akarmiotis-94922 Reviews

Free Fire (2016)

Free Fire is lightning in a bloody bottle

[10/10 · 6 March 2017]

A barrage of bullets and one liners, Free Fire is another success in Ben Wheatley's growing filmography of brilliant films yet, even with the quality of his previous works, this tale of a gun trade gone wrong may just be my favourite: bringing wit, gore and a tighter pace than any film this year.

Wheatley has created a bottle style narrative to focus on a small cast of extremely compelling characters; brought to life by an equally compelling cast of both Hollywood and British talent, signalling the continuing move of Wheatley into popular cinema with stars like Brie Larson and Armie Hammer. Both give terrific performances as do the rest of the cast but it is the less know talent of Michael Smiley and Sam Riley that give the two strongest performances in my opinion. Wheatley master the two poles of violence and comedy masterfully, weaving together hilarious dialogue (thanks to Wheatley and Amy Jumps strong script) and some of the most brutal action I've seen in a while. Despite the endless onslaught of gunfire, each bullet is given significance and impact with pitch perfect sound design and realistic, gory injuries. Another strong element is the 70s setting, a personal appeal of mine due to the aesthetics and music of the time; both brought to life on screen in great detail.

While the relentless thrills of the film are constantly escalating and keeping you engaged, the climax itself is unfortunately almost anti climatic, unable to capitalise on the preceding action set pieces and leaving you on a very sudden, ambiguous final shot. Despite this, the characters keep the story constantly fresh, each bringing their own motivations and personality to the chaotic meeting in that fateful warehouse. Even with the escalating violence of the situation, they all remain fun and the witty rapport between each of them never stops, especially with Sharlto Copleys childish leader Vern, who gets some of the films best lines. The compression of the action into almost real time keeps everything tight and relentlessly compelling from start to end with every action registering as a vital moment in the bigger, bloodier picture.

Free Fire is a violent yet hilarious thriller that shows how action on a small scale can have so much more impact than a worldwide epic. Hopefully Wheatley continues to expand his filmography and further perfect the merging of British Charm and American talent.

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Silence (I) (2016)

Silence is an incredible viewing experience that will reward all, religious or not.

[10/10 · 5 March 2017]

Martin Scorsese's new passion project Silence is an incredible exploration of human endurance and the lengths with which one will go to protect their faith. On the surface, this may seem a religious film, risking artistic integrity in an attempt to promote Christian living. However, the undoubtedly human story at its heart makes the faith that drives the films characters to risk everything universal as a symbol of freedom.

Years in the making, Silence follows two Jesuit priests as they journey to Japan to spread the catholic faith and find their missing mentor. This mission pushes their bodies and their sanity to the limit, unveiling both the strength and the horror humanity is capable of. While marketing has pushed Liam Neeson's role in the film, the true star is Andrew Garfield in an incredible performance that invokes such empathy the audience is left stunned. He is the focal point with which we see man's drive and will, following the risks and sacrifices he makes for what he believes is right. Scorsese brilliantly makes his choices and his faith ambiguous, highlighting the flaws with religious practice along with the joy it can bring. The film is not about faith but about the freedom to choose what you believe in. This film is a detailed examination of humanity and Scorsese has set out a methodical journey for his protagonist, a long and slow paced character study. We feel each struggle and each breakthrough with Garfield; Silence is in many ways an experience and it will leave you trembling. My love for what Scorsese had done is matched only by a desire to lock it away for many years. It simply takes that much out of you.

As its name suggests, Silence employs stellar use of atmosphere, the sudden troughs of quiet amidst a sea of frenzied sound recreate the moments of religious realization and wonder for our protagonist, we become sympathetic to his deluded ideas of grandeur threatening to taint his morally sound character. All this complexity is grounded with beautiful visuals that merge realism with subtle stylistic qualities that gives the landscapes of 17th century Japan an almost mythic aura.

Silence is extraordinary; the beauty and refinement of the production matched only by the beautiful yet harrowing tale at its core. Scorsese has again created a cinematic masterpiece that will bury itself within your mind for quite some time to come.

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Moana (I) (2016)

Beautiful in every sense, Moana will soften even the hardest of hearts

[9/10 · 5 March 2017]

Moana is a return to the classic Disney formula, the clichés and characters ripped from a number of other animated films. However, the pure beauty and skill of the production rises the old story into new heights.

Following from the success of Zootropolis, Moana follows a more traditional narrative we know and love; the princess who wishes for something more and is whisked on a supernatural adventure. We know this story so well yet Moana seems fresh and thrilling as if the plot was innovative. Perhaps this is due to the Polynesian setting or the morally ambiguous Maui, played perfectly by Dwayne Johnson, but most likely it is it the simple magic of Disney – the wonder for both children and adults has reached its peak with the perfection of the classic formula. For once, the clichés make the film more enjoyable. The quality of the animation helps too: it's clear they have reached the pinnacle of blending realistic textures with stylised designs, creating an aesthetic beauty that few other companies can match – Disney have mastered water to the point it looks better animated than in real life! Even the music has been perfected here, the annoying catchiness of Frozen's tunes replaced by memorable but effective songs that fit the culture and setting of our adventure. A childlike warmth was awakened in me and many other adult members of the audience as the film brought the emotional highs of the Disney renaissance without the modern subversion of the classic tropes. While Moana sometimes threatens this with pop culture references, the film thankfully keeps to mostly traditional values and morals; a step above many children's animated films released today.

Moana is good, old fashioned Disney magic; the traditional narrative and morals updated with stellar animation and an awareness that's effective but never overpowering enough to threaten the integrity of the Disney formula.

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T2 Trainspotting (2017)

T2 is the perfect footnote to a masterpiece

[8/10 · 5 March 2017]

T2 Trainspotting is a powerful but complicated film. On one hand it continues the story of Renton and his crew with a natural progression of both character and tone, capturing the essence of true nostalgia as both we, and the characters, are trapped in the first films events. On the other hand, this very nostalgia threatens to minimise the audience for this new feature, making it difficult to enjoy if you don't have a passion for the original masterpiece. The film is more an extended epilogue than an actual feature.

While the first Trainspotting was told purely through the eyes of Renton, this film chooses to focus on each of the group separately and slowly bring them together as they begin to mend their broken friendship. While giving the film a sometimes fractured feel, this tactic does work in fleshing out all the characters and giving them each a drive lacking in the original. This is particularly true of Spud who is given a redemption and focus that makes him arguably the protagonist over the often selfish Renton. The focus too has changed from heroin addiction to simply self-destructive behaviour; they continue to flee from the pull of normal society but with age their methods have changed and their youthful rebellion has turned to a matured apathy.

Intertwined with the original film, T2 revisits specific scenes and compliments them with an awareness that accurately capture the sensation of memory. Each iconic moment is looked upon with a melancholy that will touch the hearts of those who grew up with the film. However, this very thing that makes the film wonderful is also its greatest flaw; caught so much in the past it never truly stands on its own and will only ever be a companion piece to the original. Without an already strong investment in the lives of Renton, Spud, Sick Boy and Begbie, the film is nothing.

Director Danny Boyle continues to show a flair for visual and masterfully blends serious subject matter with surreal visuals of such beauty that your eye is never uninterested. So many scenes drip with a stunning neon glow that gives the mundane a mesmerising quality and sucks you into the filmic world instantly; even more so as these sparks of surrealism no longer come from the end of a needle but the characters own spiralling sanity.

Strong in character and visuals, T2 Trainspotting is a brilliant follow up that brings the iconic cast full circle, taking a realistic approach to what life would be like for them 20 years later rather than being a simple re-tread of the original. While incredible, the focus on the past and memory also keeps it rooted firmly in nostalgia and stops it from becoming iconic in its own right.

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The Lego Batman Movie (2017)

The Lego Batman Movie is strong yet shackled under the shadow of its predecessor

[7/10 · 5 March 2017]

Cinematic lightning in a bottle, The Lego Movie is undoubtedly one of the greatest family films of the past decade; blending humour, heart and a true message effortlessly. Three years later, The Lego Batman Movie has arrived and it is clear the studio wanted to recapture that same magic. While on some part it fails to achieve this, the film excels when it follows its own path; creating brilliant humour at expense of the batman franchise as a whole and offering unique action and world building only the Lego franchise could possibly hope to achieve.

Self-aware from the very first frame, The Lego Batman Movie finds humour in every aspect of the sprawling Batman universe; from the seriousness of the Nolan Universe to the already campy nature of the 60s series, complete with POWs, BAMs and BIFFs. Any fan of the mythos will instantly be drawn into this world and appreciate the clear time and effort put in to both tribute and parody Batman but thankfully director Chris McKay also ties the films narrative to universally recognisable themes and ensures to create humour at more than simply the franchises expense; making the film compelling to even the most unfamiliar of viewers. This humour is the films greatest strength and it excels when allowed to breath but far too often the film shifts tone with emotional scenes that break the momentum of the plot and ludicrousness of the characters. While it is well intentioned and works fine for younger viewers, the message of family in the film just feels tired compared to that of The Lego Movie.

Returning to the cowl, Will Arnett leads the voice cast brilliantly and brings the perfect balance of arrogance and absurdity to the role. Supporting him is an energetic Michael Cera and surprisingly emotional Zach Galifianakis as Robin and Joker respectively. The rest of the expansive cast is performed equally well, giving every line from even the most minor of characters a memorable quality. Perhaps the one element that exceeds the original Lego Movie is the action; taking the same beautifully detailed animation that gives the illusion of stop motion and applying it to several memorable set pieces made possible only by Legos massive collection of properties – where else can we see Batman battling the Eye of Sauron using the power of the Kraken!

A strong film for children and nerds alike, The Lego Batman Movie is let down only by the shadow of its predecessor as a landmark in animation and family entertainment. However, it is still far better than a lot of the competition and, as a Lego film, is worth seeing for the surreal visuals alone.

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Split (IX) (2016)

Split is a return to form for Shyamalan

[7/10 · 5 March 2017]

An unrelenting cerebral thriller, Split strikes deep with its exploration of human nature and its possibilities. M. Night Shyamalan's return to form is strong in character and visuals yet it is this controversial director's own quirks and flaws that stop it from being great.

Shyamalan is known for his big yet often flawed ideas but Split manages to ground the often absurd dialogue and lingering camera through the strength of the performances across the board. While the whole cast does a good job, our two primary characters, troubled captive Casey (Anya Taylor-Joy) and the mentally unstable Kevin (James McAvoy), are a wonder that completely captivate you throughout. Their skill in invoking a true sense of sympathy and fear despite the beautiful but often blatant use of camera is a merit to their performances. Newcomer Taylor-Joy is a true talent for holding her own against the powerhouse McAvoy whose Kevin is destined to become a classic character. Suffering from dissociative identity disorder, each of Kevin's personalities shown on screen comes across as a distinctive being, often fooling even the audience into forgetting the innocent, playful Hedwig and the OCD afflicted paedophile Dennis are technically the same person. As the film progresses and we build to the reveal of 'The Beast,' Kevin's hidden 24th personality, Shyamalan masterfully keeps us on our toes regarding his true nature. Thankfully he shows restraint in maintaining the more grounded tone rather than surprising us with a cheap twist, adding an element of rewatchability lacking in even his best works.

Despite these merits, the film often falls into the Shyamalan trap of unnatural, forced dialogue that in a second can undo any tension or investment in the plot. While nowhere near the painfulness of The Happening or After Earth, Split still fails to put faith in its visuals and feels the need to explain everything to the audience. Often it also falls into awkward, sudden humour that feels unwarranted and not in line with the otherwise extremely tense atmosphere it creates. As a result of these factors, it is easy to see why one may call the film arrogant or self-congratulatory and I would definitely agree with them in part yet, overall, I still find myself having enjoyed the film due simply to the power of the premise and performances.

Thrilling but flawed, Split seems to suffer from the same tonal shifts as its antagonist, the moments of terror undercut by Shyamalan's awkward humour and blatant dialogue. Regardless, the tense atmosphere and a truly mesmerising performance from James McAvoy raise it above mediocrity.

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Logan (2017)

Logan is what Marvel isn't and what DC wants to be

[8/10 · 5 March 2017]

Drama. Western. Road movie. Logan is far more than just another superhero film, grounding the genre to satisfy a wider audience but not losing the charm and fun that's made it such a success. Learning from the mistakes of DC, Logan creates a dark and cruel world without sacrificing colour or a sense of humour.

Closing the door on his definitive role, Hugh Jackman is finally allowed to unleash the ferocity and bloody carnage of the character trapped for so long by the blockbuster intention of the franchise. With Deadpool proving the box office potential of R rated superhero flicks, Logan goes full throttle with some of the most brutal violence you will see in a mainstream picture; blood soaked and torn limb from limb, the body count rises steadily throughout and finally allow us to see the obvious results of a manimal with 3 unbreakable claws. Director James Mangold brought a sophistication to The Wolverine that was shackled by the expectations of a family audience but here he creates a perfect portrayal of the X-Men character in a barren, hopeless future. Logan rises above a lot of its competition as it's a character piece first and an action film second, using the brilliant fight sequences to compliment the splintered psyche of an older, broken Logan.

Wolverine has worked in the past as a father figure to the likes of Rogue but here it is most apparent in the form of Laura, a young mutant who drives the plot and proves to be just as savage and thrilling as Logan when it comes to taking out the enemy, as lacklustre as they may be. Jackman continues to be perfect as the titular mutant but the standout performance belongs undoubtedly to Sir Patrick Stewart as a very different Charles Xavier from the wise mentor we know; elderly and cranky, Xavier is both an object of pity and admiration as a source of both tragedy and comedic relief from the consistently angst ridden Logan. In terms of world building, Logan depicts a dark conclusion for the X-Men universe that is tragic but realistic; adding a layer of grittiness that sets it apart from the idealism of Marvel and the grime of DC.

Logan is a fanboy dream come true, sending off Hugh Jackman in a blaze of blood and guts while further creating hope for the future of the stagnating superhero genre. It's gory, a tearjerker and, well, any film that gives Stephen Merchant an action movie one liner deserves at least some credit.

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