"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
Tuesday 25 September 2018
Sunday 23 September 2018
#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
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
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
Wednesday 19 September 2018
#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
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
Tuesday 18 September 2018
#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
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
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
Sunday 16 September 2018
#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
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
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
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
Tuesday 4 September 2018
#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
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
Monday 3 September 2018
#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
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
Subscribe to:
Posts (Atom)