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.