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I am a reviewer of films and television at Spryfilm.com and I upload stories to thisissouthtaranaki.com.
  • 4K Blu-ray review: “Jurassic World: Fallen Kingdom” (2018)

    4K Blu-ray review: “Jurassic World: Fallen Kingdom” (2018)

    “Jurassic World: Fallen Kingdom” (2018)

    Action

    3-stars

    Running Time: 128 minutes

    Written by: Colin Trevorrow & Derek Connolly

    Directed by: J. A. Bayona

    Featuring:  Chris Pratt, Bryce Dallas Howard, B. D. Wong, Jeff Goldblum , Rafe Spall, Justice Smith, Daniella Pineda, James Cromwell, Toby Jones, Ted Levine, Isabella Sermon, and Geraldine Chaplin

    Senator Sherwood: “Do these animals deserve the same protection given to other species? Or should they just be left to die?”

    Ian Malcolm: “These creatures were here before us. And if we’re not careful… they’re going to be here after. Life cannot be contained. Life breaks free. Life… finds a way.”

    Critical Commentary:

    I was not really looking forward to “Jurassic World: Fallen Kingdom” (2018) as I was not sure what was left in this franchise that would make a compelling story that had not been told before, or that could actually be interesting when there are many story restrictions that exist that make this a ‘Jurassic’ story. I mean even the previous movie, “Jurassic World” (2015), was just a souped up re-tread of “Jurassic Park” (1993) with the added plot development of a gene spliced super dinosaur in the indominus rex which really added very little to the overall plot, just an artificial (both uses) way of attempting to introduce more peril. What Universal Studios as well as much of the public did not see coming was an opening weekend at the US Box office that not only trumped expectations but set a then opening weekend record of US$208 million which meant there would be more sequels to follow. It also solidified Chris Pratt as an A list star as well as introducing writer/director Colin Trevorrow to the big leagues although his own star has fallen dramatically since then, making a panned movie as well as being fired from the ‘Star Wars’ franchise. The question is does this new movie head in some actual new directions or is it like its predecessor just a mix up of previous ideas and presented as something new and original? The bad news is like many franchises based on one idea it is more of the latter than the former.

    There is no doubt that much of the plot of “Jurassic World: Fallen Kingdom” has been given away in the trailers that have been released with almost every major scene appearing already but with a promise of a more macro story that would see the dinosaurs leaving their home to be brought to the mainland. What we end up receiving even with all the hoopla as well as the added bells and whistles is a more micro plot that takes pieces from “Jurassic World: The Lost World” (1997) as well as elements from the previous movie, “Jurassic World”, all dressed up as something new with a pair of leads in Chris Pratt and Bryce Dallas Howard who share no chemistry whatsoever. Now don’t confuse their own talent with chemistry as the two are mutually exclusive, they are both fine actors if not a little one note, but together as a couple, I am simply not buying it. We also get in the very end an element of blockbusters that I thought may have been played out, that is the promise of a sequel that links to this movie which to me is a cheap trick, one that seems to almost negate anything gone before within the confines of this movie, as well as pointless plots, which they are if this was where we were going to end up anyway.

    “Jurassic World: Fallen Kingdom” is directed by J.A. Bayona a Spanish born director whose last big screen effort was the wonderful “A Monster Calls” (2016) a film that delivered on its promise as a child’s story that takes place in the imagination, so his choosing this movie as a follow up had me excited from the beginning. Bayona is a true visualist who does wonders here with some exciting touches not seen before in a ‘Jurassic’ movie, there are certain scenes people are talking about already which will stay in the memory far longer than the actual plot. That is the problem Bayona has, he is operating at another level far above this mediocre and pedestrian script that offers nothing new in favour of plot falling short of being a daring leap into the future. In fact Bayona is such an assured director one could almost forgive the paper thin plot as the way he uses tension as well as the use of the dinosaurs at times is almost Hitchcockian, this is how a dinosaur movie should be directed. Of course he uses manipulation as well as anthropomorphising the dinos to such an extent that they at times are more sympathetic than the humans, but it is their movie so that is a forgivable offense.

    The movie is set three years after the destruction of the Jurassic World theme park, Owen Grady and Claire Dearing return to the island of Isla Nublar to save the remaining dinosaurs from a volcano that’s about to erupt. They soon encounter terrifying new breeds of gigantic dinosaurs, while uncovering a conspiracy that threatens the entire planet. This plot is best left here as the viewer should have some kind of surprise going into the movie as there are some minor revelations that could be important to a potential viewer.

    As with all the ‘Jurassic’ movies there is no shortage of stars and character actors who appear in these movies, this one is no different. Returning from the previous instalment are Chris Pratt and Bryce Dallas Howard who have both appeared in Summer Blockbusters before so this is not new to them, however as I have said I was surprised by how little actual chemistry they have, also to me Pratt was just showing up here doing his thing, not very convincingly and heading off. For all his charisma and self deprecating humour he is capable of I found him flat as well as a little boring, maybe he thought letting the dinosaurs and others drive the personality of the plot was a way to go, for me it did not work. Howard on the other hand seemed to be doing her best even though I was not sure why she was present, she had little to do, apparently they needed her handprint as well as her two assistants but the reasoning was not that clear as were the motivations for her character – there is even an offhand remark on the island when things go wrong that they got the dinosaurs without them or her. The rest of the cast is made up of great character actors in Rafe Spall, B.D. Wong, Jeff Goldblum, James Cromwell, Toby Jones, Ted Levine and Geraldine Chaplin all criminally underused as well as making illogical as well as stupid character decisions that defy what real people would do. In fact their actual decisions as well as lack of decisions are the things that drive this plot which is a narrative shortcut that is a direct result of lazy writing. The final actor and new arrival to acting which shows up is Isabella Sermon as a maguffin of sorts who seems to be the child in jeopardy that all ‘Jurassic’ movies seem in need of. She does her best with a character that is supposed to have some narrative consequence but like most of the movie is not really fleshed out so comes across as an afterthought.

    I would have loved to really like this movie but there is so much that within the script makes little sense or is just cribbed from previous movies I could not help but think of all the lost opportunity that was squandered either for a speedy production or to save for the third movie in the now second trilogy of movies. Either way this to me is unforgiveable as it short-changes the audience on something that could have been special. Now because I do care about spoilers I will not go into specifics but I will say that when watching a movie like this what I really do not want to see are paper thin characters that exist for no other reason than to show up to fix a plot problem then completely disappear when they are no longer required much like Claire’s assistants do just randomly which was confusing. I also do not want to see an entire story line that is ripped off from the previous movie, I get it I really do, humans can cross breed dinosaurs. The increasing need to turn this ‘Jurassic’ franchise into some kind of ‘How to train your dinosaur’, and not even being able to get that correct seems like a misstep with the now introduced and ongoing character of the raptor ‘Blue’. Introducing characters whose main purpose is to either die because they are bad, die because they are good or die because they are stupid – have we not had enough of these people from the first, second, third and fourth movies? Finally having the temerity to retcon the entire franchise as to introduce some partner that Hammond had who we have not heard of once but to be introduced to the series like we have known who he is all along, then to kill him off for no reason but for the fact that he could not reach a telephone from his bed. This is a movie that may not have gotten out of the first act if someone could have made a phone call, to have someone who is elderly represented as not having the ability to make a call from his bed is not only insulting to an audience but to the elderly. There are so many more issues but if I spoke to them here it would far to many spoilers.

    As with all the ‘Jurassic’ movies the special effects are excellent, they have to be when measured against themselves as well as other blockbusters. All the dinosaurs look incredible with possibly an overreliance on CGI, but there are some great animatronics with an especially good scene with Pratt and Howard in a cage with a T-Rex that was very funny and a highlight, some of this is seen in the trailers. For me personally there is no better special effect than seeing the T-Rex in all its glory, taking up the entire screen either attacking something, eating something or just roaring, making sure you remember who he is, as well as how powerful he is as well. That is why it is boring to see an overreliance on the man made dinosaurs which look made up as well as artificial both on the screen as well as in a design sense, so much so that they take me out of the movie and are an obvious way to attempt to top the T-Rex as well as possibly the greatest addition to dinosaur lore from the first film, the Velociraptor. There was a good reason Michael Crichton chose them as a protagonost and why Spielberg kept them around, they are truly original scary creatures who take hold in the imagination like no other cinematic creation, they were real and deadly, we all recognize that. There is not need to create a hodgepodge of new dinosaurs as the orginals should be enough as well as driving an original story not some some kind of Frankenflm.

    It may sound like I am not recommending this movie, on the contrary the ‘Jurassic’ movies still hold a place in my heart, its not because of the actors or the plots, it is because of the dinosaurs as well as the people who actually love them in the movies who strive to protect them or just want to be around them. These movies are still compelling because they do capture the imagination as to what it would have been like to walk with dinosaurs, they inhabit our imagination like no other extinct creature because they dominated the earth like no other creature, we have proof they existed but are now gone. There is a reason what we are obsessed with these creatures and have been since the first fossils were discovered as well as why they will live on far longer than they should have. That is why all of the ‘Jurassic’ movies have been so successful and why after almost thirty years we still pay money to see them, this one is no different.

    Technical Commentary:

    Video:

    “Jurassic World: Fallen Kingdom” arrives on 4K Ultra HD Blu-ray with an outstanding HEVC H.265 encode that offers some notable improvements over the blu-ray. The movie was shot entirely on the Arri Alexa 65 digital camera system, which is capable of up to 6.5K resolution, but there isn’t any confirmation if the source was mastered to a 2K or 4K digital intermediate.

    The transfer shows a welcomed improvement over the Blu-ray, revealing every pore, wrinkle, and blemish in the face of the cast, especially during close-ups. Each blade of grass and leaf is distinct from a distance, viewers can make out the rough bark of the trees while the tiniest imperfection and piece of wreckage of the dilapidated park is plainly visible. The seamless mix of CGI, which was rendered in 2K, and animatronics, is extraordinarily impressive, showing every fine line, fold, and furrow on the jagged, scarred bodies of the creatures.

    Contrast doesn’t show a dramatic shift, but the 4K presentation nonetheless appears brighter overall. Brightness levels benefit the most on this 2160p video, boasting richer, silkier blacks throughout and providing the 2.39:1 image with a beautiful cinematic appeal. Nighttime and poorly-lit sequences are bathed in dark, stygian shadows that penetrate deep into the screen while maintaining exceptional visibility of background details and a three-dimensional quality.

    Similar to the contrast, the Dolby Vision HDR doesn’t offer the sort of boost we’ve come to expect of the format, which may have something to do with the creative photographic intentions of the filmmakers. Nevertheless, there are enough nuanced variations to appreciate and prefer this transfer over its HD SDR counterpart.

    Audio:

    “Jurassic World: Fallen Kingdom”  arrives with a reference-quality DTS:X soundtrack that almost immediately submerges viewers into this fantasy adventure world.  Quieter, more dialogue-driven moments may not be quite as aggressive, but they nonetheless come with various subtle atmospherics that terrifically maintains an effective and highly satisfying hemispheric soundfield.

    Special Features:

    • Chris Pratt’s Jurassic Journals: A collection of twelve separate short, spontaneous interviews between the actor and members of the production touching on various aspects of the movie.
    • Fallen Kingdom: The Conversation: Essentially a roundtable discussion between Pratt, J. A. Bayona, Colin Trevorrow, Bryce Dallas Howard and Jeff Goldblum.
    • VFX Evolved: As the title suggests, viewers learn more about how far the technology for CGI has come since the original film.
    • Island Action: A closer look at the practical effects with some discussion on the shooting locations.
    • Aboard the Arcadia: More on the practical effects along with the animatronics while focusing on a key scene from the film.
    • The Kingdom Evolves: A piece on where the sequel falls in the overall franchise and the direction it introduces to the series.
    • Birth of the Indoraptor: Interviews on the new dino.
    • Rooftop Showdown: A piece on the climactic battle.
    • On Set with Chris & Bryce: Interviews on the performances of the two leads and their conviviality.
    • Start the Bidding!: Another closer look at a key scene.
    • Monster in a Mansion: Bayona discusses how the original Jurassic Park and Dracula (1979) influenced his approach to a specific scene.
    • Malcolm’s Return: Praise for Jeff Goldblum’s return.
    • Jurassic Then and Now: A montage of various scenes from the franchise comically presented by shaving cream Barbasol.
    • Return to Hawaii: Cast & crew interviews on shooting locations.
    • Death by Dino: Specifically on one important dino kill.
    • A Song for the Kingdom: Actor Justice Smith, who plays computer tech Franklin Webb, performs on the set.
  • “CREED II” (2018) – Official Trailer Debut

    “CREED II” (2018) – Official Trailer Debut

    “CREED II” (2018)

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    Life has become a balancing act for Adonis Creed. Between personal obligations and training for his next big fight, he is up against the challenge of his life. Facing an opponent with ties to his family’s past only intensifies his impending battle in the ring. Rocky Balboa is there by his side through it all and, together, Rocky and Adonis will confront their shared legacy, question what’s worth fighting for, and discover that nothing’s more important than family. Creed II is about going back to basics to rediscover what made you a champion in the first place, and remembering that, no matter where you go, you can’t escape your history.

    CREED II is directed by Steven Caple Jr. and stars Michael B. Jordan and Sylvester Stallone, reprising their roles of Adonis Creed and Rocky Balboa, respectively. The film also stars Tessa Thompson, Wood Harris, Russell Hornsby, Florian “Big Nasty” Munteanu, Andre Ward, Phylicia Rashad and Dolph Lundgren.

    CREED II releases in New Zealand on November 29, 2018.

  • “Fantastic Beasts: The Crimes of Grindelwald” (2018) – Final Trailer

    “Fantastic Beasts: The Crimes of Grindelwald” (2018) – Final Trailer

    “Fantastic Beasts: The Crimes of Grindelwald” (2018)

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    At the end of the first film, the powerful Dark wizard Gellert Grindelwald was captured by MACUSA (Magical Congress of the United States of America), with the help of Newt Scamander. But, making good on his threat, Grindelwald escaped custody and has set about gathering followers, most unsuspecting of his true agenda: to raise pure-blood wizards up to rule over all non-magical beings.
    In an effort to thwart Grindelwald’s plans, Albus Dumbledore enlists his former student Newt Scamander, who agrees to help, unaware of the dangers that lie ahead. Lines are drawn as love and loyalty are tested, even among the truest friends and family, in an increasingly divided wizarding world.

    FANTASTIC BEASTS: THE CRIMES OF GRINDELWALD is directed by David Yates and features an ensemble cast led by Eddie Redmayne, Katherine Waterston, Dan Fogler, Alison Sudol, Ezra Miller, Zoë Kravitz, Callum Turner, Claudia Kim, William Nadylam, Kevin Guthrie, Carmen Ejogo, Poppy Corby-Tuech, with Jude Law and Johnny Depp.

    FANTASTIC BEASTS: THE CRIMES OF GRINDELWALD releases in New Zealand cinemas on November 15, 2018.

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  • DVD/Blu-ray review: “Hereditary” (2018)

    DVD/Blu-ray review: “Hereditary” (2018)

    “Hereditary” (2018)

    Horror

    stars-2-5

    Running Time: 127 minutes

    Written & Directed by: Ari Aster

    Featuring:  Toni Collette, Alex Wolff, Milly Shapiro, Ann Dowd, and Gabriel Byrne

    Charlie: “Who’s gonna take care of me?”

    Annie: “Uh, excuse me? You don’t think I’m gonna take care of you?”

    Charlie: “But when you die?”

    While watching the new familial horror movie “Hereditary” (2018) I could not help but think of a few things, that there are two different kinds of horror audiences and there is a desperate need to anoint the next “Get Out” (2017) by critics as well as audiences which this is definitely not. I had such high hopes for “Hereditary” that I have to admit about half way through viewing it my thoughts were that this was a seemingly familiar plot, but I ignored my feelings and settled in for the inevitability that played out over the two hour plus running time of this genre piece. In my opinion if you are new to the horror genre or do not frequent the genre very often then this will be an excellent watch as well as something original for you to enjoy, I have no doubt of that at all, in that it succeeds. But for the more astute viewer or the follower of the genre this may seem all to familiar with some pivot points that still make it rather enjoyable and not just a straight cross between “Rosemary’s Baby” (1972) and “Paranormal Activity 3” (2011). The odd part about those two movies was that the protagonists are women or girls, this new movie makes it all about men which seems out of step with the current cultural zeitgeist as well as dating it somewhat to the point that when the end comes I could not help but feel that the masculinity that is played out is also sexist as well as of course, very very white. My one thought when the credits rolled was ‘only white people could get themselves into that much trouble’.

    I am not going to give away too much as this is still an enjoyable movie without saying anything too original or ground-breaking, however some of the similarities to “Paranormal Activity 3” are undeniable. After all these years as well as the multiple entries into the ‘Paranormal Activity’ franchise there is much to roll your eyes at as well as just hating, but the highlight of the entire run, and the movie that actually made it harder to create more entries is the excellent “Paranormal Activity 3”. This was the movie that introduced plot points such as the origins of the demon that haunts the sisters, it also gave us the idea of a multi generational conspiracy that would bring about some sort of demon coming into the ‘real’ world, it made a coven of witches the force behind the conspiracy, it made it a feminist horror movie, it also in the end showed how ceremony was important and many other aspects. Not only did it do all of that, it made the movie a prequel set in the 1980s as well as introducing a true story about family that shows a young step father coping with his new family – although this does take a back seat at some point. What is interesting is that all of these points are present in this new movie “Hereditary”, with a few major differences, it is not a found footage film, it embraces the family aspect a little more, it has more up front tragedy, there is a much larger budget, it has some stars as well experienced character actors and it becomes a very white male centered movie, with some disturbing violence towards women. On the surface none of these similarities should make much difference to the enjoyment of “Hereditary” but in this political climate I am left wondering who this movie is actuallly made for.

    “Hereditary” has been written and directed by Ari Aster who has seemingly come out of nowhere to create a movie that was a hit at this years Sundance, so coming into the general release he and his movie had some great buzz. There is not doubt that Aster has ticked all the boxes with his first movie, he has directed a genre movie, set in a limited location, with a modest budget and a somewhat good if not original idea, but this has paid off for him as his movie has been a critical hit as well as making money at the box office. Aster has a very good eye not only for detail but for letting his actors take centre stage without the need for many of the genre gimmicks that can sometimes let horror movies down. Not only that he has concentrated on the family drama questioning ideas that families have to face in regards to the loss of family members, the fear of being there for your family and a myriad of other true horrors that face families when there are issues or problems in life, that has to be applauded as the actual horror elements only come in effect in the last quarter of the movie. When these elements are introduced they hit the audience like a sledgehammer.

    The movie is based around Annie Graham (Toni Collette), a miniaturist artist, who lives with her husband Steve (Gabriel Byrne), their teenage son Peter (Alex Wolff), and their 13-year-old daughter Charlie (Milly Shapiro). At the funeral of her mother, Ellen, Annie delivers a eulogy explaining her fraught relationship with her mother, who was extremely secretive. Shortly after, Steve is informed that the grave has been desecrated, while Annie thinks she sees Ellen in her workshop. At a support group for those who have lost loved ones, Annie reveals that, growing up, the rest of her family including Ellen suffered from a variety of mental illnesses that resulted in their deaths. The movie from this point takes off becoming part drama, conspiracy thriller and ultimately a horror with surprising gore as well as a twist.

    The central element of this movie is the performance by Toni Collette who has over the years been terrific in some very good television and movie projects but it is in this movie where things have come together for her. Sure she is playing a mother, a sometimes thankless role right up there with the girlfriend but Collette makes it her own with some of the most excellent physical and emotional acting seen this year in any genre. This is a movie with few actual special effects so all the story and emotion has to be portrayed with some strong acting, it is here Collette succeeds so well with a part that could have been archetypical in someone else’s hands but she is able to transcend the shortcomings of the movie to really rise above it, expressing very real emotion throughout the running time. The only unfortunate aspect is the ending of the movie as well as her exit from it as it seems lazy and not worthy of her performance. Collette is supported by her three family members in actors Alex Wolff, Milly Shapiro and Gabriel Byrne who all are very different in their roles offering real character support to Collette while maintaining their own plot points so they all feel like three dimensional characters which cannot be said for a majority of horror movies, so again the movie succeeds here in a big way. The final actor, and in a way someone who almost steals the movie is the amazing Ann Dowd who has made such an impact in the series “The Handmaids Tale” (2017-), here plays a duplicitous role, on one hand a friend or saviour on the other something else indeed, Dowd plays the part like a master character actor knowing just what to do in every scene.

    As with all good horror movies there is a general feeling of unease as well as isolation, which is reinforced by the families home which is in a wooded area, it alos takes time to drive anywhere and we also see some wide open landscapes which speaks to this ongoing sparseness and again, isolation. The feeling of the world being a small one with little choices to be made is reinforced by the job/hobby that Annie performs, it seems that at some point was out of choice but now is something she must do for others, a reminder of that is made by phone calls and post it notes on her work which is making miniatures of her as well as her families life, something unique in the horror genre I believe. What these miniatures do is first and foremost act as almost as bookends of the movie which is a nice circular theme, as well as that they seem to show that the family but in particular Annie is unable to move forward beyond thoughts and actions which will ultimately lead to the climax of the movie which is signposted throughout the narrative, what we see in conclusion has been working its way through the entire movie.

    “Hereditary” has been likened to recent genre films “The Witch” (2016) and “It comes at night” (2017) which is unfair on those two films as they are much more original as well as gripping and more part of the horror genre than the one here. That is not to say that this is a bad movie per se but there are more original stories around, this one will certainly not set the world alight with its originality but if you are wanting to have some scares that are built around a real family derma then this is for you. However if you are wanting a horror or some good scares with some originality the  seek out this years big genre success “The Quite Place” (2018).

    “Hereditary” is out now on DVD & Blu-ray.

  • DVD/Blu-ray review: “Upgrade” (2018)

    DVD/Blu-ray review: “Upgrade” (2018)

    “Upgrade” (2018)

    Action/Sci-Fi

    3-stars

    Running Time: 100 minutes

    Written & directed by: Leigh Whannell

    Featuring:  Logan Marshall-Green, Betty Gabriel, and Harrison Gilbertson

    Stem: “It does not make sense that humans deliberately malfunction.”

    Grey Trace: “Yeah, that’s because your memories are filled with ones and zeros, pal, and our memories are filled with every fuck-up we’ve ever made.”

    I have said before but the past ten years has been a bonanza for genre movies, especially within horror, not only does there seem to be more produced than ever before, especially with the advent of cheap film making equipment, more quality filmmakers entering the genre as well as more production companies realising there is money to be made with the increase in online streaming services. This is where Jason Blum and his Blumhouse production company has entered the market finding a cost/revenue model that works for them, partnering with a major distribution partner in Paramount and not limiting itself to theatrical projects, but also partnering with Netflix as well as now creating genre television in their first project “The Purge” (2018). In fact this year Blumhouse will have released eighteen movies over a variety of mediums the most ever, including their Oscar hopeful Spike Lee’s “BlacKkKlansman” (2018), a belter of a non genre film. One of this years releases arrives on DVD/Blu-ray this week, that being “Upgrade” (2018) something of a miss at the box office which is a first considering Blumhouse’s track record as well as payback for writer Leigh Whannell who makes his directorial debut after writing some of Blumhouses biggest hits, helping establishing their brand early on.

    There is no doubt that Leigh Whannell has serious genre credentials with writing the “Saw” (2003-present) and “Insidious” (2010-present) franchises, these have met with big box office as well as sometimes critical success. Of course he has never directed a movie and after all the years spent handing his work over to others obviously wanted to be in control of one of his own scripts. Whilst I have no doubt that Whannell is a talented writer I do find that his scripts do start off well but tend to get more generic as they head towards their inevitable conclusion. His work is at its best when he has a talented as well as visionary director who is able to transcend the source material, which is why with his series of movies they each get lesser in quality as the directors change and become more workmanlike. In “Upgrade” what starts out as an interesting idea quickly dissolves into what must be called a routine thriller with horror and sci-fi aspects, sure it moves along at a good pace but amounts to very little by the end which for me is a huge missed opportunity as this movie does deal with some huge themes that are not handled greatly by Whannell, not only that but the world in which the movie is based is not all that thought out. This movie needed an  upgrade itself in budget, but I assume that Whannell was able to have total control over “Upgrade” by keeping the budget under US$3 million dollars which did not work out as this only made US$13 million which is dismal, more so if you factor in the success Blumhouse normally has with these types of movies.

    “Upgrade” concerns Grey Trace, a stay-at-home mechanic, lives with his wife Asha who works for Cobolt, one of the companies contributing to an increase in human computer augmentations in a near-future world. One day, Grey asks Asha to help him return a refurbished car to his client Eron Keen, a famous tech innovator in charge of a rival company called Vessel. While visiting his home, Eron reveals his latest creation, an AI chip called STEM that can serve as an auxiliary brain. On their way home, Grey and Asha’s self-driving car malfunctions and crashes at a homeless camp. Four unknown men then arrive, shooting Asha in the stomach and Grey in the neck, severing his spinal cord. Grey watches helplessly as Asha bleeds to death next to him.

    Grey returns home months later as a wheelchair-bound quadriplegic, after a failed suicide attempt by overdosing on medication, he is visited by Eron, who offers to surgically implant STEM into Grey’s spine and restore motor functions to his body. Though Grey is initially resistant, Eron successfully persuades him to undergo the surgery.

    The primary character and protagonist of the story is Logan Marshall-Green who does what he can to make his part as original as possible, to be honest he is the only character that has an arc at all, he has to go through a range of emotions before the genre aspects take over, in other words he has a very good acting assignment, I can immediately identify why this was a good part on paper. Marshall-Green actually seems like he is having a good time portraying someone that has an actual voice in his head as well as someone who is a quadriplegic then regains access to his limbs only to lose them again to an artificial intelligence, also played by him. “Upgrade” is pretty much a one-man show, I enjoyed Logan Marshall-Green immensely and have done so in all the projects I have seen him in even when I know he could be in a better quality of movie or show, here he exudes the natural charm you would expect from an A-list lead, if only the movie would match up to that. The rest of the cast is unexceptional with character actors that have been in genre movies before but here they are paper thin, one note, not very interesting at all which is a shame as well as an insult to the audience – this is something this movie shares with Whannell’s other efforts. The only other stand out is Betty Gabriel who plays a detective out to uncover the mystery within the story, she plays her part well and has enough screen time to really make an impact, I enjoyed her performance immensely.

    At it’s most basic “Upgrade” is an action movie with a twist, in regard to that it accomplishes its goals well with some great set pieces involving hand to hand fights that work exceptionally well, especially with the conceit of a A.I. in charge of the main characters body at many times. The other element of the action are the enhancements that many of the protagonists have gone through to make themselves more deadly, these mostly work in terms of the story although in some cases they seem a little haphazard and not thought through fully enough which again may be a budget issue.

    “Upgrade” does attempt to deal with some very large issues but because of the nature of the movie as well as the budget these are not very well examined at all which is a huge loss as genre films are the best way to analyse these in a meaningful way. The movie wants to look at the future of human beings as biological entities, technology as well as its place in society, the loss of skills as people rely more on plug and play technology, death as well as life and what that means moving into the middle of the 21stcentury. How A.I. may come into being, how it will relate to man as well as what it means to be ‘alive’. To be fair many of these themes could be seen in any episode of ‘Star Trek’ going back to the 1960s so if you are making a movie it is in your best interests to say something new or at least in an original way. This is where the execution of the script is not as good as it should be, I cannot help but wonder how great this movie might have been with some real inspiration behind the camera, but we will never know. This is also a movie that could have been franchised but with the disappointing box office that ship has sailed which is a shame as it could have been part ‘Terminator’ part ‘Jason Bourne’.

    The good news is that this is a pretty good action movie that will keep you interested for the runtime of the movie as well as being very entertaining I am not sure I would purchase it but I would watch on a streaming service or rent, you will be glad you did but you may never watch it again.

    “Upgrade” is out on DVD/Blu-ray right now.

     

     

  • Blu-ray review: “Narcos – Season Three” (2015 – present)

    Blu-ray review: “Narcos – Season Three” (2015 – present)

    “Narcos – Season Three” (2015 – present)

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    Drama, Television Series, Action, Thriller

    Episodes: 10

    Created by: Carlo Bernard, Doug Miro, Chris Brancato

    Featuring: Wagner Moura, Boyd Holbrook, Pedro Pascal, Paulina Gaitan, Juan Murcia

    Javier Pena: “Sometimes you gotta do bad things to catch bad people.”

    Yet another excellent Netflix show makes it ways onto Blu-ray and DVD this month and like many of their offerings they hit it out of the park. And in early news the show has been renewed up to at least season 4, so you should really start now!

    One of the big changes in the new season of “Narcos” is that Boyd Holbrook has now left the show so the voiceover has been taken over by Pedro Pascal the new lead of the series. The character of Steve Murphy left the DEA shortly after Escobar’s death in reality, and Holbrook has been written out of the show as well.

    Holbrook is a good actor, he had his moments, but Pascal was always more compelling, as well as for me being more fascinating to watch, he was just a better character and actor. “Narcos” has clearly thought about how to rejuvenate and reinvent itself in the wake of Escobar’s death, the show is focused on the DEA’s attempt to bring down the Cali cartel, an organization that funneled illegal drugs, as well as everything that went with them into the US.

    The Cali cartel, not the DEA, is the complicated organization full of squabbling individuals with separate motivations; and it’s the DEA that seems increasingly haunted and run to ground, especially since Peña is by far the most interesting figure there.

    By shuffling Steve Murphy and Pablo Escobar offscreen in its third season, Narcos handily indicates that the story here isn’t about any one character, or even any one plot. It’s about the overall battle against illegal drugs, and the darkness that resulted (on both sides) from trying to force genies back into bottles.

    I recommend this television show highly and in fact it is eminently rewatch able particular as new seasons are released. This is a must watch for fans of great drama.

    Episodes:

    1. “The Kingpin Strategy”: The Gentlemen of Cali gather their associates together for a big surprise announcement about the future of their business. To retire from Business.
    2. “The Cali KGB”: A gas incident threatens to destroy the agreement between Cali and the government and requires Jorge’s help. Peña has problems with his old contact in Los Pepes.
    3. “Follow the Money”: The Rodríguez brothers are hiding during the negotiations. Pacho meets the Lord of the Skies in Mexico. Peña’s new DEA team visits Cali.
    4. “Checkmate”: Peña hatches a plan to try to capture Cali leader Gilberto Rodriguez. Amado proposes a business idea to Pacho. Maria Salazar and her son are reunited and form a family with Miguel Rodriguez.
    5. “MRO”: Rodriguez is in jail. Paranoid about leaks, Miguel cracks down on his security. Colonel Martinez needs to resign, as false evidence about him accepting bribes has come up. Calderón, the dirty cop, is being blamed for the mistakes that led to Rodriguez’ arrest. Pacho makes a decision about his new offer. Peña tries to convince the US citizen Christina to make her husband, Franklin Jurado, the main money launderer for the Cali Cartel, flip. Gilberto is shocked by his son’s words of not being able to surrender anymore.
    6. “Best Laid Plans”: Jorge takes a dangerous risk collaborating with the DEA. An accident in New York threatens to expose Chepe. Peña travels to Curacao to arrest Franklin Jurado. Miguel and the Cali Cartel suffer a deadly attack by the North Valley Cartel during the party.
    7. “Sin Salida”: Peña plans another secret operation to topple a member of the Cali Cartel but may run out of time while looking for him.
    8. “Convivir”: David seeks revenge on behalf of his father and puts Enrique in danger. Peña asks Don Berna for help on a rescue mission.
    9. “Todos Los Hombres del Presidente”: David follows his suspicions. Peña is shocked to discover the depth of corruption in the Colombian government. Miguel is sought after once again.
    10. “Going Back to Cali”: David and Peña are in a race against each other to find Pallomari. Peña makes a serious decision about the future of his career.

     

    Narcos
    NARCOS
  • Streaming review: “Jack Ryan” (2018)

    Streaming review: “Jack Ryan” (2018)

    “Jack Ryan: Season One” (2018)

    Television/Drama

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    Eight Episodes

    Created by: Carlton Cuse & Graham Roland based on charaters created by Tom Clancy

    Featuring: John Krasinski, Abbie Cornish, Wendell Pierce, Ali Suliman, Dina Shihabi, Amir El-Masry

    Jack Ryan: “I am just an analyst.”

    Reinvention is a word that is as good as any to describe the new series about the now seemingly ageless Tom Clancy created hero Jack Ryan who returns to the small screen this month in the new series from Amazon Studios who are hopeful of a hit that can become a long terms series much like their rival, HBO’s “Game of Thrones” (2011-2019). They seem to have, initially anyway, hit all the right notes by casting a youngish lead in John Krasinski who is extra hot right now because of his role as star/writer/director of one of this years movie hits “The Quiet Place” (2018) as well as experienced show runner Carlton Cuse and talented director Morten Tyldum. It is evident that the entire production team has taken some time to ensure that this new version, of a thirty year old charater, is not only relevant but is refreshed with a step away from his origins while maintain the very things that made him such a popular character in the late 1980s through to the 2000s in film as well as most importantly in the novels that he appeared within.

    This first season follows the titular CIA analyst as he is wrenched from the security of his desk job into the field after discovering a string of dubious bank transfers, which is being carried out by a rising Islamic terrorist named Suleiman.

    Some of the constructed narrative within this new show should be familiar to those that have followed at least the movies which is fun to see but also is a nod towards those important movies that helped make Ryan such a popular character within pop culture. One of the most obvious elements is that like the character from “The Hunt for Red October” (1990) he cannot keep his opinions to himself, this happens in this reboot at least twice which is a fun callback to the Alec Baldwin interpreted character, which made him come to the attention to all of the big brass at the hastily convened meetings in both versions.

    The strength in this new series as well as reboot of the hero is to totally reconstruct his origins so he fits within the new paradigm that exists within the military as well as politics and the intelligence agencies since September 11th..  The show runners have these factors as the very reason for Ryan’s existence as well as the age he is now, where his career has taken him and his driving force for working within the CIA at all. Also there is a strong element of family that exists within the narrative of both the terrorist as well as the protagonists which is evident from the opening scene set in the 1980s. There is also a strong thread related to a Middle Eastern terrorist plot that is tied to the migration of refugees through Europe. In a little bit of unoriginality there is also an often told theme that revolves around the idea that the US has created its own enemies through intimidation, the interference in other nations as well as the number of wars it has fought, killing innocents thereby creating their own enemies such as the brothers that exist in this first season.

    Another aspect of this season is the introduction of the US drone pilot which becomes a third tier plot to the main narrative. We witness this person at work as well as the stresses, pressures including his impotence that comes his role, as they have less actual freedom in their rules of engagement than the ‘boots on the ground’ soldiers may have which in this show leads to some very unusual as well as cathartic decision making by the pilot. This is not the first time that drone pilots have been the basis of television or film, there has been “Drone” (2017), “Eye in the Sky (2015) and “Good Kill” (2014) to name just a couple but here in “Jack Ryan” it works much better as part of a bigger story that may continues into a second season, which I for one hope it does.

    As the character of Jack Ryan has been around in film sice 1990, played so well by Alec Baldwin, Harrison Ford, Ben Affleck as well as to a lessor extent Chris Pine this new incarnation was always going to be a challenge for the producers as well as the actor who eventually took on this now well known role. The trick, which has been carried off was to cast an actor of an appropriate age, as well as talent who would not overshadow the character of Ryan himself. I have never really seen John Krasinski appear in anything that I would have thought would translate to “Jack Ryan”, but after “The Quiet Place” I found myself coming around, seeing him in action I am a convert. Krasinski seems to have taken the best parts of the previous portrayals, then with this new story morphed them into an original character who is not just one thing, but a real mixture that makes you believe he may really exist. Not only that but having to portray someone with very physical scars as well as mental/emotional ones means he has to walk a tightrope over eight very tense episodes that are never about one story but many elements that make up a whole. What the writers and producers have given Krasinski to play to is an actual arc that sees him start of at one point in his life but end up at a very different one that also hints to a future that many now established characters can be a part of. The two main supporting characters are also familiar in the Tom Clancy world they are James Greer and Cathy Mueller portrayed here by Wendell Pierce and Abbie Cornish respectively who are given something previous incarnations have not, that is something very different play as well as the gift of being able to butt heads and question the almighty Ryan in ways that question his motives as well as his right to be the central part of his won story. Pierce and Cornish bring their immense talents to this series that are welcome with their own arcs in play that are not completely resolved but you know they will be returning fully loaded for a series 2.

    The decision to limit this new series to only eight episodes is one that is welcome after all the streaming shows that are now produced which are bloated so that there is too much filler, making them tedious, instead of leaving audiences wanting more there is a feeling of offering them less tighter narratives and a definite needing to a plot or plots. This first series really does introduce the titular character to a new audience as well as an old one hoping that this will stick, and that we will have an actor as well as producers that recognise how important it is to not only be in the present but to have an eye firmly on the future, oh and if you could keep Krasinski that would be helpful as well.

    Whether or not this new series hangs together fully at this stage does not matter, it is an introduction to a character many know from books or movies, its success largely rests on the leading man, his support, the conflict he encounters and if there is enough believability to push forward into subsequent seasons, I believe it does. My only concern is that with the way this seasons story has been taken from current events (at least they were when production began) that if this is the course that continues then it can almost be seen as a little redundant if only because of the news media covering the same thing but in real time. With the next season possibly taking place in, or involving Russia the story has to be tight but a bit more original so as to keep a fresh feeling that will keep audiences engaged but I am sure the producers realise this after these initial eight episodes.

    If you are looking for an engaging story that is able to be digested over a relatively short amount of time this is for you, it has great actors, engaging characters as well as a pretty good relatable and mostly current story which is a change from superheroes and cop shows that permeate the environment currently.

    “Jack Ryan” is streaming on Amazon right now.

    Episodes:

    1. Pilot:Low-level CIA financial analyst Jack Ryan comes to believe that $9 million of aberrant financial transactions are connected to a new Yemeni terrorist leader named Suleiman. Jack meets medical doctor Cathy Mueller before James Greer, his tough new boss in the Terror, Finance, and Arms Division (T-FAD), whisks him away to Yemen, which is part of the Counterterrorism Center (CTC) of the CIA.
    2. French Connection:Jack reconnects with Cathy, and Suleiman’s wife Hanin is concerned about the armed terrorists he has brought to their home. Jack and Greer figure out that their target is Mousa Bin Suleiman, a French national. His phone records lead them to an apartment outside of Paris, where Suleiman’s brother Ali is transferring funds
    3. Black 22:In pursuit of Ali, Jack and Greer learn that he is traveling to a rendezvous point in southern France. Hanin escapes with her daughters, but Suleiman sends men after her. One kills the other and attempts to rape Hanin.
    4. The Wolf:Suleiman starts an insurrection within ISIS and imprisons its leader, consolidating control of the organization and taking control of 12 hostage physicians from Doctors Without Borders. Jack and French intelligence officer Sandrine Arnaud track Ali to a remote gas station; Sandrine is killed in a shootout with Ali, whom Jack shoots and kills in self-defense.
    5. End of Honor:Hanin requests political asylum for herself and her daughters in a refugee camp in Turkey, naming Suleiman as her husband and attracting the attention of the CIA. In the aftermath of the Paris church attack, Jack manages to make contact with Suleiman using the messaging board on a video game, posing as Ali. Suleiman detects the ruse, but Jack confirms that Hanin has indeed left her husband, and tells Suleiman that Ali is dead.
    6. Sources and Methods:Jack and Greer, with aid from a Turkish sex trafficker, track Hanin and her daughters to the Turkish coast, where they dispatch Suleiman’s henchman who has been pursuing the women. Greer reveals that he was PNG’d from Karachi because he had killed his asset, a Pakistani army officer, who was going to turn him in to the authorities to be tortured and killed. Meanwhile, Victor learns that one of his “terrorist” targets had been misidentified, and travels to Syria to make amends with the family.
    7. The Boy:Cathy is questioned about her Ebola report, and is furious to discover that Jack works for the CIA. Meanwhile, CIA officials debate on whether to capture Suleiman or kill him in an airstrike. Jack and Greer try to convince their superiors to settle on a covert ground assault to do the former, as well as extracting Hanin’s son, Samir.
    8. Inshallah:Pickett, as well as other high-ranking government officials, is quarantined for exposure to Ebola. Suleiman arrives in the US with Samir to carry out another attack, this time a release of cesium into the ventilation system of Washington Memorial Hospital, where Pickett is being confined.

     

     

     

     

     

  • Trailer: “RGB” (2018)

    Trailer: “RGB” (2018)

    “RGB” (2018)

    Release Date: 27 September 2018

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    OFFICIAL SYNOPSIS

    HERO. ICON. DISSENTER. At the age of 85, U.S. Supreme Court Associate Justice Ruth Bader Ginsburg has built an impressive legal legacy as a pioneer in gender equality. RBG explores the inspiring and unique personal journey of this diminutive, quiet warrior’s rise to the USA’s highest court – and her impact along the way – changing the rules, shaping the laws and becoming an unexpected pop-culture icon. RGB is a revelatory documentary exploring Ginsburg’s exceptional life & career.

    rgb spry film review 1

  • DVD review: “Super Troopers 2” (2018)

    DVD review: “Super Troopers 2” (2018)

    “Super Troopers 2” (2018)

    Comedy

    stars-2-5

    Running Time: 100 minutes

    Written by: Broken Lizard

    Directed by: Jay Chandrasekhar

    Featuring: Jay Chandrasekhar, Kevin Heffernan, Steve Lemme, Paul Soter, Erik Stolhanske, Rob Lowe, Brian Cox 

    Genevieve Aubois: “I coach a girls hockey team so I know my way around a gash.”

    This week sees the release on DVD of “Super Troopers 2” (2018) a sequel to the 2001 movie that set up the comedy troupe, Broken Lizard, for the next two decades as well as handing a directing career to Jay Chandrasekhar who has gone on to direct a large amount of television and, believe it or not seven movies, at least one positioned as a franchise starter “The Dukes of Hazzard” (2005), which actually did quite well at the US box office but failed to produce a decent sequel. In terms of the type of genre that Chandrasekhar and his friends are involved in, that is gross out comedy, they do very well, hitting the spot with all of their movies, even this sequel. The problem is of course is that the market for these type of movies is shrinking, plus audiences that want this genre can find cheaper versions streaming, as well as more and more online. The other issue is that these movies as well as any possible sequels the characters as well as their stories are very much the second and third element people care about; the first as well as most important aspect is making people laugh, cringe or maybe both. So to try and bring back characters from early movies (especially ones that are seventeen years old) there needs to be a reason to follow them, something real as well as organic so that people do not have to think too hard. In this case the comedy moves to Canada which has its benefits in that for the writers they can pump out perceived jokes easily, as one of the lowest forms of humour is to mock others in an extreme way, which the Lizard team do endlessly. That’s where any originality stops however as the actual story is about as routine and trope laden as you can get, which is a missed opportunity as the original movie had just about as much story as you need, I would have loved to have seen a redo of that but with some ramped up action and humour.

    There is no doubt that director Chandrasekhar as well as the rest of the Broken Lizard team has a brand as well as a self-awareness about what they have and are creating with their movies. In fact each movie since the original “Super Troopers” (2001) has been good enough to receive theatrical distribution making money so to fund their subsequent projects of which there have been a few, with their most successful being this new movie, although it is still a limited amount of success that seems to have a foxed following. To be honest Chandrasekhar is a very able director who has an understanding of the camera as well as narrative which is key when making a movie, he also has no doubt talent with comedy, one need only look at his oeuvre which is large especially when considering how long he has been at work which is some time. What I would like to see is him make a movie that has some substance to it that he has some stake in, something one could say personal which I believe would be very interesting indeed.

    “Super Troopers 2” takes place several years after the first film, the officers have been fired from the Spurbury Police Department after taking Fred Savage on a ride-along that resulted in his death. Farva (Heffernan) is now a construction supervisor, with Mac (Lemme) and Rabbit (Stolhanske) working for him. Thorny (Chandrasekhar) works in logging, and Foster (Soter) is living with his girlfriend and former coworker, Spurbury Police Chief Ursula Hanson (Coughlan). Mac receives a call from his former boss, Captain O’Hagen (Cox), to gather the group and meet for a fishing trip in Canada.

    Once the group arrives, they find that O’Hagen’s intention had been for them to have a meeting with Vermont Governor Jessman (Carter). She explains that during a recent land survey, it was discovered that land in Canada was originally designated for the U.S. Canada has agreed to hand over the land, and Gov. Jessman needs to set up a police department to take over from the Royal Canadian Mounted Police in the region. She invites the group to become state troopers again, with the promise that they will become full-time officers should they succeed at this task.

    As with many movies, it seems especially comedies, casting is the most important aspect, with this and all the Broken Lizard movies the main cast remains the same, which shows in their timing as well as the jokes that are told and constructed. Of course what that also means is that there is a high amount of improvisation, which can be a strength, however if it is uncontrolled it can affect the plot and narrative negatively which I believe it has here. Many of the cast rely on old habits, tricks and their own personal relationships, which is not enough to make an evenly comedic movie, which this is striving to be. The highlights of the cast are the newer editions of Rob Lowe, Lynda Carter, Tyler Labine, Will Sasso as well as the returning Brian Cox. As with the first movie it is something special to see the great Scottish Brian Cox in a broad comedy, especially seeing him transplanted to the US. The supporting characters all know their jobs but the real pro who knows exactly what movie he is, knowing how to really go over the top is Rob Lowe the true veteran that almost steals the show with his no fear attitude, he is just fantastic, almost worth the price of admission alone.

    So while this new movie lacks the surprise as well as the outright action as well as humour of the first movie it still manages to offer some laughs at the expense of all the character within the narrative, there is no real true hero or main arc of any of the players within this sequel, unlike the first “Super Troopers” which did actually have some goals for everyone to accomplish. In fact the one original as well as knowing thing to do was to place this story in a post-Trump world where the absurdity of the plot could actually be believed as a fact which is a nice twist to have in a gross out comedy because what could be more fitting when politics is so gross out absurdist as well.

    If you enjoyed the first “Super Troopers” or any of Broken Lizards other movies then this will be for you no doubt, if you have watched any of them more than once then this will be a great buy as this will fulfil any need to watch “Super Troopers 2” more than once.

    “Super Troopers 2” is out now only on DVD.

     

  • 4K Blu-ray review: “Ocean’s 8” (2018)

    4K Blu-ray review: “Ocean’s 8” (2018)

    “Ocean’s 8” (2018)

    Thriller/Comedy

    3-stars

    Running Time: 110 minutes

    Written by: Gary Ross & Olivia Milch

    Directed by: Gary Ross

    Featuring: Sandra Bullock, Cate Blanchett, Anne Hathaway, Mindy Kaling, Sarah Paulson, Awkwafina, Rihanna, and Helena Bonham Carter

    Parole Officer: “Good afternoon, Miss Ocean. As you know parole is a privilege.”

    Debbie Ocean: “It’s a mistake. Uh, but it happened, and, um, if I were to be released, I would, um, I would just want a simple life. I just want to hold down a job, make some friends, and pay my bills.”

    Critical Commentary:

    If you thought that the ‘Ocean’s’ franchise was going to end after three very successful movies then think again, after eleven years comes what must surely be the first spin-off of that franchise, “Ocean’s 8” (2018), which in an earlier time may have been thought of as a gamble, but now feels right in the zeitgeist if you wish, that is having an entire movie set around an all-female crew, of course on the surface it seems like they couldn’t get twelve woman together in one place, so we have to settle for eight. What I loved was the difference that all the women represent, different ages, looks, experience and cultures, I found that aspect to be very refreshing, for a Summer movie in particular, no white male saviors here thank you. If

    Even if you only have a passing familiarity with the remake from 2001 the formula here will be familiar even down to the main character leaving confinement to ‘go straight’, that is not bad thing as it, like the remake, gives the characters something to springboard off. The difference is where each movie lands as well as how well each movie was able to present the heist genre as something new with A-list actors as well as an A-list production crew. To say that the people in from of as well as behind the camera were at the tops of their games is an understatement, it all started with indie darling turned big budget auteur Steven Soderbergh. The director who, at the time, had just won an Oscar was able to bring together a murderers row of A-list actors too numerous to name, but the real secret was behind the camera with David Holmes providing the music, Ted Griffin writing the screenplay, one of the great modern editors Stephen Mirrione putting it together as well as Soderbergh directing and acting as cinematographer – the pedigree is instantly recognisable as great. If “Ocean’s 8” had half the quality behind the camera then maybe it would have been a more enjoyable experience as well as fun and original.

    It’s not strictly fair to compare these two ‘Ocean’s’ movies but it does help to explain the lack of fun and punch that this new movie has even though the acting talent is at least as great as that remake – Bullock, Blantchett, Hathaway as the front three are all terrific, they match up as good as any male actor working today, in most cases they are all superior, all three have won Oscars and can hold the lead in any film on a solo basis easily. Where this movie falls short is all the work behind the camera where we see not bad but just good people doing an acceptable job, there are no real standouts which is a disservice to the talent in front of the camera – it is a missed opportunity of the highest order as this could have been a snappy affair especially in comparison to those first three movies. What should have been a companion piece ends up feeling like an imitation of sorts, sometimes movies need more than just a great idea, they also need some follow through.

    Co-written and directed by Gary Ross “Ocean’s 8” looks and feels fine, it is not a standout in any department, much like most of Ross’s oeuvre this is competently directed much like the recent “Solo” (2018) movie directed by Ron Howard, there is no personal signature that marks either of these movies as stand outs they just exist, with some excellent actors in tow. It may seem like successful movies are star driven vehicles but they most certainly are not, if they were that then they would all not only be successful but would also look great and be hailed as masterpieces. It would be unfair to say “Ocean’s 8” is a bad movie, it is not, but it lacks a spark that would mark it as a good one and a worthy spinoff to “Oceans 11” (2001). There is no doubt that Ross has directed some very successful movies such as “The Hunger Games” (2012) and “Seabiscuit  (2003) in which he was able to handle younger actors, who lacked real experiance, but here he is dealing with actors that know their stuff so he really should have concentrated on the narrative and plot which are severely lacking, these are the main places the film needed some originally as well as fire.

    “Ocean’s 8” is inspired by Danny Ocean whose estranged sister Debbie Ocean attempts to pull off the heist of the century at New York City’s star-studded annual Met Gala. Her first step is to assemble the perfect crew: Amita, Tammy, Lou, Constance, Nine Ball, and Rose. The reminder of the movie will feel somewhat familiar but I will not offer any spoilers but you should know what you are in for by now.

    “Ocean’s 8” is an ensemble film with a cast that is unrivalled in its mix of artists from different media, but make no mistake this is Sandra Bullocks movie all the way. Bullock is one of a handful of actors that can still open a movie in its first weekend, she is a star with so much talent that it can be easy to forget that she has had number one action, comedy and dramas over the course of her career all in different decades. It is easy to forget because she deploys her talents effortlessly as well as making sure her co-stars shine on their own as well – she makes genre movies that are not only original but unforgettable – she is physically gifted as well as smart and hilarious. This is something that “Ocean’s 8” needed but here she seems to be reigned in by the script as well as the director which is a mistake that not only costs the movie, but leads to second guessing by the rest of the cast. Speaking of the cast are all well suited to their parts, this is an incredibly deep roster of not only stars but character actors as well, who could all be in their own movies or television shows which they all have been in the past. I enjoyed seeing all of the women interact with each other which they all do well, Cate Blanchett and Anne Hathaway prove along with Bullock why they are not only special actresses but also well aware of their roles in this movie and how they are seen by others, which in this situation is vitally important. What was disappointing was the lack of space many of the other actors had in terms of offering their talents to the movie, this seems like all the work was done in the casting then for all intents and purposes they were injected for moments then ignored for the rest of the plot – a complete waste of talent of which there is plenty.

    Ultimately what we have is an A list cast with B list everything else, mostly it is a script that is paint by numbers, almost like there was a spark of an idea, I would think that was the Met Gala, then the story has been worked backwards from there – this is not a way to write a script which is a missed opportunity and something that should have been fixed very early on. This is an issue that seems to be more and more common as the years roll on – not enough time spent on development or too much time concentrating on the hook which in the case if this screenplay has robbed almost everyone of purpose and most importantly humour which in this genre is almost as important as the plot. Another aspect that is bread and butter of the ‘Oceans’ movies are the obstacles that inevitably arise and the solutions that the crew find to get around them – here these are paper thin and solved far too quickly to be even remotely entertaining, another missed opportunity.

    This is a movie that is begging to be enjoyed, with this cast it almost succeeds in doing that, it is let down by a run of the mill script as well as uninspired editing, music and direction. However in saying that you would have to have a cold heart not to love seeing all of these different actresses together onscreen doing what they all do best. There are some nice surprises to be had and I for one hope we see them all together again with a tweaked script some better characterisations and a more original story. I still think that this will appeal to a certain group of people and they will be happy with a night out and watching a group of women who are having fun and remaining relevant at the box office.

    Technical Commentary:

    Video:

    The Dolby Vision high dynamic range made the image look wonderful, with great contrast and bright highlights. It’s a testament to how HDR can make any movie look better. After the showing I saw, I ducked into a conventional showing, and it looked much duller by comparison.

    Audio:

    Regarding Dolby Atmos, there isn’t a lot of overhead action in the plot. Yet the full Atmos soundfield is fully engaged, mostly with music, which is a wonderful effect. Unfortunately, the dialog intelligibility was not great.

    Special Features:

    • A Heist in Heels – Featuruette
    • Ocean’s Team 3.0 – Featurette
    • Reimagining the Met Gala – Fetaurette
    • Deleted Scenes
  • DVD/Blu-ray review: “The Bookshop” (2018)

    DVD/Blu-ray review: “The Bookshop” (2018)

    “The Bookshop” (2018)

    Drama

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    Written & Directed by: Isabel Coixet

    Based on the novel by Penelope Fitzgerald

    Featuring: Emily Mortimer, Patricia Clarkson and Bill Nighy

    From the novel:“Courage and endurance are useless if they are never tested.”

    To say that this movie represents aspects of life that are from a bygone age is an understatement, it is a period piece set in the 1950s, taking place in and around a bookshop, an independent one at that, as well as making comments about government control and the fickle nature of the public. It also speaks to the rights of women; how small towns operate in regard to change as well as the social hierarchy that exists not only in small towns but in larger ones as well. “The Bookshop”(2018) is a very special film, it is mannered as well as paced in a very special way, with a spoken narrative that permeates the narrative like a low budget movie from the era when sound was expensive so narration was a must – speaking in a third person to give a point of view. However, after viewing it the entire narrative makes sense as well as reflecting a time before any real kind of technological revolution had occurred, where entertainment was found either in the cinema or on the page. I had very different emotions running through me while viewing this film, it could be said to be manipulative but in a very positive way, it speaks to the dissemination of information as well as knowledge, reflecting that knowledge can be derived from high culture as well as pop culture, something that has only magnified since the embracing of popular culture from the 1980s onwards. On top of that there are some subtle performances from the three principles, Emily Mortimer, Patricia Clarkson and Bill Nighy, as well as the perfectly cast supporting actors.

    “The Bookshop” is adapted from a novel by writer/director Isabel Coixet, who is originally from Spain, and while she has produced movies in English before, it is not her natural language. This in some cases may be a drawback, and at times may seem like it has impacted the film, but all mannerisms and seeming odd language is all on purpose. Not only is the film looking at a society from the outside in, which in most cases means certain truths are able to be uncovered by an outsider which is both the main character as well as the writer/director. One of the larger elements that I took away from this movie was the treatment by  small town people on the protagonist of the story for some very personal reasons, those being that I had recently watched the Harry Dean Stanton film “Lucky” (2017) which deals with some of the same issues in very different ways and I have just moved to a very small town in New Zealand where already there are some similarities I can easily identify with.

    The film, as the novel does, is set mainly in 1959, and centres around Florence Green, a middle-aged widow, who decides to open a bookshop in the small coastal town of Hardborough, Suffolk. The location chosen is the Old House, an abandoned, damp house said to be infested by ghosts. After many sacrifices, Florence manages to start her business, which grows for about a year after which sales slump. Mr. Brundish, the lonely and mysterious inhabitant of the house at the top of the hill, is Florence’s best client. The influential and ambitious Mrs. Gamart, wants and intends to set up an arts centre in the Old House.

    There are three central but very different performances in “The Bookshop” by Emily Mortimer, Patricia Clarkson and Bill Nighy, all great character actors from three different generations of actors, at least it would appear that way, but Mortimer and Clarkson are closer in age than you may first think. Personally I always find it hard to go past Nighy as the best thing about any film he appears in, here he plays the elder statesman perfectly, all ticks as well as knowing glances to Florence as well as quiet desperation. As this is a film that relies on mannerisms all three actor’s must portray most of their emotions through non-verbal acting, it is here where they all excel as their own acting experience is vast, in the hands of lessor actors this would be an inferior film indeed. The two supporting actors that rise to the challenge of the material are James Lance as a somewhat antagonist Milo North and young actress Honor Kneafsey who plays Christine a character that belies her size as well as the part she plays in the story. All told the performances in this film match the nature of the material in a way that needs to be seen to be appreciated.

    “The Bookshop” is set in a time where the post war malaise has dissipated, rationing has ceased and the new intelligentsia is making a stab at cultural relevance, not only that but a woman setting up shop in a small town taking on the ruling class of the day as well as the men in the town speak volumes to the main characters ambition and of her grief wanting to relive her previous life as well as having something to remind her of happier times when she was married to the love of her life. It is no accident that two of the main authors named in the film are Ray Bradbury and Vladimir Nabokov. Bradbury was an author that came from a literary background but would ultimately be someone whose work was absorbed into the popular culture and still does with one of his novels being remade into a move this year. Nabakov to was someone who wrote the literary classic ‘Lolita’ (1955) but whose very name is a term used to this very day to describe a kind of girl. This speaks to the larger picture of high culture versus pop culture which in turn informs one of the aspects of the story where an arts centre is wanted by the upper class while a bookshop is centred on by the actual inhabitants of the small village – this is a tension that still exists in terms of cultural capital that is battled for by various groups to this day all over the world.

    There is so much going on within this narrative that it could be talked about for some time, but the small town aspect is forward in my mind and plays ultimately like a horror story or sorts, or at least at times it seems that way. Ultimately the population seem to accept Florence Green’s shop but when the influential and obviously rich and well connected Mrs. Gamart decides to close her shop down almost everyone turns on Florence immediately as they are either scared of Gamart or want to appease her, this is an aspect of small town life that is not only worrisome but has been reflected in a variety of genres and time periods, one of the more extreme could be said to be “The Wicker Man” (1973). However its not all bad news with a film that could be said to be a juxtaposition to this one, and a healthy one at that in the great “Lucky”. Whilst the townsfolk in “The Bookshop” are not only fearful but sheepish the opposite is true in “Lucky” where the townsfolk are not only happy and supportive but are central to the main characters survival as well as acceptance of who he is, thereby making all of their lives richer for the experience. One wonders if the townspeople of “The Bookshop” had have behaved honourably the outcome would have been brighter as well as happier and less destructive.

    Be warned this is not the happiest of stories with some fairly nasty people using as well as being used to castrate the ability of one person to bring as well as find happiness in her own and others’ lives. It paints a dark undercurrent in English life of classism which still exists and has been accentuated by racism. The fear of those involved screams of the right wing, as well as Trumpism, Brexit and any other similar movement. The story illustrates what fear can do to people if they let it in, the ‘other’ in this case is a woman as well as real culture that would transplant the way in which it was possible to reach the masses by side stepping the hegemonic forces that existed in the 1950s. I cannot recommend this film highly enough and you should seek it out in cinemas right now.

  • Film review: “Support the girls” (2018)

    Film review: “Support the girls” (2018)

    “Support the girls” (2018)

    Drama/Comedy

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    Running Time: 91 minutes

    Written & directed by: Andrew Bujalski

    Featuring: Haley Lu Richardson, Regina Hall, James Le Gros, AJ Michalka, Dylan Gelula, Shayna McHayle, Lea DeLaria, Jana Kramer, and  Brooklyn Decker

    Lisa: “I started this day off crying, so if you ask me, laughing is progress.”

    There can be no real surprise that some of the best most original as well as ground breaking films are produced by independent companies, writers and directors who work with limited budgets, sometimes limited talent to tell stories that are ignored by major studios. This seems to occur more and more as there is a glut of not only homogeneity within the studio system, but also the motivation to make a profit as an overarching goal, which in turn robs creatives of risk to tell stories that may not appeal to the mass market, but at the same time to not alienate prospective viewers. With increasing mergers, as well as takeovers of major studios, like 20thCentury Fox and Disney, this lack of risk only increases especially with a conservative company like Disney who in the near future may control seventy per cent of the movies released in the US which is staggering not only in the amount of money they will make, but the control over the publics choices, which will decrease dramatically. This is why when great independent, original films are released that have the cast as well as support that “Support the girls” (2018) does, it should be embraced by critics as well as the public, as this type of film will become more important as the years roll by as they will become a rare breed indeed.

    There are plenty of reasons to love “Support the girls” (2018), from its cast, that are all women, to its setting of a ‘Hooters’ like bar, the fact the narrative (mostly) takes place over one day, the reflection upon the current state of the US, in terms of its economy, politics as well as the gender realities that exist in a post-Trump world. This film does what great films do in that it perfectly reflects society in a way that is not only obvious but does so while keeping a sense of humour within its own reality which means it is not preachy or condescending, it takes its plot seriously from a point of view that is rarely seen, a working woman who has to juggle a myriad of tasks while being viewed as an object, at the same time working with women who are treated even more like objects by only their customers but their friends and boss. What Andrew Bujalski has created as writer/director is a film that seems like it is without plot, made up of only a narrative, don’t be fooled, this is a story that many people will recognise either in themselves, in their friends or in their own family which when this movie ends will have any audience reacting in very different ways.

    This is a film that could only be made by someone who knows how to finely craft a film into something that actually means something which is why Andrew Bujalski seems perfectly placed to not only write “Support the girls” but also direct it in a way that only supports the story, not outshining it with camera technique or trickery. Over the past sixteen years it seems that Bujalski has been building to this film, something that he has complete control over while displaying some artistry in not only the subject, the writing but in the perfect cast he has assembled with what some may consider some very original choices being made in that area. Only a writer/director of some talent could construct a film that delves into what it is like to be a working woman in bar like ‘Double Whammies’ walking in their shoes, telling their stories while maintain integrity in that telling. He appears to have really understood his subject from the outset, a good comparison in many ways is “The Florida Project” (2017) that explored characters through the lens of people who have very little in the way of security in their lives with nobody to bail them out.

    “Support the girls” is primarily the story of Lisa who is the general manager of Double Whammies, a sports bar that features skimpily dressed waitresses. Always nurturing and protective of her staff, she soon faces one trying day that tests her optimism at every turn.

    The quintessential piece of casting in “Support the girls” is Regina Hall who over the years has become famous for the parts she has played in the broad comedies “Girls Trip” (2017) as well as the “Scary Movie” (2000-2006) franchise which has seen her be an over the top protagonist in very defining supporting roles. With the former movie Hall could have capitalised on the box office success of that movie but has instead taken what clout she gained, pivoting into what must be her first serious role that has something to say about the current state of US society which is not restricted by race but includes her gender as well, something rare for any actress. The character of Lisa is a revelation for Hall who is not only outstanding, but is a well defined leader in a cast that includes one legitimately great character actor and one relative newcomer who almost steals the film, but Hall is that strong that she is magnetic onscreen leaving the audience clueless as to what she will do next. The ingénue of the piece is Haley Lu Richardson, although she has appeared in a great number of movies of the past few years, here shines as a bubbly positive effervescent character that has taken a page out of Lisa’s handbook and is the wild card of the movie just stealing scenes and actually being the instigator in the final scene to a kind of happy conclusion for the story, if in fact there is one. Richardson proves again why she is going to be an actress to keep an eye on over the next few years as her roles become more substantive and she becomes even more comfortable onscreen. Finally there is the great James Le Gros has been a staple of the independent film scene for over two decades here he plays a part that may have been reductive in a lessor actors hands but he makes this a three dimensional character who never seems cheap or his motivations unearned, it is a portrayal worthy of this great film, he is excellent opposite all the women in this movie, not an easy task at all.

    “Support the girls” is very much a film of its time with a cast that defies what it may be considered normal, as well as marketable, having the majority of well defined actors being female, minorities or even gay, none are prototypical actresses who you may expect to be in a movie like this. Not only that but they all at some point make decisions that are against there own better judgment, that is they work against their own interests, but also make decisions that are morally correct costing them security which is representative of real life. This is also a film that illustrates how men see women as well as how that flows into the kind of work that women must do if they are to survive, sell themselves as something they are not which is a reflection of economic as well as political realities. We also witness how these women see each other in terms of protecting as well as supporting each other, in respect of not only their friends but their families. One of the sobering realities is at the end of the movie when Lisa is applying for a position at a similarly themed bar where we see a women employer, expressing the types of girls they need as well as what she and the company thinks of them, this is a truly sad scene that is so well written it has to be one of the best of the year.

    This is an excellent film as well as one of my personal favourites of the year, with a killer cast as well as a compact narrative that is set across only a couple of locations it illustrates why low budgets can be a gift to filmmakers, the fat is cut away leaving only the message that the writer/director wants to express. “Support the girls” offers a realistic look at what it is like to be an underrepresented segment of society that have very real problems in terms of how they are viewed as well as how difficult it is to not only get ahead but just to stay above the poverty line, the car wash scenes are proof of that, an incredibly sad indictment of living in the US with little or effectively no money. What is refreshing is to see the women take control in very cool ways as well as this film actually being humorous as well which again is original but poignant. This is a high recommend, you should see as soon as possible.

  • Streaming review: “Black Spot” (Zone Blanche) (2018)

    Streaming review: “Black Spot” (Zone Blanche) (2018)

    “Black Spot” (Zone Blanche) (2018)

    Television/Drama

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    Eight Episodes

    Created & written by: Mathieu Missoffe

    Directed by: Thierry Poiraud and Julien Despaux

    Featuring: Suliane Brahim, Hubert Delattre,and Laurent Capelluto

    Franck Siriani: “Your murder rate is six times the national average!”

    Some television shows wear their influences out in the open begging to be compared and judged on the basis of someone else’s work but are original enough to then discount them, becoming something not only original but vital so that each episode is stunning in its construction as well as heading towards a payoff that might, or might not come by series end. On paper as well as what brief synopsis is available to be had this (relatively) new French series was either going to be derivative or something special which would not only contain surprises, but hint at what the nature of man could either stoop to, or rise from. There are comparisons to other series including but not limited to “Twin Peaks” (1990-present), “The X-Files” (1993-present), “Lost” (2004-2010), any number of police procedurals as well as the great French horror/thriller/drama/period piece “The brotherhood of the wolf” (2001), which all seem to have influenced creator Mathieu Missoffe in one way or another, but he has been able to conflate these influences by creating a new story as well as very real characters who all seem honest in their motivations. Whilst there are hidden plot points within the narrative the characters that populate the story all seem to have been created from a real place, but of course are exposed to some extraordinary events – that is exactly what make the series so watchable, to see how these people cope with the almost unreal.

    One of the more refreshing aspects of this series is the way in which the narrative has been constructed around eight very individual episodes that all make up the arc of the first series which do reach a conclusion but luckily leave the story open to continue to a second series which has already been filmed. The series starts off positioning itself as a possible horror story including very recognisable tropes that may lead the audience into thinking that there is a supernatural aspect to the series, especially with some of the events that occur, as well as a hint as to what/who the main antagonist is, this thing that appears at the outskirts of almost each episode, just out of reach. The show never really gives away the ending even though viewers may think they know where the show is headed, sure there are the normal red herrings that pop up from time to time but adept viewers will know that there is going to be something else going on, remaining unsaid until the last half hour of the first series, it is done with care and great skill so as to not seem unjust, in fact great care has been given to the end to make sure that it does make sense.

    The actual story of “Black Spot” (Zone Blanche) (2018) revolves around Major Laurène Weiss who is the sheriff of her hometown of Villefranche, a small, isolated, fictional town amidst a 50,000-acre forest in the mountains. When the body of a dead woman is found hanged from a strange tree, Prosecutor Franck Siriani arrives to learn why the town’s murder rate is now six times the national average and its population continues to dwindle, as well as investigate Laurène’s past.

    One of the main elements of “Black Spot” (Zone Blanche) that is the most obvious cannot be overlooked, the geographic setting of the town near a great forest that acts as a main character. It is of course part of the problem that the townspeople have within their lives as well as a metaphor for the future as well as the past which seems to haunt everyone in one way or another. In every episode the forest is present looming over the town as well as peoples lives, the main character keeps having flashbacks, exploring the forest looking for answers that she may never find or that elude her because of all the issue she faces at home, as well as at work. In fact the very first scenes involve the forest with the second lead who seemingly views the forest then collapses into some sort of heap dragging himself back to the car like a scene straight from the “The X-Files”, he appears to be struck down by some unknown, unseen force, possessing him, of course the truth revealed later is all to simple, real and grounded, which acts as an introduction to the show in a real original way. The forest is a place where things go to die or to hide from prying eyes which is another reason it is important, it acts as a kind of blanket, insulating lives as well as life from each other, it is a mystery to be unravelled which again is why we see the main character continually searching within, but of course it then insulates her from her daughter as well as her colleagues, it influences her much like it does the entire town.

    As with many genre shows sometimes it is easier to believe that there are actual monsters committing the atrocities we see, rather than just regular human beings who are either sick or malicious which is something this show is not afraid of trying to explore, something it has in common with “The brotherhood of the wolf” another fantastic French production dealing with similar themes. I am not going to give away the conclusion of the show or any plot points but the way in which the series presents events that could be supernatural in any way then illustrates how they are in fact based in reality is done expertly, it also gives a clue to the end of the show as well as how it will justify itself so that it does not feel cheap as well as unearned which it does not.

    The leads of the show are Suliane Brahim and Hubert Delattre as the Major of police and the new DA respectively; the creators have taken the wise decision to make Delattre’s character the stand in for the audience so that we find out about the town as well its folk, its high murder rate as well as the fact that it exists in a dark spot the same time he does which is not only something that is required but means we remember all the details as they are explained in a very logical way. As the lead of the show Brahim is magnificent as a women in charge of almost everything, a daughter, a staff of cops as well as hinting a murder and her own past, it is a masterful job of having to play something different in almost every scene she appears in which is a tall order for any actor, but she carries it off with aplomb. The show is rounded out with actors who similarly have to juggle very different characteristics sometimes within the same scene but to a lesser degree than the main characters but it is still something to behold.

    This is an extremely compelling show that deserves to be watched it is very well produced with the entire narrative being well thought out and plotted which for a short run series is vital, which is made clear when the series comes to its eventual conclusion. There is so much more that could be said but that would head this review into spiller territory and the least said about the direction of the series as well as the objectives of characters and their arcs the better as this adds to the overall effect of the narrative and the supernatural or not elements that have been introduced as well as paying off the end which I found satisfying even though I was worried that it would not. I recommend thie show highly to anyone that likes taught thrillers, a touch of the supernatural as well as a look in on life that is foreign to them, this is a show that I found enjoyable knowing there would be another season, but that this was a story that had a definite ending at the end of the first series – enjoy.

    Episodes:

    1. “When You Arrive in Town”:The corpse of a young woman is found hanging in the forest. Major Laurène Weiss tries to solve this mystery, while welcoming the eccentric new prosecutor, Franck Siriani, to Villefranche. The townspeople are already tense from the announced closure of the local sawmill and the disappearance of the mayor’s daughter.
    2. “What Do Wolves Dream About?”: Laurène comes across a wolf protecting a hidden newborn. She tries to find the child’s parents, while being followed by the mysterious animal. As events quickly escalate, her past memories return.
    3. “In the Abyss”:A traumatised amateur speleologistresurfaces from a labyrinth of caves, claiming to have been separated from a companion while underground. Laurène tries to distinguish truth from lies in his testimony before considering a perilous descent. Meanwhile, a mysterious graffito appearing around Villefranche leads Cora to suspect a group of shadowy activists has kidnapped the mayor’s missing daughter.
    4. “We’ll Go to the Woods No More”:A phone is found with videos showing a group of young people terrified by a macabre discovery in the forest. After finding one of their corpses, Laurène and her team investigate to determine what happened during their night out. Meanwhile, she reflects on her complicated relationship with Bertrand, the town’s mayor.
    5. “The End of the Road”:A gang of thieves hit Sabine’s bar. With the town on lockdown, Laurène must locate them to learn their purpose in Villefranche. Meanwhile, Cora and the children at Arduinna follow mysterious trucks roaming the forest at night.
    6. “Dark Hero”:A woman commits suicide the same day that her husband is awarded a medal of honor. Laurène suspects the man is not the hero that everyone thinks he is. She tries to discover his dark secrets, but the mayor, his childhood friend, protects him.
    7. “The Secret Behind the Window”:The father of a mentally handicapped teenager is found dead. The townspeople are concerned about the boy and want to know what happened. Laurène begins a difficult murder investigation, but is troubled, because Siriani has put Bertrand in custody. Laurène must uncover the truth.
    8. “The End Is Only the Beginning”:The investigation into the disappearance of the mayor’s daughter rebounds with the strangely staged discovery of her body. While Bertrand seeks revenge, Laurène finally gets closer to the hidden enemy that she has been tracking for years.

    “Black Spot” (Zone Blanche) is streaming on Amazon right now.

  • Film review: “BlacKkKlansman” (2018)

    Film review: “BlacKkKlansman” (2018)

    “BlacKkKlansman” (2018)

    Drama

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    Running Time: 135 minutes

    Written by: Charlie Wachtel & David Rabinowitz and Kevin Willmott & Spike Lee

    Directed by: Spike Lee

    Featuring: John David Washington, Adam Driver, Laura Harrier, and Topher Grace

    Flip Zimmerman: “What kind of stuff do you guys do?”

    Klansman: “Cross burnings, marches, this is fixing to be a big year for us.”

    There is no doubt at all in my mind that Spike Lee is the greatest living American director working today, he has amassed an oeuvre that is second to none, with him turning his talents to not only fictional movies, but period films, thrillers, comedies as well as documentaries, music videos, sports movies and almost every genre that exists today. Not only that but all of the films he has produced are impeccable, some being the best examples of their given genre. Unlike his contemporaries he has never felt the need to turn to the popular ‘thing’ of the day or try to align himself with popular actors or producers he has done what he wants, when he wants, even if some of his personal dream projects have suffered or fallen by the wayside. Lee’s progression as a filmmaker has always been linked to his own ideas of political and social change, looking at his one of his seminal film’s in “Do the right thing” (1989) in comparison to his new film “BlacKkKlansman” (2018) is witnessing two very different films in tone, direction, narrative as well the comment they make on both a social and political level. This new film takes a true story moulding it into not only a film that fits well into his oeuvre but is also a combination of genres, making it not only a compelling film but something extremely entertaining as well as containing a very serious social message about violence, the state of race relations in the US and a myriad of other themes that are woven throughout the narrative in a seamless effective way like few movies before it.

    To say that Spike Lee has a style is an understatement, he spends as much time on the narrative feel of a film as much as the story itself which is a blessing as his films look like no other that have ever come before. He uses narrations (the spoken kind) as well as including segments from others movies as well as real life, the most well known is video of the Rodney King beating at the start of his masterpiece “Malcolm X” (1992), he does the same thing with “BlacKkKlansman” except the footage used is at the end of the movie for very different reasons which should be clear to anyone that views the film. Uniquely as well as somewhat jarring (although not to me) Lee is not afraid to incorporate others work to make a point or to flesh out the plot or even to just illustrate what he loves, such as the ‘Blaxploitation’ posters in this movie which look vibrant onscreen while making a point about race, gender as well as the movies that were made in the time period this film is set.

    “BlacKkKlansman” has not only been directed and produced by Lee but he also receives a screenplay credit along with Charlie Wachtel, David Rabinowitz and Kevin Willmott who have all crafted a movie that meets different objectives, their own, I would argue expertly. Originally supposed to be a directing vehicle for Jordan Peele, he left, suggesting Lee as an obvious replacement, this I assume would have been when Kevin Willmott and Lee himself punched up the script making it a more comfortable fit for Lee, making changes that spoke to not only him, but also making references to the chaotic present we now find ourselves in. It is not difficult to pick up on the references to the present day in terms of the current racial climate, the election of openly racist politicians, the President himself and many other elements that I found welcome. This is in my mind not enough has been made of the current US President or his openly racist leaning in film since his election. In my own personal views there has not been the reaction within film to the current state of the US in its politics, economy or the radical shift that the society is going through for my taste. Looking back at some of the more uncertain times in history the one thing Hollywood as well as independent films could be relied upon was to point out the problems in society, the last few years this has been noticeably absent, I applaud Lee and his compatriots for this film accomplishing this here.

    “BlacKkKlansman” is set in 1972, Ron Stallworth is hired as the first black detective in the Colorado Springs, Colorado police department. Stallworth is initially assigned to work in the records room, where he faces mistreatment from his coworkers. Stallworth requests to transfer to go undercover, and is assigned to a local rally by national civil rights leader, Kwame Ture, who has taken the name of African leaders.

    After the rally, Stallworth is reassigned to the intelligence division. While reading the paper, he finds an advertisement to join the Ku Klux Klan. Stallworth calls and pretends to be a white man, and speaks with Walter Breachway, the president of the Colorado Springs chapter. Stallworth recruits his Jewish coworker, Flip Zimmerman, to act as him in order to meet the Ku Klux Klan members in person.

    I am not going to reveal too much about the plot or the narrative as it will give far too much away not only about the story but also some of the flourishes Lee brings to this story, safe to say that this should be seen in cinemas on a big screen to be enjoyed, there are plenty of surprises to be had as well as enjoyed as this is a very special film especially released among some of the more brainless blockbusters out inn general release currently.

    The film is built around the performances of the two leading men John David Washington and Adam Driver who are both wonderful in their dual roles of essentially the same character (sort of). Washington gives a fantastic performance of a character that could have devolved any time but walks a fine line between a real character showing that he will be someone to watch in the future, he moves through the story like a pro (I wonder if he got pointers from Dad, Denzel) never once winking at the camera always playing the part straight just as he should. Adam Driver has a long list of great credits already but this must be his best performance to date, it is at once humorous, poignant as well as action oriented with him acting opposite some great talent yet holding his poise throughout. The rest of the cast is made of some great modern character actors as well as some newcomers that are all outstanding it must be said led by Laura Harrier a young but incredibly on message actress who like Washington lights up the screen with a performance both feminie but forceful.

    There are many highlights to this film; one I would like to pick out is Terence Blanchard who has composed some of the greatest scores for Spike Lees movies, one of his more memorable being the one for “Malcolm X”. Here in “BlacKkKlansman” there are echoes of that soundtrack which fit this film down to the ground as there are callbacks in theme to that film as well as dealing with similar themes, segregation, racism, the rising of people to meet injustice as well as so much more. This score is absolutely excellent rising to meet each scene that it is under or at times over. If you want a prime example of how a score should reflect what is going in a film this is it, expertly done but not manipulating an audience just guiding them, reflecting emotion but not supplying it.

    If you believe that Spike Lee just directs films that deal with the black experience then you are missing some great works of art that are broad in their appeal as well as more than just about one thing, like all great movies. Lee has directed some of the most vital, important and relevant movies of the past four decades. While his contemporaries stuck to formulas or what they were good at Lee has honed his art working often with low or under budgeted movies, with hostile studios and audiences, armed with some of the great talent of those same decades, he has taken them under his wing letting them go solo when they wanted to, often shining because of their experience with him. In all honesty this is not Lees best film, that will probably be the timeless “Do the right thing”, but it comes close as it shows the growth of the man dealing with similar subject matter but in very different ways, a more mature understanding way that I loved, it is original as well as serving as a warning to those that think people will be herded like sheep, they will not as is proved everyday when free thinkers gather to show their disdain for their government, not only in the US but worldwide.

    If you are wanting to see what must be at least for now the film of the year then do yourself a favor and go watch it, this will leave you with a sense of how little things have changed, how bigoted the world can be for no other reason than the color of a persons skin, but it will leave you with hope for those that fight as well as fight on others behalf, this is a special film for uncertain times.

    “BlacKkKlansman” is out now only in cinemas.

     

     

  • DVD/Blu-ray review: “Last Flag Flying” (2017)

    DVD/Blu-ray review: “Last Flag Flying” (2017)

    “Last Flag Flying” (2017)

    Drama

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    Written by: Richard Linklater & Darryl Ponicsan

    Directed by: Richard Linklater

    Featuring: Steve Carell, Bryan Cranston, and Laurence Fishburne

    Larry ‘Doc’ Shepherd: “I’m not going to bury a marine. I’m just going to bury my son.”

    This new movie co-written and directed by the great Richard Linklater is not something that you might immediately expect from him after his last two films, the Oscar nominated “Boyhood” (2014) and the absolutely under rated Everybody wants some!!” (2016) – which were deeply personal as well as unique, with their take on very different parts as well as times of America. That is not to say that this new movie, “Last Flag Flying” (2017) is not, but it does touch on elements that Linklater has never addressed, the US military, getting old in America, death as well as Americas obsession with war – fighting enemies that the US has no reason trying to dominate. It is always fascinating viewing Linklater’s movies in terms of his craft, as well as what he is saying about life in both general as well as specific terms.

    Linklater has crafted a movie that acts as a time capsule, for a period in the US when the shadow of the terror attack on 9/11 is still fresh, as well as all the mistakes made then by the Bush administration, the price being paid by people who are innocent, trying to contribute to efforts that end up being false. Linklater looks back at events over fifteen years ago through the eyes of Vietnam veterans who are living in a time that echoes their own pasts, with one of them paying a price that should never have been paid. This movie attempts to ask more questions than it answers by posing them through the plot as well as character traits of the three main protagonists, using a road movie narrative to keep the pace moving along – a wise decision made as this could have been mired in nostalgia over two troubled time periods.

    Set in December 2003, Larry “Doc” Shepherd (Steve Carell) visits the bar of Sal Nealon (Bryan Cranston), a former Marine that he served with in Vietnam. After a wild night Sal and Doc drive to the church of another friend from Vietnam, Richard Mueller (Laurence Fishburne), where he is the pastor. At Mueller’s house that evening, Doc reveals that his wife had recently passed away, and the purpose of his trip was to ask his friend to accompany him to retrieve and bury his son, Larry, who had recently been killed in Iraq. Sal agrees, while Mueller is initially reluctant to leave; at the insistence of his wife he eventually agrees and they begin the trip to Washington DC.

    This is a very special film with memorable actors that are all performing at the top of their games. This is enhanced by the fact that they are being directed by someone who is, surely, one of the greatest (possibly underrated) as well as prolific American directors working today. This director has proven time and again that he has a rare insight into not only people but also the American landscape through very different time periods. This is something rarely seen with writer/directors but with a career spanning over four decades Linklater is always searching for the next story.

    Over the last decade as some prominaent male actors reach their sixties, seventies and eighties there have been a number of ‘old men’ movies that started with “Wild Hogs” (2007), which was a huge hit, and is directly traceable to “Last Flag Flying”. In saying that none of those movies have dealt with the themes that Flags has, which adds another level to this new genre, in my mind a welcome one.

    The central casting of the three main characters is actually quite inspired as well as being obvious once you view the film. These actors are all multi talented having anchored almost every genre going, as well as being in touch with the politics of this piece. The central character of ‘Doc’ played by Steve Carell is the emotional heart of the film as well as the central aspect driving the plot, as well as the narrative, he is the one that has to make many decisions as well as corral the other two players, Richard (Laurence Fishburne) and Sal (Bryan Cranston). These are three quality actors in roles that while spelt out on the page bring to life real three-dimensional characters that are affected by not only their own distant pasts but also the recent one that is having terrible repercussions not only on their present but ours as well. The last third of the movie does take some turns, one thing it does show is the ability of the main character to actually change his thinking in a way that not only does justice to himself as well we his son, but also the Marines in which both of them served to varying degrees of success. There is a definite dogmatic approach by many people in this movie, but ‘Doc’ is the one that makes compromises as well as facing up to truths that for a lessor man may have been too much to deal with especially in relation to the death of his only son.

    As I have already said this film is a departure of sorts for Richard Linklater, not only is it a Studio picture (Lionsgate) but it is also a co-production with Amazon Studios. Having been scarred by working on other projects with major studios it seems Linklater has made it an aim to work independently without studio interference, but he has made an exception here with “Last Flag Flying”. Linklater has created a movie that works on many levels, not only is it a comment on the Vietnam War which these characters are veterans of, it is also addressing very realistic post-9/11 concerns that are inherent in the time we live in now. The one thing I did take note of was the way in which the director treated not only the story but all of the people, this was a relaxed film that took its time finding its feet as well as what kind of movie it wanted to be. It could be that Linklater is becoming more reserved as he ages which would not be unheard of, in fact Last Flag Standing echoed Clint Eastwood’s oeuvre in a way I found quite heartening.

    With many of Linklater’s films (and like many filmmakers of his generation) music especially non diegetic music plays an important part in narrative, here the director uses the songs of Levon Helm, Bob Dylan, Neil Young and Albert King to illustrate some of the salient points behind the film. In fact there is a section of the movie that uses Eminem to highlight attitudes of race, culture and age between Richard and Sal.

    I recommend this film to all who enjoy the movies of Richard Linklater as well as those who also enjoy a healthy dose of politics in their entertainment. There is no doubt in my mind that this marks a different direction for the writer/director that will be interesting to see if he stays the course or this was a deviation into new territory.

  • 4K Blu-ray review: “Deadpool 2” (2018)

    4K Blu-ray review: “Deadpool 2” (2018)

    “Deadpool 2” (2018)

    Action

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    Written by: Rhett Reese & Paul Wernick and Ryan Reynolds

    Directed by: David Leitch

    Featuring: Ryan Reynolds,  Josh Brolin, Morena Baccarin, Julian Dennison, Zazie Beetz, T.J. Miller, Brianna Hildebrand, and Jack Kesy

    Deadpool: “Sorry, I’m late. I was rounding up all the gluten in the world and launching it into space where it can’t not hurt us ever again.”

    Critical Commentary:

    Here we are after the undisputed success of “Deadpool” (2016) this time two years ago, there was never a doubt that a sequel would be produced to cash in on what was a tough road to the screen for the self-titled ‘merc with a mouth’. The perfect combination of R rated violence, humor and action was something sorely missing in comic book movies to that point – it could have been said to have filled a niche with it’s over the top everything. Not only that but its main champion writer/producer/ star Ryan Reynolds who after years of trying to be an A lister was, before this breakthrough, being shown the door to ignominy. In fact, the first movie was not even on studio Fox’s’ radar until test footage was leaked that gave a taste of the possibility of what “Deadpool” could be – the rest is history, on a modest US$58 million budget managed to not only set the record for the opening R rated weekend box office but generated over US$750 million worldwide. “Deadpool” also led to the possibility of other serious R rated comic book movies being produced which now seems like a no-brainer but until this time it was thought to be commercially unviable.

    After a few false starts, the main one being the jettisoning of original director Tim Miller for “John Wick” (2014) and “Atomic Blonde” (2017) director David Leitch, this new movie arrives fully formed as well as being a very good sequel,  and compliment to the first – audiences will be pleased with the ramped-up action, characters as well as fourth wall breaking humor while sidestepping the issues of success, as the budget for this movie is still modest by Hollywood comic book standards. I have to be honest that when I heard that Leitch had replaced Miller as director my heart had sunk as his first solo outing “Atomic Blonde” was not close to being a movie I thought was good, in fact while the action was acceptable, the narrative was wholly unoriginal as well as being sparse. However, given that both Deadpool movies are light on story but heavy on action it seems any issues with director are going to be on the back burner, for now anyway.

    This time around Deadpool forms a team of mutants called the X-Force to protect young mutant Russell from the time-traveling soldier Cable. That’s pretty much the story, the complications arise with the interaction of our titular hero with almost everyone else in the movie, so it’s basically a pretty familiar plot with the twist that no-one really likes the hero and the fact that it plays much more comedy than anything else.

    There is no doubt that both Deadpool movies are driven by Ryan Reynolds who has taken it on himself to not only be the face of the franchise (yes, I know he wears a mask) but will seemingly shy away from nothing to remind everyone who the hero is as well as what kind of movie he is making. It may seem like his efforts are tireless but after two failed goes at superheroes as well as a few other franchises Reynolds recognizes what he has, that it may not last long so he had better make hay while the sun shines. To his credit he carries out everything Deadpool related with as much originality as he can, no one is safe from his humor, no star, studio or property which in the days of trying not to be offensive, he is a welcome relief. This new instalment may not have the cutting wit of the first but it still manages to bait and switch many characters and storylines in under two hours.

    What the filmmakers have done with this new movie is to expand the cast as well as bringing a character that many readers will recognize from marvel lore, not only that but he is a major part of the Marvel Comic book Universe, that being the time travelling mutant, Cable, played here by Josh Brolin who is perfectly cast as the movies central antagonist. The definite new star of the movie is Brolin who seems like perfect casting as the gruff Cable who really does steal the movie, as he has already done this year as Thanos, in fact as he does in almost all of his performances – he plays off Reynolds like a master, in fact this is more like a buddy comedy movie than anything else which is where it succeeds over the first instalment. Returning after the first movie are Morena Baccarin, T.J. Miller and Brianna Hildebrand who all serve very different purposes as girlfriend, comedy counterpart and a link to the X-Men which are always made fun of. While I enjoy Baccarin I can see that she may have a been a character to hold Deadpool back, as for Miller he is having issues of his own so he will not be back for a third. As for Hildebrand who was dynamite in the first film as well as featuring in the second season of “The Exorcist” television show, here she has grown more assured and is a bright spot among bright spots, I hope she returns for a third film or even a possible X-Force movie. The newcomers include Julian Dennison, Zazie Beetz, and Jack Kesy who all add so much, along with Brolin, but of the three it is Beetz who has spent a few years in small roles grabs the reins and runs with the best character in the movie besides the titular hero. Beetz as Domino is as much fun as Deadpool who has a super power just as odd, she has great lines and at times is a co-lead as capable as Deadpool himself – I hope she returns for any sequel or spinoff.

    One of the major strengths of the first movie was the humor which is on full display here with the breaking of the fourth wall to address the audience as well as to make comments on not only the incestuous nature of hero films but of the repetitive nature that all audiences have to recognize by now. Deadpool the movie and characters are all about trying to subvert expectations so it is with great relish we see “Hunt for the Wilderpeople” (2016) star Julian Denison here as a young mutant as well as the maguffin of the piece, he has a natural wit that fits in well with Reynolds and compatriots as well as again not being the typical ‘kid’ in a movie as the annoying brat that is more the norm in Hollywood movies. This all goes back to the humor as well as commentary that is to be made which is done by Reynolds himself who for the most part speaks from experience having been through the mill himself, as a young and now a middle aged actor.

    My only concern is with director David Leitch who on the surface may seem like a good fit but obviously has a hard time understanding the difference between plot and narrative as well as how to seamlessly fit these two elements together while maintaining the action as well as the edge to the movie, this was something Tim Miller from the first movie was able to do, his absence in my mind is all too noticeable. The problems that befell Leitch’s first solo outing “Atomic Blonde” are all to visible here, what makes for a great stunt co-ordinator may not make for a good director.

    If you enjoyed the first movie then this will be right up your alley, it moves the story along as much as possible and also lays some groundwork for a spinoff or direct sequel. It is apparent Reynolds has as much fun playing the part as audiences do going along to see him. This is that rare sequel that raises the bar delivering what should be one of the blockbusters of this year.

    Technical Commentary:

    4K Ultra HD Blu-ray:

    20th Century Fox Home Entertainment brings Deadpool 2 to Ultra HD Blu-ray as a four-disc combo pack dubbed the “Super Duper $@%!#& Cut.” A pair of dual-layered UHD66 discs — one containing the 119-minute theatrical version and the other the 134-minute extended cut — are joined by another pair of Region Free, BD50 discs containing the movie and special features. The added fifteen minutes are a variety of extended sequences, like Deadpool’s samurai fight in the bathhouse, or new never-before-seen scenes, like the different ways Deadpool tries to commit suicide.

     

    Video

    Deadpool comes to Ultra HD with a great looking HEVC H.265 encode but its not the best within the format.

    “Deadpool 2” was shot on a combination of digital cameras capable of 3.4K resolution and traditional 35mm, which was later mastered to a 2K digital intermediate, the  transfer enjoys a notable improvement in overall definition and clarity. The fabric and coarse stitching in costumes are finely detailed. The occasional aliasing rears its head from time to time along the sharpest edges, but it’s mild. Detailing also remains strong in the darkest corners, making the prison scenes a highlight when overlooking the aliasing. The 2160p video comes with rich, velvety blacks throughout with excellent gradational differences between the various shades, providing the 2.39:1 image with a beautiful cinematic appeal.

    Audio

    “Deadpool 2” comes with a great Dolby Atmos soundtrack that offers a few improvements over the Blu-ray.

    There isn’t a lot going on in the ceiling channels, noticeably going unused on several occasions, but when employed, they manage to generate a satisfying hemispheric environ that places the listener in the middle of the action. Various ambient noises, such as city traffic or the crowded commotion in the mutant prison, fill the above space nicely and effectively while helicopters and planes flawlessly pan across the overheads from behind and into view. The many action sequences shower the room with debris falling everywhere and convincingly raining down to the sides and rears, creating an awesome dome-like effect.

    The front soundstage feels expansive and continuously broad, as many of those same atmospherics travel between the three channels and the top heights with excellent directionality. The added breathing room allows for slightly better clarity and separation within the mid-range, displaying superb detailing and distinction during the loudest, ear-piercing segments as well as in the song selections and musical score.

    Special Features

    • Audio Commentary: Star Ryan Reynolds and director David Leitch join writers Rhett Reese and Paul Wernick for a delightfully funny and highly amusing discussion on the production. Naturally, with Reynolds’ presence, the chat is filled with lots of sarcasm and silly wisecracks while the other three share various anecdotes and technical details.
    • Deadpool Family Values (HD, 15 min): EPK-style piece with cast & crew interviews and lots of BTS footage centering around the characters, performances and the plot’s themes.
    • Deadpool’s Lips Are Sealed (HD, 13 min): Everyone shares their thoughts on the studio’s extreme measures for maintaining absolute secrecy and the work on visual effects.
    • David Leitch not Lynch (HD, 12 min): The director is given a few minutes to talk about his involvement with the production, his aspirations and tons of praise from cast & crew.
    • The Deadpool Prison Experiment (HD, 11 min): As the title suggests, interviews talk about the “Ice Box” scenes, its production design and its role in the overall plot.
    • Until Your Face Hurts (HD, 9 min): An amusing discussion on the script’s genesis, various ideas considered, the aspirational focus on the comedy and Ryan Reynolds heavy involvement.
    • Roll with the Punches (HD, 7 min): A closer look at the fight choreography, the action sequences, praising the stunt performers and the preference for practical effects over CGI.
    • The Most Important X-Force Member (HD, 2 min): A brief but funny chat on the specially ordinary Peter, who joins the team despite a lack of abilities, and actor Rob Delaney.
    • Swole and Sexy (HD, 2 min): Praise for Josh Brolin’s physique and friendly nature on set.
    • “3-Minute Monologue” (HD, 2 min): Watch Brolin joking around as makeup is applied.
    • Deadpool’s Fun Sack 2 (HD): Two separate collections of various media, starting with one titled “Videos” (35 min), which stockpiles all the theatrical previews & international promos, an IMAX PSA, the music video for Celine Dion’s “Ashes,” BTS featurette for said video, another music video for Diplo, French Montana & Lil Pump ft. Zhavia’s “Welcome to the Party,” and a pair of hysterical videos making fun of the movie. The second is titled “Stills,” which is an assortment of promotional material.
    • Deleted & Extended Scenes (HD, 3 min): A pair of excised scenes.
    • Gag Reel (HD, 3 min). 

     

  • DVD/Blu-ray review: “The Guernsey Literary and Potato Peel Pie Society” (2018)

    DVD/Blu-ray review: “The Guernsey Literary and Potato Peel Pie Society” (2018)

    “The Guernsey Literary and Potato Peel Pie Society” (2018)

    Drama

    3-stars

    Running Time: 124 minutes

    Written by: Kevin Hood, Don Roos and Tom Bezucha adapted from the ficitonal book by Mary Ann Shaffer and Annie Barrows

    Directed by: Mike Newell

    Featuring:  Lily James, Michiel Huisman, Glen Powell, Jessica Brown Findlay, Katherine Parkinson, Matthew Goode, Tom Courtenay and Penelope Wilton

    Dawsey Adams: [narrating, in a letter] “Our Friday night book club became a refuge to us. A private freedom to feel the world growing darker all around you, but you only need a candle to see new worlds unfold. That is what we found in our society.”

    The past few years has seen the production of many British films that are based around events that occurred during World War II, in particular the time during the war or, most importantly, just after. These movies all tend to try to reflect the effects war had on everyday people as well as their lives, including the surroundings, reflecting their own great stress, loss, as well as their ability to face these hardships with bravery, knowing that there would be a cost to bear from their experiences for years to come. Some of the more recent entries into the genre are “Darkest Hour” (2017), “Dunkirk” (2017), “Their Finest” (2016), “Unbroken” (2014) and “The Monuments Men” (2014) to name a few, there are even more foreign versions of these which means that these stories are not only alive and well but are also winning awards as well as making money at the box office. Now comes the latest entry with the Mike Newell directed “The Guernsey Literary and Potato Peel Pie Society” (2018) which tells the personal story as well as the cost of Nazi occupation on the British Island of Guernsey as well as the story of all those involved in the founding of said Society combined with a writer who was striving to tell their story bringing it to the attention of the public. However the main difference within the narrative is that the protagonist of the story is a woman who is also an author that is searching for some truth about not only her life but the reason for the existence of others, it is also a mix of comedy, drama and thriller that holds itself together through a very personal as well as tragic story.

    This movie tackles so many issues of life during World War II it is hard to know where to begin. The stress that Londoners lived with from day to day is one of the elements of the film that is dealt with, some pretty heavy emotions for a movie that deals with the a form of show business. All of the characters within this movie have to deal with reality that they, their friends or families may not be around after a night of shelling by the Nazis, it is frightening and becomes all too real for each and every character within this film – I warn you now there will tears. The wartime aspects of Guernsey could have explored a little more although Newell does fit in some of the tropes of a wartime movie such as the collaborator, the love story between German and Englishwoman and a few others audiences should recognise but he does so in a very natural way.

    “The Guernsey Literary and Potato Peel Pie Society” begins in1941, on the island of Guernsey, four friends are stopped by soldiers for breaching curfew during German occupation. When asked for their reason, they say they were returning from their book club, hastily named “The Guernsey Literary and Potato Peel Pie Society”, to avoid arrest.

    Five years later, in January 1946, author Juliet Ashton is promoting her latest book, written under her pen name Izzy Bickerstaff. She has just been contracted, through her publisher, Sidney Stark, to write stories for The Times Literary Supplement about the benefits of literature. Juliet receives a letter from Dawsey Adams, a man from Guernsey who has come into possession of her copy of Essays of Elia and who wants to know about where to find a bookshop in England to buy another book by the same author, Charles Lamb. He tells her that he is part of “The Guernsey Literary and Potato Peel Pie Society”, which meets each Friday night. Juliet sends another book by Lamb and his sister, Tales from Shakespeare in exchange for more information about the society and how it came into being.

    This movie has a very strong lead in actress Lilly James who over the past few years has grown as well as improved as a force onscreen, really coming into her own in a supporting role in the Oscar wining “Darkest Hour” (2017) which was a vast improvement over her (I thought) miscasting in “Baby Driver” (2017). In this latest role, which may on the surface seem like an easy part, she must develop a character that is looking forward to a new life post war but is haunted by the past as she must attempt to make sense of the events of her war experience through the lives of others. Collins has a challenge in acting opposite some new talent as well as some very experience character actors who know their jobs inside and out. It would be easy to relax with such an array of talent but she is not once out acted or have any scenes stolen from her central performance. Speaking of the rest of the cast this is a great one indeed led by the always-affable Matthew Goode who really does give insight into a part that could have been just another character but he gives it the depth it deserves. On the Guernsey side the stand out’s for me are the veteran’s in Penelope Wilton, Katherine Parkinson and Tom Courtenay who carry much of the emotional heft as the people that have not only suffered but also offer some of the much needed humour. The rest of the cast is rounded out with the newer Michiel Huisman and Jessica Brown Findlay who both offer unique views of the war and post war Guernsey that is vital for the story to be told in a way that the audience will relate to, they are both excellent in knowing how to adjust their performances.

    The movie has been directed by journeyman Mike Newell who has had his share of successes, he seems to be at his best when he cares about what he is doing, here there is no doubt of that, his tenderness and thoughtfulness comes across from the outset and continues through to the conclusion which is almost heartbreaking. There have been three writers working on this movie, which it has to be said does show, an astute viewer may be able to see the cracks where the narrative does not quite marry up, teetering on coming apart but is saved with some astute editing. It is possible that there is too much plot for the running time, which is where it is weakest, but they have to remain as the narrative is structured in such a way that they are reliant on each other.

    “The Guernsey Literary and Potato Peel Pie Society” operates on a number of different levels, it is a drama as well as having comedic aspects much like many British films that fall within this genre. It is also a movie about war, how people cope as well as do not cope with being forced to deal with the possibility of death of oneself, friends or family at any time for no better reason that saying the wrong thing or being in the wrong place. It is also about how under great stress people get on with their lives making plans, falling in love, having families with the hope that things will get better. Finally it offers a small look into what bravery looks like as well as what the cost of the bravery could be even though it may lead to very real loss.

    It has to be said that this is a very charming movie that really stuck with me long after the credits rolled, it was enjoyable and is for almost anyone that likes unique fictional stories that could almost be true which speaks to the film making which is very good. I would say that like many recent British historical movies this should be added to any collection as it definitely can be viewed more than once.

    “The Guernsey Literary and Potato Peel Pie Society” is out now on DVD & Blu-ray.

     

     

  • DVD review: “The Magicians Season 3” (2018)

    DVD review: “The Magicians Season 3” (2018)

    “The Magicians: Season 3” (2018)

    Television/Fantasy

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    Thirteen Episodes

    Created by: Sera Gamble & John McNamara

    Featuring: Jason Ralph, Stella Maeve, Olivia Taylor Dudley, Hale Appleman, Arjun Gupta, Summer Bishil, Rick Worthy, Jade Tailor, Brittany Curran, Trevor Einhorn

    This month sees the release of the third season of the well received television series “The Magicians” (2016 – present) which has gone from strength to strength over its three seasons.

    Based on the bestselling novels from Lev Grossman, Syfy’s hit drama “The Magicians” centers on Quentin Coldwater (Jason Ralph) and his 20-something friends as they discover their magical abilities at Brakebills University, a secret grad school specializing in magic. While there, they come to the realization that the fantasies they read about as children are all too real, and unwittingly invite a malevolent entity from the other side into their lives. Heading into Season 2, this group of unlikely heroes have been thrust into even more dangerous and unfamiliar territory, and must draw upon their novice skills to defeat a threat that could destroy the magical world itself. Driven by power, revenge and survival, they learn that those who entered the hauntingly beautiful world of Fillory will never be the same as those who leave.

    Episodes:

    1. The Tales of the Seven Keys: Quentin tries to find someone who can bring magic back; Julia explores her small, but significant gift; Eliot and Margo struggle under the hostile fairy occupation; Kady searches for a way to heal Penny.
    2. Heroes and Morons: Eliot travels to a faraway place in search of a special object; Alice runs from a monster; Quentin, Kady and Josh continue the desperate search for magic; Penny’s condition worsens.
    3. The Losses of Magic: Alice and visit her parents; Kady and Julia explore new methods to heal Penny.
    4. Be the Penny: As Eliotis hunted, Quentin and Julia discover a powerful secret tied to the history of Brakebills.
    5. A Life in the Day: Julia helps Alice navigate a personal crisis; Quentin and Eliot go on an adventure.
    6. Do You Like Teeth?: Quentin faces his most formidable foe yet as Julia helps Alice with a dangerous endeavor.
    7. Poached Eggs: Margo makes a bold stand against the Fairy Queen. Quentin and Penny try to retrieve a lost item.
    8. Six Short Stories About Magic: Julia and Fen investigate a dangerous group of Magicians as Eliot and Margo’s reign is challenged.
    9. All That Josh: Quentin, Kadyand Alice try to convince an old friend to return home.
    10. The Art of the Deal: Quentin and Alice search the castle for an important object while Julia and Fen work with an enemy.
    11. Twenty-Three: The group strategizes as Josh and Julia travel to a familiar place and are given a chance to help.
    12. The Fillorian Candidate: The political situation in Fillory comes to a head. Julia makes amends and Alice makes a confession.
    13. Will You Play With Me?: The group finds what they’re looking for and attempt once and for all to get magic.
  • DVD/Blu-ray review: “Kodachrome” (2017)

    DVD/Blu-ray review: “Kodachrome” (2017)

    “Kodachrome” (2017)

    Drama

    3-stars

    Running Time: 100 minutes

    Written by: Jonathan Tropper

    Directed by: Mark Raso

    Featuring: Ed Harris, Jason Sudeikis, Elizabeth Olsen, Bruce Greenwood, Wendy Crewson, and Dennis Haysbert

    Ben: “We’re all so frightened by time, the way it moves on and the way things disappear. That’s why we’re photographers. We’re preservationists by nature. We take pictures to stop time, to commit moments to eternity. Human nature made tangible.”

    Is there any more genre of movie more revisited than the road movie? It is not only a genre unto itself but is also a sub-genre of every other master genre in existence. The very idea of a road movie is to prove the adage that it is the trip that is the aim of any journey not the final ending place – something that anyone who has ever been on a trip can agree with. So now we have the new film “Kodachrome ” (2017) arriving in cinemas today, which really does set out to prove that point as well as taking a rather myopic journey through a standard father and son relationship that begins rocky but of course as you would expect ends with some measure of understanding and closure. To say that within a few minutes of the film beginning that any canny audience will be able to work out the broader details of this movie is an understatement. I am not discounting the value in familial relationships as well as the damage that can be caused by unthinking parents as well as resentful children but does every second drama that is produced have to be about this as well as the healing process that families can go through. As with many of these types of movies, of which there are plenty, there is a mixture of drama and comedy as well as a scenic trip through parts of the US that are made to be filmed as well as endless montage sequences that fill out the running time. As with many movies that follow a broad outline of other movies if you are going to produce one then there had better be something unique to identify it as well as sperate it from the crowd. The question is does “Kodachrome” succeed or fail on this point, or is it just another father and son story with good intentions?

    “Kodachrome” is based on a magazine article (am increasing trend over the past decade or so) which has been adapted by Jonathan Tropperwho has had some success on television as well as theatrically but I would say that his understanding of real relationships fall into a fantasy category which I believe his work speaks to, he does not write about how relationships are but how they are on television and in movies. The director of this movie is relative newcomer Mark Raso who seems to have been able to bring the skill required to take what is in the screenplay and make it visual along with his actors who seem to be inhabiting their roles the best they can.

    The movie revolves around a wayward, world-famous photographer dad, Ben (Ed Harris), and his distant music-exec adult child, Matt (Jason Sudeikis), who is on the verge of being fired from his label. That his father is in the last stages of liver cancer and has only months to live make the mission they embark upon all the more fraught. At issue are four mystery canisters of Kodachrome film that Ben, as analogue as they come, has just discovered and he wants to get them developed in order to put on one final exhibit of his work. But the only photo lab that still processes Kodachrome is located in Parsons, Kansas—and it is just days away from closing up shop.

    There are three main cast members that make up the film, which is headed up by the great Ed Harris who seems to be fitting into ‘old man’ parts as he gets older, which is a shame as he is a person that really grew into acting as his career went from strength to strength. The kind of role he is playing here is one that will be familiar to anyone that has ever been to the movies, that is the estranged father who is now dying of cancer, needing to reach one last milestone or make one last attempt at something he failed to do during his life. The cast is rounded out by Jason Sudeikis and Elizabeth Olsen as the son and Ben’s nurse, all three have excellent chemistry as well as extensive experience so this film for them is not testing at all, there is little challenge in these roles, they are archetypical roles that are expected in a movie within this familial genre. Along the way the three encounter various characters either related or not, portrayed by some great character actors Bruce Greenwood, Wendy Crewsonand Dennis Haysbert. To be honest I enjoyed these minor characters more than the main characters, maybe because I was a little distracted and bored by the narrative as well as the plot.

    There is no getting away from the title of the movie, “Kodachrome”, which refers to the undeveloped film that the characters are on the way to develop. It is a wise decision to frame the family drama around the trip to develop the film, (no pun intended) as it is of course a meta narrative – a film about film made on film. Unfortunately this is where the inventiveness ends, as, like the story itself the metaphors and references are very heavy handed as well as preachy to the point of missing its own narrative arc. We are asked to go on a physical as well as a metaphorical trip with the main cast that also asks us to dip into melancholy as well as nostalgia. Focusing on the nostalgia angle for a moment we are asked to associate the loss of physical film with the loss that the father and son will be going through as well as what they have lost over the intervening years which is a cheap manipulation of the audience, something that should be earned within the narrative not associated with some other action or thing. As I said it is cheap manipulation, something the director should have addressed as to bear in mind the subtly required of this movie. Of course the flaw with linking emotion to what is, a redundant technology is assuming that people know about the movement away from film, that they actually even care about that move at all. Like this film the knowledge of that move does not really matter because the fact that this movie was even filmed on physical film will be missed by the audience, they will not even know about it, except for the title at the end that informs us it was indeed on the old medium, but really does it matter and who cares?

    There is some drama as well as some humour within this film, but like many recent bigger movies that have failed this year, I am looking at you “Solo” (2018), as soon as the credits roll you might have trouble remembering what this movie was about as well as what was the overriding themes, and where did I park the car? This may have been a more succefful movie in terms of quality if one story were picked and that was delved into to give the movie an anchor, some meaning and finally some real entertainment. There is a very real importance to the move to digital from film, this may have been a great way to inform people about this, instead of mixing it up and using it as a truly mixed (and redundant ) metaphor.

    Kodachrome
  • DVD/Blu-ray review: “Rick and Morty: Season 3” (2017)

    DVD/Blu-ray review: “Rick and Morty: Season 3” (2017)

    “Rick and Morty: Season 3” (2017)

    Animation/Television

    images

    Ten Episodes

    Created by: Justin Roiland and Dan Harmon

    Featuring: Justin Roiland, Chris Parnell, Spencer Grammer, Sarah Chalke

    Rick: “Sometimes Science is More Art than Science, Morty. A lot of people don’t get that.”

    “Rick and Morty” (2015-present) is an animated television series that follows the misadventures of cynical mad scientist Rick Sanchez and his good-hearted but fretful grandson Morty Smith, who split their time between domestic life and interdimensional adventures.

    Season three picks up after Rick manages to escape and force the Federation out of Earth. Jerry wants Rick removed from their lives, so he asks Beth to choose between him and Rick. Beth chooses her father and Jerry leaves the house. While Jerry struggles to manage his new life, Beth uses her time away from her husband to discover her independence again, but she finds herself in an existential crisis. The children handle their parents separation by making an effort to determine their own lives. Morty begins to frequently defy Rick in their adventures, while Summer shows a darker side of herself. Despite his success in driving his son-in-law away from the house, Rick remains unable to bond with his daughter and his grandkids. This makes them realize how much they need Jerry, who is eventually welcomed back to the family.

    Episodes:

    1. “The Rickshank Rickdemption”: Rick is interrogated via a mind-computer link, inside a galactic federal prison. Summer and Morty attempt to rescue him but they are captured by SEAL Team Ricks, who take them to the Citadel of Ricks and decide to assassinate Rick. Back at the prison, Rick tricks both the federal agents and his aspiring assassins by switching bodies with them. He then teleports the entire Citadel into the federal prison, prompting a massive battle. Amid the confusion, Rick rescues Morty and Summer, and uses the Galactic Federation’s mainframe to make its currency worthless. The Federation falls into chaos and collapses as a result, with the aliens leaving Earth. Rick, Morty, and Summer return home where Jerry gives Beth an ultimatum to choose between him and Rick. Beth chooses Rick and the couple decide to get a divorce. After the new status quo is established, Rick reveals to Morty that his ulterior motive was to become his de facto male influence.
    2. “Rickmancing the Stone”: Rick takes Morty and Summer to a post-apocalypticversion of Earth, where they are chased by a group of scavengers, known as Death Stalkers. Rick notices that the group is carrying a valuable rock of Isotope 322, so he and the kids join them in hope of stealing it. Summer falls in love with the Death Stalkers’ leader, while Morty is given the strength of a giant arm, which takes him in search of its previous owner’s killer. Rick leaves and replaces the kids with androids to fool Beth. When he returns, he helps the Death Stalkers use the Isotope to power a more advanced civilization. Summer does not like how the change softens the Death Stalkers, and she decides to follow Rick and Morty back home. Before leaving, Rick steals the isotope. The experience helps the kids overcome their parents’ divorce. Summer reconciles with Jerry, and Morty realizes he must live his own life.
    3. “Pickle Rick”: Rick turns himself into a pickle to get out of attending a school-sanctioned family therapy, but Beth takes Rick’s serum which would revert the transformation. Left alone, Rick eventually rolls into an open sewer drain, where he manages to manipulate the nervous systems of dead roaches and rats to build himself a mobile exoskeleton, with added weapons such as razors and drills. He unwittingly escapes into a foreign government agency. The guards try to kill Rick, under orders from the agency director, but Rick kills them all. In the process, Rick battles and ultimately befriends a prisoner named Jaguar. Rick changes his mind and decides to attend the therapy session, arriving towards the end. Dr. Wong gives her diagnosis, observing that Rick crafts relationships that punish emotions and vulnerability. On their way home, Rick apologizes to Beth for deceiving her and uses the serum to turn human again. Morty and Summer wish to continue seeing Dr. Wong, but Rick and Beth ignore them.
    4. “Vindicators 3: The Return of Worldender”: At Morty’s insistence, Rick agrees to join the Vindicators, a group of intergalactic superheroes, to fight their archnemesis, Worldender. Rick cannot hide his disdain for the superheroes, while Morty is thrilled. The next morning, the Vindicators enter Worldender’s base, only to find that, the previous night, Rick had killed him and set up a variety of puzzles that the Vindicators must solve to survive while he was blackout drunk. They start arguing and kill one another, while Morty solves all the puzzles, as he knows what Rick had in mind when he put them up. After all puzzles are solved, the only ones left alive are Rick, Morty, and Supernova, who is a member of the Vindicators. Supernova tries to kill Rick and Morty, but before she can do so, the three of them are transported to a party that Rick also set up while blackout drunk, where she gets away”.
    5. “The Whirly Dirly Conspiracy”: To bolster Jerry’s self-esteem, Rick takes him on an adventure at Morty’s request. They visit an otherworldly resort within an immortality field so Jerry won’t be harmed while away. Jerry encounters Risotto Groupon, an alien who blames Rick for his kingdom being usurped. Risotto enlists Jerry in a plot to kill Rick, but Jerry backs out after Rick apologizes for ruining his marriage. Meanwhile, Summer deals with self-esteem issues as well. Her boyfriend, Ethan, leaves her for a larger-breasted girlfriend, and Summer attempts to enlarge her own breasts using one of Rick’s devices. Her aim is off, and she grows to bizarre proportions. Morty wants to call Rick for assistance, but Beth refuses. Arrogantly trying to prove her own self-worth, Beth repeatedly fails to fix the problem and is tricked into releasing three tiny technical support workers that were trapped inside the machine. Once Morty figures out how the machine works, he restores Summer’s size and spitefully uses it to deform Ethan in an act of vengeance.
    6. “Rest and Ricklaxation”: After a six-day outer space adventure that leaves them on the verge of psychological collapse, Rick and Morty decide to spend some time at an alien spa, where they use a machine that extracts a person’s negative personality traits. However, without Rick and Morty knowing, those traits are transposed into toxic physical counterparts, characterized by Rick’s arrogance and Morty’s self-loathing. On the other hand, the true Rick becomes more considerate, and Morty’s confidence soars, which allows him to start dating girls. Toxic Rick uses a moonlight towerto remake the whole Earth in his own image, but the true Rick reverts the situation by merging back with him. Morty avoids merging back with his toxic counterpart and goes on to live a life as a stockbroker in New York City. Rick tracks him down with the help of Jessica, Morty’s classmate, and restores order by re-injecting the negative personality traits into him.
    7. “The Ricklantis Mixup”: As Rick and Morty adventure to Atlantis, the episode shifts focus towards the Citadel, a secret society populated by numerous versions of Ricks and Mortys. There, a group of Mortys journey to a portal to have their wishes granted; a novice police officer Rick starts working with a veteran police Morty to take down drug dealers, and a worker Rick revolts at a wafer factory, where the key ingredient is extracted from a Rick hooked up to a machine to re-experience his best memories. Meanwhile, an election is held for the new president of the Citadel. Despite being the underdog, the Morty Party candidate manages to secure the presidency. When his campaign manager receives information that the new president is in fact Evil Morty from the first-season episode “Close Rick-counters of the Rick Kind”, he attempts to assassinate him but he fails. Evil Morty orders the execution of a shadow council of Ricks and anybody else he considers a potential threat to his rule.
    8. “Morty’s Mind Blowers”: After Morty requests to have a traumatic memory deleted, Rick reveals a room where he has been storing a number of memories he has removed from Morty’s mind. However, as it turns out, besides the memories that Morty did not want to keep from their adventures, the room also contains memories in which Rick was made to look foolish, so he had them forcibly removed from Morty. This revelation prompts a fight, during which Rick and Morty have their memories accidentally erased. Morty scours the memories around him to replace the ones he lost, but he is displeased with the truth he finds, and convinces Rick that they should kill themselves. Summer enters the room moments before they commit suicide. At this point, it is revealed that Rick has a contingency plan should this happen. Following written instructions, Summer tranquilizes Rick and Morty, restores their memories, and drags them to the living room. Rick and Morty wake up on the couch, believing that they slept through an entire “Interdimensional Cable” episode.
    9. “The ABC’s of Beth”: Rick and Beth enter Froopyland, a fantasy world created by Rick for young Beth. Their goal is to recover Tommy, Beth’s childhood friend who has been trapped in Froopyland, and prevent the execution of his father, who is being falsely accused of eating him. Tommy, who has survived all these years by resorting to bestiality, incest and cannibalism, refuses to return to the real world. Rick and Beth manage to save his father’s life by creating a clone of Tommy. Back at home, Beth is presented with the option of having a replacement clone of her created, so that she will be free to travel the world. Meanwhile, Jerry dates an alien hunter named Kiara, to Morty and Summer’s dismay. When he decides to get out of the relationship, Kiara is enraged and tries to kill the kids, whom she holds responsible. The situation is resolved following the revelation that Kiara was using Jerry to get over her previous boyfriend.
    10. “The Rickchurian Mortydate”: The President calls on Rick and Morty to defeat a monster in the tunnels underneath the White House, which they do with little effort. Annoyed that he constantly calls on them without any gratitude, they go back home, with the President quickly finding out. The resulting argument leads to a battle of egos that culminates in a fight in the White House between Rick and the President’s security. Meanwhile, fearing she might be a clone made by Rick, Beth reunites with Jerry to figure out the truth. Shortly after, the entire family gets together to hide from Rick, but he tracks them down. Rick eventually submits to Jerry once again being a family member. Rick ends his conflict with the President by pretending to be Fly Fishing Rick, a Rick from a different reality, and calling a truce. The episode ends with the family happy to be together again, except for Rick who is disappointed about losing his dominant position.