Reviews

Original sci-fi is hard to come by these days which makes Captive State easier to appreciate in spite of its flaws. It's an absorbing ground level look at an alien invasion that brings all of its disparate plot threads together in a clunky yet satisfying fashion. It holds the answers until the very end and then everything suddenly clicks into place.

With a strong cast who all play fairly one dimensional characters, they're at their strongest when they're together. The strengths come from watching them plan their moves, fully aware of what's at stake and what it'll cost them even if they succeed. Ashton Sanders is a good lead however, it's John Goodman who gives the strongest performance with the most depth.

Rupert Wyatt's direction wisely keeps the aliens out of sight for the most part whilst using visual storytelling to create some striking imagery to give this alternate reality a sense of history. He utilises the end credits to tell the final pieces of the story in the same way as Rise of the Planet of the Apes and Alex Disenhof's mobile and up close cinematography really works for the small scale approach.

IF is narratively chaotic in a way that hinders the pacing but it's also extremely wholesome and refreshingly original (in the literal sense). It has grand ambitions by merging a Spielberg homage about never truly growing up with an attempt to be a live action Pixar movie so even if John Krasinski falls short of these noble goals, he still ends up in a pretty good place.

With Ryan Reynolds doing a nice family version of his usual cynical quip machine and a bunch of A-list stars in small voice roles who are fun to recognise if nothing else, it's up to Cailey Fleming to bring all the emotions and really sell the sense of wonder which she achieves with ease. Also, John Krasinski casting himself as the dad avoids vanity thanks to how endearing he is.

Crafting a world of imagination isn't easy to do and John Krasinski's direction manages to come up with enough inventive moments to avoid feeling creatively inert. Michael Giacchino's score threatens to be overbearing without completely going there. There's barely a moment where it isn't present and it's got the sense of childlike wonder and adorably twee nature to pull it off.

Doctor Who: The Movie is a stepping stone between what preceded it and what would eventually succeed it, but it feels and acts like nothing else in this universe. A fresh start that heavily connects to the previous season which still succeeds by being a fast paced adventure filled with adorable Y2K anxiety. It should've been the start of an exciting new era that sadly never was.

Paul McGann is great as the Doctor, almost finding his version of the character in real time as his charming and energetic nature grows by regaining his memories. He's certainly the most dashing Doctor up to this point as well. With Daphne Ashbrook as a likeable and down to earth companion for him, there's a strong double act at the core of this story.

Eric Roberts is a very unique version of the Master. Initially acting like a terminator all the way down to the robotic delivery and the outfit before moving into something more camp with the larger than life aspects that are expected of the character. It's one of those performances that's always thoroughly entertaining even as it begins to go off the rails in the end.

Geoffrey Sax's direction makes it so obvious that this is an American production. You can just tell everything is different now which isn't a bad thing and certainly makes it distinct. The best idea he brings is turning the act of regeneration into full on body horror. John Debney's score is equally distinct, managing the near impossible task of doing its own thing within an established franchise that's strong enough to stand on its own.

The Great Debaters is a great example of a well implemented formula. Its narrative is definitely familiar as it holds few surprises and that's not a problem when the writing is this strong, the debates are suitably gripping and the ending is uplifting in a way that makes the whole thing worth it. It's a crowd pleaser that refuses to shy away from the horrifying brutality of the time.

Denzel Washington is incredible, utilising himself the perfect amount. He has to be in it frequently but he's not giving himself all the spotlight and in some ways his role acts like his direction behind the camera as he gives his debaters all the help he can before eventually putting them front and centre on their own. There's also a real excitement to seeing him share a scene with Forest Whitaker.

Denzel Washington's direction excels at giving the big moments the weight they need and uses Philippe Rousselot's cinematography to do things like spin around characters as they debate or slowly zoom in on someone as they give an emotional speech, which are simple choices that make it feel cinematic. The music by James Newton Howard and Peter Golub has the required rousing quality to it.

Evolution is a successful remix of the lightning in a bottle premise of Ghostbusters even if it is obviously nowhere near as strong as that film. It's not hilarious but the chuckles are constant, the cast is on point and the pacing is the right kind of breezy, lighthearted fun. It's so close to its inspiration it would be considered stealing if Ivan Reitman wasn't borrowing from himself.

David Duchovny and Orlando Jones have so much chemistry they would have carried the film all by themselves. Luckily, they don't need to because adding Sean William Scott and Julianne Moore into the mix makes for a very strong team who bounce off each other well. Everyone brings their unique expertise with them which makes all of them feel essential, even C grade students Ethan Suplee & Michael Bowers.

Ivan Reitman's direction doesn't entirely adhere to the rule of using practical effects for close up stuff and CGI for the wider shots but still manages to strike a strong balance between the two. The tone is always on point too, no matter the amount of violent creepy looking creatures that are present, it never forgets that this is first and foremost a comedy with jokes permeating every scene.

Anna and the Apocalypse finds a fresh idea by merging the usual zombie tropes with a musical set at Christmas. It's surprisingly serious and even though that prevents it from reaching its full potential, it gives the film an unexpected level of emotional heft. The zombie killing and the musical numbers don't fully integrate apart from one stand out song which is easily the best moment.

Ella Hunt is great as she moves between the musical numbers, emotional beats and comedy with ease. Hunt along with Malcolm Cumming, Sarah Swire, Christopher Leveaux, Ben Wiggins, and Mark Benton all do a really good job of ensuring you're invested in their characters' survival so that when the serious emotional moments arrive, they actually feel earned.

John McPhail's direction is a lot stronger with the musical aspects than the whole zombie apocalypse side of things, especially considering how long it takes to get to the outbreak versus how little it takes for a song to drop. There's still some great kills here, they're just few and far between. The songs by Roddy Hart and Tommy Reilly work wonderfully as they move between being funny, catchy and emotional.

World War Z is a worthwhile addition into the fast zombie canon by offering a fairly optimistic look at a zombie outbreak on a rarely seen global scale with an uncommonly high amount of selflessness. The globetrotting adventures are as smart as they are stupid and even with neutered PG-13 zombies it can still deliver plenty of epic and suitably tense set pieces.

In a film as nail-biting as this, having Brad Pitt as the lead works so well because he can really anchor everything. His character is competent, resourceful, relatable and always trying to save as many people as he can which makes him the best character to experience this film through. There's a steady stream of recognisable faces in small but well developed roles too.

Marc Forster seems cursed to direct large scale blockbusters that go through production hell but his direction of high octane, hyperactive action sequences has gotten a lot stronger since his last outing (Quantum of Solace). Marco Beltrami's score can be sinister and sombre with ease but what makes it stand out are the moments where it's full of hope.

The chaotic production is well known and obvious from the three massively different credited screenwriters and yet the film comes out the other end with minimal damage done. Swapping from gigantic hordes of CG zombies in open areas to practical ones in a confined space makes it clear where the pivot is; however, it allows the film to go from delivering one kind of spectacle to a different but equally effective type.

American Reunion completes the transition into adulthood for these characters in a typically sincere fashion. It feels ahead of its time by being a legacy sequel long before it became one of Hollywood's main vices and sacrifices none of the laughs whilst still being able to let everyone accept that it's time to move on from trying to recreate the highs of high school.

It's really nice to have the main five back together and whilst Chris Klein is probably the least funny, his reintroduction brings so much heart and that's always been this franchise's greatest strength. Seann William Scott essentially repeats his arc from the last one to even greater success and Eugene Levy getting more screen time than ever is an adorable gift.

Directors Jon Hurwitz & Hayden Schlossberg continue what Jesse Dylan started by giving this one quite a bit of energy with their pretty dynamic direction. There's some well placed callbacks here and some of these jokes leave a huge lasting impression. As is always the case, the soundtrack here is a real highlight as it bookends the film rather than being a constant presence.

Cowboys & Aliens is a testament to how quickly the medium of cinema shifts because this would never be made now. A genre bending blockbuster that's unlike anything else even if it's still based on existing IP. It doesn't entirely cohere and is way more self serious than you'd expect this concept to be but the collision of a western and science fiction keeps it entertaining.

Daniel Craig was born to play a man with no name. The strong silent type is a natural fit for him and considering the overly serious tone, his performance makes for the ideal lead. As a gruff rancher with a heart of gold, Harrison Ford is also playing squarely to his strengths and Olivia Wilde does her best with the weakest character who the script completely mishandled.

Jon Favreau's direction struggles with the logistics of staging action involving cowboys, aliens and spaceships but he's really good at using the cinematic language of the western. In that first half hour, the film commits wholeheartedly to being a stereotypical western which makes the hard pivot into sci-fi (and a pretty nasty one at that) all the more effective.

La Chimera is a slow burning journey with plenty to say that's deliberately hard to pin down, making it all the more rewarding when it coalesces. Coincidentally, it's also the best film released in the last year about a grizzled archaeologist returning to recovering ancient artefacts on one last adventure whilst still grieving the loss of a loved one.

Josh O'Connor is so good at being reserved without being completely closed off. The only real emotion that he shows is anger but everything else is so clearly contained in his anguish and charming smile. He's supported by a crew of boisterous personalities who are initially a lot of fun to be around though not without their darker sides.

Alice Rohrwacher's direction draws you in and keeps you so invested that the subtle aspect ratio shifts almost go unnoticed. It's simultaneously a film that's very grounded with stunning locations which all feel lived in and at the same time has it's more surreal moments that imbues the film with a dreamlike nature, especially in its final moments.

Despite being helmed by the most incompetent director of action in recent memory, Transporter 3 still manages to be the ideal kind of mindless fun this franchise excels at. It's too long and boasts the most convoluted plot of the three but it's balanced out by doubling down on the camp like never before for some hilarious highs.

These films really know how to use Jason Statham so he remains faultless here. Transporters in particular give him the ability to be in on the joke without actually acknowledging it. Fights which have him gradually losing most of his clothes are exactly the kind of self-aware silliness expected of these and his buddy cop dynamic with François Berléand is a big highlight.

No one sabotages the work of talented stuntmen and choreographers like Oliver Megaton. The flashes, excessive amount of cuts and hyperactive editing all threaten to derail this one, especially the editing which decides to speed up the car chases and rob them of any sense of momentum. It just about gets away with this cause the slapstick tone makes these misguided choices a little more natural.

Collateral is a quintessential Michael Mann thriller with a game of cat and mouse between two people from opposite worlds that has the philosophical debates to make the down time equally thrilling. It's equal parts relentless and ruthless as people are dispatched with no fanfare and like all good neo-noirs, it turns the setting into a character in itself.

Tom Cruise and Jamie Foxx are perfectly cast with an unusual relationship considering Cruise is holding Foxx hostage but still finds time to offer life advice. Jamie Foxx is really good at portraying his character's growing stress, naturally escalating the stakes. Tom Cruise takes a big swing as a ruthless hitman by going against his usual roles and making good use of that usually out of place natural intensity.

Michael Mann is at the top of his game with his direction here, containing all his best preoccupations on the page and screen with cinematography by Dion Beebe and Paul Cameron that's stylish, intense and unafraid to embrace the grain of the image. The soundtrack adds so much style and the score by James Newton Howard & António Pinto can match it until the third act where it pivots into ratcheting up the tension for a terrific final chase.

Whilst Caesar's legacy may be tarnished by characters within the film, Kingdom of the Planet of the Apes only strengthens this franchise's reputation by finding a fascinating way back into this world. It's a mature, thought provoking blockbuster that shows how the symbols and beliefs of a previous generation can be contorted into something sinister as well as how those who forget history are doomed to repeat it.

Owen Teague is phenomenal as Noa. It's a real coming of age story for him as his worldview is shaken and then built anew and he portrays every step wonderfully. With his well placed humour and general likeability, Peter Macon's Raka is designed to be a favourite and Kevin Durand's Proximus Caesar is a power hungry villain who keeps the winning streak going for the villains of this franchise despite arriving late in the film.

Wes Ball's direction has the immersive nature of a James Cameron picture, even if it isn't at that level. Taking its time to set everything up, introducing new cultures and making sure you care about the characters before really getting the adventure started. The film is never boring even when it's slowing down because seeing these fully realised environments where nature has reclaimed the modern world is always exciting.

The CGI in this franchise has always been incredible but it's pushed like never before here. Both the characters and the world they inhabit are gorgeously rendered with the final set piece drenching all the apes in water for a jaw dropping level of detail. It's still impressive how the character designs can always strike a balance between resembling the actors and looking like an ape without being uncanny.

Rise of the Planet of the Apes proves that even the laziest sounding ideas can yield incredible results in the right hands. This is a ridiculously efficient film that's constantly moving and crams so much into a very lean 105 minute run time. It's a complete story on its own terms that also happens to be the beginning of the greatest prequel trilogy ever made.

Andy Serkis gives a phenomenal lead performance that is simply mind blowing from the first moments. The performance capture loses none of Serkis' work and it results in one the most emotive performances put to screen. His work here shows that performance capture allows actors to truly transform in a way that could never be achieved without the unison of this technology and his commitment.

On the human side, James Franco gives a great performance that gives life to a fair amount of exposition. Brian Cox uses minimal screen time to leave a lasting impression as an uncaring animal control officer who is numb to everything. Similarly, David Oyelowo takes what could've been a one-note money grabbing businessman into someone a little more human.

Rupert Wyatt's direction succeeds at blending the CGI with the practical to make it feel as believable as possible whilst Andrew Lesnie's cinematography effortlessly glides through the action. Patrick Doyle's score really knows how to be sinister at times but its greatest strength lies in the moments of triumph to make sure it ends on a rewarding note.

The visual effects on display here are still astonishing. The only reason it's showing any age is because its own sequels have surpassed it in the overall visual fidelity. Even then, there are still a lot of shots here where the level of detail is insanely impressive and some of the apes just look real. The fact that this lost the Oscar in that category is a crime.

Love Lies Bleeding is a bigger, bolder, and more violent follow-up feature for Rose Glass. It literally puts the premise of Thelma & Louise on steroids with a very muscular approach that goes for broke in its ending which, love it or hate it, is to be commended for its audacity. Body horror, romance, and dark comedy are all blended into one distinctive vision.

Kristen Stewart is amazing, awkward and off hand with one of the best dramatic pauses of recent memory. Katy O'Brian has been massively under served by her roles in the big franchises which makes this much more layered performance all the more satisfying. Together, their chemistry is instant and they communicate how badly they want each other so well.

Ed Harris has played a lot of villains so its a real testament to his performance and the writing of the character that this one still stands out. His long haired, bug eating gangster makes for a consistently creepy highlight. Also, Dave Franco does a great job as a spineless abusive husband who's fate is obvious and all the more satisfying because of how he plays it.

Saint Maud definitely wasn't lacking in vision but Rose Glass has really upped her craft here. From its reality manipulating opening scene to the extreme close ups of muscles in action, it's clear that the film will move between extremes as it deftly balances the violence and body horror against an affecting romance that refuses to go for the most obvious outcomes.

The sound design and editing here is so visceral. Gunshots feel scary as they often come out of nowhere and the way scenes can abruptly switch between very different soundscapes keeps you on edge. Clint Mansell's score really matches the song choices for a seamless soundtrack whilst being completely distinct.

American Wedding isn't like either of its predecessors and a lot of that is to do with how it looks and the fact some of the characters are missing. By simultaneously being the raunchiest and most sincere, it keeps the franchise moving along nicely. Watching these characters grow whilst losing none of their charm is a real joy.

Jason Biggs and Alyson Hannigan are cute together and it's really nice that the film avoids the usual pitfalls as they plan their wedding. Eugene Levy remains an immensely supportive movie dad and Sean William Scott has only gotten worse which makes him better. When he threatens to wade into caricature, the film wisely knows to give him an arc.

Jesse Dylan's direction finally gives these films some actual stylistic flair. There are some great sequences that are staged wonderfully and the film is generally more ambitious visually. The film looks so much slicker than the other two and by including a dance off, it can really cheat with the soundtrack by including a lot of great songs In quick succession.

Unfrosted couldn't arrive at a better time. A full on parody of the buyopic genre right as they start to become a constant staple. Unfortunately, it's not as good as that premise should be but it commits to the bit and gets enough jokes out of it. It's like a late stage episode of the Simpsons where it's entertaining even with a lot of luls, helped by a load of celebrity cameos.

Jerry Seinfeld gives himself the lead role with mixed results. He is undoubtedly trying to match the tone of the film with his exaggerated performance but the timing is off and the delivery a little flat. The strongest roles are Bill Burr's surprisingly good JFK impression, Hugh Grant proving he really is up for anything and a few really talented child actors who outshine a lot of the bigger names.

Jerry Seinfeld's direction crafts a film that operates like an extended TV episode. It's nice that he got a pretty significant budget to make something so specific to him however, once this bottomless pit of Netflix money eventually runs out people are gonna look back on films like this and wonder why those blank checks weren't used for more daring stuff.

Déjà Vu is a great action thriller with a genuinely high concept premise. If this was made now it'd be a streaming film with no style, designed to be as generic as humanly possible. It makes every detail of this version so much more entertaining, like how the film really takes its time with an extended opening credits sequence that streamers would never let exist now for fear of the audience losing interest.

All that really matters with this concept is that the twists work in the moment and it achieves this in a constantly engaging manner. It doesn't matter if they fall apart under intense scrutiny and to be honest, the part of this narrative that's the hardest aspect to buy into is the romance. Even then though, the shades of Vertigo make it work better than it should.

A film like this needs a movie star to lead it and Denzel Washington is the perfect actor to do it. He's the coolest character in any scene, immensely believable with his character's expertise and yet he's still the best one to experience this slightly futuristic world through. The little things are just as eye-catching with his performance, all the way down to the way he holds a gun.

The supporting cast really understand how to play it when it comes to how serious to take this. There's no doubt that the premise requires some suspension of disbelief so having the mildest bit of humour courtesy of Adam Goldberg whilst Val Kilmer, Elden Henson, and Erika Alexander all playing it completely straight creates the ideal tonal balance.

A significant portion of this film has people staring at screens and watching so Tony Scott directing on maximalist mode ensures everything remains highly cinematic. He had a unique talent for this kind of filmmaking and the car chase that simultaneously takes place in past and present not only showcases his greatest strengths but guarantees the film doesn't squander the premise on that scene alone.

Saint Maud is a really effective, slow burning descent into madness where the outcome is inevitable but the way it reaches that conclusion and how it executes it certainly aren't. It's a strong debut for writer-director Rose Glass, showcasing her talents on the page and the screen by being a religious horror by way of Taxi Driver.

Morfydd Clark gives a terrific lead performance, holding the whole thing together whilst burning it down. She's so quiet and seemingly kind at first to clearly hide a dark past that's never too far away from returning. The way she portrays Maud's ecstasy with her newfound faith results in disturbing scenes that you can't take your eyes away from.

Rose Glass' direction cleverly creates a clear contrast between Maud's fantasy and the reality of situations. Sequences of divine faith are quickly followed by the bleak reality and the most intense moments are crafted with a blink-and-you-miss it quality that gives you no time to process what you just witnessed. That's all aided by a suitably Baron score by Adam Janota Bzowski that matches the grey seaside setting.

Glory is a product of its time in ways that both hinder and help. Considering the story it's telling, focusing on Matthew Broderick's Robert Gould Shaw as the lead doesn't result in the best version of itself; however, there's a level of earnest sentimentality that wouldn't exist in a more modern version. After a slow start it really finds its footing and only gets stronger.

Despite being outshone by the supporting cast, Matthew Broderick is still a great lead who's arc is predictable but no less satisfying. Denzel Washington is incredible, arriving with so much presence, angry at the world and is still given his fair share of quieter, deeply human moments. Morgan Freeman plays to his strengths with a role that leans into his wisdom.

Edward Zwick's direction stages large scale battles in a way that never glorifies war and with cinematography by Freddie Francis, the film looks beautiful with striking shots reflected through puddles. James Horner's score is recognisably him and completely unafraid to be melodramatic, going for broke in its biggest moments with no fear of it being seen as too much.

Like Tales of the Jedi before it, Star Wars: Tales of the Empire is a story of two halves where one is noticeably stronger than the other. The added edge here is this show being completely unafraid to go to some really dark territory. Star Wars hasn't been this dark since Revenge of the Sith and just like that film, hope is still present deep down.

Diana Lee Inosanto's Morgan Elsbeth and Meredith Salenger's Barriss Offee were thinly sketched characters but thanks to just 30 minutes of screen time for each of them they've got so much more depth and both actors are given a lot to work with. Diana Lee charts a strong course through the journey of the dark side and Meredith Salenger brings a wise presence to the redemption of Barriss.

The Clone Wars animation style only gets better with every new show that uses it. The level of detail in the environments is incredible and the character designs at this stage have none of the stilted nature that the show started off with. Kevin Kiner's score is amazing with a more mournful quality as the show spends almost all of its time in the bleakest parts of the Star Wars timeline.

Whatever problems The Fall Guy has really aren't an issue when the final product is this much fun. It's a loving tribute to the never ending selflessness of stunt people wrapped inside of an endearing romantic comedy and meta action film. If David Leitch and 87 North did all the action in cinema the world would be a better place.

Ryan Gosling achieves new levels of perfection by merging the reserved stunt man character of Drive with his natural Kenergy. His version of Colt is just so lovable, especially because he's completely unafraid to be open in his vulnerability which makes him more relatable whilst being really funny. His comedic timing continues to be faultless, proving he can make any joke land.

Emily Blunt thankfully also gets a lot to do. Any scene she shares with Gosling is effortlessly charming and she has her own brand of bona-fide movie star charisma. Winston Duke is a great movie referencing support to Gosling, Aaron Taylor-Johnson does a hilarious McConaughey impression and Hannah Waddingham's cartoonishly over the top producer really works.

David Leitch's direction plays squarely to his strengths and after the disappointment of The Gray Man, it's extra satisfying to see Gosling be given some actually good fight scenes. Stunt designer Chris O'Hara and the whole stunt team really accomplished some breathtaking feats that are only made more impressive by seeing how they shot them during the credits.

La Haine is a scathing critique of police brutality wrapped inside a thoroughly engrossing story of a day in the life of three young friends, all desperate to leave their mark in different ways. It only gets tougher to watch on repeat viewings and refuses to offer easy answers. Influential, iconic and stunningly composed from the first frame with a faultless ending to finish it off.

Vincent Cassel and Saïd Taghmaoui are excellent at portraying the aimlessness of their characters. All the stories they tell are greatly exaggerated in an attempt to sound more experienced than they are and the way it's constantly getting under Hubert Koundé's skin is terrific. He's the only one with a clear goal and the lack of false bragging on his part shows he really understands the cost of taking a life.

Despite this growing distance between the three of them, they still have a completely believable rapport. The way they bounce off each other feels so natural and even with the clashing ideologies they're still friends who'll help each other out or get a good laugh out of tormenting each other. Both the scenes where a drunk person helps them steal a car and the gentleman tells them a story in the toilet are major standouts.

Mathieu Kassovitz's direction is amazing, setting the scene with a world set ablaze by a molotov. The way the characters are constantly trying to draw attention to themselves even when in the backgrounds is so gripping that you almost don't notice Pierre Aïm's accomplished cinematography that moves effortlessly through the scenes and pulls off some pretty incredible manoeuvres.

Dredd is extremely confident in its gory execution. Within a few moments it's obvious that this is going to be better than the previous adaptation and its greatest skill lies in telling a story that feels like just another day for Judge Dredd rather than doing an origin story. The fact that this flopped proves we can't have nice things.

It's a real testament to Karl Urban's humility that he's totally fine with spending the whole film under a mask. It's also a testament to how good his grizzled grimace is that that's enough to communicate everything required of him. Olivia Thirlby is a great rookie, her dynamic with Dredd is the strongest aspect when it comes to keeping you invested.

Alex Garland's direction finds something incredibly distinct in the way it visualises the slow mo drug. The higher frame rate makes those scenes so stunning and the action in between those moments is unflinchingly violent so all of it leaves a mark. Paul Leonard-Morgan's score is the final piece of the puzzle, helping to coalesce everything with tonally perfect music.

Wild Card is a serviceable Jason Statham vehicle that often feels like it's spinning its wheels for the majority of its run time but in actuality the film is well past the halfway point when that becomes obvious. After that realisation there's just enough action here to keep it moving until its satisfying conclusion.

Yet again Jason Statham carries this. He's an actor who always sticks to the same wheelhouse and has admitted this. However, this character feels slightly different to most of his other roles as he's more self-destructive and that movie star charisma is replaced with a defeated nature. The physicality is intact though as the Stath fights half a dozen guys with only a fish knife and a spoon.

Stylistic choice or not, it was certainly a weird choice to have this film be so excessively grey. Other than that though, Simon West's direction is good with a real skill for making poker feel cinematic and with the assistance of Corey Yeun, the few action sequences here are strong enough to leave an impression.