Category: Movie Reviews

Spider-Man: No Way Home

Post author By Mark
Post date December 20, 2021

It’s the most wonderful time of the year and no, we’re not talking about Christmas, we’re talking about the new Spider-Man film No Way Home! Quite possibly one of the most hyped films in MCU history, there was a lot riding on Tom Holland’s latest outing as the web-slinger and sufficed to say No Way Home lives up to all these expectations and then some; a more mature chapter in Peter Parker’s story that feels like an appropriate culmination of everything Holland has gone through and a celebration of the character’s rich on-screen history. Despite the all-star lineup of the web-head’s greatest foes, director Jon Watts never lets the story slip away from Peter, telling a quintessentially Spider-Man story that perfectly straddles the line between huge, explosive action and the everyday struggles of the friendly neighbourhood Spider-Man.

Peter Parker’s (Holland) life is in a shambles after Mysterio unceremoniously ousts his identity as Spider-Man to the world at the end of Far From Home, prompting the young Avenger to turn to Doctor Strange (Benedict Cumberbatch) in an effort to erase the world’s knowledge of this fact and restore some semblance of normality to the lives of Peter and those closest to him. When this inevitably goes awry, Strange and Parker unwittingly fracture the multiverse, causing villains from all manner of non-Disney owned, Sony produced Spider-Man films to tumble into the MCU, including Alfred Molina’s Doc Ock, Jamie Foxx’s Electro and Willem Dafoe’s (all-time great) Green Goblin. Now tasked with capturing these intruders before they can wreak havoc on his universe, Spider-Man is forced to contend with the full weight of his actions and the true responsibility of being a hero if he has any hope of saving the world once again.

Reassembling these characters from previous films may seem on its face an obvious case of fan service, but No Way Home consistently finds fresh angles to approach these characters without tarnishing their legacy; natural extensions of previous narratives or chances to redeem an ill-received prior outing rather than simply being well-known punching bags for Spidey to wail on. Jamie Foxx’s Electro for example has far more personality this time around, free from the shackles of his nerdy, awkward persona in The Amazing Spider-Man 2 and now a laid-back, wise-cracking bad-ass; a far more appropriate character for Foxx to play and one that he excels at.

At the other end of the spectrum is Alfred Molina’s Doc Ock, whose story wrapped up perfectly in Spider-Man 2. He certainly didn’t need more screen-time but what we get here is a fantastically fun and fascinating furthering of the character audiences know and love, with Molina hamming it up in the best way possible as the medically grumpy fish-out-of-water scientist turned supervillain. Those big, bombastic action sequences are all well and good but it’s the quieter moments that really justify Doc Ock’s return; a tortured soul desperate for a reprieve from the voices in his head and, like Peter, a return to the somewhat normal.

However it’s Willem Dafoe who cements his place as the greatest on-screen Spidey villain, slipping back into Green Goblin almost 20 years later and making it look completely effortless. On an acting level alone it’s fascinating to watch Dafoe contort his face and switch between the two personalities at war within Norman Osborn’s head on a dime; his voice dropping to a menacing growl as a sneer spreads across his face. But it’s the energy of pure, chaotic evil that he brings to the MCU that makes him Holland’s fiercest foe to date, wanting nothing more than to make Spider-Man suffer and relishing every second of pain he puts him through. Screenwriters Erik Sommers and Chris McKenna do a great job ensuring they aren’t just trading on audience goodwill, building on the foundation of Norman’s lust for power established in 2002’s Spider-Man and taking it to the logical next step as he covets an entirely new universe to subject to his will.

In a film this crowded it might be easy for Holland’s Spider-Man to play second fiddle but – despite all the colossal world expansion and inevitable sequel set-up – No Way Home very much feels like the next chapter of Peter Parker’s story. With that comes an almost perfect balance between the small-scale problems that define a good Spider-Man story – girl troubles, college admissions and otherwise balancing the mundane with the extraordinary – alongside the huge, multiverse-ending stakes. This is still a young boy coming to terms with his responsibilities as a hero and the stakes of not committing fully to either of the lives he is attempting to live have never been felt more than they are here. Cumberbatch is an excellent and intriguing choice to shepherd Peter into that next phase of his journey, not as paternal as Iron Man and certainly not as nefarious as Mysterio, Doctor Strange doesn’t shy away from delivering hard truths, a necessary push that makes for some incredibly satisfying moments when the going gets tough.

No matter how crazy the plot may get we are always locked into Peter and how he approaches this latest challenge, particularly how it affects those close to him and his sweet relationship with MJ (Zendaya), who finally comes into her own as a central protagonist rather than a quirky side-character. This being an MCU film, things never get too dour (perhaps to some viewers chagrin) and the jokes fly thick and fast, with Jacob Batalon’s Ned stealing every scene he is in with absolutely pitch perfect comedic timing, never failing to have the audience guffawing at even the most juvenile of jokes. But this is Holland’s film and it is the best he has ever been in the role, due in large part to the amount of emotionally heavy material thrown at him in the script; we feel the desperation in Peter’s actions and the weight of what he must do to correct the mistakes he has made. No spoilers here but it warrants mentioning that – following a third act that ranks up there with Avengers: Endgame in terms of sheer wish-fulfilment awesomeness – the ending is one of the most cathartic, triumphant conclusions in all of the MCU; a perfect jumping off point should they (most probably) continue to further Spider-Man’s story but also an incredibly satisfying conclusion should this truly be the end, something neither of the other actors who have played the wall crawler can claim to have had.

Spider-Man: No Way Home is easily the best of Jon Watt’s trilogy and perhaps more impressively one of, if not the best Spider-Man film ever. The culmination of Peter Parker’s story as a young, inexperienced web-slinger is a rollicking rollercoaster of fun and action sure, but one that manages to pack big stakes and crushing emotional weight onto Holland’s shoulders that he handles beautifully. The returning villains are all an absolute blast to spend time with again, the surprises we can’t spoil will have audiences in a fervour and the supporting players are all genuinely excellent in the way they impact Peter’s journey from boy to Spider-Man. Don’t let the title fool you, with this film Tom Holland proves definitively that he is absolutely at home as the friendly neighbourhood Spider-Man.

Spider-Man: No Way Home stars Tom Holland, Zendaya, Benedict Cumberbatch, Jamie Foxx, Willem Dafoe, Alfred Molina, Marisa Tomei, Jacob Batalon, J.K. Simmons, Jon Favreau, Tony Revolori & Benedict Wong – In cinemas now.

10/10

Tags Alfred Molina, Benedict Cumberbatch, Benedict Wong, J.K. Simmons, Jacob Batalon, Jamie Foxx, Jon Favreau, Jon Watts, Marisa Tomei, Marvel, Spider-Man: No Way Home, Tom Holland, Willem Dafoe, Zendaya

Movie Reviews

Belfast

Post author By Mark
Post date December 15, 2021

There’s something to be said for the power of a good crowd-pleaser. Those films that know exactly what they’re doing to give you an enjoyable time, even if there are some hardships along the way. Kenneth Branagh’s Belfast is exactly that type of film; an intensely personal and equally uplifting look into the writer-director’s upbringing amidst the Troubles during the late 60’s in Ireland and what happens when the unbridled imagination of a young child is forced to contend with the harrowing real world events transpiring around him. With a stellar debut from the incredibly endearing young Jude Hill and an outstanding supporting cast, Belfast is one of the most satisfying films of the year, guaranteed to leave you with a huge grin plastered across your face.

When his street is unceremoniously torn asunder by a riot instigated by Protestants to scare Catholics out of Belfast, young Buddy (Hill) begins to worry about the safety of his family within their small community. With his mind set at ease by his Ma (Caitríona Balfe) and Pa (Jamie Dornan), Buddy can go back to focussing on his everyday life: working up the courage to admit his feelings for his school crush, spending time with his Granny (Judi Dench) and Pop (Ciarán Hinds) and deciding what film to watch next at the cinema. But he soon begins to realise that things might not be as rosy as his parents suggest, as mounting financial and safety concerns force them to consider the prospect of leaving Ireland for England, whilst his grandparents are forced to confront their own medical issues. Meanwhile the threat of violence looms increasingly large over the small family as local gangster Billy Clanton (Colin Morgan) looks to take advantage of Pa and the riots become more frequent.

Kenneth Branagh has done a lot in his career but Belfast might just be his best, most intimate work to date. There isn’t a single beat that doesn’t feel completely necessary to telling the heartwarming story of Buddy and his family, whether that be the terrifying riot scenes that feel colossal in scale to the youngster or the fairly innocuous shoplifting that Buddy hilariously finds himself embroiled in. As a slice-of-life examination of this time period and the ground level struggles of the people living in it, Belfast feels incredibly well realised, striking a careful balancing act in tone between the childlike wonder Buddy views the world through – idolising the adults around him and their seemingly perfect life within the close-knit community – and the sad reality that these same adults are constantly struggling to get ahead in life.

While it may seem to be light on a driving narrative force – and the black and white gimmick doesn’t do much other than highlight a few especially beautiful shots – the rollercoaster ride of emotions the audience experiences following this family that can never seem to win is never not affecting, equally devastating and elating when it needs to be. That’s helped a great deal by the Van Morrison songs that soundtrack the film – himself from Belfast – which add another layer of authenticity and heart to the affair, joyously triumphant when Buddy is and quietly solemn when the moment calls for it.

Newcomer Jude Hill is the perfect vessel to explore this distinct viewpoint of a childhood robbed of its innocence, forced to contend with matters beyond his years. He brings such a youthful exuberance to the role that it is impossible not to get enraptured in Buddy’s day-to-day activities; feeling just as devastated as he does when he misses out on a chance to talk to his crush or terrified when he finds himself caught in trouble. There’s also a significant amount of comedy Hill brings to the role through what seems at times like ad-lib; hilarious off-the-cuff remarks that more often than not will have you in stitches at the strange, often alarmingly truthful ways children view the world around them.

Surrounding Hill is a bevy of Irish talent (and the great Judi Dench) who all deliver powerful, moving performances as adults in various degrees of trouble trying to present a united and calm front to this impressionable child in their midst. Ciarán Hinds is particularly effective in his role as Buddy’s grandfather, always with a potent life lesson on hand and a cheery demeanour despite his troubles; a role model for Buddy to lean on as the fate of his own future becomes unsure.

It may not push the coming-of-age genre into any unexplored directions but Belfast is still the best film of Kenneth Branagh’s career; an extremely well directed, triumphant celebration of Belfast and its people that is impossible not to fall in love with. Jude Hill is the perfect protagonist to explore this difficult time in Irish history, approaching the conflict with an innocence that is slowly eaten away as the reality of the situation dawns upon him and Branagh strikes the perfect balance in tone, never lingering on these heavy moments for too long before returning to the fun and folly of Buddy’s youth. After the bomb that was Branagh’s last film Artemis Fowl, this is a huge leap in the right direction, hopefully towards the top of many awards podiums.

Belfast stars Jude Hill, Caitríona Balfe, Jamie Dornan, Ciarán Hinds, Colin Morgan, Lewis McAskie & Judi Dench – In American cinemas now and Australian cinemas February 3rd.

10/10

Tags Belfast, Caitriona Balfe, Ciarán Hinds, Jamie Dornan, Jude Hill, Judi Dench, Kenneth Branagh, Lewis McAskie

Movie Reviews

Resident Evil: Welcome to Raccoon City

Post author By Mark
Post date December 10, 2021

To quote Resident Evil: Welcome To Raccoon City’s zombie dog: woof. This thing is bad. A reboot of the franchise known for its downright batshit stories and Milla Jovovich ass-kicking action, Welcome to Raccoon City seeks to position the story much more faithfully to the games themselves, attempting to adapt both the original 1998 classic and its follow-up and doing none of it particularly well. In fact writer-director Johannes Roberts’ film is so obsessed with referencing these games that it forgets to have any identity of its own, let alone a comprehensible story; a mishmash of poorly executed action, weak characters and a general sense of carelessness all around.

After a brief flashback bombards you with easter eggs and little else, we find ourselves introduced to Claire Redfield (Kaya Scodelario) on her way back into the ramshackle Raccoon City to warn estranged brother Chris (Robbie Amell) of a conspiracy involving sinister pharmaceutical company Umbrella. Irked by his sister’s sudden reappearance Chris heads off with his specialist police unit – Jill Valentine (Hannah John-Kamen), Albert Wesker (Tom Hopper) and Richard Aiken (Chad Rook) – to investigate a disturbance at the ominous Spencer Mansion, created by the founder of Umbrella. When residents of the city begin to zombify and violently attack one another Claire finds herself holed up at the Raccoon City police precinct with rookie Leon Kennedy (Avan Jogia), the pair forced to team up to uncover Umbrella’s plot before the city is unceremoniously wiped off the face of the earth in an effort to contain the spreading plague.

If the Paul W.S. Anderson films were derided for their refusal to cohere to any sort of franchise lore, adapting whatever they felt like and cramming it into a jumble of mindless action, then Johannes’ film seeks to go the other route. Almost every scene feels like a sensory overload of easter eggs and scenes pulled directly from the game in an effort to have the viewer constantly yell at the screen “that’s Lisa Trevor!” or “that’s the truck crash from Resident Evil 2!”. Meanwhile the story itself is a mess of these incoherent scenes stitched together without any connective tissue, as if Roberts’ believes the appeal of the games are simply the cut-scenes and not the story uncovered through actually playing it. The player appreciates the cut-scenes because of the context they have been given by actually playing the game. Simply throwing everything and the kitchen sink at the screen in the hopes that it bears a resemblance to what the audience has already played is a surefire way to ensure they disengage from having any genuine investment in the story or characters.

Admittedly you can see that Roberts’ is clearly a fan of the games, with a high attention to detail for recreating those iconic moments as accurately as possible. Where he stumbles hard is in that connective tissue. Welcome to Raccoon City is a downright dumb movie, riddled with inconsistencies and stupid plot conveniences. Take a moment early in the film, for instance. Claire is attempting to get into a house, trying the front and back doors before eventually picking the lock. The character whose house it is then has an extended exchange with Claire about how advanced the security systems are, but when Claire attempts to leave that place in a hurry she finds his motorcycle outside with the keys conveniently already in the ignition.

It’s a small gripe, but one that speaks to a larger problem. Where the security discussion was meant to establish Claire as a jack-of-all-trades and highlight her quick thinking, the following easy exit completely contradicts it and shows that everything going forward will be as convenient as it needs to be to move the story forward. In a similar way the film is timestamped in the hours leading up to 6am in an effort to ramp up the tension before the inevitable explosion… only in the intervals between timestamps Roberts’ forgets to check in with all his characters, meaning people have barely moved or done anything at all in the preceding hour.

That being said there are a few positives to be found. Kaya Scoledario is rock solid as the tough-as-nails Claire. She gets easily the most character development to work with and whilst those flashbacks are poorly unraveled, the effect the trauma from Claire’s past has had on her is evident in her performance in small moments of hesitation. The action is largely forgettable, with Roberts’ preferring to show only quick flashes rather than true set-pieces, but there are some genuine moments of claustrophobic terror mined from close encounters in cramped corridors that harken back to that primal fear associated with playing the games.

While Resident Evil: Welcome to Raccoon City isn’t the worst film the franchise has put out, it is certainly close to it: a dismal attempt to more faithfully adapt the games that neither succeeds in doing that or telling a compelling story. So much has been forgone in the pursuit of accuracy that the resulting film isn’t even all that much fun, a foundational pillar of the whacky Alice films. Thank you for the welcome Raccoon City, but I’d like to leave now and never come back.

Resident Evil: Welcome to Raccoon City stars Kaya Scodelario, Robbie Amell, Hannah John-Kamen, Tom Hopper, Avan Jogia, Donal Logue, Chad Rook, Marina Mazepa & Neil McDonough – In cinemas now.

3/10

Tags Avan Jogia, Hannah John-Kamen, Kaya Scodelario, Marina Mazepa, Neal McDonough, Resident Evil, Resident Evil: Welcome to Raccoon City, Robbie Amell, Tom Hopper

Movie Reviews

Dune (2021)

Post author By Mark
Post date December 7, 2021

Not since his last film Blade Runner 2049 has there been sci-fi with such massive scope as Denis Villeneuve’s adaptation of Frank Herbert’s seminal novel Dune. Truly epic in all aspects, the story of the planet Arrakis and the war between ancient houses for control of it is brought to life in stunning detail; a complex, layered story of political betrayal anchored by the classic hero’s journey of Timothée Chalamet’s Paul. A personal favourite of Villeneuve’s, you can feel his love for the material in every scene; making for one of the most engrossing, fully realised (except for the fact that this is only part one) stories in recent cinematic memory. Huge sci-fi that delivers huge results.

That isn’t to say Dune is immediately graspable. A behemoth in the sci-fi world, Herbert’s novels span six books and countless follow-up tales released since his death. Villeneuve’s film only seeks to tackle the very first of these, and only even a portion of that story, yet there is still plenty to unpack to justify the film’s immense runtime. On a high level the story centres around Paul (Chalamet), son of Leto (Oscar Isaac) and Jessica (Rebecca Ferguson) and heir to the great house Atreides. When the all-powerful Emperor (unseen in this film) calls for the Atreides’ to take control of the planet Arrakis – home to the Spice, the only substance able to sustain intergalactic travel – from rival house Harkonnen, events are set in motion that will test Paul and his people’s resolve as they are thrust into a complex web of political intrigue. As his situation becomes increasingly dire, Paul is forced to contemplate his destiny and the strange dreams he has experienced which push him to explore his place amongst the Fremen, the native people of Arrakis.

It’s a weighty story and Villeneuve takes his time unravelling it for the viewer, carefully setting the stage and characters before pivoting into the meat of the journey on Arrakis. Unlike a lot of larger scale blockbusters nowadays Dune never feels overly hand holding; constantly presenting new ideas, characters and places and expecting the audience to keep up. In that way it may not be accessible to everyone; the film demands your attention, but the end result is nothing short of spellbinding and it is impossible to not get swept up in Villeneuve’s always visually interesting approach to this tale. Key to that immersion is the sense of scale that he creates, often framing shots from far back to highlight just how insignificant characters look compared to starships or the fearsome sandworms that call Arrakis home. It’s a device that constantly creates jaw-dropping imagery whilst furthering the narrative and this attention to detail extends to everything from the aesthetics – each world is visually distinct from one another – to something as simple as the shields used in combat – vivid blue and red flashes easily conveying the outcomes of battles without having to sacrifice the scale of a wide shot.

The costumes and production designs are similarly stunning; a striking mixture of futuristic garb resembling armour and more traditional military inspired wardrobe. The evil Harkonnen Baron, played by Stellan Skarsgård, is a truly inspired combination of practical and visual effects; a hulking, obese lump of pale flesh who practically oozes evil before morphing into a towering, floating pillar of black cloak when provoked. Why is he like this? The film never offers any elucidation and that really is the defining strength of Dune: pulling you into entire galaxy of story without feeling the need to explain every bit of it. If you look hard enough, you can constantly uncover new layers but if you aren’t interested in that the story still works as a thrilling slice of sci-fi action; even if this film errs on the side of set-up.

Which is really is the only negative to be found here: the set-up. As only part one of the story – a ballsy move naming it so considering the sequel had yet to be greenlit on release – the film simply feels incomplete; the beginning of something much larger to come. Whilst that may be somewhat unsatisfying for today’s audience accustomed to instant gratification from Netflix binge sessions, there is enough here to warrant repeat viewings to unpack it all, from Christ allegories to deep themes of legacy and destiny. And let’s not forget the impossible task set upon Villeneuve in the first place; Dune is a positively massive story spanning thousands of years in its full, franchise-long scope. The fact that he has managed to capture the essence of the story (we haven’t even mentioned the more fantastical elements such as the witch-like Bene Gesserit) and turn it into such a rousing success as this proves the man is one of the best filmmakers working today. He has earned the right to take his time.

I’d be remiss not to mention the incredible score from Hans Zimmer; similarly epic in scope, it fluctuates between booming bass and bombastic choral pieces that further emphasise the different cultures and perspectives at play within Dune. To ensure that the film remains grounded in the characters that populate its many worlds Villeneuve has enlisted a smorgasbord of acting talent, led by Chalamet. He’s a suitably arrogant Paul, a trait borne of his nobility that doesn’t necessarily make him an unlikeable character but rather speaks to the shift he undergoes as the life he knows is drastically altered. A litany of terrific supporting players surround him, from Sharon Duncan-Brewster’s allegedly impartial judge overseeing the shift in Arrakis’ leadership to Josh Brolin’s steely military chief; a disgruntled warrior who has clearly been affected by his bloody past. Yet it is Jason Momoa who stands out amongst them, delivering his best performance yet as the heroic soldier Duncan Idaho, a personal friend to Paul and advisor to the Duke. What he lacks in his iconic beard he more than makes up for in heart and likeability, a shot of personality amongst the cold expanse of space and political strictness.

Dune is a film that has to accomplish a lot: adapting Frank Herbert’s dense text in a palatable way, making an entire galaxy come alive with personality and nuance, and most of all create an engaging, cinematic story. And Denis Villeneuve accomplishes it all in such a complete way that this really feels like the starting chapter in a new classic science fiction franchise, up there with the likes of Star Wars and Alien. Full of vibrant visuals, a luscious score from Hans Zimmer and production designs that totally immerse you in the experience, Dune is a truly unique film that is best experienced on the biggest screen you can find. If you haven’t sought it out already, what are you Dune?

Dune stars Timothée Chalamet, Rebecca Ferguson, Zendaya, Oscar Isaac, Jason Momoa, Stellan Skarsgård, Josh Brolin, Sharon Duncan-Brewster, Stephen McKinley Henderson, Dave Bautista, Charlotte Rampling, David Dastmalchian, Chang Chen & Javier Bardem – In cinemas now.

9/10

Tags Charlotte Rampling, Dave Bautista, Denis Villeneuve, Dune, Jason Momoa, Javier Bardem, Josh Brolin, Oscar Isaac, Rebecca Ferguson, Sharon Duncan-Brewster, Stellan Skarsgård, Timothée Chalamet, Zendaya

Movie Reviews

Venom: Let There Be Carnage

Post author By Mark
Post date November 30, 2021

On many levels Venom: Let There Be Carnage is exactly what you expect it to be: a giant CGI mess of monsters getting up to all sorts of violent, incomprehensible mischief. However unlike it’s 2018 predecessor, Let There Be Carnage is unable to capitalise on the odd-couple energy of Tom Hardy’s Eddie Brock and Venom learning to inhabit a body together, instead bombarding you with constant, terribly unfunny dialogue whilst Woody Harrelson is vaguely menacing in the background. The story is practically non-existent, the characters paper-thin and it all culminates in the usual CGI showdown; making for one of the most dull superhero experiences of the year.

Now co-inhabiting one body, Venom and Eddie Brock (Hardy) struggle to find a balance between one’s desire to live a normal life with the other constantly craving human brains. Having re-established himself as a respectable journalist thanks to a series of interviews with notorious serial killer Cletus Kassady (Harrelson), Eddie decides it is time to give Venom the boot, forcing the Symbiote to search for a new host. Bad timing it seems, as Cletus finds himself in possession of a similar Symbiote; the red, ravenous Carnage, with the duo on the hunt for Eddie and Venom in an effort to cement themselves as the most powerful duo in town. But first there’s Cletus’ vocally super-powered girlfriend Shriek (Naomie Harris) to contend with, an obligatory damsel-in-distress appearance from Eddie’s ex Anne (Michelle Williams) and a nosy detective (Stephen Graham) to avoid before the predictably bombastic final battle.

The first Venom wasn’t great. A fairly stock standard superhero origin story, it was held together thanks to a pretty charming interplay between Eddie and Venom as they felt out a situation foreign to both of them, managing to change each others lives for the better (mostly) in the process. Here that relationship takes centre stage, confirming that too much of a good thing can indeed be bad. The “banter”, if you want to call it that, is incessant; constant bickering which inevitably leads to drawn out sequences of violence inflicted on Eddie by Venom. When you realise that Tom Hardy himself had a hand in the script, this shift in focus becomes more understandable and admittedly, it is pretty funny the first time Venom slaps Eddie around, less so the third time it happens.

This is also the only time that the film seems to have an actual story, with the pair bickering whilst trying to uncover the reason Cletus has taken such an interest in a down-on-his-luck Eddie. Once Eddie gives Venom the boot this story thread is simply never mentioned again. Cletus busts out of jail, bonds with Carnage and goes on a spree of mindless violence while we are treated to an extended montage of Venom at a rave, snatching the microphone from rapper Little Simz (who also has a hit single named, you guessed it “Venom”). It’s a strange ode to the wackiness of early 2000’s superhero films; a brief flash of stupid fun that would never find its way into the MCU, that is quickly swept away when you realise that this cute little side story is actually the main event; the film almost over at barely an hour long.

Thus begins the descent into the usual CGI nonsense: Venom and Carnage tussle, leaving Michelle Williams with nothing to do whilst Naomie Harris’ painful villain skulks around, firing off bad one-liners in an annoyingly, needlessly raspy voice. It’s hard to believe that the film was directed by Andy Serkis, a veteran of performance capture known for his precision and dedication to the craft, with nary a personal touch in sight. In fact Let There Be Carnage is one of the most generic, obviously studio-mandated superhero films in years; a pointless sequel designed only to cash in on the success of the first and set things up for inevitable crossovers going forward. When the most exciting aspect of your film is the post-credits scene teasing more films that will almost surely be handled by a better creative team in the future, it cheapens what was already a bad experience.

Venom: Let There Be Carnage is not so much a film as it is a montage of painfully unfunny Three Stooges-esque slapstick comedy and over-the-top, generic CGI action. Tom Hardy is solid in the role and this is clearly a character close to his heart but the sequel functions as little more than a vehicle to move Venom into more exciting territory in the future, unfortunately wasting one of his most famous adversaries in the process. There’s only one type of carnage on-screen here and it isn’t the big, red one.

Venom: Let There Be Carnage stars Tom Hardy, Michelle Williams, Naomie Harris, Stephen Graham, Reid Scott & Woody Harrelson – In Australian cinemas now and available on-demand in the US.

3/10

Tags Andy Serkis, Let There Be Carnage, Michelle Williams, Naomie Harris, Reid Scott, Stephen Graham, Tom Hardy, Venom, Venom: Let There Be Carnage, Woody Harrelson

Movie Reviews

tick, tick… Boom!

Post author By Mark
Post date November 26, 2021

You’d be forgiven for thinking that tick, tick… BOOM! – the directorial debut from Hamilton megastar Lin-Manuel Miranda about the life of Broadway playwright Johnathan Larson and his journey towards creating juggernaut musical Rent! – is autobiographical. If there was one person who more than qualifies to tell this specific story it is Miranda and his debut is an excellent portrayal of the struggles of the creative process and the idiosyncrasies that almost stopped Larson from changing Broadway history. A potentially career-defining performance from Andrew Garfield anchors it all and it is expectedly emotionally devastating when it needs to be, but unmemorable songs and a dragging middle prevent tick, tick… BOOM! from truly soaring.

Before he created the über popular Rent!, Jonathan Larson (Garfield) was a struggling playwright barely able to make ends meet, juggling a job as a waiter at the Moondance diner in New York’s Soho whilst creating his self-proclaimed masterpiece “Superbia” – a futuristic rock opera. With the pressure of an approaching deadline for the musical’s workshop (presenting it to potential producers) mounting, Jonathan finds himself having to give more and more of himself to his art than ever before, a dedication that forces him to push aside long-term girlfriend Susan (Alexandra Shipp) and best friend Michael (Robin de Jesus). But as the world around Jonathan begins to crumble and he reaches rock bottom, he learns that he may not have to separate his dedication to playwriting and personal life to create a truly special piece of art.

Based on the Off-Broadway production of Larson’s semi-autobiographical play of the same name, tick, tick… BOOM! is a story tailor made for Miranda to tell; uniquely suited to his experiences and similar career trajectory, catapulted into superstardom off the back of such a popular production (in Miranda’s case Hamilton). That experience makes for a fascinating insight into the mind of a playwright creative. Jonathan is a complicated character and not always a nice one, shunning the outside world and pushing those close to him away in pursuit of artistic perfection. Sometimes this seems to come from a place of arrogance but mostly it is just Jonathan’s intense desire to share his art with the world and affect people through it. Miranda clearly holds Larson in high regard and is able to effectively convey this obsession without ever alienating the audience; we understand his purpose even if we don’t always agree with the way Jonathan gets there.

Larson may have been a flamboyant, bubbly personality, but Miranda’s depiction of his life is far more subdued than other Miranda-penned productions. This largely comes down to the music itself – all pulled from Larson’s play – which doesn’t necessarily correlate to Miranda’s usual whip-smart wordplay and explosive pacing; in fact a lot of it is just plain unmemorable. Jonathan’s frustrations tend to follow a fairly cyclical nature – a significant event leads to an inability to write a song for his production about it before culminating in a big musical number – and it doesn’t take too many of these performances for them to become repetitive, our sympathy for Jonathan replaced by frustration with his entitled whining. There are a few standout numbers – “30/90” brilliantly visualises Jonathan’s fear of anonymity and “Boho Days” is an endlessly inventive a capella sequence panning throughout Jonathan’s apartment – but for the most part these songs distract from the immediacy of Jonathan’s problems; grinding the entire film to a halt until the plot can kick back in.

The constant throughout it all is Garfield. He is truly excellent as Larson – amongst the very best of his performances – and gives everything to his portrayal of a man so caught up in his own search for greatness and the desire to touch as many lives as possible that he looks past the people he is already affecting. Equally emotionally moving as he is frustratingly stubborn, Garfield never lets Larson’s mask of false confidence slip, at all times possessing an (some may argue) untested amount of belief in his own abilities. Miranda frames the character as inspirational in spite of his flaws and having such a likeable talent as Garfield goes a long way towards building that audience goodwill. Add to the fact that Garfield has a terrific voice and completely crushes every one of his musical performances and you have a surefire bet come Oscar nomination time.

tick, tick… BOOM! is a wonderful debut from Lin-Manuel Miranda held back by forces beyond his control – lacklustre songs that bomb the film’s pacing. The story of Jonathan Larson is ripe for a cinematic feature and Miranda is arguably the perfect choice, demonstrating a reverence for the man that has so clearly inspired his own career path. A sensational performance from Andrew Garfield is the glue that holds everything together, perfectly capturing the genius lurking behind the scatterbrained, conflicted figure threatening to burst from frustration with the inability to create the art he sees so clearly in his mind. It might not be as explosive as the title may suggest, but tick, tick… BOOM! is nevertheless an impressive move into directing from a man who has already conquered the entertainment world in so many different ways.

tick, tick… BOOM! stars Andrew Garfield, Alexandra Shipp, Robin De Jesus, Vanessa Hudgens, Joshua Henry, Jonathan Marc Sherman, Judith Light & Bradley Whitford – Streaming on Netflix now.

7/10

Tags Alexandra Shipp, Andrew Garfield, Bradley Whitford, Joshua Henry, Lin-Manuel Miranda, Netflix, Robin de Jesus, tick tick... Boom!, Vanessa Hudgens

Movie Reviews

Last Night in Soho

Post author By Mark
Post date November 23, 2021

A throwback horror film is probably not the first thing you would expect Edgar Wright to make off the back of a box-office smash like Baby Driver, yet that is exactly what he has done with new film Last Night in Soho. A throwback to Soho during the 60’s and all that went on during that seemingly glitzy and glamorous time, Wright’s latest packs a walloping psychological punch; a slow burn mystery that oozes style and hums with energy on the way to a bloody conclusion. While the third act might devolve into some lacklustre genre tropes, a pair of towering performances from Thomasin McKenzie and Anya Taylor-Joy ensure that things never fly too far off the rails.

McKenzie plays Ellie, a young girl obsessed with the 60’s – the fashion, the music, you name it – and who dreams of travelling to the bright lights of London to make it as a fashion designer, accepting a place at the prestigious London College of Fashion. Once there, Ellie finds that the London lifestyle is harder than she thought, trading student housing for a top floor room owned by the cantankerous Ms Collins (Diana Rigg in her final performance) to escape her cruel peers. When Ellie heads to sleep in the room however, she finds that she has acquired more than she bargained for; transported back in time to the 60’s she longs for as she follows the mysterious yet captivating Sandie (Taylor-Joy), a wide-eyed girl with dreams of being a superstar singer. As Ellie follows Sandie further and further into the bright lights of Soho, she discovers a darker side to the town; one that may have captured Sandie and now threatens to destroy Ellie.

This being an Edgar Wright film, the story of Eloise and Sandy isn’t as straightforward as it might seem. Wright takes his time establishing the characters in both present day and 60’s London, letting the sights and sounds of the city wash over you until you feel comfortable before slowly unravelling his mystery. That mystery plays less like a conventional horror – largely eschewing jump scares (save for a couple of great ones) and an overly creepy tone – and more like a psychological thriller, as Eloise loses her grip on her sanity the further she wades into Sandie’s story. This is a story about women reclaiming their narrative and (without spoiling things) Wright largely lets the dark underbelly of the time period Eloise romanticises become the horror – no movie trickery necessary for the most part. It’s an experience that can be deeply unsettling at times as the grotty, gross reality of Sandie’s situation becomes apparent but one that is rarely very scary in its own right.

As Wright’s deeply original (so far) mystery waltzes towards its inevitable third act extravaganza it takes an unfortunate turn into genre trappings, relying on some fairly stock standard thriller tropes to wrap everything up with a neat little bow. It isn’t a huge issue, especially given the stellar filmmaking on display in the lead-up to this, but the fact that it doesn’t quite stick the landing in a way as unique as the rest of the film is somewhat disheartening. This is also where Wright’s message is at its muddiest; a commentary on women and the hardships they endure that strangely (again without spoiling things) seems to switch sides for a moment. It isn’t so much an expectation subversion as it is a device to strengthen Eloise’s character but in the moment this brief but confusing twist almost derails the entire story, with only the goodwill we have towards Thomasin McKenzie’s character pulling us back on-board for the final stretch.

Where Last Night in Soho shines brightest is undoubtedly in the careful consideration Wright has so obviously put into every frame. He clearly holds the time period in high regard and it shows in every facet, from the punchy, hit-filled soundtrack to the immaculate costuming that perfectly invokes what we all think of those “swinging sixties”. In fact it might just be the most beautiful looking film of the year; a visual delight that sparkles in every scene, from the carefully executed neon lighting which indicates transitioning between time periods to the intricate, old-school camera techniques perfectly prepared to allow you to appreciate every element of the pristine production design.

Helping to bring that visually lush world to life are knockout performances across the board: Matt Smith is at his smarmy best as despicable conman Jack, Terrence Stamp shows up to play a similarly despicable present-day pub regular and Diana Rigg is unsurprisingly excellent in her final on-screen role. But the main event here are McKenzie and Taylor-Joy, delivering a pair of performances that perfectly complement each other. Taylor-Joy’s Sandie is everything Eloise wants to be – effortlessly chic and confident – and through her experience following her, Eloise slowly develops her own confidence, never losing the rigid moral compass she journeyed to London with where Sandie’s may waver. The sheer physicality of the roles should also be mentioned, each actress perfectly mimicking each other through a variety of mirror shots and CG trickery to establish the illusion of living a shared experience.

Last Night in Soho is a fantastic tribute to a time period Edgar Wright clearly adores, wrapped up in a mostly compelling murder mystery. The horror elements may take a backseat to the dedication to perfectly encapsulating the 60’s, and the message is muddied in the need to wrap things up quickly but this is still an immensely enjoyable, if somewhat predictable entry in Edgar Wright’s filmography, not to mention the best looking. Whether you have an affinity for Soho or not, once you’ve visited the vibrant world Wright has created here once, it’s unlikely to be the last night you’ll want to spend there.

Last Night in Soho stars Thomasin McKenzie, Any Taylor-Joy, Matt Smith, Terence Stamp, Rita Tushingham, Michael Ajao, Synnove Karlsen & Diana Rigg – In Australian cinemas now and streaming on-demand in the US.

8/10

Tags Anya Taylor-Joy, Diana Rigg, Edgar Wright, Last Night in Soho, Matt Smith, Michael Ajao, Rita Tushingham, Terence Stamp, Thomasin McKenzie

Movie Reviews

The Beta Test

Post author By Mark
Post date November 18, 2021

Jim Cummings is fast becoming an unbridled force within indie cinema, thanks to his unique mix of sharp-tongued comedy and dramatic weight that seemingly comes out of nowhere. His latest, The Beta Test – co-written and directed with PJ McCabe – is yet another incendiary blend of the two styles, this time focused on the world of Hollywood agents and a very topical, risky look at their underhanded sexual exploits and the power they seek to gain from them. Razor sharp writing, an explosively paced script and a now frankly expectedly excellent performance from Cummings help make this one of the year’s best, if extremely uncomfortable, gems.

A smooth-talking, bullshit-spewing Hollywood talent agent by trade, Jordan Hines (Cummings) struggles to separate his work life from his personal life; the constant need for attention he feels constantly interfering in wedding preparations with fiancé Caroline (Virginia Newcomb). When Jordan receives a curious purple envelope in the mail inviting him to a no-strings attached sexual encounter, his interest is piqued and he accepts the invitation, knowing full well the consequences of his actions in a post-Weinstein Hollywood. As his guilt and the fear of repercussions begin to grow following the act, Jordan descends into a frantic search for the organisation behind the envelopes; a search that ultimately forces him to confront the veneer of a person he has built himself to be.

Jordan Hines is a terrible person, in the best way possible. This isn’t a man that the audience is supposed to deeply connect to or even like, but is fascinating to watch on a character level. People like this actually exist, and Cumming’s incredible performance makes it a treat to dig into that psyche and see what makes him, and others like him, tick. There constantly seems to be a war between two people happening inside Jordan’s head, threatening to spill out; has he truly committed himself to this life of falsity, of constantly selling himself, or does he yearn to leave this life behind, hating what it has made him?

Cummings’ false smile – carefully maintained to a pristine white so as to be appealing to potential clients – all too quickly turns to a sneer when he doesn’t deem the other person in the conversation worth his time. The constant stream of people-pleasing chatter he vomits out – “That’s excellent. Everything’s excellent” – hides the utter disdain he holds for the people whose business he is wooing. Jordan craves power, but can only find it through profiting off other people’s work, ultimately driving him to commit to an act that will potentially destroy the only real part of his life: his relationship with Caroline. When things hit rock bottom for Jordan, Cummings soars; an unhinged performance that is hilarious while deeply saddening as this man crumbles under the weight of all the pressure and problems he has brought on himself.

The careful balancing act of Jordan’s personal and professional life makes for a wildly intense script – think Uncut Gems but for Hollywood agents – that isn’t afraid to delve into the more taboo aspects of the giant scandal that led to the #MeToo movement, namedropping Harvey Weinstein on multiple occasions. The frenetic energy of the film keeps the audience from getting too bogged down in the obvious sadness and depression of that time, but it can still be incredibly uncomfortable. After all, these are people that at one time, potentially still, admired Weinstein and the power that he accumulated. Cummings and McCabe are having fun with the pomposity of these people’s egos but that darker edge isn’t ignored and the film is all the better for it; walking the line perfectly for a fun ride with some serious substance.

The Beta Test is further proof of Jim Cummings’ immense talent both in front of and behind the camera and a fantastic debut for PJ McCabe; an exploration of one man’s manic descent into a world of greed and power that is sadly relevant in today’s world. The character of Jordan might not be to everyone’s taste, but thanks to a whip smart, hilarious script and Cummings’ total commitment to the role, he and McCabe have crafted a deliciously dark satire of one of the worst times in Hollywood history. If this is merely a beta test, then I can’t wait to see whatever is next for Cummings and co.

The Beta Test stars Jim Cummings, Virginia Newcomb, PJ McCabe, Wilky Lau, Jacqueline Doke & Kevin Changaris – Available on Digital on Demand now.

8/10

Tags Jacqueline Doke, Jim Cummings, Kevin Changaris, PJ McCabe, The Beta Test, Virginia Newcomb, Wilky Lau

Movie Reviews

No Time to Die

Post author By Mark
Post date November 14, 2021

It’s hard to hear the name James Bond and not think of Daniel Craig at this point. The longest serving Bond at 15 years in the role, Craig’s entrance into the role ushered in a new era of gritty, post-Bourne action; less focused on gadgets and more focused on beating his target into submission. What really set his 007 apart from the rest was Craig’s willingness to play with the machismo of the role, creating a Bond that felt familiar in the ways he needed to while adding a vulnerability and emotional rawness that previous iterations of the character lacked. Bloated and convoluted at times, No Time to Die is nevertheless a worthy send-off to Craig’s Bond; a visceral, action filled romp that, despite a lacklustre villain, strikes a perfect balance between Bond old and new.

Following his capture of Blofeld (Christoph Waltz), Bond (Craig) has now left MI6 to start a life with psychiatrist Madeleine Swann (Léa Seydoux). When their travels lead them to Italy and an ambush laid by Spectre, Bond suspects Swann of a double cross, abandoning her and seeking out a life of isolation in Jamaica. After five years of this simple life, Bond is thrust back into the swing of things with the arrival of CIA operative and longtime friend Felix (Jeffrey Wright), who offers him a chance to take down Spectre once and for all. When things inevitably go awry, Bond and new 007 Nomi (Lashana Lynch) – along with usual allies Q (Ben Whishaw), M (Ralph Fiennes) and Moneypenny (Naomie Harris) – find themselves embroiled in the plot of a new villain; one with a particular link to Bond and Madeleine’s pasts: Lyutsifer Safin (Rami Malek).

Where the previous film Spectre struggled to maintain a serious tone while introducing classic Bond elements – the gadgets, the smarminess – into the grounded world of Craig, new director Cary Joji Fukunaga has better luck, albeit not without its problems. It is well known now that wunderkind writer Phoebe Waller-Bridge (of Fleabag fame) was brought in late in production to punch up series scribes Neal Purvis and Robert Wade’s (along with Fukunaga) script. While we can’t be sure what her contributions were specifically, there is a good amount of humour here that feels tonally jarring compared to previous entries, particularly in regards to David Dencik’s Russian scientist, who plays like every bad joke from a Marvel film roles into one character.

For the most part however, this humour works well to emphasise the “fish out of water” scenario Bond now finds himself in. Five years removed from his time in MI6, things have continued to move forward, even if he hasn’t, and nowhere is this more evident in the brilliant back and forth pissing match between Bond and newly instated 007 Nomi. Lashana Lynch is great as the sneering new 007 who does things by the books, ripping into James about his infamous charm with women and constant consumption of alcohol, but also delivering when it comes to the action; a legitimately strong candidate for Craig’s replacement should the series go that route. Ana de Armas also shines as Paloma, a CIA operative assisting Bond over the course of a mission. Despite only being present for one scene, she absolutely steals every frame; a wide-eyed, fresh-faced newbie who is more than capable of holding her own in an electric fight scene.

If Spectre was Sam Mendes pushing the franchise into bigger and bigger set-pieces, then No Time to Die is Fukunaga bringing it back to the basics that began with Casino Royale in 2006. That means a lot more close-quarters, bone-crunchingly violent fight scenes that shake the camera with the impact of each punch. Every fight feels life-or-death in stakes, and despite Bond’s pedigree as the action hero to end all action heroes, Fukunaga dials the intensity up so high that you forget this and become completely enthralled in the chaos unfolding, always on edge that one stray bullet or punch could bring Craig’s tenure as Bond to an abrupt end. When the action does stray into larger spectacle, the camera is always focused on Bond and his positioning within it and these sequences always serve to further the story rather than existing to justify blockbuster status.

In a film this massive (clocking in at close to a whopping 3 hours) there are bound to be weak links and unfortunately for No Time to Die that comes in the form of Rami Malek’s villain Safin. Fukunaga is given the unenviable task of wrapping up five film’s worth of story and in doing so finds little time to focus on the character of Safin; a facially scarred, creepy man with a shared history with a particular interest in Madeleine Swann and a clichéd plan for world domination. Malek gets by on his trademark blank stares and an uncomfortably softly spoken voice but lacks the quiet fury of Javier Bardem’s Silva or the cunning of Mads Mikkelsen’s Le Chiffre from previous films.

Thankfully Craig more than makes up for any of the film’s shortcomings in his final outing. After the notoriously difficult shoot of Spectre, he seems rejuvenated here, relishing the chance to flesh out Bond as a human rather than through his violent work. He comes to the action scenes with the intensity you would expect but it is the more humorous elements this time around that go a long way toward showing Bond’s development over the years. After all that time as the self-serious, suave spy he is finally softening into a man that wants more from his life and who is ready to tackle that with Madeleine.

No Time to Die is an appropriately epic end to Daniel Craig’s tenure as 007; a sprawling, globe-trotting adventure with the intense action and debonair charm that you would come to expect, but with a surprisingly emotional, reflective centre that wraps things up for Craig in a cathartic, impactful way. Rami Malek might get short-changed in his role as the villainous Safin and some narrative bloat slows things down at times but the good far outweighs the bad; not even to mention the terrifically moody theme song from Billie Eilish. A bittersweet end to a fantastic run as Bond, it’s understandably hard to swallow the fact that there will be no more time spent watching Craig cheat death as the super-spy.

No Time to Die stars Daniel Craig, Rami Malek, Léa Seydoux, Lashana Lynch, Ana de Armas, Ben Whishaw, Naomie Harris, Christoph Waltz, Jeffrey Wright, Rory Kinnear, Billy Magnussen, David Dencik, Dali Benssalah & Ralph Fiennes – In cinemas now.

8.5/10

Tags Ana de Armas, Ben Whishaw, Cary Joji Fukunaga, Christoph Waltz, Daniel Craig, James Bond, Jeffrey Wright, Lashana Lynch, Léa Seydoux, Naomie Harris, No Time to Die, Ralph Fiennes, Rami Malek, Rory Kinnear

Movie Reviews

Finch

Post author By Mark
Post date November 10, 2021

Why do audiences like to watch Tom Hanks suffer? Cast Away, Philadelphia, hell throw Forrest Gump in there, the man can play optimistic men broken and beaten down by life like no other. It comes as no surprise then that the man affectionately known as “America’s Dad” pulls it off again in Miguel Sapchnik’s Finch; the story of a man, his dog and his robot crossing a post-apocalyptic United States. It is only thanks to Hanks’ affability and some wonderful voice work from Caleb Landry Jones that Finch works as well as it does; an otherwise forgettable sci-fi adventure with more under the hood than meets the eye.

After a deadly solar flare has rendered the surface of Earth inhospitable, lone robotic engineer Finch (Hanks) roams the desert landscape by day – scavenging for what precious few supplies remain – and by night works on Jeff (Landry Jones), a robot designed to care for Finch’s dog Goodyear after he succumbs to the radiation-induced cancer ravaging his body. When an approaching superstorm threatens to wipe out the trio’s underground sanctuary, they set out for the (relative) safety of San Francisco, a cross-country journey that will test all of Finch’s will, patience and determination.

Finch’s odd-couple road trip story is nothing we haven’t seen before, but Hanks’ presence goes a long way toward helping you look past the familiar and care for Finch and the outcome of his journey. Unlike those other roles, we find Hanks’ character post-trauma; a shell of a man whose only joy in this hellscape America comes from the companionship he feels for Goodyear. Jeff’s arrival signals a change in the status quo and the start of Finch having to come to terms with saying goodbye to his canine pal. As such there is a constant undercurrent of sadness that is balanced out by the ridiculous antics and childlike excitement of Jeff who – unlike other famous film robots – has quite the personality; approaching every new teaching and location with a sense of childlike wonder (think C3-P0 before R2-D2 made him a cynical asshole).

Landry Jones brings that personality to life wonderfully through lively, deeply emotive voice work that perfectly encapsulates the giddy highs of a child learning something new before the adult (Finch) scolds them for it. The effects help a great deal here; clearly Apple has spent a small fortune on ensuring that Jeff feels realistic and reacts to the world around him – slumping his shoulders in sadness and cocking his head in interest – in a way that feels both foreign and familiar; you are able to look past Jeff’s looks and see the touching father/son relationship at the film’s core. Finch might seem like quite the cruisy, conflict-less film but Sapochnik does a great job creating tension out of very little, crafting a wonderfully tense moment wrought from little more than a car driving behind Finch; normally fine, but potentially doom-bringing in this apocalypse.

Finch accomplishes exactly what it sets out to do; presenting a touching story of a man, his robot and his dog bonding and learning some hard lessons about themselves and one another as they traverse an apocalyptic America. Sapochnik wisely never bites off more than he can chew (apart from a slightly bloated runtime), keeping the action contained and the stakes intimately low; one man gone in the apocalypse doesn’t mean much in the larger scheme of things but to Goodyear it means everything. Well played Hanks, you’ve done it again.

Finch stars Tom Hanks & Caleb Landry Jones – Streaming on Apple TV+ now.

7/10

Tags Apple TV+, Caleb Landry Jones, Finch, Miguel Sapochnik, Tom Hanks