rival the memorable moves from Isaac & Mizuno in ‘Ex Machina’ and the dual jiving of Thurman & John in ‘Pulp Fiction’.

7.5/10

2018 Top 50

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Smile folks, it’s been an absolute blast this year in the cinemas and on streaming services alike. Yes, if you want to jump right in with my top 10 movies, I have already compiled a top ten list which you can find HERE, but if like me, you can’t abide a whole ton of great movies not getting their dues then this is their time to shine as I’ve come up with my first ever Top 50 countdown!

*Disclaimer* – I have not seen certain films like ‘Mandy’ or ‘Leave No Trace’ hence their absence and no ‘Truth or Dare’ doesn’t rock up, though it was a fine comedy. Okay, away we go…

50 – NEXT GEN

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A surprisingly fun and pacy cartoon flick with futuristic ideas and a charming connection between gal and bot.

Review – ‘Next Gen’

49 – MARY POPPINS RETURNS

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Emily Blunt steps into the ten to two shoes of Julie Andrews and does a spiffing job as the prim and proper nanny with magic endlessly pulled from her special bag.

Trip the Light Fantastic over to my review – ‘Mary Poppins Returns’

48 – ROMA

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Alfonso Cuaron’s black and white semi-biographical tale which hit Netflix is absolutely beautiful to look at but I just can’t quite connect to the majesty that everyone else has seen. There’s a fine story and lovely cinematography but that’s about it, no higher in the list. Don’t @ me.

My review is here – ‘Roma’

47 – BUMBLEBEE

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If someone had told me that a ‘Transformers’ spin-off would have featured higher than a stunning foreign movie lauded for Oscar glory I would have scoffed…a lot. But Travis Knight has captured the fun and nostalgic appeal that Michael Bay could only dream of.

No Decepticons here, this is a good film, my review – ‘Bumblebee’

46 – A STAR IS BORN

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Bradley Cooper dons a stetson and the first-time director title in this fourth telling of ‘A Star is Born’, it has some issues but a mostly great soundtrack and the might of Lady Gaga help this romantic country and western musical come alive.

Step into the Shallow end with my review – ‘A Star is Born’

45 – JOURNEY’S END

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A sombre and reflective WW2 drama, this truly grips you and makes you thoughtful about the dark trench warfare these brave soldiers faced. Sam Claflin and Asa Butterfield are excellent.

The journey begins with my review – ‘Journey’s End’

44 – CAM

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Another Netflix feature that took me by surprise, this has dark and original ideas and a blisteringly brilliant performance from Madeline Brewer makes this tech-thriller/horror a sexy yet smartly creepy film.

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43 – GAME NIGHT

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Jason Bateman & Rachel McAdams are a fun pairing in this entertaining comedic flick but the true MVP and best selling point for the films worth is Jesse Plemmons.

Roll a dice, right foot yellow and review is yours – ‘Game Night’

42 – ISLE OF DOGS

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Another quirky and lovely stop-motion outing from the wonderful Wes Anderson, this poochy plot has moments of rabid darkness but plenty of delightful storytelling.

Woof! My review is out of the kennel – ‘Isle of Dogs’

41 – A SIMPLE FAVOR

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Paul Feig’s latest has definitely divided audiences but I for one thoroughly enjoyed this strange concoction of humour and thrills all tinged with a French cinema flavour.

Only a simple favour to ask but please check out my review – ‘A Simple Favor’

40 – THOROUGHBREDS

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Olivia Cooke and Anya Taylor-Joy are chillingly exceptional in this fairly cold yet entrancing off-beat film. It’s quite simply put, an original film with unsettling music and unpredictable moments.

Give my review a thoroughread – ‘Thoroughbreds’

39 – MOM AND DAD

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Crazy is as crazy does: surely a motto best suited to Nicolas Cage. This frenzied and pacy film may not be a superb film but I had a right good time watching the madness unfold and it knows what it is – a pure delightful crash of crazy.

Read more – ‘Mom and Dad’

38 – THE NIGHT COMES FOR US

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Woah Nelly! This Indonesian action which is on Netflix is a furious and bloody thriller which may be light on plot but is soaring to the heavens with hellish injury detail and electrically charged, fascinating fight choreography.

37 – GHOST STORIES

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Originally a stage show, which is somewhat evident at certain points, what with some theatrical elements and practical frights leading the way, this is a nightmarish and engrossing British horror with clever storytelling.

Boo! My review – ‘Ghost Stories’

36 – TULLY

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This is most certainly a film that goes somewhere a healthy percentage of audiences might not expect but it doesn’t tarnish the previously built maternal plot and Charlize Theron’s stunningly crafted performance, if anything it just makes it a more memorable story.

Don’t dilly dally – ‘Tully’

35 – THE HATE U GIVE

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Upon seeing the trailer I really wasn’t expecting to get anything from this film. Happily it’s much more than a generic YA adaptation, it has emotion, heart and the richest relevance to current world events. Amandla Stenberg & Russell Hornsby are mind-blowingly effective in this.

Don’t let the THUG-life get ya, read my review – ‘The Hate U Give’

34 – THE SHAPE OF WATER

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You can always trust on Guillermo del Toro to make a dark fantasy a totally captivating experience and this time the Academy Awards agreed, gifting this woman-loves-fish story the Best Picture trophy. It’s beautiful, weird and Sally Hawkins is the perfect lead.

The Shape of my Review can be found here – ‘The Shape of Water’

33 – BAD TIMES AT THE EL ROYALE

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A true ensemble piece of cinema and a film noir that almost fully sinks its teeth into you. Aside from a slightly dissatisfying story that takes over, this is a clever, highly original movie and well acted thriller which deserved higher box office.

No bad times with my review – ‘Bad Times at the El Royale’

32 – CRAZY RICH ASIANS

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I openly admit I’m not an advocate for the rom-com genre but this family set story around an impending wedding really bowled me over. The luxurious visuals, stunning locations and more stunning cast balance romance and humour with finesse.

Take a walk down the aisle to my review – ‘Crazy Rich Asians’

31 – YOU WERE NEVER REALLY HERE

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Lynne Ramsay excellently weaves a gritty and immersive city thriller, aided by an astonishing turn from Joaquin Phoenix, this has threads of ‘Taxi Driver’ and is a bold and tense piece of cinematic art.

30 – RALPH BREAKS THE INTERNET

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Fairly bloated with internet bustin’ gags and Disney references, but it’s fun, fast and a well animated sequel with Ralph and Vanellope just as endearing a friendship duo as back in 2012.

It’s good and that’s not bad, my thoughts – ‘Ralph Breaks the Internet’

29 – SORRY TO BOTHER YOU

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Truly original and absurd, two qualities which you can’t complain about in the climate of sequels/prequels and the like. Boots Riley goes all in directing & writing a superb screenplay that links to current affairs and issues in an offbeat, comical and twisted manner.

Giddy up over to my review – ‘Sorry to Bother You’

28 – PHANTOM THREAD

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Possibly Daniel Day-Lewis’ final feature, his role under the direction of Paul Thomas Anderson is sublime, as are Vicky Krieps and Lesley Manville…and a beautifully acted breakfast scene for the ages. This early UK 2018 film looks gorgeous and bursts with spits of spite and comedy.

Sew, a needle, pull and thread – ‘Phantom Thread’

27 – IN THE FADE

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Diane Kruger’s first German feature and one that’s put across the audience in three parts. Not every part is as strong as the other and a finale may be slightly lacking but a gritty opening and glossy, tense court room second act along with Kruger’s formidable performance make this a solid thriller of loss and revenge.

1, 2…Kruger’s coming for you – ‘In the Fade’

26 – BLACK PANTHER

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A massive hit and an even bigger stepping stone for black representation in superhero movies, this Marvel entry deals with spectacle, politics and leadership with detail and thought, fuelled by a great villain expertly handled by Michael B. Jordan, ‘Black Panther’ is a near-perfect comic-book film.

Enter Wakanda – ‘Black Panther’

25 – AMERICAN ANIMALS

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This is a clever spin on the heist genre as director Bart Layton mixes truth and fiction by blending the real life people alongside his actors. As the films plan nears fruition, the gang and audience alike are left unable to back out to culpability.

A review is up for grabs just here, go on, go – ‘American Animals’

24 – THE INCREDIBLES 2

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After 14 years too long, Pixar returned to the Parr family and their mix of city saving powers. The one animated feature deserving of a sequel, this one does not disappoint. Apart from a predictable turn of events and villain, this is a joyous and stunning animation to watch and any return of Edna Mode is a positive in my book.

Dash over to my review – ‘Incredibles 2’

23 – BLACKKKLANSMAN

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This Spike Lee joint is a funny and disturbing tale of KKK infiltration. It makes you laugh but importantly, it’s something which makes you irate, angry and fits nicely against the backdrop of divide so felt nowadays. Style and power rip through this film.

Don’t be a Duke, click my review – ‘BlackKklansman’

22 – THE BALLAD OF BUSTER SCRUGGS

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The Coen Brothers enter the Netflix way of life with this western anthology of six mini stories. The likes of James Franco, Tim Blake Nelson and Zoe Kazan excel in their segments. Sure, not all the tales are great and there may not be a resolute connection between them but it’s masterfully acted and captures the heart…and dust of the western genre.

21 – OVERLORD

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You’d not be wrong in thinking from outside glance this would be a naff horror but it’s in fact so much better than that. A gem of war, thriller and gory zombie effects, this is a brain-splattering delight.

Come on over – ‘Overlord’

20 – WILDLIFE

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Paul Dano & Zoe Kazan create a thing of quiet beauty in this drama about family. The former calls the shots as debut director and this adaptation of a 1990 novel is stunning not to just to look at but to revel in the towering acting from Jake Gyllenhaal and Carey Mulligan. Scenic views, fraught relationships and a teen running home in the snow are tenderly accomplished.

Check out the ‘Wildlife’

19 – THREE BILLBOARDS OUTSIDE EBBING, MISSOURI

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I’ve always enjoyed the writings of Irish playwright and ‘In Bruges’ commander Martin McDonagh, this angry tale of grief and, well anger is no exception. The mix of great comedy and uneasy darkness clouding over Ebbing are thickly coated but don’t outweigh Sam Rockwell and Frances McDormand.

More of my musings – ‘Three Billboards Outside Ebbing, Missouri’

18 – HEREDITARY

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Jinkies, this horror from Ari Aster is a chilling and terrifyingly effective narrative of family tensions. If you took out all the damned creepy moments then this would be a drama on grief and that only highlights the weirder, scarier qualities included by Aster. Toni Collette is absolutely fantastic in this.

Don’t click your tongue, lcckk – ‘Hereditary’

17 – WIDOWS

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Steve McQueen tackles the thriller genre but makes sure to keep his sturdy understanding of character to make this an investing movie, led by four strong women. The moments of heist drama are tense and the more politically angled aspects are wonderfully handled.

Mission: read my review. I’m sure you’ve got the balls to pull this off – ‘Widows’

16 – COCO

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Two Pixar releases for the UK in 2018 and both make my top 50, mostly because their animation is always so delectable but on top of this they’re a studio almost always capturing emotional and captivating stories. ‘Coco’ is no exception, this Day of the Dead inspired animation tugs on the heart strings and incorporates tingling music and colourful visuals.

 Don’t forget to click my review, Remember Me – ‘Coco’

15 – ASSASSINATION NATION

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This is 100% a movie which will split people, I can see why some will dislike the heck out of it but I positively loved the stuffing out of this bold, loud and violent film. It pops with trigger warnings of every nature and the feminine power of the above fearsome foursome are a force to be reckoned with as their town turns on them.

Reveal some more secrets – ‘Assassination Nation’

14 – ANNIHILATION 

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Shamefully Alex Garland’s recent sci-fi didn’t get to UK cinemas but it’s streaming on Netflix and is a sheer masterpiece of visuals and is also a movie which leaves you thinking. Headed by a brave team of females, this mix of science and horror is dreamy, ambiguous and downright superb.

Enter the Shimmer – ‘Annihilation’

13 – UPGRADE

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Rammed to the skies with inventive camera shots and pacy fight scenes, this adrenaline fuelled futuristic flick bursts out of the screen with entertaining energy. On top of this, it has flashes of humour, body-horror and stylish flair.

There’s no need to Upgrade to find my review – ‘Upgrade’

12 – A QUIET PLACE

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This film has magnificent levels of sustained threat, wince-inducing visuals of pain, smart uses of playing around with sound and Emily Blunt on top form as a pregnant wife caught up in a farmhouse of fear. John Krasinski becomes feature director for the first time and really gets to grips with the model of horror building making this one of the most effective cinema experiences I’ve ever been part of.

Ssssh, my review is over here – ‘A Quiet Place’

11 – THE BREADWINNER

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The creators behind ‘Song of the Sea’ have gifted the world another animated gem. This one is less fantastical though and this Middle-Eastern texture only makes the film a much more heart-felt trip, one that’s interspersed with yarns of magic but the plight of a girl stepping up and out to help her family is a powerful and outstanding watch.

My review for #11 is here – ‘The Breadwinner’

There we have it, those were my top 40 films of 2018 and now it’s time to reveal my faves of faves as I collect the big 10.

10 – SEARCHING

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John Cho leads a frenzied hunt for his missing daughter in a screen-set thriller that is anything but a cheap gimmick. The tension is palpable and the story is riveting, as it’s portrayed through calls, Facebook and other social media searches.

No need to search far as the review is here – ‘Searching’

9 – HALLOWEEN

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Michael Myers returned, swiftly and thankfully, slashing away all the sequels, letting this story follow on 40 years after what happened to Laurie Strode that fateful Halloween night. David Gordon Green shows he has a skill for the horror genre and the entire team clearly adore the original which is why this feels like a perfect chilling return to form for the Shape.

Don’t fear the Boogeyman – ‘Halloween’

8 – LADY BIRD

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Greta Gerwig’s directorial debut is a brilliant, humour filled coming of age story about mothers and daughters. There are great pangs of emotion and with perfect performances from Saoirse Ronan and Laurie Metcalf, you feel wrapped up in a comforting blanket watching this film.

It’s the titular role – ‘Lady Bird’

7 – HEARTS BEAT LOUD

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Well, here is a film that utterly bowled me over and completely surpassed my expectations for it being a generically mediocre Sundance indie. What this film is, is pure charm and sunshine, with Offerman and Clemons providing great music as a dad and his daughter. The songs are glorious and I’d be lying if I said I don’t listen to them almost constantly.

Don’t blink, my review isn’t a million miles away – ‘Hearts Beat Loud’

6 – BOHEMIAN RHAPSODY

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I truly don’t care what some filmy types and critics have been saying about this film. I positively adored the majority of this foot-tapping, hand-clapping tale of Queen and its front man, the legendary Freddie Mercury, who is exquisitely played by Rami Malek. The film is fun and the music speaks for itself. A stadium sized biopic that will rock you.

You are the Champions if you give my review a read – ‘Bohemian Rhapsody’

5 – I, TONYA

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Margot Robbie steps onto the ice as Tonya Harding in this fresh and exciting visceral take on an ill-fated moment of Winter Olympics drama. Allison Janney is a great supporting feature as Harding’s mum and throughout we see a story presented in way that’s unreliable but entertaining, which makes the latter emotional moments that more resounding.

Get your skates on to the review – ‘I, Tonya’

4 – REVENGE

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This is a blood soaked film, one which side-steps away from the schlock way of vengeful flicks and becomes an engrossing thriller capably led by bad-ass Matilda Lutz. This is an explosive female led and directed movie from Coralie Fargeat which arrived in May and I haven’t forgotten about in the slightest.

My review won’t put up a fight – ‘Revenge’

3 – AVENGERS: INFINITY WAR

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Snapping its fingers and claiming bronze, this is an epic comic-book celebration that I saw three times and didn’t tire with any minute of it. Unlike repeat viewings of ‘Iron Man’ or ‘Age of Ultron’, this is a blockbuster outing which grows better upon more watches. There’s the purple might of a superb villain, great visuals and a cracking conclusion to ten years of MCU building.

You don’t need to assemble any heroes to locate my review – ‘Infinity War’

2 – SPIDER-MAN: INTO THE SPIDER-VERSE

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Miles Morales swings into the hot spot of silver, in the only animation to feature on my top ten. This is not only one of the most sensational animations I’ve seen but one of the best films, full stop. The styles are incredible, the voice work is perfect and the story is just right for the Spider-Man world.

Sling yourself over to the review – ‘Spider-Man: Into the Spider-Verse’

1 – MISSION: IMPOSSIBLE – FALLOUT

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This is the sixth instalment in the M:I franchise and it is showing no signs of exhaustion, in fact quite the contrary, with action hero Tom Cruise and director Christopher McQuarrie again teaming up to make Ethan Hunt and his globe-trotting, ankle-breaking antics an exhilarating treat to see. The stunts are next level and knowing they are practically executed makes you appreciate the action that much more than a second rate movie filling in set pieces with CGI. Fallout is 100% the real deal and is one of the finest action films I’ve seen…ever.

My review won’t self destruct in 30 seconds – ‘Mission:Impossible – Fallout’

The Old Man and the Gun (2018)

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Last year saw David Lowery give us one of my favourite films of 2017 in ‘A Ghost Story’ and now he returns with a very different kind of film but one that possesses that same soothing atmosphere he handles so well.

Serial bank robber Forrest Tucker (Robert Redford) has broken out of countless prisons and can’t seem to stop himself from stealing cash yet in the most kindly way. As detective John Hunt (Casey Affleck) and potential romantic interest for Tucker, Jewel (Sissy Spacek) enter his life, will he change his ways?

This is amazingly based on a true person and it’s an incredible watch just to see yourself rooting for this thief and witness the levels of crime he got away with. The film harbours a gentile air through the narrative and there’s a tranquil charm about it all. It’s a film almost like a caring grandparent; cosy and warming in its quaint storytelling of a man with an insatiable appetite to steal.

‘The Old Man and the Gun’ harks back to the late 70’s/early 80’s style of cinema with it’s flickering reel visual over the entire movie. The robberies themselves are never over egged or sensationalised which would have totally distanced you from the polite nature of Tucker but instead it gives you a calmness and gentle chuckles about what this 70 year old dapper man does. It could be argued that the film is sort of slow but that never overrides the movie.

It’s a mild-mannered film reflecting the lead character which keeps you perked up with traces of humour and in fact this entire feature shares the Robert Redford eye twinkle making it an enjoyable treat, a feeling that similar heist drama ‘King of Thieves’ should have also had but failed on. Redford’s performance is great, a charming and lovely role sold with suitable dazzle from the actor and his gentlemanly demeanour is sharp. If this is to be his final acting gig then what a wonderful way to exit stage left. Spacek is just as lovely in this, the bridge between us and the action as she gets involved in the life of Forrest. Also a red brake light flashes on her face at one point in what I’m taking as a reference to her prom days in ‘Carrie’.

There’s not much else to comment on apart from reiterating that this is simply put – a nice film with spades of charm and feels like one of those dreamy perfect Sunday afternoon watches.

7/10

 

Sorry to Bother You (2018)

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Not so much galloping but finally cantering into UK cinemas, after an almost 5 month wait due to distribution delays between us and America, comes this Grand National winner of surrealism.

Cassius Green aka ‘Cash’ (Lakeith Stanfield) isn’t exactly rolling in prospects so in the desperate hope to make money he takes up telemarketing and after learning some tricks of the trade from Langston (Danny Glover), he skyrockets to the big leagues of Power Caller status. Once there, Cash must decide between his new luxury life at the cruelty of others or stick with his pals and girlfriend Detroit (Tessa Thompson).

Boots Riley takes a stand for his directorial and film writing debut in what can only be described as a dizzying absurd piece of cinema. There’s no denying that Riley has the skills of style in his arsenal but sometimes the black humour is not so much laced with crazy antics but totally riddled with them. The absurdist quality may not be for all and without spoiling the events of the film it’s very clear to say this ‘Sorry to Bother You’ becomes highly ludicrous but it isn’t terrible.

There are some neat strokes of visual inventiveness like Cash’s promotional rise seeing his apartment and items shift around him, a memorable photo alters to reflect its thoughts on Cassius’ journey and the introduction to Green’s and ours take on the telemarketing world is a stylish flair of creativity. The mad signs and TV programs that fill the world Riley has created feel odd but wouldn’t be amiss in shows like ‘Family Guy’ or ‘Bojack Horseman’.

Even though there is an impressive amount of surrealism to swallow and doses of comedy that lands okay, it is a movie that becomes preposterous enough that you do lose interest in what the director is hoping to convey. It’ll definitely be a film to divide people, whether it grows to become a cult film remains to be seen but for all its outlandish horsing around this does strangely work more often than not even if some ideas get tiresome.

It’s not the worst or weirdest film you’ll ever see though it may come extremely close to both for some people. It has vivid ideas and an ambitious scope to show off a fresh new voice in Boots Riley.

6/10

Johnny English Strikes Again (2018)

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Fifteen years later and Johnny English is still a thing! I won’t lie, I did enjoy the first once upon its 2003 release and find it stupidly quotable to this day but when you have a character originating from a bank advert appearing in a weak third instalment, then you’ve got to question things. Imagine Flo and Joan from Nationwide riffing on a ‘Thelma and Louise’ like adventure or Greg from Halifax popping up in the full 100 minutes of ‘The Wizard of Oz’…it’s enough to make you shudder.

As the UK faces multiple technological shutdowns from a mysterious hacker, there’s only a few old school MI7 agents left unrevealed to the world, step forward Johnny English (Rowan Atkinson) who teams up again with trusty Bough (Ben Miller) to track the source of the breach and get in all manner of mishaps.

The first film did possess a few chuckles and silly moments to tickle the funny bone but after ‘Johnny English Reborn’ from 2011 which I’ve all but forgotten about, there’s little in this newest spy outing to call for more English and in fact it dampens the nostalgic humour of the original. A large percentage of the stale feeling comes from the same writer being involved on the entire trio, this therefore means we face a tried and tested formula that is quickly unfunny.

On top of the deeply missed comedy aspect are brief touches of racism and other out dated thinking that makes it hard to stomach the film. A good 95% of the gags can be seen a mile off and that’s not just the ones that are sign-posted by obvious pre amble in the dialogue. There simply isn’t any need for this film, if it had been well put together then maybe it could be forgiven but it’s a dreary load that is massively tiring.

A story thread of old versus new runs throughout; with Johnny utilising a lack of mobile tech against a villain keen on gadgets. This leads to clear spoofing of James Bond which lie in English’s arsenal of sweet treats and dangerous candy but these nor anything else that tries to lampoon Britain’s most famous spy can save the movie from being less than amusing. Every now and then it feels like we may just witness a good scene or funny idea but aside from a well story-boarded VR sequence, English shouldn’t have struck again.

Rowan Atkinson harnesses the neat Mr. Bean routine of great physical comedy and he gurns like a king; there’s no doubt the man can commit to well performed choreography but it’s enough to lighten the film. Emma Thompson is on board and though she gives her role as PM a good deal of gusto even she can’t lift this film out of the gutter it speedily prat-falls into. Once again Olga Kurylenko is short changed, she’s a good glamorous actress who can’t quite get to appear in a film worthy of her talents. In this she is underused as a character impatient yet oddly drawn to Johnny’s antics, as was I.

Hopefully the hacker of the film will come to life and wipe all trace of 2 and 3 from memory, leaving us with the 2003 one, that though dumb is a huge sight funnier than this movie could ever hope to be.

3.5/10

 

Venom (2018)

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Well it’s fair to say this superhero flick has been scooping up a lot of negative attention as the months rolled closer to its release date; not getting the universe or Spider-Man cameo they wanted, early reviews comparing it to ‘Catwoman’ levels of bad and star Tom Hardy himself stating his favourite 40 minutes were cut, but is ‘Venom’ actually all that terrible?

Eddie Brock (Hardy) is an investigator/journalist happily engaged to attorney Anne (Michelle Williams), but when he’s sent on an assignment to interview Life Foundation owner Carlton Drake (Riz Ahmed), Brock asks hard-hitting questions about the rumoured dark side of Drake’s company, which is harbouring alien symbiotes that crash landed on Earth. It isn’t long until Brock comes one with this planet devouring thing and they unite as Venom.

In all honesty, I have no idea whether this film is a joke or not. The inconsistent style of t the writing is wildly skittish, jumping from silly humour to darker, dramatic tones which make for a seriously unbalanced movie. When you have three writers on board who have credits for past features like ‘High Fidelity’, ‘Jumanji’ and ‘Fifty Shades of Grey’ working on the screenplay it’s not that hard to see why it’s a plot that feels like a chaotic mix of comedy and anti-heroism.

The film has a horrendous amount of messy VFX, even Venom himself is nasty looking and not in a good way. A creature feature showdown is a massive garbage storm of excessive CGI and frantic editing which makes the entire event a damn dud, a total misfire of which there’s nothing to engage with because it just washes over you with loud noises and awful visuals.

It says a lot when the scene arriving after all the credits, is the better than what came before them. ‘Venom’ just feels like it is rushing around, never really developing any interesting ideas of the bond between man and alien. This head biting fan is meant to be a villain and anti-hero at times but he teams up with a guy who can handles his influence and tame him rather quickly, they replace grittiness with goofiness and it doesn’t really work.

Tom Hardy is utterly bizarre throughout this swift Sony Marvel death, his performance is as scruffy as Brock becomes, his hunched look and mannerisms are weird. Michelle Williams is also odd, she seems to have gone under some alarming possession making her turn in this one of the worst roles I’ve seen her do. Riz Ahmed starts of alright in the beginning with enough big business menace but when the wrath of the slick black symbiote takes over then he too falls under a curse of laughable actions which all come to a supremely quick conclusion.

In a peculiar way, I can see this movie turning into a silly cult film or a dumb guilty pleasure but for myself it’s neither dumb or silly enough to make me want to remember I’d seen this turd of a movie rolling in the wind.

4.5/10