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Movie Reviews

Jackass Forever

Paramount Pictures, 2022

It might have been easy to simply wave Jackass Forever away as a hollow attempt to recapture the gross-out magic of the original film and television series. After all, we’ve seen a myriad of lifeless sequels pop up in recent times, sometimes decades after the last instalment and Johnny Knoxville and pals have to be past their prime as far as attempting these ridiculously dangerous stunts go, right? Well I’m happy to report that when it comes to Jackass Forever, neither of those things are true; a rollercoaster of a comedy that masterfully alternates between hilariously juvenile pranks and terrifying stunts that will have you wincing and squirming in your seat. If you aren’t on board with the series’ premise at this point, Forever is unlikely to convert you, but for fans of the series this feels like hanging with old friends again… and watching them do some crazy shit.

The biggest question about this fourth film comes in the form of the main cast: can their bodies still handle the punishment 20 years after the original film? The short answer is yes, but with a few tweaks to the formula. All of the old favourites return – Steve-O, Chris Pontius, Wee Man, Ehren McGhehey – with the exceptions of Ryan Dunn (who unfortunately passed away) and Bam Margera – whose struggles with addiction and very public disputes with the production have seen him essentially scrubbed from the movie apart from the odd scene or two. Whilst Steve-O and Ehren always seem down to subject themselves to whatever crazy punishment Knoxville and director Jeff Tremaine have cooked up, you do begin to sense some trepidation from other cast members – they’re pushing 50, who could blame them?

Paramount Pictures, 2022

Fortunately that’s where the new cast members step in. One of Forever’s strongest weapons comes in the form of these new (lovingly said) idiots – Poopsie, Eric Manaka, Davon Wilson and Rachel Wolfson among them – who are more than game to try their hands at the kind of antics that the older crew idolised for them in the early 2000’s. You can clearly tell how much the franchise means to these newbies (a lot of whom even sport Jackass tattoos) and their energy is infectious, alleviating some of the dread you can feel when a particularly nasty situation is introduced. Tasers are licked, scorpion stings are inflicted and almost everyone vomits at one point but it’s always done with a smile; the older cast visibly relieved that they don’t have to participate in the stupidity. There’s no disdain or hazing from that original generation though and no obvious divide, making it seem as if the group of friends has simply expanded.

At its core, a Jackass film is a very different comedic experience. There’s (largely) no pre-written dialogue or scripted moments to be found, with the audience placing a great amount of trust in these hooligans messing around and seeing what sticks. That tension, the constant feeling that you don’t know what is next or how they could possibly top the last segment, is what keeps you howling with laughter or cringing away from the screen in horror. Each moment hits so incredibly hard because of the improvisation of it all. The accurately named “Cup Test” – a series of increasingly painful tests of the humble sports cup – could go horrifically wrong at any moment, creating this strange sensation of both wanting and not wanting to see it all unfold. It’s impossible not to have some reaction to seeing a man’s scrotum caught and stretched under a pogo stick, and whether you like it or not, the film always succeeds in drawing that visceral response from the audience.

Paramount Pictures, 2022

That’s the foundation of Jackass and Forever is never without it, a continuation made by people who still clearly love doing these things rather than a reluctant rehash for money. It seems doubtful that we’ll get another film where the original cast does as much as they do here but the new blood brought into the fold are more than capable of taking the franchise far into this future. For a series built around the most depraved and dangerous stunts that a group of buddies can think of, Jackass proves it has a legacy most franchises can’t compete with and few would have the balls to try and replicate.

Paramount Pictures, 2022

Jackass Forever stars Johnny Knoxville, Steve-O, Chris Pontius, Dave England, Ehren McGhehey, Preston Lacy, Sean “Poopies” McInerney, Jasper Dolphin, Zach Holmes, Rachel Wolfson, Eric Manaka and Compston “Darkshark” Wilson – In cinemas now.

Rating: 8 out of 10.

9/10

Categories
Movie Reviews

House of Gucci

Universal Pictures, 2021

Giving Ridley Scott the keys to the Gucci story – a wild tale of family, betrayal and murder – should have made for one of the most arresting crime capers of the veteran director’s career. After all this is the man who gave us Gladiator, American Gangster and just this year The Last Duel. The result therefore is as baffling as it is frustrating; House of Gucci may just be Scott’s most bizarre film to date – a tonally jarring mishmash of humour and intense drama that does neither particularly successfully thanks to some truly horrendous performances and a painfully slow pace that somehow manages to also feel as if it is rushing through its dense narrative.

When working class Patrizia Reggiani (Lady Gaga) runs into heir to the Gucci fashion fortune Maurizio (Adam Driver), she senses that her fortunes are about to change, latching onto the man who is intent on becoming a lawyer and leaving his family’s business behind. When Maurizio introduces his new girlfriend to his hotheaded father Rodolfo (Jeremy Irons), he senses Patrizia’s less than honourable intentions, cutting his son off from the fortune and ceasing all contact as Maurizio assumes a less glamorous, but fulfilling life with his new bride.

But when Maurizio’s boisterous uncle Aldo (a fantastic Al Pacino) learns of his brother and nephew’s estrangement he makes it his mission to bring Maurizio and Patrizia back into the fold, offering him a lucrative job at Gucci and indoctrinating Patrizia into a life of luxury she could only have dreamt of. As Patrizia’s manipulation of Maurizio into taking the reigns of Gucci becomes more and more damaging to the rest of the family, including Aldo’s dimwitted son Paolo (Jared Leto), she is forced to consider desperate measures to stop the monster she helped create.

Universal Pictures, 2021

What immediately stands out about House of Gucci is the Italian accents. Everyone in the film attempts them, largely to godawful results outside of Al Pacino, and it is the first sign that something is not quite right. By and large it doesn’t stop the genuinely good performances of Adam Driver or Jeremy Irons from shining through but in Jared Leto’s case it turns what seems to be Scott making a serious attempt at telling this story in dramatic fashion into a farcical mess. Swathed in prosthetics and make-up, Leto completely loses himself in the character of Paolo. Unfortunately that character plays as more of a Mario Brother than a convincing human being, with Leto’s offensively stereotypical Italian accent taking the character to levels of parody the rest of the film is not prepared to follow. Every time his dimwitted, fat-suit laden character appears on-screen you can guarantee that the scene will devolve into unintentional hilarity, often at the expense of genuinely compelling dialogue or a pivotal beat, forgotten in the wake of Leto’s ridiculousness.

The film’s overall forgetfulness is also compounded by the strange pacing decisions Scott makes in his telling of Maurizio and Patrizia’s story. The introduction to these characters feels incredibly rushed, with them meeting and together within the opening fifteen minutes. We never get a reasonable amount of time to establish the characters or reason why we should care about them other than their functions within the story; Gaga as the manipulative temptress seeking status and Driver the unwitting cog in her plan, forced to betray his family for power and getting swept up in the allure of that power himself.

Universal Pictures, 2021

Once this dynamic is established Scott meanders through the inner workings of Patrizia’s long con, which mostly involves displays of exorbitant wealth and the obvious journey through Gucci’s fashionable history. Sure we get the impression that these characters are slowly transforming through their experiences, but once again Scott rushes the sudden switch Driver undergoes into monstrous business owner and Gaga’s sudden departure from that world, culminating in a finale that should be a lot more impactful than it is, with Scott keeping the audience at an arms length from his characters at all times; never allowing us to form any meaningful connection to them.

Much has been made of Gaga’s performance but she only narrowly escapes the same issues as Leto, her accent constantly wavering between an exaggerated Italian and Russian as she hams it up every chance she gets. Whenever a scene skews particularly dramatic or “awards-worthy” Gaga goes berserk, rarely giving anyone else in the scene a chance to go back and forth as she commands the room, regardless of the context of the conversation. It’s a distracting method of acting that undermines these important scenes, where Gaga could have benefitted from a “less is more” approach she almost always pivots the other way, regardless of how that affects the scene. For someone who schemed and plotted from the shadows as Patrizia Reggiano did, there never seems to be much quiet intensity in Gaga’s performance, replaced by a need to shine and exaggerate even the most imperceptible traits.

Universal Pictures, 2021

House of Gucci is a strange anomaly in Ridley Scott’s filmography; a concept that on paper looks suited to his particular talent for complex, intense storytelling but which in practicality devolves into a messy, haphazardly paced jumble of poor accents and jarring tonal shifts. It almost feels like Scott on autopilot; a perfunctory telling of a story that could have been a gripping, steadily intensifying examination of a family on the way to a breakdown. Instead we’re left with a film that will at best gain a cult following for Jared Leto’s hilariously bad performance and at worst fade from collective consciousness.

House of Gucci stars Lady Gaga, Adam Driver, Al Pacino, Jeremy Irons, Jared Leto, Jack Huston & Salma Hayek – In cinemas now.

Rating: 4 out of 10.

4/10

Categories
Movie Reviews

Scream (2022)

Paramount Pictures, 2022

For all of its commentary on the genre and self-deprecating humour about its place within it, the Scream franchise is undoubtedly one of the titans of horror; a consistently entertaining whodunnit slasher series that has always managed to keep its finger on the pulse thanks to clever writing and fantastic direction from horror icon Wes Craven. Now, six years after Craven’s unfortunate passing, the task of continuing the franchise falls to the directing team of Tyler Gillett and Matt Bettinelli-Olpin (the team behind 2019’s expectation subverting Ready or Not) and for the most part their reboot/sequel continues Craven’s legacy in fine form; a well-paced mystery with plenty of inventive kills, pop-culture commentary and red herrings to keep you guessing. It may lose itself at times in the need to hit franchise beats and the return of franchise mainstays Neve Campbell, David Arquette and Courtney Cox aren’t exactly necessary, but Scream is nevertheless a damn fine addition to the franchise and an entertaining revitalisation for this decade.

When her sister Tara (Jenna Ortega) is brutally attacked by a killer in a Ghostface outfit, Sam Carpenter (Melissa Barrera) is forced to return to the town of Woodsboro to be by her side, with boyfriend Richie (Jack Quaid) along for the ride. As the bodycount increases Sam learns that the killings could be connected to her secretive history, prompting her to enlist the aid of survivor Dewey Riley (Arquette) in order to track down the killer and stop his rampage through Tara’s group of friends. As Dewey and Sam’s investigation inevitably crosses paths with the killer and the list of suspects begins to thin, they must call upon original Ghostface survivor Sydney Prescott (Campbell) and Dewey’s now ex-wife Gale Weathers (Cox) to help them once and for all put the killer down and leave their legacy of violence in the past.

Paramount Pictures, 2022

The strength of a Scream film falls down to the commentary it makes on the current state of the horror genre and, in this case, the entertainment industry as a whole; firmly setting its sights on the toxic fandoms that have arisen alongside the concept of the “requel” – essentially reboots of franchises that include legacy characters to appease long-time fans (think Star Wars: The Force Awakens or 2018’s Halloween). It’s a smart pivot away from the now somewhat dated “webcasting” and internet-age angle of 2011’s fourth instalment, with less to say about the methods and forms in which movies and television are delivered to the audience and more about the possessiveness of fans which is unfortunately often radicalised and turned violent.

Sharply written, even if it doesn’t present any actual solutions to solving the problems of these clusters of toxic fandoms, the biggest issue with the commentary is that there isn’t more of it. Sure you have your usual movie nerd character (played in an overly snarky fashion here by Jasmin Savoy Brown) spouting film theory and summarising the latest genre trends in a typically condescending way, but it doesn’t feel particularly potent; the digs at these requels particularly weak when you consider the audience is watching one play out in front of them. The hallmark of those films – the returning characters – feel out of place here, with the holy trinity of Craven’s opus largely back for fan service rather than any essential plot reason. Sure Arquette’s Dewey gets something to do, genuinely essential to the plot for a brief period, but Cox and Campbell are wholly unnecessary, their presence welcome because of our attachment to the characters as fans more than anything else.

Paramount Pictures, 2022

New face of the franchise Melissa Barrera gives a somewhat stilted performance as Sam, rarely registering anything other than a direct stab as noteworthy but thankfully the supporting cast around her imbue life into the proceedings, particularly Jenna Ortega and Jack Quaid. Ortega gives a lively, incredibly sympathetic performance as Tara, a young girl whose world has been turned upside down by violent attacks and familial revelations, forcing her to shut herself off from those around her in an attempt to protect herself. Quaid dials the quirky, nerdy schtick he so perfected in The Boys up to eleven; a charming if somewhat dim third wheel to the sisters who you can’t help but love for his loyalty. And even if they aren’t completely necessary to the plot, it’s a welcome sight to see Campbell, Cox and Arquette back in character, never slouching in their ever-evolving performances as three friends who have dealt with their traumatic pasts in vastly different ways.

For the first film in the franchise not to be directed by the sadly departed Craven, Gillett and Bettinelli-Olpin do a great job matching the intensity of his earlier films, crafting a whodunnit that steadily increases in tension before culminating in a gleefully unhinged finale. Scenes feel obligated as part of a Scream film at times, the sideways glances and sinister expressions required to make the audience believe everyone is a suspect are often the only characterisation given to member’s of Tara’s friend group. As such, it robs the kills of a lot of their impact, with no emotional bond tying you to the victims, and you can’t help but wonder how differently the film may have panned out had the time been spent expanding these characters’ roles rather than the returning players. That’s not to say the film lacks an immense sense of fun, with the pacing of the moment-to-moment action always keeping the audience on their toes as a character heads towards their often brutally violent end.

Paramount Pictures, 2022

With the fifth instalment of Scream, Tyler Gillett and Matt Bettinelli-Olpin prove that there is still plenty of gas left in the franchise’s tank to adapt and skewer the ever-evolving sensibilities of movie fans and pop-culture at large in 2022. The familiar meta commentary and gory kills make for an experience that feels both true to Craven’s vision but also one unafraid to surge forward and try new things within the framework of Scream, for better or for worse. If the franchise does move forward then it can safely do so without Campbell, Cox and Arquette; a whole new generation ready to answer that killer question: what’s your favourite scary movie?

Paramount Pictures, 2022

Scream stars Neve Campbell, Courtney Cox, David Arquette, Melissa Barrera, Tara Ortega, Jack Quaid, Dylan Minnette, Jasmin Savoy Brown, Sonia Ammar, Mikey Madison, Mason Gooding, Kyle Gallner, Heather Matarazzo & Marley Shelton – In cinemas now.

Rating: 8 out of 10.

8/10

Categories
Movie Reviews

King Richard

Warner Bros, 2021

It might seem strange for the film adaptation of the story of two of tennis’ biggest stars to not actually focus on the athletes themselves, but King Richard – the story of Richard Williams, father of Venus and Serena – is all the richer for it; an examination of the quirky, controversial figure that forged two of the sporting world’s greatest athletes. Anchored by an Oscar-worthy performance from Will Smith, King Richard might not break from sports biopic tradition but tells its somewhat predictable story with so much heart and emotional warmth that it is impossible not to root for the sisters and their family as they tackle a sporting system that feared the change these two titans of tennis brought about.

As a struggling family from Compton, California, the Williams’ are a far cry from the usual privileged, wealthy crowd that populate the states gorgeously manicured tennis clubs, yet that doesn’t stop father Richard (Smith) from campaigning tirelessly to secure a coach for daughters Venus (Saniyya Sidney) and Serena (Demi Singleton). Having established a plan for both his daughters to achieve superstardom before they were even born, Richard and wife Brandy (Aunjanue Ellis) train the girls day in and day out at a local Compton court, constantly harangued by local thugs and gangsters.

But when Paul Cohen (Tony Goldwyn), coach to tennis legend Pete Sampras, agrees to take Venus on as a student, the family’s fortunes begin to change and her star begins to rise as she dominates the junior circuit. When the family make a defining move to Florida to train both girls under Rick Macci (Jon Bernthal), Richard is put at odds against Macci, his restrictive and singular vision for their success conflicting with the tried and tested methods to achieve tennis fame. But as the girls begin to gradually change the tennis landscape, all of his doubters are finally forced to consider the genius that is Richard’s plan.

Warner Bros, 2021

You could argue that telling the story of Venus and Serena’s plethora of success would be a predictable, almost one-sided affair, and screenwriter Zach Baylin wisely shifts the story to find adversity in their upbringing; how being African-American affected how they were treated by opposition and how the family was only able to escape the harsh, uncomfortable realities of Compton through sheer determination and perseverance. Indeed that’s the admittedly clichéd message at the centre of the story here but Baylin uses the character study of Richard in an intriguing way to show how his plan and adherence to it often conflicted with his family’s wants and needs; creating a complex, flawed character who struggles to see beyond his own vision, regardless of how this impacts his family and the relationships he forms.

Smith is simply phenomenal as Richard, the best he has been in years as he completely loses himself in the Williams patriarch, a feat you could argue on its own isn’t easy for someone with as recognisable and distinct a public persona as Smith. His devotion to his family and seeing them succeed is born out of a troubled past tainted by racism and poverty, an almost rage-like compulsion that will not be derailed by anyone. This works the best when Richard invariably butts heads with someone questioning his methods, whether that be a local thug, police officer or tennis coach; a quiet fury creeping into his voice and a quiver in his lip as he teeters on the edge of a full meltdown. His tough love approach to his family makes for some incredibly impactful moments of genuine connection between him and his daughters; tear-jerker moments that manipulate the audience to beautiful effect.

Warner Bros, 2021

Relative newcomers Sidney and Singleton prove that they have tremendous skill, particularly Sidney, who imbues Venus with a fierce confidence and an infectious playfulness at the sheer joy of being able to finally play the game against challenging opponents. Arguably the (ever so slightly) less successful of the two sisters, it is somewhat refreshing that the film places majority of its focus on Venus, who is initially selected to receive coaching and play in professional matches whilst Serena patiently waits in the wings, learning the same skills through recorded footage of Venus’ training sessions.

If Sidney is pent-up energy and excitement finally released then Singleton is the quiet, fierce competitiveness of Serena waiting to burst forth and obliterate the competition, with the young actress giving a nuanced look at Serena’s self-reflection and mild resentment towards being left out whilst her sister takes centre stage. Jon Bernthal, one of the best character actors working today, continues that streak here as the quirky, exasperated coach Rick Macci; a nasally, overly confident man who truly believes in the girls’ talent and pushes back at their father in order to see that potential fulfilled.

Like one of the Williams’ sisters fearsome serves, King Richard is an extremely effective crowd-pleaser featuring one of the best performances of the year from Will Smith. What it lacks in changes to the traditional sports biopic formula it makes up for in sheer heart, culminating in a fist-pumping, tear-inducing finale that beautifully ties together its message of staying strong in the face of adversity. Some might look at Richard Williams methods and disagree with the harshness of them, but a combined 30 grand slam wins later, you can’t argue with the results.

Warner Bros, 2021

King Richard stars Will Smith, Aunjanue Ellis, Saniyya Sidney, Demi Singleton, Tony Goldwyn, Mikayla Lashae Bartholomew, Daniele Lawson, Layla Crawford & Jon Bernthal – In Australian cinemas January 13th and streaming in the US on HBO Max now.

Rating: 9 out of 10.

9/10

Categories
Movie Reviews

Don’t Look Up

Netflix, 2021

Adam McKay’s transition from raunchy Will Ferrell-starring comedies of the mid 2000’s to political, hot-button issue skewering satire continues with Don’t Look Up, a star studded affair that deals with humanity’s inability to fully engage with scientific fact in the face of a deadly crisis. It isn’t a particularly subtle look at the current climate issue, beating you over the head with messaging at every chance without offering much by the way of actual solutions, but McKay does succeed in creating an uncomfortably accurate depiction of inaction within our society. While that may sound like a depressing watch, the performances keep you locked in and the comedy, while not as consistent as you would think, flows fast enough that there is almost always a laugh to be had, even if the situation itself is anything but funny.

After making a startling discovery that a comet is heading towards Earth, the impact of which will cause the extinction of life as we know it, Professor Randall Mindy (Leonardo DiCaprio), graduate student Kate Dibiasky (Jennifer Lawrence) and Dr. Teddy Oglethorpe (Rob Morgan) set out on a desperate mission to make those in charge aware of the impending doom. Their quest quickly becomes a comedy of errors as, after being laughed out of the White House by Trump-adjacent President Orlean (Meryl Streep) and her son/chief-of-staff Jason (Jonah Hill), Mindy and Kate attempt to appeal to the American public through the entertainment industry. When Mindy starts to let his newfound fame go to his head, abandoning Kate in the process, he is left to to pick up the pieces of his shattered life as the government launch a desperate mission to put a stop the comet, as long as it means they profit.

Netflix, 2021

In a world where Hollywood pandering has become, in some instances, worse than ever (did we all collectively forget last year’s godawful viral “Imagine” cover?) Don’t Look Up’s message rings a little hollow. While there’s no doubt that McKay means well and obviously cares very much about the issue he is espousing, it’s hard to shake the knowledge that this is a 75 million dollar film. Couldn’t that money have been better spent actually contributing towards climate research and tangible results rather than hoping a 2 hour film would convince people to switch from plastic to reusable water bottles? McKay employs a haphazard editing style at times – splicing in images of people huddled together or nature in its element – to further highlight how widespread the issue really is, but apart from being mildly nauseating with its speed, it never hits the way it is intended; bludgeoning us with the message instead of building it naturally around the characters.

Whatever your political leanings about climate change it’s hard to argue with how accurately McKay has managed to portray society’s collective tendency to reject harsh truths, seeking out the comfort of falsified media and happy, throwaway news items to distract us from reality. Tantamount to this are DiCaprio and Lawrence’s characters and the pair do an excellent job conveying the exasperation of their science being completely swept aside despite the very real and pertinent warning it carries. Kate is far less diplomatic in her approach to delivering this message, favouring a blunt approach and making for some hilariously awkward moments when placed in front of a camera and forced to play nice on morning television. Mindy is the opposite, a quiet man prone to extreme panic attacks which DiCaprio hams up to great effect, a nervous wreck of shivering anxiety and nervous ticks that explodes into some harsh, often gut-bustlingly funny rants.

Netflix, 2021

The finest performances, however, come from two supporting players. Jonah Hill is the best he has been since The Wolf of Wall Street, clearly relishing playing the snarky son of the president who has only got his position through sheer negligence. His smarmy, under his breath delivery is anything but hilarious, with a eulogy for the myriad of physical items that will be lost if the world ends a particular stand-out. Then there is Mark Rylance as Peter Isherwell, an amalgamation of tech giants ranging from Jeff Bezos to Mark Zuckerberg and Elon Musk. It’s a ridiculously over-the-top performance, from the nasally, carefully measured cadence Rylance employs to the artificially white smile he flashes despite his “genius” ideas blowing up in his face at every turn. But in a film with a cast this stacked there are bound to be a few weak links, and perhaps the weakest is Ariana Grande – playing a painfully exaggerated pop-star – whose big fundraiser performance scene stops the film dead in its tracks; a bizarre detour that robs the momentum going into the big finale and one that only feels present to showcase Grande’s voice, regardless of its relevance to the plot.

It’s hard to imagine a film with as good a cast as Don’t Look Up just being fine, but alas, Adam McKay’s latest film places too much emphasis on hammering the audience with its message that it forgets to embrace the over-the-top hilarity that the situation and these actors present. DiCaprio and Lawrence anchor the film in the way you would expect from actors of their calibre, but it is Jonah Hill and Mark Rylance that steal the show, offering brief glimpses at what the film should be had it fully embraced the zaniness it only dabbles in. A perfectly watchable experience while you are in it, Don’t Look Up never provides too many reasons for anyone to ever look up at it on the screen again. We get the point Mr. McKay, but what’s Ricky Bobby doing these days?

Netflix, 2021

Don’t Look Up stars Leonardo DiCaprio, Jennifer Lawrence, Cate Blanchett, Mark Rylance, Jonah Hill, Rob Morgan, Tyler Perry, Timothée Chalamet, Ron Perlman, Ariana Grande, Scott Mescudi, Melanie Lynskey, Himesh Patel, Michael Chiklis, Chris Evans & Meryl Streep – Streaming on Netflix now.

Rating: 6.5 out of 10.

6.5/10

Categories
Reviews TV & Streaming Reviews

The Witcher – Season 2

Netflix, 2021

Much like the myriad of monsters that rear their ugly heads throughout the series, Netflix’s The Witcher is a strange beast. With an enormous amount of existing lore available, an incredibly passionate lead actor and early expectations that the series could be the next Game of Thrones, more than a few were disappointed to receive a relatively average first season – one that was built on a needlessly complicated timeline and characters in desperate need of chemistry. Despite an initial run that would have spelt an end to many other Netflix originals, The Witcher managed to build enough goodwill to warrant a second shot at getting the formula right. It’s a good thing too, as the series finds redemption here in season two; a focused and intimate cut of Witcher world-building that sets the series up for years to come.

Following the explosive finale of season one, monster-hunting and magically-enhanced Witcher Geralt (Henry Cavill) departs for his home of Kaer Morhen after uniting with his ward Princess Cirilla (Freya Allan). Upon arrival, they are welcomed by Geralt’s mentor Vesemir (Kim Bodnia) and the other remaining Witchers while Ciri begins to find a place for herself amongst her new surroundings. Elsewhere, the now powerless mage Yennifer (Anya Chalotra) is captured by an opposing army and forced to forge an uneasy alliance with the enemy’s chief mage Fringilla (Mimi Ndiweni) and elven sorceress Francesca (Mecia Simson).

As far as a synopsis goes, there is admittedly much to take in there – and it says nothing about the vicious monster hunts, political subterfuge and numerous references to existing lore that underlie just about every episode along the way. Yet where the first season of The Witcher tried to overwhelm viewers with (often needless) information, throwaway characters and an erratic timeline that shifted with every episode, season two succeeds in concisely and logically delivering most of these complex pieces naturally.

Netflix, 2021

Central to all of this success is the partnership between Geralt & Ciri, who spent the entirety of the first season chasing each other from one disaster to the next, building relationships with minor characters who were mostly forgotten by the time the credits began to roll. By pairing the show’s two leads from the start, this season successfully makes the most of the tried-and-true father-daughter narrative from the novels. Cavill’s well-documented dedication to not only his character but to the wider world of The Witcher is evident in all of his scenes; Geralt is increasingly torn between his role as a stoic protector to Ciri and the empathetic guiding hand she desperately needs. Ciri herself is brought to life excellently by Allan, as her character transitions from a damsel-in-distress to a young woman more than capable of handling herself. Chalotra’s wayward sorceress Yennifer also fares better than last season, given a storyline that humanises and defines her character in a way she never was before.

These three key characters do a great job at carrying the audience through each episode, however you’re still bound to miss a casual reference to some of the show’s deep source material or find yourself lost when characters start rattling off terms like the ‘White Flame’ or the ‘Brotherhood of Sorcerers’ in quick succession. Where the show struggles is balancing the fine line between accessibility for newcomers and the expectations of decades-long, dedicated fans who are completely immersed in the novels of Andrzej Sapkowski. Often these deep cuts fly too fast and furious, forcing the less well-versed viewer to wrack their brains for a previous casually mentioned line or simply hope it is integral going forward. While you won’t need to understand all of these references to appreciate the wider events that unfold (and some may even be inspired to explore some of the other media featuring The Witcher because of them), they are frequent enough that casual viewers may feel like they’ve dropped into season four or five of a complex fantasy show without much to immediately fall back on.

Netflix, 2021

Despite whatever amount of pre-existing knowledge audiences come to season two with, most will definitely be able to appreciate the show’s blockbuster effects, intricate settings and frankly amazing monster designs. The Witcher is certainly not short on budget, and season two presents some of the sharpest CGI and set designs that Netflix has dedicated to a series. The numerous monsters are almost always as menacing and imposing as they sound, and the choreography during each battle is generally well done. Many of the show’s characters are adorned in meticulously detailed outfits that are usually about as high-fantasy as the genre can get – from Geralt’s intricate armour sets to Fringilla’s imposing gowns later in the season. A huge amount of work has also gone into bringing the world’s dense forests, dilapidated castles and crowded towns to life alongside a sweeping musical score that sets the tone in each scene. In saying all of this, it is unfortunate that the first episode – ‘A Grain of Truth’ – easily features season two’s weakest offerings in terms of character design, effects and general plot development; a shame given that some audiences may lose interest before the show truly finds its feet in the following episodes.

All in all, Netflix’s The Witcher is a show dedicated to its fans. Whether these are newcomers who were introduced to the franchise via Netflix or those who have been following since the books or games, season two does an excellent job of developing its characters and world in places where the first season struggled. While you will get the most enjoyment out of it with some pre-existing knowledge and events can also become needlessly complex at times, you are rewarded for following along as the plot and relationships unfold. Not quite the next Game of Thrones just yet, but season two of The Witcher proves to be a cut above many other Netflix releases in 2021 – and the future looks bright.

Netflix, 2021

The Witcher stars Henry Cavill, Freya Allan, Anya Chalotra, Mimi Ndiweni, Mecia Simson, Kim Bodnia, Eamon Farren & Joey Batey – Streaming on Netflix now.

Rating: 7.5 out of 10.

7.5 / 10

Categories
Movie Reviews

The Matrix Resurrections

Village Roadshow Pictures, 2021

Sequels to long dormant franchises are all the rage these days, but if there was one franchise that was expansive and confusing enough to truly warrant the sequel/reboot treatment it was The Matrix. Well that time is now, with one half of original directing team Lana Wachowski returning to the reality-questioning world of Neo and Trinity with a lot to say about the current landscape of entertainment and how audiences approach it. Whilst that extremely heavy-handed commentary doesn’t work as well as Wachowski thinks, the story that is told is a refreshingly straightforward affair for a franchise that became so bogged down in overly complex world-building. It isn’t a return to the form of that original film but Resurrections is a fun enough, if forgettable trip back into the Matrix.

Now living as the celebrated game designer behind “The Matrix” – a trilogy of video games that adapt the original trilogy of movies – Thomas Anderson (Keanu Reeves) is in a creative rut, forced by management to revisit his seminal franchise to produce “The Matrix 4”. A test run of code for the game opens up Thomas’ world to Bugs (Jessica Henwick) and a program that soon reveals himself to be a reincarnation of Morpheus (Yahya Abdul-Mateen II) questions the reality of Thomas’ situation. When Thomas starts to notice similarities between Tiffany (Carrie-Anne Moss) – a woman he sees at a local coffee shop – and the Trinity character from his game, the world around him begins to unravel, ultimately leading to Morpheus and Bugs once again extracting Thomas from the Matrix into the real world, where the legend of Neo looms large. Once again at war with the machines and a smarter, more deadly version of the Matrix, Neo sets out on a desperate attempt to rescue Trinity from captivity, knowing that only together will they be able to end the war once and for all.

Village Roadshow Pictures, 2021

Wachowski clearly has an agenda when it comes to Resurrections, taking aim at the surge of sequels, reboots and spin-offs that took the entertainment industry by storm since her original trilogy was at its height in 2003. To call this commentary on the nose would be an understatement, with the story going extremely meta in name checking Warner Bros as wanting this very sequel as a result of corporate greed. The rare few times where this works is when the film embraces humour in a way the franchise never previously did, with an amusing montage poking fun at every hot-take and analysis piece written about The Matrix. Mostly though, the film takes any chance it can to skewer the trend, even going so far as to having a returning character spit on the very idea of a “sequel franchise spin-off”. Does that character even need to be in the film? Not at all, but that in itself just another layer of ridicule and scorn that Wachowski constantly assaults the viewer with.

Where it loses the viewer is in the incoherence of its message, with Wachowski heavily borrowing elements from these hated reboot/sequels; copying action beats from her earlier films and even going so far as to include a cute, infinitely marketable fist-bumping robot. Is it all just one big joke on the viewer? Much like the world of the Matrix it’s impossible to tell at times, which gives the whole film a rather cold, empty feeling. Is this a genuine attempt to return to a beloved franchise and should we actually care about anything going on or is this just a spoof on what audiences have become accustomed to from blockbuster filmmaking? The very concept of the previous trilogy as nothing more than a blip in the larger narrative, reduced to a simple video-game by the newly developed Matrix, devalues the audience investment to a degree – why should we get excited about what very well could be a new series of films if they can simply be wiped away in the future, fans be damned? Sure you could argue Marvel movies commit a similar sin, cheapening deaths by reviving characters but it seems hard to be believe that Wachowski has such an issue with this that she bastardised her beloved franchise to present what amounts to one big rant about the state of film.

Village Roadshow Pictures, 2021

The first half of the film is where this commentary reigns supreme but thankfully this levels out once Neo is removed from the Matrix once again. What makes it so easy to push that cynicism aside and simply enjoy the ride is Keanu Reeves, who plays the unassuming Neo so endearingly earnestly that it is impossible not to root for this everyman once again thrown in way over his head. New franchise recruits Jessica Henwick and Yahya Abdul-Mateen II are fantastic, fully committing to the characters and world in a way that makes them feel like they have been apart of the franchise since the beginning. On an action level is where Resurrections is at its most disappointing, eschewing the visceral close combat and inventive stylings of earlier instalments in favour of the quick-cut nonsense of modern action films; failing to properly showcase the impressive fight choreography Reeves is more than capable of. It only serves to further muddy Wachowski’s point, turning her once-revolutionary action franchise into just one of the many poorly shot action films that exist today, devoid of any truly standout set-pieces that were once the franchises bread and butter.

The Matrix: Resurrections ultimately ends up like the other sequels, taking one step forward towards furthering the franchises and the bevy of interesting ideas behind it, before taking two back by cluttering an already confusing world; this time with a meta commentary so muddled that it is impossible to tell what beats are meant in earnest and which are poking fun at the state of modern film. Keanu Reeves remains this series’ strongest element, once again giving an enrapturing performance as Neo which is only strengthened by a solid supporting cast. When the film is pared back to its roots of inventive sci-fi action is when it is at its best, a solid enough ride that will leave you with a smile on your face at the fact that yes, after all these years, Keanu Reeves still knows kung-fu.

Village Roadshow Pictures, 2021

The Matrix: Resurrections stars Keanu Reeves, Carrie-Anne Moss, Jessica Henwick, Yahya Abdul-Mateen II, Jonathan Groff, Priyanka Chopra Jonas, Jada Pinkett Smith, Christina Ricci & Neil Patrick Harris – In cinemas now and streaming on HBO Max in the US.

Rating: 6 out of 10.

6/10

Categories
TV & Streaming Reviews

Hawkeye

Marvel Studios, 2021

If you were to ask most people who their favourite Avenger was, chances are not many would choose the bow and arrow wielding Hawkeye. His new Disney+ show aims to change all that; a Christmas-set thrill ride that focuses on the archer outside of his Avenging duties, beaten up and bruised as he takes on the training of a new recruit. Like a lot of these Disney+ shows it doesn’t quite stick the landing, but with everything else it gets right – charming chemistry between the leads, Christmas atmosphere and incredibly fun action scenes – Hawkeye doesn’t miss, one of the finest things Marvel has produced in recent memory.

In New York for a pre-Christmas bonding trip with his recently returned from the Blip kids, Clint Barton (Jeremy Renner) relearns that he is never truly off the clock when his Ronin suit – a costume from his earlier days as a cold-blooded mercenary – is unveiled at a local black market auction. Fearful that his identity will be uncovered by associates of the criminals he put a stop to and his family put in danger, Clint sets out to locate the suit, which just so happens to have been taken by Kate Bishop (Hailee Steinfeld) – a young archer who idolises Hawkeye and has unknowingly made herself a target for all those who hold a grudge against the Ronin. The pair must team up in order to clear both their names, in the process tangling with tracksuit garbed mafia goons, Kate’s sword-wielding soon-to-be stepfather Jack (Tony Dalton) and Maya (Alaqua Cox), a young deaf woman with a particularly personal score to settle with the Ronin.

Marvel Studios, 2021

Setting Hawkeye as Marvel’s big Christmas show proves to be a stroke of genius; the Christmas carol filled soundtrack and snow-covered New York City creating such an overwhelming energy of fun that is impossible not to be swept up in. Christmas also acts as a powerful motivator for Clint, giving the show a constant undercurrent of tension as we fret over whether he will make it back in time for his first family Christmas in 5 years. The stakes are admittedly low in terms of the MCU of it all; the world won’t end if he doesn’t make it home for Christmas but to Clint, not disappointing his family is everything, and after all he has been through you can’t help but root for him, creating some genuine audience investment in a character who had largely been written of as the joke Avenger.

Those personal stakes also make the action feel that much more intense and meaningful, the desperate struggles of a hurt man just looking to survive each bout if it means he is one step closer to his family. The hand-to-hand combat is choreographed impressively well, impactful and brutal in ways that make you fear for Clint, whilst also managing to be surprisingly funny, with the series taking full advantage of Clint’s tired and frustrated “seen it all before” attitude. Where the audience starts to adopt that same attitude is in the finale; a typically massive, explosion filled affair that, while gripping thanks to our investment in the characters, can’t help but feel a little over-the-top and nonsensical. The entire show has been this somewhat grounded look at these two characters who have been put through the ringer, reeling from every scrape and bruise and suddenly they are taking hundreds of hits and shrugging them off. A visually epic series of scenes sure, but one that doesn’t quite gel with the tone previously established.

Marvel Studios, 2021

Where the show truly shines is in the chemistry between Jeremy Renner and Hailee Steinfeld, an endlessly endearing relationship that plays off the grizzled mentor/overly-excited student trope to terrific effect. If Hawkeye is a superhero coming to the end of a long, hard career of crime-fighting then Kate Bishop is one at the very cusp of her own, all wide-eyed, chattering excitement at learning the tricks of the trade. Kate feels like such a desperately needed shot of energy that it is hard to imagine how the MCU ever survived without her, Steinfeld constantly firing on all cylinders with an endless supply of smart-ass jokes and an obsession with trick arrows that makes for some truly wonderful pay-offs. Steinfeld’s character isn’t only one of unbridled optimism and she is deeply affecting in those quieter moments when Kate’s entire world is turned upside down, her perception of what her life has been and what it will be going forward completely shifting and forcing her to adapt.

Alaqua Cox’s Maya is a step in the right direction towards on-screen representation but there’s a sense that there is more to her and the show is holding back, saving vital character development for her future spin-off show. While that show might be great, Maya’s appearance here can’t help but feel slightly undercooked, an unnecessary detour from Kate and Clint’s main investigation that adds some depth to his exploits as the Ronin and makes for some great action moments but ultimately peters off with a whimper, her finale appearance feeling obligated to push the character’s profile rather than necessary to the plot. Other character appearances, which we’ll leave unspoiled, add a lot to the show by way of emotional depth and sheer fun factor, and one in particular will have long-time fans cheering from their living rooms; a Christmas present that hopefully will only continue to grow from here.

Marvel Studios, 2021

It’s safe to say that not many people were clamouring for a deep-dive into what Clint Barton does on his off-days from Avenging, but Hawkeye earns its Christmas status as one of the biggest treats of the year; a heartwarming and electric adventure through New York City that gives Jeremy Renner the material he truly deserves and introduces audiences to what will no doubt be a fan-favourite character going forward in Kate Bishop. The small scale and focus on the burgeoning mentor/student relationship make for a refreshingly personal take on the MCU, one that moves beyond its formulaic ending to become one of, if not the best Marvel show so far. He might just be a guy with a bow and arrow, but Hawkeye certainly doesn’t miss here.

Marvel Studios, 2021

Hawkeye stars Jeremy Renner, Hailee Steinfeld, Vera Farmiga, Alaqua Cox, Tony Dalton, Fra Fee & Linda Cardellini – Streaming on Disney+ now.

Rating: 9 out of 10.

9/10

Categories
Movie Reviews

Spider-Man: No Way Home

Marvel Studios, 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.

Marvel Studios, 2021

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.

Marvel Studios, 2021

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.

Marvel Studios, 2021

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.

Marvel Studios, 2021

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.

Rating: 10 out of 10.

10/10

Categories
Movie Reviews

Belfast

TKBC, 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.

TKBC, 2021

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.

TKBC, 2021

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.

TKBC, 2021

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.

TKBC, 2021

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.

Rating: 10 out of 10.

10/10