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’

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The Predator (2018)

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A lot of talk has been going on as of late with ‘The Predator’ and most of it isn’t about the movie itself, so with these dramatic revelations does Shane Black’s recent feature manage to pull through or is it not worth the time?

After a Predator ship crashes to Earth, sniper Quinn McKenna (Boyd Holbrook) makes first contact but is soon captured and dispatched to a rag-tag of veterans by Will Trager (Sterling K. Brown). As these lethal aliens come after their armour; McKenna, the vets and evolutionary expert Casey Bracket (Olivia Munn) team up to hunt the hunters.

I must admit that I have never seen any other film from the ‘Predator’ franchise so maybe that aided my amusement to watching this one. There is a great bundle of fun to be had though, if you can ignore some awful Rasta-dogs, plenty of guts, expletives and explosions fill the screen with such giddy abandon that makes this a sci-fi horror like the saga is known for but a crimson soaked comic thriller instead.

This almost non-stop action and comedy comes right out of the Shane Black book of movie-making. Sure, it isn’t set during Christmas but Black writes in plenty of witty dialogue that chips in and out of the impending danger. McKenna doesn’t just have one other person to riff with like other Black screenplays, i.e ‘The Nice Guys’ or ‘Lethal Weapon’, he has a whole bus full of characters to make this movie burst to the seams with laddish humour.

Comedy and ripped intestines don’t prevent the third act from feeling like a sore spot. The film descends into being overly ridiculous and more than a couple of times you can see really shameful uses of CGI. A sequence that is all about a blood sport of hunt and kill should have been way more exciting than it was. A big reason as to why this section doesn’t work comes down to the frantic editing and characters that just disappear or are culled which you can’t quite keep up with.

Aside from this weak final twenty minutes, the movie is a dumb joy to behold and a large feature of that joy boils down to the acting in the brotherhood which manifests between McKenna and a squad of men with extreme characteristics. Holbrook keeps up a near-constant grimace and aggression and Keegan-Michael Key is a big player in padding the film with plenty of laughter.

‘The Predator’ doesn’t really connect to the vets but there is enough wise-cracking involved that we know to root for them whereas on the flip side of the coin, which lands in Sterling K. Brown’s proficient palm, we face a charming yet despicable foe who chews up the scenery with Nicorette gum and pure craft. Olivia Munn, controversy aside, is great in softening the blows of constant larking about. She’s no boring damsel in distress biologist, she has enough smarts and skill to keep her cool around Predators and a team of men dripping in testosterone. Jacob Tremblay is a force of munchkin talent to be reckoned as per usual, his ‘superpower’ of autism may get heavy handed but he’s never irritating which other child actors can easily be.

Some may have issues with the plot development and yes the last stages aren’t so strong but watching antics of a newly formed squadron versus a beastly statuesque creature with dreads is an entertaining ride.

7/10

Upgrade (2018)

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All components of this machine are methodically oiled; the story, the action, the music and cinematography are well constructed parts which make a sizzling cool whole.

In the future where more things can be done with minimal effort, Grey Trace (Logan Marshall-Green) still loves mechanics and does up cars for business. A drive home after a meeting ends up in tragedy and Grey is brought back from paralysis thanks to secret tech implanted within him. This upgrade could help him solve the crime that caused the accident but at what cost?

Whenever you have a movie with enhanced technology involved, there’s always going to be that moral question raised of how far the character goes with it. This film takes the usual crime and futuristic model and gives it an awesome face-lift. The chip called STEM, inside of Grey, is a character which hands this film elements of danger but dark humour also. The feel of this future on screen is a warm welcome into utopia before descending into energetic dystopia.

The world on show, from the auto-driving cars to the progressive healthcare is like something from a ‘Black Mirror’ episode, the narrative of this movie definitely fits nicely into the mould of the worrying rise of technology. What ‘Upgrade’ obviously has that Charlie Brooker’s series doesn’t, is a blinding cinematic explosion of action and violence. The fight scenes within this film are sensational, elevated even further by camera movements which follow Grey and shake, rattle and roll through combat, properly throwing you into the mix.

This action does not shy away from bloody grind-house carnage, excess body-horror playfulness and it lifts the moody, troubling growth of the AI element in the plot. It’s not just the hand-to-hand battles which are exciting and special. The lighting is incredible, there are warehouses back lit by yellows and greens and hallways soaked with blood red, these strokes of colour add a superb neon noir to this grim environment that Grey has to wade through in search of answers.

Betty Gabriel is a fantastic watch as a cop on the hunt for who was behind the tragedy but she starts pegging that there’s something else going on with the apparent disabled mechanic, her march forwards is an interesting watch as we know she’s heading into danger. Marshall-Green is great in this, there are times when he seems to degrade into schlock-type forced dialogue delivery but this works in developing his developing technological state.

‘Upgrade’ is an impressive movie to delight in watching, with an ‘Ex Machina’ like tale of humans vs robotics boosted by unique fight scenes and an excellent score, this is surely a sci-fi feature that’ll go down as a cult classic in years to come.

8/10

The Darkest Minds (2018)

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Just when you thought it was safe to think Young Adult tales of togetherness, political angst and romance were over, this film powers up and hits the big screen. ‘The Darkest Minds’ does little to feel any fresher than what we’ve seen countless times before and the script is muddled and tiresome.

A lethal disease has taken the lives of 90% of children under 18; the ones that survived developed powers from telekinesis to more dangerous enhancements. 16 year old Ruby (Amandla Stenberg) is trying to hide the fact she possesses one of the more extreme powers and goes on the run with three other super-teens to try and find a place where everyone is equal and safe from children’s camps.

Of course this film proudly screams it’s producing credits of ‘Arrival’ and ‘Stranger Things’, pretending this will be a film of similar genre and calibre and it definitely misses the latter desire. There are clear echoes of the hit Netflix show and in turn ‘E.T’ here; with the group of kids walking deserted train tracks, evading vehicles on empty streets with their powers and trying to stick together against the violent motives held by government figures but none of the acting, dialogue or visuals are as exciting or tensely dramatic as in ST or E.T.

Chad Hodge’s screenplay becomes a messy shambles and seems to just repeat ideas, most likely explained better in the novel but to no climactic gain here. Conversations about factions of authorities like Tracers or League cohorts become more infuriating to listen to and Ruby just floats between running away and coming back again in what is a highly yawn inducing watch. Ruby’s powers also seem to develop and change depending on the plot needing a way out, the villain is introduced too late and is a weak adversary, it’s not even a surprising turn of events to counter balance the feeble storytelling.

Every now and then, there are some neat uses of effects; be it practical or computer generated. There’s also a short-lived but cool moment of entrapment set up in an abandoned mall. Aside from those examples and the talents of the lead female actor, this is one of those tween sci-fi dramas that thinks its premise is way more captivating and smart than it really is.

Stenberg is good I have to admit, it’s almost like she’s trying to keep her head above the water of this sinking, stinking ship and she just about manages to do so. Skylan Brooks is probably the only other performing highlight of this movie, playing the intelligent and cool Chubs. Liam, played by Harris Dickinson looks too old to be a romantic interest for Ruby and uses his forceful power to somehow make us believe these two are in love. The pairing is hugely jarring and there’s no chemistry to speak of. Lastly, Gwendoline Christie gets the Captain Phasma treatment, by being severely underused in a role that could have been more interesting and corrupt.

‘The Darkest Minds’ is boring and nothing we haven’t already seen, it even comes complete with ‘Hunger Games’ inspired hands-up-into-the-air-in-unison moment. The film seems to think they’re kicking off another YA franchise but all I can hope is that never happens.

3.5/10

 

 

Hotel Artemis (2018)

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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

Solo: A Star Wars Story (2018)

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It wasn’t a long time ago, on a cinema screen not that far away, that we had a Star Wars adventure to revel in. Moving on from the hugely divisive ‘The Last Jedi’, we get this spin-off story which centres on Han Solo and his life before turning into Harrison Ford.

On a less than glamorous planet, lives Han (Alden Ehrenreich) who aspires to be a pilot and see the stars with his girlfriend Qi’ra (Emilia Clarke). As they attempt an escape, Han ends up by himself and over subsequent years he clings onto any person or team he can, in the hope to make some money, get a ship and find Qi’ra again.

I’ll hold my hands up and say I’m not the biggest Star Wars fanboy. I know enough of the originals to get by and find the recent offerings to be entertaining but hearing that Han was to get a feature, wasn’t something I had any feeling about whatsoever and it still vaguely feels that way after watching the film. It’s enjoyable enough and deepens Han and his world but it never blew me away or felt like something I’d choose to watch more than the one time.

This movie has numerous flaws and a big one lays within the comedic elements the script strains to lean towards at times. The writing of these lighter lines sound forced and maybe boil down to the aftermath of the troubled production; what with previous comedy duo Phil Lord and Christopher Miller being kicked out and replaced by Ron Howard. The latter director finds his stride away from the comedy moments and he provides some strong directing in the building of the titular character and adding treachery.

There are also a good number of places where I felt this film was lagging and dare I say, lame. It took a while to feel like the cool science fiction western it’s trying to be and earlier scenes setting up everything didn’t exactly do their best in inviting me in like they should. In my opinion the plot does get better as it goes on and nearer the end, as the mission almost wraps, is where I felt the progressing character paths became so much more engaging and interesting. A neat level of are they/aren’t they back and forth is also played with well.

I had fun whilst watching two major sequences; one being an earlier train heist and the other actually showing us the quotable Kessel Run moment. Both these big blockbuster scenarios are gripping and very well made. They each share elements of fun, personal stakes and visual skill which heightens the drama. Luckily these sequences did just about enough to make me forgive the many uses of extremely on the nose dialogue throughout the movie and moments that caused an eye roll – how Han got his name being a major example.

Ehrenreich is a great youthful Solo, he carries a swag and boyish yet capable know-how which works, with just the right level of roguish charm that I’m sure Ford would admire. Clarke is a captivating character helped by the fact she’s a captivating actor. She definitely does well in playing cards close to her chest, being smart, kick-ass and someone you just can’t quite work out. Donald Glover pretty much steals the galaxy, as do his eye-catching capes. It looks like he’s having a ball playing Lando Calrissian; someone else who can be unreadable and whip smart. Phoebe Waller-Bridge may be a good performer but I found the droid character of L3-37 to be an annoying robot sidekick that never grew on me. Paul Bettany is slightly underused but is a believable villain in a world that’s set up as untrustworthy. Anyone could have an agenda against good hearted motives, anyone that is but Han, whether he’d admit it or not.

‘Solo: A Star Wars Story’ possesses some moments that make you feel as if you’re in the Millennium Falcon; a cinematic theme park ride to enjoy. Then there’s other moments where both the action and story lulls and you wonder why we need to see this story. There’s fun to be had but it’s not a well-oiled machine.

6.5/10

 

 

 

Ready Player One (2018)

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Screeching into cinemas this weekend at 88 mph, is the latest feature from Steven Spielberg. It’s fast, fun and enjoyable but that doesn’t completely override the shortcomings of the plot.

Set in 2045, the population are avid fans and players within the OASIS; a virtual reality world where they can be who they want and try to find an Easter egg, only obtained by finding 3 keys placed by creator James Halliday (Mark Rylance). Trying to lead the pack is Wade Watts (Tye Sheridan) who soon learns from fellow gamer Art3mis (Olivia Cooke) that there’s more at stake, than just a sprawling game.

I’ll kick off by saying, this is an energetic and pacy film that certainly, for the first two thirds at least, manages to speedily put across a massive virtual landscape of endless possibilities. The immersive quality isn’t fully felt but it comes and goes nicely, as if we’re window shoppers to this electrically charged Easter egg hunt. It’s only within the last third that this movie begins to trail and slightly feel like a slog, as the story it’s thinly been telling, takes over from the nostalgia trip and descends into a predictable and less than exciting mode.

There may indeed be problems but I can’t review this Spielberg outing without spouting fanboy praise for a sequence at the Overlook. I wasn’t expecting that at all, it’s at once hilarious and effectively spooky to see the hexagon carpeted floors of Stanley Kubrick’s horror masterpiece, in a film that families will watch! The entire sequence was done brilliantly and I enjoyed it further, knowing what would happen in rooms etc.

Nostalgia is clearly what is selling this film and I have no issues with that, it’s a seat filler. People love being reminded of fun flashes to their past and this movie sees games and pop cultural figures storm the cinematic screen with giddy abandon. Marvin the Martian, The Iron Giant and Halo Spartans are just a few of the brilliant visual tie-ins Spielberg and the effects team have gifted us, but there should be more to it down to the main narrative, yet at points it does feel like this is a film solely riding on the cool delight of spotting characters from games, film and TV dotted around.

Music also forms a huge factor of the feel-good fuzzy feeling as Hall and Oates, The Bee Gees and Van Halen all riff on this film’s clear course to Nostalgia-ville. There’s a general fun vibe to had with this film and even though there are problems with the story being devoid of heart or much emotion, a side-lined female character who becomes not much more than a love interest and a show of characters that don’t really develop and therefore never grabbed my attention, it’s a movie of wonder and bright colour, zippy visual treats and a technological feat that should be admired.

Sheridan plays the guy out in the sticks aspiring to win and the lead with a lesson in love, in a way that’s alright enough but I’d never say he was someone I rooted for, he’s kind of just there amongst a world bursting with other avatars. Cooke sprinkles some cool chick moves to her turn as the helpful love sidekick and I found her more interesting to watch than Sheridan, as I did with the hench figure of Aech and their subsequent reveal. Ben Mendelsohn is always an effective presence but his role as the villainous Nolan Sorrento is hot and cold, there’s flickers of chilling menace and then it dissipates. Rylance comes and goes but is a fun addition, with a kind of Wayne’s World/Bill and Ted gamer geek, stoner attribute to his character.

The story isn’t as strong or as engaging as it deserves to be but I have to applaud Steven Spielberg and the visual effects crew, for creating a film that is a lively rush for the senses.

7/10