The Best And Worst Films Of 2017

2017 has been an interesting year for film, with most of the years best pieces of cinema very sparsely scattered throughout the year amongst a majorly poorly performing year. A big fear in the film industry is that the push towards big blockbuster film could lead towards some financial problems for the industry as a whole. It's fair to see as each studio tries to push out a big film that ups the one before we'll lose the diversity of films being released. We should be encouraging creativity, a range of genres, the opportunity to push the boundaries and a move away from films that generate profit in the short term.

What I've really loved about this year is how much live-action family films have made a comeback. There are a collection of films in my top 25 range that have managed to land themselves there because they are shining examples of the family genre. The family genre is generally quite a weak one in recent years, often not costing a great deal to make and making a fine amount of cash around holiday periods. This year has seen the family film reclaim its heart and good-natured storytelling, while blockbuster cinema this year has been underwhelming there is something utterly magical about what the family genre has achieved. This year has seen some surprises with a DC film scoring higher than a Marvel film and the Star Wars film failing to make my top 25; made even stranger by my top three films all being sequels. If you want to see where the best and worst wound up, keep reading...

The Best:

5. Hidden Figures - 9/10

This film is a very strong contender and managed to hold the number one spot on my top five for the first four months straight. It's an inspired film retelling the struggles African-American women faced working in NASA; putting work towards computing and mathematical equations. It has a light, entertaining tone that is balanced out by a serious introspection at the racial and gender divide that existed at the time. It is a message of perseverance, of overcoming and it demands us to make the same strides. This was the sort of film that I hoped to see more of throughout 2017 and we certainly did get a lot of films which tried to emulate it.

https://ciaranknight.blogspot.co.nz/2017/01/hidden-figures.html

4. Wind River - 9/10

Wind River is another film with a lot to tell, a strong message that courses throughout this film about the plight of Native American people. There is a very majestic portrayal of nature here; a very raw and feral depiction of the surroundings which hold power over the characters and the audience alike. This story lays out how there is no missing persons registry for Native American women to this day in a narrative that is gripping and emotionally moving. My only gripe about this film was that the message seemed to be delivered by the wrong choice of protagonist, yet in spite of that the cast was solid and there were some astounding Native American performers being given ample opportunity to shine.

https://ciaranknight.blogspot.co.nz/2017/09/wind-river.html

3. Blade Runner 2049 - 9/10

If Blade Runner 2049 doesn't win an Oscar for Best Special Effects I'll be incredibly shocked. This is a film that has an incredible eye for detail, with every camera shot, every special effect, every frame adding a new dimension to the cinematic wonder this film is. The original Blade Runner is given a rather effective homage, with the narratives reaching a great point of being interconnected without relying heavily upon one another. This is a new Blade Runner with a different society to comment upon. In this treatment, we see what is an astounding move; making two of the main leading protagonists non-human. Blade Runner 2049 charts unknown territory and reaps the rewards, presenting audiences with a film that is not merely a sequel to the original but a gamechanger as well.

https://ciaranknight.blogspot.co.nz/2017/10/blade-runner-2049.html

2. Guardian Of The Galaxy Vol. 2 - 9.5/10

As I stated when first I posted my review for this film, I think I have found my favourite Marvel film to date. Placing Guardians 2 so high up on my list is a pretty controversial call and is certainly one of the picks that has stemmed most from personal opinion than some of the others. This is one of the many films infamous for dividing audiences this year, with many being disappointed for the excessive use of humour or the fact this film didn't strive to up the stakes as high as it did in the first feature with Ronan. I believe that director James Gunn crafted a film for his characters, rather than chalk up some big event narrative. I was drawn in by how much I came to know each of the characters in greater depth than I had previously; in a lot of ways, it's what team films like this fail to do in their sequels. The colour palette in the Guardians films is incredibly inventive and I'd say that Gunn has made a science-fiction series of films that has brought me back into the genre in a way that other recent science-fiction films have failed to do.

https://ciaranknight.blogspot.co.nz/2017/04/guardians-of-galaxy-vol-2.html

1. Paddington 2 - 9.5/10

Earlier I talked a lot about how much I've enjoyed the resurgence of the live-action family film, well a number of these films have made my top 25 but none managed to do quite so well as this small British flick about a bear from Peru. The moral of the story is crystal clear throughout, one that wins you over as an audience almost straight away. It is almost impossible not to be rooting for Whishaw's Paddington; he's a model protagonist and indeed seems to unapologetically be the shining protagonist to have emerged from 2017. You'll laugh at nearly every gag, pun or witty line all while following a rather entertaining adventure involving Paddington, the Brown family and a costume-changing Hugh Grant at his very best. This film knows exactly when to throw out some highly emotional scenes and ends the film perfectly, showing a very clear attention to structure and tone. A model family film and my personal favourite for 2017.

https://ciaranknight.blogspot.co.nz/2017/12/paddington-2.html

While many films have been average this year, I'm happy to say that they have remained merely that. The following list of worst films from throughout the year stem mainly from the first half of the year and were so awful that nothing much truly surpassed them...

5. Baywatch - 2/10

This is a film that I almost didn't go to see in cinemas this year, I'm quite disappointed that I didn't follow through on that. Unfortunately, due to my attendance, I was presented with a film that barely managed to present a plot; even then it took half the film to begin evidencing this type of structure. Its a pretty basic comedy film that falls into lowbrow humour and slapstick antics almost immediately and is only ever made half good by the acting chops of Dwayne Johnson, Zac Efron and Priyanka Chopra. This film drags itself out and is quite a superficial attempt to profit from the Baywatch title more than anything else.

https://ciaranknight.blogspot.co.nz/2017/06/baywatch.html

4. Bad Moms 2 - 2/10

I really enjoyed the first Bad Moms quite a bit, it placed itself pretty highly amongst the films from last year. This year the exact same film is presented without any of the substance, there's a real push to make the same formula fit more of a Christmas theme with very little else thrown into the mix. Of the new additions to the film, we have Christine Baranski, Susan Sarandon and Cheryl Hines; a trio of actresses whom the film revolved around and really managed to drag the spark of the feature. This Bad Moms was a lewd, failed attempt to make lightning strike twice.

https://ciaranknight.blogspot.co.nz/2017/11/bad-moms-2.html

3. Snatched - 1/10

A few years ago I watched the film, Trainwreck, another Amy Schumer film that I was entertained by and hoped to see more of. Since then Schumer has scandalised the world by ripping comedy straight from other comedians, developing a much cruder form of delivery and making this wreck of a film. The comedy in this film is constant no matter which character is speaking; you feel like you're being pitched one really awful stand-up comedy bit most of the time. This film relies on Amy Schumer's sense of humour to make or break the feature and not only does it break it, but it bombs it.

https://ciaranknight.blogspot.co.nz/2017/05/snatched.html

2. Valerian And The City Of A Thousand Planets - 1/10

Every single one of my bottom five for this year is a comedy film, except for this one. Valerian is an obnoxious piece of cinema that feels like it was pulled out of the Stone Age. This film is nothing short of rather crude, hard to watch sexist drivel; it feels like it was made by a creative team that doesn't understand the direction cinema is moving in and so isn't a film for most audiences. The plot is a mess, dealing out lengthy dull moments of exposition or failing to provide the audience with any information at all. A large aspect of this film relies on the audience guessing at plot details and hoping they have managed to pick up on details that don't even exist within the film. This film looks like a cheap blockbuster from the early 2000s and it's disappointing to see such a waste of time presented in 2017.

https://ciaranknight.blogspot.co.nz/2017/08/valerian-and-city-of-thousand-planets.html

1. Gary Of The Pacific - 1/10

This year sees four of the five worst films all stemming from the comedy genre; not a huge surprise considering recent standards for these films but disappointing nonetheless. The fact it is a New Zealand/Cook Island comedy that marks the years worst is not terribly surprising considering a likewise film I saw a couple years back called Three Wise Cousins. Gary Of The Pacific has held the bottom slot on my list since March, making it a very weak contender for a long time now. This film doesn't draw a single laugh beyond two scenes and it is certainly never the leading cast that generates these moments of comedy. There is no commitment to telling a narrative you care about or presenting characters who develop into likeable roles; instead, this film highlights the flaws with comedy films currently, presenting narcissistic protagonists and edging them along with lazy writing.

https://ciaranknight.blogspot.co.nz/2017/03/gary-of-pacific.html

I have reviewed 88 films over the course of this year and they've been certainly a very different bunch to watch. If you want to see where some of the big names or your personal favourites wound up have a look below; and if you had a top five I'd love to hear about them!

1. Paddington 2 – 9.5/10
2. Guardians Of The Galaxy Vol. 2 – 9.5/10
3. Blade Runner 2049 – 9/10
4. Wind River – 9/10
5. Hidden Figures – 9/10
6. Spider-Man: Homecoming – 8.5/10
7. Atomic Blonde – 8.5/10
8. T2: Trainspotting – 8.5/10
9. War For The Planet Of The Apes – 8.5/10
10. Life – 8.5/10
11. Jumanji: Welcome To The Jungle – 8.5/10
12. The Edge Of Seventeen – 8.5/10
13. The Man Who Invented Christmas – 8.5/10
14. Going In Style – 8.5/10
15. King Arthur: Legend Of The Sword – 8/10
16. Get Out – 8/10
17. Manchester By The Sea – 8/10
18. Only The Brave – 8/10
19. The Big Sick – 7.5/10
20. Logan Lucky – 7.5/10
21. Geostorm – 7.5/10
22. Middle School: The Worst Years Of My Life – 7.5/10
23. Monster Trucks – 7.5/10
24. xXx: Return Of Xander Cage – 7.5/10
25. Kong: Skull Island – 7.5/10
26. The Hitman’s Bodyguard – 7.5/10
27. Table 19 – 7/10
28. Pork Pie – 7/10
29. The Fate Of The Furious – 7/10
30. Smurfs: The Lost Village – 7/10
31. Star Wars Episode VIII: The Last Jedi – 6.5/10
32. Alien: Covenant – 6.5/10
33. A Cure For Wellness – 6.5/10
34. Collateral Beauty – 6.5/10
35. Passengers – 6.5/10
36. The Disaster Artist – 6.5/10
37. The Boss Baby – 6.5/10
38. Red Dog: True Blue – 6.5/10
39. Patriots’ Day – 6/10
40. Split – 6/10
41. Gold – 6/10
42. Logan – 6/10
43. Ghost In The Shell – 6/10
44. Beauty And The Beast – 6/10
45. Daddy’s Home 2 – 6/10
46. Justice League – 6/10
47. Thor: Ragnarok – 6/10
48. Flatliners – 6/10
49. Moonlight – 6/10
50. 6 Days – 6/10
51. A Street Cat Named Bob – 6/10
52. Lion – 5.5/10
53. Ballerina – 5.5/10
54. Wonder Woman – 4.5/10
55. Before I Fall – 4.5/10
56. Their Finest – 4.5/10
57. Kingsman: The Golden Circle – 4.5/10
58. Power Rangers – 4.5/10
59. Baby Driver – 4/10
60. Assassin’s Creed – 4/10
61. The Mummy – 4/10
62. The Lego Batman Movie – 4/10
63. Pirates Of The Caribbean: Dead Men Tell No Tales – 4/10
64. American Assassin – 4/10
65. Murder On The Orient Express – 4/10
66. Master – 4/10
67. Fences – 4/10
68. Rings – 4/10
69. Dance Academy – 4/10
70. A Dog’s Purpose – 4/10
71. Live By Night – 3.5/10
72. The Great Wall – 3.5/10
73. CHiPs – 3/10
74. Rough Night – 3/10
75. The Dark Tower – 3/10
76. The House – 3/10
77. Silence – 3/10
78. Happy Death Day – 3/10
79. The Changeover – 3/10
80. Fist Fight – 2.5/10
81. Fifty Shades Darker – 2.5/10
82. Transformers: The Last Knight – 2/10
83. Resident Evil: The Final Chapter – 2/10
84. Baywatch – 2/10
85. Bad Moms 2 – 2/10
86. Snatched – 1/10
87. Valerian And The City Of A Thousand Planets – 1/10
88. Gary Of The Pacific – 1/10

Here's to 2018, I can't wait to see where cinema goes from here!

Jumanji: Welcome To The Jungle

This review may contain spoilers!

This film has the perfect blend of great casting, high stakes, well-built tension and side-splitting comedy. I would give Jumanji: Welcome To The Jungle an 8.5/10.

The strength in this year has stemmed from the excellent family films and it's heartwarming to end the year with yet another one. Jumanji is a film that sets up four characters who you otherwise like or come to be invested in, the development around each of these four as they venture into the game is portrayed well. This feels like an adventure tale as close to the original Jumanji as the creators could possibly have gotten it; with high stakes planted throughout. Each of the actors is also able to hold their own when it comes to the feature's more comedic moments, making this a lot of fun. The cinematography looks great, with action scenes being well set up and dialogue scenes nicely framed. The special effects looked epic and solidified Jumanji as a setting; scenes with wildlife or the helicopter sequence really stood out. The score for the film adds a lot to various scenes, as well as the soundtrack and how 'dance fighting was incorporated into the narrative. The use of the Jumanji drum sound effects was a great point of attention to detail.

Dwayne Johnson, who played Dr Bravestone, made for an entertaining and convincing protagonist of the film; Johnson's portrayal of a cowardly, nerdy teenager was a nice change of pace from his standard roles. Kevin Hart, who played 'Mouse', was one of the more immediately comedic roles; Hart also had some great chemistry going with Johnson which made the conflict between the two interesting to watch. Karen Gillan, who played Ruby Roundhouse, really felt awkward, uncomfortable and at odds with many of the others in the cast at first and developed from that nicely; I enjoyed watching Gillan play a role who felt more self-assured and confident by her own merits as the film progressed. Rhys Darby, who played Nigel, was one of the most convincing main 'NPCs' within the film; Darby lends quite a theatrical telling of some of the key exposition in the film which makes it rather interesting and engaging to watch. Bobby Cannavale, who played Van Pelt, is quite an interesting and disconcerting villain; Cannavale enters the screen with such malice that you're immediately convinced he'll be a serious challenge for the protagonists. Nick Jonas, who played Alex, has the energetic mannerisms that give his role quite a bit of spirit within the film; Jonas is immediately likeable and has some great chemistry with Black throughout. Alex Wolff, who played Spencer, is a very meek leading protagonist who you can't help but feel sympathetic for; Wolff has quite the bumbling comedic persona which sets the tone well. Ser'Darius Blain, who played Fridge, is quite a disgruntled character who is socially separate from the rest of the younger cast; Blain has a very standoffish air to him which translates well to Hart's later performance. Madison Iseman, who played Bethany, really plays up on the popular self-absorbed teenager stereotype; Iseman does a great job of concluding her character as a more charismatic role by the film's end. Morgan Turner, who played Martha, plays her role's awkward traits and more abrasive ones equally well; Turner really connects with Wolff and the romance Johnson and Gillan start is concluded in a satisfying way come to the end of the film. Marc Evan Jackson, who played Principal Bentley, is quite a kindly authoritative figure in this feature; Jackson really lands the moral of the film in a way that is both engaging and succinct.

However, the best performance came from Jack Black, who played Professor Shelley. Black's performance is easily some of the best comedic acting within the film; showing a strong balance between playing a bit over the top or bringing it down for the more serious scenes. It's surprising how the role of Bethany which Iseman sets up is so easily picked up by Black, whether that be in movement and actions or dialogue choices. The friendly bond between Black and Gillan is quite nice and shows attention paid towards developing strong positive female roles working together. The chemistry between Black and Jonas is almost immediate as well, hinting at a romance and developing a bond that you can really appreciate as a viewer. Black affirms Bethany as a role who is useful, not just a generic popular girl and I think that speaks leagues for the film itself.

Jumanji: Welcome To The Jungle doesn't always know where exactly to land the comedy, throwing out some jokes that fail to land or come off as a little lowbrow in their execution. I also found the way the film laid out its own structure early on to be a strong failing, making the pacing and general storytelling quite predictable.

The Man Who Invented Christmas

This review may contain spoilers!

Dan Stevens continues to prove himself to be nothing more than a powerhouse performer. I would give The Man Who Invented Christmas an 8.5/10.

There is something very commercial and rushed about Christmas films these days, entire features where a low budget shell of a narrative is thrown out to earn cash from the holiday season. I was pleasantly surprised and delighted by The Man Who Invented Christmas because it challenged the audience to think what goes into a story about Christmas; how do we build a moral in a story that matters to people. The depiction of A Christmas Carol has been done commercially an incredible amount of times by now and this is a nice return to the core idea behind the whole thing. You can't help but feel more connected to the nature of the famous story, it manages to feel both a homage and a fresh telling. The biographical component surrounding Charles Dickens is interesting and has a fine contrast to the development of his famous story. I thought the strength of the film lay in its presentation of Dickens' writing process and the internal struggle he has with his characters to craft his writing.

Christopher Plummer, who played Ebenezer Scrooge, is nigh merciless as the famed vindictive character; Plummer lends a darkness to the role that leads to some brilliant confrontation between Stevens and himself. Jonathan Pryce, who played John Dickens, is a rather charming role ultimately; Pryce does a fine job at subtly playing the more hapless aspects of his role so that you feel conflicted about him as an audience member. Simon Callow and Ian McNeice, who played Leech and Chapman respectively, immediately capture the fine respectable publishers of Dickens' works; these performers have an open sensibility and balance the moments in which their roles aid the protagonist or find themselves in conflict with him. Morfydd Clark, who played Kate Dickens, is a very energetic and commanding presence throughout the film; Clark's more intimate moments of upset or passion with Stevens are very moving. Miles Jupp, who played William Makepeace Thackeray, is a very arrogant, underhanded role that you love to hate; Jupp is a witty minor antagonist who develops an interesting dynamic with Stevens and Edwards. Anna Murphy, who played Tara, is a very spirited actress who imbues this film with the magic of storytelling; Murphy plays a real passion where it's needed to shift the plot in a more emotional direction. Justin Edwards, who played John Forster, is an immediately charismatic role with a great degree of chemistry with Stevens; Edwards manages to lend some levity to the film and guides the lighter tone.

However, the best performance came from Dan Stevens, who played Charles Dickens. Stevens immediately appears on the camera very self-assured and rather boisterous; you're not entirely sure what to make of him and it is clear this role will be unpredictable. As the film progresses we come to see the incredible energy with which Stevens lends to his scenes, darting across the set and making erratic gestures. Dickens feels like his mind travels to a million different worlds all within a single instant. There is a real haunted nature to the role as well, a fear of darkness from his past and within him which Stevens plays to such great effect that Dickens becomes the antagonist of his own tale at a point. Ultimately this is a role who comes from a place of kindness, generosity and joy; exactly the Christmas figure that has been missing.

The cinematography for this film didn't always look very nice, the framing had its issues and some of the scenes just looked plain awkward. The editing throughout enabled a slow pace that was only subverted by the narratives own strengths; furthermore, the special effects often looked like they hadn't seen much attention to detail. The score for the film had its moments but was forgettable for the most part; there were key moments where music kicked in for effect but there wasn't a sense of thought placed into how the music of the film would sound throughout.

Miriam Margolyes, who played Mrs Fisk, is a very background figure given more screen time than is really needed; Margolyes seems content with her weak screen presence, allowing for younger performers to eclipse her in scenes quite easily. Ger Ryan, who played Mrs Dickens, seems like a casting more out of necessity than anything else; there are few points in this film where you're actually convinced that Stevens and Ryan have a mother and son relationship.

Star Wars Episode VIII: The Last Jedi

This review may contain spoilers!

I haven't seen a Star Wars film this bad since Attack of the Clones. I would give Star Wars Episode VIII: The Last Jedi a 6.5/10.

This film does a really good job of showing the relationship that forms between Rey and Luke as they become master and apprentice; the conflict that exists between them is great and often entertaining. I found the discussion around the Jedi that happened in this film to be an exceptionally interesting aspect, there was clearly some rich insight here into the world of Star Wars. However, ultimately this is a predominantly visual film and a Star Wars film in appearance rather than plot. The cinematography for the film is really sharp, every scene looks well constructed and has an impact on the audience. The special effects used throughout are incredibly grand scale; the hyperspace jump through the Dreadnought, the lightsaber battles, the starship fights and many of the CGI characters are all very impressive. The score for the feature is a powerful accompaniment; the music lends that classic Star Wars magic that the film is mostly devoid of.

Daisy Ridley, who played Rey, remains a strong leading protagonist for this latest trilogy; Ridley has a fierce determination that lends itself well to her role's underdog status. Adam Driver, who played Kylo Ren, is a very conflicted antagonist this time around which makes his performance rather interesting; Driver's performance shines when his character is riddled and overcome with blinding rage. Domhnall Gleeson, who played General Hux, was used to much better effect this film; Gleeson rages and commands his forces brilliantly while also balancing out the more comedic moments where his role's authority gets undermined. Andy Serkis, who played Supreme Leader Snoke, is an incredibly malevolent antagonist; the ferocity and power he exudes over both Ridley and Driver's roles in this film is simply impressive. Oscar Isaac, who played Poe Dameron, really brings forth his role's more impulsive and reckless traits; Isaac really has a natural way of showing the chemistry his character has with others throughout. John Boyega, who played Finn, is quite the likeable role who is easy to relate to from the perspective of the audience; Boyega's sarcastic wit makes him one of the funnier roles. Anthony Daniels, who played C-3PO, is a performer who has always managed to bring this classic role to life; Daniels' brings forth the droid's natural cowardice in a way that lends a good deal of humour to scenes.

However, the best performance came from Mark Hamill, who played Luke Skywalker. Hamill excels as the grouchy hermit who tends towards sarcasm and wry humour. This is a role who is stoic and feels detached from the greater conflict of the film when first we meet him, he is very much at odds with Ridley. Yet as we see him connect with Chewie and the Falcon, rekindle joy at seeing R2 and place his hope in Rey we start seeing a Skywalker who feels more familiar to us. The witty moments where Luke jokes at Rey's expense or mocks Kylo are some of the best in the film and really show a side to the new Star Wars that I enjoy. Yet this feels balanced with the way in which Hamill expresses Luke's pain over failing Kylo and the hard exterior that has come to mould this character into who we see throughout the film.

The plot of this film is pretty good for the first twenty minutes and then it peters off and fails to resemble a Star Wars film in anything beyond aesthetics. The narrative takes place in one general location for most the film, where all the main characters are staged in a high stakes ship battle. However, this location is only used as a high stakes plot for some of the characters to try and enable the Resistance to escape resulting in several questionable forms of travel and some locations that just don't resemble Star Wars at all. Ultimately after most of the runtime has passed by it is revealed that this whole arc of the story was for nothing and that the narrative takes a different direction instead, rendering most of the film rather pointless. The way the Force is portrayed in this film feels rather ridiculous with many of the characters exhibiting the ability to affect things when they're whole galaxies away or should, by all means, be dead in space. It's frustrating that the film pushes for a lot of cute and cuddly critter moments that work as poor comic relief to populate the film, while actual interesting moments are undercut; such as Finn's self-sacrifice or the fact that Luke died inexplicitly. Episode VIII really doesn't work well as a sequel, with major continuity issues or questionable decisions scattered throughout; with the First Order seemingly taking no fallout after Episode VII and the destruction of Starkiller Base. The wasted potential of Snoke as an antagonist is disappointing, and Kylo Ren wasn't built up to take a leadership role as a villain.

Gwendoline Christie, who played Captain Phasma, is just a dull antagonist like she was in the first film; it's hard to understand why they felt there was even a need to bring Phasma back. Carrie Fisher, who played Leia, is one of the worst performances of the film; Fisher's toneless delivery grates on the ears and as a character she adds little to the film. Laura Dern, who played Vice Admiral Amilyn Holdo, is a confusing character to watch who feels very late to be introduced; the fact Dern plays this role to be suspicious means that she is hard to like even after she sacrifices herself to save the Resistance. Benicio Del Toro, who played DJ, is such an awkward character and really isn't at all necessary to the film; Del Toro's stutter is awful and this isn't a role who really does anything. Kelly Marie Tran, who played Rose, seems exciting when she first appears onscreen but she quickly grows annoying after a couple of scenes; Tran feels like a role that should have been introduced sooner and now that she has appeared is pushed to the spotlight a bit too quickly and forcefully to the narrative's expense. Lupita Nyong'o, who played Maz Kanata, was all well good in the last film but now she feels like she's just being pushed in for the sake of it. Nyong'o doesn't make her scene feel noteworthy and this just comes off as a gratuitous cameo. Frank Oz, who voiced Yoda, really does a dismal job on what is an already questionable cameo; when Yoda shows up out of nowhere in this film he already looks awful in appearance but his ridiculous nature pulls you out of the film completely.

Paddington 2

This review may contain spoilers!

The start of this year saw a surprisingly strong return of the live-action family film and this is probably the crowning achievement of this recent trend. I would give Paddington 2 a 9.5/10.

This film has a simple story that doesn't aim to tell anything more than a heartwarming story about a family to support the young bear amongst them and it works perfectly. The film balances out fun, slapstick comedy with wild and entertaining chase sequences. Paddington and the other cast of characters really carry over well from the first film; with many of the newer cast members being given more than their fair share to shine. The film grounds itself with a very clear moral message tied very intricately with the goal of the plot; making this a markedly optimistic film compared to some of the dreary, dull dark films that have emerged throughout the year. The narrative of Paddington 2 provides redemption, bravery, family and love in what is one of the best films out this year. The cinematography is absolutely brilliant, the unique set pieces are a real highlight and the film is given a lot of energy thanks to the appealing visual design. The score for this film provides an uplifting and optimistic tone; the musical number led by Hugh Grant at the end of the feature is absolute icing on the cake.

Imelda Staunton, who voiced Aunt Lucy, provides a role who you can immediately believe to be sweet and kindly; Staunton lends her voice to only small sections of the film but she has quite a powerful emotional impact. Ben Whishaw, who voiced Paddington, once again does a splendid job as the film's protagonist; the immediate charisma and charm to this character mean he is the heart of the film for all the right reasons. Sally Hawkins, who played Mary Brown, is a real adventurous spirit throughout the feature; Hawkins captures the creative and energetic tone a film like this so desperately needs. Hugh Bonneville, who played Henry Brown, still has the 'stiff upper lip' persona which makes him more of a rigid role than other members of the cast; Bonneville really seems to connect with the morals behind films like these and is always up for a good bit of comedy at his expense. Julie Walters, who played Mrs Bird, really has a hold of this character and makes her feel more like a member of the family in this film; Walters' crafts a fiery temper which in turn leads to some great conflict between her and Grant. Hugh Grant, who played Phoenix Buchanan, makes for a brilliant antagonist that rivals what Kidman did in the last film; Grant really shows off his acting range, bringing forth a number of accents and archetypes as the scene needed it. Peter Capaldi, who played Mr Curry, seems to have found his fit in this film as the neighbourhood nuisance; Capaldi enters scenes and bullies others around making for some great forms of antagonism throughout the feature. Kobna Holdbrook-Smith, who played Warden Walker, seems like a harsh figure of authority when the audience is introduced to him; yet, Holdbrook-Smith develops the role to be so kind as to read his prisoners' bedtime stories. Joanna Lumley, who played Felicity Fanshaw, was quite the fun cameo to this film; Lumley's ability to exude an extravagant persona really mirrored that of Grant's role.

However. the best performance came from Brendan Gleeson, who played Knuckles McGinty. Gleeson really showed quite a wide range as a performer in this family film, going above and beyond what could be expected. This is a role you feel intimidated by when he is first introduced, he's quick to rage and has a rough exterior. Yet Gleeson does incredibly to develop a role who displays subtle moments of genuine connection, care and integrity. The bond Gleeson manages to develop with a CGI bear is surprisingly powerful and one of the more moving onscreen relationships I've seen all year.

The film takes its time to really get started, the film feels slow at the beginning which doesn't lend itself well to hooking you in. The editing for the film doesn't help much because it settles for a slow cut between shots and scene transitions are very gradual.

Madeleine Harris, who played Judy Brown, is tasked with a more inquisitive nature but this doesn't lend her any greater significance; you feel that Harris works best when her role is in the background. Samuel Joslin, who played Jonathan Brown, comes off as exceptionally cringeworthy this time around; Joslin's wild extremes between the start and the end of the film only indicates that the writers didn't really know what they wanted to do with the child characters. Jim Broadbent, who played Mr Gruber, is quite the dottery role who is quirky but disinteresting; Broadbent only really fits into this film as a means of introducing the inciting plot device. Tom Conti, who played Judge Gerald Biggleswade, is a bit bland as the constant victim and deliverer of slapstick comedy; Conti isn't a character so much as a figure to be laughed at which makes him a weak link in this film. Eileen Atkins, who played Madame Kozlova, was a bit of an oddball act brought in at an odd place in the second act; Atkins didn't add a great deal beyond exposition. Simon Farnaby, who played Barry the Security Guard, laid the comedy on a bit strong, even for Paddington; Farnaby took his role's scene to a ridiculous place that felt out of tone with the rest of the feature.

The Disaster Artist

This review may contain spoilers!

This is a film that is exceptionally fun to watch if you've seen The Room but doesn't offer much for those who haven't. I would give The Disaster Artist a 6.5/10.

This is a really strong example of a satirical biopic, you can't help but laugh at the absurdity of this true story and the seemingly random development of events and characters. The examination of Tommy Wiseau as a character is very interesting; you come to understand why people view him as a villain, while at the same time coming to grips with his almost tragic struggle living as an outsider and an oddity. The soundtrack for the film is a lot of fun and places you right back into the late 90s excellently; I personally quite enjoyed Corona's 'Rhythm of the Night' and how Franco made use of that song.

James Franco, who played Tommy, gives a remarkably strong performance as one of the leads for this film; Franco lends all his energy to crafting Tommy as an erratic, chaotic and fascinating individual. Seth Rogen, who played Sandy, lends a nice critical lens to this film; it's really enjoyable to watch Rogen scoff his way through the film belittling Franco's character. Zac Efron, who played Dan, plays a role that can really go between two hilarious extremes; Efron's tough and intense portrayal of a gangster mirrored by his more reasonable actor persona is one of the funnier aspects of the film. Megan Mullally, who played Mrs Sestero, gives quite an accurate portrayal as a frantic, frenzied mother; Mullally's conflict with Franco's role is a nice exchange at the front of the film.

However, the best performance came from Ari Graynor, who played Juliette. This is a role I was surprised by, I didn't really know what to make of the actress who would be portraying the leading woman from The Room but I was pleasantly surprised. Graynor delivers an ecstatic character, who is grounded in a passion to find her big break and make a respectable acting career for herself. Yet the challenges she faces on-camera are ones that you can't help but feel uncomfortable with at times, it's an aspect of the film that feels like it really has something to say. Overall, Graynor portrays an actress who is embarrassed by the film but is a character you really care about as an audience member.

The Disaster Artist is let down because it doesn't always feel like it has something to tell, there will be incredibly long moments where the narrative doesn't further itself and the pacing slows right down. This is ultimately because the film only really knows how to express itself in two ways; it can either push an exaggerated comedic style or a flat telling of the making of The Room. This is the sort of movie that can be made purely from googling facts off a Wikipedia page and it doesn't exactly show a great deal of insight into characters or the film's events. The cinematography is boring to watch, with scenes feeling tight and cramped. The editing goes completely hand in hand with this, allowing for a gradual and boring progression of plot and visuals.

Dave Franco, who played Greg, shows in this film that he can't really succeed at delivering a serious leading role; Franco's flat tone and emotionless portrayal makes him hard to connect with. Alison Brie, who played Amber, is really only in this film to incite conflict in the plot and does little else; Brie's role as a love interest doesn't work due to the lack of chemistry between herself and Franco. Jacki Weaver, who played Carolyn, doesn't have a great deal of screen presence in this film; Weaver's role sadly feels like an afterthought as another means to film time and point out a flaw in The Room. Paul Scheer, who played Raphael, is eclipsed throughout this film by Rogen; Scheer certainly tries to push his role in his scenes but he ultimately comes off as one character too many. Josh Hutcherson, who played Philip, seems like an awkward choice for casting; Hutcherson feels apart from the rest of the cast and doesn't always look like he knows what he's doing. Jason Mantzoukas and Hannibal Buress, who played Peter and Bill respectively, are very mundane characters who are surprisingly not funny for a pair of strong comedic talents; Mantzoukas and Buress are cameos that fail to pay off and just wind up with too much screen time. Nathan Fielder, who played Kyle Vogt, is often in this film to be background filler; Fielder feels more like a stand-in to ham up The Room scenes rather than an actual character. Charlyne Yi, who played Safoya, is quite a timid role that never much makes her mark upon this film; Yi attempts to be humourous but her attempts at comedy often fall flat.

Daddy's Home 2

This review may contain spoilers!

This may not be the best comedy film of the year, but it certainly is just as fun as the first film. I would give Daddy's Home 2 a 6/10.

This is a comedic slapstick film that knows how to construct really meaningful, entertaining moments throughout; often there'd be a big bit that sets up for a punchline quite well and certainly goes for impact each and every time. There are also some really nice heartwarming and emotional scenes between Dusty and his father, Kurt, as well as Brad and his father, Don. These father and son relationships are constructed to lend themselves to some impactful scenes come the second and third acts, and these come to fruition in rather meaningful and funny ways. The soundtrack for the film is a very nice balance between well-selected Christmas tunes and well-known tracks used to comedic effect, with 'Do They Know It's Christmas' performed by the cast making for an incredibly hilarious end.

Will Ferrell, who played Brad, really does the bumbling naive role quite well; his rather pointed moments of awkward humour, such as giving his stepson romantic advice makes for some brilliant scenes. Mark Wahlberg, who played Dusty, has a very tough driving force throughout the film; I really enjoy how Wahlberg leads the narrative, often creating or concluding some of the major conflicts within the feature. John Lithgow, who played Don, really does feel like the good-natured rambling grandfather; Lithgow really comes into his own when he has to confess his divorce to Ferrell in what becomes quite an emotionally charged scene. John Cena, who played Roger, has some walls up towards certain characters and generates conflict from the moment he appears onscreen; yet Cena does a great job of dropping these barriers and revealing his role to be a lot more compassionate than first thought. Chesley Sullenberger, who played Brad's Stepdad, is quite a funny cameo to conclude the film upon; the presence of Sullenberger contrasts really nicely with the Ferrell/Lithgow relationship seen throughout the film. Liam Neeson, who voiced himself, is another cameo that adds significant comedic effect to the film; Neeson really plays up quite an exaggerated Christmas action hero speech which makes his scene one to remember.

However, the best performance came from Mel Gibson, who played Kurt. This was a role that I was both excited for and hesitant about; I didn't expect a comedic feature from Gibson so that was interesting, yet it was clear the role would be Gibson playing a facsimile of himself. Yet it's precisely this sort of character the film thrives upon, seeing Gibson laugh and be entertained within scenes goes a long way to enjoying them as an audience member. The crude, lowbrow humour that comes from this role is a fun contrast to the other characters and lends itself to some interesting interactions between Gibson and the child performers. What really works for the film, however, is the rocky relationship between Gibson and Wahlberg's roles. The divide between these two, which progresses through conflict, confession, reconciliation and a fun moment which mirrors Ferrell and Lithgow, makes for one of the best plot arcs of the feature.

While this film has some funny moments and some nice emotional payoff, there isn't much when it comes to one cohesive main plot. Ultimately this is a film which feels like a collection of subplots, sewn together by comedic skits or moments of slapstick. The film bears great semblance to the original Daddy's Home also, going so far as to repeat key plot moments and repeat jokes in quite an obvious manner. The comedy used throughout the film is good for the most part yet takes some risks which really don't pay off; comedy around gun laws and incest really falls flat and tends towards the uncomfortable. The cinematography is flat out boring, with the camera work feeling set up when you watch it and many of the young extras looking right into shot. The editing used throughout the film mirrors the lack of direction evidenced in the cinematography, resulting in a sluggish sense of pacing.

Linda Cardellini, who played Sara, tries really hard to put herself out there more but is ultimately wasted as the female protagonist; her role's desperate attempts at attention grow annoying, particularly as her scenes are painted as minor filler. Alessandra Ambrosio, who played Karen, doesn't have much of an onscreen presence and seems comfortable in the background; Ambrosio's role isn't really painted as likeable and this is never resolved in a satisfying way. Owen Vaccaro, who played Dylan, is annoying and doesn't deserve the attention this film gives him; the ultimate romance subplot around him grows quite uncomfortable, partly due to Vaccaro's performance. Scarlett Estevez, who played Megan, becomes quite random and wild for the sake of it in this film; Estevez becomes a character used to fill in space and makes for simple comedic relief. Didi Costine, who played Adrianna, is quite a generic character; the entitled brat role really makes Costine one of the most boring young performers to watch. Yamilah Saravong, who played Casey, isn't really given much more to do other than be a red herring love interest; Saravong's role has probably some of the least significance to the film.

Justice League

This review may contain spoilers!

This is a pretty mediocre film by any measure, yet it somehow manages to present a final product that is a step up from the last three films. I would give Justice League a 6/10.

There are several moments throughout this film that shows how well this functions as a superhero team film; moments where heroes quip alongside one another or come into some really well-orchestrated inner conflict. The cinematography used throughout the feature shows a very trained and expert eye; the attention to detail throughout this film means that as far as visual storytelling goes it's about perfect. The special effects are also some of the best I've seen for a superhero feature; slow-motion sequences, battle-torn landscapes and the manner in which super-strength is portrayed is quite impressive. The score for the film is very powerful, it stands out by setting its own unique tone and giving the feature a sense of grand scale.

Ben Affleck, who played Batman, really drives the narrative of this film quite well; Affleck balances the hard, cynical nature of Batman with the emerging hope for the future his role has developed. Gal Gadot, who played Wonder Woman, is really the strength of this film; Gadot immediately recaptures the tough edge of her role while also maintaining a caring heart towards her fellow teammates. Jeremy Irons, who played Alfred, somehow manages to outshine Affleck with his cynical persona and humour; Irons has a dry sense of humour throughout that often manage to steal the spotlight in the scenes he is in. J.K. Simmons, who played Commissioner Gordon, immediately forms a solid connection with Affleck that that makes their characters famous relationship immediately evident; I like Simmons' more grizzled Gordon, he enters the screen with a world of experience upon his shoulders.

However, the best performance came from Jason Momoa, who played Aquaman. This reluctant hero really succeeds at creating some interesting conflict within the team, in particular, his clashes with Affleck are interesting to see play out. Momoa brings forth a very transparent sense of indifference about the events within the film; yet, this character is clearly driven by a responsibility to defend his world. The sarcastic and offhand humour which Momoa often lands is a really nice fresh change of tone within the film; it's not a complete departure from what has been done so far but it's heartening to see such a well-crafted, unique character such as this.

This film is a lot of empty set up and information off-loading, as an audience member this is very much a film that likes to tell you about everything rather than let you experience it. The pacing of the film is slow and often leaps from one beat to one significantly different to the other. The film seems preoccupied with trying to justify fitting in so much backstory, worldbuilding, character introductions, references and mistakes that needed fixing from past films; that not a great deal of it comes together cohesively. Justice League places too much confidence in characters that have already been established to carry the film, while new characters or aspects aren't examined in great detail or given many opportunities to take the focus of the feature.

Henry Cavill, who played Superman, has played the role so differently over so many films now that he no longer seems consistent; Cavill is very roughly introduced into this film and once he does appear on the screen he comes across as little more than cheesy. Amy Adams, who played Lois Lane, seems to have really been stuck into the token love interest role; Adams' overly passionate speeches and dialogue exchanges feel very detached from anything an actual person would say. Ezra Miller, who played The Flash, very nearly tanks the whole film with his horrendous performance; Miller comes out with some of the dumbest lines which often feel out of character and really don't mesh with the tone of the film. Ray Fisher, who played Cyborg, gives quite a monotonous depressing performance throughout; Fisher is a character more reminiscent of something from Batman V Superman rather than a superhero film that has energy and which an audience would actually like to watch. Diane Lane, who played Martha Kent, seems rather redundant at this point; Lane walks into scenes often looking as if she has little understanding of what purpose she has in the film. Connie Nielsen, who played Queen Hippolyta, still suffers from being too identical to the Amazonian 'characters' as a whole; Nielsen is in this film for a quick messy action scene and is immediately forgettable. Ciaran Hinds, who voiced Steppenwolf, is a pretty generic antagonist, to say the least; Hinds' bellows out a lot of exposition and empty one-liners without ever really defining or developing his role. Amber Heard, who played Mera, is introduced in this film in a manner that seems to indicate we should know this role already; Heard is dull and her sudden intense conflict with Momoa seems quite out of nowhere. Joe Morton, who played Silas Stone, is rather boring as yet another minor scientist character; furthermore, Morton's father/son relationship with Fisher is nothing we haven't seen before and is one of the weakest aspects of the film. Billy Crudup, who played Henry Allen, suffers from a weak father role similar to Morton's; Crudup doesn't have any chemistry with Miller and it's a shock that this pair were cast alongside one another at all.

Bad Moms 2

This review may contain spoilers!

This film is a pity because it's a dumpster fire of a film and sets out to undo the charm of what made the first film so good. I would give Bad Moms 2 a 2/10.

The sarcastic narration and leading presence of the central Amy character is one of the strengths consistent throughout the film; it's a role that people can empathise with which makes stories like these all the more interesting.

Mila Kunis, who played Amy, makes for an incredible leading protagonist; Kunis is a performer who manages to balance a very grounded figure and an equally comedic one. Christina Applegate, who played Gwendolyn, is a nice cameo in this film; Applegate's appearance is a nice reminder of the high standard the first film set and an incredible comedic talent within the film. Cade Mansfield Cooksey, who played Jaxon, is quite humorous as the dim-witted son of Hahn; Cooksey stumbles through at an intentionally bumbling rate and has great timing. Ariana Greenblatt, who played Lori, has a snarky mature attitude which really makes her performance stand out; Greenblatt displays a comedic performance that lands in a manner her older cast members don't always achieve.

However, the best performance came from Kristen Bell, who played Kiki. Bell presents quite a quirky role which is complemented by the often timid nature of her character. I enjoyed the erratic sudden outbursts which Bell seized and makes use of at very random and unpredictable moments throughout the film. While it was an awkward aspect of the plot to see play out I thought Bell did a great job in reacting to and engaging with Hines in this film. The troubled, often pervasive mother interfering with Bell's role was one that very comedically handled and fit the character Bell had crafted quite well.

This film had a really awkward plot that felt segmented into tiny pieces that never really came together at all; the title cards that were used to deliberately do this certainly didn't go a long way towards helping this. Bad Moms 2 is a film that was rushed out one year after the success of the first film and completely fails to present a feature that captures the same wit nor does this one really have any substantial message. It's disappointing to see random subplots that are clearly intended as filler content take up so much time; furthermore, the main plot doesn't exactly carry a lot of weight and feels more like the arc of a tv show episode. The new main cast for the film isn't particularly redeeming, which makes the ending rather weak and the characters as a whole harder to empathise with. The cinematography is quite simple and doesn't seem to have much thought put into it, often shots seem to have been framed up with the purpose to get what is the simplest shot possible rather than seek out a meaningful image. The editing for the film was likewise quite slow and seemed to have failed to actually leave anything upon the cutting room floor; there was obviously many shots or moments that needed to be cut but were kept to make the runtime substantial. The score for the film is non-existent and certainly not memorable; while the soundtrack is a horrific mish-mash of music that doesn't even consistently link to the Christmas theme.

Kathryn Hahn, who played Carla, seems to have been a real problem for the writers this time around as her whole arc relies upon two subplots crudely smashed together; Hahn is a rather repetitive performer who makes easy jokes and doesn't put much into crafting a convincing performance. Christine Baranski, who played Ruth, is a rather stiff role to watch and clearly doesn't want to branch out further than a stereotypical figure; Baranski is such an unlikeable character that it's not even convincing when her role is 'redeemed'. Susan Sarandon, who played Isis, is a crude figure that just really isn't very entertaining to watch; she emulates Hahn but dials things up in a manner that gets quite over the top. Cheryl Hines, who played Sandy, isn't very funny in the way she plays her character, in fact, it often turns to the point where you wonder if she's a horror character; Hines' really pushes things too far and doesn't know when to quit. Jay Hernandez, who played Jessie, is certainly charismatic but doesn't provide nor change anything when it comes to the film; Hernandez likes to keep a steady performance but this makes him quite a background figure ultimately. Justin Hartley, who played Ty Swindel, is really just in this film for the sex appeal and a poorly crafted subplot; Hartley comes off as fairly cheesy and really knows how to push things over the line in a similar manner to Hahn and Sarandon. Peter Gallagher, who played Hank, seems like an awkward afterthought written into the film; Gallagher's slack-jawed witless role isn't very convincing and is only used when it's convenient. Oona Laurence and Emjay Anthony, who played Jane and Dylan respectively, weren't very convincing as Kunis' children; this pair often delivered mature lines which felt out of place coming from these roles. Lyle Brocato, who played Kent, certainly has a more significant presence than the first film but does nothing with this time; Brocato delivers lines in a deadpan tone and seems to just be another body in the scenes he is in. Wanda Sykes, who played Dr Karl, is given far more agency to just run with things this time around which doesn't work at all; Sykes' role very clearly worked better with a more scripted and purposeful approach.

Only The Brave

This review may contain spoilers!

This film is led strongly by a brilliant leading cast who present a charged and moving emotional film. I would give Only The Brave an 8/10.

This is a film about the bond between people in a very dangerous yet rewarding profession, the Granite Mountain Hotshots aren't merely a band of brothers, they are a family in every way that counts. I like how the film doesn't show these strong connections very clearly at first, choosing instead to slowly present the bonds formed in a way that feels natural and makes you like each of the characters for different reasons. The characters of Eric and Brendan have a great mentor/mentee relationship and you can see the challenges each has faced as a recovering drug addict emerging throughout the film. Furthermore, the strain of being in a relationship with a man who seems more dedicated to placing himself into dangerous situations is presented in a very compelling subplot involving the character of Amanda. The Yarnell Hill Fire is a real horror to watch onscreen, it's a very powerful moment of death where characters you have come to care for are snatched up in what is a very tough long sequence to watch but what also makes the film so compelling. The cinematography of the film looks really nice, often taking advantage of the expansive settings that the feature takes place in; the film clearly knows exactly where to capture a powerful moment and convey this to the audience. The score for the film is undoubtedly very powerful and moving often lending a bit of reflection after an exciting or tense moment, yet it is the soundtrack in the film which really grounds the setting and tone of many scenes, with Jeff Bridges singing "(Ghost) Rider in the Sky" being one of the more memorable moments for me.

Miles Teller, who played Brendan McDonough, presents a very vulnerable role who is looking for redemption quite well; Teller crafts a character who is humbled in the eyes of the audience and has a great bond with the rest of the cast. Jeff Bridges, who played Duane Steinbrink, is a very gruff figure at first but is quite clearly the heart of the film; Bridges builds a character who is almost the pillar of support for the other major cast of characters. Jennifer Connelly, who played Amanda Marsh, develops quite a frustrated female protagonist who is not satisfied with the current state of her life; the very real yet emotional strain developed between herself and Brolin is very powerful to watch. James Badge Dale, who played Jesse Steed, is very clearly a charismatic leader within the film; Dale has a tough outlook upon moments of action within the film and guides the cast in a way that complements Brolin's role well. Taylor Kitsch, who played Christopher Mackenzie, is very convincing as the rude, crude and blunt character when first we meet him; yet Kitsch does a great job at developing his role's relationship to other and turning what was once rude dialogue to a more charismatic and entertaining sense of humour.

However, the best performance came from Josh Brolin, who played Eric Marsh. Brolin presents Marsh as quite a stoic individual who struggles to outwardly express how he feels emotionally, yet this is a subtle struggle Brolin performs incredibly well. The real sense of dedication, camaraderie and care that roots this figure as a true leader in the eyes of the Granite Mountain Hotrods emerges very strongly as an aspect of this performance. Brolin knows how to balance the careful chemistry he forms with several of the cast members to know when to allow others to take centre-stage and when to make a strong emotional impact from the relationships he has formed. Brolin also does a great job of showing the more erratic side of Marsh, sudden outbursts and changes in demeanour make this a fascinating display of acting.

This is a film that suffers strongly from poor pacing, often moving between a very heated and tense moment to a point with very little energy; this had the unfortunate effect of making it feel as if the feature had very little story to tell. The editing of the film didn't aid matters much in this area, with the cutting used throughout favouring a slow and gradual style.

Ben Hardy, who played Wade Parker, is quite the contrast to Teller's role and could have been used to great effect given more screen time; sadly Hardy isn't really developed much more after his introduction which disappoints greatly. Natalie Hall, who played Natalie Johnson, is intriguing as the jilted ex-girlfriend of Teller's role but is only given a stereotypical mould to work with; Hall doesn't go to great lengths to push the boundaries with her character and plays the role in a way that isn't exactly unique. Forrest Fyre, who played Mayor Worthington, is certainly a quirky character but doesn't add much else to the plot; Fyre is used so often for comedic effect that you don't really believe him when he tries to act in a serious manner.

Murder On The Orient Express

This review may contain spoilers!

This film is a rather lazily written attempt at recapturing one of the most famous crime/mystery stories of all time. I would give Murder On The Orient Express a 4/10.

This film is whimsical at the best of times, the central character of Poirot is allowed his moments of witticism which lends the film a much needed lighter tone if key places. In regards to the overall tone of the film, there is a great element of mystery established which has you guessing and wondering as an audience member; the successful portrayal of this tone allows for some great cast performances to really shine through in key scenes. The cinematography of the film looks incredibly good; often beautiful shots of the setting are exquisitely captured, while tight scrutinous interrogation scenes are framed up nicely.

Kenneth Branagh, who played Hercule Poirot, makes for a charming lead performance; Branagh really brings forth the more unique qualities of Poirot and develops an interesting internal struggle for the role. Tom Bateman, who played Bouc, is quite an entertaining host/sidekick to Branagh's Poirot; Bateman acts in equal measure an inquisitive audience voice and a debauched man of pleasure. Manuel Garcia-Rulfo, who played Biniamino Marquez, is quite the charismatic presence within the cast; while spinning complete lies and fabrication you can't help but enjoy and grow to like Garcia-Rulfo's minor role. Derek Jacobi, who played Edward Henry Masterman, is convincing as the mild-mannered elderly servant; Jacobi has a nice blunt side to his role which leads to some entertaining curt exchanges between himself, Branagh and Depp. Michelle Pfeiffer, who played Caroline Hubbard, lands the duality of her role perfectly; you at times both believe Pfeiffer as the bubbly widow and are immediately hooked when she is revealed to be the vengeance-driven murderer. Willem Dafoe, who played Gerhard Hardman, brings forth one of the better performances in the film; only Dafoe could create a nasty racist professor and strip that persona away to reveal a rather soft-spoken likeable detective character.

However, the best performance came from Johnny Depp, who played Edward Ratchett. In recent years I feel Depp has taken on many franchise roles that have never really been too serious and he hasn't taken a role to really put himself into it. However, Depp as Ratchett is one of the finest performances I've seen from Depp in recent years and I have to say it's a shame he wasn't in the film for longer than he was. There is a very sinister presence about the role when first we meet him, he is incredibly caged and seems like he could turn violent at a moment's notice. Yet Depp does a great job of slowly revealing his character to be much more of a vulnerable role, frightened of the very people around him. This all culminates perfectly in the great exchange between Depp and Branagh where we see some of the acting that sets the bar for the rest of the film.

This is a film that has a slow pace throughout and doesn't lend itself well to making much of an impact, while major plot revelations succeed they don't always feel as important as they should. Sadly, the main protagonist for the film is set up to be quirky and somewhat light-hearted at first; so when the plot takes a darker turn the transition is hard to buy into as an audience member. The ending for the film is a major weak point with the famous revelation that all the passengers are behind the murder coming off as lazy writing. The major reveal feels this way because the Cassetti backstory and the current murder mystery feel very crudely blended together so that you aren't really satisfied with what comes off as a final moment of indecision by the screenwriter. Furthermore, the overall moral message of the feature, which sees the killers walk free, doesn't really sit comfortably with a modern audience and will leave you questioning if this was an adaptation made with it's audience in mind at all. The editing moves the film along at an agonising pace, far too often the feature is filled with scenic shots to block out heavy swathes of time between scenes. The score for the film is utterly forgettable, leaving the feature to craft atmosphere upon it's own and without the usual support of this film technique.

Daisy Ridley, who played Miss Mary Debenham, reveals that beyond her role in Star Wars, she doesn't lend much range to a character; Ridley is unable to present a very expressive performance and winds up being rather boring to watch. Leslie Odom Jr., who played Dr. Arbuthnot, feels a bit too committed to the self-righteous angle of his role; Odom Jr. tends to play his role one of two ways: stern indifference or exaggerated rage. Penelope Cruz, who played Pilar Estravados, feels constantly out of place alongside the rest of this cast; Cruz is incapable of truly connecting with the religious component of her character's role in a manner which doesn't seem far-fetched. Josh Gad, who played Hector MacQueen, doesn't really fit such a stern, serious role and seems out of place at best; Gad doesn't really feel connected to Depp's character either, an annoying quality considering the pair apparently work together. Sergei Polunin and Lucy Boynton, who played Count Rudolph Andrenyi and Countess Elena Andrenyi respectively, provide some of the worst performances of the film; this pair have a chemistry that feels artificial and Polunin in particular makes it look like effort to perform a role. Marwan Kenzari, who played Pierre Michel, is first portrayed as a minor role and should have remained so; when lent extra importance to the plot it becomes clear just how much Kenzari fell into the background. Judi Dench, who played Princess Dragomiroff, has fallen into a typecast trend recently that has done her no favours; an arrogant character to watch who is often notably the tired, forgetful role that Dench seems to have taken a fondness to. Olivia Colman, who played Hildegarde Schmidt, is yet another great performer who feels little more than a background performance; Colman is wasted as a dithering slapstick tag-along to Dench's ailing performance.

Thor: Ragnarok

This review may contain spoilers!

This is without a doubt the worst Thor film yet and has to be one of the worst films Marvel has produced thus far. I would give Thor: Ragnarok a 6/10.

This is very much a well-crafted spectacle film, with big battles and an entertaining comedic tone. The humour used initially changes is a breath of fresh air for the Thor films, there are great references at the expense of past films or jokes that come quite unexpectedly and enhance select scenes. The first half of the film really knows how to set high stakes with several key characters from past films being killed off, great cameos from other Marvel universe roles and a clever build to the much anticipated Thor/Hulk fight. The cinematography of the film feels like it is always being set up for a punchline, generally making an impact and detailing combat sequences quite well. The special effects within the film look good for the most part; the CGI characters such as Hulk or Miek look great, yet it is the lightning effects generated around Thor throughout the film which really impresses. The score for the film is really what sets this film apart, having a sound unlike any film coming out at the moment; the use of Led Zeppelin's 'Immigrant Song' for key fight scenes works to great effect too.

Chris Hemsworth, who played Thor, looks like he's having a ton of fun throughout the film which comes through in his performance; Hemsworth is clearly dedicated to this new style of storytelling and he puts a lot of effort into blending the serious and comedic aspects of Thor together for Ragnarok. Tom Hiddleston, who played Loki, embraces his role's title as the God of Mischief in this feature; Hiddleston plays a more harmless, conniving character who still maintains a firm brotherly bond with Hemsworth. Jeff Goldblum, who played Grandmaster, is one of the finer additions to the MCU thus far; Goldblum's wit really shines through in this role and he creates quite an ego-centric yet hilarious character. Tessa Thompson, who played Valkyrie, really introduces her character quite well; Thompson establishes a reluctant protagonist who's at least as tough as her co-star, Hemsworth. Benedict Cumberbatch, who played Doctor Strange, makes for a nice appearance and change in tone within this film; Cumberbatch has a nice sarcastic barb in how he delivers Strange this time which really makes this scene a little unexpected in its execution. Clancy Brown, who voiced Surtur, brings forth the strongest and most convincing antagonist of the film; Brown's voice acting performance is the only character that makes you feel threatened and makes you believe that something dangerous is about to unfold. Luke Hemsworth, Sam Neill and Matt Damon, who played Actor Thor, Actor Odin and Actor Loki respectively, all manage to deliver one of the funniest scenes in the film between them; in particular Damon's parody of Hiddleston's 'death' from Thor: The Dark World leaves quite the impression.

However, the best performance came from Anthony Hopkins, who played Odin. Hopkins is what this film needed in a big way, often grounding scenes and reminding us that this is, in fact, a Thor film. The slapstick humour that comes off as alien and new is incredibly absent in Hopkins' performance, instead, he presents the mythic nature of these characters incredibly well. Even in scenes where Hopkins is portraying an impersonation of his role you are entertained by how sly he is in how he mirrors Hiddleston. The emotionally charged scenes in which Hopkins gets to spend with his sons and farewell them before his departure are incredibly moving and a league beyond the rest of the film. Hopkins enters the feature to remind the audience what we should expect from a Thor film and not what we should settle for.

This is a fun film and is a nice blockbuster spectacle to watch as noted above but it lacks substance and doesn't place itself well as a sequel. The film's comedic tone is a risk and one that certainly doesn't pay off as the film progresses, suddenly jokes get repeated and the nature of the comedy grows cruder and more cringeworthy. The pacing for the feature is very poorly aligned, with the first act introducing or tying up so many plotlines in such a short span of time that by the time the film hits act two and slows right down you feel quite startled by the change in pace. The large supporting cast of characters don't lend a great deal to the story, often entire chunks of this film could be cut away and you'd wind up with a very similar, albeit shorter product. The comedic presentation of this film changes everything and suddenly these aren't mythic roles nor is there even a serious undertone like there was in some of the past Thor films, now it feels like very little has successfully carried over and the characters that had already been established changed for the worse. Overall, the big message behind Thor: Ragnarok is that Asgard is not a place, but a people yet in a film that spends the majority of the feature away from Asgard I don't know how I could have ever been convinced this was a success.

Cate Blanchett, who played Hela, has to be one of the worst Marvel antagonists yet; Blanchett's long dull expositionary monologues grow hard to bear and it became clear that the writers didn't really know what to do with her before the big final battle. Idris Elba, who played Heimdall, is woefully underused throughout Ragnarok; Elba is demoted to meek defender of Asgard in absentia of Thor and falls into the background even when he reappears for the final battle. Karl Urban, who played Skurge, is more accurately a scourge upon this entire film; Urban's horrible accent and meaningless role take up far too much screen time throughout the film. Mark Ruffalo, who played Bruce Banner, wanders about the set with a wondrous gaze providing little to the film and looking like a new performer stepping through his first performance; Ruffalo merely proves that Hulk has no reason to even be in Ragnarok beyond punching things, making the entire Hulk arc in this film resoundingly redundant. Taika Waititi, who played Korg, is about as lazy an actor as he is a director clearly; not only does he do nothing to lend character to his voice but this comes off as an ego-driven self-insert. Rachel House, who played Topaz, is probably the worst performance in the cast; House lends no emotion to her scenes and certainly lacks chemistry with every performer she shares a scene with. Tadanobu Asano, Ray Stevenson and Zachary Levi, who played Hogun, Volstagg and Fandral respectively. provide impact by being killed off but could have at least been given the opportunity to properly farewell the characters; the way these characters are used merely demonstrates how little respect Waititi and the creative team have for the past Thor films.

Geostorm

This review may contain spoilers!

What I expected to be another dull disaster film surprised me by becoming an interesting climate change conspiracy flick. I would give Geostorm a 7.5/10.

This is a blockbuster film which isn't ashamed to have a lot of fun with itself while also doing something unique with the usual disaster film genre. The entire premise is a space station which has the ability to monitor and control the Earth's climate; a little outlandish but once you're onboard with the environmental Big Brother then you'll get quite a lot out of Geostorm. The narrative unfolds around an investigation as to why the space station is malfunctioning and causing random natural disasters to strike the unwitting populace below. What unfolds is a web of political intrigue and espionage that is quite unexpected from the usual disaster film. It doesn't ever take itself too seriously but uses the blockbuster formula to tell a story that is different and shows a creative spark that not many blockbuster films manage these days. The cinematography is stunning; whether that be giant shots of oncoming disaster, dimly lit political dialogue scenes or free-floating shots set in space the camera work is fantastic. The special effects within the film are phenomenal, with a greater aspect of the feature being set in space while there are multiple natural disasters that look very threatening.

Gerard Butler, who played Jake Lawson, does a great job as one of the film's two leading protagonists; Butler's gruff exterior sets barriers between himself and the rest of the characters but makes the relationships he formed all the more satisfying. Jim Sturgess, who played Max Lawson, is a really intriguing protagonist within this film; Sturgess' desperate moral figure set against the political American landscape makes for quite the compassionate role. Abbie Cornish, who played Sarah Wilson, was very cool as the tough-as-nails Secret Service agent; Cornish depicts the conflict her character goes through of balancing her professional and personal life really well. Alexandra Maria Lara, who played Ute Fassbinder, is a quiet yet firm leader within the space station setting of the film; Lara is perfect at playing a kind, self-sacrificing person who is often the heart of the film. Eugenio Derbez, Amr Waked, Adepero Oduye and Robert Sheehan, who played Al Hernandez, Ray Dusette, Eni Adisa and Duncan Taylor respectively, all operated quite well as the hesitant research team working alongside Butler and Fassbinder; Sheehan in particular suited the greedy and narcissistic traitorous antagonist. Andy Garcia, who played President Andrew Palma, is astern yet fair figure throughout the feature; I liked how this role's status was often used to comedic effect in some of the more intense scenes. Ed Harris, who played Leonard Dekkom, has a nice charismatic mentor bond with Sturgess in this film which makes his reveal as the antagonist quite exciting; Harris is a hardened role with the ability to add a great deal of spite to a character.

However, the best performance came from Zazie Beetz, who played Dana. This role is one of the best comedic performances featured in the film and provides a lot of the levity which makes Geostorm such a joy to watch. I liked how she portrayed a hacker role that wasn't very stereotypical, yet still maintained a cocky and self-assured attitude about herself. Her on-screen chemistry with Sturgess presented quite a fun friendship; her teasing, mocking persona grating against the serious attitude Sturgess tried to maintain. Beetz is a real delight in this film and will have you laughing out loud with her easy and fun delivery.

This film does stray too far into the disaster film territory from time to time, with monolithic disaster sequences feeling more like filler content than moments of excitement within the film. Furthermore, the cheesy ending which saw two protagonists escape death in a way that felt quite forced was difficult to find satisfaction in. The moral of Geostorm came off as quite heavy-handed, least of which because it was narrated to us in a very cringeworthy monologue by feature's end. The score of the film was practically absent, there were portions when the music swelled with the danger but it was clear the score was neither unique nor crafted to the film.

Daniel Wu, who played Cheng Long, feels like a detached component of the film; his relationship with Sturgess is flimsy in its portrayal and his death is predictable from the start. Talitha Eliana Bateman, who played Hannah Lawson, feels like she is often speaking with the voice of the writer as opposed to speaking like a child; Bateman deals outlines in a way that is often quite exaggerated and ends the film on quite the weak note. David S. Lee, who played Rico, is little more than a gunman/henchmen generic role; Lee has no opp\ortunity to delve into his role as a character which makes him feel boring to watch. 

Happy Death Day

This review may contain spoilers!

This film tries to subvert its genre in a similar manner to what Get Out did; it's unfortunate that the film completely fails to do this in a convincing way. I would give Happy Death Day a 3/10.

The film has a nice comedic tone which surfaces in some standout scenes; I really enjoyed when the feature tried to escape the standard horror/supernatural structure that it adhered to for a significant amount of the film. The cinematography for the film has a very nice style to it; every frame is perfectly angled to otherwise look very nice or couple with the horror tone well. The soundtrack for the film is very strong, often lending itself well to those comedic scenes mentioned earlier; however, the score also does well and has a nice theme for the serial killer antagonist.

Jessica Rothe, who played Tree Gelbman, was quite an interesting protagonist to watch; Rothe does a great job of playing the two polar opposites this role goes through of arrogant sorority girl and self-affirmed free spirit. Jason Bayle, who played David Gelbman, lends quite an emotional performance to the scene; the immediate connection Bayle and Rothe have lends to one of the best scenes of the film.

However, the best performance came from Rachel Matthews, who played Danielle Bouseman. Matthews has a very natural performance in relation to her role, feeling very much like the dominant, narcissistic leader of her sorority. This is quite a harsh character and she can be very nasty to those she's around so this provides a good source of antagonism throughout the film. What I liked about Matthews is that she presented a consistent performance and challenged the protagonist of the story in a way that felt very grounded compared to everything else that was going on throughout the narrative.

This film doesn't know how to portray the narrative it is trying to get across, even referencing films like Groundhog Day in places to reassure the audience what is trying to achieve. However, the fact that the protagonist is reliving each day as if it were her last fast turns into a novelty when it isn't being used for the comedic purposes mentioned previously. In fact, by using it for comedic effect so many times you no longer feel as if the protagonist is really in any great deal of danger. The film also tries to present this narrative as being cathartic for the protagonist, but her personality just does a complete 180 by the end of the film rather than go through a form of natural character development. This is exceptionally lazy writing to watch unfold and makes for a rather boring film in terms of pacing. The antagonist for the feature doesn't have a great reveal by the end of the film, in fact, the motivations of this character are rather petty and solidify the film as rather two-dimensional. The romantic sub-plot throughout is kinda weak, it's hard to see or understand the chemistry between Tree and Carter and the declaration from Tree that she "wants to have Carter's babies" comes as quite a sudden and immature change of pace.

Israel Broussard, who played Carter Davis, isn't a great pick for the love interest of the film; Broussard plays a character that feels too different from Rothe for the chemistry to emerge. Ruby Modine, who played Lori Spengler, is very obvious as the film's overall antagonist; the fact Modine attempts to play quite the monotone role makes the reveal very clear and her portrayal of her motivations to kill Tree is quite weak. Charles Aitken, who played Gregory Butler, is quite stereotypical as the dirty college professor sleeping with his student; it's often hard to see the reasoning behind the relationship Aitken and Rothe's characters share. Laura Clifton, who played Stephanie Butler, falls into the background constantly throughout this feature; Clifton feels like a plot device to make the Rothe/Aitken relationship a bit racier. Rob Mello, who played Joseph Tombs, feels like a killer but does not at all feel like a character; his role is solely motivated by killing other characters which ultimately makes Mello rather boring to watch.

Blade Runner 2049

This review may contain spoilers!

The original Blade Runner set the bar for visual effects in its time, this film sets the bar all over again. I would give Blade Runner 2049 a 9/10.

This bleak setting is a wonderful return to the concepts first dreamt up within the original Blade Runner if anything the world has grown far more impressive in its squalor and terror than ever before. The Blade Runner of this film, 'K', is unabashedly a replicant who chances upon the fallout from the original film; the discovery that a replicant woman (Rachael) has given birth. The idea that a replicant can produce life is quite a chaotic one that unravels how many of the characters in the film see the world, it develops a new fear in an already dystopian society. 'K' begins to believe himself to be this child, questioning his own existence and role within the world; the question as to who 'K' really is is at the heart of this film's narrative. The relationship between replicant and hologram is the winning feature of the film, this is a beautiful and intimate coupling which brings forth the most emotional performances of the film. The many human roles are very cold and detached from the other characters so, just like the original film, we are treated to a film that runs such a deep and intricate critique upon our society that it will resonate with audiences for years to come. The cinematography for the film is absolutely perfect; everything is stunningly framed, the colours are well-balanced and the immensity of this is an absolute art form. The special effects within the film are the pinnacle of what can currently be offered within a film and then some; I could give numerous examples of what makes this film so incredible but the prime example was when Joi and Mariette were layered over one another in a visual display the likes of which I have never seen before. The score for this film is one of the best of the year; the sound of this film is emotionally moving and the use of "Tears in Rain" is such a powerful throwback and aid to the film.

Ryan Gosling, who played 'K', does an exceptional job as the film's protagonist; Gosling balances the torturous existence of living in servitude with the anguish of questioning his place within the world rather well. Dave Bautista, who played Sapper Morton, has a very balanced calm air about him; Bautista brings a lot of gravity to the film and sets the scene for the mystery to come. Robin Wright, who played Lieutenant Joshi, is a strong commanding figure that has a commendable soft spot for those replicants shunned by society; Wright makes quite a likeable figure who remains steadfast throughout and has quite the gentle demeanour towards Gosling. Sylvia Hoeks, who played Luv, is exceptional as the film's protagonist; Hoeks brings forth a very different replicant who serves willingly and has a dark, vindictive side to her. Lennie James, who played Mister Cotton, is a struggling member of society who has grown corrupt in the conduct of his illicit action; his ever-changing state of thought shows his desperate need for control and power. Carla Juri, who played Dr Ana Stelline, is quite a beautiful performer who brings a sense of tranquillity to the scenes she is in; Juri does some nice subtle work that makes it absolutely clear and convincing that she is the child of Deckard and Rachael.

However, the best performance came from Ana de Armas, who played Joi. In the first Blade Runner film, my favourite performance came from Rutger Hauer, precisely because he brought forth a strong emotional performance from an android character. In Blade Runner 2049, de Armas sets her own mark that will be remembered for a very long time. This hologram has grown to become a very aware and intelligent individual who has an emotional investment in Gosling's role. The romantic passion and chemistry between her and Gosling are one of the strongest examples of onscreen chemistry that I have seen in a long time, they have such a great deal of care and love for one another that you become invested almost immediately. I'm deeply fascinated by how de Armas presents her character's desire for agency and the ability to become real in the world and in her relationship. This is one of the most powerful performances I've seen all year and has blown me away completely.

The ending of the film is what lets this down; suddenly Deckard becomes a prized treasure and everything devolves into a dramatic blockbuster brawl that misses the tone of the film thus far. It's disappointing that the introduction of Deckard matters for very little and that he is the weakest point of connection to the previous film. Ultimately Deckard becomes a plot device and loses everything that makes him interesting as a character. It is also disappointing that the major antagonist of the film, Niander Wallace, feels quite removed from the plot and ultimately seems like a misguided attempt to set up another Blade Runner sequel.

David Dastmalchian, who played Coco, is a weird role at best; with a persona that is hard to pin down and beyond a shadow of a doubt the performer that feels the most aline to the film. Edward James Olmos, who played Gaff, is barely memorable in the original Blade Runner so it's a wonder that he's in this one at all; Olmos is really only starring in this film to sit next to some paper origami. Jared Leto, who played Niander Wallace, often speaks around himself and in metaphors that come off as over the top; Leto is a pretty forgettable aspect of the film which is disappointing considering he is painted as the major antagonist. Hiam Abbass, who played Freysa, really needed to be in this film a lot more for the type of role she was portraying; the rebel leader of a replicant resistance is quite a major aspect of the Blade Runner world and is barely noted in this feature. Mackenzie Davis, who played Mariette, gives quite a wooden performance and really doesn't have much chemistry with Gosling; it's a shame that Davis has such a consistent screen presence as her role really doesn't do much to warrant it. Harrison Ford, who played Rick Deckard, really doesn't look like he's putting a great deal of effort into this film; Ford is a disappointing return to the Blade Runner films and seems to barely keep up in the scenes he's in.