Of all the super-heroes, ol’ Spidy has had some trouble finding sure footing in recent years and for me, there hasn’t been a decent Spidy movie since the second Toby Maguire entry. However after an enjoyable (if unnecessary) cameo in Captain America: Civil War, the web-slinger has returned in probably one his best received movies since the Sam Raimi directed original.
Peter Parker (Tom Holland) is under the watchful eye of billionaire Tony Stark (Robert Downey Jr) aka Iron-Man and so wants to be an official part of The Avengers, not just someone you call on when you’re in a bit of a fix. So he’s out to prove himself after he witnesses some advanced, out of this world (literally) weapon technology being used by petty thugs. Turns out there’s a ruthless arms dealer in town who dresses like a robotic vulture.
There’s several things that don’t sit right with me here. Firstly the constant bumbling, representation of such a beloved character grates after a while, and then his characterisation, without an origin tale or any personal tragedy, is wafer-thin and not something to get all-that caught up in. Same goes for Michael Keaton’s Vulture, a rather pathetic former salvage worker annoyed by being put out of work by Tony Stark’s bank-rolled clean-up crew following the events of the first Avengers movie, who decides to steal alien technology so to become an arms dealer. There’s no personal tragedy other than the inconvenience of having to find work elsewhere, and therefore little reason behind what he’s doing other than greed and being a bit of a psychopath. So what else do we get? Holland is likeable and well cast as Parker/Spidy, and Keaton is also good despite limited material. We also get some decent action, including a great sequence at the Washington Monument, and some support characters are fun. Yet overall this greatly lacks depth and feels like a pilot for a TV show or the opening chapter of a bigger, better story. I’m guessing that’s the idea … so bring on the inevitable, superior sequel! After two reboots of ‘meh’ quality however, it’d take something special to get me back on-board.
I love animation. I love all types of animation. I have a particular soft spot however for Japanese animation, often named ‘anime’. This highly acclaimed and box-office record breaking (in Japan) drama however arrived with some anticipation. It tells the story of two teenagers who find their lives inexplicably connected when they swap bodies seemingly at random, and try to figure out why it’s happening and is the arrival of a passing comet something to do with it all?
This beautifully animated and eye-catching movie was a little hard to get into at first and I did wonder initially what all the fuss was about, beyond the visuals. It’s a body-swap drama but told in such a way it’s not all that clear what’s going on. However it’s a story that unravels gradually all leading to a ‘Oooh’ moment when the various pieces fall into place that turns everything on it’s head. The two central characters; Japanese school kid ‘Taki’ and suburban school kid ‘Mitsuha’ are well rounded and interesting, funny and complex. The surrounding characters are also are a lot of fun. The attention to detail as often is the case with Japanese animation explores Japanese traditions, way of life and little quirks I found endlessly fascinating especially as an outsider to the culture.
Director Makoto Shinkai‘s movie also throws in several goose-bump emotional moments that really pack a punch and once a certain story element reveals itself and it head into a powerful conclusion, I was left very impressed. Granted, it takes some unnecessarily complex turns to get there, but where it goes is well worth the journey. Recommended.
I went into this fairly hyped. It’s been well received for such a long awaited sequel that probably nobody was really waiting for, yet I also had slight apprehension due to the fact of not being the biggest fan of the original. That movie whilst aesthetically impressive (more so for the time) and having some interesting moments and a solid turn from Harrison Ford, was ultimately rather empty and simple, lacking much of the depth or grit I’d been lead to believe. So how does this sequel hold up?
Ryan Gosling plays a Blade Runner who from the off you’re aware is also a replicant (an artificially engineered imitation-human), hunting and putting out of commission rogue replicants who have gone off the radar. Yet on one such mission he stumbles upon a grave of a female replicant who seems to have died in child birth – something nobody imagined a replicant was even capable of doing; conceiving a child. So the hunt for the missing child and answers to Golsing’s own past is set in motion.
Like the 1982 Ridley Scott original, this has a foreboding, dystopian future that is partly awe-inspiring and depressing. It’s a dark, moody vision of Los Angeles full of clouds, smoke, neon billboards and miserable people. Unlike Scott’s vision however this seems intentionally filmed with no real wow-factor, and with admittedly gargantuan set design and vast cityscapes appearing rather bland looking. This look is raised up a notch by some iconic looking, sci-fi imagery not out of place on a book cover or in the pages of a graphic novel, even if much of said imagery seems put there for the sake of it. Gosling is good and his journey of self-discovery is interesting (aided by a hologram girlfriend). Also where the movie eventually goes is clever, with how it ties into the original really well done. Add to this a late-to-the-party Harrison Ford pretty much stealing the show in a surprisingly layered performance, and on paper the ingredients are here to make a great movie. Sad then that the pace is so damn plodding, with almost every scene stretched out for maximum run time with long pauses between portions of dialogue, lingering looks between characters etc. Keeping myself entertained with this was a massive struggle. If some scenes had just been tightened up we’d have a 2hr movie rather than one approaching 3hrs, and somewhat underwhelming visuals aside, such a languishing pace is ultimately what lets the movie down.
If you’re a big fan of the original, you may still get something out of this. However if you want a movie that will keep you gripped throughout, this isn’t for you.
I think it can’t be argued by anyone familiar with French horror cinema, that they certainly challenge boundaries and cross lines on what is acceptable or even tolerable in a horror movie. The infamous Martyrs proved that and now we come to this latest, French-Belgian offering that quite literally goes for the jugular.
Justine (Garance Marillier), a gifted female student starts her first week at Veterinary school where she finds herself involved in a brutal hazing ritual. Whilst getting covered in Horse blood and generally abused by the seniors, despite being a devout vegetarian, Justine is pushed into consuming raw meat. However the experience unlocks a new found craving and it’s not long before Justine finds herself developing a hunger for human flesh.
Part coming-of-age movie, part sexual awakening with a twist … this gritty, somewhat tongue-in-cheek drama is equally distasteful and weirdly fascinating. The movie jumps from development to development a little too quickly for me, with Justine’s cannibalistic cravings coming as a bit of a leap. However with at times artfully stylish and unflinching direction from first timer Julia Ducournau – I couldn’t look away. Even during some of the sicker sequences, with a stomach churning finger-eating like it’s KFC scene almost reaching my limit. It never gets as gory as suggested though, but is gradually disturbing in it’s rather ‘matter of fact’ approach to something unthinkable.
Certainly not for a wide audience and well, left a bit of a bad taste in my mouth (no pun intended) … but as an example of daring, provocative movie making, this still proved effective.
It’s hard to believe this movie came out in 1986. It’s look and atmosphere still feel contemporary and semi-futuristic bar some 80s fashions and hair styles. This retelling / remake of the 1950’s b-movie has Jeff Goldblum on star-making form as eccentric scientist Seth Brundel, who after inviting a plucky reporter (Gina Davis) to his lab, reveals he has invented a teleportation device. However after the initial reveal, Brundel decides to teleport himself but makes the mistake of allowing a common house fly inside the pod, therefore setting into motion a grotesque and alarming physical transformation.
This is perfect material for director David Cronenberg (Scanners, Videodrome) who has always had an interest in body-horror and transformation in his movies. However beyond the gory effects (that still impress and revolt) this is a tragic love story. Helped immeasurably by convincing chemistry from the leads (who were a real life couple at the time) and a strikingly complex turn from Goldblum … watching events play out is both emotionally draining and exciting. It’s a very unique kind of horror experience, with no actual evil enemy but more a horrible set of circumstances. In that respect it’s not unlike The Elephant Man. It may be at it’s core fairly simple and only really has three characters … but what Cronenberg achieves with such simple tools is a revelation and made this an instant classic.
The Blu-ray has a decent if slightly soft image but colours are strong and close-up detail is good. The soundtrack in 5.1 DTS HD Master Audio is also effective with atmospherics and Howard Shore’s obvious b-movie throwback score both doing their job. The only slight let down is somewhat mono sounding dialogue that whilst still clear could have done with sprucing up. Extras are plentiful though with an essential commentary from Cronenberg as well as some worthwhile deleted scenes, press kits, behind the scenes stuff and photo galleries. Overall a decent job for a genuine horror gem.