Cats

This review may contain spoilers!

I cannot erase this film from my mind; I wish I could. I would give Cats a 1/10.

Cats is a musical film about the Jellicle cats, a tribe of cats who decide yearly one of their member to ascend to the Heaviside Layer in order to live a new and better life. In general Cats as a film serves itself best with its music. The soundtrack for the film is a wild and bizarre assortment of genres, styles and chorus pieces that show off a variety of talent and can proudly boast that no two musical performances are ever truly alike.

Taylor Swift, who played Bombalurina, is an incredibly thrilling antagonist who lures her audience into a false sense of security before springing her trap; Swift puts it all into her performance which makes her this iconic and intimidating threatening presence for her scene. Robbie Fairchild, who played Munkustrap, is a really intriguing guide for the film and one of the only performers who actually helps make sense of this mess; Fairchild's role deals with a lot of exposition and character introductions which he actually manages in a very engaging way. Judi Dench, who played Old Deuteronomy, is a very regal figure in this film; I felt Dench really embodied that sophisticated leadership role amongst the cats. Naoimh Morgan and Danny Collins, who played Rumpleteazer and Mungojerrie, have a great mischievous chemistry together; this pair are incredibly playful and devious in their performance which embodies the spirit of their roles well. Jason Derulo, who played Rum Tum Tugger, gives one of the most high energy winning performances of the film; Derulo proves that he is an entertainer with lots to give in a musical number. Steven McRae, who played Skimbleshanks, is another performer who sets a really fun tone in his character song; McRae plays to an uplifting melody that manages to pep a bit of energy back into the film. 

However, the best performance came from Jennifer Hudson, who played Grizabella. A lot of the performances that stood out in this film came from musical performers because they embraced the performance aspect of what they were doing, constantly playing things up to 110 percent. What set Hudson above the rest of these was the fact she actually allowed an aspect of her ability as an actress to shine through. Grizabella felt like a role with a story when I watched her, she was lonely and vulnerable. Hudson made you see the despair and pain her character experienced, she did a very good job of crafting empathy. If nothing else sold me on what she was doing then it would be criminal for me not to say that 'Memory' was by far the best musical performance of the film.

When I was very young one of the first performances my Mum took me to see live was Cats. It was a brilliant experience because I had never seen a stage operate with such technical craft and the musical performances were unlike anything I had ever heard. I didn't always understand what was going on but it wasn't about that, Cats was this exceptional on-stage experience that you lived in while the cast performed it. This film in a lot of ways was also an experience, a very very horrible experience. This film doesn't do a very good job at framing its narrative or characters at all, everything just turns into a bumbling blend between musical numbers with little time taken to actually allow the audience connect with the story or characters. The film really felt like this empty void of a piece to watch, with very little to say and a dismal effort at joining things together in a coherent manner. The cinematography used throughout lacks direction and uses a disappointing array of stationary shots, the editing alone sets a slow pace that lingers far too long on boring visuals. The special effects are the films significant flaw, the designs for the various animal people is absurdly bad, the animal characteristics are poorly applied and even sporadically missing at times. The production design for this film has a number of set pieces that look plain awful and remind you that this is all designed on a sound stage. Cats also boasts some of the worst wire work I've seen in a professional film in a very long time. This is nothing short of a lazy, mish-mash venture that disappoints at nearly every turn.

Francesca Hayward, who played Victoria, has to be one of the most boring leads I've ever seen in a musical film; Hayward never makes you care about or be interested in her character which is a pity as she is clearly supposed to be the vehicle through which the audience sees the world of Cats. Laurie Davidson, who played Mr Mistoffelees, is a dull attempt at a romantic interest who sits squarely in the background more than he ought; Davidson's big musical number is a big eye-roller of a piece and he never quite lives up to his leading role. Idris Elba, who played Macavity, is meant to be the big bad of the film but falls flat consistently; the film sparsely uses Elba and you get a sense that he doesn't always know the best direction to take the small appearances he's given. James Corden, who played Bustopher Jones, doesn't do anything outside of his usual persona; Corden is most comfortable when he's breaking the tone of a scene and hamming it up. Rebel Wilson, who played Jennyanydots, has an awkward sense of humour that feels off colour with the greater film; Wilson just feels out of touch with the rest of the film and never finds even footing in a scene. Ian McKellen, who played Gus The Theatre Cat, comes across as confused and utterly lost in this film; McKellen's performance doesn't show much effort and he seems like he's goofing around or lost in the middle of a scene most of the time. Ray Winstone, who played Growltiger, is the dull lackey to Elba's dull antagonist; the pair often ham things up and play quite over the top in their scenes.

Jumanji: The Next Level

This review may contain spoilers!

If you want a fun way to round out 2019, this action-comedy is just the thing. I would give Jumanji: The Next Level a 7.5/10.

Jumanji: The Next Level sees Bethany, Martha and Fridge return to the world of Jumanji in order to save a missing Spencer. The catch? Spencer's grandfather and his elderly friend are in tow, taking up two of the more useful avatars in the game. This film has a 'if it ain't broke, don't fix it' mentality that really does work surprisingly well. The world of Jumanji feels so much more expansive, with incredible new locations, perils, villains and character avatars. You're excited to get lost with the main cast and see what dangers or mysteries they can get entangled in, which is everything a film like Jumanji should be doing. I could feel myself being drawn in because I started counting out how many lives characters had before they gave us the visual cue, or I was getting frustrated at characters who weren't using their character to the full potential and in those high adrenaline action pieces my energy levels were right up. This Jumanji film pushes itself as nothing other than an experience, and one well worth going through. I really enjoyed seeing how character dynamics played out; a lot of the roles were presented very differently by the cast as they were inhabited by different 'players. Sometimes when a film goes the body swap route it's not for the better but this film found a nice safe zone where this aspect enhanced the narrative. The cinematography is really impressive, setting up nice wides to show off amazing set pieces and effects but also swinging into motion for those more turbulent fast-paced moments. The special effects are fantastic and really come as a stroke above the first film, a lot of the CGI creatures like the hyenas or mandrills are terrifying.

Karen Gillan, who played Ruby Roundhouse, is really interesting as more of the lead this time around; Gillan is tasked with guiding and controlling how scenes play out a lot and she constantly shows just how up to the task she is. Madison Iseman, Morgan Turner, Alex Wolff and Ser'Darius Blain, who played Bethany Walker, Martha Kaply, Spencer Gilpin and Anthony 'Fridge' Johnson respectively, are a diverse friendship group that function really well in terms of their chemistry together; Iseman in particular stands out for her no holds barred approach to the adventure in how she finds her own way into the game. Dwayne Johnson, who played Dr Smolder Bravestone, looks like he's found a comedic outlet he is really enjoying in this film; Johnson's take on Devito's role is really fun because he comes across as this really entertaining, witless loose cannon. Jack Black, who played Professor Sheldon 'Shelly' Oberon, has to handle a number of characters in this film and finds the fun in each of them; yet the film is not complete until Black and the role of Bethany get to reunite and steal the show in the last act. Danny Devito, who played Edward 'Eddie' Gilpin, is this smart-mouthed bitter grandparent who comes across as an interesting new addition to the film; Devito goes through a big change in this film and develops his role's outlook on the world nicely. Kevin Hart, who played Franklin 'Mouse' Finbar, does a very good take on Glover's insightful yet slow-talking role; Hart has a few more emotional scenes than he got in the first film which really hold your attention. Dania Ramirez, who played Flame, has some hilarious scenes as this lovestruck NPC, Ramirez really leans into the melodramatic passionate love which make for some fun scenes between her and Johnson. Rhys Darby, who played Nigel Billingsley, is one of the best people this film has at dealing heavy amounts of exposition; Darby really sets the scene well and invites you into the world of Jumanji. Nick Jonas, who played Jefferson 'Seaplane' McDonough, is a very charismatic audience favourite the moment he appears back onscreen; Jonas' appearance as a father in this sequel means you really feel the gravity of the dangerous situations he puts himself into. Danny Glover, who played Milo Walker, is a very kindly, compassionate role that plays well against Devito; the two have an interesting friendship that has some very heated moments in their scenes together.

However, the best performance came from Awkwafina, who played Ming Fleetfoot. As a newcomer to a big blockbuster action-comedy series it's not always the easiest to make your mark, but to outshine some of the seasoned performers in this was no small feat. Awkwafina is responsible for playing two player roles in the film: Spencer and Eddie. As Spencer you got a lot of that more reserved, unsure of self persona that makes this role a bit of an outsider. Awkwafina did a good job of showing how outside of the group Spencer was feeling, how lost in himself he was. Yet when the roles changed around and Eddie was who Awkwafina was playing you really got to see her acting chops. She had all of Devito's physical mannerisms down to perfection and did an incredible job with his accent. Her role had a level of comedy that was extremely natural and didn't push the envelope too much. Awkwafina is a really versatile actress with a lot of excellent projects worth looking forward to on the horizon.

Jumanji: The Next Level is a fun filled ride that doesn't drive itself to do much different from the first film. The entire Jumanji adventure is split up into a structure that feels almost identical to the first film in execution. There is enough new content to satisfy but the bare bones of the piece is extremely repetitive to watch. There is also an aspect to the film that relies heavily on an animal character playing a main role and the film banked too much on it. A main character loses their voice as a result and as a result their last scene of the film isn't one that has the impact it should. I think more than anything the film loses itself on it's driving motivation, Spencer's feelings of disconnect and inferiority. By the end of the film Spencer's issues are wrapped up extremely easily and you don't really believe he learned his lesson even though the film is telling you he has. The score for the film doesn't do a lot that feels different from the last film and even the soundtrack doesn't really take any new risks.

Rory McCann, who played Jurgen The Brutal, suffers from what both Jumanji films have suffered from: an inability to construct an interesting video game antagonist; the blank indifference of these villainous roles grates against the significance of them squaring off against the heroes.

Star Wars: The Rise Of Skywalker

This review may contain spoilers!

Far from the satisfying conclusion to the trilogy audiences had been hoping for, this still manages to be an entertaining time. I would give Star Wars: The Rise Of Skywalker a 6.5/10.

Star Wars: The Rise Of Skywalker is the concluding chapter in this latest trilogy of Star Wars film, in which Rey and the heroes of the Resistance must find a way to stop Kylo Ren, the First Order and their new mysterious ally. I really enjoyed how this film took the time to actually explore and introduce Star Wars to us again; new ships, weapons, species and planets all made for interesting touchstones that enhanced the atmosphere of this feature. I was really into the journey the film took the audience on, seeing a small group of main characters all working together to find hidden artefacts that would help them succeed in their struggle against the First Order created a much needed 'back to basics' narrative. As a character Rey's arc felt really well explored here; her incredible connection to the force, her lineage and also her strength of character in the face of overwhelming odds. It was also really heartening to see Star Wars bring back a classic antagonist so that the franchise actually had an intimidating villain at the helm once again, Kylo's character has suffered a lot over the course of these films and the reintroduction of the Emperor was a much needed plot device. The cinematography does wonders for the piece, as always capturing those epic landscapes and effects heavy battles. The special effects in turn are consistent throughout, right from force powers and lightsabers to a variety of aliens, droids and star ships. The score for this film is nothing short of powerful and classic perfection, John Williams work on these films have created some immortal pieces of music that will never be forgotten.

Mark Hamill, who played Luke Skywalker, does a really good job of falling back into that grizzled stoic Jedi Master role; Hamill's ability to be a reassuring reluctant guide has served this trilogy well and it was the most satisfying scene in the world watching him lift that X-Wing. Daisy Ridley, who played Rey, has really served this trilogy well as a protagonist and brings her role to a nice well-rounded conclusion; Ridley has this optimism and determination in her role that sees her overcome any obstacle in her way. Oscar Isaac, who played Poe Dameron, is this high adrenaline, cocky risk-taker that feels like the next Han Solo in the making; Isaac gets to explore his character's self-doubt about being a leader in this film which was the strength of his arc. Anthony Daniels, who played C-3PO, finally gets to function as a role in this film as opposed to a background droid which is a real treat to watch; seeing Daniels trade morose barbs and make self-sacrificing actions in service of others was a great reminder why I love this droid character so much. Richard E. Grant, who played General Pryde, was a nice minor antagonist that allowed a genuine menacing presence the General Hux character never accomplished; Grant's merciless cold-hearted commander feels like a nice throwback to Peter Cushing's Tarkin. Keri Russell, who played Zorii Bliss, is quietly one of my favourite new aspects introduced in this film; Russell manages to create one of those notorious underworld criminals with a heart of gold that do so well in the Star Wars series. Billy Dee Williams, who played Lando Calrissian, steps back into this role like he was playing it yesterday; Williams has that quiet self-assured confidence that set him apart with a more seasoned degree of wisdom that makes him more intriguing than ever. Harrison Ford, who played Han Solo, manages to perform so well in his one scene cameo that he might just have one of the best scenes of the film; Ford has this nice genuine moment of compassion with his onscreen son that shows a deep connection this franchise has been waiting to fulfil. 

However, the best performance came from Ian McDiarmid, who played Emperor Palpatine. McDiarmid's return to the Star Wars universe is a powerful reminder that great, classic roles have come from this franchise from the sheer talent of those playing them. The Emperor we see in this film is different in a manner of ways; he feels like a shade of a being, a shadow of darkness waiting to be reanimated. I personally loved this return to a more ritualistic and plotting Emperor, one who has fallen upon the ancient ways of the Sith and uses them to live on. McDiarmid thrives in this role because he is so good at portraying the scenes in which he attempts to exploit and manipulate the weaknesses of those he seeks to control. The Emperor is one of the most powerful antagonists to emerge from this franchise and we have McDiarmid to thank for that.

The Rise Of Skywalker is near perfect when you look at the technical components but the plot may as well be swiss cheese with that many holes. Throughout the feature there seems to be a real sense of trying to find a loose connection between all three films in the trilogy, you really get a sense that there wasn't a shared vision for what these films were supposed to be and it showed. Right from the opening crawl we have the Emperor very abruptly introduced, a good move for the film but one that comes out of nowhere that is supported by a lack of foreshadowing and a need to up the ante for this last instalment. Characters have very confusing arcs considering where they were at in previous films; suddenly whether or not Finn is force sensitive bears an importance to the plot again, Kylo Ren goes through a very quick unconvincing change of heart and Poe suddenly has a history of spice smuggling. These messy attempts to make the characters more dynamic feels very too little too late and only makes the roles themselves less interesting. The film tries so hard to be a legacy film and pay tribute to what has come before while passing the torch off to the new cast of characters that you wind up with some very corny scenes, even right up to the last line of the film. Rise Of Skywalker also suffers from the same problem Last Jedi faced in that it introduces new characters without pausing to consider if the new characters enhance the story, more often than not these new roles or droids take up unwanted screen time and feel like a burden to the plot.

Carrie Fisher, who played Leia Organa, has never quite managed to make a convincing comeback in the same way the rest of her former co-stars did; This film didn't really need Fisher to succeed and by including her through archive footage only punctuated her lack of presence. Adam Driver, who played Kylo Ren, started this trilogy extremely well and somewhere along the way lost this role completely; Driver lacks the ability to convincingly show the inner struggle his character journeys through and his ultimate return to the light side comes off as pretty heavy handed because of this. John Boyega, who played Finn, is another character who was great in the Force Awakens but has struggled to find his feet since; Boyega's Finn has been shoved into so many different functions and missions at this point that when you hear him start to harp on about how he follows his 'feelings' you realise they really didn't have a clue what his role was. Naomi Ackie, who played Jannah, is this odd deserter character who makes a very sudden introduction in the back half of the film; a new character introduction that late in the film is a tall order and Ackie fails to impress herself upon the audience for that final act. Domhnall Gleeson, who played General Hux, is a pale shadow of an antagonist now with his inner turmoil with Kylo Ren dialled back to a petty rivalry; Gleeson is shoved into one of the more forgettable subplots and written out of the film quicker than he deserved. Lupita Nyong'o, who played Maz Kanata, is another role that had a lot of potential who got shoved into the background come the third film; Nyong'o never gets to try her quirky persona or wise remarks anymore and is shoved in more as a creature feature than anything else. Kelly Marie Tran, who played Rose Tico, seems to be a character this film wants to forget about; formerly part of the main cast Tran's role is now no more significant than some of the speaking X-wing pilots and Reistance leaders you often see in the background.

Knives Out

This review may contain spoilers!

Up until now I've never seriously been grabbed by a Rian Johnson film but what I witnessed with this is nothing short of one of the greatest 'whodunnit?' thrillers of the decade. I would give Knives Out a 9.5/10.

Knives Out is the investigation into the death of renowned author, Harlan Thrombey, and the chaotic effect his demise has on his eccentric, turbulent family. This film wastes no time is delving deep into the investigation, introducing us to the colourful cast of characters, the lies they spin and their motivations for wanting Harlan dead. Yet the film makes it very clear in no small amount of time that the identity of the murderer is not to be the final act twist, in fact a significant aspect of this film is toying with audience expectation. What would normally come to light by the end of the film appears early in and the intricate family politics that is at the heart of the films conflict takes centre stage. A fine thing too because these are some of the most interesting characters I've seen onscreen this year. Knives Out had me tense, on the edge of my seat, constantly guessing, in fits of laughter and, by the end, immensely satisfied. The cinematography is this exceptionally unique visual style, there isn't a shot in this that doesn't feel bold and impactful. The editing sets a smooth pace throughout and has some really fun transitions that speak to the films style. The score hearkens back to old sleuth films, there is a lot of inspiration and homage here that only heightens the intrigue you feel throughout.

Chris Evans, who played Ransom Drysdale, was this entitled stuck up trust fund kid who you loved to hate; Evans does a good job at playing with audience expectations in regards to whose side his role is on. Ana De Armas, who played Marta Cabrera, is one of my favourite upcoming actresses and the perfect pick for this films protagonist; de Armas finds the nervous hesitant qualities about her role and shapes them into something strengthened by the struggles she faces over the course of the story. Jamie Lee Curtis, who played Linda Drysdale, is an imposing matriarch in this intimidating family; her fondness for her late father and tendency to reflect upon what made them close marks one of the best subplots and reveals in the film. Michael Shannon, who played Walt Thrombey, is a more slippery and weak-willed character; Shannon is desperate to retain his rank in the family and eternally scared at the prospect of losing his standing. Don Johnson, who played Richard Drysdale, is a boisterous character who tends to speak before he acts; Johnson plays well to his role's desire for power but understanding/jealousy that he will never hold the power his onscreen wife does. Toni Collette, who played Joni Thrombey, is a real wild card and one of the funnier satirical characters; Collette's portrayal of a new wave 'health guru' driven by greed is a nice parody of real life women, such as Gwyneth Paltrow and her Goop range. LaKeith Stanfield and Noah Segan, who played Lieutenant Elliot and Trooper Wagner respectively, are really strong foils to the intensive investigator Craig portrays; Segan in particular in hilarious as the fanboy policeman enamoured by the entire case. Christopher Plummer, who played Harlan Thrombey, is a very eloquent and commanding figure at the head of this chaotic family; Plummer and de Armas have a really lovely onscreen friendship that feels warm and compassionate. Katherine Langford, who played Meg Thrombey, feels like a very charismatic and likeable persona when first she arrives onscreen; I was really impressed with the dark turn Langford took as her onscreen family's greed consumed her role too.

However, the best performance came from Daniel Craig, who played Benoit Blanc. This role pulls you in slowly at first, coming across as casual and mildly eccentric before unveiling his Sherlock Holmes-esque genius. There is a lot of inspiration taken from famous fictional detectives in Blanc, from his unique vocabulary to the way he builds up to a revelation or a direct line of questioning. I felt Craig entered scenes and was really capable of setting his cast mates on edge, even inciting fear in a convincing manner. Craig was wholly motivated by the truth and entirely moral, even if the film turned you against him from time to time. An instant classic of a super sleuth, right up there with Holmes and Poirot.

The transition from the second to third act of Knives Out is probably the only weak link, admittedly the action picks up and it turns to a bit of a fugitive piece for a moment which didn't blend in as well with the whole. Yet it is undoubtedly a minor crinkle in an otherwise perfect whole.

Jaeden Martell, who played Jacob Thrombey, is a bit of a background ornament for most of the film; Martell's soft demeanour often means he gets lost in the key scenes he is in. Edi Patterson, who played Fran, is a very oddball role compared to the rest of the cast; Patterson pushes the envelope a lot and crafts a role that feels very comical and at odds with what the film is trying to achieve.

The Good Liar

This review may contain spoilers!

This is one of those classic con artist films that is only enhanced by the stellar character driven performances from its two veteran lead performers. I would give The Good Liar an 8/10.

The Good Liar follows career conman, Roy Courtnay, as he attempts to swindle his latest mark, widow Betty McLeish, out of her millions. Yet Roy must work with all his tricks to pull off such a caper and soon learns that some secrets are better left in the past. This film is one of those exquisite examples of character driven narratives, these are two very complex individuals who complement one another nicely. Roy is a serpent, throws around lies convincingly and manages to appear charming on the surface. He's a strong contrast to Betty who comes across as a naive older widow, somewhat alone in the world and desperately seeking company. I was really drawn to the way the film slowly peels back the layers on this pair and allows you to examine them further. Roy grows more and more vile while also appearing vulnerable; while Betty has a cunning streak to her that plays nicely into the back half of the film. The cinematography is spectacular, very intimate and captures every minute detail of these powerful character performances. The score for the film crafts a brilliant web of intrigue, it is deeply reminiscent of the melancholy film noirs of old.

Ian McKellen, who played Roy Courtnay, was a slippery and vile character throughout the feature; just the lengths this role goes to for his own personal gain makes this perhaps one of the most interesting and vile roles McKellen has played in years. Russell Tovey, who played Stephen, is a very principled role who cares greatly for Mirren's Betty; Tovey's approach to unmasking Roy is brash and without forethought at times making him an easy rival for the central antagonist. Jim Carter, who played Vincent, has a really solid onscreen chemistry with McKellen and the two run a convincing con partnership; Carter has this great moment in the film where he meets a crossroads and has to act out the struggle he's facing. Laurie Davidson and Phil Dunster, who played Hans Taub and Roy Courtnay respectively, work in tandem well to show a pair of young men hardened by the war; Davidson in particular does a good at showing a man deeply jaded and disenchanted with his own country's identity, as well as his own. Spike White and Nell Williams, who played younger Hans Taub and Lili respectively, do a great job as young performers at portraying one of the most horrifying and vulnerable scenes of the film; White's portrayal of this twisted, malevolent young boy makes everything about Taub/Courtnay come together.

However, the best performance came from Helen Mirren, who played Betty McLeish. Betty comes across as a little naive and unsure at first, cautious when it comes to the dating game but hoping desperately to find companionship. Mirren does a very good job at showing an open sense of both vulnerability and compassion when it comes to this role, you understand her entirely and tend to care a lot about her. Yet as more of Roy's past emerges and his con begins to look more and more likely to succeed the character of Betty develops too. A distance suddenly appears between Roy and Betty and history between the two becomes very apparent. One of the final monologues Mirren gives reveals everything about the pair and is one of the most satisfying character performances I have seen this year.

The Good Liar hinges a lot on two plot point: the big reveal and these flashbacks to the 1940s. The big reveal for the film is incredibly satisfying to see play out but the film doesn't do a great job of concealing what is coming, and the ultimate way things play out fails to surprise in a big way. Furthermore, the film journeys back to the 1940s twice in the film but it takes over half the film to start doing this, making these very important scenes feel quite jarring to watch. The editing for the film sets a slow pace, which certainly made sense for the tone of the piece but there were some inevitable moments where things dragged.

Mark Lewis Jones and Lucian Msamati, who played Bryn and Beni respectively, are these stoic background roles who are only present as a visual con to showcase the criminal element of this film; Msamati in particular never displays a great range of emotion or style in his role.

Frozen 2

This review may contain spoilers!

While at times confusing for younger audience members there is no denying this is a brilliant sequel to Frozen. I would give Frozen 2 an 8.5/10.

Frozen 2 is the sequel to 2013's Frozen and reunites us with sisters, Elsa and Anna, as they confront another threat stemming from Elsa's magical abilities. In this film the whole gang must venture to a hidden enchanted wood in search of a means to save Arendelle and discover the mysterious voice calling to Elsa. I was really transported by the narrative for this film, there is something really significant in how the story is presented; almost like watching a myth unfold before you. The struggle between the people of Arendelle and the native people of the enchanted wood is a great conflict for the film to be built around and the responsibility to resolve this interesting motivation for our two protagonists. I really enjoyed watching Elsa master the four spirits of the elements as she embraced her powers in her quest for the truth. A nice parallel to this was having Anna learn to let go of Elsa and be less protective of her, the trust these sisters place in one another is the only bond that ultimately frees everyone from the curse that has afflicted the land. The comedy scattered throughout is side-splittingly good too, I feel that they really found ways to make every quirky character really shine and have their moment in the spotlight. They manage to up the ante with the animation as well, mainly through the imagery of the setting and the elements. Frozen 2 crafts a landscape that feels immersive and real, the water, fire and wind sequences in particular have a stunning depth of detail to them. The music for this film highlights the strength of the Frozen films; I really liked the balance of the comedic genius in 'Lost in the Woods' alongside internal character pieces like 'Into the Unknown'.

Kristen Bell, who voiced Anna, is the proverbial heart of this onscreen family; Bell really delivers on that zany fun humour while also playing to the deeply concerned and protective sister figure. Idina Menzel, who voiced Elsa, has to shoulder a lot more stoic seriousness than the rest of the cast which is no mean thing; Menzel's singing is exceptional and her character driven journey is nothing short of an emotional ride. Josh Gad, who voiced Olaf, feels like he's been given a lot more free rein to sculpt this role; Gad makes Olaf consistently funny and entertaining in every scene he's in. Sterling K. Brown, who voiced Mattias, is one of the few new roles who really leaves a noteworthy impression; his immediate loyalty and fond reminiscing about his home makes him a role to love.

However, the best performance came from Jonathan Groff, who voiced Kristoff. I was genuinely surprised at how much this film turned me around on Kristoff as a character, in the last film he wasn't given the opportunity to shine in the same manner as the rest of the cast. This movie does a complete 180 on that and allows us to see all the potential Groff can bring to a role. You still have the awkward, bumbling aspect that makes Kristoff a good foil for Anna, but there's so much more. I was really entertained by the opportunity Kristoff was given to prove he could be one of the funniest in the cast with his line delivery and Sven imitations. The fact that Kristoff has one of the stand out musical performances in the film comes as a real surprise and a treat after the poor pickings he got in the first film.

This film at times errs in how it treats the diverse plots going on here; Elsa's storyline is this very serious investigative journey into her powers and the history of this ancient curse while most of the other characters wind up down much funnier subplots. This often makes it feel like there's a bit of a disconnect between the characters and the stories the film is trying to convey, particularly notable between Elsa and Anna at times. A lot of the subplots often feel like they're there to fill time or aren't considered important in the grand scheme of the narrative as well. Kristoff trying to propose to Anna is one of the funniest elements of the film but it rarely feels like it matters, the exact same thing can be said for Olaf 'growing up' or the introduction of the new characters to the series. It is also worth noting that some of the younger viewers I took with me found the film confusing at times leaving me to wonder if Disney might have missed their target audience a bit with this latest instalment. 

Evan Rachel Wood and Alfred Molina, who voiced Iduna and Agnarr respectively, don't lend any special noteworthy characteristics to these two parental roles; as in the first film the most noteworthy thing about Iduna and Agnarr is their absence. Martha Plimpton, who voiced Yelena, doesn't manage to embody a strong and memorable leader; Plimpton's dry delivery leaves her entirely eclipsed by Brown's introduction. Jason Ritter and Rachel Matthews, who voiced Ryder and Honeymaren respectively, are some of the most forgettable new roles in this film; these characters feel tacked on to stretch the runtime out a bit and fill the cast but ultimately the hold no sway on the narrative at all. Ciaran Hinds, who voiced Pabbie, doesn't ever really justify bringing the trolls back into this film; the vague warnings of this figure just come across as empty foreshadowing and you don't get anything new or exciting about his portrayal.

Ready Or Not

This review may contain spoilers!

This film feels like a fresh bit of flavour in the horror/thriller camp even if it does struggle to find the line between horror grounded in reality and supernatural horror. I would give Ready Or Not a 6.5/10.

Ready Or Not follows Grace, a young woman marrying into the very wealthy Le Domas family; the Le Domas family having earned most of their wealth via their gaming endeavours. Grace has to embark on a game of hide and seek as part of a family marital tradition, yet things take a dark turn when the game turns to a kill or be killed hunt. The entire premise for this feature feels really original in it's execution, there are certainly some great homages to classic horror cinema but I never stopped being impressed by the creativity that was so evident in the writing and direction of this film. I believe what elevated this sensation was the genuine cast of characters assembled, this wasn't like other 'secret killer cult' films but rather took care to make you feel like every role had depth and was interesting. The characters were intimidated by their own undertaking and squabbled amongst one another as you would expect in a twisted high stakes situation. I felt that Grace in particular was this noble figure who really endured yet never operated beyond the boundaries of what would be considered reasonable character development.The cinematography was really carefully framed, utilising gripping close ups and a lot of effective camera movement to enhance the tone and make the audience feel as if they were on the run too. The editing tied it all together nicely and set a strong pace, scenes knew how to drag a shot before a cut or when quick frantic cutting was needed. The score for the film was really impressive, a number of horror scores can fall into the realm of the generic or piggyback off classics but this was music that left you tense from beginning to end.

Samara Weaving, who played Grace, is an incredible protagonist who leads this feature very well; Weaving has some sharp biting retorts and portrays real terror in such a consistent, impressive way. Henry Czerny, who played Tony Le Domas, makes for an intimidating and erratic patriarch of this twisted family; Czerny's aggression and manic desperation to see the hunt come to a close is fascinating to watch. Andie MacDowell, who played Becky Le Domas, is such a welcoming compassionate mother figure at the start of the film; I appreciated MacDowell's dedication to finding the line between good mother and proficient hunter throughout as it really showed a complex duality to her role and the situation. Melanie Scrofano, who played Emilie, is an almost psychotic personality from the minute the hunt begins; Scrofano has this malevolent way of depicting survival for the sake of her young children which is an interesting trope to see turned on its head. Kristian Bruun, who played Fitch Bradley, is a strong source of comedic gold throughout the feature; Bruun is a nice perspective into a family member who is completely outside of what is going on and disbelieving at every turn. Elyse Levesque, who played Charity Le Domas, is this cold merciless role that makes for one of the more memorable antagonists; Levesque is so fiercely bound to her life as a rich woman of power that she begins to set anything aside in pursuit of keeping her way of being.

However, the best performance came from Adam Brody, who played Daniel Le Domas. I think what I liked about the character of Daniel was that he really played against your expectations throughout the feature. When first Brody presents Daniel to us he is this drunken member of the family, on the fringes of their unified image and with nothing but copious amounts of hilarious dry wit. As the film descends into the hunt for Grace you begin to see how worn down Daniel is, the resentment he holds for the game and his inability to reconcile participating at all. Brody and Weaving have an interesting dynamic in which she manages to bring forth the more honourable and good side of his role as the film wears on, ultimately resulting in his rescue attempt and heroic sacrifice for her sake. I also really enjoyed the power struggle Brody had with Czerny, the family patriarch.

Cinema these days really blurs the line between genre on an almost frequent basis, this has resulted in some great films and some confused messes. Where Ready Or Not struggles is finding the middle ground between a slasher/horror thriller and a supernatural horror. The film succeeds when you become invested in these very complex and dynamic characters and the hunt they embark upon, yet there's another side to that coin that holds all the baggage. Any time the film attempts to explore the family's motivations for killing Grace we get caught in a web of exposition around dark pacts and ancient deals with devils. Right near the end of the film there's a moment where the film commits strongly to the supernatural element and it feels really jarring after seeing a split between the two for so long, ultimately it cheapens the film because it feels like it was added for shock value as opposed to enhancing the narrative. Ready Or Not often pushes the boundaries when it comes to showing intense displays of gore as well, which has its moments where it really works but at other moments just feels included to set you on edge and make you feel shocked and uncomfortable. This is a film with a strong concept but more often than not is let down by a shocking, jarring moment that was thrown in as an attempt to curveball the narrative.

Mark O'Brien, who played Alex Le Domas, is the role who is dumped with delivering a weighty amount of the exposition and he really doesn't handle it well; beyond that O'Brien just plain doesn't have all that much chemistry with Weaving and so the scenes where he grapples between loyalties aren't very convincing. Nicky Guadagni, who played Aunt Helene, goes to quite an over the top place with the family member who seems most dedicated to the ritualistic sacrifice; Guadagni never takes a moment to explore what is real for her character and just transports her away to a place that is impossible to connect with from the start. John Ralston, who played Stevens, is pushed really strongly as the main henchman for the antagonists but his motivation always comes across as murky; Ralston never pauses to provide character but instead just launches into full blind physical brutality.

Charlie's Angels

This review may contain spoilers!

It wouldn't be Charlie's Angels if it wasn't a fun action blockbuster with a convoluted plot. I would give Charlie's Angels a 5.5/10.

Charlie's Angels is a soft reboot of the famous action series that follows our heroines from the Charles Townsend Agency as they take on the latest high profile criminal threat. In this film, seasoned Angels, Sabina and Jane, have to protect a promising recruit, Elena, who has developed a device that has the potential to be weaponised on a mass scale. The film really benefits from knowing what it wants to achieve, the end product is a positive tone as the entire feature has such strong messages about positivity and empowerment for women. There is also a real sense of fun and humour with this feature, multiple characters will treat you to dialogue you wish the original films had dreamt of having and I certainly had some scenes that left me laughing. The score for the film is a high energy romp, yet the compiled soundtrack for the film is the real triumph; Charlie's Angels hosts a number of tracks from upcoming young female musicians and it really highlighted the way in which the film attempts to raise women up.

Naomi Scott, who played Elena Houghlin, was a lot of fun as the new trainee Angel; Scott was this really unskilled yet highly excitable up and comer who the audience got to see the thrill of the Angels' world through. Ella Balinska, who played Jane Kano, was the certifiable badass of the group; Balinska had a tough, no nonsense attitude and barrelled into fights like a one woman militia. Patrick Stewart, who played John Bosley, seemed to be having a fair bit of fun portraying one of the admittedly classic camp Charlie's Angels villains; Stewart's smug demeanour and sense of superiority over his enemies made him a good foil for the protagonists.

However, the best performance came from Kristen Stewart, who played Sabina Wilson. Sabina was a complete wild card onscreen, you never knew exactly what she was capable of doing in a scene but it was often guaranteed to be hilarious or exhilarating. Stewart entered scenes like a whirlwind, she felt entirely present at any given moment and never dropped tempo once. The result was this role who had boundless energy, that you absolutely felt was the most charismatic of the team and who had a charming reckless streak. Stewart was flirty and daring like the old Angels but brought a confidence in her own self-worth that highlighted what an Angel written in 2019 would look like. This performance wasn't merely good, it stole the show and has me excited for Kristen Stewart's future performances.

This film is a lot of fun and has some great take away messages but the overall story has a number of issues that let it down. The first act initiates the plot by relying on a really strong heavy handling of the features themes, there's no subtlety and the entire introduction to Elena comes across as quite forced because of this. The entire film becomes a big long pursuit of acquiring one particular item that is just juggled back and forth between the bad guys and the good guys, it's not a very inspired or original storyline and it never tries to find a unique take on this. The moments in which the film does attempt to divert away from the main storyline you get these relatively unnecessary subplots tacked on like Jane's backstory in leaving MI6, Jane's romance with Langston or the intricate web of unnecessary antagonists squaring off against one another and the Angels to boot. There's also a big twist antagonist (to no one's great surprise) and the film plays this out for a little long too, snapping focus back from one surprise character to another. The cinematography utilised throughout the film needed some variety, a number of the close-ups or panning shots used were very repetitive and it wasn't often the film found a style all its own. The editing for the feature was relatively mild for a blockbuster feature too, slow cuts in a scene and some jarring transitions throughout that marred the pacing of the end product.

Elizabeth Banks, who played Bosley, felt like quite a detached mentor/guardian figure; Banks really didn't feel strongly engaged in her scenes, probably because of the split focus with directing, but the role suffered for this. Djimon Hounsou, who played Edgar Bosley, was very similar to Banks in that he came across as a stoic detached mentor figure; this meant that when Hounsou's death scene came around you didn't feel it as much as you should have. Sam Claflin, who played Alexander Brock, gave a very generic performance as the egocentric billionaire; Claflin switches this role to more of a bumbling villain at the end which is fun but it's a bit too little too late. Jonathan Tucker, who played Hodak, looks more like he wandered off the Terminator set than the Charlie's Angels one; Tucker has no emotions at all as the film's token henchman and so he doesn't leave much of an impression. Nat Faxon, who played Peter Fleming, lays on the misogynistic boss rather thick; there isn't a scene in this film where Faxon knows how to dial himself down and not play it over the top. Chris Pang, who played Jonny Smith, felt like a one off antagonist that could be goofy as a gag then the film would move on; in pulling Pang back for repeat scenes the character came off as cheap and an unnecessary element to the feature. Luis Gerardo Mendez, who played the Saint, was another role that was fun as a gag but wore in with repeat appearances; having a novelty 'mind,body, spirit' guru in every Angels HQ was fun until scenes focusing on this role wore on for too long. Noah Centineo, who played Langston, was awkwardly pushed into this film as a forgettable love interest; Centineo's chemistry with Balinska in non-existent onscreen and the whole role was a waste of time. Marie-Lou Sellem, who played Fatima Ahmed, felt like a role who practically appeared out of nowhere; the tense scenes of broken trust between her and Balinska felt like something out of an entirely different film.

Doctor Sleep

This review may contain spoilers!

This is probably as perfect a sequel to The Shining as one could hope for. I would give Doctor Sleep an 8.5/10.

Doctor Sleep is an adaptation of Stephen King's sequel to The Shining; it also frames itself as a loose sequel to the original film as well. Doctor Sleep brings reunites us with Dan Torrance, now an adult, as he grapples with alcoholism and the horrors brought on by his 'shine'. As Dan manages to make things right for himself he finds himself bound to Abra, a young girl with incredibly strong powers who is being hunted by vampiric immortals known as The True Knot. As a sequel I think this was a brilliant character study and got to show us the world Stephen King had built through these two novels. The horror/fantasy element is very well handled and watching how Dan has escaped the evil of the Overlook Hotel since his childhood years is really interesting. The way those who 'shine' are depicted is quite fascinating as well, you see a variety of powers and the ways in which they emerge throughout this film and that is offset by the horrific nature of the cult-like antagonists hunting them. I think what impressed me most about the narrative was how Dan Torrance was examined as a character. When we meet him as an adult in the film he seems like a shell of a person, addled by alcoholism, drug use and getting into random violent fights. The film feels a journey about how Dan finds his way back to sobriety and the good nature that is at the heart of his role; it's a really interesting point of divergence from Dan's father Jack, who attempted to get clean at the Overlook and was instead corrupted by the entities there. Having found himself clean and renewed with purpose Dan begins getting contacted by Abra which launches them both into a large conflict to save her from those that would feast upon her shine. By taking on a mentor role to this young girl Dan is stepping up into a greater area of responsibility, just as Dick Hallorann was a guide and protector for Dan when he was a child. Inevitably all parties are brought together at the Overlook and Dan must face his greatest demons in order to save Abra; this is personified in what is the film's crowning scene, a dialogue between Dan and the cursed spirit of his father Jack. There's a lot to say about this scene but all I want to note is that it's right up there as one of the best cinematic scenes I've had the pleasure of watching this year. The cinematography throughout is a clever blend of homage and captivating ingenuity; there were some shots that really took you back to The Shining and some that I feel should make this film have a status all its own. The visual effects were phenomenal, I liked the design for how the True Knot fed and I was also really impressed with how they did scenes like Rose the Hat mentally tracking down Abra. The score for the film is haunting and melodic, yet has it's own melancholy reflective tone that I think captured the heart of the film.

Rebecca Ferguson, who played Rose The Hat, hasn't had a role this absolutely phenomenal in a short while; Ferguson is this calculating, hungry antagonist that teaches you exactly who to be afraid of throughout the feature. Kyliegh Curran, who played Abra Stone, has to be one of the best young talents I've seen in a film this year; Curran is staggering as this highly confident powerful kid and shows an expressive range consistently. Cliff Curtis, who played Billy Freeman, is a really charismatic good-natured role that is impossible to dislike; his loyalty and bond with McGregor make this duo an onscreen friendship that is remarkably likeable. Zahn McClarnon, who played Crow Daddy, is a very calm, level-headed antagonist who frames nicely against Ferguson's Rose; I liked McClarnon in particular because he wasn't preternaturally bloodthirsty as some of the True Knot were, he was strategic in how he plotted his kidnapping and murder which made for a good villain. Emily Alyn Lind, who played Snakebite Andi, is a really interesting performance into corruption; Alyn Lind first presents Andi as a young woman doing something questionably good and from there is dragged into the world of the True Knot and twisted into becoming a bloodthirsty killer. Carl Lumbly, who played Dick Hallorann, is perfect as Dan's mentor and conscience throughout the film; Lumbly's almost spiritual perspective on delivering exposition about the shining is phenomenal line delivery. Thomas Downing, who played The Bartender/Jack Torrance, has to be one of the driving forces behind one of my favourite scenes of the film; Downing did for this role what Nicholson did back in the original Shining while crafting a good foil for McGregor to play against. Bruce Greenwood, who played Dr John, is an admittedly minor role in this film but a kind character and important in Dan's early journey; Greenwood delivers a sense of quiet understanding and compassion that allows Dan to find his way back to embracing his shine as a good thing once again. Alex Essoe and Roger Dale Floyd, who played Wendy Torrance and Young Danny, made me feel like I was stepping back into a time machine and watching The Shining all over again; Essoe in particular had that soft, protective composure that so famously marked the role of Wendy. Jacob Tremblay, who played Bradley Trevor, is another great performer in a smaller role that really leaves you with an impression; Tremblay gives the best portrayal of blind terror you'll see from a kid of this age as he's strung up and murdered.

However, the best performance came from Ewan McGregor, who played Dan Torrance. I couldn't call this incredible sequel a character piece without high praising the actor portraying the character himself. McGregor goes to great pains to show Dan as a very tortured soul at first, he's haunted by the memories from his childhood and fallen into some of the abusive habits his father partook in. This role is almost pleading to get well and find purpose separate from his shine and when he begins to discover that we get this really joyful moment of clarity. McGregror gets to play to Dan discovering how his shine can be of assistance to others, using his position as an orderly at a hospice to help the elderly there who need him. This calling continues to extend as Dan reluctantly becomes a mentor to Abra and has to put aside his own fears in service of his charge. The journey Dan goes through from dejected and alone, to good and compassionate is a powerful one and really comes together nicely when he faces all that has ever challenged him when he returns to the Overlook in order to save Abra's life.

This film did stumble through exposition at times, I think for the most part the explanation of what was supernatural really worked but Doctor Sleep couldn't escape a few overly lengthy or cheesy moments born of this error. The introduction at the start of the film that followed closely on the heels of The Shining went for a little long as well, it was clear they had a lot to establish but it meant the film had a slow start. The editing for the film was impressive in terms of visual effects but the cutting together of the piece left a lot to be desired. The slow fades and abrupt cuts felt decades old and it really interrupted the flow of the piece at times.

Zackary Momoh and Jocelin Donahue, who played David Stone and Lucy Stone, are some of the only members of the cast who don't really seem as certain on how to get the best from their roles; what you wind up getting from this pair is a pretty stereotypical portrayal of parental figures in a supernatural feature.

Terminator: Dark Fate

This review may contain spoilers!

I have enjoyed a lot of these Terminator films for a while and this is another good instalment in the series. I would give Terminator: Dark Fate a 7.5/10.

Terminator: Dark Fate is the sixth instalment in the Terminator series and yet another direct sequel to Terminator 2: Judgement Day. In Dark Fate Skynet has fallen and a new threat has arisen, Legion, a military AI hellbent on the eradication of the human race. Augmented soldier, Grace, is sent back in time to save Dani Ramos, the future leader of the human resistance before Legion can kill her first. How the film enhances the Terminator universe is really interesting, I think the way in which the threat of Skynet being dismantled as it was by the end of T2 was well done and the heightened threat of Legion was extremely impressive. The film utlised a number of flash forwards, used the enhanced human fighter and the new Rev-9 model terminators to really hook you into the action; the stakes felt higher than ever and it was a real thrill to watch. I think seeing Grace's journey unfold as she went from being a scavenger, to resistance fighter, to an enhanced human was powerful and you saw the levels of sacrifice a person would be willing to go for a cause they believe in with her. Perhaps the best storyline was that of Sarah Connor's, seeing her lost and alone after a tragedy in the past I thought it was a great direction that she was a rogue Terminator hunter now. Watching her grapple with her past and having to trust Grace and Carl felt like a good journey for her character and you saw a lot of what happened to her reflected in Dani. The cinematography throughout this film makes you feel very present in the action, it was such an immersive experience that kept you in motion and hooked you with fantastic visuals. The special effects throughout the film were the best this franchise has seen; whether that be from the designs of the various Terminator models, post-apocalyptic settings or mid-air plane collisions this spared nothing in an effort to leave the audience wowed. The score for Dark Fate was adrenaline fuel if ever I heard it, perfect for the grand scale blockbuster this is and with multiple callbacks to some of the famous tracks from the original films.

Linda Hamilton, who played Sarah Connor, is unapologetically the toughest person in any scene and does not back down for a fight even if she's entirely outmatched; Hamilton wears the years of grief and futility her character has known really well and you understand her bitterness. Mackenzie Davis, who played Grace, is an exceptional fighter who is unbreakable and determined to see the purpose of her mission through to the end; Mackenzie's struggles with being made augmented give her role a lot of complexity which is only heightened by her tearful recounting of the future she has come from. Diego Boneta, who played Diego Ramos, is a really charismatic and altogether innocent young man; Boneta really sells you on the sibling chemistry between him and Reyes which makes his scene of self-sacrifice really profound. Diego Luna, who played the Rev-9, was instantly a classic Terminator model akin to a performance as memorable as Schwarzenegger's was back in the day; Luna is entirely remorseless, precise and dangerous in every scene he is in.

However, the best performance came from Arnold Schwarzenegger, who played the T-800/Carl. Schwarzenegger is the face of these films and has spent more time with them than any other cast member from the franchise. I think experience like that really shows in this film because every scene he's in his performance feels very purposeful and reasoned. He has all the classic rigid and stoic mannerisms that make the T-800 so famously mechanical and inhuman. But by inhabiting this role for so long he also has the capacity to play against what you know and present a humanlike Terminator in the form of Carl. It's not an easy character by any stretch but emotions like guilt, regret, love, sympathy and loyalty come through in how Schwarzenegger presents Carl but he's very good at showing these emotions in a limited capacity to make you believe he has gone as far as a machine can to being human. I also have to say he is just about the funniest performance you'll get all film, his serious yet passionate explanation of what living as a man who owns a drapery is like is probably my favourite scene.

This film was nothing short of stunning blockbuster material, but it suffers from one big issue that a number of blockbusters fall prey to. This film has a lot of stunt or effects heavy action scenes and these are offset with big lengthy moments of dialogue and exposition, giving insight about the characters and feeding the audience key information. Any film like this has to find the moment of balance between these types of scenes and Dark Fate really struggles with finding this balance; not at first, but certainly as the feature wears on. Action sequences begin to get repetitive or they don't seem to find an ending, the flip side is we get long moments of lengthy explanations from characters that just come across as dialogue heavy. A major problem the film suffers with is the Terminator's new target: Dani Ramos. As a character Dani is very black and white, there's never much given to her in terms of depth; but the film tries to do a 'big twist' and reveal that unlike Sarah Connor it isn't her son that will save the world but her. This revelation might have surprised a lot of people back when they were making T2 but it wasn't a huge shock and as a role Dani is far from convincing as humanity's saviour. The film ties itself strongly to being a sequel to T2 but in the first two minutes of the film kills off a fan favourite main character in a pretty underwhelming way, while the movie is riddled with great fan service this part is going to be hard to watch if you're a Terminator fan.

Natalia Reyes, who played Dani Ramos, is the weak link in an otherwise solid cast; Reyes plays quite a two-dimensional character who sees things in a very black and white way and is truly a hard sell as Earth's ultimate saviour.

Jojo Rabbit

This review may contain spoilers!

This is probably the best Taika Waititi film I've ever seen. I would give Jojo Rabbit an 8.5/10.

Jojo Rabbit is about a young boy, Johannes, growing up in Nazi Germany and allowing his world view to be shaped by his membership in Hitler Youth. Jojo is forced to confront what he believes however, when he discovers his mother is harbouring a young Jewish girl. I think this was always going to be a risky film, depicting Nazism in a film with humour elements was always going to be a balancing act. But to say anything less than I was stunned and found the whole experience thought-provoking would be an injustice. This film does a really good job of showing how a culture of hatred is bred, corrupting a character as likeable and innocent as Jojo until you can envision the Nazi figure he has the potential to mature into. Yet seeing figures who dissent against the Nazi war machine and lead by a message of love, such as Jojo's mother, provides a nice counterbalance to the influences working on our young protagonist. Inevitably Jojo and Elsa meet and start their rocky relationship as enemies who fear or hate one another. The journey and joy of this movie is seeing these two overcome their differences and bond as friends; they endure a lot of pain and hardhsip but ultimately they grow closer and inspire change within one another. Taika Waititi's films are also well known for their sharp wit and remarkably unique humour, all of which you'll get throughout this feature by the bucketload. I particularly enjoyed how Jojo's imaginary friend, Adolf Hitler, was used as a tool to represent Jojo's inner conflict and ultimate change in viewpoint. The cinematography was really fun and often heightened the sense of comedy or charm in a scene by presenting an unpredictable or intimate shot that tied everything together. The editing set a very smooth pace and tended to lend itself to that finer stroke of nailing a punchline. The score for the film could be really harrowing or balance out and heighten the thrill of a scene; I really enjoyed the upbeat soundtrack that always seemed to deeply lead back to the film's ultimate message of love triumphing over hate.

Roman Griffin Davis, who played Jojo, is a phenomenal leading performer and brings a lot of charm to this film; Davis' ability to portray his inner conflict between devout nationalism and the love and protectiveness he feels for Elsa and his mother is the driving point for the film. Thomasin McKenzie, who played Elsa, is this very caged and angry young woman who clashes with Jojo when first we meet her; coming to understand McKenzie's Elsa is one of the most heartfelt and sorrowful journeys the film will take you on and it's nothing short of impressive. Scarlett Johansson, who played Rosie, is this wild force to be reckoned with and the heart of the film; Johansson introduces us to this fighter of a mother who doesn't fall under the thumb of the Nazi regime and proclaims messages of love consistently.Taika Waititi, who played Adolf, gives one of the more interesting and unique performances in the feature; the manner in which he presents a funnier view of Hitler through the mind of a ten year old is great but in showing Hitler as more manic come the end of the film we see a break away from those Nazi ideals for our young hero too. Rebel Wilson, who played Fraulein Rahm, is entirely over the top and one of the better comedic performances you'll get; Wilson takes one of the main Nazi figures and shows her to be a completely hopeless fanatic that is more than a bit ridiculous. Alfie Allen, who played Finkel, is a really good subtle foil to Rockwell; Allen holds the chemistry between the two of them and allows you to see the subtext between these two German men. Stephen Merchant, who played Deertz, is the most menacing figure of the film; Merchant really knows how to intimidate a role in as few words as possible and how to completely take over and dominate a space. Archie Yates, who played Yorkie, is quite simply one of the more loveable members in the cast; Yates shows a young boy who is entirely innocent and detached from blind obedience yet gets dragged further and further into the war as the film progresses.

However, the best performance came from Sam Rockwell, who played Captain Klenzendorf. Rockwell has always been one of my favourite actors and I was genuinely really curious to see what sort of perofrmance he'd be bringing to this film. Captain K is built to impress, he's a more than capable soldier with the open bravado and confidence the Nazi regime rewards. He's also really consistent at showing off where he gets the chance and is more openly flamboyant as the film progresses. I felt it was a bold choice to show Captain K as a character sympathetic to Jojo and Elsa due to his own homosexuality, which would have been condemned under Nazi rule. Rockwell's last scene in which he has to spurn Jojo and drive him away in an effort to save his life is one of the saddest moments in the feature; certainly the scene that left me the most emotional.

This film really could have done a better job with introducing characters at times, some of the cast got a strong lead in while others just really came into the film in a jarring manner. I really thought they established Jojo's mother quite late into the first act, while the initial first few scenes with Elsa were so hostile on both sides it was hard to feel much of a connection with either her or Jojo in that moment. While I felt the film used comedy really effectively there were a number of scenes in which the inclusion of humour was jarring and interrupted the flow of the narrative. A strong example of this is when Rosie pretends to be Jojo's mother and herself at the same time in what felt like an especially bizarre take on solo parenting.

Maleficent: Mistress Of Evil

This review may contain spoilers!

The first film was an unique twist on the Sleeping Beauty story, this sequel wasn't in high demand and takes you on a confused journey. I would give Maleficent: Mistress Of Evil a 4.5/10.

Maleficent: Mistress of Evil is the sequel to 2014's Maleficent, it follows the upcoming wedding of Princess Aurora to Prince Philip, the exploration of Maleficent's dark fey roots and Philip's mother, Queen Ingrith, declaring war on the fey folk. The best plot for this sequel was the cloak and daggers that occurred between Maleficent, Ingrith and Aurora as Maleficent was framed for inflicting a curse upon Ingrith's husband: King John. This felt like a very clever way to build conflict and subtly pit characters against one another, I felt like these moments really hearkened to the high fantasy setting they wanted to achieve.The cinematography really seeks out to capture the scope of the visuals and setting, you have these jaw-dropping wide shots that take in immense sprawling forests, towering castles and the deep warrens the dark fey call home. The special effects are certainly a sight to behold, the design of Maleficent and the dark fey - in particular their wings, looks incredible. But that is nothing compared to the abundance of fey folk throughout the feature that have a charming unique design that captures the joyous spirit of magic at the heart of this story.

Michelle Pfeiffer, who played Queen Ingrith, takes a little while to find her feet as the film's antagonist but once she settles in it is something to watch; Pfeiffer becomes this duplicitous monarch the likes of which you'd expect to see in Game of Thrones due to the manner in which she delivers lies and manipulations. Sam Riley, who played Diaval, feels like he's found a good groove as the voice of Maleficent's conscience this time around; Riley really feels like that familial bridge that links between Jolie's Maleficent and Fanning's Aurora. Chiwetel Ejiofor, who played Conall, is the compassionate heart of the film and as good of a guide into the dark fey as we could have hoped for; the manner in which Ejiofor presents exposition makes you feel the weight and history in the words he is saying. Jenn Murray, who played Gerda, has to be one of the most fascinating antagonist's henchperson I've seen; she has this silent lethality to her that feels really cruel in some of her key scenes and I loved the fiercely loyal bond you could immediately see between her and Pfeiffer. 

However, the best performance came from Angelina Jolie, who played Maleficent. As I said in my review of the first film, Jolie was born to play this character and continues to convince me of that here. This film may not have the strongest script but Jolie fights to show off every powerful and moving character moment she can when at all possible. Every scene she enters you feel the foreboding presence that comes of being a feared sorceress, she absolutely radiates powerful just through posture and a look. I think the subtlety of the role comes through in seeing her nervousness at attempting to reconcile with humanity, her perseverance for Aurora's sake and her pain and rage when Ingrith inevitably betrays and frames her. The entire film is a journey that sees Maleficent wrestle with these turbulent feelings, unsure if she can trust past treasured relationships and furious once more towards humankind. Her unification with the dark fey is fascinating because we see a side of Maleficent that is full of wonder and even joy at the sensation of being united with her own kin. Ultimately seeing Maleficent recognise her love for Aurora and a need for peace is a humbling moment and it's great to see Jolie bring a gentle, happy conclusion to this character's arc.

The story in this film has all the callsigns of a bad sequel script; significant aspects of the last film are repeated, there's a wedding, and most significantly there are now a whole new group of characters that closely resemble a main character. The entire film being fuelled by a budding romance between Aurora and Philip is a bit hard to swallow when the chemistry is so very bland, these two never seem strongly bound together and the narrative does nothing to enhance their relationship.The antagonist for the film has rather thin motivations for hating the fey folk and her entire plot to kill all faeries seems to happen because the sequel needs something to generate conflict. The film almost rushes to this point, seemingly aware that no one cares about Aurora and Philip and hoping the audience doesn't notice the absurdity of a flower that grows when a fairy dies being able to then be used to kill faeries. Once the film stops rushing however it slows, very noticeably, with the arrival of the dark fey: fey folk who look in every way like Maleficent does. Oh and they live in tunnels because they're the 'hidden race', such a new idea. The dark fey drag the film down because most of them are gearing up for war against the humans for very thin reasons and you start to realise the whole film is pushing towards a big fight scene but didn't really know how to get there. After numerous scenes of lengthy monologuing, some poor foreshadowing that Maleficent can cheat death because she's like a phoenix and one of the most forgettable character deaths in the film, the big battle finally plays out and the film rushes to its conclusion. If the narrative alone isn't enough to put you off the dialogue throughout the film is so bad even Jolie can't salvage it at times. The special effects throughout The film look pretty spectacular, yet in the first act there's a real problem with how the colour palette of the film is presented. You are assaulted with such a variety of bright colours that it really does feel like a lot of cartoonish chaos to take in.

Elle Fanning, who played Aurora, was absolutely stunning in the first film but doesn't really seem to know how to take the role further in the sequel; Fanning doesn't play well to her role's distrustful subplot and the bright, bubbly persona feels a bit more forced this time around. Harris Dickinson, who played Prince Philip, was undoubtedly one of the worst leads in The Darkest Minds film and has managed to improve a little this film; yet in spite of finding a better role Dickinson is ever consistent with a flat tone and an inability to find chemistry with a single living breathing member of the cast. Ed Skrein, who played Borra, is a war driven magical being who just seems to want a fight and that's about the totality of his character; Skrein is quickly becoming boxed into these antagonistic headstrong fighters and sometimes he runs with it and other times it is a shell of a role like Borra. Robert Lindsay, who played King John, gives about the most phoned in kindly father figure you'll see this year; Lindsay's blindly optimistic role feels like such dead weight in scenes with more complicated roles like Pfeiffer's Ingrith. David Gyasi, who played Percival, doesn't seem very comfortable in the medieval setting and struggles with his accent; Gyasi never really feels like a strong, soldier type and his relationship with Dickinson as on-screen friends is a hard sell. Juno Temple, Lesley Manville and Imelda Staunton, who played Thistlewit, Flittle and Knotgrass respectively, weren't good in the first film and aren't any better in the sequel; this trio just blurt out mindless comedic relief intended for the three year olds in the audience and are pretty forgettable otherwise.

Zombieland: Double Tap

This review may contain spoilers!

This is one of those genre comedies that has been a classic for a long time and the sequel was genuinely an equal pleasure. I would give Zombieland: Double Tap an 8/10.

Zombieland: Double Tap is the sequel to 2009's Zombieland and reunites us with main characters: Columbus, Tallahassee, Little Rock and Wichita as they attempt to navigate new survivors, evolved undead and life as a dysfunctional family in a zombie apocalypse. The reason I was drawn back to this one so strongly was probably how well they managed to keep the sense of humour intact, particularly as the film progressed the gags they explored just got better and better. It wasn't merely that this is a strong satire on every 'serious' piece of zombie pop culture, it was the range of humour brought to bear. There were moments in which zombie shows like The Walking Dead were being cleverly mocked that would switch to exploring a ditzy survivor and her interactions with the group, or doppelgangers of the main characters to poke fun at the film itself, and even leaping to a group of survivors entirely dedicated to pacifism in this desolate wasteland. Zombieland 2 thinks of everything and orchestrates exactly where it wants its jokes for maximum impact and if you find yourselves in stitches for even some of this excellent film then I highly recommend you hang around for the mid-credits scene. The film also nurtures the bond this strange family of survivors has with one another, often finding simple yet meaningful ways of approaching the heart of this narrative. You get to see Columbus and Tallahassee come to affirm the partnership/survivor duo dependence they have with one another, Columbus and Wichita go through relationship turmoil that actually feels interesting to watch and carries over well from the first film. Even the father/daughter relationship between Tallahassee and Little Rock hits home by the end of the feature, the pair learning some valuable lessons about giving room to be free but also knowing they can count on each other as family should. The cinematography used throughout keeps things active, each set feels like a place explored because the camera maps out every area characters can move within or be engaged in a point of action. The special effects look really good, both in term of the practical effects with some of the zombie encounters and some of the visual effects like the monster truck scene. The soundtrack throughout this feature is really funny and works in tandem with the films comedic tone, it also enhanced moments of action and really brought out the 'cool' factor in those moments.

Woody Harrelson, who played Tallahassee, stills feels like the most epic and dangerous character in the cast; Harrelson does a great job of portraying this tough as nails, gritty character who stumbles through his feelings towards his makeshift family. Jesse Eisenberg, who played Columbus, is still a really strong guide to this crazy zombie-ridden world as our narrator throughout the feature; I found Eisenberg's portrayal of conflict with both Harrelson and Stone really well done. Emma Stone, who played Wichita, is intensely determined and driven towards the protection of her sister; watching Stone grapple with her decision towards the proposal in this film is a nice continuation from what they set up in the first film. Rosario Dawson, who played Nevada, is a tough survivor that matches up to Harrelson perfectly; the way in which their shared interests emerge and their romance begins is actually quite engaging and pulls you in. Luke Wilson and Thomas Middleditch, who played Albuquerque and Flagstaff respectively, are a great pair who really mirror the roles Harrelson and Eisenberg inhabit well; I loved the scene in which they tried to conceal they'd been bitten by zombies and started to squabble amongst themselves when the secret became exposed.

However, the best performance came from Zoey Deutch, who played Madison. This character was by no means the brightest bulb in the box but her character was such a comedic powerhouse that she shined throughout. There was a lot of potential for this role to just be written off as the token 'dumb blonde' that was the hallmark of a lot of old American comedies. But I think what I liked is that Deutch reminded us that while Madison was a bit of a goofball she was undeniably human and capable of surviving. This is a role who hilariously springs to the aid of Wichita, claims out Columbus for her own after being alone for years and then presses through even when the main group of survivors have left her for dead. Deutch really has a strong sense of what she wants to achieve with Madison as a comedic role and I think she has just about the best timing and delivery of the cast.

This film was a really enjoyable and entertaining time but as a sequel it never managed to feel like a full plot or story. This isn't the sort of feature that feels like a fully realised eye-catching main narrative, rather this is a string of anecdotes tied together around a smaller main plot. It doesn't always feel like the best format for a sequel film and that lets down the pacing and structure of the film. The first act also spends a lot of time setting up punchlines for the second or even final act, but in ways that feel jarring and create some awkward scenes. The first act is by far the weakest of the film and it takes some time for Zombieland: Double Tap to find its feet and start running.

Abigail Breslin, who played Little Rock, is a solid part of the original main four cast members and really got forgotten in this film; Breslin doesn't particularly seem committed to the idea that her role wants to go off to find a boyfriend and so that entire subplot falls to the background. Avan Jogia, who played Berkeley, seems to be one of the few performers in the cast who plays to his eccentric stoner stereotype; Jogia never has a moment of sincere comedy and certainly lacks chemistry with Breslin.

Gemini Man

This review may contain spoilers!

A neat special effects premise that is lost on a lousy script and generic action flick. I would give Gemini Man a 4/10.

Gemini Man follows Henry Brogan, a retired government hitman who must run for his life after being attacked by a younger clone of himself. The driving force behind the film is watching Brogan attempt to uncover all the players behind the cloning operation and seeing him attempt to take them out. What works to this film's strength is the visual effects, the whole film is founded on making a version of the lead who appears younger and serves as his own separate character. I thought they managed inserting Junior in really well, seeing a young Will Smith face off against himself was great and it certainly showcased how far this particular line of effects has come.

Benedict Wong, who played Baron, is a very strong comedic presence throughout the film; Wong has some brilliant lines and knows how to make the most of his moments in a scene. Ralph Brown, who played Del Patterson, has a gentle kinship with Smith that fits their handler/agent relationship; I liked how this pair quietly got along with one another and the level of concern Brown portrayed at the risk to his friend.

However, the best performance came from Will Smith, who played Henry Brogan and Junior. Smith is a really seasoned pro at the blockbuster trade by now so he plays well to the different personas he has to juggle in this film. As the clone, Junior, Smith constructs a highly self-confident, headstrong role who operates efficiently in the field. But as Junior has to come to grips with his origins you begin to see his world fall apart. Junior becomes filled with doubt and has a lot of vulnerability about who he actually is as a person. I think Smith really found something with this having to journey back to a younger mindset, one who is held up so strongly by his dependence on a father figure. On the other hand as the lead, Henry Brogan, you get someone who is seasoned and plenty capable due to his experience. You can see that while Henry can fight relentlessly, he isn't committed to throwing himself into a battle as he once was. This is a more compassionate role who doesn't blame Winstead's Danny for doing her job or Junior for being created, he attempts to get the best for others out of the situation which makes for a likeable protagonist. Either way you cut it Will Smith is one of the best in the game for handling dialogue and he does it extremely well in this too.

The flaw with Gemini Man is it never exactly stops to take a breath or really show character connections, in fact you barely stop to get introduced to a character. From the very start of the feature we see how adept Henry Brogan is as a combatant but also the idea that he's getting old and wants to retire. This is important surface information about the character and relevant to the overall plot but you never really get grounded with the role, any information given is a plot point down the track. If you want an audience to connect with your protagonist it isn't enough for the actor who plays them to be charismatic (as Will Smith is), the role itself has to exhibit personality and show you who they are. Because the film feels like a lot of stoic, expressionless soldiers with daddy issues shooting each other the whole film it becomes quite easy to tune out and grow bored. The plot treats the clone as a twist but it never comes as much of a shock, the whole dynamic between Henry and Junior isn't overly dramatic but feels like something we've seen in a lot of sci-fi action films. The initial confrontation, shock and denial before eventually teaming up isn't thrilling when you've seen the same old formula so many times and this time isn't any different from the last. The way Gemini Man is shot must be about the dullest cinematography in an action film I've seen this year; I'm pretty surprised to see an Ang Lee film so clearly lacking vision. The score for the film is barely present to help set tone and the soundtrack is pretty sparse and not very engaging.

Mary Elizabeth Winstead, who played Danny Zakarweski, is normally such a hit in any film she's in so it's a shame to see her in such a boring role;The entire movie she's present but just seems dragged along through the action. Clive Owen, who played Clay Verris, gives a really warped portrayal of a military father figure; Owen's take on building a role whose redeemable trait is fatherly love falls flat when you never really see a moment where you believe in him. Douglas Hodge, who played Jack Willis, is brought in as an old friend to Smith's Henry and the chemistry is not once present; Hodge's character feels sleazy and unclean which is a long shot away from the fast wit and noble fighters you see our protagonist with for most the feature. Linda Edmond, who played Janet Lassiter, is quite dry as one of the heads of a government intelligence branch; Edmond approaches the role of a position of power in quite a flat manner which doesn't separate her from numerous others who've failed in this type of character. Ilia Volok, who played Yuri Kovacs, doesn't really seem to take his scene seriously; Volok pulls between humour and an intense mobster seriousness and neither blends well together in his performance.

Joker

This review may contain spoilers!

To call this a 'Joker' movie is probably more than a little generous, more accurately it looks like a bunch of guys in Hollywood got really into the idea of trying to capture The Dark Knight's lightning into a bottle and fumbled it. I would give Joker a 4.5/10.

Joker is a hypothetical origin story of how one of the most famous comic book villains in history came to be. The catch? None of the writers, the director, cast or the producers really like super hero films or comic books. The film has more narrative flaws than I can really list but the one thing it does excel in is generating a setting; the backdrop of Gotham is like a boiling pot. You see a bleak landscape filled with crime and poverty, people are clamouring for a way out of the very situation they are trapped in. It feels like a place that speaks truthfully to how a lot of people see the world currently, which is a strong chord thematically. The score for the is perhaps the most resonant and important component, it is a haunting melody that is both beautiful, tragic and horrifying all at once; I think most significantly it held this strong link to transformation and represented Arthur Fleck becoming the Joker more than anything else in the film.

Zazie Beetz, who played Sophie Dumond, is a really likeable single mother who seems incredibly grounded considering she lives in Gotham; Beetz's portrayal of being in an enchanting imaginary relationship with Phoenix's Arthur and her actual terror in his presence is remarkably done. Sharon Washington, who played the Social Worker, really has an edge to the government employee facing financial strain and a patient intake that is hard to keep up; Washington makes those therapy sessions come across as tense, fearful moments in the film that heighten Arthur Fleck as a force to be reckoned with.

However, the best performance came from Robert De Niro, who played Murray Franklin. This character wasn't present for a large amount of the film but his presence was strongly felt throughout. De Niro's talk show host was a quick witted, charismatic voice of the people. This character was a master of entertainment, he knew how to be funny and how to conduct a moving show. It was very clear early on that he was a figure our protagonist aspired to be, almost yearned for in a way. Watching De Niro sharply making short work of Arthur as a comedian was satisfying and foreboding all at once, you felt like he had the capacity to be mean-spirited and hold his own when the moment counted. The scene in which Arthur and Murray meet face to face on the show is one of the best in the film, purely for how De Niro conducts the appearance and turns it into an interrogation of a guilty suspect.

Joker just doesn't seem to understand the character it is trying to evoke here; and I say evoke because there is no way I can honestly endorse this as a film that portrayed the Joker at all. Where the Joker is an unknown figure who incites chaos, Arthur Fleck bumbles into a criminal act, enjoys the power it gives him and descends into murderous violence from there. Where the Joker is an intelligent and cunning antagonist who is always one step ahead, Arthur Fleck is a cowardly person who often seems deranged for the sake of it and commits random acts of violence. Frankly the story around Arthur Fleck is boring because it doesn't take advantage of the Joker persona, instead reducing the role to little more than an angry gunman, like the many we see on the news all the time. I'm not saying the film is bad purely because they didn't read a few comic books, no I like to judge a film purely by what it brings to the table. So let's look a little closer at Arthur Fleck; this is a role who is closely associated with humour because he's always wanted to be a comedian. Yet there's very little evidence of that desire outside of one stand up gig he performs in the film. The role has a myriad of mental health issues but these aren't really examined; the way his moments of mania exhibit themselves vary according to the scene and Arthur isn't actually a consistent figure to watch. His one constant is pretty lousy, he bursts into uncontrollable laughter without any control. That's right folks, the Joker's laugh is...a medical condition. Guess they didn't think we'd buy into a guy who just laughs maniacally? The film spends the whole first act telling us repeatedly that Arthur is crazy before he goes off the edge and kills three people; the film then dawdles for a solid hour before kicking things to a close abruptly in the very fast moving final act. It's a story so easy a chimp probably wrote it. There is a subplot around the film that also attempts to link Arthur to Thomas Wayne (Batman's Dad) in a father/son capacity but it's just a boring red herring plot used to jazz the second act up a little and has no value to the story at all. The cinematography starts pretty good but there's some really lazy framing, and any director who thinks they ought to be filming that much text onscreen rather than utilising dialogue ought to re-evaluate their decisions. The editing maintained a lethargic pace and I was swiftly bored by the whole feature. 

Joaquin Phoenix, who played Arthur Fleck, never really manages to keep a consistent bead on what drives his character and how his role functions; It feels like Phoenix uses a lot of twisted body language and an emaciated physical form to pass off the role as it's clear there's not a lot in terms of character performance here. Frances Conroy, who played Penny Fleck, is such an absent role that she never really has a lot of bearing on the film; Conroy and Phoenix doing the troubled mother/son relationship is such a played out storyline that it gets boring pretty quick. Brett Cullen, who played Thomas Wayne, is quite generic as the stoic, true American businessman; his bullying persona and staunch rejection of Arthur as a son aren't interesting qualities of the film but feel like redundant detours on the way to the end.