#4 - Fyre: The Greatest Party that never happened [doc] (2019)

"A cautionary tale of how hedonistic indulgence and social media obsession can mask the nightmarish reality of inexperience"


- 7.5/10

#3 - Colette (2018)

"U-turning from whimsical saccharine to thoughtful reflection; an experience almost fully enjoyable"


- 6.5/10

#2 - The Favourite (2018)

"A lumbar puncture of humour, exuding all the chaos, confusion, and charm that yearn and desire brings"


- 8/10

#1 - Free Solo (2018) [doc]

"A dizziness forged from both literal heights and the marvel of human endurance"

- 8/10

Failure of the Project

This is a quick post to say that whilst I enjoyed the idea of my challenge set at the start of last year, the application was one that soon soured in appetite. 

The premise of an extra word per day was fun until the reviews grew to a size that felt like no restriction, instead a tired, forced expulsion of formulaic thoughts that were no longer fun to write. 

As a result I spectacularly collapsed after the first half of the year, with the latter containing only sparse updates far off my target - ending with a little over 200 entries. 

Rather than mope, I plan on continuing to post as many reviews as films I see (an attempt at daily will happen but not always occur) with only a soft restriction. The early, limited words were the most fun I had of the entire project - #2 was my favourite. So, the small restriction will be the upper limit, it will be 19 words as we're now in 2019. 

Let's see how it goes. 

Thanks to the small amount of people that read last years reviews and were supportive of the project in general.  

#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