Film Review: Asteroid City (★★★½)

(I will be using the 4 star system for my review, as in everything is rated out of 4 rather than the 5 you might be used to…. just a heads up)

If ever a director could be described as an auteur with their own distinct style, Wes Anderson would be right up there as someone deserving of that title. Asteroid City is potentially Anderson leaning into his “isms” more than any of his previous films. At first it comes across as overly self-indulgent, confusing and at times even a little off-putting, but the more you sit with what he’s really trying to say, the more you realise this is actually Anderson at his most introspective and the film where he potentially has the most to say about the creative process. Anderson want’s our imaginations to run wild, for us to dream whatever dream we can, but before we do that we have to allow ourselves to delve into that headspace. As his cast chants; “You can’t wake up if you don’t fall asleep.”

Asteroid City is a meta-tale, following the story of a TV show telling the story of a play that tells the story of extra-terrestrial events reeking havoc on the itinerary of a 1995 Junior Stargazing competition, all whilst the families of the candidates and the small number of residents of the titular town reckon with what all of it means in the context of their own lives, problems and situations.

Yes, that is quite the plot summary, but it hopefully accurately depicts the “story upon a story” nature of the way Anderson has chosen to tell this narrative. It’s both the film’s greatest strength and it’s greatest weakness. Initially it is quite arresting. You’re expecting the usual colours and vibrancy to hit you in the face from the get go but instead we’re transported to a black and white screen and a rather dapper looking Bryan Cranston telling us this isn’t the story we might have been expecting. Therefore the issue the film has to wrestle with is that it is almost instantly quite complex, knowing where we are in the story can then be quite difficult to follow and becomes a little frustrating. As we bounce between different layers of the story, keeping track of each tale and which character is truly which becomes more laboured than it needs to be. Anderson is enjoying himself but it would be fair to acknowledge that any criticisms of this being one of his most self-indulgent films are hard to argue against. Fortunately, Anderson sticks the landing. It is understandable that this film really might not be for everyone but as we truck along to its conclusion, Anderson manages to tie in all the random notes and anecdotes into something genuinely affecting with something moving to say on the nature of creativity and how an actor truly understands the depth of the character they’re attempting to play. It’s certainly pretentious, yes, but sometimes a little pretention didn’t hurt anyone and can still lead us to some truly touching moments. The complex narrative and multi-layered, meta nature of the film definitely makes Asteroid City a less enjoyable experience at times but overall it serves to further the questions the film is asking about the nature of creativity in a way that will have you thinking long after you’ve left the cinema screen. Although maybe this review is starting to fall into Anderson levels of pretention too… Regardless, for the most part Anderson’s directorial and written work, alongside Roman Coppola, is a success and it’s still very good to see auteurs being allowed their space to create something truly different.

Any Wes Anderson film, however must also pay homage to his technical collaborators that help create the wacky worlds that pour out of his unusual imagination. This is another, expected, example of excellent production and set design. This is often the case with Anderson films, he loves to find ways to create obscure worlds and quirky places and Asteroid City, a small place built around a crater where an asteroid fell many years ago, is another spectacularly cooky town. Adam Stockhausen continues his wonderful collaboration with Anderson then, having been nominated for many awards for their previous work, it would be a strong snub if Stockhausen was not recognised again here. Colourful and vibrant, yet with every last detail set perfectly in to place, it’s a feast for the eyes, especially for anyone who enjoys symmetry and order. It would be fair to say this style is not for everyone but we can probably all agree that there feats in creating these worlds are still something to be marvelled at. Kris Moran’s set direction must also be given it’s fair dues for supporting this wider wonderful vision, especially as each level of the story feels distinct in it’s own right, whilst still maintaining the required style.

It’s also delightful to see Robert Yeoman continue his terrific cinematographic work with Anderson. These are two creatives who fully understand each other and Yeoman’s ability to work so wonderfully with all the classic Anderson shots is that of a true expert who has mastered their particular craft. There are lots of flashy dolly, tracking, panning shots as well as all the others we’d usually expect, but that shouldn’t discredit Yeoman from the work he does to support the melancholy that permeates so much of this movie. The lingering on the sad, defeated faces of the film’s stars, the empty space the camera allows us to spend a moment in, those are the true brilliant technical and yet moving works that Yeoman and Anderson have worked together on. It’s that underlying sadness and sense of feeling lost that really brings out the film’s most relatable aspects. Yes it’s fun to watch and very funny at times, but we even when they act like no human any of us know on the planet, we can still understand the pain surrounding many of those in the main roles, as well as some of the strong supporting performers. With Anderson you’ll always get a feast for the eyes, but he is at his most successful when he attempts to evoke emotion in your soul too.

If you know Anderson’s body of work, then you’ll know of his ability to obtain a large, talented cast and Asteroid City is no different. This could, however, be considered one of the best performances of one of his favourite collaborators, Jason Schwartzman. He’s often shown up in little moments recently, or we may be more aware of his comedic work but here he brings a leading presence that stands out. We see the pain of tragedy behind his eyes, even if they way he converses does little to show the true emotion boiling up beneath. Especially considering the dual nature of the character Schwartzman plays, we see honesty in both settings. Whether reckoning with how to play such a confusing character or allowing us glimpses of that character’s repressed sadness, evident in both is that these are both men trying to understand how to create and relate in a world that no longer makes sense or feels worth it. This is a performance to be cherished.

He’s not the only one providing such solid work either. Another particular standout is Scarlett Johansson. Her famous actress and yet mother of a genius character is feeling the same pain of Schwartzman’s; thus it is their scenes that most show the underlying sorrow running through this movie. She plays beautifully off of Schwartzman and you’ll yearn for their scenes. Margot Robbie does a similar job in her cameo and shows her ability command the screen if when her time on it is so short. That scene will stick with you. A lot of the usual characters provide the solid work you’d expect, Cranston and Norton in particular helping to also lead us through the many concurrent stories we’re watching. But the main supporting performance of note is one of the better recent turns of Tom Hanks. As an older, pained patriarch trying to understand how to deal with tragedy and support his grandchildren it’s not the showy performance we might expect, and yet we feel for him. It’s an excellent turn and another that will hopefully be noticed in his extensive cinematic lexicon.

Another real positive here is the performances of the younger characters. The genius, junior stargazers form a small friendship group. Initially strange, their willingness to hang out with people who finally understand them and some of their giving in to the same teenage angst as anyone else their age would, is a wonderful little series of vignettes in the wider wackier, partially intergalactic tale hurrying along in front of our eyes. It would be lovely to see some of these young actors continue to collaborate with an auteur their assured performances show they clearly understand.

Asteroid City may not be for everyone, it truly is Wes Anderson at some of his most Wes Anderson, but if you can get past the quirky and view the quiet melancholy and pain underneath you might just find yourself moved more than you would have expected. Yes the film can be confusing but it’s visually arresting and has some of Anderson and Yeoman’s must stunning frames put to screen. Close your eyes, fall asleep, dream, imagine, and wake up and experience something as frustrating at times as it is enjoyable.

Film Review: Fast X (★★½)

(I will be using the 4 star system for my review, as in everything is rated out of 4 rather than the 5 you might be used to…. just a heads up)

“Thats the problem with having such a big family. How do you choose the ones you save?” A quote about family might seem all to familiar in a movie of this franchise but it might be one of the most interesting questions a character has asked so far. This is especially true when it comes from an unexpectedly chaotic force of nature that you genuinely believe poses the biggest threat to the previously mentioned family we’ve seen yet. After stalling a little recently, Fast X moves these films back into gear with a Jason Mamoa sized jolt.

Fast X continues the story of Dominic Torretto and the family he’s built and cares so much about. When a new a antagonistic player joins the fold, he threatens to upturn the lives of everyone involved with the Torretto clan and puts everyone we’ve come to know and love from this group of films in grave danger. So who will Dom choose to save?

That’s the question that permeates the entire film and in the scene the line is uttered it might potentially be the first time we’ve seen Dom truly fearful in quite some time. That fear is induced due to the star performance of this film, Jason Mamoa as Dante, an agent of chaos, hell-bent on instigating as much pain as he can on anyone involved with Dom. Mamoa has shown previous ability to provide a fearful presence, especially through his work as Khal Drogo in Game of Thrones, but after a few more comedic, less nuanced performances, mostly as Aquaman, I, for one, had forgotten how menacing he can be. Here, Mamoa is having the time of his life chewing as much scenery as he possibly can. Whether it be Rome or Rio, Dante brings a menace that is more than one would expect for a movie in this franchise. Yes, there is a campy element to the performance that holds it back from being something like Heath Ledger’s Joker in The Dark Knight but there are hints of that joy in chaos that are reminiscent. Whilst other elements of the film are bogged down in classic tropes of the franchise, Dante is a breath of fresh air and a worthy adversary if this is to truly be the end of the Torretto stories; as is currently expected. This is the kind of performance that makes you want to see Mamoa try some more serious, dramatic fair; there is a real sense here that there is untapped potential in the intimidation he can bring to the table. You’ll spend a lot of the film just waiting in anticipation for the next moment he appears on screen.

Unfortunately that’s partly because, outside of Mamoa, the film would be lost in barely covering any new ground from previous instalments. You’d really hope this film would throw a few curveballs, a few unexpected twists and turns like the best racetracks around the world but unfortunately you’ll feel a bit more like you’re watching something akin to Nascar. Yes it has it’s exciting moments but these cars just keeping driving round the same bends, in circles over and over again. Therein lies the major issue of Fast X, quite predictably, the writing. When you’re on the 10th film of a franchise it must be quite difficult not to fall into the same themes and types of scenes that the fans are used to getting but you’d hope they could be a bit more original and bring some newer more interesting elements. Instead we get the same overly dramatic prose about the importance of family and eye-roll worthy bombastic lines or puns about the increasingly less-important cars the characters zoom around in. Previous characters are just replaced with someone doing the exact same thing or a lot of the time they just bring a character back that we should never have been stupid enough to believe was gone from the franchise anyway. It’s a cameo-fest, that while fun to play Fast and Furious bingo with, becomes overly indulgent as the film continues on.

Another regrettable aspect of the poor writing is that we have a number of characters side-lined and not given much to work with. In particular Nathalie Emmanuel, Tyrese Gibson, Ludacris and Sung Kang have a very nothing storyline that you’ll likely fast forward if you want to ever rewatch this movie. It’s unfortunate as sometimes these characters can provide some really fun comedy moments and eek out the odd laugh here or there; but here they’re given very little to work with. The jokes in their storyline fall flat at times, even if they provide a welcome lighter mood at times. Han also has some dramatic elements to his character that could have been used but are either ignored or far too easily and swiftly resolved to provide much interest. We know these guys could do more with better material so it’s sad to find their sections a little boring. Something similar could be said for Brie Larson’s turn as essentially a replacement for an absent Kurt Russell. She’s one of the most talented actresses working right now from turns in a personal favourite of mine in Short Term 12 to her Oscar winning role in Room, so she deserved the money she’ll be making here. Unfortunately, as, to be fair, to be expected for one of these films, the writers or director had little to no idea of how to work with her prodigious talent; at least she looks like she’s having fun beating up bad guys when she gets the chance to.

The closer to Dom’s immediate family we get, the more we see for each character. Michelle Rodriguez puts in her usual solid work as she spends a lot of the film away from the rest of the family. You can always bank on her ability to play the badass and she continues to do that here, even if the writing, like a lot of the rest of the film let’s her down a little. She does however play off of Charlize Theron fairly well and with a cameo coming towards the end of her section of the story it will be interesting to see where Letty goes. As Dom’s siblings we get to see Jordana Brewster and John Cena have some fun interacting more, although we’re mostly given John Cena moments. It’s actually quite a fun performance from Cena, he’s not as convincing in the melodramatic scenes he gets, but when he gets a chance to bring energy, humour and some heart-warming scenes with Dom’s son, (Leo Abelo Perry providing the kid acting you’d expect fairly well) he has times of being a breath of fresh air when the film teeters on the edge of becoming a little stale. Newcomer Daniela Melchior bring some intrigue as a new, important character but you’d have liked to see more after her great work in Suicide Squad. At times it feels like they wanted to grow the family more and more here, a nice sentiment, but it does overstuff the movie at times.

Of course we cannot forget Vin Diesel when talking about the performances of Fast X. Dom gets the large amount of screen time you’d expect and for the most part Vin Diesel is fairly decent. The usual growls and grunts are a familiar aspect and it wouldn’t be a Fast and Furious movie without them. There’s nothing here that elevates him from any of the previous films however and at times Mamoa’s aura can outshine Vin Diesel; especially as Dominic Toretto has never been a character with a great range of emotion. His performance, though, is never a detriment to this film.

The obvious technical achievement of Fast X, is the excellent sound work. They have done brilliantly here to make us feel every gear shift, hand break turn and nitro boost. It really is an incredibly immersive aspect of this movie that shouldn’t be underestimated. Apart from some nice shots of Rome the cinematography is nothing much to right home about but it’s in no way really bad at any point; it’s just that the usual shot tracking the behind of certain models at parties will produce eye-rolls that we’ve not moved past these kinds of shots yet. The director, Louis Leterrier, has really not brought much new here, other than allowing Momoa to go crazy. Visual effects are mostly fine, if sometimes a little lacklustre but otherwise everyone isn’t really being challenged to bring anyting new or interesting technically here.

Elevated by chaos king, Jason Momoa, Fast X ends up being one of the more interesting recent films in this franchise, but the writing ultimately still leaves a lot to be desired. It’s only the surprise of Momoa that prevents this film from adding to an increasing collection of tired turns as these supercar films accelerate towards their inevitable end of the road. Hopefully the next one will continue to utilise him for a satisfying conclusion.

Film Review: Spider-Man: Across the Spider-Verse (★★★★)

(I will be using the 4 star system for my review, as in everything is rated out of 4 rather than the 5 you might be used to…. just a heads up)

There is a pivotal moment in this wonderful film where Miles, struggling against the weight of a growing isolation from the acceptance he craves, defiantly states, “Nah, I’m gonna do my own thing.” It’s a powerful cry of resistance in the context of the film but it’s also a great explanation of the beauty of this movie. Endlessly creative, artistically stunning and yet emotionally weighty; Spider-Man: Across the Spider-Verse is one of the most brilliant works of animation ever made and a shocking improvement on it’s already excellent predecessor. It does it’s “own thing” as one of the most unique, exciting, arresting works of animation the artform has ever seen.

Spider-Man: Across the Spider-Verse follows Miles Morales, now a year into his work as the friendly neighbourhood Spider-Man his New York City needs. After an encounter with an initially, seemingly “villain of the week” level antagonist Miles is thrust across the multiverse as he learns what the true fate of any Spider-Man is destined to be and he attempts to re-write that inevitable tale of pain and sacrifice.

This really is an excellently creative work of animation. It’s predecessor, Into the Spider-Verse, was already a film that felt new and different and could be applauded for the way it used multiple different animation styles but Across the Spider-Verse takes those ideas and multiplies them by infinity. The mix of so many different animation styles must have been an extremely tough and extensive undertaking but it was well worth it. Not only is it a technological marvel to create something so intricate but the film uses this in a beautiful way. At times the use of different colours and styles is nothing short of absolutely breath-taking. Each new world is not only distinct but distinctly beautiful, popping with vibrancy and colour and imagination. It’s astonishing how the inventive minds of all the animators and any one who worked on the visuals of this film has created something so imaginative. There’s so much to take in that at times the fast pacing of the movie, barrelling through its over 2 hours run time, can become frustrating. Not in a bad way but you just want to find as much of the detail in each frame that you can. In particular the “home universes” of Gwen and new character Pavitr Prabhakar are two brilliant highlights. The mix of hues of different vibrant and coruscating colours only work to draw us more and more in to Gwen’s world and story; whilst Prabhakar’s version of Mumbai has an excellent pop-arty style that flashes wonderfully across the screen. This is also contrasted brilliantly by the styling’s of Spot. To avoid spoilers I will not go too much into depth on this but the small almost handwritten looking details in the darker parts of his character are a wonderful contrast, black and white striking out a wonderful world of colour and creativity.

If you’ve seen this film you really could wax lyrical endlessly about the beauty of it’s animation and the enterprising way it brings the possibilities of the artform forward. However that would be to the detriment of the other outstanding positives attached to this work; namely the eminently emotionally innovative ways it tells an affecting and relatable story. We’ve all felt isolated at some point, like we don’t belong. If Into the Spider-Verse is a story of Miles proving his ability and worth as the friendly neighbourhood superhero, Across the Spider-Verse is a story of Miles gaining the confidence that no matter what anyone says, he is worthy of the mantle. It’s an impactful tale, that speaks to the moments all of us have felt like we don’t belong, and learning that what other people think isn’t always the definitive truth; ultimately it’s the next step in a coming-of-age story all of us have muddled through just like Miles needs to here.

It doesn’t exactly help with the whole muddling through growing up when you’ve got a crush either though. Miles and Gwen’s burgeoning romance and they’re already established friendship is a lovely element to this film. It bring warmness to your heart as you see them swing through the Big Apple and find comfort in each other, a little lean in on the shoulder one of those moments you don’t forget. We’ve seen first love done many times before but there’s a realness and niceness about the slow-burning way through friendship that Spider-Man: Across the Spider-Verse is telling this story.

This is a film of numerous thematic elements and one of the best elements here is the philosophising of whether we can change our destinies or we’re all just on a one way path to grief, pain and sorrow that we can never escape. Yes, it’s deep and emotionally complex for an animation, but that really makes it standout in this genre. The antagonistic nature of Miles and new character Miguel’s relationship serves terrifically to tell this story in an interesting way even when we’ve faced it before. Multiverse stories are riddled with questions of if you can use this different world and diverging paths to bring about different possibilities to avoid pain and sorrow or fix what has already been wrought upon certain character’s souls. Across the Spider-Verse deals with this in an emotionally impactful, non-confusing way; there is a love at the heart of its questions and answers that is reminiscent of Everything Everywhere All At Once that maybe other films in this multiverse trend have lacked a little. Extreme credit must be given to the writers Phil Lord, Christopher Miller and David Callaham for their excellent work on this script, as well as the way directors Joaquim Dos Santos, Kemp Powers and Justin K. Thompson use this to drive the film confidently and in a way that is touching to anyone who watches it.

There is a lot of excellent voice work here too, that only serves to further the intended emotions and impact of this movie. Shameik Moore brings all the youthful exuberance and earnestness of the first film, as a teenager still discovering himself but there’s an aging that happens through the film. More and more Moore presents us with a Miles who is less and less innocent and now more defiant. His handling of humour and drama lead the film extremely well. Gwen is almost if not actually a co-lead here and Hailee Steinfeld gives a great performance here too. She has an Oscar nomination so we know she can bring strong feeling to a performance but the pain we here in her voice throughout as events play out is one of the main ways we as an audience access this story even more so than the last, at times she is the heart of the film.

This is an extremely good ensemble however and you could talk about so many of the different voices and cameos. Oscar Isaac’s Miguel is a real standout; his authoritative tone, filled with previous pain and anger is, arresting in what has previously been a mostly fun tone. It’s an astute addition, growing up this film in a way that bring us as an audience along with the change in tone of this movie compared to the last. Sold return work is provided by Brian Tyree Henry and Lauren Vélez as Miles’s parents and Jake Johnson as the alternate Peter Parker we loved from the previous film. In particular Johnson’s everyman style provides some of the more touching and funny moments in the movie.

There are however 3 newcomer standouts. Jason Schwartzman, a veteran of Wes Anderson, provides a great performance as Spot, both funny and scary in equal measure, it’s a surprising turn but steps out of the background to really capture our attention. Daniel Kaluuya’s Spider-Punk and Karan Soni’s Pavitr Prabhakar, provide tons of laughs but also depth and are very much welcome additions to the new main gang of the film. There are many more great examples of voiceover work here from actors like Andy Samberg and Issa Rae for example and the use of cameos is great in a way that doesn’t become too much or eye roll worthy as we race along. It’s another large strength of the film.

There are very few issues with this movie, only really that the film is not massively for a newcomer. As a sequel you need to have seen the first one and you need to pay attention because this film isn’t going to wait for you. It’s extremely fast-paced but still has times for some lovely quiet moments as well.

Both the score by Daniel Pemberton and the soundtrack curated by Metro Boomin are excellent as well. Pemberton has a wonderful ability here to mix the different themes of each character into powerful crescendos that only serve to further the experience of the film and raise the stakes. The songs throughout are also brilliant, whether we’re web-slinging through New York, chilling reminiscing about seemingly lost loves or barrelling through many multiverses, this soundtrack drives us through, collating many different musical stylings that still mesh together wonderfully. Standouts include “Mona Lisa” by Dominic Fike and “Hummingbird” by Metro Boomin and James Blake. You’ll be listening to the album on repeat as soon as you leave the cinema.

So often “bigger and better” attempts with sequels can fall flat on their face, but fortunately it’s a mantra that Across the Spider-Verse takes to the extreme in a truly marvellous way. It raises the bar not only for superhero films but any animated film too, as a standout piece in the artform. Thrilling, exhilarating but powerful in equal measure you wont be able to wait to see the end of the trilogy, not just because of the magnificent cliff-hanger, but because it threads the needle as both a superhero and animated film in a way we’ve never seen before. The last movie asked us to take a leap of faith, but here, just like Miles, it proves itself as an excellent film tremendously.

Film Review: Guardians of the Galaxy Vol. 3 (★★★½)

(I will be using the 4 star system for my review, as in everything is rated out of 4 rather than the 5 you might be used to…. just a heads up)

The ethos of the Guardians of the Galaxy trilogy has always been, fun, family and “I love you guys” and after this 3rd volume of their fabled story it’s likely you’ll really want to say that back to the screen. Guardians Vol. 3 is fortunately a satisfying conclusion to Marvel’s favourite intergalactic group of kindred spirits. They might not be the perfect classic superhero group but that’s always made them a little more lovable and their exit, although mostly brilliantly executed, does come with a small sense of bittersweetness. It’s time for someone else to protect the galaxy.

Guardians of the Galaxy Vol. 3 follows the Guardians as their newfound relative peace on the planet of Knowhere is rudely interrupted and one of their group ends up in unexpectedly grave danger. The Guardians must travel across the galaxy they’ve sworn to protect to save one of their own, all as they reckon with the impact of “The Snap” and the confusion and sadness left in its wake.

It’s hard not to view this film through the lens of the real-world facts that have clearly influenced it. Namely the exit of James Gunn from the Marvel Cinematic Universe and the implication that this truly is the end of the Guardians of the Galaxy story. Fortunately this intergalactic space adventure sticks the landing. Whether it’s the emotional reveal of Rocket’s past, the grief of Quill at the loss of the Gamora he knew or the rest of this family trying to figure out their place in the universe, Gunn doesn’t hold back in exploring numerous heavy themes, all whilst still providing the same laughs-per-minute ratio of previous instalments. Gunn’s confidence in his knowledge of these characters and their motivations and his keen understanding of the classic Guardian’s tone is the glue that makes this film work so well after a few arguable misses for the Marvel Cinematic Universe recently. The decision makers at Disney will likely be kicking themselves that they let Gunn cross the street to DC. Regardless, he has clearly given everything to try and make this film a resounding success. He infuses the story with some excellent, unexpected dramatic elements. He has been on record to say that he’s often seen Rocket as the lead character in the Guardian’s story and that is layered throughout this final film of the trilogy. Here Rocket is very much the heart at the centre of this universe, and Gunn’s ability to draw genuine emotion out of computer generated mutated animals is very cleverly done. Yes, using animals dealing with cruelty might be seen as an easy win for pulling the heartstrings of the audience, but ultimately this is a real connection. The friendships he shows between a younger Rocket and his fellow cellmates truly works to draw us as an audience in and further showcases the layers of trauma that have informed many of Rocket’s previous actions. This is a deeper film, emotionally, than you might expect when sitting down to watch it.

Rocket isn’t the only one going through the ringer either. Quill and Gamora’s story, dealing with the impact of the events of Avengers: Infinity War and Avengers: Endgame, is another area of this tale that Gunn deals with very well. Yes, as will always be the case in this films, some of the drama is undercut with expected humour, but ultimately Gunn is willing once again to showcase something with a bit more meat to it. Other recent superhero films have suffered from a slightly superficial approach to the required emotional moments of any story but Gunn has been able to avoid that very successfully. That’s not to say there is not some melodrama that borders on cheese, more on that later, but overall you will be glad to know that there is nothing massively problematic here and a lot more pros than cons. The other characters are given their own arcs too and nobody feels particularly short-changed here but really it’s Rocket, Quill and Gamora’s stories that have the most impact, and it’s a positive impact at that.

This works due to the well-rounded ensemble performances littered throughout the movie. It might not be the standout performance but surprisingly I really do think that Pratt provides some of the best dramatic work I’ve seen from him. Pratt has faced some criticism that maybe, while he is very talented as a comic actor, some of his attempts at more serious performances have fallen a little flat, especially in the Jurassic Park films he has recently helmed. Whether he has improved or just knows and cares about this character more than others, Chris Pratt gives a very solid performances that is at times affecting in a way we’ve not seen from him so much before. Saldana has already proven her acting chops previously but also does well here to portray a Gamora that has clear differences from her previous iteration. The way her and Quill’s story ends is satisfying in an unexpected way and both actors are able to conclude this relationship in a way that feels true to the experiences both Quill and Gamora have gone through.

Bradley Cooper has given some of the best performances of the past decade and it’s in this film that we see why he was chosen to portray a CGI racoon with a propensity for violence and amputee theft. It should never have been a question of whether Cooper can pull off comedy and drama, we’ve seen his range in everything from The Hangover to Silver Linings Playbook and A Star is Born; he has the ability to devastate and draw laughter in equal measure. His voice work as Rocket in this film is excellent. Obviously props must be given to Sean Gunn for his motion capture movement work, but it’s the levels of emotion Cooper is able to portray that really stands out. We feel Rocket’s pain thoroughly and cheer with each newfound triumph, he’s the heart and soul of this movie and Cooper makes sure to play him as such.

The ensemble provides the usual solid work we’ve come to expect from this band of misfits. Bautista plays the muscled but lovable Drax with the excellent comedic timing we’ve come to expect and Klementieff bounces of him wonderfully as Mantis too. Karen Gillan gets more work than she has done in the past as Nebula and it’s a nice surprise to see a character so at odds with the rest of this group be spotlighted in a way that makes their friendship believable, for which Gillan deserves much credit. One of the slight negatives is the lack of screentime for the talented Will Poulter’s Adam Warlock. More of a comic foil than anything else, Poulter still manages to make us enjoy any time Warlock is on screen and it would have been nice to see more of him and would have helped with his character development. The double act of Sean Gunn and Maria Bakalova provides some great laughs throughout.

Marvel has often struggled with its villainous presences over the years but the High Evolutionary performed by Chukwudi Iwuji really does deserve special mention. We really hate this guy and that is due to the excellent performances Iwuji gives. In particular it’s the callousness that permeates much of Iwuji’s work that makes him one of the standout antagonists of this universe. I, for one, would be happy to see him again in some way if that can be worked out; another character comic book fans will love to hate.

As we’ve come to expect from this trilogy, the technical work on display is by no means the washed out, boring visuals that we have seen with other works. Here is an example of how to do colourful CGI backgrounds in a way that is visually appealing that Ant Man & The Wasp: Quantumania could have learned from. There are some lovely shots from cinematographer Henry Braham, and the vibrancy he infuses the film with serves to match that wonderfully bright tone, even in the darker moments of the movie. Beth Mickle’s production design is also excellently done, especially the “Knowhere” that she has built as a home of the Guardians. The soundtrack is also, of course, expertly cultivated with a great use of “Creep” by Radiohead at the beginning and a nice move into more modern times towards the end as well. It’s always been one of the more winsome aspects of this trilogy.

Where this film however possibly lacks is in some of the writing. Yes, for the most part Gunn must be heralded for a successful end to this trilogy, but that doesn’t mean he isn’t prone to some cheesier moments. There are certainly the odd lines that don’t land particularly well and some of the stories are wrapped up in a way that would produce many an eyeroll if it wasn’t for the way the rest of the film wins us over. It would have been nice to have seen these be avoided but mostly this isn’t a massive issue, and is probably something that has to be expected when preparing to sit down and watch one of these flicks.

Despite this, ultimately this is a movie that reminds you why you initially fell in love with this mad group of misfits and it will do nothing to prevent you feeling bittersweet as you left them go. They might be flying off into space, moving on to new beginnings but we’re left with a fun, engaging, heart-warming finish for Marvel’s favourite family. Maybe there will be new Guardians ready to protect the Galaxy from dastardly foes, but we’ll miss these original protectors and likely shed a tear as their story turns over it’s final page.

Film Review: Rye Lane (★★★½)

(I will be using the 4 star system for my review, as in everything is rated out of 4 rather than the 5 you might be used to…. just a heads up)

“So apparently there are two types of people in this world. The ones who wave at boats, and the ones who hate joy.” It’s the kind of effervescent manifesto even the hardest of heart can get behind. I guess unless you’re one of those people that hates joy. If so, this might not be the movie for you. As colourful as it is cheerful, exuberant as it is humorous, Rye Lane is a sip of the sweetest cocktail on the breeziest Saturday morning. It’s bright and it’s bold and it will charm you to no end.

Rye Lane follows the story of Dom and Yas, two east-London young people who meet during the awkward tears of the former as the latter enters the unisex toilet; not fearful to barge straight through Dom’s private moment. They proceed to spend a day wandering the bright and beautiful streets of Brixton, waxing lyrical about A Tribe Called Quest records, big dreams, evasive aspirations and bad break-ups. All as they slowly realise this might just be one of the greatest days ever.

Trying to define this film isn’t the easiest task, it feels fresh and different and put together by truly creative minds. The best way I can describe it’s vibe is it’s like if Pedro Almodóvar and Richard Linklater had a Brixton-Born baby! Now to flesh those ideas further out… Firstly the Almodóvar-esque use of emphasising the bright colours of this area of London is magical at times. Reminiscent of much of Almodóvar’s most recent work, films such as 2021’s Parallel Mothers and 2019’s Pain and Glory, Rye Lane let’s its location draw our eyes to the beauty of the place. It’s bright, colourful, filled with reds, yellows, blues and greens, and it’s vibrancy is one of it’s greatest strengths and most captivating elements. It’s effortlessly winsome from early on. There’s no waiting round for the action to start, we’re thrown straight into the story and whisked away, just like Dom, as Yas leads us through the galleries, streets and markets as the clever, witty script propels us quickly along. Thus we come to the Linklater elements, specifically his work on the “Before” Trilogy. Linklater loves a good walk and talk, a staple of these films, and we even see that, in one of his greatest works, in an early scene of Boyhood too. Rye Lane uses this similar style to highlight the character-driven narrative, and helps us fall in love with Dom and Yas just as they begin to fall in love with each other. You get that feeling of someone “accidentally” listening in on the conversation of strangers in front of you as you walk along. You get a snapshot of the lives of these individuals but you’re not getting the full picture. This films plays with that brilliantly, as the characters open up we learn more about the heart of both Dom and Yas and unravel the mysteries of their simultaneous existential crises. It’s an excellent mix of styles and only serves to garner the kind of enjoyment this film is clearly hoping to induce in any viewer.

All of this is to say that this is an assured feature debut from director Raine Allen-Miller. She’s confident and bold in all of her directorial choices and it’s refreshing to see such a joyful piece of creativity. There is a place for darkness in cinema, such is the reality of life, but it’s also nice to be reminded that sunshine and neon lights can illuminate our lives every now and then too. Allen-Miller knows how to make the right choices throughout the film, particularly giving Dom and Yas’s chemistry space to breathe. So often a less confident director may have tried to force something down our throat or go off on a different subplot, remove our attention from Dom and Yas and make us look at something else. Allen-Miller is however all too aware that it’s the palpable chemistry of her main stars that is the heart of Rye Lane and so she never wavers in keeping our focus there. Yes the background is beautiful but its never enough to distract us from what’s really going to keep our attention and burgeon our enjoyment of this little indie. I’ll be excited to see what comes next and hope this confidence remains because it’s a real asset.

That salient chemistry is the great glue that holds Rye Lane together. That’s not to say that the other elements of the films are lacking, more on that later, but Dom and Yas are who we want to see at every moment. These are two excellent lead performances from David Jonsson and Vivian Oparah; hopefully star-making turns. Yas is the energetic, Duracell-bunny, extravert to Dom’s thoughtful, restrained introvert and the two make a perfect pair. Dom could easily be an annoying character if played by a less endearing soul than Jonsson, but here we just want to give him a hug. As he cries in the bathroom stall we just want to offer him a tissue and go to war against whoever has brought this misery on him. However, as Dom’s character develops and his frown turns upside-down we get to see him blossom. There’s a hidden mischievous quality that unexpectedly shines through, even as we worry that his increasingly puppy-love eyes might be more evocative of a deer in the headlights. There’s a depth of emotion that could easily be lost had Jonsson not let his emotions trickle through each expression subtly, it is a very good performance. The same can be said of Vivian Oparah as Yas. Oparah brings all the energy and charisma demanded of such a confident, chaotic character. Yet were left under no illusion that there’s a mystery. She may have seemingly randomly burst into Dom’s life and on our screen as an “iconic” individual, but Oparah always gives us little indications that there’s more to Yas than meets the eye. If not for her performance and the excellent writing, Yas could become a one-note character, a new-age manic pixie dream girl trope, but none of that is true in Rye Lane. Oparah’s performance greatly helps in making Yas a three dimensional person who we can relate to more than we would have ever expected.

Both Jonsson and Oparah are supported by a very well-written, funny but layered script. Nathan Bryon and Tom Melia have constructed something easily digestible and yet thoroughly entertaining with this film. The script is vibrant and funny but not afraid to play with some more serious subjects as well. You feel like there is a real sense of the place the story is set through the conversations each of the characters have and you can’t help but want to join in with each tête-à-tête. It feels nice to be happy and Bryon and Melia’s script manages to bottle this feeling whilst paying homage to the area the movie is set. This feels like something new, something modern and something different and enjoyable and a lot of that is due to the script. It plays well into the rom-com genre it falls in to and it doesn’t, for the most part feel like something we’ve seen before.

Unfortunately some of the elements of the script are also were there are some slight but probably nit-picking cons to the film. It does fall into some of the cheesier rom-com elements of the classic genre towards the end, which is kind of disappointing when that’s mostly been avoided for much of the run time. It’s understandable to bring the story full circle but you’re expecting something a bit different, which the film does to a sense, but not enough to not feel a little generic in a story that has been so much the opposite. It also, maybe, doesn’t play the serious moments with the depth that it could, but it’s up for debate whether that’s needed when the rest of the film is such a joyride. Regardless of this, the script is still a strength and none of these points should deter anyone from giving this movie a watch.

There are some fun supporting performances, but nobody is really given much to do with the focus so much on Dom and Yas; make no mistake this is their story. Props must be given to Benjamin Sarpong-Broni for his standout turn as Eric. The character is very one dimensional but he’s just really funny and has some of the funniest moments of the film when talking about when he was fired from his job or his air-headed reactions to any compliment he receives. There’s also a great cameo that I don’t want to spoil, just make sure you’re paying attention when “guac” comes into the picture.

The technical work of much of this film is really enjoyable and done to a very high standard. The collaboration between cinematographer Olan Collardy and the production and set designs of Anna Rhodes and Jessamy Hadfield is a real highlight. That use of colour throughout every set is extremely smile-inducing and the cinematography plays well into this, highlighting every bright background and every colourful interlude. The use of fisheye lens throughout a lot of the film is never distracting and only serves to bounce us along as the characters move from location to location. Never is it overused or does it distract from the stellar performances and story on screen. The costume design from Cynthia Lawrence-John should not be ignored for playing it’s part in the visual feast that Rye Lane is either. I’d love to see all these parties collaborate again.

It’s always really exciting when an indie film like this manages to entertain and move us on a low budget. Especially when relative newcomers all shine brightly in a story that’s heart-warming to the max. If you want a smile in dark times or to keep the good times flowing, Rye Lane is the film for you. Creative and bright, colourful and fun, this is a film that dares to smile and wave at you as it sails into your life and this is one viewer who’ll wave back very enthusiastically.

Film Review: Draft Day (★★)

(I will be using the 4 star system for my review, as in everything is rated out of 4 rather than the 5 you might be used to…. just a heads up)

“And we’re on the clock”, it’s the phrase that brings unending excitement, nerves and probably a little nausea to millions of NFL fans around the world once a year. It’s those emotions that Draft Day attempts to bring to this film. In some ways it is successful in capturing little nuggets of what the day of the draft can truly be like, but ultimately just falls in line as another cheesy, generic, unoriginal sports movie. It’d be too harsh to call it a bust but it isn’t a slam dunk by any stretch of the imagination either.

Draft Day follows the story of Sonny Weaver, the fictional GM of the perennially hopeless Cleveland Browns American Football team. Following in the shadow of his late, great head coach father and feeling the ominous pressure of a hands-on owner to make a “big splash”, Sonny is forced to make difficult football and personal life decisions; all as the clock ticks down on one fateful, important day.

There’s simply nothing particularly special or new about this movie. My first thought watching Draft Day was how much better Moneyball told an admittedly more interesting story. Moneyball managed to give us the classic style of sports film while giving something new. It’s also very well acted, directed and filmed, everything about it has intriguing creative choices. Even when we get those cheesier feel good moments they’re truly earned. Draft Day has none of that. It’s a film that is so obvious in everything it does that you’ll be ready with the next line of the script before Kevin Costner can say the word “trade” for the 1000th time. Every musical queue hits exactly when you expect and every storyline goes exactly how you’d have predicted if you were asked to map the movie out after watching the first 10-15 minutes. Every scene is laced with an airbrushed image of the NFL, everything is clean, there is no grit at any point. It’s not terrible, it’s got 2 stars for a reason, it’s watchable at the least but that’s as sadly as far as Draft Day really takes us. It’s decent escapist moment of a movie that’s probably fun to watch around the actual NFL Draft but it holds little value beyond that.

On a more positive note, although once again a lot of the acting in the film is quite generic and the actors are given little to truly work with, the performances are at times the strongest points of the film. Costner is a solid, steady hand as the film’s lead. He brings much needed gravitas to the central figure. You truly believe this guy has control of the wheels of an NFL organisation, even as it seems like those wheels are quickly coming off to all of the other characters in the movie. He’s given some tidbits to show a bit more range and we certainly see some of the stress of the day in the odd angry outburst here or there but the script provides him little true leeway to add much dimension to Sonny. Costner is able to wear the weariness of the job at hand, etched across his face throughout; but how much of that weariness is Sonny the GM or Costner the actor is up for debate. You get the sense this might not have been the most difficult role he’s ever been given.

The true standout performance comes from an earlier in his career, late, great Chadwick Boseman, who brings much needed earnestness to the role of Vontae Mack, one of the players the Browns could possibly select. Whether it’s the confidence of a man who knows he should be the guy for the job, or the desperation of an uncle needing to care for his nephews, Boseman gives us someone to root for. As the film reaches its more heart-warming climax, it’s Boseman who brings us home, the tears of a draft pick that have melted the hardest of hearts emulated to perfection by a tragically lost talent. Similar roles are given to Tom Welling and Arian Foster, but ultimately it is Boseman that stands out from the rest. An accomplished thespian stranded in an otherwise regretfully bland piece of work.

Otherwise there isn’t much to write home about. Jennifer Garner brings some A-List credibility as Sonny’s secret girlfriend and cap analyst but really this is a very weak subplot. It feels like a romantic storyline has been completely shoehorned in. Garner’s character might be a lot more interesting if she was just the excellent cap specialist that her performance is trying to portray. Instead she is treated mostly as a vehicle of emotional support for Costner’s character and someone for him to get to kiss at the end of the film. There’s not much more to the story and it’s not helped by the strange, awkward lack of chemistry between the two. It’s wooden and does nothing to evidence that this storyline should have stayed in.

Nobody really ever gets to chew the scenery here. Whilst that might have just added to the cheese permeating most of the movie, it would have at least added something interesting. Instead every one just phones in fairly generic performances and you’ll struggle to remember most of the cast of characters throughout, especially when random plots about a spreading of Sonny’s father’s ashes are mentioned and then never expanded to any fruitful conclusion.

The film’s success is essentially in it’s solidity. There’s nothing truly terrible to knock the film for, other than a lack of creativity and imagination. As an NFL fan who loves the draft it’s kind of interesting to imagine that trade conversations are as dramatic as the film portrays, or that general managers are as savvy and intelligent as Costner is here (they have showed time and time again that they aren’t!), but that’s really as far as the intrigue goes. It’s not a particularly accessible film for someone who doesn’t know the draft. This avoids overwrought exposition, which is probably a good idea, but it means if you don’t like the NFL you might just be confused throughout.

Ivan Reitman is not a director to take chances and he remains the same in his direction of Draft Day here. Everyone hits their mark and the film isn’t overlong or overstuffed but it would have been nice to see something, anything, that worked to keep our attention further than simply the conversations of different NFL executives. None of the other technical work has anything really worth praising, every one has just done their job solidly and that can at least be somewhat applauded. However, it would be fair to at least give props to the editors (Sheldon Kahn and Dana E. Glauberman) for keeping the film trucking along at a pace that doesn’t make you want to just switch the film off.

The day of the NFL Draft is always intense, surprising and oftentimes chaotic. Draft Day was not made to be any of that. It’s a run of the mill sports movie that will do little to attract the attention of anyone other than the most ardent NFL nerd. As general managers try to parse through all the info they can to make sur every draft pick is a hit and not a miss, Draft Day is lamentably the latter. Maybe it would have been the right decision to let the clock run out on this one.

Film Review: Ghosted (★)

(I will be using the 4 star system for my review, as in everything is rated out of 4 rather than the 5 you might be used to…. just a heads up)

While it’s nice for a now major film company to take a swing at making a fun action rom-com style film, by the time you get to the end of Ghosted you do wish that whichever person first read this script had not replied back. As conventional and clunky as a film like this can be, Ghosted unfortunately mostly misses the mark. That a film starring Ana de Armas and Chris Evans, who showed they had very good chemistry in 2019’s Knives Out, is so devoid of any evidence of that here, is a tremendous disappointment.

What happens when you finally meet “the one”, spending the perfect day together but then she ghosts you? Not only that, but when you, definitely not creepily, travel across the world for the first time to surprise her you get caught up in an international conspiracy where you have to save the world? Well look no further because Ghosted is here to answer all of those questions.

Unfortunately, the answers are nowhere near satisfactory. It would be difficult to start any review of this film without first noting the extremely ponderous, lacklustre script. For the screenwriters of the ambitious, risky Deadpool films to produce a piece of work so devoid of any real creativity is a massive disappointment. That disappointment furthers when you realise we’ve seen a lot of this done before in films like Knight & Day and Mr and Mrs Smith. With those, the “surprise! I’m a spy!”, genre has had some moderate success, especially when mixed with the classic rom-com tropes, but Ghosted does not give us anything worthwhile to prove we ever needed it to be made. Some of the dialogue is so generic that in this age of AI you wonder if some of it was lazily created from there. The levels of cheesy dialogue are at an all time high and at times the words characters say don’t even seem to properly match up. You find yourself feeling as if the characters are having completely separate conversations; in moments it feels like they’re not even reacting to what the other says. It’s strange and can become really distracting throughout certain sections of the film, especially during the whole first date sequence. This isn’t the awkwardness of a realistic first date, this just doesn’t even resemble genuine conversation.

Not only that but the premise of the story really doesn’t seem to work either. Initially the film sounds like it has a punchy idea. Using a newly common practice in the dating world, that of ghosting, to lead us into a familiar action spy story. Mixing that in to the rom-com style makes a lot of sense. But sadly the film doesn’t know where to go or what to do with any of these ideas. The initial meet-cute is terribly generic and doesn’t really play off as one. It comes as a shock when these two people end up going on a first date, that turns into a whole day together. The idea that Chris Evans’s character then travels thousands of miles to meet a girl who has ghosted him, by tracking her, nonetheless does not play as charming and sweet. The film itself is slightly aware of that and makes comments about how creepy Evans’s character comes off but this is never taken seriously and quickly brushed aside. His actions really aren’t normal and it feels very strange to be told that this is the guy we should route for. He’s basically a stalker! The motivations of De Armas’s character are a bit easier to understand, the spy forced to live life alone yearning for some sort of connection and romance, but that she would give Evans the time of day after what he does toes the line on giving the film any sense of credulity. The story isn’t just unimaginative, it’s poorly executed too.

I’m sad to say, as a believer in the talents of both of these performers, that a major reason the film is so poorly executed is the previously mentioned lack of chemistry between De Armas and Evans. The greatest summary of this is that the film continuously tries to convince us of their chemistry, not through anything Evans or De Armas do, but by the fact that at mutiple times in the film characters within the story comment on the “sexual chemistry” between the two and how the two of them “need to get a room”, seemingly out of nowhere. It feels out of nowhere for us as the viewer because it’s certainly not what’s going through our head as we watch them. That De Armas and Evans were fairly electric with their antagonistic and layered chemistry in Knives Out, only works to show that sometimes apparently their is a far distance between love and hate. Whatever the reason for this lack of chemistry, the two actors come across not as the seasoned professionals they’ve previously proved themselves to be, but instead they seem like two amateur improv actors at their first lesson. There are moments of bona fide cringe at times. Now I don’t want to be completely negative about this chemistry. It’s bad for large parts of the film but there are the odd moments of arguing, or a smile here or there that do better to show any sort of burgeoning relationship between the pair. This is despite the terrible eye-roll worthy inside jokes the writers try to use to exhibit their supposed connection. You hope in the future that both actors will find better suited roles, Evans is not very believable as an every man normal guy who just likes farming and staying at home, with no luck finding a women who will date him. However, De Armas is a little more believable as a spy with solid believable work in the actions scenes.

The actions scenes are one of the more successful elements of the movie. They’re nothing particularly special or inventive as we’ve seen a lot of this before, but they’re done solidly. The stunt work is a real positive of the film and the fights are interesting enough to keep up as a viewer mildly entertained during these sequences.

The biggest success of the film, and the point at which it has moments of legitimate hilarity, is an unusual one. It’s testament to how mostly dissatisfying the film is that it’s biggest pro is it’s use of celebrity cameos. Right towards the end of the film an almost always funny actor pops up to play off one of the inside jokes for a short moment, which plays well as a light-hearted funny moment during a major scene. However it’s actually another point where the cameos play their best. An amusing sequence that utilises three cameos to play the same joke over and over again is actually quite funny and woke this viewer up from their previous boredom. It’s an entertaining moment in the movie but does little to save the rest of what can only really be described as mostly a dud.

There is little positive to be said for the supporting cast either. You really do hope that none of the more well known performers here read this script and thought it was an assured success. You hope they just took the money and were happy to phone in hammed up performances for a nice pay check. It’s particularly sad to see as talented an actor as Adrien Brody going with a strange, not very well done accent, as a villain who doesn’t even seem to want to be that invested in the horrible crime they’re meant to be committing. We’re meant to believe this is an intense, scary villain ready to destroy the world as we know it, but really he just seems bored. There really isn’t much positive to write home about when it comes to the acting here.

None of the work of the technical teams is particularly creative or interesting here so I won’t namecheck anyone. The cinematography can be merely described as paint-by-numbers and really a lot of it just seems washed out. Even when given exciting and interesting locations and sets, there is no colour or vibrancy too much of any of the movie, apart from the odd fun shot during a chase scene or the finale scene. But none of it is anything new. The costume designer at least knows how to make the main stars look swanky in the big final scene but there is nothing much more to say. Everyone has done their work and it would be hard to be too critical. You just wish some element of the film had been completed to an above average degree.

All in all, Ghosted is a predictable, if still disheartening, failure that misses the mark and if you have a chance to “ghost” ever watching it that’s probably your best option. De Armas and Evans aren’t used well at all, to the point that it is quite discouraging. However, really, it must have been hard to do any good work with a script that is so uninspiring and colourless, that it can be easily skipped next time you’re looking for a film to pop on and stream. Hopefully the next film everyone involved takes part in is worthy of a reply, because this one can be “left on read” over and over again.

Film Review: Dungeons and Dragons: Honour Among Thieves (★★★½)

(I will be using the 4 star system for my review, as in everything is rated out of 4 rather than the 5 you might be used to…. just a heads up)

An unlikely group of heroes, finding each other through a bunch of seemingly forced coincidences, with one pre-determined goal set before them to rid the kingdom of evil but unable to simply open a door… If you’re a Dungeons & Dragons fan already you’d be remiss for thinking I was reviewing a generic game of D&D, and therein lies the greatest success of Honour Among Thieves, it really does a great job of emulating what it’s like to play a session of one of the nerdiest games of all. With a Princess Bride-esque sense of humour and a willingness to not take it’s self too seriously, Honour Among Thieves is an unexpectedly successful adaptation, even if it does fall into some of the usual melodramatic pitfalls.

Dungeons & Dragons: Honour Among Thieves follows the story of a group of misfits; a thieving bard, a caring barbarian, a floundering sorcerer and an altruistic druid who set out to right some wrongs and recapture an ancient relic, until they find themselves running afoul of some dastardly enemies and evil powers way beyond anything they were prepared to face.

It can’t be stated enough how difficult a task it seemed to be able to adapt D&D into a movie that didn’t feel like a waste of time or at least lacklustre compared to the improvised joy of a well mastered session of the tabletop pastime. Despite the success of the recent animated adaption of Critical Role’s 1st Twitch-streamed campaign, The Legend of Vox Machina, trying to come up with an original story that pays homage to years of gameplay across millions of homes whilst not alienating anyone new seemed like an unenviable charge. We’ve already seen 2000’s Dungeons & Dragons critically fail to capture that joyous spirit, so it is my pleasure to say, for the most part, Honour Among Thieves manages to be a critical hit. It is in that previously mentioned sense of humour and unwillingness to take itself too seriously that this film finds that previously unattainable success. The tone the film captures is excellent. It’s been unusual for a long time to find a simply fun, action-adventure fantasy film.

It is to the director’s (Jonathan Goldstein and John Francis Daley) credit, as well as their co-writer (Michael Gilio) that they’ve managed to adapt this concept so well, in a way that can be enjoyed by old and new fans alike. Their use of some of the arbitrary and unusual rules in D&D games to create some of the best funny moments of the story is a perfect example of taking the essence of the source material but making something new and accessible for everyone to enjoy. This is a confidently directed and written movie, with very few moments of dragging or overly boring exposition to explain the world to us, we’re dropped in and whisked along the way as the film quickly hurtles towards its mysteries and conclusions, each character given variable degrees of an arc to grow and change. It’s not unlike a game of D&D, even if this run time would barely make a dent into any longer campaign on the tabletop. One particular joke using the “Speak with dead” spell hits excellently, with vibes of a modern day Monty Python sketch, a perfect blend of the fun and strange rules of D&D being used for hilarity.

This isn’t to say that the film is in any way perfect and it does fall into some missteps. Unfortunately it is unable to avoid some of the cheesier melodramatic moments, particularly towards the end of the film. Where for a lot of the film there is a creativity of unpredictability to how these adventurers fumble their way to success, towards the end we are met with what we’d expect from the genre. I’ll admit, it must be difficult to find an ending that doesn’t do this, so the filmmakers can be forgiven for giving us a mostly classic Hollywood ending, but it would have been nice to have been shocked by the conclusion. This does not mean to say that the film doesn’t hit the requisite emotional beats that something like this needs to for the story to make some sense and carry some emotional weight, but it still leaves the ending rather predictable. We know how the movie will likely end but I would have liked to be a little more surprised by the ending. The odd line here or there can also be prone to corny elements but that is in keeping with the campy action-adventure tone of the rest of the film. However it must be acknowledged that even in these cornier, cheesier moments we’re not completely removed from our enjoyment of the film, in large part due to the performances of a well-rounded and stellar cast, clearly having a lot of fun and buying into the sense of comradery that effectively comes through the screen as well.

Any review of the cast of Honour Among Thieves has to begin with one of Hollywood’s favourite Chris’s, Chris Pine, who is having a whale of a time here. As Edgin, a bard, Chris Pine eats up the part of a man who looks like the classic hero of the story, but who is mostly useless, apart from coming up with complicated, convulted plans and then improvising new plans when the original plans inevitably fail. It’s a performance reminiscent of Kurt Russell as Jack Burton in Big Trouble in Little China, he’s the hero of a story that’s happening all around him, without necessarily being the agent of the heroic acts that take place throughout. Pine is talented enough to hold his own in some of the more dramatic moments, but all in all his performance begins and ends with his ability to charm his way into not only the other characters hearts but the hearts of us as an audience as well. This kind of role has Pine at the top of his game and I would love to see him continue to lean more into the comedic and charming elements of his acting ability, their is a genuine movie star there.

But Pine isn’t the only standout here. It’s wonderful to see Hugh Grant add to his collection of scoundrels as the double-crossing Forge Fitzwilliam. It may not have always been apparent earlier in his career, but the dry sense of humour Grant has taken to in more recent years pairs excellently with the Princess Bride/Monty Python style of comedy that permeates much of this film. He makes a delightfully dastardly bad guy here, having a lot of fun chewing the scenery. There are some further solid supporting turns here as well. Michelle Rodriguez brings The Fast & The Furious grit to the Sword Coast playing an excellent straight man as a duo with Pine, Justice Smith does a good job of the bumbling British gentleman, unable to to fulfil his potential and Sophie Lillis brings charm and whimsy as the druid just wanting to right some wrongs. It’s also great to see Regé-Jean Page seemingly be swiped from a much more serious fantasy film and dropped in the middle of this lovable band of idiots and fools, with a strange but successful Drax in Guardians of the Galaxy feel to his work. There is also one excellent, surprising cameo that will have anyone laughing at the realisation of the joke at play.

There is sold if unspectacular work from a lot of the other crew on this film. There are some interesting, creative action shots from Cinematographer Barry Peterson even if there is little room for anything more profound due to the pace of the adventure. The film is certainly well edited by Dan Lebental as the run time never feels like it’s dragging. It would be easy for us to get bogged down as we labour on certain parts of exposition or stay too long in emotional or action scenes, but this is never an issue here, you feel constantly like you’re moving forward in the story alongside the characters.

The CGI and other special effects at times could use a little work but the style of all of this is different and that is probably a good thing, we’ve seen a lot of this done before so some of the new monster designs are certainly refreshing. A new, vibrant world has been created here and it is exciting in this world of green screen to see some obviously large practical sets built and used. You don’t sense the green screen like you often can in films today and partly that is because their are moments were little has been used. The costumes also fit perfectly both in this world created but also fit what any D&D player will have dreamt their medieval setting characters looked like.

With all the coincidental comedy and random raucous hilarity of the best sessions of a D&D Campaign, Dungeons & Dragons: Honour Among Thieves is a rip-roaring, dragon-breathing success. We’ve been starving recently for these kind of fun action adventure blockbusters from non major franchises and although there is the odd shaky moment, it embraces the best influences it can, to be an exciting thrill ride. It may not have rolled a natural 20 but it certainly passes it’s performance check and will be appreciated by both the nerdiest dungeon master to the most sceptical newcomer alike.

Film Review: Joker (★★★★)

(I will be using the 4 star system for my review, as in everything is rated out of 4 rather than the 5 you might be used to…. just a heads up)

“Are you having negative thoughts? All I have are negative thoughts.” It’s a cutting line of dialogue, and a striking summary of what is both brilliant and controversial about this latest portrayal of the ‘Clown Prince of Crime.’ This is a dark and harrowing take on a beloved comic book character, propelled forward by an outstanding lead performance. It’s a story that is both poignant and problematic in equal measure. A film that leaves us with more questions than answers and the need to reckon with and face the darkest of human emotions riddled through our current society.

Joker follows the story of Arthur Fleck, a street clown and aspiring stand up comedian, who doesn’t seem to have a true grasp on reality and how to relate to those around him. Suffering from a disability that makes him laugh uncontrollably, and shunned and beaten figuratively and literally by society, we see the story of Arthur’s rapid decline in to the most evil state of mind.

It is difficult to review this film without first turning to the extraordinary and committed lead performance of Joaquin Phoenix. He completely and utterly loses himself in the role and also the deranged mind of the lead character. The success of the film can be attributed, in the most part, to Phoenix’s performance, and the moral confusion it generates in the mind of the viewer. We begin by sympathising and pitying how downtrodden by society Arthur Fleck truly is. We first see Fleck enjoying himself, lost in a much better life, dressed as a clown, twirling a sign round like he’s performing for a thunderously applauding crowd. Reality hits as the sign is stolen and he is beaten up and left to whimper down an alley, forgotten by the people of Gotham. Phoenix plays this weakness to perfection, drawing us in. We want him to be taken care of, or for a kind stranger to turn to help him in this time of need. Instead we see the opposite. Apart from his increasingly senile mother, he is alone, alone with those negative thoughts, fanned further into flame by society’s complete lack of empathy. Whether it be colleagues, strangers, or a mum on a bus, Fleck is treated like a freak. It is at this point our moral confusion begins to kick in. Fleck has been abandoned by everyone and we yearn for him to fight back. However, when he does, the result is harrowing. Can we still root for him now? Are we still on his side? Phoenix’s performance makes us completely question what is right in the situation, and this is what is at the heart of the film. Furthermore, Phoenix’s portrayal of a descent into madness and evil is exemplary. I won’t go too much into the mechanisations of this to avoid spoilers, however there is one excellent scene to highlight here. Right after committing his first truly evil act of the film, Fleck finds himself hurriedly running into a public toilet… and then comes the calm… and then comes the music… Fleck is becoming Joker, realising his new identity and it causes him to dance. It’s an ethereal dance, other-worldly, both mesmerising and disconnected. You’ll find yourself completely wrapped in this moment, completely forgetting what Fleck has just done. This is the brilliance of Joaquin Phoenix in this film and awards should follow this year.

Praise must also go to Todd Phillips. Who would have thought after the Hangover movies that he could creat such an artistic and meaningful piece of work? Successful at comedy, nothing had really shown us he could make a film as thought through as this. Maybe it’s apt that this breakthrough directorial feature is about a comedic figure’s descent into utter darkness… Certainly Phillips is unafraid to treat this story with an unabashed freedom and his murky take plays excellently with our very moral compass. Not only does the film give us a real progression, a real motivated beginning, middle and end tale, but his treatment of the story leaves loads of interesting little nuggets in between. It’s the kind of film you’ll walk away from and days later you’ll be debating with a friend about whether a certain shot was telling a completely different story than you first realised. You’ll wonder if a certain look, a certain line of dialogue meant so much more than you first thought. On evidence it would seem that those are not errant questions but ones we are encouraged to consider, and idiscern many of the answers to. It’s a welcome departure from the over exposition we are often treated to in many a film nowadays. This is an assured piece of art and it’ll be very interesting to see what Phillips chooses to do next.

Though Phillips and Phoenix stand tall in their achievements here, they are given a strong foundation by a crew and cast that facilitate their burgeoning talent. Phoenix is given strong support work by De Niro in particular. His character is heavily influenced by The King of Comedy, as is much of the film, and it works. De Niro only has a few moments but he provides an excellent relatable foil to the maddening Phoenix. Frances Conroy plays the deep lying pain of the ever more senile mother of Fleck in a way that helps us further understand the broken foundations the fictional Gotham is built on. Zazie Beatz and Brett Cullen provide solid work with the little they are given, but are key in the character development of Fleck becoming the Joker.

Phillips is supported by a crew who follow his singular vision to a tee. This isn’t a film that is lost in what it wants to be, it is assured, it knows what it is. Lawrence Sher’s cinematography, dark and dreary, slightly off kilter, fits perfectly in every scene. We are drawn deeper and deeper into the darkness, occasionally shocked by the clash of sheer brightness, a confusion that works and helps move the story of the film along. Phillips and Silver’s script has some wonderfully eminently quotable moments, ones that will be remembered as we gain more and more understanding of the film. The editing of Jeff Groth is solid work here too, lingering slightly too long in scenes, cutting short others. It’s never flashy but it supports the story this film is trying to tell. Most impressive is the work of Hildur Guðnadóttir. Her score at times operatic, at times unflinchingly ominous, guides us through the dark underbelly of a Gotham that only has itself to blame for the evil it has produced.

This is, however, a controversial film and although I have given it the highest rating I can, I would be remiss not to mention that I can completely see where people are coming from when they criticise the movie. This is a dark, harrowing, and at times unyieldingly violent film, which isn’t, as such a problem. However, the message of the film is a potentially dangerous one. There is certainly a reading of this movie that could lead people down a dark path, one that approves of evil in a way that is uncomfortable. It is good when films make us uncomfortable but this one very much toes the line. For me, however, this does not detract from the excellent cinematic work on offer.

As dark and controversial as it’s lead character, Joker is an unceasing assuredly artistic work created astoundingly by the talent of Phoenix and the one-minded vision of Phillips in particular. Uncomfortably shot and wonderfully scored it is a film that will cause debate for years. Problematic but hauntingly mesmerising, it does everything the Joker needs to do. Nobody gets the last laugh, certainly not the audience, and that is exactly what makes this film brilliant.

Film Review: First Man (★★★½)

(I will be using the 4 star system for my review, as in everything is rated out of 4 rather than the 5 you might be used to…. just a heads up)

“That’s one small step for man, one giant leap for mankind.” That sentence is one that will be remembered through the ages and is arguably one of the most famous quotes in earth history, but the details of the story of how mankind got to that moment are a little less known, as are the details of the reclusive man who spoke them. This is a film that boldly and extremely successfully uncovers the earthly heartache that sent one man to flee to that largest of spectres in the night sky.

First Man tells the personal story of Neil Armstrong, who driven by tragedy and a yearning to explore further than man had already done so, joins NASA’s Astronaut program attempting to become the first country to send a man to the moon, leaving growing difficulties back home with his increasingly estranged wife and sons.

Damien Chazelle has had an extremely impressive start to his directorial career with two of my personal favourite movies, physcological jazz drumming drama Whiplash and classic Hollywood musical La La Land, so of course his next move would be a Neil Armstrong biopic, right? Right, because once again the director knocks it out of the park and shows an increasing film making prowess and versatility. His ability to craft both understatedly meaningful, dramatic scenes and tense, loud breathtaking space sequences is a wonder to behold, especially in the way he is able to merge the story together to support an eminently engaging narrative. Chazelle cleverly fits together Armstrong’s story through the 1960’s, from great early tragedy to the outstanding triumph we know he will come to at the end of the film; each narrative step building towards a moment that ends up becoming imbued with more emotion that many would have previously thought. His focus on the increased personal isolation of a man soon to become the most famous man on earth and beyond and the effect that that has on himself and the people closest to him is an astute choice and begins to uncover the mystery that has surrounded Armstrong even after his death a few years ago. It is a story that explains why this man might have chosen to remain out of the spotlight. It is not just however the story of Armstrong that works here but Chazelle’s ability to increasingly make clear to us the danger and insanity it took to get a man to place his foot on the surface of the moon. Not only do the planes and shuttles shake the men flying them but those scenes are truly chair gripping moments of tension that will leave even the sternest heart racing. You’re left in disbelief that anyone could possibly put themselves through these experiences and want to do it all over again. Chazelle’s use of the moon as an ever present looming figure in the sky, lighting up not just the night sky but Armstrong’s inability to let go of his inner pain is exceptional. Escaping to other places and other worlds to escape your problems at home isn’t an original narrative device but Chazelle uses it to affecting perfection here. All of this is supported by the outstanding work that Chazelle is able to extract from his actors.

Ryan Gosling is a triumph here, giving arguably the best performance of one the most impressive and underrated acting careers in A-List Hollywood today. He’s already shown us his ability to bring out underlying pain behind a quiet exterior, most notably through his excellent performance in Blade Runner 2049 but here he does it potentially even better. There’s a depth of feeling behind every tortured glance and every forced smile. Gosling doesn’t tell us what his Armstrong is thinking in every moment, he layers the performance with mystery and yet it is supremely engaging. We constantly sense that even when he’s kicking back with a beer in hand surrounded by his friends or being given the biggest news of all that he’ll be the first man on the moon, there’s a sense of discomfort. His Armstrong is somewhat disconnected from this world, no wonder then that his goal is to exit it and be the first to step foot on a new one altogether. It’s made clear from the start that Neil Armstrong suffered immense tragedy early in his life and Gosling makes it clear in his performance that he never really healed from such an awful loss at such a joyous moment. Gosling plays Neil Armstrong as a man brought down to earth who’ll do anything he can to reach back into the sky, ready to risk it all for his goal. It is that disconnection that isolates Armstrong and strains every relationship around him.

The main relationship distorted by this turmoil is that of Armstrong and his wife, brought to the screen in a brilliant turn by Claire Foy, of The Crown fame. The chemistry and then lack of chemistry between Foy and Gosling is played out beautifully. When connected to each other Foy and Gosling are able to play out just enough of those sweet moments that convince us that this match is definitely one that made and still somewhat makes sense. These are not two people completely torn apart but more and more the gap is widening until one wonderful scene in which they that gap is physical between them and it is in that moment that they actually are most attached. Foy is whom we as the audience relate to. Yes, Gosling is certainly the lead and has the most screen time here but as previously mentioned it is a withdrawn showing from him. In Foy we see someone who relates emotionally at each moment. Whether it be moments of joy or deep sadness, anger at the growing distance between Armstrong and his sons, in one particularly great scene Gosling is unemotional in discussing what could happen to him with his sons, or the inability to console, Foy does a sterling job of making us associate with her character throughout. It is a wonderful piece of work from the Brit.

There are a number of other great supporting turns from a bevy of accomplished actors throughout the film too. Kyle Chandler and Jason Clarke, who gave performances I really enjoyed in previous films The Spectacular Now and Zero Dark Thirty respectively, are as great as they often are here too. Clarke in particular has some great moments with Gosling. Lukas Haas and Olivia Hamilton also have their moments and Corey Stoll’s braggadocios, often insensitive Buzz Aldrin is a standout, great in the serious moments, but providing some good, quite shocking lighter parts too. It is a well acted movie.

After producing career best work in Chazelle’s most recent film, La La Land, Linus Sandgren’s cinematography is excellent again. This isn’t as flashy (in a good way) and in your face brilliant as La La Land was, but in it’s understated beauty is just as accomplished. The moon hangs in the background, ever present and yet far enough away that it is both right there and yet seems completely untouchable. His camera work adds to the shaky, tense shuttle scenes and we often feel as cramped as the astronauts are feeling as we remain inside the shuttle with them. Sandgren has fun in space, using that blank endless canvas to paint the film on it, the moon a dynamic presence the closer we and Armstrong get to it. A lot of these scenes are helped by the excellent editing work of previous Academy Award winning, Tom Cross. He’s an editor who knows how to draw us intimately in to some of the loudest, most intense scenes and he does it again here. Furthermore Justin Hurwitz’s score is one of the best of the year, light and loud when it needs to be, further the film’s heartbreak as well as its triumph as we edge closer to the ending we know will come.

The sound work here must also be noted as exceptional, large and anxiety-inducing as we see the perils of space flight but at its most excellent and effective when in one awe-inspiring moment we are a greeted with a silence that so cut like a knife that you will likely find yourself lost for a moment, marvelling at the images in front of you. The visual effects team have also done brilliant work here. Everything feels real and together, the nuts and bolts visible for all to see, the treachery of space flight made clear. It is testament to the team that you don’t really notice the visual effects used.

If the film has its issues it is most likely mainly in the length of it. We so long to see the moment we know is coming that, at times, the film can feel like it is slightly dragging along. In a film so understated this can be a bit of an issue as you find yourself wanting to see the famous scenes you know are on their way, though it must be said this doesn’t ruin those scenes when they do arrive. It feels like Chazelle wanted everything to be quite mellow here on earth and so sometimes those moments are just a little too mellow to maintain interest, but this is rare and isn’t an issue that ruins the movie as a whole.

Launching from earth and hurtling towards the stars, First Man is an understated film about the largest of subject matters. Chazelle has once again proven his range and gotten excellent turns from Gosling and Foy in particular. This is a film that draws you in with quiet drama on earth before blowing you away as it shoots towards space, as the enigmatic first man of its title, leaves the tragedy of this world behind, so far as he can.