Outlaw King (2018)

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“The English are coming…” and so is Chris Pine adopting a Scottish lilt as the lead in Netflix’s latest original feature. As has often been the case, the streaming giant’s release of originals have been hit or miss, so with director of ‘Hell or High Water’ behind this historical drama, which side does this one fall on?

1304 and Scotland hope that Edward I (Stephen Dillane), the King of England can help them select a new successor but instead he takes control of their country. It isn’t long until Robert Bruce (Pine) starts mastering a revolt against the English but with only some men willing to stand with him against a might army, it could prove to be a difficult task.

It is true to say that this is a film that takes a while to get into the sword swing of things but the final 20 minutes make up for a so-so opening 30 minutes. The introductions to Bruce, Edward, the Prince of Wales and other characters are explained in little detail adding no weighted history to a movie clearly happy to be more loosely based on fact than providing rich interest to its audience.

Along the way of rebellion, there are some odd camera shots where they enhance and zoom into certain scenes which just felt off; especially for the period of this story. They felt too modern, too stylish for the context but Barry Ackroyd’s cinematography makes up for these minor quibbles. He’s most definitely a DoP who knows how to capture the gritty dramatics of tension and conflict, from ‘The Hurt Locker’ to ‘Detroit’, this recent offering is no exception as the soiled lands of English’s northern neighbours carry a grounded beauty.

As mentioned, the last spell of this film whacks with medieval carnage, a bold and exhilarating melee of mud and blood which sees the possible hope of Bruce and his Scots carrying out a clever plan. Throughout the film there are a number of other mini battles where daggers and swords provide plenty of maroon-soaked damage and director David Mackenzie doesn’t hide away from the brutality of the actions of these men. ‘Outlaw King’ proudly wears its macho quality but it’s devoid of major heart and would be more memorable on a big screen, left to Netflix it serves as a forgettable distraction.

One of the four top Hollywood Chris sports a crown and beard as Robert the Bruce and his accent is good, which is always nice compared to some Americans trying to don accents from our side of the pond. Pine ensures there’s an honesty and swagger to his performance which helps to keep us on side with his plight. The strongest most memorable turns come from Aaron Taylor-Johnson; as a ballsy, aggressive man desiring his home back and Florence Pugh who is sworn to marriage with Robert but isn’t simply left as the dull wife indoors. Pugh carries likeability and emotion as Elizabeth.

So whilst this may not be a film that really captures your attention, it’s got a strong cast and an excellent final set-piece which keeps this Netflix Original from being one to skip over.

6.5/10

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To All the Boys I’ve Loved Before (2018)

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Adapted from a bestselling novel; where it spent 40 weeks in the NY Times Best Seller list, comes this Netflix feature which is an adorable romance but looking past the teen loves and dramas, there is unsurprising predictability to be found.

16 year old Lara Jean (Lana Condor) daydreams about sweeping romance from the books she reads but has never had a boyfriend. Tucked away in Lara Jean’s bedroom is a box hiding letters she’s addressed to past crushes and unluckily for her they get sent out. Peter (Noah Centineo) is one of those recipients, he and L-J begin a false relationship to both make certain people jealous.

To start with, this film feels like a slight slog to get through. The acting is unbelievable and some of the dialogue feels extremely off. On top of this is the excruciating foreseeable nature of the plot, as soon as Lara Jean and Peter sign their makeshift contract it’s blindingly obvious where the narrative will end up. Fortunately, even though the story never goes somewhere unexpected, I found myself warming up to the film and characters.

Some further annoyances almost make the film something you’d regret, such as a scene in a high school bathroom that has such terrible audio laid over making the conversation sound like something from a Bad Lip Reading video on YouTube. Lara Jean’s sister Kitty is highly precocious and somewhat annoying in places but far less soul-crushing than Charles Wallace from ‘A Wrinkle in Time’. I only bring that brat up because Kitty has the same smarter sibling characteristics of CW and this streaming movie refuses to reference Lara Jean without saying the names every time…a personal gripe I know but it’s just vexing.

Other than the major issue of it being a romance that doesn’t really try to subvert expectations, the film isn’t a weak one. The central pair are a charming delight on screen and there’s some kind of comforting vibe to felt throughout this movie. The film isn’t solely about her quest to find someone but Peter becomes just as important in the way he shakes off jock imagery as he plays pretend dating with L-J.

‘To All the Boys I’ve Loved Before’ isn’t going to break the mould and I’ll likely forget I ever saw it by the end of 2018 but for the time being it’s a satisfying, if just alright teeny-bop romantic flick.

6/10

Cargo (2018)

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In the dusty outback of Australia, ‘Sherlock’ star Martin Freeman tries desperately to survive, in what could only be described as bleak conditions. Adapted from a short film idea by the same creators, ‘Cargo’ does feel like it a little weighed down by a full length run-time but it doesn’t stop it being a gritty portrayal of fighting against the odds.

A virus has swept over the world and anyone infected has just 48 hours of human life left, before they turn into flesh seeking zombies. Andy (Martin Freeman) treks the countryside Down Under carrying his baby girl Rosie, trying to find a hospital to combat the effects he carries with him.

What stands out strongest within this post apocalyptic plot, is the character studying. Yolande Ramke writes a powerfully subtle zombie flick by focusing on the behaviours of its characters, also directing with Ben Howling they ensure the movie doesn’t fill us with easy-to-do blood splattered gore or adrenaline pumped tension. They work nicely together in really making you feel for Andy and understand not just him but the people he interacts with from start to finish. Good zombie films are always showing us the true monsters are found in us when people do the nastiest things to stay alive and this feature is no exception.

I must admit that there are times when a little shot more of tension would have been welcome. The 1 hour 40ish length does have a few points where it feels stretched out and having a couple of scenes whittled down would have kept the dramatic punch alive; as if mirroring the narrow time frame Andy has to survive. Also, aside from the clever and well written/acted character work, this isn’t exactly a film that demolishes the genre, if you’ve seen one or two then you’ve seen this one as well.

Aboriginal life gets a spotlight and there’s a good moment when a trapped Aborigine comments on the sickness but relays it back to how their people, their way of living is all but destroyed by white people, Australia has indeed left this tribe of rich culture to struggle in the background. It’s important that this film highlights them and moments including an Aborigine girl are soft, mystical ones that give the film an original spark.

‘Cargo’ may be a film that would be more tense as a thirty minute outing but there’s no denying that Freeman, newcomer Simone Landers and the writing/directing masters have provided Netflix and us a bold social commentary laced with the gnash of zombie thrills.

7/10

Annihilation (2018)

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Arriving on Netflix, is this bold and engagingly strange science fiction from Alex Garland. It’s arguably one of the finer films of this genre I’ve ever seen, questioning the audience with its intelligent themes of rationality and life.

After a figure from Lena’s (Natalie Portman) life comes back into the fold, she ends up at a government facility close to a glistening barrier known as The Shimmer which is expanding. Dr Ventress (Jennifer Jason Leigh) leads Lena and three others into this weird anomaly to try and stop it reaching civilisation and to hopefully uncover exactly what it is.

Alex Garland has been writing screenplays since 2002 and after his blistering debut directorial work on 2015’s ‘Ex Machina’, this was a movie I was eagerly awaiting. Garland has managed to capture the traumas and oddities of a strange new world from within Jeff VanderMeer’s novel of the same name. As this film goes along, there’s a fantastic sense of slow-burning tension that doesn’t always need to pay off with big action because he directs in such a way that chills to the core and makes this environment feel visceral.

A sci-fi with plenty of intrigue and interesting ideas aren’t always common to come by, so gladly this is an exception, in the same vein as the smartly concocted ‘Arrival’. It’s a film that I think deserves to go down as a classic in its genre, as it grips like a row of razor sharp teeth sinking into you, as you get hooked onto the creepy air of unease and confusion that roams this altering landscape.

The Shimmer itself is a world of melding possibilities leading to some of the most beautiful shots I’ve seen this year, ones that I utterly wished I could have seen on the big screen, but again Paramount offloaded one of theirs to be released by streaming juggernaut Netflix. Rob Hardy’s cinematography is sublime and truly keeps you on the edge of your seat as we trek through somewhere, that is at once stunning and dripping with mystery.

There are some unnerving moments within ‘Annihilation’ which I won’t divulge any further as to avoid spoilers, but I will say, what lurks in The Shimmer certainly builds a scary level to the back and forth narrative with Lena. Also, the final act is absolutely incredible. My mouth was agape for the duration and my skin was layered with goosebumps, in a lighthouse set sequence I can only describe as hauntingly glorious and terrifying in a way that seems to burrow into your very being.

Natalie Portman is a strong presence from start to finish, her character background aptly aids her through this lush yet dangerous world of lost memories and trepidation. Portman easily acts that sense of forceful wanting and knowledgeable progression. She also carries an empathetic sadness and regret throughout, which makes her an interesting character to follow. The entire team are a formidable squad of females with enough drip fed information about their lives, to give us understanding of their choices and motivations. Jennifer Jason Leigh, Tessa Thompson, Tuva Novotny and Gina Rodriguez all neatly display the fraying of their minds as they descend further into The Shimmer. The latter gets a crackling turn to shine in a scene that sees her burst with an intensity, adding to the ferociousness of what happens.

‘Annihilation’ is a masterful movie and one I will definitely be watching again. It carries a quiet menace as the unknown is explored and identity is questioned more and more.

8.5/10

 

The Cloverfield Paradox (2018)

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Dropped like something out of the sky; here comes a game-changer in terms of movie marketing and distribution, but that aside is this a good ‘Cloverfield’ movie?

Set in our future and aboard the Cloverfield Station are a crew from various countries who are hoping to perfect a particle accelerator; which could solve the energy crisis on Earth. As their mission finally catches a break, it seems not everything is good. The team become stranded, meanwhile life back on Earth isn’t looking safe and sound either.

So, after a few months of whisperings and internet talk about a new feature in the ‘Cloverfield’ series, we’re finally greeted with this big surprise release. It was due last year and then apparently again for an April 2018 cinematic date under the name ‘God Particle’ from Paramount Pictures, but as the sporting spectacle of the Super Bowl reached it’s halftime parade of expensive ads and new trailers, a teaser for this very movie was shown. Not long after the game itself the film was up on Netflix for all (subscribers) to see.

This I must admit is a bold move to make and pretty special to keep something under wraps. Having a $45 million movie on your hands and to maintain its secrecy and avoid the usual over hype of many trailers and TV spots is a fantastic achievement, if not one that disappoints me slightly because it’s final destination means it can’t be seen on the big screen. It’s a great film visually and the sci-fi element is explored quite well through the vacuum of space and a sleek revolving spaceship but Paramount mustn’t have had high expectations to forgo a cinema roll-out and leave Netflix to pick up the rights. This can be felt in a film that seems to have grown out of control to fit within the ‘Cloverfield’ universe.

It’s a mildly slow-burner of a science fiction to watch, there’s neat moments of burrowing unease as things start to go wrong; as they always do in these kinds of films. The back and forth between space and Earth feels like the parts where they re-wrote to segue in the movie monster tie-in and general spots do feel like a scrambled mess to keep that storytelling building.

Saying this, the dynamic of the crew is good and the moments of error, confusion and danger aboard the spacecraft are entertaining. I wouldn’t say exciting or wholly dramatic but they work well and keep the film going along nicely too. The main interest for me was in the construct of the shifting paradox and the problems arising from there, which is explored with both thrills and humour but not as deep as perhaps it may have delved. I feel one reason the film isn’t as successful as it could be is down to the distracting technique of its release and expecting the ‘Cloverfield’ monster/arc to keep rearing up.

’10 Cloverfield Lane’ was one of my favourite films from 2016 because it tied in the monster series nicely and felt like a creepily separate thriller at the same time. This is still a good film but nowhere near as great. It’s a film that perhaps, thanks to its many delays and streaming resting place, feels more like a somewhat enjoyable online flick but not a dazzling or suspenseful one.

5.5/10

 

The Babysitter (2017)

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Released on spooky Friday the 13th  this adolescent horror comedy never really gets to grips with either the horror or comedy element. It can; I guess, be viewed as entertaining at points but it’s nothing I’d rush to see again or make a friend see. It belongs where it sits – on Netflix where a late night scroll could end you up watching this tackily made brash trash.

Frequently bullied twelve year old Cole (Judah Lewis) is excited that his parents are off to a hotel because that means the babysitter will be round. He may be the only schoolkid with one, but he has a fun and good relationship with Bee (Samara Weaving). She looks out for him and they share similar interests but one night after goaded by neighbour Melanie (Emily Alyn Lind), Cole keeps himself awake to see just what it is that Bee gets up to when he’s usually asleep. The answer may surprise and shock Cole leaving him experiencing a strangely bloody night.

I knew there was a horror/blood-soaked element attached to this film but I didn’t really look into what the plot was about so I won’t spoil what happens to kick things off or what goes down but yes…wow…there’s a literal WTF moment, those very words even pinged onto the screen seconds after I’d said them aloud to myself! This is when Cole, and the audience, realise what hell may be unleashed and it certainly is unexpected.

So, I guess that element of genuine surprise is a nice touch but before that occurs, the set up of the narrative and characters feels like it’s been transplanted out of that MTV music channel vibe. It’s as if the movie is souped up on a concoction of drugs; the editing and sounds all crackling and switching speeds like the post-production crew had one too many energy drinks. There are titles on screens, random frozen snap shots of moments and a general aura that this film is trying hard to be cool.

Unlike ‘It’ or my favourite TV show of the moment – ‘Stranger Things’, the child acting in this is quite poor, especially between a trio of bullies and Cole. The actor playing Cole does get slightly better but nothing to write home about. On the note of performances, Bella Thorne as yellow costumed cheerleader Allison is cringe, you see her laughing during her ‘panicked’ reaction to the aftermath of police entering the residence. Weaving is believable and I guess I kind of bought into the change of her character but everyone feels like an over the top parody of horror films as if the writer and director are badly spoofing horrors because they don’t like the tropes they come with.

The movie begins quickly descending into mad carnage but the Bee/Cole pairing was already a maddening awkward dynamic, his boob watch and their party time spent together with Stacy’s Mom inspired pool scene felt like unnecessary gratification for the teen audience, further proven by the Weaving/Thorne girl on girl smooch. It’s not just the obvious sexual edge they try hard with, Brian Duffield the writer seems to attempt comedic tension at times but fails with both.

‘The Babysitter’ is definitely not taking itself too seriously and I get that, but that doesn’t mean I can totally forgive it for having its tongue well and truly shoved in it’s cheek. Immaturity is a word I’d use to describe the tone of this release, there’s not much in here to satisfy comedy or horror fans but I’d imagine fourteen year old lads would be happy.

Looking at the above poster, like a GTA one-sheet or visually inspired by ‘The Guest’, it’s sad to say it doesn’t hold the latter’s synth-horror or skewed drama-comedy bite, it feels more like the underwhelming and juvenile ‘Scouts Guide to the Zombie Apocalypse’. Yet with all this negative talk, I in fact found myself enjoying this 2017 film more and more, if enjoy is the right verb to use. I felt the “see you C and bye bye B” sign off is quirky and cute and I liked it. The movie switches into a semblance of ‘Home Alone’ but R rated and I actually grew to like the film as it went on, it is trashy but it’s like a stupid joyride that you know you should jump out of but want to carry on with.

5/10

Hush (2016)

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I’m loving Netflix for these movies that I otherwise wouldn’t see. This psychological horror is fantastically written, deals with tension so well that I don’t think it lets up from the moment the killer arrives to when the credits scroll upwards. It’s even better because it doesn’t jump to jump scares for help, in fact I don’t recall any in the entire feature…hurrah!

Maddie Young (Kate Siegel) is struggling to write a second novel. She has multiple endings but cannot decide on which suits the story best. As she sits at her laptop she is unaware that a masked murderer (John Gallagher Jr.) is outside planning to kill her, he has an element of power because Maddie is deaf and mute from contracting meningitis when she was 13, however she won’t go down without a fight.

It is the tension in this that works so well, I read that director Mike Flanagan was originally going to have Maddie not hearing anything captured in complete silence, which he went back on realising the lack of sound would take audiences out of the picture. He is bang on, the echoing heartbeat effects drumming into recognition do enough to put you into her world but keep the tension brewing very nicely.

On the whole, this is a movie that cleverly plays with sound and flicks between the almost hollow scope of Maddie’s hearing and the louder life we are used to. It’s interesting giving the villain an advantage yet still having him not always being the almighty killer you’d expect him to be. The house is another character in a sense, as it provides our heroine with rooms of escape, crawl spaces and vantage points to try and win the night.

Though there is not a lot of dialogue, I must commend the writing of Flanagan and actor/wife/writer Siegel who both master a scene of superb tension between the killer and a neighbour who comes checking in. The levels of power play bounce back and forth and that dramatic irony of knowing who he is as he pretends to be otherwise is perfectly set up just making you want to shout out to John that all is not good. The inclusion of her as a writer is beautifully utilised as we see numerous choices for Maddie to possibly take, like her story left with many possible ends.

Katie Siegel is a great central character, her lost sense is never a weakness as she possesses a strong will and in her eyes there is that clear sense of determination even if she nicely showcases fear from time to time. Gallagher Jr. is great too, once he takes off the simple but damn effective mask, he goes to town on an unhinged murderer without needing backstory to create a well structured dynamic antagonist.

I was immersed into this taut and skilled movie from the offset and that connection was never lost. ‘Hush’ is an excellent home invasion release that is very smart and very tense.

8/10