After being tasked by a mysterious woman to track down a specific person on an evening commuter train, Michael MacCauley (Nesson) is in a race against time to unravel this conspiracy, or risk danger not just to himself, but his family as well.
Liam Neeson and low budget action movies always prove to be an enjoyable time. You pretty know what you will get, what to expect, and how the story will pan out. Neeson has already wreaked havoc on a plane in 2014’s Non-Stop, this time, his kicking ass and speaking intensely on phones (it’s a trend in his films!) on a train, in The Commuter.
The Commuter is a perfectly satisfactory feature length movie. Directed by Jaume Collet-Serra, who had also taken charge of the aforementioned, Non-Stop and The Shallows, a thrilling shark attack film. Pretty much the entire story take place on the train, and the film can be divided into two parts. The opening and middle chapters are more focused on the mystery of who he must find, tracking down various clues to help him locate the target. It’s a nice concept, and considering it’s a busy New York commute, the train is packed with a range of people, all of which could be who he must find. It’s a nice change of pace, from the action packed finale, and even has the audience constantly guessing who it may be.
In my opinion, the deduction parts of The Commuter, are its strongest moments, you do have the occasional action and fights, but they are really just there to stop it getting a bit to mellow for a Neeson movie! The finale is a lot of the typical over the top action and CGI fest that you would expect, the intensity is ramped up by a hundred, and it gets pretty messy at times. Though Neeson is still pretty adept at looking far more dangerous than most people at the age of 65, the special effects are pretty obvious. The train crash from the trailers still looks as laughably bad in the final cut!
Liam Neeson obviously holds this movie together, but Vera Farmiga as the calculating Joanna, who is pulling the strings on board, and Patrick Wilson, as Michael’s colleague, Murph. Both add a bit of shine to the film. And it’s always good to see Jonathan Banks, of Breaking Bad fame making an appearance too!
The Commuter is a straight forward movie, it’s not amazing, nor is it awfully bad. If you’re a fan of the Neeson style thrills and dangers than The Commuter won’t leave you feeling short changed. At under 2 hours, it doesn’t drag on either. If you got nothing to do, and want to catch a decent film, this is worth a watch, otherwise, just wait for it to come out on demand!
Pixar have a habit of constantly releasing critically acclaimed hits, and their latest venture, could prove to be their greatest triumph yet. It’s taken Coco a few months to arrive on these shores, but the wait has been worth it.
The Day of the Dead, is our main focus here, the Mexican holiday in which people come together to celebrate the lives of the members of their family who have passed away. Miguel, our young protagonist, yearns to be a musician, but due to a complicated family history, the art of music, in any form, has been prohibited in the family. But in his attempts to emulate his idol, Ernesto de la Cruz,, the greatest musician of his time, Miguel finds himself trapped in the Land of the Dead, seeking his hero for a way out.
Considering the theme of film is pretty morbid, the movie itself is surprisingly vivid! It is probably one of the most resplendent settings in any Pixar movie, with the festival ambiance providing a fantastic backdrop to the story. The visuals are stunning, and has some of the best animation the studio have produced.
Pixar movies are always an emotional ride, and Coco delivers. The recurring themes of death, grief and family are mentioned throughout the film. So it’s not too much of a surprise that there is a certain level of poignancy to the plot. But the final third of Coco is so well done, it should move most people to some degree! Without spoiling, it packs a punch!
The cast are thoroughly enjoyable. Hector, a charming, witty trickster who accompanies Miguel on his journey is a wonderful character, he’s just not there for comic relief though, his story arc plays out to perfection. Ernesto, our pompous superstar, is just about the right level of irritation & arrogance! Considering there are two sets of families, one alive, one passed away, there is an abundance of names and faces, not all of whom are important to the plot. But it plays a vital role in pushing through its message about family.
With it being a Disney production, the musical score will always be a crucial factor. With Coco, the soundtrack delivers a wonderful blend of music, will the effervescent flamenco/latino party rhymes, to the sombre melodies. ‘Remember Me’, the recurring track that plays throughout, not only carries a great level of poignancy, it also plays a vital role within the film.
Regarding negatives, there really isn’t much to say against it, but if you were to knit pick, the opening 1/3 is rather slow to kick on. It’s really not too clear where the movie is going with things, but the remainder of Coco is so good, you’ll let that go. Also, there really isn’t a villain in the film, it doesn’t really hurt the enjoyment, but if you like a movie with a clear antagonist, this may bug you a bit.
That being said, these are very minor flaws in what is already one of the candidate for film of the year! A sure winner for the Oscar for best animation!
See our spoiler-free review if you have not seen this film!!
(Though if you haven’t seen it by now, come on, what are you doing?)
Be sure to comment any points I may have left out.
So it is the long awaited arrival of the second installment of the new Star Wars Trilogy. There has been a large amount of hype for The Last Jedi and unfortunately for me I allowed myself to be dragged into the chaotic chorus of high expectations. After a nostalgic and interesting setup in The Force Awakens, an unrelated yet enjoyable Rogue One, and a tasty exhilarating trailer (with Porg goodness) I think we can all agree we were expecting good things. I, however, was less than fulfilled and found myself severely disappointed and close to anger on leaving the cinema. Probably not helped by the fact that my friends and I had been to the double-bill feature and had left the cinema at 3am after being there since 9pm!
Before I get into a laboured account of the negatives let’s start with something positive…
THE PORGS
A Porg stows away on the Millennium Falcon
Yes they may be unnecessary and not at all relevant but it was an inventive solution to a problem and a creative reflection of the true location. Ahch-To, aka Skellig Michael, is just off the Southern Coast of Ireland and was the perfect location for the remote Jedi monasteries, what with the abandoned monasteries already present on the Island that were once home to Christian monks some 700-800 years ago.
Also present on the Island at certain times of year were PUFFINS! As the Island is a nature reserve, it would be wrong to remove the vast number of birds (not to mention logistically incredibly difficult), and to digitally erase the native birds would be hugely time consuming; so it was decided that they would have to roll with it and create a new indigenous species. Just like on the island, these birds get EVERYWHERE in the film (but thankfully not to an annoyingly obnoxious level) and even have an actually funny interaction with Chewbacca when he tries to eat one of them.
REY AND KYLO
This storyline was genuinely intriguing as you have a bridge between two characters who are still unsure of their paths and roles in the upcoming story (aren’t we all).
Friends or Foes?
Each is trying to win the other to their side, while being slightly confused as to whether they are light or dark themselves. A mind bridge is created between the two characters by Supreme Leader Snoke, an ingenious plot to lead Rey to them and turn her to the dark side. Rey falls for this and seeks Kylo out as she still sees good in him. This plan back fires on Snoke, resulting in his death and an impressive fight scene between Kylo and Rey, and the Praetorian Guards. I personally enjoyed this fight, the style being a favourite of mine, mainly because of the way Rey and Kylo interact and fight alongside one another against the guards (however tentative the link between the two and how little they know of each other’s fighting style). Ultimately, they go their separate ways and leave the arc open to perhaps continue in Episode IX…
YODA
I liked it! Some people said he looked weird but I was glad to see him, being my favourite Star Wars character. Not only that, he is still schooling Luke even after being “dead” for decades and pushes him past this nihilistic stage of his life. Still the most subtle and natural laughs in the film and humbly awesome.
Forever the Master
Well that’s me being nice…moving on!
SUPERMAN/MARY POPPINS/LEIA ORGANA
Right, I get she is force sensitive and there may be precedent for this scene in other obscure pieces of lore, games or series. But COME ON? Really? Also, I get this was filmed before she passed away (RIP, love and respect) but I really thought this was going to be it for Leia in the film. And it could have been so beautiful! I could feel myself tearing up as she gracefully floated through space in a dignified end to a powerful and forever rebellious character. But then she reached out her hand and force pulled herself back?!!? To a door that was not an airlock!! Which did not seem to bother anyone?! Except shields blah blah. NO! Some may say that it was an interesting twist and wasn’t expected but I believe it was just Disney rubbish and I wholeheartedly disagree with this scene. Not only that, now Leia’s death will either be reduced to a minor mention in the opening scrolling text, or some hurried and heavily CGI’d scene in Episode IX. I just can’t…
I know Carrie, I know
SLOWEST. CHASE. EVER
I think this was just a plot device whose sole purpose was to legitimise a pointless, convoluted and bloated sub-plot. I’ll get to this. A very long and drawn out plot device. Which also included an unnecessary deception from Vice-Admiral Holdo (Laura Dern) again, purely a device to allow Finn and Rose to go on their redundant side-mission. They could have evacuated the ship and headed to Crait while the Vice-Admiral light-speed destroyed the First Order fleet, giving more time for a battle on the surface of Crait. This could have allowed more speeder vs. AT-AT battle, a ground siege of the base, and a more interesting utilisation of Phasma. Again, I’ll get to this.
Laura Dern does look stunning though!
I suppose Holdo’s light-speed attack came as a last minute realisation moment to save the fleet, and I will also submit that it was a visually impressive and made for an emotional scene. BUT even the prospect of an 18 hour snail-paced space chase when it was first mentioned made many people in the audience groan. It drew the pace of the film to a grinding halt and just seemed to me like a bit of a half-baked idea in order to give Finn a quest of his own. Speaking of which…
CANTO BIGHT SUB-PLOT
During the slowest chase in history Poe, Finn and Rose formulate a plan to find an individual named the Code-Breaker, stow aboard the First Order ship and destroy the tracking device inhibiting the Resistance fleet’s escape. Finn and Rose travel to Canto Bight for what turns out to be more of moral journey for Finn; as well as a display of the subtle effects of living under a fascist First Order and how easy it is to spread hope through the galaxy. I do understand the relevance of this scene and when Finn does take a closer look at his extravagant surroundings to the injustice lingering just beneath the surface it does pluck on a few heart strings. However, the execution felt forced, the message rushed and probably did not require as much dialogue as we were given, which collectively dampens the intended impact.
Look closer
After exploring the casino settlement for a while, they manage to get themselves arrested ultimately due to a parking violation. In their cell they meet DJ (Benicio Del Toro) who they dismiss as some hack criminal. They escape with the help of children, fathiers (space horses), BB-8 and DJ who they then decide to bring along in place of the Code-Breaker. This backfires when DJ betrays them to the First Order, teaching them a valuable lesson about a) trusting strangers they meet in prison cells, and b) about the people who play both sides in war. The First Order Dreadnought is fortuitously destroyed seconds before Finn and Rose are to be executed, allowing a short face-off between Finn and Phasma. This is a gross misuse of both Benicio Del Toro and Phasma; who, although we were promised a grander role for this bad-ass Storm Trooper captain, was barely used and swiftly removed.
FINN AND ROSE
They had ZERO chemistry! And yet she decides to save Finn’s life and confess her love to him? No. Just no. He started out as a deserter and has a change of heart, wait…doesn’t that sort of happen in The Force Awakens? No, it’s all for Rey, always. Could we have a little character development please? The justification for most of his heroic actions is so that Rey is able to return to a safe and protected rebellion. Up until he calls himself “rebel scum”. I must admit I chuckled. Regardless, none of this explains why Rose would inexplicably fall in love with him. They never show anything resembling attraction to one another and yet she sacrifices herself to stop him from sacrificing himself. It felt forced and like so much of their storyline, unnecessary.
WASTED TALENT AND CHARACTERS
I have touched upon a couple of these points already but I think I should re-visit them in a little more detail. As the sub-title suggests, this film has failed to utilise both actors and characters that were presented to it. Top of the list for me, personally, was Supreme Leader Snoke. He could have been an immensely superior bad guy, resembling the Palpatine/Darth Sidious kind of presence; and yet, we learned nothing of his history, back-story or motivations. What makes this even more disappointing is that Andy Serkis gives a great performance, typical for his calibre. The scene where he finally meets Rey is interesting, he was at least given the chance to display some of his own power and I liked that he had orchestrated the mind bridge between Kylo and Rey. He’s a more stable villain than Kylo Ren and is way more sinister in my opinion. But he is killed-off in an instant in a way that an all powerful being should have seen. No matter how sneaky Kylo was being.
Battle for Supremity
That does not look pleasant
Speaking of Kylo Ren, I believe this character has so much potential but in both episodes VII and VIII he is a little whiny for my taste. I understand that he is conflicted about whether he is light or dark, but he could be played as a little less emo-teenager; having tantrums and hissy fits doth not make a Supreme Leader. I also understand that this is likely down to script and direction rather than Adam Driver’s portrayal, which is very good given the material he has received.
Captain of Chrome
Another First Order character to lose out in this film was Captain Phasma, Rian Johnson has inexplicably risen her from the jaws of trash compactor only to give her an insufficient amount of screen time and a second apparent death. The new films are quite saturated with antagonists, what with Snoke (Darth Sidious), Kylo Ren (Darth Vader), General Hux (Grand Moff Tarkin), Phasma (Boba Fett?) is more in the background but then why hype up the character so much? Why put a prominent actress under the mask? And not just for the lulz like with the Princes and Daniel Craig. It was just a waste of quite a sinister, mysterious character, a great actress, and a waste of bringing her back.
Still more screen time than in the movie
Moving swiftly through to the next underused talent, Benicio Del Toro as “DJ”. Firstly, DJ isn’t even the “Codebreaker” Finn and Rose were sent to find, they decide that it would be a GREAT idea to recruit a man they meet in a prison cell and are then SHOCKED when he eventually betrays them to the First Order. Showing once and for all that War is an endless cycle with an area of grey between the opposing sides full of indifferent people profiting from the spoils. Although this is a great a message and something we haven’t seen before in the Star Wars movies, the creators could have focused more on the character’s back-story, motivations and given Del Toro more room to actually perform, rather than the over-edited scenes of Canto Bight we were actually exposed to. Again, I get the relevance of Canto Bight in Finn’s development from “I must help Rey” to “Rebel Scum”; but this could have been done using DJ as the “Codebreaker” to perhaps further delve into the deference, corruption and greed seen in that Casino town. But then where would we fit in space-horse racing?
CONTINUITY DOES NOT EXIST
J. J. Abrams gave us a nostalgic return to the Star Wars franchise with The Force Awakens in 2015; although many people criticised it due to it’s uncanny resemblance to the Episode IV plot (doesn’t seem so bad now doesit?), I very much enjoyed this instalment and many times found myself squealing and fan-girling in my seat. Unfortunately, Rian Johnson has decided to ignore most of what the previous film gave us and almost create a stand-alone movie.
First Order be like… “Meh, didn’t like that base anymore anyway. Just gonna bring up this mega-fleet and Dreadnoughts we never mentioned”.
The fact that the Resistance destroyed the Star-Killer Base in The Force Awakens seems to be of little consequence to the First Order, as they are now chasing the Resistance to the ends of the galaxy. This is a recurring theme even within The Last Jedi, even though Holdo destroys much of the First Order fleet with her light-speed attack, the First Order still have an army with which they can launch a ground assault on Crait. Furthermore, we still aren’t really sure where the First Order have come from and why they arose. Sure we have the maniacal ramblings and speeches from General Hux in both films, and the Opening Crawl text describes them as “risen from the ashes of the Empire”, but no real explanation as to where they came from and how they have amassed apparently infinite numbers of followers in just 30 years since the Empire was destroyed. If you read a little bit deeper in to the story outside the movies, you find out that Hux’s father was part of the previous Imperial movement as an overseeing officer at Arkanis Academy. But you need to look online or watch the Star Wars Rebels series to find out any of this.
It’s OK Rey, we’re sad too
This sort of comes under both continuity and characters but I decided to put it here as it’s another example of Rian Johnson’s complete disregard for the events of The Force Awakens. Rey’s parents. Her family was introduced as a mysterious enigma, a premise that had the fan theories going wild all over the internet. Is she a Solo? Is she a Skywalker? Is it going to be another obscure character from the numerous films, literature, games, or series? Nope. They’re nobody. But we all knew that in our hearts, right? I, like so many other people, hope that Kylo was lying so that he might destabilise her and draw her to his side. Please J. J. Abrams??
I wanna just circle back to Phasma for one second. A trash compactor?! But it’s OK! She’s fine! The chrome suit is just that strong! It will probably save from that fire too…
DO YOU REMEMBER EPISODES IV, V AND VI? DO YOU? DO YOU?!
There are quite a few of these so I’m going to bullet points these:
Rebels have been found by first order and are escaping their base aka Hoth
Ahch-Too aka Degoba
Black hole on Ahch-Too aka dark tree on Degoba
Rey sees her reflection, Luke sees himself in Vader
“I feel the good in you” spoken by Luke to Vader and Rey to Kylo
Obi-Wan, A New Hope – “If you strike me down, I will become more powerful than you can possibly imagine”. Luke, The Last Jedi – Pretty much the same thing
The Emperor, Return of the Jedi – “Come, boy, see for yourself. From here, you will witness the final destruction of the Alliance and the end of your insignificant rebellion”. Pretty much the same as Snoke’s scene with Rey where he tells her to watch the destruction of the Resistance.
LUKE
Over the last few weeks we’ve heard a lot about whether Mark Hamill loved or hated the film. Also seen a couple of “Not my Luke Skywalker” posts.
“What the hell did I just read?”
I didn’t hate the character entirely, again these points go across sections so I made a special section, but I didn’t appreciate the injection of comedy and the very uncomfortable space-cow scene. It also seems strange to me that he can be so trusting and sure of the good in Vader during the original trilogy, but toys with murdering Ben Solo (before Kylo) because he’s sees a little darkness. The real issue we’ve had is the inconsistency; in The Force Awakens, we are told that Luke left a map behind so that the Resistance can find him if they find themselves in great need. But now he acts stubborn and obstructive when he is found by Rey. I understand why he would be reluctant to train Rey (at this point I turned to my friend and said “Too old, yes, too old to begin the training” nearly right) but he should be more supportive of the Resistance. I see the shift from Hero to Hope they are going for in this film, but it doesn’t quite match up with The Force Awakens, and will it progress into Episode IX?
Last but not least SPOILER Luke’s death. It was very creative the way they hinted at his projection by not leaving the red indentations on the planet Crait; however, would it have been cooler if Luke had actually been there? Sure there might be a timing issue (how’d he get there so fast?! A la Batman in Dark Knight Rises) but if he’d have actually deflected that attack it would have been an incredible display of power! Or, if he’d had projected himself, then NOT died, that would also have been good. I think him allowing Kylo Ren to defeat him would have been way too similar to Obi-Wan in A New Hope.
Overall, I guess you could say I was disappointed. The Last Jedi looks and feels like a Star Wars movie but lacks conviction, continuity and emotion.
Looking forward to the next movie, in the immortal words of Master Yoda: Failure is our greatest teacher.
If you agree, disagree, or think I’ve missed something, be sure to leave a comment and follow our Facebook, YouTube, Twitter and Instagram.
Starring Emma Stone & Steve Carell, Battle of the Sexes is the dramatization of the real life events in 1973 which lead to the creation of the WTA, the Women’s Tennis Association.
Battle of the Sexes takes a look back at the monumental clash between former men’s Number 1, Bobby Riggs (Carell), in the twilight on his career. Up against one of the top women’s players at the time, Billie Jean King (Stone) in an open challenge to the Women’s tour. Back in the early 70s, the Women’s game was highly disregarded in the male dominated game, with far less pay and recognition than their male counterparts. So the consequences of this clash would go far beyond the court.
Though the subject of the movie may be Tennis, the film takes a greater look into the inner conflicts and demons that our two protagonists are facing. King is struggling to deal with her sexuality, and the pressures of being away on tour from her husband. Whereas Riggs is trying to balance the end of a career with his increasing gambling addiction, which is causing immence strain in his relationship with his wife.
Battle of the Sexes is a slow burner, as the first hour focuses mainly off the court, with both Stone & Carell excelling in their performances. Though the role is far more serious than what he usually does, Carell still brings his trademark flair to the role of Riggs, bringing sympathy to a character who revels playing the pantomine villain in this show.
The struggles faced especially by King, against a system which simply does not treat her colleagues as a serious threat and the credibility they deserve provides the movie with an antagonist we can all get behind, the USLTA commsioner Jack Kramer (Bill Pullman). Sarah Silverman also shines bright as the resourceful & sassy manager of the breakaway LTA organisation.
Battle of the Sexes is a must watch for any fan of Tennis, as the influences of this event still reverberates today. It may feel like it does drag on at times, and the actual showdown isn’t as hyped up as it could have been, it feels like the drama on the court could have been built up far more greater. The 2 actors are not known for the physical roles, so it probably was expected to reduce the on court scenes in a minimum. However it’s the players personal battles off court, that soar above their battles on court.
Blending a thrilling zombie flick, with a surprisingly emotional storyline, Train to Busan is a riveting action/horror, which any fan of the Zombie genre should definitely track down!
The plot is pretty straight forward, Seok-woo, our protagonist, is escorting his estranged young daughter, Soo-an, on board a train from Seoul to Busan. What should have been a mundane journey soon becomes a commute from hell, as an infected passenger manages to struggle on board, creating a chain reaction of death & the undead! As the viral outbreak spreads across the country, it’s a race against time to survive, and reach Busan, which has been fortified against the virus.
The claustrophobic train setting works wonders for this movie, the feeling of being trapped, with literally only one way to go, ramps up the tension. As more and more of the train slowly become infected, there is only so far our survivors can run. Combine this with rampant zombies, who are simply ravenous at the sight of any humans, creates an exhilarating cocktail.
Seeing as most of the film takes place within one setting, it’s crucial that the characters on board are worth caring for. Our hero Seok-woo slowly ditches his greedy, corporate ways, becoming the person his daughter wanted him to be. Then there’s Sang-hwa, the polar opposite of Seok-woo, caring, and light hearted, but some who can also pack a punch! His pregnant wife Seong-kyeong, also happens to be on board. Her condition alone makes you care about her survival. You also have survivors such as Yong-guk, the young student, travelling with his school baseball team, who ends up in a huge moral predicament, following the demise of his fellow friends. Any good zombie movie needs a good cast, as people will inevitably die, and it’s down to the script to create characters well enough in order for the audience to feel any emotion.
The zombies here are the raging types, similar to the kind you would have seen in 28 Days Later. They hunt in packs, and are relentless once they have seen their prey. This offers plenty of enthralling set pieces, which see a ferocious display of panic as they all swarm together at once. Although it is a zombie flick, Train to Busan is far more of an action set piece, so expect loads of combat, but not too much slow building tension or overly gory deaths,
Speaking of the combat, as the film is set in South Korea, the passengers don’t have guns, so the fighting is far more physical, from baseball bats, riot shields to the simple fists! A particular scene, featuring a trio of survivors, fighting through carriages filled with zombies to get to their loved ones, is magnificent! There really isn’t an antagonist per se, as the evil is the viral strain infecting the civilians, though we do have Yon-suk, a senior CEO figure, someone who only looks pout for themselves. He provides a good example to Seak-woo, on what he may became, if he does not change his ways.
The film also highlights how quickly people can turn on each other, when things to intense. Even when there is a train filled with the ravaging undead, people still find the time to shun each other, unwilling to accept their fate, and reverting to a selfish state. Also highlighting how easy it is for people to easily fall into a mob mentality, when it suits them.
Overall Train to Busan is a treat for anyone who has an interest in Korean cinema, or loves a good zombie flick. Though it may not be perfect, such as the inconsistencies of how our zombies work, and the plot convenient scenarios that take place, it packs one heck of a sentimental punch! Be sure to check it out!
Featuring an incredible cast, and an intriguing source material, can the latest adaption of Agatha Christie’s Murder on the Orient Express thrill audiences, or will it run out of stream?
This is in fact the 4th adaptation of the classic novel across various forms of media, though this is by far the most extravagant vision of the story yet. Kenneth Branagh , who also directs this film. Takes up the role of Hercule Poirot, the world famous detective, who happens to be at the wrong place at the wrong time, and stumbles into another case, while he takes the lavish Orient Express back to London. With a carriage full of suspects, it’s down to Poirot to find the culprit, before the police take matters into their own hands.
The strongest part of the movie is by far the stellar list of actors that are involved with this project. An ensemble cast featuring the talents of Johnny Depp, Penélope Cruz, Willem Dafoe, Judi Dench, Daisy Ridley & Michelle Pfeiffer to name a few. Each of them playing their characters as well as you would expect. Poirot is of course the star here, and while Branagh does a pleasant job with our master detective, he does have a few comedic moments, which feel a bit forced at times, bumbling, a trait he really didn’t need for this.
Alongside the cast, the period setting works excellently. From the hustle & bustle of the streets of Istanbul, to the divine elegance of the Orient Express, it all looks sublime. The film is also filled with several well shot scenes, such as the tracking shot as Poirot strolls through to his carriage, or the interrogation scenes, which are shot through the cuts of window glass, a very polished movie. It is a tad heavy on the CGI, but it still looks pleasing to watch, especially the scenic Alpine sections of the trip.
The cast & setting aside, Murder on the Orient Express does have its share of issues. The pacing of the movie feels very uneven. While the first half of the film moves along at a serene pace, its well into the movie before the murder occurs. After a bit of investigation, the case is suddenly all wrapped up. It does feel like the ending was rushed, a longer more drawn our investigation would have been far more satisfying to watch. The murder should have taken place in the first half hour or so, then spend rest of the time analyzing and building up the suspects for a bigger reveal.
The mystery to it all is also fairly straight forward, it’s not before long you can figure out yourself what’s going on, and put the pieces together. For a master detective, you would have hoped the conundrum would have been a bit more cerebral, to display why Poirot is so highly regarded. The film is a like for like copy of the novel, and you can see where it has hurt this movie, a few changes could have been made to make the original source far more captivating for the current audiences
Murder on the Orient Express is a perfectly fine film to watch during these cold chilly winter months, it’s not the most enthralling mystery and the pacing is slightly off. But with its distinguished cast & colorful
Adaptations and reboots of Stephen King’s work are popular right now, what with The Dark Tower, It, and Gerald’s Game recently released and with many others in development. Plus, with it being Halloween it only makes sense to revisit one of the frequently listed scariest movies of all time.
Heeeeere’s Johnny!
Look up any “Scariest Movies of All Time” list and you can bet that The Shining will be floating near the top, along with many adaptations from Stephen King. Combine “the master of horror” with Kubrick’s genius, it’s really no surprise this film has such a cult following; and after seeing it for the first time just a few days ago, it did not disappoint.
Before the film, we watched “Work and Play: a short film about The Shining (2017)” directed by Matt Wells for Park Circus. This documentary investigates the creative process and incredible efforts behind this unique movie; intense research into the horror genre, the innovative use of the newly developed “Steadicam”, and a look into the personal musings of Kubrick and his views on film-making.
Featured in the documentary are: Lisa and Louise Burns (The Grady Twins), Garrett Brown (inventor and operator of the Steadicam), Diane Johnson (co-screenwriter on The Shining), Katharina Kubrick (Stanley Kubrick’s daughter) and Jan Harlan (Kubrick’s producing partner and brother-in-law).
“It’s easy to make movie…but to make a great film is a miracle.”
If you want to watch something with tension and suspense on Halloween, then The Shining is for you. The music is really stand out for me, combining rapid high pitched strings with slow and deep brass makes you believe something terrifying is about to happen. The long Steadicam shots of corridors, the set and environment make it seem that something may jump out. The music and camera shots were eerie and surprisingly good at building suspense; I could feel myself tensing up and even jumping a little at the changes in instrumentation.
Shelley Duvall at The Overlook Hotel
Of course, I cannot overlook the incredible acting of Jack Nicholson. His long, dead-eyed shots, creepy mannerisms, and seriously animated eyebrows, portrayed complete insanity with little to no motive or justification required. And he’s not the only one, many of the characters you meet throughout the movie are played in a seriously creepy manner.
If like me you haven’t seen this film before, the short version is Jack Nicholson plays “Jack Torrance” who gets a job as caretaker at The Overlook Hotel over the winter months during closed season. He brings his wife Wendy (Shelley Duvall) and his son Danny (Danny Lloyd) but the isolation, and something in the hotel’s past, makes Jack lose his mind and turn on his family.
Nicholson is great at being terrifying and Lloyd is good at being terrified, but I was not completely convinced by Duvall. A few things she does seem quite smart and resourceful in a pretty hopeless situation; however, her tone seemed forced and vacant, and she seemed to have little control over her limbs as she ran aimlessly around the hotel. Also, Nicholson gets a lot of praise for this film but I also think Lloyd was very good! He’s a very young boy but plays this part with maturity and intelligence.
Ignoring what I thought of Duvall’s portrayal, which I can probably attribute to the age of the film, this is a great scary movie that will really mess with your mind and the accompanied short is very interesting. I would highly recommend re-visiting this film this Halloween if you can, and be sure to get there in time for the short! And remember….All Work and No Play Makes Jack a Dull Boy!
The Shining is in cinemas across the UK on 31 October 2017 accompanied by short film “Work and Play: A Short Film about The Shining” (Director Matt Wells).
Combining the concept of reliving your own death from Edge of Tomorrow, with the 90s Slasher vibe from movies such as Scream, Happy Death Day is one of the most interesting concepts to be put to film this year, and a perfect treat for Halloween!
Jessica Rothe plays Tree Gelbman, your typical run of the mill college student, who after a rough night out, wakes up in a dorm room, unaware of the events of the night before. As we are shown, Tree isn’t exactly the nicest of people, with her arrogant and dismissive seniority sister demeanor, she builds up a firm following of enemies on campus. This proves to be fatal, as that night, Tree runs into a masked stalker, who takes her life with the assistance of a very big blade. But all is not as it seems! Following her death, she wakes up back in the dorm room from earlier that morning. She soon realizes she is trapped sort of time loop, in which her death is inevitable every night. Accepting her looming fate, Tree uses the time she has, to narrow down the culprit from her list of suspects!
Though Happy Death Day has been built up as the return of the Slasher movie, it’s still no where near the sheer intensity of Scream. Yes, there’s a masked stalker, who happens to get very trigger happy with a knife in their hand. But here, our murders are a lot less graphic as films in this genre were , especially back in the 90s! Although it has a horror element to it, it is far more of a mystery movie, rather than a full on scare, so just a few tips to consider before walking into the cinema!
That said, HDD is a thoroughly enjoyable movie, yes you have all the usual american college stereotypes here, the bitchy mean girls, the stalker, the geek etc., but it never hurts the film. Tree is by far the standout character in the movie, her comedic chops are on show here, bringing several moments of laughter to the show. Her character also has an engaging arch, from her ignorant past self, to a more modest and understanding person she eventually becomes.
As mentioned, we have a list of suspects, who each may have a reason to don the eerie mask and go after our protagonist. Could it be Carter (Israel Broussard), the timid student’s dorm in which Tree wakes up in? Or maybe it’s Danielle (Rachel Matthews), the sorority leader, who is somewhat envious of Tree? Then again, it has to be the teacher she is having an affair with right? There are plenty suspects thrown in the mix to keep you doubts swinging between all our various potential killers!
Though the biggest flaw in the film has to be the very lazy explanation regarding the real killer, their motivation and how they did some of the murders. It’s a long stretch to believe someone would go straight to a blood thirsty killer on campus! Would they really leave a random toy playing a melody in a tunnel? It would make more sense for them to just get straight to the act, without all these curious actions. The plot seems to try to make itself look a lot more smarter than it really had to be, with the lat addition of a suspect which shows up from no where. There are also several plot points left unsolved, it it just being careless, or resolutions being saved for a potential sequel?
With far more humour than you would think, HDD is a great concept, that utilizes its college setting very well, it may not be the perfect Halloween movie, but it has it’s moments of suspense, a vibrant cast, and dead cert to leave you satisfied once the credits roll.
Following the underwhelming remake of Ghost in a Shell earlier in the year, the news that Netflix will be giving the popular manga & anime series Deathnote the western treatment was met with concern from many fans. But given Netflix, and their track record for strong TV shows, fans were willing to give it a chance.
Deathnote on Netflix takes the story from Tokyo, to Seattle. A change of setting makes sense, to adapt it to a another market. But more crucially, it also borrows the same characters from the original show, rather than making its own spin-off. This is biggest mistake Netflix made here, and essentially destroyed what could have been a fascinating entry to the Deathnote franchise.
The Deathnote series is built upon the battle of wits between our two rivals, Light & L. Each with their own view upon what Justice really is. This duel of intelligence and deduction was the foundation of Deathnote, and what made it such a enthralling show to all of its fans. Netflix was never going to condense all of the shows drama into a single feature length film, but instead of focusing of the cerebral nature of the show, what we end up with is a one dimensional, dim, cheap FinalDestination rip off. With more emphasis on how gory the film can be, rather than building amazing characters the source material provided.
NEON!!
So here, we follow Light Turner, a student who stumbles across the Deathnote, a mystical notepad, in which whoever’s name is written within it, leads to their death. He teams up with fellow student Mia Sutton, in order to rid the world of evil, taking up the name Kira. It’s not long before his actions get him on the radar of the law, and on his trial, is the legendary detective, L, a mysterious figure, who vows to catch Ligth, no matter what.
If Netflix made their own film, using the concept of the Deathnote, taking place in the US, it could have done a decent job. Instead, it takes all the characters, and removes everything that made them so charming. It’s just easier to list the flaws, so here goes!
Light (Nat Wolff)- In the anime, he is depicted as an intellectual, top of his class, popular, yet sick of life, and how crime still continues to live in this so called just society. He is also very calculating, always in control, rarely losing him composure. He does not use the Deathnote for his own personal gain, but his god-complex makes him believe that he is genuinely doing this to create a better world for everyone . In the show, Light is initially uncomfortable with the idea of using the Deathnote, but ends up using it to stop a sexual assault, Turner, uses it because a bully punched him. Light Turner screams, panics, gets pushed around at school, and most importantly, is not smart. He is never in control at any point, and is manipulated by everyone. Also, the Deathnote is simply used as a way for him to get a girlfriend. Great plot. Then there’s his now infamous screaming scene, which pretty much encapsulates the entire movie in 20 seconds. Wolff simply was miscast, and had next to zero charisma or personality for the role of Light. (Then again, it was the role he was given, so blame does also lie elsewhere!)
More neon!!
Mia (Margaret Qualley) – Although in the anime, she is madly infatuated with Light, it’s explained that his actions as Kira, had a consequence of her own life, hence her blind loyalty. Here, she is just the crush of Light, and frankly, is far more interesting as a protagonist! She easily manipulates Light to do whatever she wants, and she is sinply put, a sociopath. She just wants power, and will do anything to get it. It never is explained why shes so deranged, or what lead her to become like this, but hey, she smokes at school, edgy!
Ryuk (Willem Dafoe) – Ryuk is a vital figure, although he is the guardian of the Deathnote, most importantly, he never gets involved with Light, or whatever else is happening. He is simply bored and here to see how everything unfolds. Here, Netflix, seem to be afraid of making Light a true villain, and use Ryuk as the puppet master, who forces Light into all these situations. He is unnecessarily cast as the villain, for no reason. As great as Willem Defoe is in this role, (his motion capture work here is on point!) the character of Ryuk is totally shattered. But at least he eats apples. So that’s something they got right.
L (Lakeith Stanfield) – Probably the character that got the best treatment, but still no means, perfect. Yes L here still possess his eccentric mannerisms and deductive skills, but he is wildly ruled by his emotions here, following a sequence of events in the film, he totally loses it, and goes on a foot chase waving a gun on the streets. L, the master sleuth that he is, should have all possibilities covered, and have a back up for it. Not lose his mind and go crazy. He also reveals his face to the public, which seems a very unwise move, even if he keeps the bottom of it covered, in the show, L only revealed himself as a final gambit.
Our calculating mastermind….
The characters aside, the film is a mess with its pacing. The cat and mouse nature of the chase between Ligth and L was one of the most capturing parts of the show, here, there is hardly any build up, suspense, anticipation. Instead, L just finds him, reveals his identity almost immediately, chase over. Now we can focus on all the over the top gore and overblown finale!
The relationship between Light and Mia is centre screen here, which is what many feared. We have countless scenes at school, we even have the oh so cliched prom scene. Yes Light went to high school, but that never was the main feature, rather his exploits outside of it. We’re forced into watching a pointless love story in a film that really isn’t made for it.
Deathnote was never really about the deaths of the criminals. In the show, it was a simple heart attack, quick, decisive. Unless Light’s plan suggested otherwise, that was his MO. Here, every death is gratuitously bloody. The deaths occur is wildly hilarious methods, which involve a chain of events, that eventually lead to the demise of the victim. In FinalDestination, it worked, here, nope! Director Adam Wingard is much more well known for his work in the Horror genre, which made it a curious choice, for a series that isn’t exactly a horror, more supernatural thriller. This give the entire movie a far more cheesier feel to it, than the perilous, tone of the show.
There’s the 80s Synth-pop soundtrack, even though there’s no sign it’s set in that time, the shows original Gothic tone was perfect for its theme, but here, I guess Stranger Things is a huge thing right now? We see them use the Internet to find the identity of people (very lazy story writing!), so clearly it’s set in modern times! It also focuses on Neon an awful lot, making it look more like Atomic Blonde at times! (Actually maybe AtomicBlonde used less neon….)
All that being said, is there anything to redeem this? Well if you go into this without any prior knowledge of the source, then you’ll enjoy a somewhat cheesy, straight to DVD, horror with cheap thrills. If your a fan, then there is frankly very little to say in regards to positivity. Ryuk (from an aesthetic point) and L are decent. But Light is so eviscerated as a character, it reaches a point where Mia would have been more interesting to follow. Maybe in hindsight it would have been better to create this as a 10 episode show, then again, it may have just been 10 episodes of this!
With the sequel releasing next month it’s about time we took a look back at the original, loosely adapted from the 1968 novel Do Androids Dream of Electric Sheep? by Philip K Dick; who also wrote Minority Report and Total Recall.
Hitting cinemas 35 years ago, Blade Runner was described as neo-noir science-fiction directed by the fantastic sci-fi pro Ridley Scott. Set 2019, we see a very different version of Los Angeles, a dark and dystopian city that has descended into decay. The Tyrell Corporation has manufactured androids known as “replicants”, indistinguishable from human adults, to work on off-world colonies. However, if any of these replicants attempt to return to Earth they are assassinated (or “retired”) by police operatives known as “Blade Runners”. Harrison Ford plays ex-Blade Runner “Rick Deckard” who takes one last job to hunt down 4 escaped replicants. During his investigation he meets “Rachael”, played by Sean Young, an advanced replicant who displays human emotion and makes him question the future, his attitude towards replicants and what it means to be human.
Deckard falls for Rachael
Two replicants in love: Roy and Pris
Replicants are made with a restricted life span, all Roy (Rutger Hauer), Pris (Daryl Hannah), Zhora (Joanna Cassidy) and Leon (Brion James) want is to live and love. Rachael even believes herself to be human until Deckard performs the “Voight-Kampff” test on her and is told that her memories are only implants taken from Tyrell’s niece. Though this story is interesting I was more intrigued by the way the story was told. I enjoy the noir style and luckily for this film Harrison Ford’s voice lends itself well to narration. The interactions between Deckard and Rachael made me a little uncomfortable, which I normally put down to being a different time period, though it could be another example of how humans believe they can use artificial intelligence for their own advantage and self indulgence.
One of the greatest improvised lines in film
Honestly, my attention did dip at certain points during the film, mostly during dialogue heavy scenes; so I can see why the critics may have been split in their opinions when it was first released. However, I enjoyed this film and it includes a variety of themes that are ambiguous enough to invoke different perceptions; exploring humanity, empathy, mortality, the emotional capacity of A.Is, the disparity between the different societies and the new and decaying areas of the city, human manipulation of genetic engineering, the omnipotent corporate power, manipulation of environment, and apparently some religious connotations that I’m always oblivious to. Also, it has to have been a massive influence for 2004’s “I, Robot” and other A.I related films.
And lastly, this line:
“I’ve seen things you people wouldn’t believe. Attack ships on fire off the shoulder of Orion. I watched C-beams glitter in the dark near the Tannhäuser Gate. All those moments will be lost in time, like tears in rain. Time to die.” Roy Batty
This is a story that you might find difficult to believe. Adapted from a book written by Sharabani Basu, which is based on the journals of Abdul Karim recently discovered in India; we see an unlikely friendship develop between a common Indian Muslim man, and the Empress of India and Queen of the United Kingdom of Great Britain and Ireland.
I personally don’t think there’s a cast or director out there who could have done a better job portraying this particular story. Dame Judi Dench (James Bond, Philomena, Mrs Brown) once again takes on the role of Queen Victoria, alongside Ali Fazal (Furious 7) as Abdul Karim; surrounded by other brilliant actors (Michael Gambon, Eddie Izzard, Tim Piggot-Smith, Olivia Williams) playing the members of the court disgusted and insulted by the development of this relationship. All led by the director Stephen Frears, who was present for a Q&A after the screening, his most recent successes include The Queen with Helen Mirren, Philomena with Judi Dench, and Florence Foster Jenkins with Meryl Streep.
Dench and Fazal at the Queen’s writing desk
The real Queen Victoria and Abdul Karim at the Queen’s writing desk
The film begins in India and follows Abdul’s journey to England to be involved in the Queen’s Golden Jubilee; after some actions deemed highly inappropriate by the court, the Queen decides to keep Abdul close and begins to learn much about India and Islam from the man the court repeatedly referred to as “one of the Hindus”. She confides in Abdul, revealing her more vulnerable side to the audience, regarding her feelings towards her position and life in general. Although the beginning is quite humorous with many good laughs from both Dench and Fazal throughout, the film takes a darker path as we continue to learn about the Queen’s difficult life, and the court’s ignorance and prejudice against Abdul.
The Queen’s household united against Abdul
It is a difficult time, with Muslim-led mutinies against British rule breaking out in India, and some deceptions by Abdul does not help his case against the accusations by the court and Prince Edward or “Bertie” (Eddie Izzard). Regardless, the Queen keeps him on as her “Munshi” (teacher), she describes herself as being truly happy for the first time in a long while, and likely as an intentional provocation. Despite numerous attempts to discredit Abdul and blackmail the Queen, Abdul was in the service of the Queen for the final 15 years of her life. This, along with many incidents in the film, appear to be close to the real events that took place over 100 years ago.
His first sight of Victoria
Prince Albert aka Bertie
Victoria before Abdul
I believe that the performances in this film were emotive and believable. It was quite a different kind of performance from Eddie Izzard than what we are used to, but he gave a strong and compelling portrayal of the jealous heir to the throne. One character who may not get as much notoriety is that of Mohammed (Adeel Akhtar), he is the other Muslim, Indian man involved in the Queen’s Golden Jubilee. However, he is not lucky enough to have captured the Queen’s attention and is kept in England against his will and in detriment to his health. Nevertheless, he remains faithful to his Indian brethren despite attempts of the court to get him to disclose information about Abdul. Of course, Dench and Fazal are touching in their representations; you laugh when they laugh and you cry when they cry. You feel as amazed as Abdul does in his new experiences, and you feel as trapped and depressed as Victoria does as monarch.
Ali Fazal, Dame Judi Dench, Stephen Frears (Director), Eddie Izzard.
The Q&A with Stephen Frears gave an interesting insight into the making of this film. He was very blunt and to the point in his answers, extremely matter of fact. We found out that it only took 10 weeks to complete filming and it was the first production allowed to film inside Osbourne House, a former Royal residence on the Isle of Wight. He admitted he enjoys making provocative films that test the waters and opinions of the time; despite this fact, we were told the actors were professional and generally of a liberal mindset, this meant the idea of pushing any boundaries or causing controversy did not phase anyone involved.
In conclusion, I highly recommend seeing this movie; it’s fun, silly and emotional, with stellar actors who perform to a high standard. The story is simple but not one that’s been told before, and will make you want to more about this beautiful, heart warming, and unlikely friendship.
Last weekend I was lucky enough to be invited to the premiere of the British made “Eat Locals” at FrightFest in Leicester Square. I met the director, producers and cast, and got to watch their hilarious creation.
With a low budget of just £1.6 million, you are not expecting “Tchaikovsky” as first-time director Jason Flemyng put it in our interview, you are expecting a fun piece of cinema lovingly put together by a group of friends. And that’s exactly what we got. After quite a sincere start, you soon realise that the actors are not taking themselves so seriously, creating a more laid back (and surprisingly realistic) environment than any other modern vampire movie you will have seen – until the violence commences.
Left to right: Freema Agyman (Angel), Vincent Regan (The Duke), Charlie Cox (Henry), Eve Myles (Vanessa), Annette Crosbie (Alice)
In a quiet country farmhouse, 8 British vampire overlords have met to discuss matters of feeding quotas and territories. Following the death of one of their own, they will also decide whether to turn or kill poor, unwitting Sebastian (Billy Cook); led to the farmhouse by sexy vamp Vanessa (Eve Myles). Before they can carry out their verdict, the vampires are interrupted by a team of Elite vampire-killers sent by the Vatican and under orders from Captain Bingham (Robert Portal) and Larousse (Mackenzie Crook), chaos and blood shed ensues.
Eve Myles as sexy cougar “Vanessa”, leading Sebastian astray.
The dialogue in the vampire meeting is natural but quite serious (with a slightly eerie and ominous soundtrack), making reference to some current events and expressing a few opinions on such matters (from a vampire perspective of course). The conversation devolves into quite a grim scenario, but with the introduction of Sebastian humour is injected into these scenes. This is later followed by what sounds like a pretty horrific scene between the vampires and some soldiers. This variety of scenes display a contrast of character and a breadth of acting ability; they attempt to be both modern, civilised individuals, and the viscous vampires they are. Others are just viscous vampires *cough*Tony Curran*cough*.
Left to Right: Vincent Regan (The Duke), Henry (Charlie Cox), Angel (Freema Agyeman), Alice (Annette Crosbie), Thomas (Jordan Long), Peter Boniface (Tony Curran).
Converse to Tony Curran’s crazy portrayal of vampire “Peter Boniface”; Charlie Cox, having been temporarily poached from Netflix and Marvel, plays a slightly softer vampire than some of the others. His character “Henry” is a vampire who refuses to feed on humans, and tries to keep the peace between his fellow vampires and keep young Sebastian alive during the battle. Between martial arts proficient Chen (Lukaz Leong) and sweet old Alice (Annette Crosbie) with an assault rifle, there’s plenty of action for everyone to sink their teeth into. And with Jason Statham directing the fights, it maintains a good level of ridiculousness.
Alice (Annette Crosbie)
You grow to seriously dislike “Captain Bingham” and “Larousse”, which is always key to making good villains and gets you rooting for the vampires; however, even though he was on their side, I liked “18” (Johnny Palmiero). He was terrified of the vampires and sympathetic to the Thatchers (Dexter Fletcher and Ruth Jones) who own the farmhouse, both of which make him smart and a good person, which I like.
Bingham (Robert Portal)
There’s a few twists and little surprises, and many, many, MANY laughs. Everyone in the cinema was laughing along, cheering for their friends when they came on screen, and woo-ing whenever anyone did anything cool. Eve Myles was sat in front of me and believe me she was LOVING every minute of it.
Crazy Mr Thatcher (Dexter Fletcher)
Sebastian (Billy Cook)
If you want something that is easy and fun to watch, and are a fan of something a little silly, you definitely need to watch this film. But ensure you begin with no expectation of this being a masterpiece of film making. The cast and crew have clearly had a fantastic time making this and we all had an awesome time watching it with them.
It’s also nice to meet people who you’ve been watching on screen for years and find out they’re genuinely nice, funny people.
And Jason, as promised, I think I’ve been pretty nice 😉
Silver Screen Show 