BillSims28 Reviews

Bohemian Rhapsody (2018)

Middle-of-the-road biopic buoyed by dedicated performances and musical inspiration

[7/10 · 22 February 2019]

The biggest British band since The Beatles, with arguably the most iconic frontman of all time, Queen was always destined to have its story told in flamboyant fashion on the big screen. This depiction is clearly rooted in a deep affinity for its subject matter, though it suffers many filmmaking flaws. However, this does not stop 'Bohemian Rhapsody' from being a highly entertaining viewing experience, which most Queen fans will find spellbinding.

Perhaps the main draw of the film is Rami Malek's remarkable performance as Freddie Mercury. The singer's every quirk and physical tic is painstakingly portrayed in exhaustive detail by Malek, who gives his all to perfect Mercury's self-confident strut and irresistible charm. The rest of the cast is also committed for the most part, with Gwilym Lee and Joe Mazzello particularly enjoying themselves as Brian May and John Deacon.

The re-creation of Queen's hit songs also allows for some stupendous displays of musicality. The much-vaunted climactic Live Aid set is highly impressive, and goes full throttle on the band's seminal sound. It's a consistent way in which the film drives up its entertainment value, drawing on the universal language of music to craft an eye-popping celebration of the musicians.

However, on a less shallow level the film is mired in its historical inaccuracies and a half-baked approach to the actual chronicling of the band's story. Mercury's chequered life is sugar-coated for a wider appeal, and is simply falsified at times for the purposes of the story, which swiftly becomes bogged down in cliche. The closest people to him, at least according to the film's version of events, are his wife Mary and personal manager Paul, neither of whom are developed beyond the barest of stock character features.

This focus on Mercury also stops the rest of the band from ever being more than a footnote in their own story: there's still a Queen biopic begging to be made, which tracks their fascinating story in a more focused manner. This lack of focus is without a doubt due to the abrupt change of director after the controversial Bryan Singer was sacked halfway through production.

Ultimately 'Bohemian Rhapsody' never quite reaches the heights it aspires to, as underneath the fanfare it is the most formulaic and underdeveloped of biopics. If you can look past these flaws, however, there's a barnstorming presentation of highly entertaining musical talent anchored by an impressive leading performance. 67/100

The Ballad of Buster Scruggs (2018)

Quintessentially Coenesque range of entertaining stories

[9/10 · 21 February 2019]

The Coen Brothers' distinctive inimitable style sets their work apart from their contemporaries, and this anthology is the perfect setting for them to flex their considerable creative muscles. The 6 disparate vignettes have little in common with each other, save for the inherently dark nature of all the stories and the beautifully drawn book chapters which introduce each story. It's difficult to rank the tales, as each have many positive qualities and make a good case for taking the top spot.

The titular first segment is a breezy slice of musical black comedy featuring a superb Tim Blake Nelson as a wildly entertaining, seemingly omnipotent and omniscient anachronistic hybrid between Bugs Bunny, Deadpool, and old Hollywood's classic singing cowboy. The chronicling of his violent exploits and catchy songs is the perfect way to start the anthology, and its material is ideal for a short film.

Similar in its darkly comedic tone is the surreal and somewhat nihilistic 'Near Algodones', which features James Franco as an unlucky thief who cannot seem to catch a break. The babbling bank teller with an unorthodox choice of weapon is one of the standout supporting characters of the whole anthology, but this segment is arguably the most underdeveloped of the 6. The fantastically dry ending is truly excellent, however, and this short gives the Coens another chance to showcase their ever-reliable comedic skills.

An abrupt change in tone then hits, paving the way for the dour gloom of 'Meal Ticket'. Starring almost no one apart from a grizzled, taciturn Liam Neeson and an impressive Harry Melling, this is an incredibly dark yet elegantly constructed tragedy. Heavy on the pathos, Melling imbues his character, a limbless actor used as a sideshow attraction, with heart-rending childlike innocence. The remarkable dramatic range conveyed in such a short period of time is indicative of the filmmakers' extensive talents and commitment to building a rich world replete with complex characters.

The most unique short is the pleasant 'All Gold Canyon', detailing the trials and tribulations of an intensely likeable gold prospector played by a perfectly cast Tom Waits. His humility and respect for nature make him antithetical to cinema's usual morally bankrupt prospectors such the wolfish Daniel Plainview in 'There Will Be Blood'. Its unassuming plot is gentle and endlessly engaging, and whilst it has dark moments it's by far the least bleak of the 6 stories, which is refreshing after the gut-punch of 'Meal Ticket'.

'The Gal Who Got Rattled' displays the Coens' penchant for dramatic irony, in an enjoyable yet bittersweet romantic adventure set amongst a wagon train, with more characters and plot elements than the other vignettes. This is probably the most complete-feeling story, and features a stellar central performance by Zoe Kazan. Another fantastic ending makes this another top-quality segment, and - without spoiling anything - should play suitable havoc with viewers' emotions. This was ultimately my least favourite part of the anthology if I had to pick one, but is still very well-made.

The film ends on an unsettling note with the claustrophobic, horror-tinged 'The Mortal Remains'. Set in an otherworldly horse-drawn carriage at an atmospheric sunset, it pits five mysterious strangers against each other. This is a finely-crafted story with multiple interpretations which is far more layered than it first appears, and should inspire the most theorising out of all the shorts. The characters are each fascinating, with Jonjo O'Neill and Brendan Gleeson delightfully menacing as a macabre pair of 'cargo ferriers'. Chelcie Ross's rambling trapper injects a surge of comedy into proceedings, but the tone remains decidedly dark, and completes the anthology in the Coens' classic fashion of seemingly unsatisfying endings.

Overall, 'The Ballad of Buster Scruggs' is a strong effort by two directors who have stayed on the top of their game for thirty years now. The anthology style would probably have worked better for a TV show, as it makes for an inconsistent viewing experience as a film, but the Western setting is perfect for its creative tales. 88/100.

T2 Trainspotting (2017)

Wittily recaptures the spirit of the original, though sometimes unoriginal

[7/10 · 19 February 2019]

90s classic 'Trainspotting' is easily the greatest film to star both Ewan McGregor and a dead baby. This solid homage picks up 20 years later, in an increasingly globalised Edinburgh, checking in with all the old favourite characters. It may not bring much new to the table, but it's certainly won't disappoint fans of the original and is often a riotously entertaining time.

Returning screenwriter John Hodge's script is brimming with wit and as sharp as ever, balancing some pitch black humour with moments of tender drama. There are genuinely hilarious sequences, including the standout Catholic song scene. The biting satire of its 1996 predecessor is also still evident, especially in the incisive updated 'choose life' monologue.

It's clear from the delicate intimacy with which he explores the central characters that Danny Boyle still has a lot of passion for this world. Jonny Lee Miller is a highlight amongst the cast and has a lot more to do this time, able to explore the 'Simon' side of his character as well as the 'Sick Boy'. McGregor is still wonderfully versatile and Robert Carlyle his same snarling deranged self, whilst Ewen Bremner is the film's primary source of pathos as the earnest Spud.

Aside from the iconic principal quartet, Anjela Nedyalkova has a large role but is not quite as developed as she could have been, nor are many of the other supporting characters. This is visible in other aspects of the film as well: it is heavily reliant on the original, and often derivative of it. In total though, it's an enjoyable time. 70/100.

Magnolia (1999)

Beautiful, intricately crafted, compelling saga of humanity

[9/10 · 18 February 2019]

Paul T Anderson certainly pulls no punches when it comes to ambitious filmmaking. 'Magnolia' is perhaps the best example of this: it spends over three hours tracking a day in the life of an eclectic group of strangers whose lives end up overlapping in fascinating ways. It's a film like no other, and while it's certainly not to everyone's taste it's undeniably one of the most beautiful things I've ever watched.

As is fitting for a director with three names, the wonderful cast features some of the best three-named actors in the business: from the delightfully gentle Philip Seymour Hoffman to a superb William H Macy in 'Fargo' mode and lovesick cop John C Reilly, ensembles do not get better than this. It's hard to pick out a standout character but Tom Cruise, going further than he ever did in 'Tropic Thunder', is truly outstanding as a brash misogynistic motivational speaker. Julianne Moore, though underutilised, is also excellent, as is Melora Walters. The film cuts between its stories with speed but does an excellent job tying together their themes.

This really is a film with everything: deeply emotional moments of tender tragedy, cleverly executed surreal humour, an exquisitely curated soundtrack courtesy of Aimee Mann, and one of the finest opening ten minutes of all time. The swift, surreal Ricky Jay-narrated prologue is more Wes Anderson than PT Anderson, before all the principal characters are introduced in a peppy, highly efficient worldbuilding opening credits sequence.

All in all, 'Magnolia' might be guilty of overextending itself, and Anderson himself has acknowledged that it needed a harsh edit: around two thirds of the way through, it loses a lot of its momentum as several stories build to climax, but the startling ending really kicks it back into gear: this film is worth the considerable amount of time that you have to invest in it. 86/100

Outlaw King (2018)

Often intense and enjoyable but unfocused and inconsistent

[6/10 · 17 February 2019]

A stealth sequel to 'Braveheart' was perhaps not high on the list of priorities in 2018, but the story of Robert the Bruce appeared anyway. Set before and after the death of William Wallace, and focusing on Scotland's renewed fight for independence from England's various King Edwards, it is a decently enjoyable and sometimes surprisingly intense historical film but one which has little new to offer.

The revival of interest in medieval media buoyed by 'Game of Thrones' is clearly the main influence for this feature. The film boasts GoT acting alumni such as Stephen Dillane, James Cosmo, and Clive Russell, and has clearly looked to the HBO giant for inspiration in creating a violent epic. The battle scenes in particular are rooted in the style perfected by director Miguel Sapochnik in series 6 of the TV series, which feature huge numbers of extras, gore aplenty, relentless noise, and a feeling of realism unmatched by other medieval pieces. The early ambush by the English at Methven and the climactic battle at Loudoun Hill are highlights, featuring some truly astounding battle set pieces.

In terms of the cast, Chris Pine is a reliable lead that director David Mackenzie has previously utilised (2016's 'Hell or High Water'), but Aaron Taylor-Johnson is the standout amongst an average cast, injecting deuteragonist the Black Douglas with impassioned bloodthirsty mania. There's clearly a good deal of passion from the majority of the cast and crew, evidenced by a jaw-dropping opening salvo. This is a remarkable tracking shot in the English camp at Stirling Castle, wherein the camera seamlessly roams in and out of the command tent introducing all the main characters whilst detailing the initial Scottish surrender.

The film never really gets better than its excellent opening 10 minutes however. It rumbles along lacking momentum for the most part, before bursting into life at times of battle. The characters are wildly inconsistent, even disregarding their dissimilarity to their real historical counterparts, and are mostly underdeveloped. The personality of the titular Robert, for example, veers between guerrilla expert people's hero and at other times a morally shady power-hunter that more closely reflects the man who actually existed.

Furthermore, Billy Howle as Edward, Prince of Wales makes for a disappointing and inconsistently characterised antagonist. The filmmakers cannot quite seem to decide whether they want to make him a megalomaniacal, unpredictable sadist, or a reluctant prince trying to step out of the shadow of his domineering, disappointed father. The end result is an off-putting and unsatisfying blend of pathos and revulsion far from the complicated villain who I'm sure was envisioned.

All in all, 'Outlaw King' is a watchable and often properly entertaining historical action drama which features some impressive battle production values. Much like the villainous Edward, Prince of Wales, however, it is ultimately unable to escape the shadow of vastly superior contemporaries. 63/100.

Glass (2019)

Bold, Well-acted, Often Entertaining, Messy

[7/10 · 17 February 2019]

Sometimes, cinema delivers the perfect unexpected trilogy - just ask Richard Linklater, who masterminded the Before series. This surprise conclusion to the Eastrail 177 trilogy, established by the rug-pulling stinger of Split in 2016, may not prove to be a lasting great, but there's certainly a lot to enjoy about it.

The fascinating central triumvirate of larger-than-life characters is integral to this: James McAvoy excels once again portraying 20 heterogenous characters, switching effortlessly from the excited lisp of 9 year old 'Hedwig' to the domineering matriarch 'Patricia'. Bruce Willis meanwhile gets the chance to display some of his dramatic acting range, which he has not had much opportunity to do outside of identikit action flicks since 2012's Moonrise Kingdom and Looper. He imbues David Dunn with an feeling of quiet, reliable wisdom and is one of cinema's few great understated superheroes. Samuel L Jackson, implausibly already 70, is a welcome return as comic-obsessed mastermind Elijah Price, whose Machiavellian schemes make for an intriguing superpower. Rounding out the cast is Sarah Paulson, who gives a committed performance, but her character feels underdeveloped and unfortunately less interesting than the fascinating central trio.

The biggest draw of Glass is its distinction from other superhero films, which makes it a highly enjoyable experience throughout. It focuses on the smaller scale, finding awe in the most rudimentary of supernatural abilities, with a unique filming style that makes extensive use of CCTV footage and POV perspectives to film fight scenes. This renders the whole experience more personal and realistic, adding to its small-scale feeling (the majority of the film takes place in one building, and there's little to no explosions or infrastructural destruction). It's refreshing to see such restraint in Hollywood, and M Night Shyamalan's personal, mystical style is perfect for it.

The main problem with the film is that it attempts the impossible in reconciling the disparate tones of the exquisitely slow-burning deconstruction of the superhero tale in Unbreakable with the taut, horror-tinged paranoia of Split, a psychological thriller. The beginning is all Split, complete with kidnapped children and McAvoy's intense changeability. From there, however, Unbreakable's harsh realities take over, and throughout the remainder of the film there is a constant struggle to unshackle itself from its predecessors, unable to ever fully establish its own tone. It will likely prove too slow for those who only liked Split, and too incoherent for those who only liked Unbreakable

It also suffers from an ending burdened with lumbering twists that feel unearned and in need of some more foreshadowing. This shoves the film straight into the dangerous territory of taking itself far too seriously. Shyamalan is now past the point of inadvertent self-parody with the ridiculous twists he shoehorns into the endings of these films. The promising aspects of this film's ending are thus swiftly lost in over-eager misdirection, drastically reducing its rewatch value.

Ultimately, Glass is equal parts fascinating and frustrating, but should not disappoint fans of its precursors. I would be excited to see any future developments in the Eastrail 177 universe, and could imagine a positive response to a more focused feature which affords Shyamalan - or preferably a new, similarly-minded director - the chance to explore supernatural heroism and villainy on the small scale. 68/100.

Spider-Man: Into the Spider-Verse (2018)

Aesthetically Pleasing, Entertaining Sensory Overload

[8/10 · 17 February 2019]

The 7th Spider-Man film in 16 years was never going to be winning prizes for originality. This unique animated adventure certainly tries its hardest, however. The film boasts a motley crew of multiverse-spanning Spider-folk, and covers a range of subplots. It benefits from gorgeous animation, combining a variety of styles and some devoted voice acting. It also has a consistently witty script which gleefully sends up various aspects of the a genre rife for pastiche: the creaking, lumbering beast of Hollywood superhero flicks.

This is first and foremost a very funny film. It most reminded me of 2017's 'The Lego Batman Movie', a similarly frenetic laugh-a-minute animated parody fest birthed from the fertile minds of Phil Lord and Christopher Miller. 'Spiderverse' prides itself on mocking such infamous Spider-Man staples such as Tobey Maguire's cringe-inducing 2007 'Venom Dance' and Uncle Ben's immortal 'responsibility' maxim delivered by Cliff Robertson in 2002. The post-credits scene may just be the greatest ever shown in a Marvel property. It also gets the chance to flex its own comedic muscles. Particularly amusing is John Mulaney's bizarre, seemingly inadvertently cannibalistic Spider-Ham, as is the scene-stealing Spider-Man Noir. The latter is voiced by Nicolas Cage, an inspired bit of casting which affords him the chance to be intentionally funny for once. His character spends the film waxing lyrical about his life in a 1930s New York pulp noir novel, which garners him some of the best lines.

The rest of the cast is similarly excellent: Shameik Moore makes protagonist Miles Morales grounded and relatable, perfecting the fine line between awkward child and self-assured teenager. This helps give stock to the film's Bildungsroman themes. Finally, Chris Pine and Jake Johnson portray two very different iterations of older Peter Parkers, with Johnson often hilarious as a schlubby, overweight 40-something long divorced from Mary Jane and struggling to fit into his super-suit.

The animation and entire aesthetic of the film is also a highlight. The introduction of the various alternative Spider-folk triggers a host of competing animation styles, which is never jarring and adds to the film's note perfect comic book tone, which is constructed excellently. There are some beautifully realised action sequences, especially with a comically large Kingpin at play. Computer animation really is improving with each new film these days, and it's a wonder how human these characters can be made.

It's not a consistent film, however. It has a large production team, with directors, producers, and writers almost numbering in the double digits, which shows. The tone is mostly well-balanced between frantic parody, superhero adventure, and coming-of-age family drama. Nonetheless I couldn't help feeling that it lacked some focus, and could perhaps have benefitted from leaving some subplots to future films, in order to develop some of the remaining characters more fully and prevent what is in the end a rather overstuffed film (I know, it's a kid's film!).

But in the end 'Spiderverse' has a unique charm which makes it definitely worth a watch, and I for one am invested enough to be intrigued by the prospect of future films. It may not have the staying power to withstand repeat viewings, but it's a real fun piece of cinema. 74/100.

Mowgli: Legend of the Jungle (2018)

Visually Stunning, Well-voiced, Narratively Lacking

[6/10 · 12 February 2019]

Andy Serkis' second foray into directing is an ambitious attempt to retell Kipling's classic jungle tale in a less Disneyfied manner. However, it suffers from a fundamental lack of narrative freshness which prevents it from ever reaching the lofty heights it aspires to.

It would be hard to criticise the look and sound of the film, which is undeniably gorgeous. The utilisation of Serkis' motion capture expertise through the use of his Imaginarium studio allows for the creation of some marvellously expressive creatures. The jungle is exquisitely realised, with luscious foliage and lively animals filling the scenery.

The voice cast also excels. Christian Bale imbues Bagheera with graceful, powerful wisdom and Benedict Cumberbatch lends his impressive voice to a menacing Shere Khan, whilst Serkis throws himself into crafting a gruff Cockney Baloo that would probably sooner glass you if you spilt his pint than sing about the Bare Necessities. Peter Mullan and Tom Hollander are also impressive in the supporting voice cast, each of their characters benefitting from the added darkness that this adaptation provides. Cate Blanchett rounds things off with some Galadriel-esque omniscient narration.

The film's positives are limited to this, however. The films unfortunately suffers from extreme tonal imbalance, unable to decide whether it wants to be a slightly darker version of its family friendly 2016 counterpart or a fundamentally different creation which occupies a unique space in Mowgli mythology. It ends up somewhere in the middle, too tame and prosaic for adults whilst being surely too dark for kids. From scene to scene there are jarring shifts in the atmosphere of the film, giving it a choppy feel of hasty re-editing.

The story also lacks any of the zip that previous versions of this tale have benefitted from. There are stretches of time which drag without development, before a rushed and dissatisfying ending. The human characters are too underdeveloped to hold much interest, though young Rohan Chand tries his hardest throughout.

It is unfair for 'Mowgli' to have been released without fanfare so close to Jon Favreau's Disney adaptation, and unfavourable comparisons are thus inevitable. Both are decently enjoyable, but as is often the case with remakes neither come close to matching the unabashed vivacity of the original. 58/100

Roma (2018)

Exquisite, Achingly Beautiful, Refreshingly Human

[9/10 · 12 February 2019]

Alfonso Cuarón has clearly had 'Roma' rattling around his creative head ever since his film-obsessed childhood in Mexico City, which forms the basis behind this masterpiece of filmmaking. The film is entirely black & white, with a stripped-back narrative that excels in extracting beauty from mundanity.

Cuarón has always ensured his films such as the masterful 'Children of Men' and 'Gravity' are shot impeccably, usually with the help of expert Emmanuel Lubezki. For 'Roma', however, he takes over DP duty himself. In doing so, he showcases his considerable skill by focusing on gorgeous slow pans and improbably long takes. This really is one of the most aesthetically pleasing films I've seen: any given shot could be framed.

The minimalist plot - essentially a series of delicately-constructed vignettes chronicling the relationship between a Mixtec maid and the family she works for - allows for deeper exploration of character. Schoolteacher Yalitza Aparicio had never acted before this, but you wouldn't know it from the astonishing degrees of pain and love which she exhibits. The family she lives with is one of the most natural ever put to film, featuring a group of children free of the cloying sentimentality displayed by trained Hollywood child actors. Marina de Tavira is equally impressive as a matriarch struggling with her marriage. Every small event which the characters experience feels monumental in the context of the story, due to the effort which has gone into developing the characters in a realistic, fulfilling manner.

The film's dialogue is also consistently grounded in humanity, and the script even gets the chance to explore some absurdist comedy during a martial arts scene. The lasting sensation of the film, however, is one of melancholic beauty. I was left overwhelmed by the intensely personal nature of it: it is at times akin to reading the diary of someone detailing intimate family secrets. The film also manages to evoke tears, and is one of those rare pieces which can do so without sweeping, moving music or heartfelt dialogue.

This is by no means a film to be watched lightly, and is not conducive to casual watching: many people will be understandably put off by what is essentially watching exquisitely beautiful paint dry. For me however, 'Roma' is a true artwork of a film, peerless in its elegant, graceful tranquility. 95/100

The Favourite (2018)

Sumptuous, Sardonically Hilarious, Impeccably Acted

[9/10 · 12 February 2019]

Best known for a film about forced therianthropy, director Yorgos Lanthimos has never been one to adhere to conventional rules of filmmaking. His latest piece is a perfect example of this, pitting its three note-perfect leads against each other in a gripping and witty triumvirate of female power-hunting.

'The Favourite' is buoyed by the tightest script of 2018, as produced by AACTA-award winner Tony McNamara and newcomer Deborah Davis. Complete with vicious insults and pithy one-liners, the film often takes on an absurdist feel due to its quintessentially modern approach to the eighteenth century setting. While not a straight-set comedy, it is in many ways the perfect dramedy, using its finely-judged tone to forge a uniquely satirical period piece.

The three central performances are each excellent and the actresses deserve every award they receive. The ever-fantastic Olivia Colman explores the bipolar and gluttonous depths to which she can take her character of Queen Anne, revelling in the attention she receives whilst a deep vein of tragedy simmers underneath. Rachel Weisz's character goes through a lot, and the acerbic wit she demonstrates calls out for her future inclusion in more comedic material. Stone is at her best here, displaying a Machiavellian moral ambiguity attitude in order to become the Queen's favourite. The interplay between the three is great fun to watch, and indicative of their effortless chemistry.

The setting allows for some exquisite production and costume design. Technically, the film also boasts some fascinating explorations of cinematography from 'Slow West' DP Robbie Ryan. The frequent use of the fisheye lens creates a confined, claustrophic atmosphere which enables all the relevant parts of a given scene to be visible. Excluding the fitting collection of sweeping baroque music, there is no traditional score to speak of, and at times the minimalist soundtracking does become too jarring and overstays its welcome. There are a few too many such occasions (including the ending) which could have benefitted from a stern edit, but for the most part the film is refreshingly expeditious.

Overall this is one of the year's strongest and wittiest films which is definitely worth taking the time to watch. With a trio of flawless acting performances, it is Lanthimos' finest work to date. 87/100

Life Is Beautiful (1997)

Moving, Wonderfully Scripted, Passionately Acted

[9/10 · 11 February 2019]

This film is frequently written off by commentators as trite and mawkish, or criticised for using comedy to make light of the Holocaust. Admittedly when compared with its counterpart 'Schindler's List', it is positively upbeat, but in reality it balances comedy and drama with considerable skill. I see it as one of the greatest cinematic tragicomedies ever made, comparable to the likes of the masterful 'Eternal Sunshine of the Spotless Mind'.

The best thing about the film is that it approaches its tragic subject matter from an alternative point of view, doing so with grace and respect. It's so important to be able to view tragedy through a lighter lens in order to move on from it, and if done right (the Coen Brothers do this very well, and Chris Morris' 'Four Lions' is also a great example of it) then comedy can be the best way to do this. 'La Vita è Bella' is one of those few special films that manages to do ths very well, though it maybe could have worked on its denouement just a little more, as the ending feels a tad truncated.

This is undoubtedly the Roberto Benigni show: he both directs and writes, whilst delivering an incredibly committed performance as the wonderfully witty Guido Orefice. His barrage of verbosity forms the bulk of the film's tight, often hilarious script, and the first, pre-Holocaust half of this film could easily have been expanded to stand on its own as a riotous romantic comedy. Benigni effortlessly switches from quick-thinking conman to archetypal lovesick Italian sweet-talker, and finally a tireless father who goes to extraordinary lengths to protect the innocence of his son.

The rest of the cast is small and tight, with Benigni's wife Nicoletta Braschi delivering a stellar turn as the object of Guido's affection. Giorgio Cantarini, who would later play another tragic son in 'Gladiator', is adorable as the heartwarmingly upbeat child Giosué.

Ultimately this moving, finely-crafted work is one of my favourite Holocaust films, though admittedly in a drastically different manner to other greats like 'The Pianist' or 'Die Fälscher'. A must-watch for anyone, though it will certainly not be to everyone's taste. 92/100

Cloud Atlas (2012)

Breathtakingly Ambitious, Impeccably Acted Masterpiece

[10/10 · 3 February 2019]

David Mitchell's "unadaptable" 2004 novel featured 6 different storylines in 5 different centuries: a nightmare for any Hollywood producer. The unpredictable Wachowskis however have managed to create what is for me the greatest film of 2012 ( a statement people will fervently agree and disagree with in equal measure).

To start with, the cast is flawless. This may be Tom Hanks's greatest role to date, playing multiple disparate characters with ease, whilst Halle Berry and Jim Broadbent also excel. Hugo Weaving and Hugh Grant round things out playing a host of villainous characters, which makes for great watching. Piecing together the connections that each actor's characters have to each other is a fun exercise, and it's fascinating to see how each soul changes over the centuries. The score, especially the stirring music of the finale, has endless replay value, whilst the costumes, makeup (often heavy to the point of obscuring some actors entirely), and set design are exquisitely done.

The film's greatest strength however is the wealth of emotions it conveys throughout, through its six stories which share common themes but are so fundamentally different in style. From the hilarious Broadbent-led farce to the paranoid 70s-set thriller with Berry and the most Wachowski-esque story, a futuristic dystopian story where Doona Bae takes the lead, the intricately-crafted stories interweave and diverge with such speed that repeat viewings are a requirement. The edits can become formidable at times, especially at times when multiple stories are entering climactic moments, but as the film progresses it becomes increasingly apparent that each edit has been perfectly timed to coincide with similar themes in a concurrent story.

I was left feeling (in a good way) overwhelmed by the sheer size and complexity of the piece, and immediately wanted to see it all over again: this is pretty rare. Understandably, it will not be a lot of people's cup of tea, but if you're into expertly crafted philosophical eulogising on the state of humanity, then 'Cloud Atlas' is the film for you.

97/100

Mystic River (2003)

Taut, Engrossing, Superbly Acted Thriller

[9/10 · 28 January 2019]

'Mystic River' ranks among Clint Eastwood's finest works, led by a trio of note-perfect performances from Robbins, Penn, and Bacon. The utterly compelling story unfolds at a measured pace, from its unexpectedly terrifying prologue right up until the carefully-constructed ending.

The film's success lies in its effortless exploration of the weighty themes including repressed childhood trauma and family grief. The three disparate leads allow it to become not only a gripping police detective drama, but also a delicate drama about a PTSD sufferer attempting to move on with his family, as well as the lengths a grieving father will go to (which surely influenced Vileneuve's masterful 2013 work 'Prisoners').

With a vivid cast of townsfolk, a plot that will keep you guessing until the end, and enough drama for at least two films, 'Mystic River' is without a doubt worth watching. Following a fabulous climax, it does admittedly stumble a little in its denouement (especially with a questionable and out-of-character monologue from Linney's character), but overall this Greek-tragedy-esque drama is one of 2003's best films.

88/100

Get Out (I) (2017)

Relevant, Intelligent, Terrifying, Hilarious, Entertaining

[8/10 · 3 April 2017]

Jordan Peele, of Key and Peele fame, kicks off his directorial career with a genre-swapping film that depicts a young black man's ill-fated journey to his white girlfriend's parents' house. There he finds that all is not as it should be, and that his prospective in-laws may not be as normal as they appear to be.

The atmosphere of 'Get Out' is one of the very best you can create in a film. Spine-chillingly creepy at times, with foreshadowing and acting that works better than any jump scare, and at other times raucously enjoyable, witty, and entertaining, it succeeds across all fronts. Daniel Kaluuya makes for a relatable and likable protagonist that the audience can root for, whilst Lil Rel Howery as his erstwhile and foul-mouthed friend is huge fun, and one of the standout comedy characters in recent years. The parents, played note-perfectly by Catherine Keener and Bradley Whitford, represent a ramped-up version of the so-called 'West Wing liberals', the type of people who purport to be progressive and welcoming, but inadvertently make black people uncomfortable with racial stereotypes and microaggressions.

The film ends up being one of the best cinematic examples of presenting race in a long time. Perfectly capturing the zeitgeisty racial divide in modern America, its depiction of the daily struggles faced by minorities is remarkable, and one of the scariest aspects of the film is how plausible and true to life it all is (up to a point). The satire is delivered flawlessly, and Peele deserves all the plaudits he is receiving for the astounding first-time effort he has made here. Combining his fresh, razor-sharp and highly witty script with the subtle yet 100% effective direction, he has made a film that is not only one of the best satires of modern times, but also an incredibly enjoyable horror-comedy.

It is not quite accurate to label 'Get Out' a true horror film. It is certainly scary, mainly stemming from the experience Kaluuya's Chris has to go through, which transports the viewer into his shoes and leaves us on edge throughout the buildup. However, if you go in expecting a Halloween-ready horror film that will rival the horror classics, you will inevitably be disappointed. It is more of a horror-style thriller, with its dynamic plot taking the audience on a twisty and unpredictable journey that lets the viewer piece it together whilst going along.

Overall, 'Get Out' is probably the best film of the first few months of 2017. Being fresh, innovative, thrilling, scary, and sharply scripted, Jordan Peele's debut is promising and it's an important film for the issue of race. 91/100.

Logan (2017)

Satisfyingly Emotional Conclusion; Fresh Approach

[8/10 · 21 March 2017]

Logan, the swan song for Hugh Jackman's grizzled antihero, offers an utterly different variant on the over-saturated market of superhero films with an emotional and character-focused film that keeps mindless action to a minimum and offers some genuinely crafted character development. The film takes place after the apparent extinction of mutants in the future, with Logan and Charles Xavier hiding out from humanity and looking to retire on the USA-Mexico border, before being thrown a curve-ball in the shape of a girl who appears to offer hope for a future for mutant-kind.

Having played Wolverine in ten films now, the role fits Hugh Jackman like a glove. Things have changed now, with the Canadian veteran nearing the end and displaying clear weakness in both his fighting ability and healing powers. The same can be said for Patrick Stewart's Xavier, who, suffering from dementia, must receive around-the-clock care to prevent life-threatening seizures from taking hold. The emotional impact of Logan is where it excels, with the benefit of characters who have been developed over the course of several films allowing director James Mangold to explore the themes of death and the future without needing to set up the characters first. The film unfolds on the scale of a Shakespearean tragedy, and seeing Wolverine, once undisputed ruler of his kingdom, reduced to an old man struggling to keep himself going on, is an image clearly reminiscent of King Lear and Macbeth.

Logan also benefits from the relaxation of certification - rated 'R' in the US and '15' in the UK, this makes it a film which no longer needs to pander to the market, but instead is free to target itself at those who want to see something different. Mangold approaches this increased flexibility with glee, and the level of violence (not for the squeamish) and profanity (the first word spoken in the film is 'fuck') is noticeably different to the majority of similar superhero films. The more mature nature of the film allows for a more realistic feeling journey, where Wolverine's claws cause more violent and bloody damage than the toned-down violence of the previous PG-13 X-Men films.

Furthermore, as a film it is an effective and near-perfect way to phase out the X-Men and usher in a new era, without making it feel like a 'Where are they now?' round-up of all the X-Men of the last 17 years. It is a well-made film which loses its way in places and may not live up to its super-emotional billing but will certainly entertain fans of the franchise who will appreciate its handling of the characters, as well as hold up as an interesting and heart-rending fantasy drama. 78/100.

John Wick: Chapter 2 (2017)

Exemplary Sequel - Enjoyable Low-maintenance Action

[7/10 · 20 March 2017]

Keanu Reeves's tragedy-stricken, stoic, ruthless ex-hit-man John Wick returns after decimating the world of organised Russian crime in 2014's 'John Wick' with a sequel that takes everything that made the first film such a surprise hit and expands upon it in gleeful fashion. The film follows the precise expert as he navigates through various reactions to his exploits in the first film, and retains the realistic-feeling, expertly-choreographed action that so benefited the first.

The film is essentially the definition of 'turn your brain off' entertainment, and is sure to be the standard for low-maintenance action films that people can turn on and enjoy without engaging themselves too much. This is of course what made the original film so good, and the proposed sequels now have a good formula to build upon, combined with an interesting world of hit men and a reliable main character.

Overall there is nothing incredibly special about John Wick 2, and nor would there ever be. It's fun to watch and good for action film fans, whilst you'd be hard-pressed not to enjoy the zippy plot and dynamic structure of the piece. A great standard for sequels everywhere. 7.3/10

Split (IX) (2016)

Interesting; McAvoy Stupendous; Sometimes Unremarkable

[7/10 · 14 February 2017]

Heralded by many as a return to form for polarising director M. Night Shyamalan, Split tells the fascinating story of a man, played by an astounding James McAvoy, who has 23 completely distinct personalities - each with different ages, genders, and characteristics - fighting for control of his body. Some of these personalities conspire to kidnap three teenage girls for mysterious and nefarious purposes, making a film which is as much a psychological abduction thriller as it is a creepy Shyamalan horror as it is a character study of McAvoy's Kevin and his split personalities.

Split has received a divided response, with many citing controversy around its seemingly ham-fisted portrayal of mental illness. However, upon watching the film, it soon becomes clear that this is not a scaremongering horror story of the mentally ill who could be living among us, but instead a low-key sci-fi much like Shyamalan's 2000 film Unbreakable, with McAvoy's condition being treated as more of a supernatural ability. It ultimately translates into a film which, without the hype surrounding its release, would be seen as a largely unremarkable if interestingly watchable horror-thriller piece.

The main draw of the guild is undoubtedly James McAvoy. In a performance which tops not only his already glittering career, but also many of the best performances of 2016. It is even Oscar-worthy, not that that is necessarily a good indicator of quality. It is a fantastic mark of the man's talents under the role's stress, given the frequency with which he has to switch between hugely varied parts. His versatility makes it akin to seeing several different actors on screen, but it is all him. He manages to carry the entire film on his shoulders whilst simultaneously stealing each of his scenes, providing an endless source of massively interesting characters, creating sympathy for the character, and even sprinkling some black comedy into the mix. A near flawless performance overall.

The rest of the film does not reach quite the same heights but is nevertheless decent and worth watching. The horror elements are handled very well, without too many jump scares, and although it is not designed to frighten for the most part, it certainly succeeds at several times as tensions mount, mysteries unfold, and we find out more about Kevin and Casey, the most-developed of the abductees.

There are certainly other portions of the film which are highly commendable: the two central characters are well fleshed-out (though some of Casey's backstory feels at times somewhat unnecessary and tacked-on), for example. McAvoy performs with a well-judged moral greyness that leaves you rooting for both Kevin and Casey, whilst the story makes for an interesting tale that continues to surprise and entertain.

However, ultimately too much of the film is just rote and unoriginal. Admittedly it's hard in the current cinematic climate to make anything original but certain parts of Split feel too uninspired and lazy, especially some of the plot points and dialogue - notably, discussions of Kevin's "abilities" sometimes serve to induce a small eye-roll. Finally, it sometimes feels far too self- indulgent on Shyamalan's part. Ignoring his jarring obligatory cameo, there is a certain reveal which, without spoiling anything, will be obvious to any Shyamalan fan, that just feels far too dumb and unnecessary, though it could be interesting to develop if there is a sequel.

This doesn't make it a bad film - far from it. It's definitely worth watching, though maybe doesn't warrant the level of debate it has garnered. Watch Split for the unmissable McAvoy performance, and try not to expect anything too mind-blowing, and you'll probably enjoy. A solid 72/100.

The Lego Batman Movie (2017)

Hilarious, Jubilantly Frenetic, Perfectly Voiced

[8/10 · 12 February 2017]

A spin off from the wildly entertaining and surprisingly well-made Lego Movie, the imaginatively titled Lego Batman Movie centres on Will Arnett's brooding vigilante superhero, his burgeoning family, large list of enemies, and perpetually crime-ridden city of Gotham. The film is a riotous explosion of colour and gleeful mayhem, poking fun at every Batman film and revelling in its references to all the clichés, plots, and inadvertently funny elements of the franchise.

It's important to be prepared when going in to this film, and to expect an ADD-level of hyperactive flashiness, topping even the madcap nature of The Lego Movie. This will inevitably infuriate some but if you enjoyed the original 2014 film you will most likely enjoy this too, though it really is funny enough to warrant viewing regardless of that. Phil Lord and Chris Miller, though they are just producers on this film, showed with The Lego Movie and the Jump Street films that they are fantastic directors capable of making very funny films, and it will therefore be interesting to see how they do the Han Solo film in 2018.

It is in fact the very definition of gag-a-minute, with constant clever visual gags, hilarious and clever Lego-Movie-style jokes, and plain silly hilarity that you just can't resist. I found myself chuckling almost non-stop throughout the entire film - it's just incredibly funny, especially for anyone who knows Batman or is feeling a little worn out by the superhero genre.

The cast is magnificent, with Lego-Movie-scene-stealer Arnett excelling as the lead where his dark angst can be psychoanalysed in a manner appropriate for a U-rated film. Michael Cera is note-perfect as earnest and relentlessly peppy sidekick Robin, taken straight from a 1960s TV episode, and his character is often reminiscent of an orphan version of George Michael Bluth, his character in Arrested Development. Rounding out the cast are Zach Galifanakis as an insecure, very self-aware Joker (playing it as differently from Ledger/Leto as humanly possible), and Ralph Fiennes, voicing butler Alfred with uber-British sensibility and aloofness. Rosario Dawson is very funny, as is the unexpected appearance of Jemaine Clement.

Overall The Lego Batman Movie is unrelentingly kinetic and just great fun. The never- ending slew of humour does not ever cease to entertain, and it's actually funnier than The Lego Movie which I thought at the time was one of the best gag-a-minute films I'd ever seen. Lego Batman may not have as much heart or Toy-Story-esque depth to it, but it's fast, funny, delectably animated, and consistently entertaining. 81/100.

La La Land (2016)

A 100% Recommendation: Magical, Delightful, Sumptuous, Technically Flawless

[10/10 · 13 January 2017]

On the surface La La Land doesn't seem too different to director Damien Chazelle's previous film Whiplash. The two share a jazz-and-Charlie-Parker-obsessed male protagonist, a love of music, and even JK Simmons. However, this film is wholly different and represents staggering new ground covered by Chazelle and the team behind it, as well as being a deliciously unique piece which seems a shoe-in for being the best film of 2016.

In fact, La La Land is not only by far the best film I've seen released in 2016, but also possibly 2015. Simply put, everything about it works. Firstly, Ryan Gosling and Emma Stone are perfectly cast in their roles, with effortless natural likability and chemistry that most actors can only dream of. Gosling provides charm, a believable passion in jazz, and incredible piano skills, whilst Stone is as genuine as ever, and acts as an audience surrogate that is easy to root for.

The music will not only make you tap your toes, but also cause you to leave the cinema dancing with a wide grin on your face - I was a moment away from standing up and giving a round of applause when it finished. The songs, beside being well-sung and expertly-choreographed, are easy to re-listen to and are very catchy.

On the aesthetic side, the cinematography and the colour palette are beautiful. Highly stylised and with an admirable range of techniques. Some stand-out sequences are the planetarium dance and heart-string-pulling epilogue.

Certainly the best thing about the entire film is its spirit and passion. It's so incredibly enjoyable - not a single moment is dull, and though it takes place over a long period of time with a lot of events happening (it is split into winter, spring, summer, fall, and winter again) it is constantly fun. Even in the most dramatic moments it is fantastic to watch, simply for the pure talent on display, and the realness of the drama, despite the almost fantasy-like quality of the film at times.

This review cannot go into enough detail about how delightful the film is - it's also worth mentioning the fresh, well-written script (also Chazelle's work) that is often hilarious. Honestly I can think of no negatives right now, and it will just be interesting to see how it holds up a year down the line. A must- watch, though inevitably those who are staunchly critical of musicals may be hesitant. 98/100.

A United Kingdom (2016)

Five-Word Review: Bland, Uninspired; Sometimes Sumptuous & Stirring

[5/10 · 19 December 2016]

Telling the story of the formation of the modern nation of Botswana, and the furore caused in the 1940s when the heir to the throne brought home a white wife, A United Kingdom offers a well-formed period piece that unfortunately suffers from the pitfalls of many such biopics.

Firstly, the 1940s/50s period setting is often sumptuous and evidently well-created, and the story is rather compelling. Seeing this take on a historical story - of focusing on the human element - is rather good. David Oyelowo and Rosamund Pike are stellar if unremarkable as the leads, even if Oyelowo does get the chance to show some passion in his speeches, whilst Tom Felton (Harry Potter) and Jack Davenport (Pirates of the Caribbean) get to flex their villainous muscles.

Ultimately, though, there's just not that much of note here, and it simply isn't worth watching as it will have been forgotten within a day. A rather bland and uninspired take on an interesting story, which is worthwhile at times but all in all fails to amount to much. 53/100.

Rogue One: A Star Wars Story (2016)

Five-Word Review: Sufficiently Different, Enjoyable, Solid Film

[8/10 · 15 December 2016]

Kicking off the Star Wars universe's foray into spin-offs, Rogue One serves as an almost gritty tale of war and sacrifice, as some rogue members of the Rebel Alliance fight against the threat of the Empire's Death Star, by attempting to steal the plans and exploit its weaknesses. An ensemble cast scattered with familiar faces makes up the character list, with a couple of surprise appearances thrown in.

In fact the film is full of fan service and callbacks. What the film manages to do very well is combine the familiar self-referential Star-Wars-y elements with the new style and expanded world. The references and tie-ins don't become too much, either.

This is best exemplified by the much-anticipated appearance of Darth Vader, who is kept satisfyingly hidden for the most part, the dread surrounding him being slowly built up, and this allows the new cast to take centre stage. When he does show up, he steals the show, including one scene whose terrifying Vader portrayal ranks among the best imagery in the series so far.

Some other characters show up - Peter Cushing's CGI revival, though controversial to some, boasts some impressive visual work and eventually manages to overcome being initially jarring. It's worth it to see such a wonderfully villainous character come back to life, even if the character is perhaps utilised more than is necessary.

The best thing about Rogue One, though, is the style. Despite being burdened by the mammoth series with which it is associated, the film still manages to implement its own style, which is unlike any other film in its series, being close to gritty at times, and far more realistic. In spite of all the references and returning characters, it's not often like the other Star Wars films.

The colour palette is darker, the mood more sombre, the main character plot armour almost non-existent. Nor are there any magical wunderkinds upon whom the entire fate of the galaxy rests due to an ancient prophecy - just resourceful and determined people who are dedicated and good at what they do.

This doesn't make up for the disappointing one-dimension-ality of the majority of the characters. Felicity Jones does a stellar job as the lead, especially given some of the rather uninspired dialogue, whilst Alan Tudyk and Ben Mendelsohn (whose character is well set up as having ambition but no military mind) are rather good, but too many of the characters are not even memorable enough to remember their name, even taking into account cool traits such as the wise, blind old Force user played by Donnie Yen.

It's a bit of a shame given the talent of actors such as Riz Ahmed, Forest Whitaker (overacting like there's no tomorrow), and Mads Mikkelsen, but the film simply has too many characters to devote time to each, resulting in a rather disjointed final product, at least in the first third.

Though these flaws must be acknowledged, they do not detract too much from a film which is fundamentally enjoyable, and never bores. It zips from location to location and character to character, and remains fun, with an easily accessible and genuinely involving, intriguing plot. The ending also manages a near-perfect connection to Episode IV, with just the right amount of tie-in to not be overdone and also satisfy fans. In fact, it can be spliced almost seamlessly to the next chapter of the story and be coherent.

All in all, even though it can't quite match the pure thrills and initial excitement of The Force Awakens, it's ultimately probably a better film: less corporate and safe, at least somewhat, and hopefully indicative of the path these spin-off Star Wars films will take. With Rogue One's rather unique take on the war film, I am now eagerly anticipating the comedic possibilities of the Lord/Miller Han Solo film, purportedly close in style to a western. Beyond that, the possibilities are endless, as long as Disney allows its directors more freedom and autonomy to make their creative marks.

One of the better films in a lacklustre year, and definitely worth watching. 82/100

Arrival (II) (2016)

Five-Word Review: Intriguing, Well-acted, Thought-provoking: Solid Sci-fi

[8/10 · 14 December 2016]

When aliens come to earth, what is to be done? Take a diplomatic and intelligent approach to it, that's what. No Emmerich-style bombast or global war, just top linguist Amy Adams and genius scientist Jeremy Renner helping the government figure out why they have arrived on earth. And this is what this film does best.

In offering a fresh perspective on sci-fi, Arrival allows for a truly intriguing film which has the unusual distinction of feeling very original. The diplomacy and tentative contact between the aliens and the Adams/Renner combination of genii is the best thing in the film, and the best scenes all come when the pair are attempting to communicate, and decipher the aliens' own language.

The acting from these two, especially Adams, is superb, allowing for a real emotional connection and investment in the characters. Overall it's a solid effort from Denis Vileneuve, better than 'Prisoners' though not as good as 'Sicario'. It is perhaps not quite as good as some of the furore may suggest, and the final third loses some focus and credibility, but it is still one of the best and most intelligent sci-fis in recent years, and definitely worth watching. 82/100.

Moana (I) (2016)

Five-Word Review: Exquisite, Enjoyable Fun; Somewhat Unoriginal

[7/10 · 5 December 2016]

Moana continues the recovery Disney has enjoyed this decade. Hawaiian Auli'i Cravalho voices the titular not-a-princess, who sets off on a quest to find demigod Māui (Dwayne Johnson) and restore life to the islands and oceans of Polynesia.

Moana has received a lot of critical acclaim for being fun, witty, and different, and overall it is pretty good. The voice work is stellar, with Johnson excelling at Māui's cocky bravura but also bringing depth to the role, and this should be a solid start for Cravalho. Jemaine Clement, however, steals the show, his unique voice instantly recognisable as a villainous and boastful crab.

The music overall is simply wonderful. The influence of lyrical genius Lin-Manuel Miranda is clear, with some catchy and memorable songs, with stand-outs being Clement's and Johnson's songs.

The very best thing is the animation, however - the best I've ever seen in a film. The water looks simply dazzling, surpassing anything seen in Finding Nemo/Dory. The final effect is an absolutely breath-taking aesthetic, and it's simply marvellous how much animation has progressed.

It's also quite funny: at times self-referential (even too much in bits) and guaranteed to muster a chuckle. All in all it's quite a fun time and shows Disney reaching a scale close to that achieved by Pixar, even if it ultimately doesn't offer much new and maybe won't linger so long in the memory. 73/100

Fantastic Beasts and Where to Find Them (2016)

Five-Word Review: Delightful, Perfect Series Starter; Disjointed

[7/10 · 20 November 2016]

'Fantastic Beasts' kicks off an all-new franchise in JK Rowling's Wizarding World, set in 1920s New York. Gellert Grindelwald has alienated old friend Albus Dumbledore with his extremist, revolutionary ideas and begun terrorising Europe. Dumbledore, meanwhile, becomes a professor at Hogwarts where his students include Newt Scamander, who is more comfortable around magical animals like Bowtruckles and Nifflers than people. Upon travelling to New York City, however, things do not go to plan.

Right out of the gate, this is a wildly entertaining and simply delightful film. Within the first minute the world and setting are perfectly established, and the Roaring Twenties NYC is gorgeously realised, with a very 20s feeling about the film. The best magic from the Harry Potter films is retained and expanded upon - one of the best things is seeing the wider use of magic outside of an education environment, and a particular highlight is a scene where a strudel is exquisitely assembled and cooked using magic, all seemingly in one shot.

And speaking of the visual effects, they are fabulous. Gone are the shonky creatures like Fluffy and the Cave Troll from Harry Potter and the Philosopher's Stone back in 2001. The breathtaking visual flair is evident, from the intricate plumage of the Occamy to the Demiguise's silky coat (which is used to make Invisibility Cloaks). The standout, however, is the Niffler. A dragon-like obsession with treasure makes for some hilarious slapstick comedy where the adorable little creature, like a mix between a dog and a mole, rampages through a bank and collects a veritable trove of trinkets.

The plot, an original creation from Rowling, is surprisingly good, with some dynamic turns (though this occasionally gives way to poor pacing) and solid twists. The wider magical world is something I've been wanting to see since my first experience with HP, and Fantastic Beasts sets up this world wonderfully, with lots of space for future expansion. One thing this film does really well is kicking off a new franchise - there's a clear feeling that there will be lots of material for future sequels, and just enough teasing of some elements to be intriguing.

There are lots of nice touches in the film which really make it more watchable, from Newt's remarks about the Eastern Front of World War One (dragons), to the NYC-cranky-cab-driver voices of the house elves. Ron Perlman unexpectedly shows up and steals his scene with a delightful caricature of a speakeasy owner that is fabulously over-the-top, and overall the film feels separate enough from HP to work on its own but also connected enough to be accessible to fans.

The standout character is, somewhat surprisingly, Dan Fogler's Kowalski, a Muggle (No-Maj) who is equal parts comic relief and relatable schmuck. The rest of the acting is sometimes a little off, though Ezra Miller is fantastic and Eddie Redmayne seems a good choice for the role of Scamander. At first I thought his acting was sub- par, but I think the fault lies with the writers - whether deliberately or not, he is not characterised very much, though this is probably to leave room for expansion in the sequels.

In fact few of the characters have much development due to the often rushed nature of the film and its abundance of different elements, resulting in a film which is often disjointed and messy. It's also a little too tonally uneven, with some moments just being a bit too broad to hit home and clashing with its darker moments. It's at its best during its lighter moments, not taking itself seriously and having a good time.

All in all this is a must-watch for any HP fan, and should be a delightful watch for any viewer. Despite its flaws, it's a very solid start to a franchise which I hope will be just as good as its predecessor. 79/100.

The Hateful Eight (2015)

Five-Word Review: Compelling, Tense, Exquisite, Wonderfully Acted

[9/10 · 30 October 2016]

The eight Tarantino film is another Western, this one set after Django Unchained in a snowy cabin in Wyoming. Eight people, including bounty hunters, a sheriff, a hangman, and an old general, find themselves locked up together with tensions rising and violence looming.

The Hateful Eight is premium Tarantino. It's got every trademark and subtle touch that you'd associate with the writer/director: bloody violence, extended scenes of hard-boiled, effortlessly compelling dialogue, fantastic tension, and Samuel L. Jackson, to name but a few. And talking of Jackson, this is probably his best role since Pulp Fiction, with some glorious monologues and an intriguing character background perfect for the actor's commanding screen presence. The widely-praised Jennifer Jason Leigh is superb, too, whilst Kurt Russell is fantastic as a John Wayne/Jeff Bridges hybrid. A delightful dandy performance from Tim Roth and Walton Goggins' comedic Southern persona round out a flawless cast.

Every single scene is just amazing to watch, even when all the characters are doing is sitting in a wagon idly talking, and this is clearly Tarantino's strength. The plot is finely crafted, with a genuinely intriguing mystery playing out as the enthralling story develops. The setting of a cramped space hearkens back to Reservoir Dogs, and the spellbinding suspense is on a level with that, especially as all the characters are so well-fleshed-out due to the brilliant script.

It's hard to praise The Hateful Eight enough as it's clearly a passion project for Tarantino, right down to the outstandingly scene-setting Ennio Morricone score. I really wish I'd been able to see the full Roadshow version complete with overture and intermission.

The fact that this is Tarantino's fifth-best film is more a testament to the quality of Django, Basterds, Pulp Fiction, and Reservoir Dogs than a slight towards this. There's a feeling that it may not stay so long in the memory as the others, and it has an occasional tendency to prioritise violence and gore. Still, it's a must- watch for any Tarantino fan and one of the best films of 2015. 89/100