Category: Reviews

The Platform

Post author By Mark
Post date March 27, 2020

Recent years have seen the rise of the mid-budget sci-fi film; human level stories that forego lightsabers and outrageously expensive special effects and utilise their sci-fi aspects to enhance rather than detract from the relatable narratives at their centre. Films like Arrival, Ex-Machina, and Annihilation that leave you thinking about your own experiences and society long after you leave the theatre. Galder Gaztelu-Urrutia’s debut film The Platform (or El hoyo as it is known in his native Spanish) falls into this category; presenting a powerful social commentary about classism and the perpetual struggle between the rich and the poor told against the backdrop of a vertical prison where food is delivered from top floor to bottom, forcing its inhabitants to adapt to survive. While it does take a while to get going and is far too heavy-handed with its message, a stellar performance from Ivan Massagué and terrific production design keep it chugging along until its bloody conclusion.

We follow Goreng (Massagué), the latest arrival in “The Hole”, a futuristic vertical prison reaching down hundreds of levels into the earth where prisoners change levels at random every month. Waking up on floor 48 of the prison he meets his new floor-mate Trimagasi (Zorion Eguileor), a disgruntled old man months into his sentence and with little patience for Goreng and his endless questions about his surroundings. These questions are interrupted by the arrival of the platform, a levitating concrete slab filled to the brim with all sorts of fine food and drink, which fills the hole in the centre of each floor once a day to provide the inmates with sustenance. Attempt to keep anything to stave off the hunger later and the temperature on the floor rises to boiling point or drops to freezing. After befriending fellow inmate Imoguiri (Antonia San Juan), Goreng finds himself drawn into her crusade to create equality within the Hole and ensure each prisoner receives their ration of food, riding the platform deeper and deeper and encountering savagery beyond his wildest nightmares.

The premise of The Platform is an extremely clever one, offering some intriguing possibilities for action scenes and story beats. Sadly, the film never really embraces this premise fully, thinking it is much deeper than it is, content to beat the audience over the head with its extremely obvious metaphor for classism. The long monologues from Trimagasi grow more and more tiresome as he rehashes this metaphor, and I found myself checking my watch mid-way through waiting for some action. There’s also a recurring narrative of Goreng being some kind of Christ-like figure with multiple people believing he will bring equality to the Hole. This makes sense to us as a viewer because we’re aware Goreng is our protagonist but in the world of the filmhow do these people know anything about him, let alone enough to speculate he is their saviour? Fortunately, once the action kicks in it kicks in hard, moving at a break-neck pace while necks are broken. The Platform is an extremely violent and gory film, just like the struggle of classism, and nothing is held back as inmates become more desperate and violent, where cannibalism and cracking skulls are commonplace.

Mirroring the film’s pace is the character of Goreng; arriving in the Hole a quiet, measured man who believes he can use the opportunity to better himself and catch up on some reading. His character is tested on all fronts – physically, psychologically and morally – and Massagué gives an incredibly nuanced and emotionally charged performance as we literally watch this man break apart in front of our eyes and have his world views shattered. This is where the real representation of classism lies as we see the struggle of Goreng cycling through both the rich and poor mindsets; hoping for more as he struggles to survive in the lower levels only to have that hope ripped away when his time higher up ends. Whilst relatively unknown to audiences outside of Spain, Massagué’s excellent performance should put him on the map on an international scale as he delivers one of the best performances so far this year. Accompanying him in the Hole is Zorion Eguileor as Trimagasi, who gives a wonderful, layered performance as a frail yet violent man who opens Goreng’s mind to the harsh reality of the prison and social inequality in general. His extremely negative outlook on life casts a shadow of doubt over Goreng and Eguileor’s menacing presence is felt throughout the entire film even when he is not on-screen.

Whilst it isn’t the next sci-fi masterpiece many were expecting, The Platform is a promising start for director Galder Gaztelu-Urrutia, who comes to the party with an extremely clever idea but falls just short of making it all come together. The over-explanation of the metaphor of the prison and the lack of connective tissue between plot points sadly robs the film of much of its life and causes it to drag in the middle. Whilst the action that follows keeps you going to the bloody conclusion, it isn’t particularly well shot or choreographed and relies on gore and violence to extend the metaphor about the violence of classism rather than entertain the viewer. What holds it all together is some wonderful performances across the board, particularly Ivan Massagué who excels as Goreng. If you’re looking for a violent, dystopian sci-fi film that will also make you think a little, then give The Platform a go; just don’t expect anything as deep as the prison itself.

The Platform stars Ivan Massagué, Zorion Eguileor, Antonia San Juan, Emilio Buale & Alexandra Masangkay – streaming on Netflix now.

Tags Antonia San Juan, Ivan Massagué, Netflix, The Platform, Zorion Eguileor

Movie Reviews

The Invisible Man

Post author By Mark
Post date March 5, 2020

Cancel your plans, buy your tickets and get to the cinema because the first great horror film of 2020 has arrived with Leigh Whannell’s remake of the classic Universal monster movie The Invisible Man. Updated for a modern audience, the film addresses the issues of suffocating relationships and obsession, told through a game of cat and mouse between a woman fleeing her abusive boyfriend who is hellbent on controlling her and who just happens to have discovered the secret to invisibility. Anchored by a masterful performance from Elisabeth Moss, this decades-old tale is given new life with timely social commentary, excellent sound design and tension that will shred the nerves of even the most hardened horror veterans.

Moss stars as Cecilia, a normal young woman in a particularly undesirable situation: beaten down and desperate to escape the controlling grasp of her possessive, tech-millionaire boyfriend Adrian (Oliver Jackson-Cohen). After making a daring, late night escape from Adrian’s house/prison complex, Cecilia lives in fear that her tormenter will make a return. Refusing to leave the house of childhood friend James (Aldis Hodge), Cecilia hides away until she learns of her former flame’s sudden suicide. In an unusual turn of events, Cecilia discovers that Adrian has left her his fortune, provided she maintains a period of good mental health. From here the games begin as Cecilia begins to notice increasingly bizarre occurrences around the house, as stoves catch alight and objects move seemingly on their own. This all leads her down a dark and dangerous path as she loses her grip on what is real and risks her connections to the people closest to her in an effort to prove that Adrian is really behind all of this and that he has cracked the secret to true invisibility.

Let’s get right to it: The Invisible Man is a great horror movie. Leigh Whannell’s ability to control the pacing and timing of scares is incredible and he is one of the best working in the business today. Having worked with James Wan on the Saw and Insidious franchises before, it is clear that Whannell knows his way around a jump scare, in fact he may be one of the best in horror right now at making a proficient and impactful jump scare, with emphasis on the impactful. These scares hit hard, never relying on the clichéd jump scare trend of fake outs before the real scare or the cutting of the music from the scene as the spook hits. In addition to being written into the world of the film in a way that makes complete sense and fits with the atmosphere and themes, they’re also shot beautifully by cinematographer Stefan Duscio, with long unbroken pans between rooms and corridors allowing you to get a grasp of the environment while also building tension. Adding to the atmosphere of dread and obsession is the decision to shoot most scenes with space intentionally left empty on the side or corner of the screen to insinuate the presence of the invisible Adrian. It’s a small thing but it really goes that extra mile to ingratiate you in the story and have you understand the fear Cecilia feels at all times.

That brings us to the other key strength of The Invisible Man; it’s a smart horror film. Not only do you get an excellent, fully realized protagonist in Cecilia who the audience can fully empathize with, but you also get a healthy dose of social commentary that never feels preachy or detracts from the fun of watching a horror film in a packed theatre. These are some heavy themes we’re dealing with, including obsession and learning to live with PTSD and other forms of depression and mental illness and it couldn’t be more relevant in today’s society. Cecilia is not only running from the “physical” invisible man but also the emotional trauma that she has endured as a result of his abuse. The lack of belief she experiences from those around her is a sad reflection of people in these circumstances in real life and Whannell addresses this in a way that is never heavy handed but which will keep you thinking long after you leave the theatre.

None of these scares or social commentary mean anything though, if you don’t have a compelling, likeable lead to carry the film and fortunately Whannell has found his muse in Elisabeth Moss, one of the best character actresses working today. She owns the role of Cecilia, bringing a pathos to the character that really makes the audience feel and understand the isolation she experiences as the world around her refuses to believe her. That’s not to say she plays a one-note character, as Moss imbues the character with a strength that rivals some of the greatest final girls in horror history, refusing to stray from her belief that Adrian is indeed stalking her. By the time the credits roll you completely understand and support her character, and if early box office indications are anything to go by, she is a character that audiences would absolutely want to follow in a sequel. Outside of Cecilia, Oliver Jackson-Cohen excels as the villainous Adrian, casting an imposing presence early on and bringing a gravitas and sense of creepiness that lasts the entire film, even when he can’t be seen. Aldis Hodge and Euphoria‘s Storm Reid round out the cast as Cecilia’s childhood friend and his daughter who bring a fun and comforting family energy to the proceedings. They deliver good work but ultimately don’t have too much to do and their involvement in the story lessens towards the end as we shift all focus to Cecilia.

The Invisible Man is an excellent spin on a classic monster movie. A modern update that not only brings the property into current times but which also elevates the source material into a discussion on important topics like depression, obsession and PTSD. That it does this while remaining an incredibly scary film is a testament to the talents of director Leigh Whannell – who follows up 2018’s Upgrade with another absolute winner – and Elisabeth Moss, who delivers one of her finest and most nuanced performance of her career. Not since 2018’s Hereditary has a horror film fired on all cylinders like this, and while you may not be able to see the titular character, you shouldn’t miss your chance to see this on the big screen.

The Invisible Man stars Elisabeth Moss, Oliver Jackson-Cohen, Aldis Hodge & Storm Reid – in cinemas now.

Tags Aldis Hodge, Elisabeth Moss, Leigh Whannell, Oliver Jackson-Cohen, Storm Reid, The Invisible Man

Movie Reviews

Sonic the Hedgehog

Post author By Mark
Post date February 20, 2020

Hollywood has a long history of building films from video games, and it’s certainly not a stellar one. Taking characters and stories with huge existing fanbases should equal an easy win when it comes to throwing them on the big screen, but it’s rarely ever a successful mix. More often than not, the end result is a film that doesn’t do enough justice to the source material for fans, while also being too niche for wider audiences to get into. The latest to try his hand at breaking the mould this week is Sonic the Hedgehog, the infamous blue blur that has been synonymous with gaming for almost 30 years. Looking to bank on the somewhat surprise success of Pokémon: Detective Pikachu last year, Sonic aims to hit that nostalgic goldmine with a new origin story, big personalities and some flashy CGI. When all is said and done, Sonic the Hedgehog doesn’t quite run rings around the competition, though there is just enough there for him to get you walking, if maybe not running, to the cinemas.

The live-action adaptation is set largely in Green Hills, a fictional small town in rural California. Living secretly in the woods of the town is the titular blue hedgehog, having been stranded for years following a speedy (and somewhat bizarre) opening scene. Sonic (Ben Schwartz) claims to be ‘living his best life’ as he zips around town unseen, however it’s quickly clear that his many years in hiding have taken a toll. To combat his loneliness, he keeps close tabs on the town’s sheriff Tom Wachowski (James Marsden) and wife Maddie (Tika Sumpter) who – unknown to them – are his closest friends on Earth. Before too long, Sonic accidentally attracts the attention of the power-crazed scientist Dr Robotnik (Jim Carrey), spurring an unlikely road trip as Sonic and the sheriff try to outrun the mad doctor. The story is even more cliché than it sounds, with the heroes running through bar fights, car chases and a whole lot of bro talk along the way. It’s a very safe and predictable plot, which makes sense overall as you quickly realise that the film has a pretty specific target audience. Where Detective Pikachu managed to walk the line between pleasing both long-time fans and younger moviegoers, Sonic instead chooses to lean heavily into (not so) current pop-culture trends and jokes with just hints of nostalgia scattered throughout. Sonic is fundamentally the same character that we all remember, it’s just that now he pokes fun at Vin Diesel and spends a little too much time doing the floss.

Spicing up the hedgehog’s attitude and style isn’t necessarily a bad thing, and it certainly helps given that he’s the centre of attention for just about the entire length of the adventure. Sonic blitzes through jokes and dialogue like a kid on a sugar rush, with his loud and scattered delivery the polar opposite of Ryan Reynold’s more restrained and subtle performance as Pikachu last year. It all fits with the general Sonic vibe however, and his big personality blends with the zany action and plot spilling out around him. James Marsden’s character does fine with what he’s given as Sonic’s partner, however it’s a role built solely to prop up and guide Sonic to his next punchline or destination. The same can be said for many of the remaining supporting cast, who again offer up good performances despite the titular hero continuing to steal the spotlight. The only character that truly manages to challenge the star is Jim Carrey’s Dr Robotnik, who quite frankly lifts the film far higher than it otherwise would have been. Robotnik has been Sonic’s arch nemesis for decades, and Carrey seems to revel in the role following a recent break from notable big-screen appearances. He brings his trademark manic style to the mad doctor, always teetering on the edge of insanity when on the hunt for Sonic, interacting with loyal right hand man Agent Stone (Lee Majdoub) or just turning in a bizarre two-minute dance sequence to the song “Where Evil Grows”. Robotnik is an old-fashioned, moustache-twirling villain that shouldn’t be nearly as interesting as the character Carrey manages to create, and his hits of madness are spread well throughout the film.

Also cropping up alongside the Doctor’s appearances are some of the film’s many action and CGI-heavy moments – each generally more explosive than the last. Everything from Sonic’s fur and quills through to Robotnik’s drones and gadgets have all been put seamlessly into the real world, allowing for some great and inventive scenes to come through. A solid example comes when we’re given Sonic’s point of view as he hits superspeed, watching as he moves through and plays with a world moving around him in slow motion. This is all in addition to the very successful ground-up redesign of the star hedgehog himself, following the now infamous initial preview of the film that tried to sell a human/hedgehog hybrid nightmare just last year. While the changes to Sonic ended up delaying the film quite a bit, they were definitely worth the wait given the result. In fact, the effects work is almost held back by its ties to real-world backgrounds, which add very little to the adventure as a whole. We’re given brief flashes at Sonic’s familiar, video game home which hopefully will be expanded on in the more-than-likely sequel down the line.

Sonic the Hedgehog is the latest challenger to attempt making the move from games to the big screen, and he manages to give it a solid swing. Sonic’s design and abilities have been handled with an amazing amount of care and detail, giving you enough to appreciate when his banter starts to dip. Pairing his large personality with Carrey’s diabolical villain really saves the film from growing stale, and Carrey gives his performance just the right amount of edge to be dark without turning off the younger audience. It’s this audience that will get the most from the movie, though long-time fans will appreciate the hero’s design and fleeting nostalgic nods scattered throughout the lackluster, paint-by-numbers story. It may not be the event that finally brings film and games together, but Sonic the Hedgehog is a good bit of fun with some decent action, setting quite a pace for those to come in the future.

Sonic the Hedgehog stars Ben Schwartz, Jim Carrey, James Marsden, Tika Sumpter, Lee Majdoub, Natasha Rothwell & Adam Pally – In cinemas now.

Tags Ben Schwartz, James Marsden, Jim Carrey, Sonic the Hedgehog

Movie Reviews

Birds of Prey

Post author By Mark
Post date February 16, 2020

I was not looking forward to Birds of Prey, or to use the obnoxiously-long full title Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn). The last film to feature Margot Robbie’s ridiculously over-the-top psychologist turned maniac, 2016’s Suicide Squad, was a major disappointment: a misleading bore of a superhero-team up sold on its use of colour (it had none), pop-culture references (excessive) and endless blasting of pop songs (constant and mind-numbingly loud). Harley Quinn was a standout for most people – although I must admit I find the character extremely annoying and boring – and Warner Bros saw fit to give her another shot. This time around however, the film was being sold as a superhero team-up full of colour, pop-culture references and modern radio friendly tunes…. and that’s exactly what you get: a boring, meandering film of slightly better quality than Suicide Squad but with almost all of the same problems.

The central plot is simple enough. The Joker has had enough of Harley Quinn (he’s not the only one) and has severed his ties with her, leaving the poor psychopath on her own as a bevy of villains look to exact their revenge for the various evildoings she carried out while under the clown prince of crime’s protection. This leads Harley on a journey of self-discovery and preservation as she evades the people she has wronged, particularly the wealthy and well connected crime lord Roman Sionis (Ewan McGregor), familiar to fans of the Batman franchise as the villain Black Mask. To save her own skin, Harley must retrieve an extremely valuable diamond for Sionis – which just so happens to have been pickpocketed by local Gotham teenager Cassandra Cain (Ella Jay Basco) who is oblivious to the significance of her latest steal. As Harley befriends Cain and navigates the dangerous streets of Gotham City, she crosses paths with a number of quirky characters who all have their own motives for going after Cain and their own grievances with Sionis. These include the hard hitting detective-turned-vigilante Renee Montoya (Rosie Perez), Cain’s neighbour and Sionis’ reluctant associate Dinah Lance (Jurnee Smollett-Bell) and the recently arrived to Gotham, crossbow-wielding assassin Huntress (Mary Elizabeth Winstead).

If this sounds like more of a Harley Quinn film than a team-up to you then you’re absolutely right. The supporting cast is woefully underutilised with the exception of McGregor as Sionis, who dials the campiness up to 11 to play the flamboyant, tantrum-prone germaphobe mob boss. His scenes are easily the most hilarious and enjoyable and his odd, are they/aren’t they relationship with his right-hand man Victor Zsasz (Chris Messina) is one of the strangest, and honestly one of the only fully realised relationships of the film. Yet this film belongs to Harley Quinn and if you’re a fan of the character then Robbie’s interpretation is about as close to perfect as you can get, right down to the voice. While her arc in the film is fairly standard and doesn’t really go anywhere unexpected, there’s no doubting the commitment and passion that Robbie has for the role, clearly relishing playing the character as she imbues Quinn with endless energy and sass. Mary Elizabeth Winstead is fine enough in her role as Huntress but she just isn’t given anything to do; with an attempt to establish her backstory and motives coming so late in the game and so fleetingly that it’s hard to really care all that much. The standout besides Robbie here is Jurnee Smollett-Bell as Dinah Lance – who fans of the show Arrow will be familiar with. She brings a nice balance of street-smarts and toughness with genuine kindness and a desire to be good that results in a character the audience can latch onto; she owes Sionis for dragging her off the streets but at the same time doesn’t condone the terrible things that he does and we want her to get out of this situation.

From a technical and story point of view, Birds of Prey is a letdown. Decisions have been made to make the film more quick-paced and manic, perhaps to make us see things like Harley Quinn, but these hinder the film more than they make for an enjoyable viewing experience. Large chunks of the film are narrated by Quinn herself as though she is relaying the story in real time to the audience, complete with time jumps backwards and forwards as Harley recovers from a hangover and recollects events. The result is an uneven pacing and a confusing plot that can go from two characters discussing something to an intense, in-your-face action sequence in a matter of minutes with no build-up or storytelling as to why the fight is happening. These action sequences vary in quality from an absolutely spellbinding sequence in a police station to an incredibly mundane final battle as far as super-hero movies go. The action is at its best when director Cathy Yan chooses to be play with the environment more and shoot the scenes in a more stylised fashion with slow motion shots and fast, quick cuts. In contrast to Suicide Squad, this film is colourful – filled with flashes of vibrant greens, blues and reds that really help to establish a visual style even if they don’t always make sense (why would a chemical plant explode in multicoloured fireworks?). Yan has clearly tried to lend her own personal flavour and style to the film and she should be commended. As for the music choices, the less said about that the better, as clearly nobody has learned from the mistakes of Suicide Squad in this regard.

Birds of Prey wasn’t a movie that was begging to be made. Warner Bros took what worked from Suicide Squad and figured they could build a film, potentially a franchise, on the strength of Harley Quinn alone. It’s an interesting experiment, if ultimately a failure. There’s no denying that Margot Robbie plays the character to perfection but the film around her just isn’t interesting enough to warrant much of a response from the audience. While there are flashes of style and some solid action scenes – Cathy Yan has clearly tried to do something different here – it ultimately doesn’t come together as a whole and I wouldn’t be surprised if I forget the film entirely after a few days. Harley Quinn certainly isn’t going anywhere however and it’ll be interesting to see how someone like James Gunn, famous for directing the Guardians of the Galaxy films, handles the character in his upcoming Suicide Squad sequel.

Birds of Prey stars Margot Robbie, Ewan McGregor, Rosie Perez, Mary Elizabeth Winstead, Jurnee Smollett-Bell, Ella Jay Basco & Chris Messina – in cinemas now.

Tags Birds of Prey, Cathy Yan, Chris Messina, DC, Ella Jay Basco, Ewan McGregor, Jurnee Smollett-Bell, Margot Robbie, Mary Elizabeth Winstead, Rosie Perez

Movie Reviews

The Lighthouse

Post author By Mark
Post date February 12, 2020

Robert Eggers’ The Witch was a distinctively different spin on the horror genre, focused on building a steadily increasing atmosphere of creepiness and dread in a time when most horror films rely on jump scares and hideous creatures. If that seemed like a throwback to classic horror films then his follow-up The Lighthouse can be seen as a throwback to classic cinema in general – shot in black and white featuring an old school square aspect ratio – but with a distinctively modern twist. This is one crazy film that is familiar yet completely unlike anything you’ve seen before, borrowing elements from the horror and thriller genres to create something wholly original.

Set in the 19th century, The Lighthouse centres around two lighthouse keepers: young inexperienced Ephraim Winslow (Robert Pattinson) and weathered sea dog Thomas Wake (Willem Dafoe) as they embark on a 4 week job to keep a lighthouse running on a deserted island in the middle of the ocean. Seems like a simple enough job? Not the way Thomas runs his ship, beating down on poor Ephraim with criticism every chance he gets whilst conducting himself as a slob; drinking himself into a stupor and farting constantly. Yes you read that right: farting. All the abuse and flatulence take their toll on Ephraim and he soon finds himself in a battle for survival with Thomas, each of them losing their grip on reality and becoming increasingly violent as secrets are revealed and they both fight for the right to tend to the mysterious “light” at the top of the lighthouse.

Like his first film, Eggers’ focus here is very much on building a distinct atmosphere. The island the pair inhabit is continuously under siege by the weather. Storms rage and are a constant presence in the film – almost a character in itself – as the sound of rain hitting the roof and thunder cracking builds as the characters become increasingly wary and irate with one another. Adding to the tension is the phenomenal score by Eggers’ frequent collaborator Mark Korven which fluctuates between soft, creeping dread and sudden, loud bursts of harsh strings and horns which catch you off guard like the bizarre and violent actions on screen. Reminiscent of the score for The Shining in parts, it goes a long way towards adding a horror dimension to the film, mirroring the character’s steady build toward madness. The choice to shoot the film in black and white, which some may dismiss as pretentious, actually works incredibly well to hone the focus on these two individuals and the bleakness of their situation and location. It also just looks fantastic, with shadows bouncing off the walls giving the scenes an almost gothic feel.

You can have all the atmosphere in the world but if you don’t have the right actors in your film then it’s all for nothing. Luckily, Eggers enlists two of the finest of their respective generations to tackle this decidedly weird script, in Robert Pattinson and Willem Dafoe. Pattinson continues his streak of darling indie films following the juggernaut that was the Twilight franchise and this might be the strangest and most difficult role he has played to date – including a particularly handsy scene that will forever separate him from the clean cut vampire hero that shot him to fame. Whilst his accent could use a bit of work, Pattinson is outstanding and a worthy adversary to Dafoe, making the giant shift in mentality from mild mannered to frustrated to completely unhinged look believable (within the confines of this crazy environment). Speaking of Dafoe, his performance as the grizzled sea captain is awards worthy, pivoting constantly between friend and foe to Pattinson, from calculating and vindictive to wild and completely insane. It’s a fine balance between believably crazy and completely over the top and Dafoe walks it with ease, delivering one of the most iconic characters of his esteemed career.

The Lighthouse is a film you’re not going to forget in a hurry. Whilst it may attract viewers with its distinctive dialogue and visual style, behind this is a completely crazy, original story filled with equal parts disturbing and beautiful imagery and two powerhouse performances from Robert Pattinson and Willem Dafoe. Eggers further establishes himself as a director to watch; able to create an atmosphere that moves between genres and sweeps over and envelopes the audience – like the light atop the tower not letting go until you reach its wild, brutal conclusion.

The Lighthouse stars Robert Pattinson and Willem Dafoe – in select cinemas now.

Tags A24, Robert Eggers, Robert Pattinson, The Lighthouse, Willem Dafoe

Movie Reviews

Uncut Gems

Post author By Mark
Post date February 7, 2020

It’s not often that Adam Sandler finds himself in a dramatic role, but when he does he goes all in. The Safdie Brothers’ latest high-octane, anxiety attack of a film Uncut Gems features the Sandman at perhaps the best he’s ever been – in his element as a disgruntled, obnoxious jeweller up to his neck in gambling debts and loan sharks surviving through sheer luck and quick wits. Excellently written to wring every last drop of tension out of the audience and with a stellar supporting cast, Uncut Gems stands as one of the most original films of the last decade, and although the pacing can dip slightly around the middle, the Safdie Brothers have created a gritty, confronting sophomore feature that rivals if not surpasses their breakthrough Good Time.

We enter this ride in the thick of it as expert jeweller Howard Ratner (Sandler) returns to his shop to find trouble in the form of two dangerous enforcers looking to collect on a debt owed to Arno (Eric Bogosian), Howard’s brother-in-law. The problem is Howard “doesn’t have the money right now” – a line that becomes something of a catchphrase for Sandler’s character throughout the film – and Arno’s goons promise to cause more chaos if they aren’t paid what is owed. Enter the titular gem; a magnificent multifaceted, multicoloured beauty which Howard has imported from Africa to sell at an auction for a cool million – money problems solved. That is until basketball star Kevin Garnett (as himself) of the Boston Celtics steps into the store and lays eyes on it, obsessing over the stone and begging to borrow it before the auction so that he can use its “luck” to help him win the game and the championship. Howard reluctantly agrees, releasing the stone and risking his future, and what follows is a series of increasingly horrifying and nerve shredding events as Howard does whatever he can to keep afloat with all his problems and come out on top.

What makes Uncut Gems so watchable and stops it from being a depressing story of despicable people doing despicable things is Sandler. Maybe it’s all the goodwill he’s built up from starring in classic comedies like Happy Gilmore and Billy Madison but it’s almost impossible to root against the guy, even if he is doing things that would make most people’s stomach turn and isolate an audience. He gets by here by playing off both his extremes, mixing that always-yelling anger of his earlier comedy with the subtlety of his more dramatic work – Howard is as aggressive as they come; and he has to be to an extent to get by in his profession, but its the hunger and the level of greed he has that stop him from ever feeling fulfilled. Sandler shows us this in moments which should be happy for Howard – watching his daughter’s play or tucking his son in to bed – by undercutting them with a twitch and sudden need to be around something beneficial for him, his addiction. He is an addict and a broken person and Sandler plays it all beautifully, demonstrating how this affliction can build and build in a person until breaking point. He may never top this, the role seems written specifically for him, and it’s a crying shame he wasn’t even nominated for an Oscar for the performance.

Surrounding this epic performance is some damn fine filmmaking from the Safdie Brothers who go far bigger than their last, more contained feature. The stakes of Uncut Gems are far larger and more life and death and the film moves at a clip for the most part, lingering on specific visuals and people just long enough to make you feel uncomfortable. Certain spots around the middle to tend to drag slightly but it can be overlooked when the anchoring performance is so riveting. Shot to look somewhat grainy and dirty, the effect pays off to make the diamond district of New York look grimy and lived in. The supporting characters that live in it belong here, with LaKeith Stanfield at the top of his game as a hustler from the streets looking to hawk his stolen watches through Howard’s shop and Julia Fox as Howard’s mistress and employee who runs in multiple circles in order to make a name for herself outside the store. Everyone is self motivated and out for themselves, with no compunctions about who they have to go through to get out of their current situations. You get a true sense of this through the dialogue, where multiple people are constantly talking over each other, vying for their opportunity to be heard and appreciated. While this can be something of sensory overload at times it helps to sell both the world and the madness that is in Howard’s head, his addiction the only voice that can rise above the noise.

Uncut Gems is one of those films with a role so perfectly suited for an actor that it becomes a different beast, a showcase for their acting talent. Adam Sandler elevates the source material so much with his performance, partly due to his long presence in the industry and on our screens, that he becomes someone you actively root for, despite the awful way he treats those around him. The Safdie Brothers continue to show a flair for intense, nerve jangling stories that move at an incredibly fast pace, even if there are a few dips here and there, and it won’t be long before they earn the recognition they deserve. Ultimately Uncut Gems will be remembered for Sandler’s phenomenal performance and the Academy’s snub of it at the Oscars. Here’s hoping the Sandman has a few more of these left in him.

Uncut Gems stars Adam Sandler, Idina Menzel, LaKeith Stanfield, Julia Fox, Eric Bogosian, Kevin Garnett & Judd Hirsch – in cinemas in the US now and streaming on Netflix everywhere else.

Tags A24, Adam Sandler, Benny Safdie, Idina Menzel, Josh Safdie, LaKeith Stanfield, Uncut Gems

Movie Reviews

Parasite

Post author By Mark
Post date January 12, 2020

Believe the hype. Visionary South Korean director Bong Joon-Ho has crafted a masterpiece with his latest thriller Parasite, building on an already incredible body of work to create perhaps his best film to date and one of the best films of 2019. Combining a complex, slowly unravelling mystery with a timely social commentary, a terrific cast, unsettling score, and gorgeous visuals which give the film a rich, distinct style – this is a movie that will suck you into its story and get its hooks in you early as it takes you on a ride unlike anything you have seen this year, maybe ever.

More than most films of recent times, this is one where it is almost impossible to discuss without venturing into spoiler territory. Having said this, it wouldn’t be much of a review if we didn’t delve into the story at all so I’ll attempt to be as spoiler free as possible. We follow the Kim family, a poor lower-class family in South Korea struggling to make ends meet as they live in their tiny, dilapidated “semi-basement” home in a poor neighbourhood. With none of the family members being employed, it is naturally cause for celebration when son Ki-woo (Woo-sik Choi) is given a job as an English tutor for Da-hye Park (Ji-so Jung), the daughter of a rich businessman Dong-ik (Sun-kyun Lee) and his paranoid, overzealous wife Yeon-kyo (Yeo-jeong Jo). Once in favour with the Park’s, Ki-woo opens the door for his family to begin to take over key positions of staff within the home. Daughter Ki-jung (So-dam Park) is set to work as the young son’s art tutor, mother Chung-sook (Hye-jin Jang) becomes the family housekeeper and father Ki-taek (Kang-ho Song) gets to work as the family’s driver. If you think you know where the story is going from here, trust me when I say you don’t.

Joon-Ho takes this tale of class warfare and economic inequality and imparts it on the audience not only through the story itself, but also through distinct yet subtle visual cues and a unique colour palette. The Kim family lives below the rest of society, and they look out of their cramped basement house onto the surrounding streets, seeing but never truly belonging. In comparison, the Park family live in an opulent, spacious modern mansion, set well above ground level with multiple storeys and every perk you could expect from a wealthy property. The colour palette for the Kim’s is dark and dingy, full of greys and blacks, with everything made to look dirty and well worn; colours faded and darkened to blend in with the grimy surroundings. Conversely, the Park’s residence is as modern as you can get; a natural clean aesthetic full of rich greys and blacks accented with pops of vibrant colour from wood and natural lighting. The backyard of the property is a particular highlight, shot to look like an almost unnatural shade of green; it draws the attention of every member of the Kim family when they see the property – in awe of such a natural and common thing, yet one which feels strange and foreign to them. Joon-Ho takes this metaphor one step further in a more literal sense as to how each family perceives the natural world, with an event as simple as a rainstorm to the Park’s, potentially catastrophic to the Kim’s.

Going hand in hand with the theme of class differentiation is an exploration of greed and the effect it can have on a person’s mindset, warping even the most innocent intentions into something sinister. Joon-Ho illustrates this change by letting the tension slowly bubble away under the surface of the film before dialling it up to 11 all too quickly, shattering your nerves and making the final act something that needs to be seen to be believed. Throughout the journey he dips into other genres such as horror and comedy as needed to add to the story and the seemingly worlds apart views of these two families. The humour especially is extremely well timed so that the film never loses tension but is just sporadic and off-kilter enough to hit you hard in the funny bone. While it may be a bizarre brand of comedy for some audiences, the tone works for the world Joon-Ho has built and it pays off in big ways. Jaeil Jung’s terrific score adds yet another level to the film, alternating between bright and happy to dour and unsettling and subverting your expectations from scene to scene as to what music should match each scene. It’s a subtly effective way to create tension and fear out of an otherwise normal setting and it complements the visuals beautifully.

The cast of Parasite is an impressive mix of old and new South Korean talent, led by Joon-Ho’s frequent collaborator Kang-ho Song as Ki-taek, the patriarch of the Kim clan. It’s a powerhouse performance, as Song passes through multiple emotional states, often relying on facial expressions and subtle bodily movements to convey his current mental state. You feel every emotion Ki-taek goes through in order to achieve his goal and it is a tough journey to endure, in the best way possible, as we follow him struggling to lift his family out of their poverty-stricken situation. Alongside him is young actor Woo-sik Choi as Ki-woo, the son of the Kim family and connective tissue to the Park’s. Choi has a lot of work to do in his role and carries the film for a good portion, introducing us to all the members of the Park family and establishing the dynamic between the two groups. He is more than up to the task and showcases a great emotional range as he struggles to comprehend the differences between the two family’s lives and how he can help his own family. Jeong-eun Lee is another standout as the Park’s housekeeper Moon-gwang, a friendly yet sinister presence in the house she has one of the most difficult and interesting character arcs to work with and she pulls it off without a hitch.

Parasite is one of those rare films which transcends the language barrier. Its themes and lessons are universal and apply to everyone regardless of the language you speak. Joon-ho has spoken publicly about his wish for this film to encourage more people to see subtitled films and he has made a masterful demonstration for the power of foreign films. With an outstanding cast, edge of your seat story featuring timely social commentary and a terrific score, this is as complete a package as you can get and Bong Joon-ho cements his position as one of the greatest directors working today with it. Already the focus of much critical acclaim, here’s hoping Parasite is a big hit come awards season as it deserves all of them.

Parasite stars Kang-ho Song, Woo-sik Choi, So-dam Park, Hye-jin Jang, Sun-kyun Lee, Yeo-jeong Jo & Jeong-eun Lee – in cinemas now.

Tags Bong Joon-Ho, Hye-jin Jang, Jeong-eun Lee, Kang-ho Song, Parasite, So-dam Park, Sun-kyun Lee, Woo-sik Choi, Yeo-jeong Jo

Movie Reviews

The Gentlemen

Post author By Mark
Post date January 9, 2020

Guy Ritchie burst onto the scene with his trademark frenetic, violent, cleverly interwoven stories of gangsters and crime-lords in Lock, Stock & Two Smoking Barrels and Snatch. In the years since, Ritchie has moved further and further from his roots, handling bigger budgets and properties – such as the recent Aladdin remake – to somewhat mixed results. The Gentlemen is a triumphant return to form for the director, a rip-roaring, sharp-tongued journey through the inner-workings of rival marijuana criminal syndicates and gangsters set against the familiar backdrop of London. While the story can get a little too crazy at times, the all-star cast, led by Matthew McConaughey, hold it all together and make this one of Ritchie’s most enjoyable and best films in a long time, and a hell of a way to start off the 2020 year of movies.

Like those other earlier films, The Gentlemen is told through stories within stories, which ultimately all collide together in spectacular fashion. The large portion of the narrative is told by cocksure, flamboyant private investigator Fletcher (Hugh Grant) – who has been tasked with tailing marijuana empire kingpin Mickey Pearson (Matthew McConaughey) and gathering information for a newspaper exposé – as he attempts to blackmail Pearson through his right hand man Raymond (Charlie Hunnam) to the tune of 20 million pounds. This comes at a particularly tenuous time for Mickey, who is in the process of leaving the business he helped create; negotiating to sell the business to rival drug lord Matthew (Jeremy Strong), whilst newcomer on the scene Dry Eye (Henry Golding) makes his own desperate play for Michael’s crown. Add to this a host of supporting characters from outside the mobs such as Colin Farrell’s gym owner Coach and you have an explosive clash of forces vying for supremacy, which brings with it an abundance of backstabbing, scheming and violence.

What holds the films increasingly off-kilter story together and gives it its flair is the dialogue. It’s clearly evident that Ritchie understands this world and sub-culture of British life as if he’d lived it all himself – from the constant banter and local slang to the downright menacing threats made by these despicable characters – it works to give the film its own character and charm; you feel like you’ve stepped into this modern British underworld yourself (complete with fight scenes that also double as Grime music videos). As things continue to go in all directions, it’s the kooky cast of characters that Ritchie has assembled and the way in which they interact that holds you as an audience – which somewhat surprisingly gives everyone a chance to show off their comedy chops. Make no mistake, in addition to the violence audiences know Ritchie for, The Gentlemen is hilarious.

This is due to the simply stellar cast Ritchie has gathered, all of whom have their own individual quirks or affectations that make them endlessly watchable. Take McConaughey’s Mickey for example; we find out very early on that he is an extremely dangerous man and has got his position through less than reputable means. What McConaughey gives us after we learn this though, is a calmly measured, almost too relaxed leader – a ticking time bomb. It’s a masterful technique to get you invested in the characters and have you wanting to learn more about them. Despite it being McConaughey’s movie, the show is undeniably stolen by Hugh Grant. The iconic British actor goes about as far from his usual roles as possible as the conniving, wily journalist Fletcher, complete with a strong Cockney accent and a taste for Charlie Hunnam’s Raymond. The verbal sparring matches between Hunnam and Grant are some of the best scenes Ritchie has put to film; funny as well as intriguing, with both men on their toes trying to outwit the other: Fletcher attempting to throw Raymond off through sly advances and Raymond responding in kind with a calm, cocky confidence in his boss and their combined power. Hunnam more than holds his own against Grant in a more restrained, understated role than he usually plays, delivering some of his best work since Sons of Anarchy.

The Gentlemen is a burst of fresh air for the start of the new year. A magnificent, guns blazing, fists swinging return to form for Guy Ritchie who goes back to his roots to give audiences all the hallmarks of his greatest work and the world he understands so well. If you’re not a fan of Ritchie’s earlier work, then this isn’t going to bring you over anytime soon, but for those that are along for the ride, the combination of a stellar cast, non-stop violence and more banter and NSFW jokes than you could ever ask for should be more than enough to keep you satisfied and have you leaving with a smile. If you haven’t seen a Guy Ritchie film before, then this is a damn good place to start.

The Gentlemen stars Matthew McConaughey, Hugh Grant, Charlie Hunnam, Colin Farrell, Michelle Dockery, Jeremy Strong & Henry Golding – In cinemas now.

Tags Charlie Hunnam, Colin Farrell, Guy Ritchie, Henry Golding, Hugh Grant, Jeremy Strong, Matthew McConaughey, Michelle Dockery, The Gentlemen

Movie Reviews

Jojo Rabbit

Post author By Tydus
Post date December 26, 2019

As one of the year’s most controversial releases, Jojo Rabbit might not immediately seem to sit well as a feature during the Christmas break. The latest film from director Taika Waititi (Hunt for the Wilderpeople & Thor: Ragnarok) became infamous earlier this year when plot details and trailers were released. Jojo Rabbit is, at least in part, a comedy set against the backdrop of all that came with World War II – featuring a ton of Nazi references, a bumbling Adolf Hitler and some dark humour that succeeds largely on shock value alone. However just below the surface is the real heart of the film, a coming-of-age drama about family, love, how we judge others and ultimately how we view ourselves. It’s a truly odd mix that somehow comes together to create one of the most charming and unconventional films of the year, right as 2019 draws to a close.

Johannes “Jojo” Betzler (Roman Griffin-Davis) is a 10-year-old boy living in a small, Nazi controlled town during the last drawn-out weeks of World War II. Somewhat of an outcast, the desperately lonely Jojo finds belonging as a member of the local “Hitler Youth” group – a junior Nazi training camp where kids are essentially moulded into communist fanatics. Jojo swears complete loyalty to the party even if to just be accepted by those around him, and he is constantly spurred on by his imaginary friend Adolf Hitler (Taika Waititi himself). The boy’s idea of the fuhrer is skewed a bit by Jojo’s age – creating an immature, zany and over-the-top version of the Nazi leader that begins the film as a voice of reason, before becoming a measure of Jojo’s maturity as time moves on. Following the recent loss of his older sister Inge, and with his father off on the front lines, Jojo lives only with his aloof and often absent mother Rosie (Scarlet Johansson). Rosie is strong-willed and fiercely protective of her son, however it’s quickly apparent that she doesn’t share her son’s love for the Nazi regime. All of this tension comes to a head in the early moments of the film, when Jojo discovers a Jewish girl named Elsa Korr (Thomasin McKenzie) hiding in the walls of his home.

This is all set up quite early in order to focus the film on its young lead, exploring how easily he’s conflicted by the adults around him. By revealing the stowaway, Jojo would be pleasing his ‘inner Adolf’ and winning him points with the party he dreams to be in. Yet doing so will no doubt bring heavy suspicion down on his mother – as well as a definite and grim end for Elsa. Each of the three core characters convey this struggle beautifully, with Griffin-Davis in particular proving to be another immensely talented child actor in a time where Stranger Things and the It films have raised the bar. McKenzie is also perfect for her role as a young girl who has lost everything she’s known, and must now hide for her life within the walls of a home decorated in Nazi paraphernalia. Both her character and Jojo share most of the deeper moments on screen, aside from the limited yet strong scenes featuring Johansson’s Rosie. Her character fights most of her battles off screen, however she makes herself known when she is around and it’s quite clear that Jojo remains everything to her – despite their differences.

Where these three characters shine, it’s Waititi’s spin on the fuhrer that is most likely to draw a mixed reception. While belittling or tearing shreds off of the real life tyrant has been accepted in cinema for a while, Hitler has never quite been portrayed as he is here. Using the character’s existence as an imaginary friend to his advantage, many of the fuhrer’s jokes land purely based on how outlandish and bizarre he is compared to the man on which he’s based. This humour works for the most part and his appearances are few and far between, however it’s worth noting that the character will likely polarise some viewers. On that note, Jojo Rabbit also doesn’t pull back too much when laying out the dark reality of what it was to live through the time of Nazi rule in Germany. There’s a fair amount of violence, fear and death running through the film’s key moments, and dark humour is often used to take the edge off of the story’s more grim and sombre areas. There are a few characters that walk this fine line during the course of the film as well, including Rebel Wilson’s Fraulein Rahm and Stephen Merchant’s Captain Deertz. Both Nazi familiars, the two are good examples of how the tale of Jojo Rabbit plays out overall – at times goofy and laughable, but at others sinister and downright evil.

Yet for every Fraulein Rahm and Captain Deertz, there are characters such as Captain Klenzendorf (another great turn by Sam Rockwell) and his subordinate Finkel (Game of Thrones‘ Alfie Allen). Both characters also rank within Hitler’s army, however they’re made more complex and deep compared to the usual ‘evil Nazi’ caricature. Rockwell’s character in particular gets a strong character arc, seeming to take joy in subverting the audience’s expectations wherever possible. Jojo’s only friend Yorki (Archie Yates) is also a great addition; another boy aiming to join the ranks as a soldier for the Third Reich. With an infallibly carefree attitude and endless positivity, Yorki is often the comedic relief when on screen – seeming to only be involved in an adult’s war because there was nothing else to do. It’s interesting that Jojo Rabbit features characters such as these, as it creates areas of grey where many other films built on the backdrop of World War II tend to deal in solely in black and white. Given director Taika Waititi’s Jewish background, the story could have easily taken a different route – however, to the film’s credit, he went and crafted something bigger here.

While Jojo Rabbit is a well scripted, sharp-tongued poke at the Nazis of World War II alongside some catchy 80’s German music, it’s not afraid to shy away from the evil of it all where it needs to. At the same time, some characters twist the expectation of who they’re often presumed to be, and the film tends to blend a number of themes together at once. This can understandably be too much for some audiences, and the humour may not be on taste for everyone, however Jojo Rabbit has a lot more heart than it initially leads you to believe. It’s a story designed to run you through a range of emotions, yet its ultimate aim seems to be one that makes us consider how we look at ourselves and, more importantly, those around us. It’s certainly not conventional and rarely pretty, but Jojo Rabbit has enough emotional weight and wholesome themes to end a year of quality films on a high.

Jojo Rabbit stars Roman Griffin-Davis, Thomasin McKenzie, Scarlett Johansson, Taika Waititi, Sam Rockwell, Rebel Wilson, Stephen Merchant, Archie Yates and Alfie Allen – In cinemas now.

Tags Alfie Allen, Archie Yates, Jojo Rabbit, Roman Griffin-Davis, Sam Rockwell, Scarlett Johansson, Stephen Merchant, Taika Waititi, Thomasin McKenzie

Movie Reviews

Star Wars: The Rise of Skywalker

Post author By Mark
Post date December 23, 2019

Since Disney’s acquisition of Lucasfilm back in 2012, the Star Wars films released by the Mouse House have always been an interesting thing to watch from a cultural and business perspective. They’ve all been wildly financially successful (with the exception of Ron Howard’s Solo: A Star Wars Story – a fun, little romp which gets a bad rap) and none of them can be considered bad, but creatively there has been a distinct lack of consistency and cohesion. 2015’s The Force Awakens absolutely blasted the new saga out of the gate and the standalone adventure released the year after, Rogue One: A Star Wars Story, continued the momentum and helped prove that Disney could experiment with the storied franchise and get away with it – to the tune of billions. Rian Johnson’s second entry in the trilogy, The Last Jedi, seemingly broke the movie world: causing a rift through a fandom never seen before and sparking endless claims that Johnson had “ruined the franchise” and petitions to erase the film from canon. Enter The Rise of Skywalker, the final film in the trilogy, once again helmed by JJ Abrams, who is given the unenviable task of unifying the two film’s visions and crafting a cohesive and satisfying conclusion to the story of Rey (Daisy Ridley), Finn (John Boyega), Poe (Oscar Isaac) and Kylo Ren (Adam Driver). Does he succeed? In a way yes, but also not really.

The Rise of Skywalker is a big, loud, ambitious mess of a movie. It’s as simple (and as complex) as that. Abrams throws everything and the kitchen sink on the screen here in an attempt to give the audience something cohesive as well as conclusive. It’s a fine balancing act between the familiarity of The Force Awakens (which fans complained about) and the left-field, out-with-the-old, in-with-the-new approach of The Last Jedi (which fans also complained about) – and, unlike the Force, it really doesn’t balance. Abrams sticks to the same formula he did with The Force Awakens here, placing a heavy focus on fan service and nostalgia to win over the audience. There are moments of brilliance here, fist-pumping moments of pure ecstasy that will make most fans break out in a grin as they experience a flash of the same giddy high the original trilogy left them with, but these are very few and far between. No, most of what we get is a severe overcompensation for The Last Jedi; all but erasing the events of that film from existence and utilising only the very bones of the plot – Kylo Ren is still the Supreme Leader of the First Order and Rey is still carrying on her Jedi training while the Resistance scrambles to regroup after the defeat at the Battle of Crait. It’s been no secret that Abrams has said he had a very specific plan in place for the trilogy and Johnson’s film all but threw that out the window, but Abrams seems determined to finish what he started, even if the setup isn’t there.

This is where the problems start to arise. From the get-go we are thrust into a story that feels strangely separate from the two entries that have come before. It continues the style of Abrams, sure, with a healthy dash of Return of the Jedi to boot, but the connective tissue that should have linked these two films is not what we got in Episode 8. Without this context it’s hard to invest in the story, even if it includes the characters we know and love. A new, yet familiar, antagonist seemingly appears out of nowhere with no explanation provided and the audience is just expected to go with it. It’s a lot to ask of such a devoted fanbase especially before you proceed to fill your film with bizarre character choices and some nonsensical twists and turns. Without spoiling things too much, we follow the usual gang; Rey, Finn, Poe, Chewbacca (Joonas Suotamo), C-3PO (Anthony Daniels), R2-D2 and BB-8 as they search for a way to rebuild the ranks of the dwindling Resistance, led by General Leia Organa (Carrie Fisher), and defeat the villainous First Order. Meanwhile newly promoted Supreme Leader Kylo Ren consolidates his position of power by teaming with an old enemy as he searches for both the remaining Resistance forces and Rey herself in an effort to destroy the Jedi and build his own new Empire.

Despite the story falling short of expectations, what we do get is still a fun, if ultimately forgettable ride and all the hallmarks of Star Wars are here. The effects and visuals are spectacular and genuinely jaw-dropping in spots, with the story moving through a plethora of new planets and locales from arid desserts to bustling cities and dank worlds beset by constant lightning storms. The effects-work extends to the creatures that inhabit the planets as well, a lot of which are brought to life using practical effects – something that Abrams has thankfully been extremely vocal about since The Force Awakens – and it all looks amazing and works to recreate that feel of classic Star Wars. Then there’s the action: more than maybe any Star Wars film; be it the starship fights – some of the best in this sequel trilogy – or the lightsaber duels, almost every scene ends with some sort of action set-piece and they consistently wow and keep you on the edge of your seat, with the exception of one scene which can’t be discussed for spoilers (you’ll know the anticlimactic scene when you see it). John Williams returns to see out his musical contributions to the trilogy, once again delivering an amazing score which perfectly compliments the visuals and serves as a reminder that he is perhaps the greatest composer to ever live, each piece of music drawing the emotions from the audience that he wants. All these things done right are what makes The Rise of Skywalker so frustrating. They had it, they almost had it; the perfect ending for these characters if it weren’t for the inconsistent story. All the pieces are there but it’s the connective tissue that is simply lacking and which doesn’t allow them to come together in the ideal way: you’re left knowing you’ve seen a Star Wars film, but one that is confusing and upsetting rather than joyful and a fitting send off to the characters we all love so much.

The one consistency throughout the entire trilogy, however, is the acting talents of all involved. Every member of the cast gives their all, no matter the size or importance of the role. Adam Driver continues to deliver the best performance of the Disney produced sequels as Kylo Ren, showing Ren as a deeply flawed and conflicted individual whose struggle to choose the dark over the light is constantly causing him pain. Driver’s story might not be as nuanced as his performance in the film but he lifts the material significantly, adding some depth to the unsure newly crowned Supreme Leader. Next to Driver the person that gets the most material to work with is Daisy Ridley as Rey, who doesn’t have much to really work with in terms of an arc but does her best to show the confusion and longing for purpose that Rey feels. This tends to be a common theme for almost all the characters in the film, as a result of trying to cram this story together and course-correct for The Last Jedi, there seems to be a distinct lack of character arcs for most parties involved. John Boyega and Oscar Isaac are both great actors but their roles allow for them to make minimal contributions to the plot other than being along for Rey’s adventure. It’s a shame given the promise hinted at in The Force Awakens and is a waste of their talents. Carrie Fisher’s role as Leia is a particularly interesting one, given her extremely sad passing before filming began and Abrams is in the unenviable position of crafting a performance from unused footage from the past two films. Thankfully it works and although Fisher’s role was conceived to be much larger before her death, it is a respectful tribute and send-off to the actress who will forever be our princess.

More than anything The Rise of Skywalker is disappointing. There were such high hopes riding on this closing chapter of perhaps the most beloved film franchise of all time and it just doesn’t finish out the stories of the characters we love very well. The action, music, characters and general feel of Star Wars are all there and it’s a movie that you can still enjoy and get some enjoyment out of certain set-pieces; but the story is so haphazardly put together and sloppy that it taints this entire sequel trilogy and highlights Disney’s lack of an overarching plan for the direction of Star Wars. The only thing to do now is hope that future films learn from this mistake and it leads to some great new instalments in the franchise but the Skywalker saga is now complete, and as a lifelong fan of the galaxy far, far away, this one hurts like a lightsaber to the heart.

Star Wars: The Rise of Skywalker stars Carrie Fisher, Daisy Ridley, Adam Driver, John Boyega, Oscar Isaac, Mark Hamill, Anthony Daniels, Joonas Suotamo, Kelly Marie Train, Domhnall Gleeson, Richard E. Grant & Ian McDiarmid – In cinemas now.

Tags Adam Driver, Carrie Fisher, Daisy Ridley, Episode 9, Ian McDiarmid, JJ Abrams, John Boyega, Mark Hamill, Oscar Isaac, Star Wars, Star Wars: The Rise of Skywalker, The Rise of Skywalker