The Matrix Resurrections

 This review may contain spoilers!

 

The Matrix Resurrections is the fourth film in The Matrix series and picks up sixty years from where the third film left off. In this future we see a young crew of freedom fighters trying to discover the location of Neo and rescue him from a new Matrix that has been built by a new power amongst the machines. At the core of this film is a romantic story that I think transcends all other narrative failings. The link between Neo and Trinity is so dynamic and I think the way their love pushes back against conflict is such a valuable theme for this feature. The cinematography for the film continues to be fairly impressive, with a wide variety of shots and this continued sense of experimentation in how the Matrix is presented to the audience. The special effects are fairly good, the design of sci-fi landscapes and machine characters in particular is a strength of the film. The score for the feature is a brilliant return to the sound of the trilogy we're all familiar with up until this point; Jefferson Airplane's 'White Rabbit' being the anthem for the film is such a perfect move as well.

 

Keanu Reeves, who played Neo, is a solid return as the protagonist for the fourth time in a row; Reeves plays strongly to his role's detached connection to the illusion of the Matrix and also his yearning to reunite with Moss' Trinity. Yahya Abdul-Mateen II, who played Morpheus/Agent Smith, performs extremely creatively with quite a uniquely written character; Abdul-Mateen has a knack for taking some of the best traits previously presented by Fishburne and Weaving and making them his own. Neil Patrick Harris, who played The Analyst, is a brilliant antagonist for this film and one of the very real highlights; Harris has a lot of fun going from the straight edge therapist to the wild and arrogant computer program villain. Jada Pinkett Smith, who played Niobe, is a wonderful returning performance that has evolved spectacularly; seeing Smith deliver a more rigid leader who makes some severe calls for the sake of her people is a fitting direction for this role.

However, the best performance came from Carrie-Anne Moss, who played Trinity. Moss is as much a name you associate with the Matrix films as you would Reeves or Laurence Fishburne. This feature strongly reminds us why that is, the moment we see Reeves and Moss together again onscreen you feel the familiar spark of chemistry. Seeing Moss play to this domesticated, docile character while maintaining her steely edge is really interesting. From there we begin to see the familiar signs of Trinity as Moss plays to this sense of disillusionment from her own reality. Seeing this character struggle with a sense of what is real and what is safe is fascinating, ultimately leading to her powerful reconnection with Reeves' Neo. I loved seeing Trinity in action again, her desperately propelling Neo to safety before ultimately claiming her own power within the Matrix. The final scene in which Moss establishes dominance over the machine faction is nothing short of impressive.

The Matrix Resurrections has a first act that really lets itself down, marking it as a confused and ill-fitting addition to the franchise. The opening introduction to Bugs and the Morpheus/Smith program is quite jarring and not a very nice return to the world. Immediately we are heaped with more questions than answers and the film is very sporadic in actually providing answers that actually make sense. Then we return to Neo and it becomes abundantly clear that the director/writer for this film decided to do a twenty minute to half hour segment just for them. We get this character arc in which Neo believes himself to be a video game designer who made a game called the Matrix, published by Warner Bros. The film takes a hard time out to make a wad of self-referential jokes, meta observations about themes of previous films and put Neo on a character journey that just really does little to convince the audience the link to the past is being upheld well. This film brings back old characters but doesn't use them for any sort of deeper purpose; the Morpheus/Agent Smith program is an odd role that feels like a nicer idea on paper than in practice, while returning characters like Smith himself or Sati become very convoluted missteps. The film keeps pushing at trying to sound like it has some weighty ideas to contribute but then delivers with the subtlety of a brick to the head. There's even a scene at one point in which a crazed program garbles an odd monologue about spectacle, sequels, franchises and Mark Zuckerberg's Facebook in what feels like a fever dream moment of script writing. Seeing a returning character like Niobe is sort of hollow because you don't feel like anything was gained from the last actions of the third film, even Morpheus feels like a character cast aside insincerely. The big heist to get Trinity back is an overzealous push to be this big and showy sci-fi romp while losing all the intrigue of previous instalments. The editing for the film is quite poor in the sense the flow is constantly interrupted by flashbacks to archival footage from previous films, there is a real sense of tell not show visually throughout the feature.

Jonathan Groff, who played Smith, is about as far from Hugo Weaving's Agent Smith as one could imagine; Groff lacks the inherent menace of the character and often feels like he's delivering a parody performance. Jessica Henwick, who played Bugs, is a new protagonist introduced who just does not add anything to this series; Henwick is such a stoic figure throughout and shows a serious lack of emotional range nor ability to lead a scene. Priyanka Chopra Jonas, who played Sati, is an exposition heavy role that Jonas delivers in a very dull manner; This entire character is quite a last minute add to the mix and Jonas just doesn't connect well with the flow of the film.

A firm reminder that some film series just don't need to be 'resurrected'. I would give The Matrix Resurrections a 3.5/10.

Spider-Man: No Way Home

This review may contain spoilers!

 

 Spider-Man: No Way Home is the third Spider-Man film in the MCU and the 27th MCU feature. In this film we follow directly off the events of Spider-Man: Far From Home with Peter's identity being exposed to the world and being framed for the death of Mysterio. Now Peter must grapple with his desire to live a normal life and the adversity of being a superhero exposed to the view of the world. Things go from bad to worse when Peter seeks the aid of Doctor Strange to help solve his issues, unwittingly releasing a far greater interdimensional threat. This film really measures up what it means to be Spider-Man, basically rounding out this 'coming of age' journey Holland's Spidey has been on. Within this film Peter comes up against obstacle after obstacle, always trying to find solutions in service of his loved ones rather than himself. The film then goes further by giving Peter a challenge to redeem and save others who don't necessarily deserve his help. A lot of the feature sees him grappling with his desire to give others a second chance while the hurt this good intention places back on him. The film defines that classic saying "with great power, comes great responsibility" and shackles it firmly to Peter now and forever. This film has such a unique way of introducing the antagonists and it becomes one of the more brilliant fantastical elements I've seen in a superhero feature. The film draws heavily off films that have come before it, there are little nods to numerous films and multiple direct references that make this a phenomenal story for the fans. The ending is very poignant but ringed with optimism, it felt like the exact tone you'd hit at the end of a Spider-Man comic run. The cinematography is grand and filled with shots that feel like frames jumping out of a graphic novel. The special effects are exceptional and varied, the fight between Strange and Peter is a triumph while the designs for each villain looks great too. The score for the film is a fantastic soundscape with a number of tributes to classic scores of past Spidey films.

 

Zendaya, who played MJ, is a wonderful match for Holland's Peter Parker; she is extraordinarily stubborn and tough in the face of peril which really aids and bolsters our young hero. Benedict Cumberbatch, who played Doctor Strange, has a stern maturity that separates him well from our younger hero; I think Cumberbatch plays well to a hero who deals in absolutes which generates nice conflict in the film. Jacob Batalon, who played Ned Leeds, continues to be hysterical as Spider-Man's best friend and 'guy in the chair'; Batalon returns to that more aloof and easy-going style that worked so well for him in Spider-Man: Homecoming. Jon Favreau, who played Happy Hogan, has a very dry sense of humour that works incredibly well for his scenes; he also has this gentle protector relationship with Peter that lends itself to some key emotional scenes. Jamie Foxx, who played Max Dillon, is a very different Electro from what we saw in Amazing Spider-Man 2 and honestly that works out for the best; Foxx is a quick-witted power-hungry villain with quite selfish intentions throughout.Willem Dafoe, who played Norman Osborn, really steals the show as one of the leading antagonists for this film; Dafoe lends himself to the duality and the scenes in which he plays the Goblin are monstrous and unpredictable. Alfred Molina, who played Dr. Otto Octavius, is a really engaging antagonist with his wild personality and tendency towards explosive outbursts; Molina embodies yet another heartwarming redemption arc that works every point in its entirety. Benedict Wong, who played Wong, has a nice terse relationship with Cumberbatch's Strange that makes their scene together; it was nice seeing Wong portray the warning before the storm in this feature. Marisa Tomei, who played May Parker, is the very epitome of the film's moral compass; Tomei and Holland's last scene together is the best scene they've ever shared together in my opinion. J.K. Simmons, who played J. Jonah Jameson, is born for this role and dusts it off like he never stopped playing the part. hearing Simmons become the voice of all the adversity Peter Parker is up against makes the classic struggle between these two come to life. Thomas Haden Church, who played Flint Marko, is the classic empowered bruiser indifferent to the battles of right and wrong; Church brings forth a character who is far from an antagonist but very much a free agent just wanting to be able to live his life the way he chooses to. Andrew Garfield, who played Peter Parker, steps back into the role and is immediately as humorous and entertaining as he ever was; seeing Garfield continue to play the grief his character feels about losing Gwen so heavily is what makes him such a brilliant performer. Rhys Ifans, who played Dr. Curt Connors, is far more monstrous than he has ever been before; hearing Ifans as something so content in his bestial form makes him a far better antagonist than his initial debut. Tobey Maguire, who played Peter Parker, is a return performance that is strongly welcomed and a pleasure to watch; Maguire's wiser Spider-Man is a real mentor to Holland and lifts him through some very trying scenes.

However, the best performance came from Tom Holland, who played Peter Parker. This is a protagonist who has lead all of his films with exceptional ability but has always been eclipsed by a seasoned veteran performer often in the antagonist role. Yet I feel this film is the culmination of Holland's experience with the role, you can see just how much he has matured while playing Peter Parker. At the beginning we see a very vulnerable Parker, a young man who is grappling with feeling exposed and struggling to have a normal college future. Yet Holland still deals Parker as this overtly polite, yet awkward young man who struggles his way through his problems. As things begin to unfold and go off the rails it's really intriguing to see Parker work towards second chances for individuals who don't seem like good people. But Holland works strongly towards the values behind the feature, playing the heavy moments of grief and the more difficult moments of pushing forward without vengeance. I loved seeing Peter Parker struggle between a need for vengeance and doing the right thing by his own moral code. It's a moment that he comes up against time and time again and seeing him throw himself forward every single time makes him a brilliant onscreen hero to watch. The romantic chemistry between Holland and Zendaya is heartwarming and in a lot of ways emotionally heavy, the work these two do in this film makes me so excited for whatever sequel we're in store for next.

The film has a couple of moments where the action slows for a bit longer than really necessary, dragging out the pacing somewhat. When Peter allies himself with the antagonists for a time the pacing slows and then later when he gains some new allies the film really takes sometime out before the final confrontation.

Tony Revolori, who played Flash Thompson, is a comedic bit that has never really worked wonders in these films; Revolori is supposed to be portraying a bully to Peter Parker but you never once feel that authentically in his portrayal.

The best superhero feature of 2021 and nothing short of a love letter to over two decades of superhero media. I would give Spider-Man: No Way Home a 9/10.

 

Ghostbusters: Afterlife

This review may contain spoilers!

 

Ghostbusters: Afterlife is a far flung sequel to Ghostbusters and Ghostbusters 2, following the grandchildren of Egon Spengler as they embark on their own paranormal adventure. Trevor and Phoebe must uncover the secrets of their grandfather's past before the dark spirit, Gozer, rises again. This is a film that pays extra special attention to those moments tying it to the originals. We slowly see the Ecto-1, proton packs being used, Egon reconnecting with his daughter, classic ghost designs, Gozer, the original Ghostbusters and even an extremely tasteful return of Egon Spengler as a ghost. Each of these scenes feels like a love letter to fans of the original films and the care paid to these moments makes you really feel the wonder in chasing after ghosts. I also enjoyed how this feature really leaned into the horror element of Ghostbusters, the film wasn't afraid to include a few strong jump scares to heighten the fear factor of the antagonists. The thrill of scenes like the kids chasing their first ghost or the final confrontation with Gozer are definite engaging high points. The special effects look extremely good; I loved the designs for the Hellhounds, the mini-pufts and the paranormal vistas for the final act. The score for the feature is a wonderful link to the original films and the wonder of a new generation of Ghostbusters; the soundtrack for the film was also a nice selection of tracks that worked well for the American Midwest setting.

 

Paul Rudd, who played Grooberson, isn't the most important role to the film but is certainly a very fun aspect of it; I think Rudd has a very light presence that draws the wit out of a scene and his co-stars. Finn Wolfhard, who played Trevor, is a great leading performer and has a great sibling chemistry with Grace; Wolfhard has that indifferent teenage exterior but works very hard to find his place in the town as the film goes along. Logan Kim, who played Podcast, is a very energetic young performer who is extremely entertaining to watch; the way he quips about his character's podcast makes for an extremely fun running gag. Bill Murray, Dan Aykroyd and Ernie Hudson, who played Peter Venkman, Ray Stantz and Winston Zeddemore respectively, immediately have the same quickfire chemistry with one another that has been sorely missed; Murray's ever-present comedic delivery is a standout.

 

However, the best performance came from McKenna Grace, who played Phoebe. This is a young performer who has such incredible range across a wide variety of roles already at such an early point of her career. As Phoebe we are introduced to a young girl who doesn't socialize easily, preferring to follow her scientific pursuits and interest instead. Grace presents Phoebe as being self-conscious around others and afraid of not fitting in, despite her very blunt and forthright exterior. I loved seeing the development of the role's confidence as she connects with her grandfather's Ghostbusters past. Watching Grace be the strongest source of comedy in the film with her deadpan jokes coupled by her convincing science expert portrayal makes her the most genuine Ghostbuster onscreen. McKenna Grace is an absolute natural and leads this film with an expertise beyond her years.

Ghostbusters as a series of films has always been the world of a horror film completely guided by comedic elements and storytelling. The unfortunate issue with Ghostbusters: Afterlife is that it really flounders when it comes to being funny, a lot of the humour is a very dry or sarcastic wit that doesn't really land with the story being told. There isn't a lot of comedic powerhouses in the main cast and I think this does ultimately show in the final product. The story around the Spenglers moving out to an unfamiliar country town and having to adjust to their new surroundings makes for a very slow paced first and second act that isn't very engaging most of the time. The film struggles with introducing supporting characters; Grooberson is a fun side character but serves little purpose to the plot, while the sub-plot romance between Trevor and Lucky is very generic. The entire supernatural plot is a little poorly cobbled together, the explanation behind Gozer and Ivo Shandor isn't very well done or clear. The cinematography for the feature looks good in a couple of the action scenes but ultimately is quite basic in design, each shot is chiefly a very static wide shot or a steady special effects shot.

Carrie Coon, who played Callie, doesn't do anything especially engaging as the bitter down on her luck single Mum; Coon really struggles with the comedic elements of the film and doesn't find a lot of room for variety in her role. Celeste O'Connor, who played Lucky, is a side character who really doesn't fit nicely into the feature; O'Connor and Wolfhard have no chemistry and she is very awkwardly inserted into the group dynamic in the final act. Annie Potts, who played Janine Melnitz, is a very quiet cameo that doesn't have the same impact as the others; Potts has a quick moment of exposition and a pretty stoic delivery before shuffling out as quickly as she came.

This film has some great action and nods to the original Ghostbusters but that's about where the favourable ties to the past end. I would give Ghostbusters: Afterlife a 6/10.

 

Dune

 

This review may contain spoilers!

 

Dune is an adaptation of Frank Herbert's famed novel of the same name, a science-fiction work that has inspired many of the great extraterrestrial epics. The film follows Paul Atreides, heir to the House Atreides and gifted with the same powers wielded by the psychic Bene Gesserit. In this film Paul must navigate his place in the designs of the galaxy as the house of Atreides and Harkonnen are propelled into a civil war for the planet Arrakis. The most compelling aspect of this film is seeing the complex conflict between Atreides and Harkonnen unfold, seeing the drive for duty from our protagonists pushed against the all-consuming greed of the Harkonnens is fascinating. Beyond this watching how a distant off-screen emperor makes light political plays to push these large and powerful families into an inevitable war. I enjoyed how Arrakis was represented, a wild world to be coveted for its value while those native to the world are ravaged by an Empire it stands apart from. The themes of imperialism and contrasts to how the West has exploited nations for gold, oil and other resources is perfectly caught here. The cinematography throughout the feature is incredibly immersive and impressive in scale, the number of wide, establishing shots that take in the massive sets and visual effects are jaw-dropping. The effects themselves are unlike anything else I have seen this year, each location or vehicle or even creature feels entirely real which shows the careful care put into this feature. The score for the film is raw with power and variety, there are a number of tracks that stand out but I have to especially say I loved the use of bagpipes in a couple of key scenes.

 

Timothée Chalamet, who played Paul Atreides, does a fairly adequate job as the protagonist for the feature; Chalamet plays well to grappling with his role's sense of greater destiny versus desire to be useful and active in the present. Oscar Isaac, who played Duke Leto Atreides, is wonderful as the firmly spoken leader of House Atreides; Isaac plays a regal persona very well and I thought his sense of care for those he serves was a great character trait. Stellan Skarsgård, Dave Bautista and David Dastmalchian, who played Baron Vladimir Harkonnen, Beast Rabban Harkonnen and Piter de Vries respectively, were absolutely menacing as the central antagonists of the film; I especially loved the cold yet superior portrayal of Dastmalchian as the advisory character. Josh Brolin, who played Gurney Halleck, was very imposing as the military leader of Atreides; his stern demeanour and ferocity in the training scene made him a force to be reckoned with. Javier Bardem, who played Stilgar, is intriguing as one of the first natives of Arrakis we meet; Bardem plays an air of indifference and hostility which fits very well with the themes of colonialism his character represents. Zendaya, who played Chani, is a more aloof character who is intrigued by Paul and eager to see him fight with honour; I liked seeing the contrast of Zendaya as a vision for Paul's future versus the woman of Arrakis we actually come to meet. Charlotte Rampling, who played Reverend Mother Mohiam, is quite a fearsome figure in the film; Rampling presents a figure brimming with power who everyone seems to fear which was a fascinating force to see played out onscreen.

However, the best performance came from Jason Momoa, who played Duncan Idaho. I loved this role so much because Momoa really inhabited, he made you so utterly convinced he was living within this world. When first we meet Duncan he is this larger than life charismatic soldier for House Atreides, very self-confident and highly capable the moment he appears. There is this lively energy to him and he has some great chemistry with Chalamet that locks this pair as interesting friends. As the film goes along we get to see Momoa play the deep respect of a native people as his role comes to live among them and learn from them. We also see his full capability as a fearsome warrior who can take on multiple hostiles in an all out duel. The deep seated hurt and rage he holds at seeing the House he is so loyal to ambushed and nearly extinguished is one of the aspects that makes that scene so very moving. An incredibly performance from Momoa who is really start to express his range across his projects now.

Watching Dune is a strange thing, there is so much here from the novel that inspired a lot of the most famous stories in the science-fiction genre; the scale of this piece is flawless in its design really. But in a number of other ways there is no escaping the age of the text that this film is based off of and how played out some of the plot aspects are. I was very underwhelmed with the story of Paul Atreides and his 'destiny', purely because it is a very generic Chosen One narrative that has been played out before. The irony here of course is that Dune is one of the books that really got the wheel turning on this trope in the first place, but now in 2021 seeing a young boy who is the only son of a noble family born with special gifts fated for greatness is a story I have seen. I think there were a lot of ways the narrative could have been tended to to make this more engaging but the fact is Paul's path is paved for him before the film really begins; I never watched a scene feeling like he had to struggle for his future. Paul goes through a lot of loss, which is a hardship but he never really experiences a conflict that he can't personally win. I also felt the movie overloaded itself a bit with side plots, minor characters and world-building. All of these assets are fascinating in their own right but it did lead to scenes with heavy blocks of exposition or rushed moments where something is being talked about but there's no context. This film is marketed as the next epic akin to features like Lord of the Rings, but I felt like I was watching something similar to The Hobbit.

Rebecca Ferguson, who played Lady Jessica Atreides, is a bit scattered in her performance throughout the film; Ferguson portrays intense fear in one moment then an almost ruthless capability the next but none of these traits blend together into a fully realised character. Stephen McKinley Henderson, who played Thufir Hawat, is one advisory role too many in the Atreides ensemble; Henderson is almost entirely a font of some of the more dull exposition in the feature. Sharon Duncan-Brewster, who played Dr. Liet Kynes, is such a stoic and expressionless character that she becomes hard to relate to; this is a character who has a lot of complexity to her identity and the surface of that is barely scratched. Chang Chen, who played Dr. Wellington Yueh, is a somewhat important figure who is used very minimally; Chen is playing a figure who flips on the protagonists but he is barely onscreen for this to have the desired effect of the plot twist. Babs Olusanmokun, who played Jamis, is quite an abrupt antagonist to end the feature on; Olusanmokun has this very clipped two-dimensional aggression towards the protagonists that leads to a rushed confrontation scene that the film peters out on.

 

A cinematic paradox in a number of ways; one of the most visually impressive feats of 2021 but with a narrative that feels extremely dull and relies too heavily on a 'chosen one' storyline. I would give Dune  a 6.5/10.

Venom: Let There Be Carnage

 This review may contain spoilers!

 

Venom: Let There Be Carnage is the sequel to 2018's Venom, this time seeing our two protagonists face off against a psychopathic serial killer armed with his own symbiote. Initially in the first act we get to see a lot of the more compelling aspects around how Eddie and Venom's relationship has developed, and how they can utilise one another to solve mysteries. I thought this quite an engaging new direction for the pair to take and it laid out some groundwork for them becoming a hero. As small of a plot point that it was I also enjoyed seeing how Eddie and Venom reacted to Anne in this film, pining for her and struggling to move on made for a nice aspect of continuation from the first film. The special effects are probably the main reason to see this feature as they are definitely a step up from the first feature; the detailing on the symbiotes looks nice and they stepped up how symbiotes look fighting one another which is one of the vast improvements.

 

Woody Harrelson, who played Cletus Kasady, really proves his mettle as an actor in this film by doing some great work with such a poorly written antagonist; Harrelson feels a little wild and unpredictable and very consistent in his undying love for Harris' role. Michelle Williams, who played Anne Weying, wasn't my favourite role in the first film but really stands out as a top performer in the sequel; this time around Williams gets to have more fun in attempting to mend the relationship between Hardy's two lead characters. Peggy Lu, who played Mrs Chen, is one of the best side characters from either Venom film; Lu's terse yet caring relationship for Eddie and Venom is a nice continuation from where we last left these characters.

However, the best performance came from Tom Hardy, who played Eddie Brock and Venom. These films have always consistently been carried by a very steady performance from the leading performer. The great thing about Eddie is that he isn't a classic superhero, he carries a certain level of selfishness and indifference with him wherever he goes. Yet I like that Hardy is very sincere in those scenes in which he has to recapture his role's hard-hitting reporter side or the more emotional moments in which he is devastated by Anne moving further apart from him. At the same time Eddie is a very fun role who clashes with Venom in a way only those paired together can. Hardy doubles up by doing the voice work for Venom too and the delivery in this feature is very different for this film. Venom has a lot more presence than the last feature, berating Eddie and trying to have an even say in matters. There also some nice character moments for Venom too in which he tries to comfort Eddie and later reacts strongly when Eddie rejects him and the bond they share. It's a very fun dynamic all played out by one performer who is leading these films extremely well.

This film is ironically quite the opposite from the first Venom in that all the best aspects are in the first act and the later acts is where the feature really drops off. The pacing for this particular feature is really poor, it almost rushes towards action sequences and doesn't take time with characters and what they're thinking or feeling unless their name is Eddie Brock or Venom. In fact a number of the characters in this film would've worked better with a few more introspective scenes. I felt the weird 'break-up' Eddie and Venom go through halfway through the feature is treated more as a long running gag rather than a genuine character moment. Seeing these two curse at one another, brawl and then see Venom go out for a night on a town fails to serve the plot and is an odd series of scenes smack bang in a rushed plot. This is a film that chooses to rush at every turn so slowing up for this running joke is a strange choice. The real glaring flaw of the film however is how the antagonists of the film are written: Cletus Kasady, Carnage and Frances. The disturbed criminal kids being madly in love but forever separated is the way this film starts and it comes across as a very rushed idea. Making Cletus a lovelorn serial killer makes him neither sympathetic nor does it make him more of a compelling villain, if anything it takes away from his overall menace. We are told this is the man who ruthlessly kills with no holds barred but he never convinces us off this, he's more that Hollywood brand of 'crazy, unpredictable villain'. Cletus dances through destruction and steals cool cars and has one thing that keeps him 'human' but it's never enough to make him stand out. But when the film pushes Frances into his life again, who has powers for no reason, it becomes this poor conflict between Cletus and Carnage for control. The final act fight is such a massive moment visually but there is no motivation there beyond shallow themes of revenge. Ultimately the film doesn't have a lot of cohesion and seems to race towards the scenes it wants to show; there needed to be more time to make a cohesive whole. The cinematography set up good special effects shots but there was no consistent style, certainly not within the dialogue scenes. The score for the film is quite the generic blend of action blockbuster fare, the soundtrack has a few good moments but is torn between wanting comedy and grit. 

 

Naomie Harris, who played Frances Barrison, is such a bizarre character that the film pushes roughly into the narrative; Harris makes the choice to make a street level antagonist blended with the voice of her Calypso role from Pirates Of The Caribbean in what is one of the more inexplicable characters of the year. Reid Scott, who played Dr. Dan Lewis, did a great job in the first film but falls more squarely into the comedic new boyfriend this film; the slight rivalry between Scott and Hardy has majorly lost its appeal and they haven't attempted anything new. Stephen Graham, who played Detective Mulligan, is yet another disappointing new arrival; Graham's entire character has a very two-dimensional character motivation and only seems to be in this to push towards a role in the inevitable third film.

 

Venom wasn't a strong start but this sequel is so much worse; the script felt like it had barely gone through a couple of drafts. I would give Venom: Let There Be Carnage a 4/10.

King Richard

 This review may contain spoilers!

 

King Richard is a biopic following Richard Williams as he coaches his daughters, Venus and Serena, to tennis greatness. I think the reason this film succeeds so well is that it's a story about family, albeit an extremely unique one with a lot of heart. Watching the struggle to raise champions at the heart of the Williams' family's motivation immediately makes you think of competition and struggle, but what we see is an exceptional amount of love and humility. This family doesn't break one another in the push to succeed but the drive to get there certainly does wear a toll on these people. You see it in the personal outbursts from Richard, the hurt from Venus when she wants to start tournaments and the marital strain between Richard and Brandy. At the heart of this unique story about working towards success is the protagonist for the film, Richard Williams, an extremely eccentric and engaging character. As a coach and father this man is relentless, coaching his girls at all hours in all conditions; all the while pitching them to potential high profile coaches as part of his 'champion plan'. But while Richard is relentless in his search for coaches and his daughters' success he has a peculiar approach to supporting them; undercutting professional coaches and withdrawing his daughters from junior competitions in order to enhance their education. There is also a powerful story here around adversity in which we see the Williams family face incredible obstacles while living within the ghetto. During this period of poverty we see Richard assaulted by young thugs, his daughters harassed and Richard himself almost descend into a violent act before witnessing a brutal drive-by. It's a horrible glimpse into poverty and a very real reminder of that knife edge this family lived on before their success. I found the perspective of looking at the rise of Venus and Serena through this unique period of their lives in which they were simultaneously being raised and coached by their father and mother was the perfect way to present the Williams' story. There is a visual presentation for those tennis sequences that are just unbeatable, you feel the span of the court and both the power and pressure behind each shot. The score for the film is very poignant, reflecting on those moments of struggle and heralding the moments of triumph in the success of the family; the soundtrack has some American classics that showcase the journey this family goes on throughout the feature.

 

Aunjanue Ellis, who played Oracene 'Brandy' Williams, is an absolute powerhouse of a performer who has multiple scenes where she matches and even surpasses Smith; Ellis crafts a woman who is a rock for her children and a fierce defender of them too. Jon Bernthal, who played Rick Macci, really gives something here that I don't feel we see from him often; Bernthal presents a very charismatic individual who really struggles with having his sense of power usurped by Smith's role. Saniyya Sydney, who played Venus Williams, really plays strongly to the passion and drive of her character; Sydney's depiction of feeling like she failed her family in those final scenes is a very moving moment. Demi Singleton, who played Serena Williams, has such a lovely and likeable bond with her onscreen sister; furthermore I found how Singleton played Serena's jealousy to be subtle and well-portrayed. Tony Goldwyn, who played Paul Cohen, is quite the strict individual with a real sense of mastery that aids his portrayal of a coach; Goldwyn has some nice tension with Smith as the pair clash in small ways during the training scenes. Mikayla Lashae Bartholomew, Daniele Lawson and Layla Crawford, who played Tunde Price, Isha Price and Lyndrea Price respectively, really are crucial in establishing the family dynamic; seeing how these sisters laugh and honestly interact with one another is one of the strengths of the film.

 

However, the best performance came from Will Smith, who played Richard Williams. This is a film very much built around the perspective of this protagonist, a man who is very eccentric and unique. From the beginning Smith crafts an intrepid individual who is exceptionally determined and approaches his goals in a way that is somewhat peculiar. Richard Williams shapes his and his family's lives around his plan for creating champions out of his young daughters. Smith plays to humility in a way that feels like cowardice at times, yet there is a rage there at times that threatens to peek out. Richard Williams desires control and he is unwilling to see the roadmap he has laid out ignored. Yet overall what I think is so fascinating about this performance is that Smith still crafts a family man who seems good, he teaches the value of having fun while playing and being humble in victory. This man is a pillar in his family and he models love almost as much as he pushes for success.

Sometimes biopics can't help but reach a limit because the story isn't unique enough, either in its telling or by the nature of the narrative. Throughout King Richard we see examples of adversity, sports prodigies being pushes for success and a controlling patriarch but these elements aren't anything new. They certainly don't shape into a film that will turn an audience member's perspective inside out and upside down. This is a well told film but those expressive moments of joy and success we get by the end of the feature are something you'll sense coming from the first ten minutes. This is also a film with a very slow pace that takes its time getting to that final match, not every scene is especially necessary and there was room for cuts to be had.

One of the better sports biopics I've seen in recently years, very compelling and openly honest. I would give King Richard an 8/10.

Last Night In Soho

This review may contain spoilers!

 

Last Night In Soho follows Eloise Turner, a young fashion student who is ecstatic to be moving from her countryside town into the bustle of London. However, when Eloise becomes plagued by visions of a young woman's murder in 60s Soho she must do everything in her power to come to the bottom of the mystery. This film really does something right from the very beginning by introducing us to a protagonist like Eloise, she is a young woman brimming with energy and ambition. Her dreams for the future and excitement for the big city life are very romantic and you can't help but empathise with her immediately. Yet that cold underpinning of male harassment and bullying she is subjected to is extremely important, even more so the way she responds to it with such firm defiance. Watching Eloise's romanticism become quashed by the grim reality of living alone in a large new space is quite humbling but it sets us up well for the best part of the film. Once Eloise begins experiencing visions of Sandie and the intoxicating world of 1960s Soho a really unique duality is portrayed. As our protagonist becomes further and further enthralled in these visions we can't help but join her, which makes the tilt in which they start to become unsettling all the more tense. I really enjoyed how the feature toyed with showing the link between Eloise and Sandie, merging their lives and then shattering them apart at precise and key intervals. The cinematography throughout is nothing short of stunning, I was in awe of how grandiose every shot looks. There is an elegance about how this film is presented and also seamlessly maps out those key scenes in which we see Eloise and Sandie contrasted. The score for the film is very unsettling and peak thriller where it needs to be; but I think the soundtrack might just be one of the best I've heard in an Edgar Wright film yet.

 

Michael Ajao, who played John, is a very softly spoken charismatic individual; Ajao really plays a calm figure in a storm here and I enjoy seeing how he anchors and supports McKenzie's character. Synnove Karlsen, who played Jocasta, is in her element as the toxic dorm room bully; Karlsen plays well to those subtle shades of jealousy and knows how to really land a strong barbed piece of dialogue. Terence Stamp, who played Lindsay, is a very unnerving figure throughout this film who comes across as a bit of a sleaze; Stamp portrays a man you almost want to see as an antagonist because he really preys on our female lead in an uncomfortable way to great effect. Diana Rigg, who played Ms. Collins, is a very curt figure who is strict in the way she manages her affairs; seeing Rigg lean into the antagonist persona and embrace the resentment at having her life snatched from her by villainous men was great work with a poor script choice. Anya Taylor-Joy, who played Sandie, is an extremely confident powerhouse who knows how to command a room when we meet her; it is one of Taylor-Joy's greatest triumphs showing how affected and damaged her role is by the manipulations she is put through. Matt Smith, who played Jack, is like a coiled serpent waiting to strike when we meet him; SMith brings a level of charisma to his character but there is something hiding behind his eyes that warns us he is dangerous and only grows the further the film progresses. Sam Claflin, who plays Young Lindsay, is almost a mirror to Stamp's performance; while this role has a sense of duty and responsibility you can't but be reviled by him. 

However, the best performance came from Thomasin McKenzie, who played Eloise. McKenzie is a performer who is really on the rise right now and has had a diverse range of roles from working under Taika Waititi to M. Night Shyamalan. But out of everything I've seen from her so far there is no doubt in my mind that this is McKenzie's best work yet, made all the more deserving by the fact that she is the one leading the feature. Eloise is quite a bright, fun character when first we meet her; she literally dances into frame and enchants the audience with her dreams and aspirations for the future. I liked seeing how McKenzie's played the quiet tragedy that settles over her role at the loss of her Mum from a young age. I also think seeing how strongly and responsible Eloise reacts to male harassment is extremely important to the message of this film and how she interacts with the events moving forward. Watching McKenzie shrink at the face of her onscreen bullies is incredibly important, we see her pushed into a very low and vulnerable place. The wonder and joy she gains from her initial visions of 60s Soho is intoxicating and powerful. Every moment of terror as the feature turns to the darker side of this thriller is perfectly captured by McKenzie too. I expect only more and more from this actress as her star continues to rise.

This was shaping up to be my favourite Edgar Wright film for a significant amount of the feature, and then the final act happened. To be transparent this wasn't a perfect film for the first two acts by any means. The film really struggles to blend the supernatural thriller elements with the psychological thriller elements it is attempting to show. The supernatural aspects of this feature very rarely make sense even if they are well used in some moments of the film. We never really understand why Eloise can see her dead Mum and Sandie, the film just tells us it is so and the film carries on. It's a funny thing where a concept grows legs and runs with itself without really establishing any ground rules for why it works. In the final act the film really fumbles a lot of the narrative by making Sandie an antagonist and even having a scene in which we're meant to see the male abusers in a more sympathetic light. In a feature focused heavily on male harassment, manipulation and abuse it was a very reckless decision and undercut a lot of the key moral messages up until this point. I felt like Last Night In Soho is a phenomenal film to watch but it really needed to weigh up what was important to leave the audience with. The special effects used to make the faceless male ghosts was pretty lousy as well, I think a more creative option could definitely have been utilised.

 

Rita Tushingham, who played Peggy, gives a very generic maternal performance; the over affectionate doting grandmother is a very two-dimensional role that Tushingham fails to lend depth to.

An absolutely wonderful cast, delightful visual style and superb soundtrack that is only really let down by a poorly executed final act. I would give Last Night In Soho a 7.5/10.

 

Eternals

 This review may contain spoilers!

 

Eternals follows a race of cosmic-powered beings who work together to stop alien predators known as the Deviants from wiping out mankind. For millennia they have safeguarded humanity, but when the Eternals learn their true purpose on Earth they must decide to follow their purpose or do what is right. I found this film to be one of the more complex Marvel features in a while, the worldbuilding here is unlike anything I think they've done. I was really compelled by the idea that these Eternals serve powerful cosmic beings known as Celestials who basically function as sentient batteries for entire universes. The entire premise of this film asks if the Celestials way of sustaining life is okay and if the Eternals even have the right to oppose their masters. These are big themes around free will, the nature of man and the greater good which are told expertly and often left me pondering about the nature of our heroes plight throughout. There is a real emphasis on show not tell during the narrative, no small feat given the scope of the story. But I found this steady, progressive mode of storytelling far superior to the exposition fest blockbusters often wind up being. The Eternals aren't really your average superheroes either; they are complicated individuals with powers. The movie puts an emphasis on connection, how this powered family comes together or fractures apart; how the Eternals essentially evolve together over the years. The intensity of emotion and connection portrayed within this cast marks this an ensemble feature supremely worthy of praise. The cinematography is sublime, mastering capturing settings really well and also handling scenes with large groups of characters in a visually appealing way. The special effects are some of the best I've seen so far this year, everything looks so unique and fascinating; no small feat given there's practically a special effect in every scene. The score for the film is beautiful and speaks to the wonder depicted throughout; the soundtrack is more gentle and key to those more poignant scenes.

 

Gemma Chan, who played Sersi, is a really intriguing protagonist who does a great job of depicting someone motivated by compassion; Chan is integral to portraying the inner conflict between purpose and the right thing to do. Richard Madden, who played Ikaris, takes a while to really find the strength of his role but once he gets it you will be hooked; seeing Madden portray a figure so warped by their principles that they stand against those they love is a great performance. Angelina Jolie, who played Thena, is someone who radiates power onscreen but who gives a great juxtaposed performance to this; watching Jolie's role struggle with a mental ailment she has no power over is one of the most intriguing aspects of the film. Salma Hayek, who played Ajak, really encaptures these long years of deep-rooted wisdom; Hayek's role is a leader who loves tose she is in charge of and comes across as more of a head of a family. Kumail Nanjiani, who played Kingo, is one of the most charismatic roles in the film and extremely funny to boot; Nanjiani's role having chased fame and fortune makes him a comedic contrast to the rest of the Eternals. Brian Tyree Henry, who played Phastos, is one of the most versatile members of the cast; this is a character who can go from being very quick-witted to having one of the most emotional depictions of remorse in the film. Lauren Ridloff, who played Makkari, is suc an energetic and excitable role who is very fun to watch; I loved her sharp barbs and the connection she shared with Keoghan. Barry Keoghan, who played Druig, is one of the more complex performance in the film; the way Keoghan presents a role who isn't necessarily doing the right thing but is doing it for the right reasons while still remaining quite likeable is very well done. Ma Dong-seok, who played Gilgamesh, is very much the gentle giant of the film; Dong-seok feels like one of the strongest figures in a room but the way he talks about healing, recovery and love makes him an extremely remarkable role. David Kaye, who voiced Arishem, has brought a figure so imposing that he has changed the balance of power in the MCU; Kaye's voice work is perfect because he delivers dialogue with such eloquence and strength that you are fearful of him and in awe of him.

However, the best performance came from Harish Patel, who played Karun. I think this role is so easy to like because he is the lens for the audience, the character we all get to relate to strongly. Patel observes these mythic figures with a genuine sense of awe, he is entirely dumbfounded that he is travelling with beings who are literal demigods. Patel is also a brilliant source of comedy, landing the funniest lines without a doubt. Patel and Nanjiani really bounce off one another extremely well, they have this charisma that makes their dynamic so unique and fun to watch. Patel's final thank you speech to the Eternals is a moving moment, a small scene that really gets right to the heart of the film.

When I started watching Eternals I didn't think I was going to like it, in fact I was almost certain it would be one of my least favourite Marvel films. The first twenty minutes sees the characters acting in a very stoic or blank manner, to simulate each of them having no memories on first being deployed to Earth, this felt like a poor tactic to hook the audience in. The sudden cut to the modern day, seeing behaviours so very different by comparison is extremely jarring, there are conversations that don't have much context and it feels quite muddled. Add into all this the hints that there might be a love triangle between Sersi, Ikaris and Dane and I was about ready to really disconnect from the feature. Overall the film depicts romance quite well, but I found the dynamic between Ikaris and Sersi to be so devoid of emotion that it was hard to believe in. I also thought the way the film didn't really know what to do with the Deviants in the final act indicated that this antagonist could've been written a lot better than it was.

Kit Harington, who played Dane Whitman, feels like an awkward fit in this film; ou never reall feel the chemistry between him and Chan and it is extremely obvious he is just in the film to set up future appearances. Lia McHugh, who played Sprite, doesn't have the range to depict some of the more complex issues written for her role; McHugh's portrayal of unrequited love and frustration over how she looks younger than she is are tough themes that I don't think McHugh really managed to capture. Bill Skarsgård, who voiced Kro, is one of the more forgettable antagonists in the MCU; Skarsgård's depiction of a being who hates Eternals is quite a two-dimensional thing to watch.

Though Eternals takes a moment to get off the ground I found this to be an epic blockbuster with an impressive cast, truly Marvel's most impressive feat of late. I would give Eternals an 8.5/10.

Army Of Thieves

This review may contain spoilers!

Army Of Thieves is a prequel to Zack Snyder's Army Of The Dead, which also released this year. In this feature we look back at the life of Dieter and how he came to become the best safe-cracker possible for the zombie-infested Las Vegas caper. This film really serves itself strongly as a character piece, examining the character of Dieter and putting him through a trial of fire. Meeting Dieter, known initially as Sebastian, is a wonderful starting point; this is an outsider living a mundane life. But the thing about our protagonist is he has this passion for safe-cracking and the invention of safes. The pleasure I got from watching this film was watching as Dieter stumbled into the world of master safe-cracking, eventually getting plucked up into a gang of thieves. Seeing these robberies through the eyes of an inexperienced novice is exceedingly fun, especially as Dieter can be quite cowardly or unpredictable in conflict. However, those exquisite moments in front of the safes in which Dieter begins elegantly explaining the mythos behind each individual safe, relating these allegories back to the plot at hand, are just grand examples of good screenwriting. I was also really surprised and delighted by the score for the film; it has a very light and whimsical tone which fits well with our protagonist but contrasts some of the other moments it is set against in a pleasing way.

 

Ruby O. Fee, who played Korina, has a very dry and sarcastic wit that grows on you throughout the feature; she has a very relaxed and self-confident presence that makes her very easy to like. Guz Khan, who played Rolph, is an absolutely hilarious role with some of the best quickfire dialogue; Khan is extremely cocky and steals the scene in those lighter moments.

However, the best performance came from lead performer, Matthias Schweighöfer, who played Dieter. There is little surprise that Schweighöfer stands out in this film as he is notorious for stealing the show in Army Of The Dead. But what I really wanted to know was how well he'd manage leading the action, which he is more than capable of. In this feature we meet a Dieter who seems out of touch with the life that he lives, he really yearns for something more meaningful or thrilling. When given this opportunity he stumbles his way into it but also grabs at it with certainty, proving to be an adept safe-cracker. I love seeing Schweighöfer really unleashing the bulk of comedic dialogue while also squealing or nervously negotiating his way through the more dangerous scenes. Yet the reason I loved this performance again so very much is how gently and elegantly Schweighöfer presents his monologues in front of the safes. These detailed speeches in which he describes the individual myths behind the Wagner safes with something akin to reverence is powerful, by far my favourite aspect of this prequel.

The problem with Army Of Thieves is that it really falls apart when the feature doesn't focus on Dieter. In fact, the main storyline of cracking 3 safes in 3 days is pretty cut and dry; playing out a very generic heist storyline with classic heist characters. The film even makes a few self-referencing jokes about the heist genre, almost like it knew how closely it was sticking to the mark. To break things down a lot of tropes are utilised such as characters who fill specific roles/jobs and nothing more, a heist being discussed and then acted out as it is narrated and even the classic double cross subplot. I also think the film had a very poor way of conveying exposition, with characters always narrating their backstory in the space of a scene. The romantic subplot for the feature wasn't very well told; the relationship felt one sided, especially because most of Gwendoline's thoughts and backstory we get from the perspective of Dieter's narration. Linking with Army Of The Dead by having Dieter experiencing nightmares of zombies was a pretty loose link and it felt jarring in relation to the rest of the story. The cinematography feels quite simple for such an action-heavy feature, a lot of the framing feels like its purpose is function rather than style. The editing sets some strange transitions that don't link well to one another, the title cards for main characters as they were introduced was also an awkward link back to Army Of The Dead's style.

 

Nathalie Emmanuel, who played Gwendoline, has this very stoic and serious thief leader role that she never lends much depth to; I also found that Emmanuel really puts nothing into the onscreen relationship that develops between her and Schweighöfer. Stuart Martin, who played Brad, is probably the most stereotypical of our 'army' of thieves; Martin is the musclebound man with a gun who's entire dialogue bounces from threats to testosterone-fuelled quips. Jonathan Cohen, who played Delacroix, has to be one of the most camp antagonists the film could've asked for; Cohen's role is entirely motivated by a vendetta that one of the robbers shot him in the butt, so that paints a picture. Noémie Nakai, who played Beatrix, has her work cut out for trying to do the straight man to the inconsistent performance from Cohen; I felt Nakai had potential but floundered with an overtly serious role in a comedic setting.

This isn't the best heist film but it is a significantly better watch than Army Of The Dead. I would give Army Of Thieves a 6/10.

Ron's Gone Wrong

This review may contain spoilers!

Ron's Gone Wrong  is an animated feature detailing a world much like our own, specifically revolving around the latest technological craze: the B-Bot. The B-Bots imprint on their users and utilise an algorithm to connect with your interests, enhance your life and help you make friends compatible with you; they're the 'ultimate buddy'. However, our main protagonist Barney isn't able to afford a B-Bot and becomes an outsider; until his family gifts him a damaged B-Bot named Ron. This is a film with some direct and rather mature jokes about Apple, advertising algorithms and how poverty alienates people from trends and social acceptance. I actually really appreciated these rather insightful observations and methods of dealing humour; they rang with a sense of truth and actually felt like a family film about technology tat had some genuine reflection of reality. I also really liked the relationship steadily built up between Ron and Barney, it was a nice demonstration in what we need from others but also what others need from us in a true friendship.

 

Jack Dylan Grazer, who voiced Barney, has been doing amazingly with his leading roles the past few years; Grazer's depiction of an outsider yearning to connect with others and have a real friend is really sweet. Ed Helms, who voiced Graham, is such a gentle and relatable paternal figure; the way Helms presents Graham as a father who is struggling and lacking self-confidence but doing the best by his son is incredible. Rob Delaney, who voiced Andrew, is kind of perfect as this evil parody of Steve Jobs; I liked the brash way Delaney cut corners and breached rules for the sake of his own greed. Kylie Cantrall, who voiced Savannah, was a very charming character who went on a nice sub-plot arc; Cantrall presents Savannah as someone obsessed with image yet this slowly changes as she becomes more involved in the world immediately around her.

However, the best performance came from Zach Galifianakis, who voiced Ron. This character is so abundantly full of energy, he absorbs your focus and really dominates every scene. Galifianakis really leans into his comedic roots with the character, delivering some hysterical lines and crafting Ron to be an impulsive character. I found Ron such a wonderful role because he starts out as this entirely stupid blank slate, he's a real goofball character. But the charm of Ron is seeing how Galifianakis moulds Ron and develops this caring, friendly personality; fully fleshing him out into a three-dimensional role is stunning. This is a simply wonderful character who I think really steals the show.

There have been a real surge in buddy robot films lately that have done their stories rather well; my mind immediately went to Big Hero 6, Next Gen and The Mitchells Vs. The Machines while watching this. In a lot of ways these family friendly animated sci-fi features are a great way to talk about our evolving modern world and help children understand the relationship technology has with everyday life. So when I sat down watching Ron's Gone Wrong I found myself initially struck by the charm of seeing Barney and Ron together as friends, but the further it went I found the film losing its appeal. I'd seen this story done before (or at least elements of it), and I'd seen it done better. This film has a nice critique of how technology impacts our relationships with one another; but its ultimate message of a better way to make friends is a little ambiguous. The film really only comes alive when we see Barney and Ron interacting, a number of the side characters are linked very loosely back to Barney with no interesting examination of how they relate to one another. The final act in which our heroes break into Bubble HQ to steal Ron back feels like an entirely different film to the one I had been watching; it felt like an action sequence had been pushed in to liven things up. I really felt like this ending unravelled some of the hard work done in earlier acts. The animation wasn't very appealing, the design of the B-Bots especially struck me as incredibly simple. Both the score and soundtrack for this feature didn't stay with me, it felt like an aimless peppy series of tracks for a generic animated feature with little love behind it.

Olivia Colman, who voiced Donka, hasn't really done a performance I've disliked until now; but Colman's over the top approach to an Eastern-European accent and character is a bit much. Justice Smith, who voiced Marc, never strikes you as the big tech genius behind a multi-billion dollar company; in fact the heart on his sleeve presentation by Smith is quite two-dimensional and means he gets dwarfed by Delaney. Ricardo Hurtado, who voiced Rich, is pretty dull as the classic bully character; Hurtado's portrayal of vanity and a desire of fame don't make him very engaging as an early act antagonist.

A film with a lot of charm and a nice theme that struggles to do anything truly unique. I would give Ron's Gone Wrong a 6/10.

 

The Harder They Fall

This review may contain spoilers!

 

The Harder They Fall is a western revolving around a good-natured outlaw seeking revenge for the murder of his parents by the infamous Rufus Buck. This is the film that the Western genre has been waiting for, it pays homage to some of the classic elements that have come before it while paving the way for the future of this genre. I loved seeing the contrast between the 'good' outlaws who robbed from outlaw gangs and the ruthless Rufus Buck Gang who ran the West like a tyrant. Seeing Nate Love lead his gang and struggle between his desire to settle down or get his revenge on Buck is one of the great driving conflicts of the feature. This is a film that does not shy away from sudden random acts of violence and that only adds to the tension behind a very revenge-driven plot. I was so very impressed with the cast of characters who each felt like the legendary characters you would read about in Wild West tales. This film has some of the great plot elements of any classic Western; saloon standoffs, pistol duels, heists and train robberies. But working in tandem with these classic story elements, is a fresh means of production that really sets this apart from any Western I've seen in a long time. The cinematography is absolutely stunning, any one scene or sequence is shot with variety and intensity in mind always. But the way this film shoots dialogue is bold, with wide mid-shots that feel almost like stage theatre in nature. The editing for The Harder They Fall is impressive and part of what makes this feature so very well co-ordinated, there are also some brilliant nods to classic old school 35mm film through editing techniques. The soundtrack and score for the feature is one of the best for the year; this is a unique example of music being deployed for that intensity a Western film holds while celebrating the African-American voice behind this film and bringing a taste of the now.

 

Idris Elba, who played Rufus Buck, is a truly imposing antagonist who dominates the screen; Elba exudes menace with just a glance and commands those he leads in much the same way. Zazie Beetz, who played Stagecoach Mary, has so much chemistry with Majors in their entwined and dangerous romance; yet Beetz also constructs a tough enterprising woman who takes no nonsense and fights her own battles. Regina King, who played Trudy Smith, is a stern lieutenant to the main antagonist; King is a diehard loyalist but seems haunted by a rough and bitter past. Jonathan Majors, who played Nat Love, is an excellent protagonist and leads the film with a metric ton of charisma; Majors smooth-talking manner coupled with an intense determination to fulfil his need for revenge makes Love a fascinating watch. Edi Gathegi, who played Bill Pickett, is the dry wit of the outlaws we follow; His sarcastic comments and quiet support makes for a nice performance. Delroy Lindo, who played Bass Reeves, is hard as nails in this feature; Lindo's stoic U.S. marshall is a lawman who fiercely guards his ideals for justice. Danielle Deadwyler, who played Cuffee, has a lot of fight in her geared at ayone who wears her the wrong way; Deadwyler plays a very gender-neutral character which I found really interesting. RJ Cyler, who played Jim Beckworth, is hilarious as the wise-cracking quick draw of the outlaws; Cyler really plays up the showboating his role puts on to deadly effect. Deon Cole, who played Wiley Escoe, is a real two-faced character who talks a bigger game than he can deliver; Cole plays a tragic scorned figure exceptionally well.

However, the best performance came from LaKeith Stanfield, who played Cherokee Bill. This character was very enigmatic while also being highly charismatic and proficient. When first we meet Stanfield he effortlessly breezes through an armed hostage situation, at once soothing the crowd while dealing them honeyed threats. Yet there is something grim in Cherokee Bill, a coldness towards murder and violence that reveals just how very good he is at this act. Indeed, the way Stanfield plays disdain for killing while coldly shooting opponents in the back before they can react is staggering. Bill is a figure who is never impressed by much and he moves to Buck's side like a loyal right hand, a cold yet dependable confidant. Cherokee Bill isn't the biggest role Stanfield has ever done but it is an immediate favourite of mine.

I think some people watching this feature will find the main storyline to be somewhat predictable, the way everything plays out very rarely leaves room for surprise. This is a film that colours brilliantly within the lines, but doesn't pen too many surprising elements.

The Western genre hasn't even dreamed of being this good in decades. I would give The Harder They Fall a 9/10.

 

Night Teeth

This review may contain spoilers!

 

Night Teeth follows Benny, a young college student doing his level best to make ends meet for him and his Abuela. However, his life is shaken up when his half-brother lets him drive a company limousine for an evening and the clients turn out to be two vampires bent on a series of criminal hits. Now Benny is caught hostage between a vampire feud and his stalwart vampire-hunter half-brother. I think this film explores the idea of this very ordinary individual entering the world of the strange and supernatural rather well. Watching Benny slowly unravel the mystery behind the women he's transporting, and discovering the ancient societies that govern LA from the shadows is rather intriguing to watch. I found the cinematography to be a rather consistent feat that impressed, a very colourful blend of neo-noir and supernatural thriller captured through the lens. The soundtrack for the feature has a real indie hip hop vibe which gives a few key scenes some weight.

 

Alfie Allen, who played Victor, actually feels like a classically powerful and sinister vampire; Allen has this real menace about him that he deploys well and you can feel him manipulate the power in a scene to his favour.

 

However, the best performance came from Lucy Fry, who played Zoe. This performance was the stand out feature of the film and easily my favourite part. Fry plays this 200 year old unhinged sociopath of a vampire, who is at times noble and others violently unpredictable. The way this character begins by coyly teasing and making fun of Benny, peppering with a light verbal assault really pulls your interest. Fry does a great job of hinting at there being more under the skin, which she explosively gets to build up to revealing. I liked how fun Zoe was, her insanity and completely off the wall dialogue made her such a wild role to watch. Fry would move through a scene and look like she was having the time of her life, owning the frame. She really made you want to like Zoe without hiding any of the merciless and wanton violence that stems from this character. Lucy Fry is the reason to watch Night Teeth.

 

I got an understanding where this film would go wrong the minute that opening narration started hitting me with the world-building exposition monologue. Night Teeth (and many other vampire films) tends to suffer from a supernatural world that doesn't really feel fully realised. There is some general idea of concept but the execution is rather empty and filled with holes. This idea of greater LA being carved up by vampire clans except for one neighbourhood run by vampire hunters is really as deep as the thinking goes here. You never understand the significance of the vampires and why they've divided into these mob-like ruling families. Any time the film cut to Victor exacting his 'grand plan' I couldn't help but feel a little bored; even more so when Jay and the vampire hunters got involved. The character of Benny feels like a strange central protagonist just because his personality goes through very spontaneous changes. Early in the film he is that awkward stammering young man with a very naive view of the world, but later he is strangely the shy wannabe music producer who the undead vampire is utterly enraptured by. But the end of the film really drives the point home, Benny becomes this unwaveringly confident figure who makes sexual advances and launches into action sequences. The whole feature feels like it wants to be a power fantasy at times, which is more than a little shallow. The fact that a film like this has such a complete lack of fight scenes seems surprising, but when you see a lot of the poorly choreographed edge/back of frame fighting you begin to join the dots. The special effects share the symptoms here, watching a character heal a bullet wound in their head is rather poorly done and the disintegration of the vampire roles has been done better in TV shows.

Jorge Lendeborg Jr., who played Benny, gives a very scattered performance which is the last thing you want from a leading protagonist; Lendeborg Jr. plays different emotions for different scenes but never manages a cohesive character. Debby Ryan, who played Blaire, is very obviosl placed in this movie to be a romantic love interest and she plays up to the fact; but Ryan lacks the gravitas required to be this imposing vampire figure so it is impossible to believe the contrast the film is trying to achieve with her role. Raúl Castillo, who played Jay, is one of the least grounded roles in the film; Castillo takes the stoic vampire hunter way too seriously in a film that very rarely tries to achieve a serious tone. Marlene Forte, who played Abuela, is te rather generic parental figure for the film; Forte really plays a very two-dimensional role and has no special connection with her onscreen children. Megan Fox and Sydney Sweeney, who played Grace and Eva respectively, are big names for the posters because they are barely cameos in this; I think there is something underwhelming about having a coup overthrowing Fox and Sweeney without showing any action. Alexander Ludwig, who played Rocko, is really such a bizarre performance that helped make the final act a real fizzle; Ludwig's choice to make Rocko this half-drunken/stoned character was weird and didn't really fit with the character being one of the vampire heads.

While there is some camp fun to be had this is another vampire flick with very little substance to it. I would give Night Teeth a 4/10.

 

No Time To Die

This review may contain spoilers!

 

No Time To Die follows a Bond who has left love and MI6 behind, living alone is isolation until the CIA pulls him back into an operation against remaining Spectre forces. However, there are more nefarious figures at play here and James Bond once again becomes deeply ensnared in a mission of global espionage. I loved aspects of watching Bond really grapple with his demons here, his lifetime of paranoia pushes his allies away and sets him apart. I actually liked how Bond couldn't let things like his desire to see Blofeld dead go, he is so unshakeable here that it becomes a film almost about his hubris. I most enjoyed seeing moments that defy expectation: Safin saving Madeleine as a child, Spectre being eliminated, the CIA being infiltrated at the expense of Leiter or Valdo's triple-agent character. As always watching Bond wildly push ahead of his enemies like a one man army trying to keep those he cares about safe marks this as a classic Bond feature. The cinematography throughout shows the grand scope realised for this particular Bond outing, in particular the unique settings and immense action sequences are extremely well framed and captured. The actions sequences here are some of the best a Bond film could have to offer, toting consistently well-choreographed shoot outs, fight sequences or car chases. The score for the film embraces all the classic energy of a Bond film and places these tracks perfectly.

 

Daniel Craig, who played James Bond, has lived with this role for a long time now and performs it brilliantly; Craig has a calm reserve and a sense of charisma that has always served him well as the super spy. Rami Malek, who played Lyutsifer Safin, is one of those rare brilliant instances where a talented performer outshines a poorly written character; Malek crafts a figure who comes from a dark background and has been fundamentally altered by one moment that defied his character. Ralph Fiennes, who played M, really impresses as an M who is more servile to the needs of his government and nation; Fiennes really seems burdened in this film by the consequences of his own actions and the choice to play by the book or not. Ben Whishaw, who played Q, has always been absolutely perfect casting for this role; seeing Whishaw reluctantly get dragged back into an adventure in which he peddles technical jargon with ease is a joy to watch. Jeffrey Wright, who played Felix Leiter, brings a very worthy final outing in this feature; Wright plays to the more jaded and seasoned aspects of his character which works really well for that final scene with him and Craig. Billy Magnussen, who played Logan Ash, is quite a strong minor antagonist for the film who plays quite the slimy corrupt figure; at first Magnussen seems like a comedic naive political role which makes the twist of his true role all the better. David Dencik, who played Valdo Obruchev, is one of those unique characters that sometimes standout in a Bond film; Dencik's somewhat bumbling triple agent is quite a bit of fun to watch as he is never the most domineering figure in a room often filled with intimidating figures.

 

However, the best performance came from Ana de Armas, who played Paloma. This was an astoundingly significant pick given de Armas was only present in the film for a couple of scenes. Paloma is brilliant fun and one of those roles that works so well in a Bond film. From the moment we first meet her de Armas is disarmingly light and bubbly, very eager and not at all the stoic professional we see from other intelligence characters. She nervously chats and makes quick notes about her length of training, giving her a real rookie feeling. But as the film progresses and she efficiently cases a room and holds her own in a gunfight brilliantly, it is hard not to become just as impressed as Bond is with this surprisingly highly capable talent. I'd love to see more of Ana de Armas in future Bond films, better yet her own spinoff.

 

No Time To Die is a staggeringly good Bond film for the first third of the feature, but the rest is just okay and I find that a shame. This film spends a lot of time tying up loose ends from Spectre while really quickly constructing a two-dimensional antagonist for Bond to take out this time around. The big thing to fear this time around is a bio-mechanical virus called Project: Heracles in which the virus can target specific DNA to kill certain targets. Watching the film reveal that M is behind Heracles is such a dull twist; but more than that, the virus is a rather thinly constructed narrative weapon. Pair this virus with Safin, a bad guy who wants to poison the world to restore order or something strangely similar. This villain's only real character trait is that he chose to save Madeleine's life rather than kill her as a child, but this is never explored in a satisfying way. So as the film veers more and more towards Safin, the film fails to hold interest. Worse than this Bond's entire character arc this film is his awkward relationship with Madeleine, whom he breaks up with at the start of the film and is then forced to work with later. Watching Bond walk over egg shells for the sake of love and pretty much sacrifice his own life by the end of the film because he can no longer actively participate in the relationship is rather corny. Overall the film doesn't feel like a final satisfying moment for Daniel Craig's Bond, there is a moment of finality but it rings hollow. The opening song for this film has been the worst of all the latest Bond films, Billie Eilish significantly lacks the gravitas required for an impactful opening number.

Léa Seydoux, who played Madeleine, just has no chemistry with Craig at all and is an unfortunate result of Spectre; Seydoux plays morose very well but her moments of tension, conflict or joy show her distinct lack of range. Lashana Lynch, who played Nomi, is a role I thought I might like at first but the film woefully failed to explore the character; I swiftly grew tired of the same comedic rivalry between her and Bond culminating in a very awkward return of an iconic title. Naomie Harris, who played Moneypenny, has been strongly shunted into the background this time around; Harris has no real sense of participation in any of the important events of this film. Rory Kinnear, who played Tanner, is doing possibly less than Harris despite having equal screen time; Kinnear just peddles dialogue with Fiennes when needed but does little as a character. Christoph Waltz, who played Blofeld, is one of the worst things to have come from the Craig era of James Bond; bringing Waltz back to mumble and mutter pretty shallow dialogue did nothing but drum in how poor Spectre was. Lisa-Dorah Sonnet, who played Mathilde, isn't a strong young performer; Sonnet doesn't always display correct responses for the nature of the scenes and certainly struggles to convey convincing emotion.

No Time To Die is a step up from Spectre, but still a far cry from a strong send off for Daniel Craig's Bond. I would give No Time To Die a 6.5/10.

 

The Boss Baby: Family Business

 This review may contain spoilers!

 

The Boss Baby: Family Business is the sequel to 2017's The Boss Baby, and sees our two protagonists back for another world-saving mission on behalf of Baby Corp. Tim is now a stay at home dad with a massive inner child, struggling to connect with his more academically minded eldest daughter. Meanwhile, Ted has become a massive business tycoon, though very much a man alone from anyone else. When Tim's baby daughter reveals herself to be a member of Baby Corp on a world saving mission, she reverts her Dad and uncle back to their younger selves in order to to go undercover and stop the threat. The best aspect of this film is the relationship between Tim and Ted, watching them bond as family again and realise how much they need one another was pretty heartwarming.

 

Alec Baldwin, who voiced Boss Baby, is far more entertaining in this feature than he was in the first; Baldwin really embraces the comedic angle of the character this around which I think is where his character always thrives. Ariana Greenblatt, who voiced Tabitha, is a young performer well and truly making her mark across big Hollywood productions; I found Greenblatt's portrayal of childhood insecurity to be very heartfelt and honest. James McGrath, who voiced Wizzie, was one of the greatest things about the first feature and I was pleased to see him return; McGrath's parody of iconic wizards like Gandalf is enhanced this time by him portraying a childhood toy feeling scorned too.

However, the best performance came from Jeff Goldblum, who voiced Dr. Armstrong. This might not have been the most committed performance from Goldblum but he was clearly having a bunch of fun. This boundless fun turned into a lot of energy scene to scene, in which you get really varied and comedic line delivery. I greatly enjoyed how camp Goldblum made the big reveal that his character was in fact a super genius baby and not an adult. This was an antagonist who was exceptionally entertaining any moment he was onscreen, making him the immediate stand out role of the sequel.

 

The Boss Baby worked so well in no small part thanks to Alec Baldwin's wild performance as this strangely serious infant; yet the sequel pushes the character of the Ted into the background a bit. I can't truly imagine why a sequel would take the role everyone has come to see and reduce their screen time, it makes this an effort doomed to failure straight away. This film really doesn't know how to handle the wild antics of Baby Corp or the villainous Dr. Armstrong; making these moments as over the top and melodramatic as possible. Meanwhile, the main focus is on Tim (an adult who has reverted back to the physical age of a child)  trying to connect with his daughter. This is such a weird way to try and build a better father/daughter relationship and it certainly isn't strong enough to be the main focus of this film. In fact I found the father/daughter storyline to even get a little creepy sometimes, it was definitely a story that needed some more editing. The animation was atrocious and even the film had the gall to highlight this fact. There's a moment in the film in which Spirit: Stallion Of The Cimarron is playing in a theatre and our protagonist come crashing through the screen on the back of a pony; the contrast in quality is significantly notable and marks a real slump for Dreamworks as a studio. The score for the film is a simple adventure melody that is very forgettable, while the soundtrack is a real mixed bag of tracks for comedic effect that never really lands. 

James Marsden, who voiced Tim, continues the trend started by Tobey Maguire of this adult role really not landing well as a protagonist; Marsden just pushes things a bit too over the top and gets comfortable playing far wilder than some scenes demand. Amy Sedaris, who voiced Tina, is quite an abrupt figure from the minute she appears onscreen with no charm at all; Sedaris is meant to be the fun new mature baby role but she is pushed into the background even more than Baldwin. Eva Longoria, who voiced Carol, is quite the generic Mum character with a very two-dimensional personality focused on being the nurturing household figure; Longoria really has no strong presence in the film and is cut out of all major narrative beats practically. Jimmy Kimmel and Lisa Kudrow, who voiced Grandpa and Grandma respectively, return for the sequel and continue giving quite bland performances; the classic overly involved grandparent shtick gets played out quick and they almost seem to return to stretch out the runtime.

There's not a lot of charm here for any demographic; this is a sequel that was really rushed out the door. I would give The Boss Baby: Family Business a 2.5/10.