#211 - Final Destination 5 (2011)

"The fifth entry in what is essentially the same story just retweaked every time (other than perhaps the second), Final Destination 5 continues the latter sequels disappointing tendency to overlook actual foreboding atmospherics in favour of outlandish deaths that feels more and more dissociated from reality. 

This time the accident our characters cheat death from is a broken suspension bridge, and the film wastes no time getting us there so we can gawp at all the sliced and burnt bodies that soon litter the screen. 

Whilst the original had genuinely sinister moments built up so the personification of death felt like an actual character stalking our confused protagonists, this by the number sequel is just walking the lines of vanilla dialogue and scripting to indulge in our apparent lust for over the top cgi deaths.

 The creativity of some of these scenes are admirable, however there is no weight if we don't care, something the creators of this series seem to have forgotten since the second entry. 

The one thing elevating this film from complete mediocrity is a wonderful finale that actually resembles a good, original idea. It's fairly obvious if you pay attention, but it's still the best thing to come out of this series for four films"

- 4/10

#210 - Outlaw King (2018)

"Outlaw King follows Robert the Bruce trying to unite the clans of Scotland under one crown - his crown - to fight against the English rule and occupation of Scotland. 

As a pieces it's difficult to dissect. Certainly there are good performances (most notably the wonderfully feral Douglas) littered within more flat results, such as the titular king himself, but overall for a period piece relying so crucially on stellar acting to drive us into the world it presents there is a failure more disappointing than annoying. 

It's hard to point a finger at one particular negativer that brings everything down, more every part be it script, direction, cinematography, etc all are done to an acceptable but never brilliant level that leaves the film feeling hollow and incomplete, almost as if it were a lengthy pilot for a show never to be aired.

Perhaps the script is the weakest link in an already fragile chain; the second act feels doughy and bloated with sub plots that never really conclude satisfactorily despite the attempted efforts of all involved. 

The scenes of brutality, in particular a harrowing hanging and gutting, are sparse but effective and probably the best moments in capturing the btual essence of what was a graphically barbaric time in our history"


- 5/10

#209 - Apostle (2018)

"Apostle, thankfully, takes great time and care in developing its sinister atmosphere over cheap jump scares, which leads to a grim laden period mystery/horror which keeps you guessing as the plot is slowly revealed.

Following a man searching for his kidnapped sister in the early 1900's, he infiltrates a strange cult living and worshipping on a remote, craggy island. 

Greys and brown splash the screen at almost every moment, the dullness only accentuating the ferocious streaks of blood red when the violence begins. The decision to make the violence sparse but striking for the first two thirds of the film is a good one as the results are far more impactful - every strike and slash feels genuine and life threatening. 

The performances are good for the most part; our lead wears an eternal scowl as he prowls his way through the landscapes trying to find answers to the mystery of his kidnapped sister - the leaders of the cult are both wildly energetic and fearsome.

 Perhaps too much time was spent on developing these characters into believable villains as the ending goes from 1-10 pretty quickly, almost rushed after such a calm and collected build up, verging almost into the horror schlock it worked so hard to distance from"


- 7/10

#208 - The Ballad of Buster Scruggs (2018)

"Dipping their toes into anthology waters, the Coen brothers newest film proves once again that even in the hands of the most accomplished directors, anthology films often languish in deciding how they want to be presented - short and snappy, or longer and more gripping, in which case why not just flesh out the best into feature length?

However, despite some of the shorts being only decent to good, the better of those such as the titular ballad of buster scruggs prove once again that the Coens are masters of cinema with their deft blend of dark humour, attention to detail, and dedication to imagery. 

The Wild West is a dream location for any fans of cinematography, with the shorts ranging from mid west dust bowls, snowy peaks, and lush, verdant forestry. Sprinkled within the splendour are six versatile tales entwined around death, though not always morbid, that pull the viewer into enjoying what could have been a complete disaster in more amateur hands.

The script is on point as always, the often wonderful dialogue capturing imagination and stringing us along through the multiple stories being told - sadly all these positives is not always enough to defend what was, and probably should, have been an extended tv mini series"


- 7/10

#207 - One Cut of the Dead (2017)

"When making a zombie film in today's saturated market, one must ask is there a reason to do it beside cynical cash grabbing through the promise of gore we've seen before.

Luckily, this often absurdist and extremely funny film breathes new life into a genre so often bereft of original ideas. The film follows a low budget filmmaker tasked with creating a one take zombie short shot live, and we open with just that - a wonderful 37 minute single take that at times seems questionable in both line delivery and performance.

It is only after the 'credit's roll that the genius of the film unfolds as we follow the film within the film being short and all the strange moments slowly reveal themselves as carefully crafted and expertly planned pieces of a chess-like performance, each move made thinking several ahead to strengthen the board overall.

You cannot help but smile as the film unravels and the intent of the movie clicks, the workrate of everyone involved and their obvious love for not just the script but filmmaking as art is in abundance and it comes across as wonderfully endearing, a love letter to all aspiring film makers struck with an idea they wish to shoot into creation"

- 8/10

#206 - Widows (2018)

"Resolute and hard hitting, Steve McQueen's newest film might not be his strongest in terms of overall performance but bears all the trace mark of his keen eye for cinematic complexity.

Centred around the widows of thieves who die in a botched robbery, our protagonist attempts to enter a world she knowingly avoided to pay off a debt now put onto her.

Across the board are top tier performances from every main character down to the small bit roles (in particular a wonderful Robert Duvall), the sense of loss oozes from every frame that houses a vacant look or stare from the silent women we follow, a mixture of anger and acceptance that bubbles to violent inevitability as the story unravels.

Perhaps the most frustrating aspect is that this strong duo of performance and direction is let down by a script that is frustratingly lackluster and questionable at times. The plot often meanders and threads are wrapped up in a strangely rushed manner at times alongside developments that are more eye rolling than breathtaking.

Despite this, the film is still a gripping piece of cinema that makes you care about the characters and their outcomes, proving McQueen is one of the best modern directors working today"


- 7.5/10

#205 - Dogman (2018)

"Showcasing the internal conflict that can be instilled upon an audience through a flawed protagonist, Dogman is a darkly humourous and often sombre reflection upon small time criminal activity that can bloom into something more sinister. 

Dogman follows mild mannered and small statured Marcello, who runs a dog grooming business in an impoverished area on the outskirts of Rome. Liked by his neighbours, Marcello deals small amounts of cocaine to pay for lavish holidays for his daughter who he dotes on almost as much as his dogs.

The plot centres around one of his customers, Simone, a loutish bull of a man who terrorises the neighbourhood with bullying and violence.

 The oddball dynamic between these two makes for riveting viewing. Despite treating him like a tool to commit crime and source of unpaid drugs, Marcello constantly goes out of his way to try and impress Simone, his hunched figure, softly spoken words and doting eyes are about as plain a comparison of a loyal dog to a brutish owner you will see. 

Through concrete grays and dull lighting, the stakes raise as Marcello has to decide if he can rise above and conquer a man who shackles him to a world of regret and torment"


- 7/10

#204 - The Night Comes For Us (2018)

"While I'm often critical of films that put plot on the back burner to focus mainly on set pieces, The Night Comes For Us manages to deliver so highly through its ultra violent, wonderfully choreographed depictions of action that it can be forgiven for being more long variation of fights sprinkled with the bare bones of a plot to make you invested in what you see.

Loosely a redemption film about an ultra high ranking member of the Triads who betrays them to find his humanity again in the guise of rescuing a girl he is supposed to kill, the audience doesn't need to be bogged down too much in the detail as opposed to the viciously gory scenes of splendour that erupt on the screen without giving a minute for breath. 

The work put in for both action and the practicalities of shying away from CGI blood (mostly) makes this an admirable and at times eye boggling indulgence in reality bending human endurance as every cut and punch is laced with a ferocity normally seen only in sparse moments of even the grittiest of films.

 Satisfying for both gore and actions fanatics alike, this is a thriller in every sense of the word"

- 7.5/10

#203 - Halloween (2018)

"Retconning all but the original, Halloween wears the original on its sleeve not in petty imitation but constant admiration. 

From Carpenter doing the score to the shape being genuinely threatening again, there is much to love about this newest addition in what was a stagnant series. 

Set 40 years after the original, Laurie Strode has become a recluse and survivalist Sarah Connor style. The unmoving and ever present danger of Michael has moulded her life into a dormant cocoon waiting to break out when he inevitably escapes.

Despite being set in modern day this feels like it could be taken from the 70's in costume and setting, with only smart phones hinting at the current year. It's as if the escape of Michael triggers not only memories but life itself to be transformed back to the original.

For all it does well, the flaws stab sharp. The granddaughter in highschool subplot didn't go anywhere nor was needed, and some of the dialogue seems to have been pilfered from a stoner comedy rather than a horror film and is all rather stilted. 

Nevertheless, the menacing monstrosity that is Michael Myers reminds us why we fell in love with this franchise in the first place"


- 7/10

#202 - First Man (2018)

"Focusing more on the personal traumas unleashed on the test pilot/astronauts involved in the space race, First Man is an at times perplexing blend of dark drama and breathtaking spectacle. 

Gosling is subdued and muted as he come to terms with his daughters death by throwing himself into his work to take a man to the moon at the potent cost of his family life.

Dull eyes and monotone inflection riddle every stern sentence half mumbled, perhaps to touch on the unhealthy way of dealing with trauma, but instead comes across as distant and cold but never overcome. 

Maybe that's the point, the numerous funerals of deceased pilot friends as wives look on statue like and taut makes you wonder, as one reporter asks in the film, if it's all worth it. 

Well, the space scenes are a view to behold. Never before has it felt so visceral, claustrophobic, and dangerous; there is genuine suspense dripping from every shot outside the earth's atmosphere. 

The eerie calm of the landing is a poignant finale before the return to earth and reality, a closing shot of husband and wife staring through quarantine glass an uncomfortable reminder of the sacrifice in search of exploration"


- 6/10

#201 - Faces Places [doc] (2017)

"A warming and poignant testament to art and the joy of experiencing art, this documentary pairs the iconic filmmaker Agnes Varda and photographist JR on a roadtrip through rural France capturing the human spirit through pictures as they go. 

JR's van doubles as a photo booth printing giant pictures that are then plastered on dilapidated houses, craggy rock, silos - wherever the eye can trace, their pictures end up telling a story. 

JR, the enigmatic figure always hiding behind darkened sunglasses, and Varda are a brilliant if unlikely duo who both share a love for creation, mischief, and exploration of people. At every leg of the journey they want to know the stories behind the eyes they photograph, the lives led. 

There is a fantastical feel to the film as if slipping through a dream as we travel from place to place and meet a myriad of people from all walks of life. 

Every frame captures a still and contemplating mood that feels welcomingly detached from the hustle and stressful bustle of modern day exertion. 

In this we get the chance to sit back and marvel at the power of art and those that dedicate their lives to exploring just what that entails"

- 9/10

#200 - A Star is Born (2018)

"Another to be added to a small list of 'remakes worth being done', A Star is Born is a wonderfully gripping tales spanning through drama, tragedy, and inspiration all on the backs of two strong performances from Cooper and Gaga. 

This film lives or dies by the believably of the central relationship as it forms the backbone through which everything else hangs from. Luckily for the viewer, both Cooper and Gaga are on electrifying form in their respective roles, Cooper as the veteran singer battling his personal demons (a cliche, but expertly acted and explored) and Gaga the undiscovered talent thrown adrift in the past due to a perceived lack of 'the look' to make it. 

Their interactions are both charming and heartfelt, with the blossoming relationship and subsequent marriage never feeling forced or embarrassingly convoluted. Instead there is a raw honesty about how it is played, a truth which makes you want them to succeed and makes the spiraling plot of drink abuse even more heart breaking. 

Keeping the engine turning is Cooper's solid direction, especially as it is his directorial debut. Uncomfortable close ups of our protagonists give an almost documentary feel at time - a realism well earned"


- 7.5/10

#199 - Gangs of New York (2002)

"Dashing between excellent and flawed, Scorsese's sprawling epic flits between a gritty revenge tale and a historic period drama.

Set in the mid 1800's, focusing on the notorious gangs of the five points in New York, the film definitely looks the part. 

From every costume to building, this screams of a trained eye that has fine tuned every small detail to impeccable detail. This instills an almost unconscious sense of validity that  lends the characters that inhabit it a vibrant and grounded sense of realism - vital if we are to care for the protagonist and his journey over this almost three hour piece. 

Through Daniel Day Lewis this film evolves from respectable to masterful. His performance is hypnotic, evoking both astute awe and breathless fear, as he plays a ruthless boss running the five points after killing DiCaprio's father in a bloody and thrilling opener. 

Alas, one performance, even as astonishing as Lewis's, cannot save a film. The film meanders frequently, almost losing itself in the spider's web of a plot it threads itself. All too quickly subplots are begun and finishing, with an ending rushed that feels like 5 fragmented ideas instead of one or two completed ones"


- 7/10 

#198 - Brawl in Cell Block 99 (2017)

"Sincerity within a grindhouse style tale of  violence often falls flat or comes across corny due to the inherent over the top absurdity that is usually found in the genre, however Brawl in Cell Block 99 is an expertly blended tale that mixes brutal violence, dark comedy, and genuine emotion. 

Vince Vaughn is phoenix-like in his rise from the ashes of generic comedies to playing a menacing, foreboding protagonist that uses his huge frame to brilliant effect.

 The plot of a man down on his luck who gets involved in the drug industry to support his wife may feel steeped in cliche but its decision to play it completely straight only enhances the tension and feeling of stakes once the movie moves to its jail setting almost half way through the film. 

Like a train with broken brakes, Vaughn methodically ploughs through all obstruction to reach the man he must kill to free his kidnapped wife. The violence is strong but not overly used to fatigue - each action scene is methodically considered and only erupts on the audience when needed to evolve the story or character.

 It's brash and extreme but never needlessly sadistic, even at its gnarliest"


- 7/10 

#197 - Hardcore Henry (2015)

"More an experiment than a film, Hardcore Henry is a non-stop, frantic exercise in adrenaline fueled marvel.

 Shot completely in first person on Gopro's, the film is every FPS fans dream as the silent protagonist makes his way through a landscape of people to kill and obstacles to drive or jump over - the fact the stunts are seamless and you can never be sure just what was done real or digitally is only more impressive. 

There is a definite sense of self awareness as this is never played for reality. Characters reload guns with all the stylised, mechanical movements of a computer game, whilst others often fall into the NPC style of stiff movements that look programmed - it's a visually engrossing 90 minutes that will be too much for some but to others a spectacle you cannot look away from. 

 Sharlto Copley shines as he plays a disabled genius who controls varying hilarious avatars of himself to aid the protagonist  (including a wonderfully surreal dance number in the final act). 

Inevitably, you will know within the first ten minutes if this is for you. It's a unique, overblown destruction fest, which I am very glad got made" 


- 7/10

#196 - The Miseducation of Cameron Post (2018)

"Defiance in the face of people stating 'you are wrong' is a premise most people can relate to at some point in their life, and so this moving story about a teenager forcibly sent to a 'pray the gay away' conversion camp is one that can resonate with the audience.

The story itself mainly takes place within the camp, following our main character Cameron as she exerts a soft and indifferent rebellion against those who try to change who she is and how she views herself.

 Speaking mainly in quiet spouts of one word answers, it's refreshing to see the filmmakers avoid the cliched grand arguments and lofty defiance that could so easily have made for an emotionally manipulative tale. 

There is an earned satisfaction in a tale that comes to a head through the breakdown of another character who is shattered by the relentless dogma of 'you are sin'. 

The supporting cast are great for the most part, the two main ones feel real and developed as they form a bond of friendship united in their disgust of ignorant authority. The only weakness is the story never feels like it kick into the next gear"


- 7/10

#195 - The Predator (2018)

"The Predator should be taught in schools as an exercise of how to do almost everything wrong. The first scene is probably the best of the entire film (and you should probably leave as soon as it finishes) - a predator ship being chased tears a hole in space before crash landing on earth and rudely interrupting our main 'hero' from his job shooting people with his sniper.

 The plot crawls along scene to scene as if a different writer wrote the last and was only allowed to see the final sentence of the previous - this film is an insult to the words 'plot convenience'. 
The tonal dissonance is staggering; there is a constant, uneven kilter between supposed edgy humour and hilariously over the top gore, all in the unimpressive wonders of lackluster CGI.

Characters exist only as fodder or exposition, often forgotten and normally gratuitous. The films tackles mental awareness with the blunt tongs of cinematic ignorance, people often 'slipping' into whatever condition they are supposed to have only when it's 'funny' or required to move the story onward. 

Mind-boggling from start to finish, this is a shocker, languishing in a self-made pit of ineptitude"


- 3/10

#194 - Power of Grayskull: The Definitive History of He-Man and the Masters of the Universe [doc] (2018)

"You'd think that a cartoon series based on a line of toys may have been a cynical cash grab to continue the cycle of toy creations perpetually, however this is a fascinating and endearing insight into the history of both the toyline, the tv series, and the live action feature film. 

The documentary flits fairly quickly through the history but without ever feeling thin; it holds your interest in the mixture between the zeitgeist he-man resided in and great interviews with original designers and directors (often showing how some of the most iconic names/design came about from budget restrictions and tight schedules).

A particularly interesting snippet concerns she-ra and how the creators had to fight tooth and nail to have her appear strong and non-barbie like against the rampant misogyny at the time coming from child psychologists and executives worried it was not 'girly enough'.

Overall there is a wonderful quaintness to the proto days of he-man which evolved into the monolithic franchise it became. There is a genuine love for the product, which all those involved clearly have, that recaptures the imagination of a child gleefully playing with figures made of plastic"


- 8/10

#193 - The Children Act (2017)

"There's always a risk when adapting a McEwan novel. His particular style of descriptive creation is one that can be nigh on impossible to replicate on screen  - the Children Act is an interesting attempt.

Emma Thompson plays a dedicated high court judge, her life consumed by work at the cost of her marriage. The cliche of the working woman having to 'dial back' her career to save her personal life is a particularly ugly one that never feels required. It would all be mundane if it wasn't for the fact Thompson is a commanding master of her role - every line has been tactfully considered and delivered.

In steps the case that changes her - she rules for a 17 year old Jehovah's Witness to have a blood transfusion, saving his life. What follows is a captivating but equally baffling plot involving needy stalking, amongst other things, from the survivor. 

It doesn't particularly go anywhere and is nothing more than a blunt instrument to remind Thompson of a life she's forgotten. It's all a bit heavy handed, and despite some truly earnest scenes and brilliant acting, this could never be elevated from good to great"


- 6.5/10

#192 - The Killing of a Sacred Deer (2017)

"When it comes to marmite cinema, there are few directors more earning a love or hate reaction than Yorgos Lanthimos. After the wonderfully surreal feel of The Lobster, this film is more grounded in a reality which only leads to the psychological horror being even more terrifying and thought provoking. 

A deft blend of pitch black humour and gut punching terror, the story weaves between a seemingly picturesque family led by cardiologist Colin Farrell who are given a shocking ultimatum from the brilliant Keoghan, a teenager Farrell has been spending time with after the death of his father at the hands of Farrell on the operating table. 

The dialogue shares the same flat, robotic feel of the Lobster and is again used to great effect by Lanthimos to grow this continuous sense of unease - there is a multitude of instances where you are unsure if you should laugh or be worried. 

Similarly, the camera work shifts from spectral high verticals to slithering foot high followings; there is a chaos in every element of the technical side of this film that leads to the knot in your stomach growing and growing"


- 9/10 

#191 - The Rider (2017)

"It's been a while since I've seen a film where the director is so trusting in the audience to have the patience and appreciation of film as an artistic expression when telling a deliberately slow and brooding story. 

We follow a young rodeo rider recovering from a head injury. As he suffers from hand seizures, vomiting, and mental decline, we watch his life set against the beautiful backdrop of the South Dakota badlands. There are long, lingering shots of the scrub lands and farms in evening sunset, each blade of grass or rusted farm equipment framed like a painting. 

There is a recurrent theme of dealing with loss and working through it - whether it be physical or symbolic. The rider struggles to break away from what has been his entire life. There are achingly beautiful long shots of him training young, wild horses through mostly nonverbal actions, the emotional connection and understanding of the confused and frightened animals genuine and entrancing. 

Ultimately, the selling point here is the gentle validity the film exudes. The film uses all non actors playing fictionalised versions of themselves, and the performances are stunning considering this"


- 8.5/10

#190 - Fear and Loathing in Las Vegas (1998)

"To take a project previously touted as 'unfilmable' by the majority is in itself an impressive feat. To make it something not a complete mess - even if the subject matter is - is even better.

Whilst no masterpiece, Gilliam beautifully nightmarish hallucinations that also pass for movie scenes is a gripping film with the immovable pillar of the two leads grounding our journey through the hazy drug induced story. 

The deconstruction of the American Dream myth through rusted cars and swirling dust clouds is a little heavy-handed but ultimately doesn't distract too much from the surreal coin flip it takes on American life. 

Depp and Del Toro are both magnificent in their application of these bizarre characters deep in a heavy mud of drugs and mind bending decisions. 

The best scenes are their interactions, from the wonderful car opening that sets us up what to expect, to the chaotic and colourful hotel scenes as the sets become a flurry of broken props and wild splashes of colour - the lizard hallucination scene is a masterpiece of humour spliced with terror. 

You should stop here - bat country is a breathtaking place to behold"


- 7.5/10

#189 - Cold War (2018)

"Director Pawlikowsi's tale of a love most potent spanning over decades and countries is a breathtaking adventure into a world expertly crafted. 

Starting in 1940's Poland, the story revolves around a travelling troupe of singers and dancers unleashing their rural folktales onto a more urbane audience that lap it all up in the name of patriotic memory. Here, one young singer and a teacher fall into a love expressed mainly through what is not said, all against the stark black and white framing the film is shot in.

This is a story that has an acute focus on duality wherever it can be found. From the literal West vs East, the passionate embraces and snapping discussions of the couple, to the waltzing, floating shots of nightclubs in Paris against abrupt, snap to black edits between scenes, there is a lucid dream feel about it. 

There is no plodding exposition on why these two characters love each other, nor cliched fighting with immediate reconciliation - instead we are often left to consider numerous details of the whys and hows ourselves, which only ramps up the achingly authentic emotional depth on display"


- 9/10 

#188 - Aileen: Life and Death of a Serial Killer [doc] (2003)

"I'm sorry, Aileen" are the last words director Nick Bloomfield says to Aileen as she is taken away the day before her execution at the end of this film - and despite being convicted of murdering six people the film evokes empathy for the tragic life she led. 

Bloomfield avoids turning this into a circus-like gawping, instead focusing on the person behind the face most painted as an insane serial killer. Whilst no-one could condone the murders of multiple people, the manner of how it may have happened leads to a bubbling anger.

 Originally pleading they were in self defense when she was a prostitute, Aileen later went on record stating she did it in malice. The fact this was after she had been on death row for 14 years seemed to never bother anyone, especially those hungry for the confession. 

Later, Bloomfield records Aileen whispering it was self defense, but she is worried that it could delay the inevitable - at this point she sees death as a needed escape. 

Sad, thought provoking, and a visceral prod at people's hunger for sensationalist headlines, this documentary is well worth watching"


- 8/10

#187 - Apocalypto (2006)

"A curiously unique take on a traditional adventure chase film, Apocalypto is Gibson at his finest crafting a well immersed story that manages to make you invested in characters so different from the usual reality of the modern world. 

Set at the end of the Mayan reign, the film follows members of a peaceful jungle tribe who are brutally assaulted and captured by other Mayans who wish to use them as ritual sacrifice to keep the masses at bay. 

The slow build up showing us our protagonist's family and values as well as his interactions and camaraderie with the other males of his tribe never feels clunky or by the numbers; instead it's a fluid escalation that makes you care when they are captured - we share in the horror and awe as they are paraded through the chaotic Mayan city to a death with no meaning. 

It's intense stuff, reinforced by an excellent mix of acting, set design, editing, sound mixing, and pacing. 

The final act of the hunters becoming the hunted is a satisfying, foreshadowed crescendo that finishes with a well-earned payoff and completed character arc"


- 8/10

#186 - Cropsey [doc] (2010)

"Taking inspiration from the bogeyman folklore they were told and shared as children, this documentary follows two filmmakers delving into the disturbing case of Andre Rand, a man charged with kidnapping of children and blamed for several disappearances, although never fully charged with murder.

 The documentary attempts to trace the origin of Rand and his history in working in mental health facilities, along with how he used to live in makeshift camps in the woods and the stories that followed during the uproar of his trial.

 Numerous people involved in trying to find the missing children, ranging from police, detectives and the general public, talk from the probable to the outrageous - here are tales of homeless networks he worked with to pass children around for satanic rituals, to stories he believed the mentally ill shouldn't be alive and he was doing them a favour; some even think he was innocent, and that the real killer is still out there after framing him. 

It's sinister stuff and plays like a true horror story, perhaps the most horrific aspect being that this is grim reality. Powerfully sinister watching"

- 7/10

#185 - Kurt Cobain: Montage of Heck (2015)

"More an insight into the man than the singer, the better parts of the film work as a character study before the fame as we learn about Cobain's troubled childhood and emotional insecurities. 

The telling of the tales is done in a way that is styled beyond the talking head documentary thematic - through doodles, sketches, hand-written lyrics and animation. 

It captures an almost nightmarish quality of detachment from reality, a feeling that seems to come through as a primary motive behind much of Cobain's actions, at least from what we are told and shown. 

There is a fantastic animated segment with Cobain narrating some disturbing moments from his teen years that accumulates in an attempted suicide via train - how much is true or not is lost in an unreliable narrator, but it plays almost like a short story itself and is utterly gripping. 

The second half is mostly his relationship with Courtney Love, told mainly through home video footage. This feels more emotionally manipulative than the first half as we see the destructive aftermath of heroin addiction and ends the film on a sour note"


- 6/10

#184 - The Wolf of Wall Street (2013)

"Drowning in an ever flowing fountain of unflinching dark comedy, Scorsese unleashes a complete and total assault on the senses through this wickedly provocative and unashamedly over the top decimation of exuberant excess. 

Based on the autobiography of morally contemptuous  stock broker Jordan Belfort, this unflinching drama grabs you by the neck from the get go and keeps a firm grip for three solid hours. 

The unregulated chaos veers almost into sensory overload territory, yet under the keen veteran eye of Scorsese there is method in the madness as we follow the ever increasing antics of Belfort and his friends as the stakes and gluttony only increase as time goes by.

It's hard to make such a repugnant character a sympathetic one, but Dicaprio is wonderfully over the top and clearly reveling in the borderline absurdity of how exaggerated his performances allows. 

He is wickedly comedic and bounces off Jonah Hill fantastically - every scene is peppered with some form of visual or verbal interaction that immediately grabs you; there is never a dull interlude despite the lengthy runtime. 

Strap in for a wild ride"


- 8.5/10

#183 - Ant-man and the Wasp (2018)

"After the heavy heights of Infinity War, Marvel wisely dial up the screwball and physical comedy with this sequel that wasn't really needed but manages to be surprisingly enjoyable. 

This film has more comedic hits instead of misses with some well thought, witty scenes that zip past in a pace that juggles the comedy vessel it mainly is with the a story that will have a weight to keep people interested. 

It's a hard balancing act and the see-saw often gets grounded down one end too much. The antagonist, Ghost, has a superbly enigmatic entrance that makes you want to know who and what this is, but then the film blurts out its exposition in an astonishingly lazy and mundane way as an entire arc is squashed into a five minute monologue - even the film realises it and tries to distract with an off-the-wall ringtone interruption to try and make light of the cliched villain dialogue, but it's not fooling anyone. 

Ultimately, this is a light-hearted entry into a franchise approaching its darkest hour, and it manages its task to entertain with aplomb"


- 6/10

#182 - Los Bastardos (2008)

"It begins strongly with long, achingly slow takes showing us the day in the life of two undocumented Mexican day labourors as they struggle to find work.

The first half delves into a blend of mumblecore, slow burning scenes of stark and often deliberately drawn out banality that are more like snippets pulled randomly from a day regardless of what or what does not happen.

 This approach, if you can get past it, works well at fleshing our two protagonists into people that feel like those you could bump into on the street - there is no deliberate tugging at heartstrings for easy sympathy, nor cheap, fetishising of poor falseness.

If this had continued and the explosive finale had been ten minutes this could have been something special. Instead, like Jekyll and Hyde, the second half changes into an unorthodox home invasion - slowly you stop caring as the scenes unfurl. 

That being said, this does have one of the best crescendos I have seen in a long time. It's unfortunate the second half had to muddy the waters the first half set up"


- 5.5/10

#181 - Waltz with Bashir (2008)

"An extraordinary animated documentary, centered around horrific real world events, Waltz with Bashir flows through its narrative and revelations in a dream like state coasting from a lucid serenity to brash nightmare. 

We follow a man who fought in the IDF trying to regain his lost memories of his involvement in the invasion of Beirut and the subsequent massacres that were perpetrated on the Palestinian people in Sabra and Shatila. 

The animation is a unique blend of adobe flash and traditional animation. Hard shadows and angular, haunted faces of the war memories play out like a drug induced, sleep-derived trip. 

The majority of the film is themed around the potential of, consciously or unconsciously, forgetting memories that harbor guilt. This is hard subject matter, and one of the films strengths is its unwillingness to potentially skirt or avoid the grim reality of what occurred - there is no glamourisation or sympathy begging, simply facts that simmer to the surface as each memory is rediscovered.

 It is this unflinching look at a horrible time in world history that makes the viewing so compelling" 


- 8.5/10

 

#180 - A Ghost Story (2017)

Perfectly weighted in its exploration of heady themes such as loss, mourning, and time, A Ghost Story is an unconventional but riveting take on the supernatural.

 Most of the film we follow our main character, C, under his autopsy sheet with holes cut our for eyes as he ends up haunting the land his house stands on throughout time. 

Shot in a 4:3 aspect ratio, the screen is almost postcard like leading to lots of tight and claustrophobic shots which grows the trapped and frustrated themes explored through the ghost unable to move on. 

The scenes are often long (one scene of the wife eating a pie lasts about six minutes in one unbroken shot) but never lead to boredom, instead they entrance and soak you in the feeling of time flickering from agonised lingering to quick cuts of years gone by.

 It's hard to talk about the plot without spoilers, but, as the film progresses, the ethereal and fantastical feel only develops to the masterful ending that makes you quietly reflect on how we imprint ourselves on locations


- 9/10 

#179 - Wind River (2017)

"A carefully constructed, brooding murder mystery set in the remote wilderness of Wyoming. 

Jeremy Renner plays a hunter who discovers a murdered teenager on an Native American reservation and, after been asked to use his skills to help by a young FBI agent, tries to unravel the mystery behind the death - all set to a bleak unrelenting snow bleached landscape.

 It's a slow burner that  lets you absorb the cold and hostile environment these characters lived in. Every character who lives here is self destructing in some way, either internal or external, and the audience tries to work out who is choosing what - there's a perpetual sense of tiredness, malaise, and apathy that all who live in this frozen world deal with daily. 

As the mystery unravels and the stakes rise, the morality or lack thereof from the people we follow is understandable even if completely reprehensible.

"All they have is snow and silence" Renner states near the end of the film and that, even after a vicarious revenge is won, is also what the audience is left with"


- 8/10

#178 - Bait (2015)

"Taking the 'it's well grim up North' phrasing to a new level, this low budget horror blends wanting to tell a serious tale of humanely real terror spliced with dark humour and exploitation staples.

The story follows two women who work a dull job in a market selling coffees, hoping for that loan so they can open their own specialty cafe. After one loan refusal too many, they agree to a loan from seemingly nice guy, Jeremy. 

Thus the tumbling down the rabbit hole of despair begins as the bill keeps going up and the anguish increases. It's the smiling, dead behind the eyes portrayal of Jeremy that makes this film a lot better than initially expected. He exudes filth and unease, and the violence he beings to unleash is horrible and nauseating, taking the film a hairs fraction to needlessly sadistic.

 However, the ending in all it's enormously gory overtones is marvelous, a true mash up of 80's video nasty and release from the misery we've had unleashed on our protagonists for the rest of the film" 


- 5.5/10

#177 - Office (2015)

"A cryptic, considered thriller, the office is a Korean film that takes its time to paint a cryptic mystery we try to work out. 

The plot: A man gets home from work, murders him family with a hammer before returning to work. He never leaves. The police can't find him, his co-workers have nothing bad to say, it's a mystery.

 But behind the happy face of the company there is sinister considerations. Interns that may have seen more from him than they thought, dark implications that hint that the pressure of work may have lead to a snapping of character. 

It's all told through a slow drip of information and is painfully tense at times, even more so with flashbacks and scenes we can never be sure are happening or not. 

Indeed, it becomes almost a surreal nightmare set in a banal office and that is where this succeeds. Just who is killing and why? 

The reason are not clear, even to the end, and it leaves room for thought just like the best of films do"


- 7/10

#176 - Most Likely to Die (2016)

"A hollow shell of a 'friends reunite and get killed one by one' story, Most Likely to Die is a cliche ridden mess that becomes almost laughably awful in the first half.

 From sour exposition fumbled in the most generic of manners to inexplicable 'bonding' moments that have all the humanity of stuffed doll, it stumbles its way through a checklist of perceived necessities before arriving at the kills. 

Unfortunately we don't care for these characters,we have absolutely no reason to like them, only told we should like them through dialogue - the actions do nothing but show a callous, unfriendly group of strangers.

 The deaths themselves vary from tedious to surprisingly gruesome - one particular decapitation scene perhaps the only saving grace for gore hounds hoping for blood. 

Ultimately, there is nothing new or exciting to find here; it's an exercise in futility as the actors try and put in performances from the limp script they've been handed. Alas, this is a mess worth watching only to find a new appreciation in others of the genre"

- 3/10

#175 - The Purge (2013)

"Abrasive both in its depiction of violence and social message, The Purge is a vicious story about an annual 12 hour period where all crime is legal.

 The story follows one family holed up in their house as they try and survive the night, the problems starting when the son opens the door to a stranger being hunted down. It's a different way of dealing with the home invasion genre, and the premise that no-one may help you is a daunting one.

 The tension is decent for a standard horror fare replete with the jump scares and fetishized violence that one normally associates with this type of film. 

The framing of the destruction to explore political, racial, and class messages is so ham-fisted its like hammering a nail with a sledgehammer; every time something potentially with depth threatens to raise its head it's decapitated by a flurry of scene changes or gunshots - this is a 'message' for the easily bored audience who don't want to dwell on anything past a 'this good, that bad' lesson"

- 6/10 

#174 - Apostasy (2017)

"A thought provoking, perfectly measured telling of a story resonating in a crushingly real atmosphere. Apostasy tells the story of three women (a mother and two daughters) who are Jehovah's Witnesses that, through a series of events, must face the often painful truths that occur through the paths they walk or do not walk. 

Set to the backdrop of a forever gloomy skied northern town, there is always the feeling of a static, frozen in time silence as we follow how the religious beliefs sculpt their day to day life isolated away from non witnesses as much as they can.

 For a first time feature, the directing is strong, with complete faith put in the terrific performances of the main trio who tell so much in the slightest of movements. 

The music is almost non existent, with no cheap violins or weepy piano to elicit a cheap emotional response. This decision nails home the reality, and makes the emotional jackhammers crack the viewer even more when they happen, especially going into the final act"


- 8/10

#173 - First Reformed (2018)

"Masterfully patient in the story it tells, the director's confidence in the themes he is exploring is evident through the finely crafted cinematography and lighting which transforms what would have been a dull, uneven mess in lesser hands into a supremely gripping and absorbing experience. 

First Reformed tells the story of a priest disillusioned with his life and how one conversation he has with a parishioner leads him a path of evolution both in despair and revelation. To say any more would be spoiler territory, and this is the sort of film that deserves to be seen spoiler free, on the big screen, with an appreciative audience.

 The two main performances from Hawke and Seyfried are captivating and memorable; both feel like real people with motives based on experiences.

A looming and eerie build up of tension is almost painful for the last 30 minutes, a screen equivalent of a knot in your stomach that is twisting and twisting before the eruptive and wonderful (if you read it the way I did) finale"


- 8.5/10

#172 - Spitfire [documentary] (2018)

"Equally enthralling and reflective in lavish amounts of both, Spitfire is a perfect blend of history, story, and rumination all wrapped around the captivating machine itself. 

An endearing, joyous love letter, it never feels too over indulgent or bias, especially when considering its part in the war, instead focusing a lot of time on the veterans that flew them and the stories they made. 

Without glossing over the reasons for their existence - that of a killing machine of war - it captures the post war audience besotted with the craft and what it came to represent; that of determination, integrity, ingenuity, and bravery. These traits reveal it was the humanity that flew them that molded a tool of destruction into a symbol of hope. 

This is all without even focusing on the breathtaking aerial shots and cinematography of the spitfires flying in modern day over the haunting strikes on a piano and soft strings that accompany them. There are some wonderfully striking sequences that practically grab you from the screen, the immersion total"


- 8.5/10

#171 - Night Flier (1997)

"As with so many other Stephen King adaptations of the 90's, Night Flier has that low budget, made for TV feel that can be hard to shake off as the film progresses.

 Unlike others, however, if you enjoy a bit of shlocky horror this one actually keeps interest despite the questionable acting and bizarre editing. 

We follow a reporter of dubious morality who is investigating the Night Flier, a killer who flies a custom black plane and leave a swathe of gory destruction in his wake.

 As events turn ever creepier, our filthy reporter starts to question his own sanity and if the killer is something a bit more supernatural. It's cheese of the highest order, but the practical affects are wonderful with gaping wounds, decapitated heads and a chilling end reveal that I couldn't help but take pleasure in. 

This is never going to win any awards, but if you have to pick something from the king filmography that isn't a well known one, grab this one - it's surprisingly enjoyable"


- 6/10

#170 - Going to Pieces: The Rise and Fall of the Slasher Film [doc] (2006)

"A historic look at the lifeline of the slasher from its early days all the way through to the 90's resurgence. 

Told through clips and interviews from both directors, actors and writers, this is a love letter to the sub genre of horror with a wonderful look not just into the history and inspirations that molded the most well known of the era, but why slashers are so successful and what audiences get out of it on an emotional and psychological level. 

Both appreciative and realistic, the frank discussions of several writers talking of how their films were only picked up after proven studio successes from others also highlights the cliched idea of slashers being nothing but lowest denominator pulp. 

This is not just for hardcore genre fanatics, but anyone who enjoys film in general; the delightful mixture of waxing poetic on the thematic nature of the slasher and the more rooted history and events that formed this towering behemoth of a saturated film landscape is both fascinating and enjoyable" 


- 8/10

#169 - Leave no Trace (2018)

"Poetically beautiful, this tranquil examination of life is both enthralling and saddening The story follows Tom and her father as they live in on the land in a public park in Oregon. One day the police arrive and put them into the system, and they must decide to adapt or regress. 

Convincingly breathtaking, both the leads are utterly astounding and compelling in their performance. With a lack of convenient exposition, each display their prowess through basic movement, facial expression and interaction with each other; the confidence in the characters they portray is evident and it leads to a gripping and complete display that absorbs the viewer in complete awe. 

Through action we learn to realise the complex reasoning behind the fathers disdain towards reality, and as the story pushes forward we understand the daughter's wish to break free from the web of what she knows and to live in a community that accepts her.

It's a heartbreaking, beautifully serene film that deserves all the acclaim it will surely achieve"


- 9/10