Kraven The Hunter

 

This review may contain spoilers!

Kraven The Hunter follows Sergei Kravinoff, the estranged son of a Russian crime lord and infamous hunter of criminals. Sergei, or Kraven as he likes to be known, was left for dead after a hunting accident but a mystical medicine paired with lion blood saved his life and gave him the supernatural abilities to fight against a world of darkness. When his brother, Dmitri, is kidnapped, Kraven is reluctantly pulled back into the struggles of his father's criminal world.

This movie had one surprising strength: how unafraid it was to be a bit visceral and hardcore. The action scenes could be gory, rapid and with extreme bursts of brutality. It marked Kraven as an interesting character because the way he put himself into a conflict was unique, resulting in some really varied action sequences. There were also surprising bursts of random comedy or one-liners that took you off-guard but in a good way, the humour was a neat reprieve from everything else.

The way this film is shot is far from the most gripping action film of the year but it serves the piece well. I enjoyed how movement was captured, the focus on sweeping location sets and the way an action scene was covered made for some of the more gripping moments.

Aaron Taylor-Johnson, who played Kraven The Hunter, is somewhat practised at leading a film and did a nice job with what was available; the little moments of surprising levity really landed because of him.

However, the best performance came from Russell Crowe, who played Nikolai Kravinoff. The mark of experience and an accomplished career push Crowe leagues ahead of the rest of the cast here. This is a man with a mean streak, Nikolai can burst into violence but he also likes displays of power through strength. Crowe portrays this man as an unrelenting patriarch, a mentor who pushes his children and protects them while also breaking them down. What really impressed me about Crowe's performance here is how his role shows weakness. The way he defers to Kraven, still hoping to fold his strong son into his empire. But even the quiet moments of fear that are tougher to read, subtle moments that tell us why Nikolai has set all of this in motion. Crowe knows how to perform well, even paired with a disaster of a script such as this.

Kraven The Hunter struggles to be a cohesive action film at the best of times, at the worst of times it's trying to make some passing link to the comics that inspired it. The film starts with a decent action sequence introducing us to Kraven, it's a decent fight precursored by a couple of rubbish gags. Not too shabby, we are in with a chance. Then the film sends us hurtling through a prolonged flashback sequence that is nearly the entirety of the first act. The Kravinoff family, their whole dynamic, is strange and barely works much beyond male bravado character traits being imparted. The random hunting trip in which Kraven gets his powers, we are introduced to Rhino/Aleksei, we are introduced to Calypso and Nikolai has a full-blown meltdown is a strong signpost this film was not going to be good. Kraven's origin is a lot of nonsense that seems motivated by some strange connection he holds with wildlife that is never very well explored and a magical potion that feels poorly wedged into the script. But poorly wedged into the script might embody everything there is to say about leading lady, Calypso. Calypso who is sort of pa with a lot of African mysticism as her introduction and then is a very British lawyer several years later who also happens to have lethal archery training somehow. Kraven simpers around Calypso, killing people for her and 'for the greater good'; in fact, the pair turn into a bit of a duo very much out of nothing. Kraven awkwardly fights from place to place, going to locations but never really deepening the plot in any way until he kills the big bad, and in a very anti-climactic way, his father. The Rhino as a villain seems more of a joke to the point of parody, a crime boss who was so bullied that he took a drug that now turns him into a rhino if he wants to. The film also pads the thing out with antagonists like The Foreigner, who only confuse the plot and shouldn't ever really be inserted. The whole film pushes an unearned sequel tease between the Kravinoff brothers and undermines everything shown about the relationship between Kraven and his father, with Kraven taking a final point of advice from his father's letter. It almost feels against Kraven's nature to be wearing his iconic lion vest by the film's end.

I do not know what the budget was for Kraven The Hunter but it was clearly too small for the overly ambitious special effects. How characters moved in a scene sometimes looked unnatural paired with the environment, there were clear points of blue screen, the CGI animal designs were especially unforgivable and the final design for Rhino was quite comedic in some shots of the final fight. I also thought the score for the film was extremely unremarkable and barely present; while the soundtrack was such a hodgepodge of musical content that failed to uplift a very substandard movie.

Ariana DeBose, who played Calypso Ezili, is really hitting a string of awful roles at present; DeBose feels flat in this and doesn't seem to know how to substantiate an 'in' to this character. Fred Hechinger, who played Dmitri Kravinoff, is rather forgettable as the wilting lifeless Kravinoff brother; the lipsync performances Hechinger gives are a frightfully poor display. Alessandro Nivola, who played Aleksei Sytevich, presents his character like a Sacha Baron Cohen figure doing a dramatic lean; this absurd performance only gets worse when you see Nivola writhing and acting out his Rhino transformation scenes. Christopher Abbott, who played The Foreigner, was quite a bland antagonist; Abbott's role really had no reason to be in this and it was an error placing him in here. Levi Miller and Billy Barratt, who played Young Sergei and Young Dmitri respectively, just play up the angst of their roles a bit too much; Miller is a real case example that being a talented child actor isn't necessarily career-spanning. Diaana Babnicova and Susan Aderin, who played Young Calypso and Grandmother respectively, give the worst scene in the whole feature; Aderin's exposition delivery is so awkwardly dealt to the audience. Murat Seven, who played Ömer Ozdemir, is little more than a glorified henchman; his stoic stare and two-dimensional delivery make for a really uninteresting foe.

Embarrassingly, this is the best Sony Spider-Man spinoff film this year. I would give Kraven The Hunter a 3.5/10.

The Problem With People

 

This review may contain spoilers!

The Problem With People is about an Irish family and their Irish-American relations attempting to reunite after a decades-long feud. What at first seems like an amiable reconciliation by Ciáran and Barry soon turns into a hilarious reignition of the fabled feud.

There is a lot of this film which sits in the realm of comedy, some of it works well and some of it doesn't. However, I enjoyed how unapologetically quirky this film was, particularly when it sat with the Irish performers. The real comedic strength of the film is no one individual performance but seeing how Meaney and Reiser bounce off one another, the pair clearly get along and know how to draw a grin from their scene partner. The twist wedding at the end of this film was a hysterical curveball, with some surprisingly decent foreshadowing.

Paul Reiser. who played Barry, has a decent dry wit and gruff edge that serve the character; Reiser displays a genuine passion for this project he has crafted which shines through in the performance. Des Keogh, who played Fergus, has some of the more exposition-heavy lines and weaves them like an exquisite storyteller; Keogh is capable of both a touching performance and a hysterical one in equal measure.

However, the best performance came from Colm Meaney, who played Ciáran. This man has always been a phenomenal character actor and this film is no different. Ciáran is a very mild-mannered figure at first, someone you could easily meet on the street and share an easy conversation with. Meaney shows a great deal of care for his on-screen dying father (Keogh) and is a real community man. Yet the mean streak that comes from his envy of Barry is a point of fun and really allows Meaney to cut loose a little. Overall, it's a very fun role and for someone as versatile as Colm Meaney that works very well indeed.

This film has a pretty terrible script and that remains consistent from start to finish, the reconciliation of the family paired with another final feud before reconciliation should surprise no one. But more than that, this film really tugs on no heartstrings, Ciáran and Barry wind up being older guys who meet for the first time and fight over a will. If there's something worth falling in love with or relatable in that it seems a bit bleak. The film doesn't even do a good job of capturing Barry's sudden love for Ireland. He seems very excited about Ireland, but there's barely any good imagery to say why and he has one good time at a pub. The film tries to showcase some external relationships to these two but Barry's relationship with his daughter feels unreal and the relationship he pursues with Fiona feels uncomfortable the manner in which they present it; for that matter Ciáran and Fiona being former partners seems unlikely too. The humour throughout tends to be simplistic or slapstick when it isn't rooted in chemistry between performances; the whole thing stumbles around looking for easy laughs. Overall, the film has a simple script that feels like it was penned by an inexperienced writer trialling their first project.

The Problem With People is a decidedly ugly-looking film, which is unusual given this film has a homecoming element to it and really should be making use of Irish location shooting. The cinematography can get downright to some odd angle choices and poor shooting for entire scenes at a time. The animation for the flashback scenes really was another weak point, with poor design and barely rendered character models for the story. The score was pretty safe, using a lot of classically Irish sounds to place us in the setting but struggling to lend an extra edge to the tone of the feature.

Lucianne McEvoy, who played Fiona, is both a shoulder to lean on and a point of conflict that feels awkwardly inserted into the story; McEvoy feels unsure of her position as this sort of/sort of not love interest. Jane Levy, who played Natalya, really doesn't have the chemistry needed with Reiser to play a convincing on-screen daughter; she feels so external to the main narrative that her presence often feels unnecessary. Patrick Martins, who played Padraig, doesn't really lend much to the feature; his role is supposed to feel strongly aligned with Meaney but there's not much between them. Eimear Morrissey, who played Sargent Lizzie McGrath, is a very over the top comedic role; this bumbling cop performance is difficult to watch at times.

I really wish Paul Reiser could have been like any other celebrity and written a travel book. I would give The Problem With People a 3.5/10.

Moana 2

 

This review may contain spoilers!

Moana 2  is the direct sequel to Moana (2016) and follows Moana in her new role as Wayfinder for her people. Moana is searching the oceans for other people, other villages who could all unite to sustain one another. Yet she soon discovers the God of Chaos, Nalo is set on keeping the people of the ocean apart, and Moana will have to defy him to unite those forced apart.

The thing I was immediately reminded about when I started watching this film is how great a protagonist Moana is, she really sets a great standard for the young audiences who flock out to see these films. This character is adventurous; she barrels headfirst into danger and is excited at the prospect of where her travels may lead her. Moana is the heart of her people, they look to her and see hope at going further and becoming more. Which is a lofty expectation, but one that our lead character has often proven equal to. Watching this role unite unlikely allies in her own village, standing to the customs of her people and rising to lead when a new challenge is faced is a strong lead point in the first act. We reconnect with Moana in this beginning and see her as that young woman who inspires, with values we want to see taught. The way this film challenged our protagonist to be a lot more personal, this was a very introspective film for Moana and it resulted in her facing herself and challenges far greater than her once more. The film often got to be more creative in the strange avenues of adventure we took; the Kakamora confrontation, escaping the realm of Matangi and attempting to lift the island while navigating monster-infested waters were thrilling. There was a more varied lean into Pasifika history, culture and most significantly, mythology here that really added a layer of authenticity and immersion to the whole narrative.

I think the elements of production for this film will be under a lot of scrutiny after the absolutely stunning display of Moana. However, I really found myself hooked on the design of Moana 2 as well, it made a strong effort to take us into a world of vibrant colour. The animation style is vibrant, with action feeling very sharply caught and the variety of design between monstrous clam prisons, Nalo and his sea serpents and the beautiful island-raising scene are something to behold. I really adored how the soundtrack for this feature placed a bit more cultural sound within the composition, and more than that the film held true to pushing character-driven tracks.

Auli'i Cravalho, who voiced Moana, is a wonderful leading voice for these films; I love the strength of character Cravalho has really built up in the young Wayfinder. Hualalai Chung, who voiced Moni, is quite hysterical as the ultra-fanboy storykeeper; I especially enjoyed the exuberance and energy this performance injected into the film. Rose Matafeo, who voiced Loto, is a high-strung perfectionist boat crafter; Matafeo's erratic manner makes Loto stand out as another whirlwind of a character. David Fane, who voiced Kele, is immediately a character you know you will grow to love; it is a great journey seeing this grouchy old man become a firm part of the adventuring crew. Awhimai Fraser, who voiced Matangi, is a newcomer role that seems sinister but is a neat ally; her song 'Get Lost' is my favourite on the soundtrack. Khaleesi Lambert-Tsuda, who voiced Simea, is easily the cutest part of Moana 2; whoever decided to give Moana this precious and very tough sibling is clever indeed.

However, the best performance came from Dwayne Johnson, who voiced Maui. How much passion Johnson seems to have for this character is really surprising and heartwarming. He leans very naturally into the bravado, self-confidence and even barely checked ego of our favourite demigod. Yet, despite this character being a fun adventurer, there is a nice personal side that we get to see a lot in this sequel. Maui feels much more rounded, his initial journey with Moana has improved him as a person and he returns the lesson. Johnson really does a great job of being the voice of compassion in this, I love the scenes in which Maui lifts Moana back up. They lean on one another in a very remarkable way. The way Maui is so self-sacrificing by the end of this that he is willing to forego his demigod status to help Moana is a neat addition to his character arc.

Moana 2 slides to a halt and takes a leisurely pace at times, even when our heroes are out on their quest upon the sea. The film has long stretches where we are asked to wait for the pacing to really find itself again. This ambling to racing type of pace didn't do wonders for conveying the urgency of the quest our heroes found themselves upon. It was very clear this had been envisioned as another type of media at one point or another, the original show format feels carved out and streamlined for a one-and-done narrative. The ultimate result is a choppy pace, misguided focus on narrative elements and new sequel characters that don't have much time to develop beyond their archetypal selves.

Temuera Morrison, who voiced Chief Tui, feels like he holds a lot less to do in this film; Morrison's chief figure doesn't really sit as much of a leader in the grand scope of this film. Nicole Scherzinger, who voiced Sina, was never that important in the first film and failed to impress in the sequel; Scherzinger seems to know this with her very bland delivery. Rachel House, who voiced Gramma Tala, is really axed down for time in this one; any type of connection feels very artificially diminished between Moana and Tala in the sequel.

A faithful and exciting return to one of the best characters in modern Disney. I would give Moana 2 an 8/10.

Wicked

This review may contain spoilers!

Wicked is a film adaptation of the famous Broadway musical and, by association, the novels by Gregory Maguire. This film details the origin of Elphaba, who will come to be known as The Wicked Witch of the West, and Glinda, who will be known as the Good Witch of the South. The pair are united at Shiz University, where the promise of learning magical prowess and one day working with the fabled Wizard of Oz holds a special place in either students' heart.

I loved how this film, and indeed the greater musical, takes the well-known narrative of the Wizard of Oz and weaves a story equally as rich. Here we host a story that is still brimming with a fabled land, talking creatures and the allure of magic. However, it is also a story about being othered, of Elphaba growing up looking different and being treated as an outcast for it. She holds power, true power and yet never wields it out of an intention to harm. In fact, when she sees the talking creatures of Oz being marginalized and made to disappear, she stands against it. Elphaba is treated as an individual worth less than others due to how she looks and across the film this damage to her character is only further fuelled by more powerful characters; yet she is one of the truest points of good intention in the whole thing. Glinda (or Galinda) is a nice foil to Elphaba. Glinda comes from incredible wealth and status, filled with expectation that she will be a favourite at Shiz. However, despite her incredible popularity, she is considered not worthy of sorceress training. Glinda is quite an entitled figure and treats others as beneath her at first, including Elphaba. Yet the friendship that comes to pass between them, ignited by the immensely moving OzDust scene, is a wonderful catalyst for change. We see the good qualities Glinda starts to embody and develop through her time spent with Elphaba; things that would have defined her character as harsh instead soften and become good. Wicked takes a very colourful fantasy world and gives a good running commentary about marginalization and profiling; while also highlighting a central friendship that teaches us goodness isn't an appearance but rather something you do - it is in your actions.

Jon M. Chu really has put the work into crafting a full-blown production that honours the Broadway 'stage feel' of the material, with a heavy focus on exquisite practical sets. My favourites personally were the library at Shiz University and the train to the Emerald City. The camera glides and dances in with the leading performances and greater ensemble numbers, making the audience tumble through the music and become a part of this fantastical feature. The special effects aren't over-exaggerated, nor do they take away from the film as a whole. I loved the designs of the animals, the lion cub or Dr. Dillamond in particular, and yet it is seeing the origin of the flying monkeys that most impressed me. That scene, watching the wings sprout, was almost horrific in how arresting it was. The strength of the production really is the music, almost every number in this stands out so strongly. Though it will surprise no one that the heavy hitters really take the centre stage bow; "The Wizard and I", "Defying Gravity", "Popular", "No One Mourns the Wicked", "Loathing" and "Dancing Through Life" all completely knock it out of the park.

Ariana Grande, who played Glinda, has a real strength for comedy and leaning into the more camp qualities of Glinda; the dramatic elements felt harder but were brought out beautifully through her chemistry with Erivo. Jeff Goldblum, who played The Wonderful Wizard of Oz, is as eccentric and charming as you would hope for this showman figure; Goldblum feels intentionally a bit slippery here and plays a man caught in his own lie very well. Michelle Yeoh, who played Madame Morrible, is a stern and authoritative figure who rewards true talent; Yeoh's harsher more antagonistic element in the final act really stood out. Jonathan Bailey, who played Fiyero, is entirely charming as the princely new arrival at Shiz; I loved how truly good and noble Bailey made this prancing prince. Ethan Slater, who played Boq, is quite an aloof and light-hearted character; Slater plays the middle of his crush for Grande with his relationship with Bode very nicely. Marissa Bode, who played Nessarose, really portrays that slight distance between herself and her onscreen sister, Erivo really well; I also really believed in her strong proclamations of love for Slater's Boq. Peter Dinklage, who voiced Dr. Dillamond, is such a kindly and loveable presence; Dinklage crafts an old compassionate figure who is the subject of much injustice.

However, the best performance came from Cynthia Erivo, who played Elphaba. This is a character who has really embraced how different she is from other people and holds an indifferent sort of confidence that makes her very fun from the moment she sets foot in Shiz. Yet across the film, Erivo is so good at showing those little moments, the times where the bravado slips and hurt can be found. Her confidence is genuine but it is clear she still wishes or desires to be treated with the same respect and care as everyone else. I loved seeing the care she presents to others whether reciprocated or not, how she bonds with Fiyero or Dr. Dillamond are good examples but her relationship with her sister, Nessarose is too. All along Elphaba proves to be extremely resilient and forthright, she is a hardworking student and a consistent advocate for the talking animals who are being mistreated. I loved what Erivo brought to the OzDust scene, the hurt when she realises she isn't actually wanted and the strength shown in the dance she performs by herself anyway was powerful. I loved seeing her and Grande together, they really came to forge quite a natural chemistry across the tangent of the film. Erivo's voice is unmatched and isn't just technically good, it highlights the emotion of her character too. The hurt and betrayal we get in those last twenty minutes and the energy crafted by performing "Defying Gravity" like that made this one of the best character performances of 2024. However, I still hold that Erivo's solo of "The Wizard and I" is the defining musical number of this film.

There is a very gentle preamble in the first act, worldbuilding and explaining paired with long-winded character introductions that do make the first act quite slow in parts. I also didn't really feel like the romantic subplots that were at play were as compelling as other story arcs, they even felt a bit superficial. I wish the talking animal story arc had been explored a little more, it felt like it was given the minimum required to function for other characters and their motivations.

Andy Nyman, who played Governor Thropp, is barely a father figure to Erivo OR Bode; I just found the irritable persona Nyman brings to be very simplistic. Bowen Yang and Bronwyn James, who played Pfannee and Shenshen respectively, are entirely forgettable as Grande's entourage; there is very weak side comedy going on here that you won't remember. Keala Settle, who played Miss Coddle, is a confusing role that feels like she ought to have more presence; just an oddly antagonistic teacher presence that doesn't contribute to the overall story well.

A powerful and moving film that paves the Yellow Brick Road for the return of the iconic movie musical. I would give Wicked a 9/10.

Gladiator II

This review may contain spoilers!

 

Gladiator II is a sequel to Gladiator (2000) and picks up the story fifteen years later, with a now grown-up Lucius in Numidia. The young former Roman is pulled back harshly to his home soil after a Roman military attack and now must seek his vengeance through the gladiatorial arena.

There is something to be said for the type of spectacle Ridley Scott puts on, there is time here to take in the sprawling grandeur of Rome. But it is more than Rome; it is Numidia, the road to Rome, the poverty of the people, and the opulence of those with wealth. We are presented with a compelling setting scattered with some intriguing players who all move through this with their own driving force and function. While Lucius is pursuing his motivation with great rage, humility, and honour; there is better at work than the classic hero's journey. There is a web of intrigue to all this that I really enjoyed. Lucilla and Acacius' plot to overthrow the mad emperors, and bring back the vision of a 'good Rome' once held by Marcus Aurelius. There is this force of good working from the shadows while also something more sinister and power-hungry encroaches upon Rome. I found Denzel's performance surprisingly weak but the character of Macrinus was interesting. He manipulated his way through senators, using gladiators to curry favour and ultimately endeared himself to the emperors by betraying other characters of the film. The way this film pivots and spins through the political narrative points is entirely fascinating. 

Ridley Scott knows how to shoot a big-budget beast of a feature and Gladiator II is no exception. There are incredible grandeur angles that take in the action, dramatic scene work and historical backdrops within this film. Perhaps the greatest achievement of the feature is the score, done beautifully by Harry Gregson-Williams. The music draws on those familiar emotional beats from Gladiator while blazing its own path of epic conflict and heroism.

Connie Nielsen, who played Lucilla, absolutely brings her A-game to this role; I felt like Nielsen had never walked away from the role and only gotten stronger in her portrayal of Lucilla's bravery. Paul Mescal, who played Lucius, is a very competent leading protagonist; I simultaneously enjoyed Mescal's representation of fury and the hero arc he took Lucius on. Pedro Pascal, who played Marcus Acacius, is a more stoic and noble figure here; this is a very honour-bound role that you will come to really root for. Peter Mensah, who played Jubartha,is quite the strong leadership figure early within the film; Mensah is a wise guiding voice and shares the screen with Mescal well. Tim McInnerny, who played Thraex, is a phenomenal character role; McInnerny enjoys being the measured ally as much as he does being the uncontrollable gambler or cunning master of secrets. Alexander Karim, who played Ravi, has a very light chemistry with Mescal that bonds them well as faithful allies on-screen; Karim's measured and steady delivery allows him to be both a kindly and wise figure. Lior Raz, who played Viggo, could have come off as a dull thug but he got to lean into the role a good amount; I enjoyed seeing Raz leap between conflict with the gladiators and begrudging respect from them.

However, the best performance came from Joseph Quinn and Fred Hechinger, who played Emperor Geta and Emperor Caracalla respectively. This film demands depraved and chaotic tyranny from its sibling emperors, and what we get is perhaps the most gripping display of acting in the film. When seeing promotional material for this film I always found this pair a little odd or gaudy; but damn does it work on-screen. Quinn is a little more tempered, he holds a mean streak and is quite vindictive with his power. However, he is cunning enough to remain a few steps ahead and he has an intellect that allows him to be a threat. Hechinger, by comparison, is almost entirely insane from start to finish. His role is bloodthirsty and prone to exhilarating bursts of violence. Watching Hechinger really descend into depravity is a neat spiral that is a great escalation into the final act. This pair make a tragic and despicable brother duo and I cannot wait to see more from either of them.

I started watching this film and felt a little confused. I swore I had paid to see Gladiator II but I was almost certainly seeing Gladiator, at least elements that were so comparable it became impossible to distinguish them. The whole framework of Lucius' journey in the first two-thirds of this film isn't very different from that of Maximus. A great warrior suffers tragedy, turns righteously vengeful, and becomes a gladiator, all the gladiators wind up loving him, big Roman revolt is helmed by the man of action. It just felt like the original film had been simplified, even dumbed down and raced to completion. The entire reveal and handling of Mescal's character being Lucius all along is barely surprising and almost comes off as a soap opera. As the film heads towards the conclusion, the pacing starts to crawl and loses its stride majorly. The final battle between our protagonist and the antagonist feels poorly constructed; I found the conflict lacking and the concluding scene an anti-climax.

For a film with a relatively sizable budget, I found the special effects to be quite subpar. The film opens with a very ugly ship battle, with both the boats and the water looking like the sort of stuff that would have functioned well twenty-five years ago. Worse is this film crams an animal into nearly every arena fight, and the constant need to lean on an effect becomes tiring, particularly because the effects don't blend neatly into the scene. 

Denzel Washington, who played Macrinus, perhaps didn't take this role seriously enough or lost focus within the fun he was clearly having on set; Washington's line delivery often felt jarring and entirely separate from the presentation by the rest of the cast. Derek Jacobi, who played Gracchus, is a prolific actor shunted into a meaningless bit part; I wanted to see some meat for Jacobi to sink his teeth into but there is nothing there. Yuval Gonan, who played Arishat, is more of a plot motive than an actual character performance; Gonan is just the wife waiting in the wings to be killed which is rather two-dimensional.

If the last one was a historical epic for Ridley Scott then this one is certainly more of an enjoyable summer blockbuster. I would give Gladiator II a 6.5/10.

Red One

This review may contain spoilers!

 

 Red One follows Callum Drift, head of Santa's secret Service (E.L.F.) as he gears towards his last ride on the sleigh. However, when Santa is kidnapped on Drift's watch he heads out on a globe-spanning mission to recover the holiday hero. But Drift will have to make an unsavoury alliance with the hacker who exposed Santa's location in order to find St. Nick. Will this decorated Christmas bodyguard and level four naughty lister be able to save Christmas?

 

There is something about this movie that had me laughing far more than I thought it would; there aren't a lot of big comedy players in this and it is geared up solidly like a blockbuster. However, the strength of Red One is that it never really takes itself too seriously, even better it sort of leans into the absurdity of the story and world it is portraying. Drift's stoic serious quality in the face of mythical beings, toys that come to life and attack snowmen only make the whackier elements more humourous.

 

The visual effects across the film justify the high budget at play too; with entire landscapes, mythical creatures and shrinking Dwayne Johnson's looking inventive and placed well in a fun romp of a blockbuster. I really commend the design team at work here, the final form for Gryla is surprisingly scary and good look for the showdown with the antagonist.

 

Dwayne Johnson, who played Callum Drift, works remarkably well as the straight man to a very whacky script; Johnson has a hard edge to this special Christmas operative that made me realise he works as the comedic backbone of this film. Chris Evans, who played Jack O'Malley, feels like one of the greatest actors in this ensemble; Evans takes a very smarmy criminal and steadily teaches him the meaning of Christmas over the course of this performance. Lucy Liu, who played Zoe, quite like Johnson works so well because she plays things so serious; Liu really commands a scene and feels like the leader of a globe-spanning force. J.K. Simmons, who played Nick, is a really fun casting for this gruff and tough Santa; he simultaneously embodies the spirit of Christmas while also having a bit of a world weary streak. Kiernan Shipka, who played Gryla, commands the screen as a pretty major lead antagonist role; it's really great to see Shipka own and lead a role alongside this major cast.

 

However, the best performance came from Kristofer Hivju, who played Krampus. A heavy amount of prosthetics and Hivju disappears into one of his most memorable roles I've watched onscreen. His take on Krampus is a cruel captor, a beast built out of the need to punish the naughty children on the list. Yet despite that I loved how raucous and boisterous this character was, he felt like the head of a very bizarre party. His immediate match-off with Johnson was very tense, and you actually felt he was a pretty intimidating force against the lead. I felt Hivju really inhabited his character to draw comedic moments out quite naturally. More than that, I found the way he brought a feeling of regret and connection to his relationship with on-screen brother, Simmons, to be a nice emotional touch.

Red One is pretty funny throughout but that doesn't really disguise the fact the plot has nothing to it really. This film is a Christmas action caper, with scenes of the American Air Force escorting Santa out of their borders, strict work structures for Santa's workshop and a hacker who accidentally ruins Christmas. The whole action narrative with a high stakes kidnapping is a bit thin, and the twist being Santa is still in the North Pole all along feels like a pretty deflated end to the whole adventure. The worldbuilding is extremely over the top and nonsensical with a whole SHIELD-like organisation romping around wrangling mythical creatures and Gryla with a very two-dimensional fixation on punishing all naughty people. Tie this very thin main narrative to an E.L.F. looking to hit retirement because he's lost the joy of Christmas and it becomes a bit too corny as well. The whole fluffy Christmas narrative is smushed against a film that wants to be seen as an action-comedy blockbuster and the whole thing doesn't pair together neatly. I also really couldn't stand Jack's absentee Dad storyline, discovering the joy of fatherhood again whilst also being a high profile fugitive felt like two very different subplots once again awkwardly entangled.

The way this film is shot pivots on the effects, holding us in the confines of a massive blue-screened or Volume set. Nothing in how this thing is captured shows much room for a unique style or artisitic voice. I expected a lot more from Henry Jackman's score; what we get is the most generic Christmas sound ever paired with a film that could've used a bit of flavour or for classic tracks to at the least be used comedically. Even the soundtrack is overloaded with more Mariah Carey than anything else.

Bonnie Hunt, who played Mrs Claus, is quite a timid and light performance; Hunt often fades into the background and doesn't impact the plot much. Mary Elizabeth Ellis, who played Olivia, is a tough pick to play off Evans as his ex-partner; the pair have no screen chemistry that even speaks to a history. Wesley Kimmel, who played Dylan, is perhaps the most annoying role of the film; watching him and Evans struggle through father and son scenes together resulted in the weak point of the feature. Nick Kroll, who played Ted, leans into the safe elements of his comedy acting a bit too much; by which I mean Kroll is here to make silly faces and sillier voices.

This film can be silly fun at times and boasts a solid cast, but it can't escape Dwayne Johnson's streak of lousy blockbusters. I would give Red One a 5.5/10.

The Critic

This review may contain spoilers!

 

The Critic is a drama that follows ageing theatre drama critic, Jimmy Erskine, as his comfortable career is brought under threat when the newspaper he works at gains a new editor-in-chief. Jimmy must go to extreme measures and manipulate many others in order to secure his place, but just how far will this depraved man go to keep his place?

 

I have a real fascination with a corrupt character who entangles and snares those around him, Jimmy Erskine is a real vile creation, but he influences our cast in such a compelling way. From the start of this film Erskine is a massive presence, he holds incredible knowledge of the theatrical arts, and he understands people around him in a way that allows him to lightly tug on their threads. Working against Jimmy is the fact he is openly a bully, he can be crass and even downright plastered in inappropriate settings. He is also a barely closeted older queer man in late 1930s London, a frequent target of those who would wish harm to those perceived as outside 'the normal'. He is not the rising star of his newspaper any more, he is an old fixture that could be gotten rid of. Only Jimmy won't go for anything, he revels in luxury and high society. He cannot give up a wonderful life but won't change himself in order to do it. To watch Jimmy start weaving an intricate blackmail surrounding an affair between his boss and upcoming actress, Nina Land, is like watching the scales truly tip. Erskine manipulates Land, promising her greatness and turning her ambition into something dark. What happens as a result is an obliteration of lives, death and misery with a triumphant Jimmy staying afloat by the skin of his teeth. It but takes one betrayal for the despicable puppeteer to fall, to fester in his loneliness and conniving mind. The end should be a high point, a happy ending. But it all feels a bit futile, Jimmy has destroyed his life and many others in the blind chase of status. There are no winners in this game, only loss. 

It's quite an intimate production, but a feature that is very considered with how it looks. The cinematography holds interesting tracking wides as characters march through corridors or wind through London streets. But what I loved was how closely the camera steadily held a microscope to the face, refusing to hide a single slight crinkling of the eyes or downturn of the mouth. This film examined the characters and only held their true selves accountable to the viewer. The editing felt very steady, even moving to a more frantic pace as the narrative unravels, and we race to the climax of the story. I commend Craig Armstrong's score, it feels very refined but also has those wild, dangerous streaks that tie so neatly to the film's protagonist/antagonist.

 

Mark Strong, who played David Brooke, absolutely dominates his scenes with this quiet yet powerful presence; I loved the measure of character and good honour Strong brings to this role in sharp contrast to McKellen. Gemma Arterton, who played Nina Land, is a triumph to watch in this and gives McKellen a real run for his money; watching Arterton battle for her ambition while grappling with her morals makes this a gripping role to watch. Lesley Manville, who played Annabel Land, is a more measured performance but a really strong one; I love the way in which she quietly advocates and fights for her onscreen daughter in spite of the tragic forces against her.

However, the best performance came from Ian McKellen, who played Jimmy Erskine. The filmography and indeed, wider acting career of Ian McKellen is a stunning one. There is no denying the man is a talent, and it is gratifying to see that this talent has not lost stride in his recent years. Erskine is a foul character, a rotten bully with a tendency towards vile behaviour for selfish means. It is one of the nastiest roles I have seen McKellen play and that is kind of the wonder of it all. McKellen plays this force of corruption and twisted ambition at the centre of it all, a pillar of darkness really that the whole thing spins around. Yet while he plays the darker nature of his role so well, there is a sincerity and a defiance to the way he is noted as a societal other in this. I quite enjoyed the sneaky, unabashed and yet very vulnerable queer storyline brought to the surface. McKellen's final monologue, his letter to Tom, was a beautifully tragic and terrible thing. It made me realise I will miss this magnificent man one day, even if I will not miss Mr Erskine.

The flaw with this film is the amount in it, there are a lot of little stray stories and sub-plots that comprise the whole thing, and they don't necessarily come together well. I thought the fact there was so much romantic entanglement got a bit over the top, the character of Stephen was particularly a role I felt didn't need as much focus as he got. I feel like the film had to pad itself out in such a way because the whole movie revolved around a role that didn't go through character development, so change had to be visualised elsewhere. But this made the movie feel distracted at times and uncertain of where to plant its foot in the next scene.

Alfred Enoch, who played Tom Turner, is quite comfortable in the background for this film; Enoch feels like he should be more present but even when the camera finally turns to him more he doesn't have the charisma to take the screen. Ben Barnes, who played Stephen Wyley, is this sort of mopey romantic role that doesn't fit in very well; Barnes' whole pining lover act is a very safe and generic performance for him. Romola Garai, who played Cora Wyley, could've really worked the screen a bit with more time I feel; as it stood Garai went from this background wife figure to an over the top business mogul in a blink. Ron Cook, who played Hugh Morris, isn't an especially funny performer for one who is playing a bit of a cad; Cook also struggles to keep up with or match McKellen in their scenes together. Nikesh Patel, who played Ferdy Harwood, is a very over the top performance that is really just there to be paired against Arterton; Patel is never very convincing as a leader/director type.

 

A captivating drama that is made all the more gripping for McKellen's turn as a vile and abhorrent fiend who I could not look away from. I would give The Critic an 8/10.