Avengers: Endgame (2019)


It has all been leading up to this; 11 years after Jon Favreau kick-started the Goliath Marvel show with ‘Iron Man’, and 365 days after 2018’s grand opening half of ‘Infinity War’, the endgame is here and exquisitely delivered by the Russo Brothers.

Thanos (Josh Brolin) did what he said he would and snapped the Infinity Gauntlet, wiping out 50% of all living life out of existence. Now with many heroes left in the dust, it’s down to the few survivors including Iron Man (Robert Downey Jr.), Captain Marvel (Brie Larson) and Captain America (Chris Evans) to fathom some fool-proof plan, if they ever hope to see the fallen return.

Without ruining it for anyone, this follow up, again written by Christopher Markus and Stephen McFeely is awesome. They work out every angle, every choice, every character step and never drop the ball on retaining the exciting fan service which has kept the MCU chugging along so well for a decade.

Perhaps it can be said that, depending on personal preference, that certain characters feel short-changed but this movie is a turn for the OGs; the Avengers rightfully get their go-around and for that it can be guaranteed that the audience majority will be happy and thankful. The squad that formed back in 2012 shine again and the narrative goes into some fun and twisty places, which I shan’t delve into any further because the huge purple tyrant demands my silence.

For all the whizz and showy spectacle of ‘Infinity War’, this is a reflective closing chapter which knows how to take time and let the doom of the situation settle in. It’s a gripping aftermath and this quiet, moody and upsetting clean-up really does tug at the heart. It also works spectacularly well in capturing the horrendously bleak and hopeless quality, of a tragically altered world that they’ve been thrust into.

The Russo Brothers certainly know how to capture hand-to-hand combat but again the bigger match ups do sometimes feel like sprawling CGI; it happened with the Wakanda scene last time and there’s times here where the two directors could have created a truly masterful battle but it’s somewhat choppily edited which suits the energy but loses the focus of what you’re watching. Plus they never linger long enough on groups of tussling heroes and villains, which could have further whetted the appetite.

Saying this, I cannot pretend that there aren’t some amazingly epic sequences in this comic book movie. The humour crackles as it so often does in the Marvel franchise and a lot of that lightning is stolen from Chris Hemsworth’s Thor. Alan Silvestri’s score is suitably rousing, and the sight of heroic squads working through different trials is an uplifting thrill.

Nick Fury brought together 6 heroes and now we’ve reached a point of joy, turmoil and loss which will be a legacy for the cinematic superhero ages. It’s only right and emotionally fitting, that the original crew literally sign off in the credits and after a whirlwind 3 hour movie; which by the way never sags, you’ll need to take a moment and let the turbulent ride of feelings sink in.

If you’ve kept up with every MCU feature from 2008 until now and also bought into every character and journey, then ‘Endgame’ will go into surprising, cool and touching places with neat nods and winks to satisfy the senses. It’s a blockbusting game changer. A legendary feast.



If Beale Street Could Talk (2019)


Just two years ago Barry Jenkins’ ‘Moonlight’ won the big one at the Academy Awards and he’s back with another intimate tale of relationships, one that feels richly soaked in spellbinding love.

Alonzo (Stephan James) and his girlfriend Tish (KiKi Layne) have known each other almost their entire lives and they wish to move in together but Alonzo is arrested for a crime he swears he didn’t commit. Matters only become more difficult when Tish realises she’s pregnant with his child and the hopes of her lovers’ freedom start fading away.

Told in a non-linear fashion, this is a captivating tapestry of love and the strains of racist America destroying their ideal dream. Some films which flit back and forth can lose their way in a muddle or become a tiring slog but ‘If Beale Street Could Talk’ is neither because director Jenkins is an incredible master of storytelling. Character is front and centre and it shouldn’t ever be any other way, Jenkins has this inspiring knack to make the camera fall in love with his subjects and therefore, we as an audience do as well.

The look of the entire film is just lovely, that seems like such a simple word but you can’t help but topple into a comforting state when watching this beauty of cinema unfold. There’s a sumptuous quality to Tish and Alonzo’s connection making the spark of the story feel like a dream to get swept away by. James Laxton’s gorgeous, glowing cinematography and the abundance of perfectly framed close-ups really make this a personal picture and only go and make the unfair persecutions of their situation that much more emotional.

Nicholas Britell delivers a dreamy score, one which beautifully mirrors the elegance that cinema can often deliver in blue moon moments. The joyous sounds of New Orleans inspired jazz aid the honeymoon romance of the central pair but when circumstances get rougher, such as Ed Skrein’s despicable officer inflicting a troubling presence, Britell’s work becomes moodier and unsettling with the faintest brass notes to be heard in the distance.

Stephan James and KiKi Layne are an exquisite duo who perform with such an infectious chemistry which make the emotional beats that much more pronounced. Regina King is a triumph as Tish’s mother Sharon, a parent who will do anything for her little girl. Teyonah Parris is excellent also, delivering with sharp precision, some cracking lines in the face of disapproving in-laws.

Barry Jenkins maintains a determined solid bond between his stars, things may threaten to shake their foundations but love is constant and with these two young lovers it is heart-breaking to witness.



Beautiful Boy (2019)


Based on two memoirs; one from a father and the other from the son, this biographical film focuses on the uncertainty and pain of raising a child who has become severely dependent on drugs. If you consider the powerful content you’ll quickly realise how lacking ‘Beautiful Boy’ is, in terms of emotional heft.

All through their lives, David Sheff (Steve Carell) and his son Nic (Timothee Chalamet) have had a great father-son bond but with Nic now in his teens and putting off college, David’s worst fears are realised when he comes to understand Nic is taking a cocktail of different drugs to get through life and has become increasingly addicted to crystal meth. David hopes to learn more about the effects of meth and regain his son’s affections but he could end up losing Nic completely.

Felix Van Groeningen, in his first English feature as director, manages to capture some better moments in an otherwise disengaging film, these stem from the strains of family drama and the times we see Nic by himself, struggling to keep his face straight and wishing to escape a life he sees as black and grey. On the most part though this is a movie that doesn’t grip you at all and is far to carefully put together. The sheen of it all is not what a movie concerning this drug fuelled subject matter should possess.

Oh boy, there are some beautiful shots in this film but whereas they’d normally be a good quality for a feature, they become a glistening distraction from a story that needs to look and feel much grittier. Who would be standing out in the mist on a bend in the road under some perfectly crooked trees, what mum would be situated neatly in front of an oval gap on a balcony overlooking a neat skyline when discussing the tragic downward spiral of their son. It all looks to pristine, as if the film doesn’t know how to make itself grimier and more alarming to sit up and pay attention to.

‘Beautiful Boy’ is extremely lacking in emotional substance, call me cold-hearted but I just never found the film struck a chord with me. Usually a film with this sort of content would make me tear up, if not at least get misty eyed but instead without warning my eyelids wanted to rest and there was utterly no gut-wrenching impact from it. I doubt it’s my stony nature because I weep at more and more things, it’s likely because this film is a saccharine trip of melodrama with songs appearing almost every 5 minutes doing little to connect and more to guffaw at the attempt to elicit a sad response.

Chalamet is the biggest positive within the movie. It’s like only he knows the mood of the piece he’s involved in and he plays this troubled figure with a captivating touch. The trauma of addiction is felt every time he turns up on screen whereas the likes of Carell, Amy Ryan and Maura Tierney just can’t quite to reach the power of their young cohort.

‘Beautiful Boy’ is a film that is too clean for a worrying account on drug addiction. It is also one trying to be emotionally manipulative but when it cannot even manipulate to feel any emotion, that can never be good.



Christopher Robin (2018)


The stories from A.A Milne have always proved popular with families so it’s no surprise that another iteration of Christopher Robin and friends is out, not long after the more factual release starring Domhnall Gleeson, Disney are back on the Hundred Acre Wood trail and ensure their magical touch runs through this movie.

Christopher Robin (Ewan McGregor) has left his childhood and woodland playmates behind for a grey adult life working at a luggage company. He’s losing grip on fun, his daughter Madeline and wife Evelyn (Hayley Atwell) who just wants him to focus on family and being less stuffy again which is where the stuffed Pooh bear comes in to hopefully get Robin to help him find himself once more.

This film works better for the more innocent eyes, the honey sweetness of the story is thick and sickly that children will undoubtedly lap up. That isn’t to say this child friendly approach to the movie is a negative, it has problems of a befuddling plot and is slightly weird as we’re meant to believe the characters bounding into the city are real. It might just be me but I was hoping that they were just toys and Christopher had a playful imagination that he’d hand down to his daughter but the fact they were actually alive, being seen by London folk was odd.

Pooh is a bear of very big heart and this is a film of very big emotional manipulation. In the final stages the movie especially tries to make the audience well up and gosh darn it they almost succeed, not because the film is sad but because the filmmakers utilise strings in their music and every other cliche expected to force that emotive pang. This is a harsh statement though because aside from that the movie is exceptionally charming.

Winnie’s little doddering walk and his pearls of silly wisdom are cute, Tigger’s colours may be as muted as some of the less sparky earlier moments in the film but his bounce brings a spark into the movie and the funny bone is tickled on occasion by moments like Pooh loving his Pennywise balloon, playing games on a train and Eeyore frankly stealing the show with his unyielding pessimistic attitude of which I relate!

It’s quite a run of the mill Ewan McGregor performance, he’s good but doesn’t really show off major acting chops. He acts opposite the fuzzy CG pals nicely but they do act him off the screen. Jim Cummings vocals for both Winnie and Tigger are exquisite, he’s perfect in giving this cuddly creatures personality and an infectious quality, you can’t help smiling when they’re on screen. Nick Mohammed is Piglet but something about his voice work for the acorn loving pig is askew. There’s also some brilliant cameos from a trio of British comedic talent as a policeman, taxi driver and street salesman.

Disney seem like they’re hoping to echo the ‘Paddington’ success but the saccharine element is too much and there are no stylistic flourishes. Also the story is massively predictable but it’s a gentile watch that does no harm and is a sweet humorous watch.


A Monster Calls (2017)


Thematically powerful with a strong emotional message, this is not a typical fantasy film. It’s better than that, cleverly balancing a talking tree with stunning animation sequences whilst retaining the necessary coming of age narrative.

Artistic Conor O’Malley (Lewis MacDougall) tries coping with his terminally ill mum Lizzie (Felicity Jones), being beaten up at school and now a huge yew tree (voiced by Liam Neeson) is arriving at specific times to deliver three stories to him. These tales may eventually help Conor in revealing his own truth and understanding more.

Patrick Ness’ novel written from an idea by Siobhan Dowd who died of cancer before completing the book, is a fabulously rich story with a central tug of grief that is handled very well. Ness who also wrote this screenplay ensures the interpretation of the Monster’s stories are clear enough to transfer to Conor’s real life. It’s just a really smartly told plot that keeps you interested and attached.

The water colour animations that arrive with each story are creative, bold and quite dark too. This weaving of human complexity within these sequences are engaging and lifts the film even higher. The CGI and mo-cap of the tree monster is great also, thin branches or wisps of wood curling round items add to the fantastical element, he’s an interesting coach for Conor, looking brutish and menacing but having a kind heart within his trunk.

I’ll openly admit that I found the movie emotional, it never reached that overly sentimental try-hard point. Yes it does go towards that area but the way director and writer handle the subject matter keeps it from being soppy drivel. I will also go further to say that I cried from watching this movie, the film is very affecting because you get wrapped up in the vivid world and it’s certainly a more adult feature than you’d think.

Felicity Jones is gripping during the movie, her condition gets bleak and she becomes a paler gaunter figure but still keeps hold of a hopeful glint in her eye, making her a likeable and strong mother figure. Sigourney Weaver like the witch in the first tale is a see-saw of characteristics but one, ultimately that you know will be good. Liam Neeson’s work playing the booming monster is perfectly cast and he adds gravely gravitas to the part. The show is truly Lewis MacDougall’s though as he carries fear, courage, sadness, confusion and anger through the entire picture with spellbinding conviction.

Only the very ending featuring a book felt like a twee moment, aside from that this is a movie to kick off 2017 in fantastic fashion. The emotional vein running through the story is constant, touching and intelligent.


Inside Out (2015)


Thoughtful and brimming with creativity, this is Pixar well and truly back on the scene after a few scratchy patches. The construction, emotion and wonder of what keeps our minds ticking leads the film into some smart colourful set ups with that expected Pixar stamp of heart you can’t dislike.

Minnesota born Riley (Kaitlyn Dias) is going through the upheaval of moving to San Francisco with her mum and dad, little knowing that inside her head are the emotions keeping her brain chugging along and aiding her actions. Joy (Amy Poehler), Disgust (Mindy Kaling), Fear (Bill Hader), Anger (Lewis Black) and Sadness (Phyllis Smith) are at the controls until two of the team end up lost in the back-lot of Riley’s mind and need to get back to stop the 11 year old from going awry.

There is so much joy to be had within this film, the colour coded characters for a start lift the film with that bright feeling of bold warmth, reds, blues and yellows shine on the screen gifting us that summer buzz. That could just be me but Pixar have a knack for lighting up cinemas with their tales of objects, be it toys or emotions, delighting audiences and putting some sort of magical glow in my heart. It’s the clever storytelling that keeps them ahead in the game and this is no exception.

Pete Docter directs but also conjured up the story and screenplay along with help from Ronnie del Carmen, Josh Cooley and Meg LeFauve. The process of what goes on inside our skulls could be dark but they give it such unyielding spirit. Of course the plot travels down the sadness route to provide dramatic weight and this is something they always build up well. The straining family backdrop accompanied by the struggle of keeping Riley as they want is tense and believable, considering that the film is about walking talking emotions in our heads.

Also, there’s such fantastic rewards to be had in the journey that we go on with two of the emotions. Discovering what the subconscious, long term memory and other thought processes look like is a visual treat. The story makes room for clever openings on how we work as people and what could be behind our eyes helping us make decisions. Concepts of imaginary friends and forgotten memories all truly make you think when Pixar are at the wheel.

Michael Giacchino composes and you can feel that same emotive sense in the music that he crafted for ‘Up’. It bounces along when necessary making you happy and when the troubles begin bubbling away the music becomes tense, not too dark for the kids but worrying enough that you feel the desired emotions. I’m worried about how many times I’m writing the word emotions in this film review. But seriously, it stirs up the right…feels.

Animation wise, the content is gorgeous, the flaking static design of the main emotions and how each one suits their host body is perfect. The memory balls are shining, the view of Riley’s islands is intelligent and detailed and once the journey begins seeing the wonderful ways the brain could be if we were so lucky is fascinating. A dream scene and the little moment of abstraction and turning into broken pieces and 2D art is a cool sequence to watch. It’s a provoking and warm welcome back to this studio and their work.

All the voices suit greatly, Amy Poehler brings a peppy kick to Joy and though she’s control obsessed you can’t help but like her for the sunny disposition she has on the story. The golden voice has to be with Phyllis Smith who somehow makes you laugh and empathise with someone so one tone in their speech. Simply put, it’s a fantastically delivered role. Bill Hader freaks out in a non annoying way as Fear, Mindy Kaling manages to make you smirk as the person inside all of us wanting to spit the truth and Lewis Black blows his top being Anger, the rough determination speaking to all of us who want to get mad. As I mentioned the voices suit greatly, making the characters stand out as individual and integral.

It’s something that is more than worth one watch just to break up the unoriginal trash that floods cinemas consistently. It’s so damn inventive, fun and emotional that inside and out this movie does everything it needs to entice and excite people of every age. No disgust or anger, just sheer joy.


Still Alice (2015)


Emotional, powerful and wonderful, ‘Still Alice’ doesn’t dumb down or soften the dramatic narrative of a character with a mental illness, it shows all the strengths of Alice with a lot of the low points of suffering with her condition. Adding to this delicate strong story is a stunning performance from Moore that makes the film hit even harder.

Alice Howland (Julianne Moore) is a professor of linguists and a thriving working woman with three children and a busy husband, John (Alec Baldwin). Alice learns that she has early onset Alzheimer’s disease and her world and future is immediately tested as she tries memorising words, keeping on top of lectures and being present with her family.

The story is brave and quite unflinching and for this worrying disease it needs to be. Based on the novel by Lisa Genova you see how character can be tested when diagnosed with Alzheimer’s. The plot is fantastic in not making the entire thing a sob fest and making you feel pity for Alice, it shows the side of human nature that powers through, the will and reserve to try and stay positive and Alice at times does indeed try and be strong and make quips about her condition.

Wash Westmoreland and Richard Glatzer joined together for the screenplay and directorial duties and they present a brilliant film. Credit too has to go to Glatzer who was suffering with ALS and couldn’t speak during shooting so used technology to talk to crew and cast. He has now passed but I’m sure he’d be proud of the work he and Westmoreland created. The soft look to a lot of the film makes the film more touching and real, their use of flashbacks to younger times as photographs are looked at are short but poignant in making you realise the horror of losing track of your life. The majority of the film does focus on Alice, even when other people are speaking and that’s a great directing decision as it lets you see her reactions, her processes and her progressions.

Alzheimer’s is something I am admittedly terrified of, memory loss and just forgetting yourself and the people around you is a generally scary thought. The film brings up those senses of dark absence spots in your mind a lot, forgetting little things to not knowing the layout of your own home. It’s an emotional film and it does make you more aware of this condition which Alice beautifully states is worse than cancer, maybe hard but fair in the grand scheme of things when she goes on to say why she feels that way. Alice is a character to root for, admire and cry for, her disease is a weakness but the film doesn’t zoom in on that, it tries and succeeds in keeping her heart in tact and the end of the film is near perfect in running with that idea.

Ilan Eshkeri’s score is poetic in the lullaby tones it maintains. A good portion of the movie repeats the similar sounds he composes and that works to benefit the story. The music in fact compliments the theme of the film really well, it’s present but not distracting, you know it’s there aiding in the emotion of what you’re seeing but it’s not too filled with strings or piano making it scream SAD. The score does shift pace briefly at a path that may open up for Alice as she watches a video of her past self instruct her to do something and that entire scene is tense and tough.

Julianne Moore is outstanding. The performance she gives deserved that Oscar, the way her character journeys from intellectual, assured mum and doctor to broken, scared and lost is phenomenal. The little looks on her face as she cannot remember words to the sobbing as she realises what she has all show Moore as the capable and brilliant actress she is. It’s a resounding role she immerses herself in and she doesn’t overplay the disability, she’s subtle and just right. Kristen Stewart proves that Bella was the bland factor and not her acting as she steps forth and acts damn well as the honest, dreamer of the family, trying to be an actor and help her mum at the same time. Alec Baldwin is great as the sometime supportive and sometime distant husband, the reality of the situation hitting later in the film as Baldwin nicely breaks the stern look and displays emotion.

A heart-breaking feature that doesn’t shy away from the subject matter even if little things in the story get lost to spend more time on the condition. Moore is fantastic and ‘Still Alice’ is bold, defiant and a life affirming film.