"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
Tuesday, 18 September 2018
#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
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