#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