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.