I was on the fence about this. I liked but didn’t love Split, and having watched Unbreakable a while back and feeling mixed about it … I wasn’t exactly jumping to watch M Night Shyamalan’s somewhat forced-feeling shared world third entry.
This picks up not long after the end of Split and introduces us to a psychiatrist who brings the three main characters together in an institute to try and convince them that they’re not special or super human. The concept is certainly interesting and brings a realism to it that works well to explore the idea of superheroes in the real world. Unlike last time, James McAvoy’s multi-personality character is far more explored and I grew very impressed by the performance and when ‘the beast’ personality was in full-throttle I was getting Wolverine vibes from the guy who currently plays Doctor X! Bruce Willis is good but is a little overshadowed by McAvoy and of course Samuel L. Jackson who surprisingly steals the show for a character who doesn’t speak a word for a good portion of the movie.
There’s times when the world-building gets a bit convoluted and a final twist whilst welcome also threw up its own questions. Yet for me, this is certainly the best of the trilogy and creates plenty of potential for further movies if Shyamalan cares to pursue the idea. So I went from initially dismissive of this to actually surprised and impressed. Recommended.
Everyone’s out to kill John Wick (Keanu Reeves) following the events of the last movie and the former safe zone of The Continental has ex-communicated him. So a price is put on our favourite assassin and now it’s just a matter of survival.
Once any franchise reaches its third instalment you’d be forgiven for expecting the stakes to be raised and they certainly are here leading to several violent, immaculately choreographed and particularly brutal confrontations. This is certainly a visceral, pulse pounding experience yet this time around any plausibility and believability occasionally leap out the window in favour of increasingly thrilling, but at times ludicrous set pieces. The violence takes on a near cartoonish quality at times and when you consider scenes of public fights where the public don’t batter an eye lid or run away screaming, it’s clear the movie exists in its own version of reality, not unlike that scene in The Matrix with the woman in red.
So despite these obvious gripes, how come I still managed to get a real kick out of this? It’s edited and presented with such a visual sheen with so much energy and personality that coming away from this not entertained means you either hate action movies or are a bit dead inside. Smatterings of humour are a welcome addition, and memorable support from Lawrence Fishburne, Ian McShane and especially Halle Berry as a dog-loving fellow assassin still managed to make this sequel worthy despite it all feeling a bit deja at this stage. And no, I haven’t a clue what ‘Parabellum’ means.
This came as a surprise. An interesting sounding thriller that has a married couple getting mugged in the wrong neighbourhood that leaves central protagonist ‘Gray’ paralysed and his wife dead. However a billionaire inventor later approaches Gray to offer him a breakthrough microchip that will not only cure him – but also upgrade him.
Set in a not-so-distant future with self driving cars, a.i assistants and drone robots, this tight and energetic movie was like a cross between Ghost in the Shell, RoboCop and Videodrome with heavy influence of body-horror auteur David Cronenberg. Director Leigh Whannell has put together a well narratively-clever genre flick that’s at times very violent and full of action. The relationship between Gray and a disembodied voice named ‘Stem’ coming from his microchip proves the most entertaining aspect and how this new power is used to aid him in an investigation into his wife’s killers is particularly compelling. Add to this some great fight scenes and even if at times the ‘walking like a robot’ aspect looks rather silly, I still found myself invested.
It may lack any recognisable names and it’s all done it seems on a tight budget … but Whannell achieves a lot with very little and that always goes down well with me. Recommended.
I think it can be agreed now that Netflix has become a force to be retconned with and now attracts Hollywood A-list talent to front it’s growing catalogue of original content. So we come to this rather strange horror thriller starring Jake Gyllenhaal, Rene Russo and Toni Collette. Gyllenhaal plays an art critic who works with various art galleries to put on exhibits. However he is craving the latest big thing and after a mysterious elderly man dies, an undiscovered collection of weird paintings falls into his lap. However something is very wrong with these paintings, and the gallery owners, employees and critics are about to discover exactly what.
This was a strange one. Firstly Gyllenhaal is probably my favourite actor, and here he’s playing a rather camp, self-absorbed bi-sexual character who at times comes off like two separate people (when he’s in critic mode, he’s effeminate and flamboyant, otherwise he’s quite serious and masculine). However like many of Gyllenhaal’s characters – he makes it work. Russo is the rather bitchy gallery owner and not exactly a stretch from the last movie I saw her in, Nightcrawler, of which this is the same director. Collette is nothing special and an appearance from John Malcovich is forgettable also. Zawe Ashton as an ambitious gallery employee however, is just awful with robot-like line delivery making me think she was doped up on medication. However the core idea of cursed artwork and the mystery of the deceased painter is intriguing, just a shame it goes nowhere in favour of a series of (admittedly imaginative) deaths.
It may feel a bit lightweight and suffers from a TV movie-vibe but with quirky performances and a strong central idea I did have fun with this … but it’s far from essential viewing. That title has little reference to the movie either.
I can’t help but see this sequel and the last movie as Denzel Washington’s answer to Liam Neeson’s Taken, and less as an update of a cult 80’s TV show of the same name. Here Denzel returns as ex-marine-turned-vigilante Robert McCall, who is again on the look out for the next hard luck case and an excuse to crack some skulls. However after a double murder in Belgium attracts the interest of a CIA friend, it’s soon a race to find out what went on whilst the bad guys attempt to cover things up.
The movie’s story however largely prefers to focus on said cover up more than giving some compelling answers. This hampers enjoyment which is a shame as Denzel busting bad guy ass never gets old even if his penchant for violence seems over the top at times. Antione Fuqua‘s direction is still slick as is often the case with this guy (he made Training Day). Yet with a cliched villain I guessed early on and a glaring moment of bad guy stupidity towards the end, this sequel was overall only so so.
If you enjoyed the first movie, this has moments of entertainment and has a rather interesting subplot regarding a neighbourhood kid … but that’s not enough to make this a must-see.
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