Hellboy (2019) – Film Review

In mid 2012, actor Ron Perlman once again endured the four-hour make-up routine required to transform him into his iconic character: ‘Hellboy’ and fulfill the Make-A-Wish request of a six-year-old boy with leukemia. Director Guillermo del Toro was so touched by this event that it inspired him to start production on a third: ‘Hellboy’ instalment. But following a dispute between del Toro and producer Mike Mignola, the project was soon cancelled, and instead, Mignola and his team began work on a reboot of the franchise, which finally released in 2019 to truly abysmal results.

Plot Summary: Whilst working side-by-side with his adopted father for the ‘Bureau for Paranormal Research and Defence.’ ‘Hellboy,’ a supernatural creature who came into our world in 1944 as a result of a demonic Nazi ritual, struggles to accept which world he belongs to, that being one of monsters or one of men. All the while, an evil sorceress known as ‘The Blood Queen,’ returns to the modern world, eager to take her revenge on humanity for imprisoning her centuries ago…

According to Mike Mignola, the intention with this reboot was to replicant a style and tone closer to that of the original source material. As despite del Toro’s version of: ‘Hellboy’ often being light-hearted aside from one or two disturbing moments, the original comic series created by Mike Mignola is in reality, far darker and more gruesome. And whilst this goal of wanting to make a ‘Hellboy’ film more horror/fantasy-oriented rather than just a typical superhero blockbuster is commendable, this reboot of the series continuously stumbles due to this tonal-shift, even with talented director Neil Marshall (The Descent, Dog Soldiers) overseeing the project. Yet this is only one of the film’s many problems, as its hard to sit through even a single viewing of: ‘Hellboy’ without noticing the film’s incredibly fast-pacing, awful comedic moments and beyond-messy plot, which for some reason draws from four different comic storylines.

‘Hellboy,’ or particularly, David Harbour’s performance as the titular character, is possibly the film’s finest aspect. As rather than just lazily mimicking Perlman’s beloved version of the character, Harbour displays a less mature interpretation of the superhero. Portraying the horned-hero as a conflicted character, younger and stronger than Perlman’s version, but unsure as to if he is a real hero, which is an interesting internal conflict to explore and about the only element of the film that is consistent. Then there is Ian McShane as ‘Hellboy’s father-figure, who is serviceable in his role alongside Milla Jovovich as the villainous: ‘Blood Queen,’ who unfortunately, gives one of the most over-the-top performances of her entire career here.

Aside from the small detail of the filmmakers ensuring the colour red is never present in the same scenes as ‘Hellboy’ himself (excluding scenes where blood is shed of course), the cinematography by Lorenzo Senatore is your usual affair for a superhero flick, having a handful of pleasant shots scattered amongst the plethora of bland hand-held camerawork utilised for action scenes and grand moments of destruction. But regardless of how impressive the cinematography may or may not be, there is no distracting from the film’s unappealing CG effects. As in spite of the creature department clearly trying their best with the detailed costumes/prosthetics on-display, nearly all of the CG effects throughout ‘Hellboy’ appear instantly-dated.

The original score by Benjamin Wallfisch is a peculiar concoction, being an odd mish-mash of orchestral and electronic tracks which only succeed in making the soundtrack feel quite dull when it’s not overly-loud and irritating. Or at least, that’s the score before mentioning it’s use of electric guitars, which try desperately to present the soundtrack as something ‘awesome,’ but only comes-off as annoying at best, with the film’s signature track: ‘Big Red’ being the biggest-offender for this.

However, an aspect of the film that is more in-line with del Toro’s previous ‘Hellboy’ adaptation is its creatures, as although the effects that bring them to-life aren’t impeccable, the actual creature designs are something be admired, with the ‘Hellboy’ comics clearly providing the filmmakers with plenty of visual-influence. Even ‘Hellboy’s redesign was inspired by David Harbour’s own features, with the crew adding a larger jaw and a heavier brow to further fit with Harbour’s facial structure.

To conclude, while I can appreciate the effort that went into ‘Hellboy’ in some areas, the film’s flaws are just so evident its near-impossible to ignore them. From its convoluted and overstuffed story to its dreadful CG effects, ‘Hellboy’s thrilling moments of action or amusing dark humour are minor when compared to its faults. Yet by far the most frustrating part of this reboot is that it stripped-away our final chance of seeing a third entry in the original: ‘Hellboy’ series, an instalment myself and many other fans of this beloved character had been wanting to see for quite sometime. Instead, we’re now stuck with this disappointing reboot, which failed miserably to reignite the spark of excitement in this superhero franchise. Final Rating: low 3/10.

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The Void (2016) – Film Review

An excellent throwback to 1980s sci-fi and horror, ‘The Void’ released in 2016 and directed by duo Jeremy Gillespie and Steven Kostanski, first began its life as a simple idea with two passionate minds behind it. As this surprisingly crowdfunded project makes remarkable use out of its thin-budget especially when considering the film’s many potentially-expensive set-pieces, displaying its huge array of fantastic creature designs/effects, colourful lighting and creative cinematography with enough confidence and innovation to keep any genre enthusiast enthralled.

Plot Summary: After ‘Sheriff Deputy Carter’ stumbles across a blood-soaked man limping down a deserted road, he quickly rushes him to a local hospital with a barebones, night-shift staff. But when a series of strange events occur within the hospital, seemingly linked to a group of cloaked figures standing just outside the building, ‘Carter’ decides to lead a mission into the hospital’s basement to find an exit, only to discover something far more sinister…

Although ‘The Void’ did have a handful of major producers on-board more familiar with the horror genre, as mentioned previously, the film was primarily a crowdfunded project, earning most of its budget in addition to a limited theatrical release in 2017 as a result of its online community of donators and fans. And its not exactly difficult to understand why many fanatics of sci-fi and horror alike were so interested in supporting the film, as immediately from the stylised intro any fan of 1980s cinema can tell ‘The Void’ is truly a love letter to everything 80s, with the film’s narrative clearly taking heavy inspiration from classics like ‘The Beyond,’ ‘Night if the Living Dead,’ ‘Re-Animator’ and of course, pretty much all of John Carpenter’s filmography. Yet despite all of these influences, ‘The Void’ also manages to never feel overly-derivative, even with the film’s plot sharing many similarities to the cult horror: ‘Prince of Darkness’ from 1987.

The cast of: ‘The Void’ is primarily comprised of unknown actors, which is by no means a bad thing, as the cast give solid performances across the board even in spite of their fairly one-note characters, with Aaron Poole, Kathleen Munroe, Daniel Fathers, Mik Byskov, Evan Stern and Ellen Wong portraying the main group of staff and survivors trapped within the hospital’s walls quite well. But the real stand-out of the film has to be Kenneth Welsh as ‘Dr. Richard Powell,’ easily the compelling character of the story who undergoes some enormous changes over the course of the runtime.

Samy Inayeh handles the film’s cinematography and handles it well, as whilst there are plenty of moments where the camerawork is far too reliant on hand-held shots, the film manages to even itself out over-time with plenty of visually-appealing ones. However, it’s the lighting and colour palette that are certainly the most visually-impressive elements of the film, as ‘The Void’ jumps from harsh reds to cold blues almost from scene-to-scene, not only to add to the film’s unearthly atmosphere of dread, but also to help hide some of the film’s budgetary-shortcomings. Furthermore, the story’s signature location of an empty hospital is a very distinct setting for a horror such as this, as the building seemingly becomes more unnatural and dilapidated the further the characters explore it.

For its original score ‘The Void’ actually had quite a large group of composers (five in total), who expertly crafted a classic 1980s synth score with undertones of dark horror, which greatly adds to both the film’s style and atmosphere. And although the film’s soundtrack is usually more atmospheric than cinematic, tracks such as: ‘Starless Night’ and ‘A Hole in the World’ prove the score does have some memorability amongst its many foreboding tracks.

Partly due to the film’s budget and partly due to Gillespie and Kostanski wanting to use as little CGI as possible, ‘The Void’ is a science fiction flick that delights in its practical effects. Ensuring every creature design and the costume/prosthetics that bring it to-life are nothing but flawless, from their skin to their teeth to their various tentacles (of which the film seems to relish in), nearly every aspect of each creature looks truly spectacular, and its these otherworldly-designs alongside the film’s over-the-top gore and buckets of blood that help create some genuinely disturbing moments.

All in all, I feel ‘The Void’ succeeds in being an enjoyable throwback to many people’s favourite decade for sci-fi and horror, with its astounding filmmaking and many impressive practical effects all resulting in plenty of thrills and chills. And although some may argue the film lacks much in the way of originality, I’d argue otherwise. As I feel ‘The Void’ is less of a capsule for nostalgia and references for all things 80s, and more of a tribute to what came before it, never quite matching-up to many of the films from the time-period its referencing, but still raising the bar for indie filmmaking/crowdfunded projects in its best moments. Final Rating: high 7/10.

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Tarantula (1955) – Film Review

Before the horror genre truly began capitalising on the common phobia of creepy-crawlies with films like ‘Arachnophobia,’ ‘Itsy Bitsy,’ ‘Kingdom of the Spiders’ and ‘Eight Legged Freaks,’ the 1950s sci-fi/horror classic: ‘Tarantula’ terrified many viewers with its marvellous creature effects and continuously unnerving atmosphere. Ensuring the film would go on to be the exemplary for future monster flicks despite featuring many of the usual problems plaguing creature-features at the time.

Plot Summary: In a remote facility in the Arizona desert, ‘Professor Gerald Deemer’ is conducting a series of experiments in the hopes of finding a way to increase the world’s food supply, injecting growth hormones into various animals to greatly increase their size. But when a tarantula escapes from the isolated laboratory, still growing at a exponential rate due to the formula, the giant arachnid begins to wreak havoc on a nearby town…

Directed by the late Jack Arnold (With These Hands, Creature from the Black Lagoon, The Incredible Shrinking Man), ‘Tarantula’ was just one of the many science fiction flicks Arnold undertook throughout his career, and in a similar fashion to many of his other stories revolving around horrifying creatures, ‘Tarantula’ was part of the 1950s wave of sci-fi/horror films crafted around the newfound fear of nuclear radiation following World War II. Yet while we now know ‘Tarantula‘ did greatly help in creating the ‘giant animal’ subgenre, there is an argument to be made that if not for the release of: ‘The Beast from 20,000 Fathoms’ just a year prior, ‘Tarantula’ may not even exist, as general audiences only gained interest in creature-features on account of that film’s success.

The late John Agar portrays the film’s square-jawed hero: ‘Dr. Matt Hastings,’ and just like a large majority of male protagonists in 50s sci-fi, ‘Dr. Hastings’ is charismatic-enough to carry the film in spite of the actual character receiving very little development over the course of the runtime. And as expected, ‘Tarantula’ also includes a romantic subplot between ‘Dr. Hastings’ and secondary-protagonist: ‘Stephanie Clayton’ portrayed by Mara Corday, which although made palatable by Agar and Corday, still feels pretty forced. However, one of the film’s biggest missed-opportunities is certainly ‘Professor Gerald Deemer’ portrayed by the late Leo G. Carrol, as whilst Carrol gives a decent performance here, the story sadly pushes his character into the background and nearly entirely ignores the suffering his character later endures after injecting himself with his formula, making his character’s inclusion seem quite superfluous.

Despite the many creature effects throughout ‘Tarantula’ clearly being the film’s main focus, the cinematography by the late George Robinson does have its share of attractive shots even with the film’s lack of colour/camera movement due to the technological restrictions of the time-period. As any wide-shots displaying the vast Arizona desert or the fictional town of: ‘Desert Rock’ are fairly appealing, and occasionally, even add to the film’s tense atmosphere as the uneven rocky landscape alongside the film’s dim lighting allows the giant arachnid to often lurk unseen.

The original score by the late Herman Stein and the late Henry Mancini is a thunderous and sometimes overly-dramatic score, feeling very much like a soundtrack taken from films of the 1950s for better, and for worse. And while both composers are often uncredited for their work on the film, ‘Tarantula’ is far from the first time Herman Stein has collaborated with director Jack Arnold, providing scores (and having much of his music reused) for a number of his films.

But of course, ‘Tarantula’ will always be best-known for its effects, which are in all fairness the film’s best attribute. As whilst many fondly-remembered science fiction and horror films of the 1950s relied on models, costumes and stop-motion to bring their strange creatures to-life, many of these filmmaking techniques can feel very dated and tacky by today’s standards for films brimming with CGI. This isn’t the case with ‘Tarantula’s effects however, as the way the film brings its signature creature to-life is quite innovative, as the filmmakers actually used a real tarantula shot separately from the rest of the film, before it was then enlarged and composited/projected onto the desert locations. This clever technique allows the spider to move naturally, and was not only state-of-the-art for the era, but is still quite impressive now, as the matte effect is usually impeccable aside from one or two shots where some of the tarantula’s legs seem to phase through the environment.

Overall, just like many other films released around the time of the 1950s/1960s, ‘Tarantula’ does have its entertainment-value, but is also much slower-paced and far more simplistic than many of the sci-fi blockbusters and epic creature-features we’d see released today. Yet whilst its characters are a little uninspired and the film is more about spectacle than anything else, ‘Tarantula’ definitely has its moments, and even if just for the effects alone, I think it deserves its place as a 50s classic, flaws and all. Final Rating: high 6/10.

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Searching (2018) – Film Review

Although some may see ‘Searching’ as nothing more than a gimmick, as this hyper-modern found-footage thriller utilises (and in many ways refines) the same format as the low-budget 2015 horror: ‘Unfriended’ and it’s 2018 sequel: ‘Unfriended: Dark Web.’ ‘Searching’ has much more to offer than just having its narrative play-out over a computer-screen, as first-time co-writer-director Aneesh Chaganty (Run) constructs an engrossing story around this seldom concept, focusing on the disappearance of a teenage girl and the unfolding drama that follows.

Plot Summary: When ‘David Kim’s sixteen-year-old daughter: ‘Margot’ goes missing, a local investigation is opened and a detective is assigned to the case. But after thirty-seven hours pass without a single lead, ‘David’ decides to search the one place he believes his daughter holds all her secrets, her laptop…

Shot in only thirteen-days yet taking over two-years to complete due to the large amount of prep, editing and animation work. The basic idea of: ‘Searching’ may have already been attempted with the previously mentioned: ‘Unfriended’ franchise among some other horror flicks. But what makes the film stand-out is its story, as ‘Searching’ veers-away from the usual paranormal scares of most found-footage films to focus on a missing-persons case, which does better fit this style of filmmaking in my opinion, a subgenre now commonly known as cyber-horror. Furthermore, the film’s protagonist being: ‘Margot’s father gives ‘Searching’ a strong emotional core, as nearly every parent can relate to the fear of their child going missing. On-top of this, the film also manages to weave-in an overarching theme about the dangers of social media, giving the film quite an impactful message in spite of how many times its been covered in cinema.

Considering John Cho is best known for his comedic roles, it has to be said that Cho does a phenomenal job throughout the film as ‘David Kim.’ Portraying a realistic depiction of a panicked father’s online movements as he desperately tries to track-down his daughter, and the film provides-us with plenty of dramatic moments to really let-us take-in ‘David’s pain. This is an even greater achievement when taking into account that Cho spends the majority of his screen-time just sitting in front of a computer-screen looking ever so slightly right of the camera. Unfortunately, ‘David’s daughter portrayed by Michelle La isn’t as impressive, but this may also be due to her dialogue, as many scenes involving ‘Margot’ seem to be quite trite in nature. And then finally, there is Debra Messing as ‘Detective Vick,’ who is serviceable in her role as a firm detective investigating ‘Margot’s disappearance.

The cinematography of: ‘Searching’ is interesting-enough on itself even without the story’s central mystery, as the film’s camerawork was actually handled by three different cinematographers. The first being the film’s standard cinematographer Juan Sebastian Baron for whenever the film is shot through iPhones and GoPro cameras, and second being the film’s virtual cinematographers Nick Johnston and Will Merrick, who help give the film a more dynamic feel by controlling the movement of the camera whenever we are looking through a computer-screen, drawing the viewer’s eye to specific areas/details. But of course, as the film is primarily on a screen or shot through a phone, beautiful shots are basically-nonexistent. Its also not uncommon for the film’s editing to feel overly-intense at points, appearing as if its trying far too hard to build tension.

In a surprising turn for a found-footage flick, ‘Searching’ does actually have an original score. Composed by Torin Borrowdale, the film’s soundtrack heavily-leans into the story’s technological focus, being an electronic score with a strong emphasis on building tension or a creating a calming window of relief. And while the opening track: ‘New User’ is immensely corny, later tracks such as: ‘No Reception,’ ‘San Jose Missing Persons’ and ‘Search by Image’ do greatly add to the impact of certain scenes.

Additionally, whilst all of the computer systems, programs, apps and websites we see during the runtime aren’t the actual versions, but instead templates that were recreated from scratch and then animated. The sheer amount of detail and realism that goes into each second of screen-time we spend on the computer-screen simply can’t be ignored, as ‘Searching’ never implements hilariously-fake websites into its story like ‘iGram,’ ‘Search’ and other dreadful knock-offs we’ve in similar films. Instead, both ‘David’ and ‘Margot’s laptops feel real, having their message/Email inboxes overflowing and many real-world apps and websites like Google and YouTube open at one time.

In conclusion, ‘Searching’ may still be a gimmick film in a lot of ways, but I feel for those who can look past the film’s occasionally cheesy moments and in all honestly, fairly bland characters beyond their basic motivations. ‘Searching’ is still an engaging thriller/mystery with enough propulsion and small clues to keep most viewers invested, further ironing-out the kinks in this obscure subgenre so when it all comes together, it’s with a most pleasurable snap. Final Rating: high 7/10.

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Possessor (2020) – Film Review

Following his 2012 directorial debut with ‘Antiviral,’ Brandon Cronenberg, son of legendary sci-fi/horror director David Cronenberg, crafts a captivating sci-fi thriller with ‘Possessor,’ a film that deals with heavy themes of identity loss and sexual discomfort, all whilst displaying its story through some truly spectacular cinematography and lighting. And although Brandon’s second sci-fi outing doesn’t quite reach the high-bar set by his father’s work, ‘Possessor’ is still more than successful as a surreal and layered science fiction flick with outbursts of strong, bloody violence.

Plot Summary: After many years of working as a corporate agent utilising brain-implant technology to inhabit other people’s bodies and force them to commit assassinations for the benefit of the company. ‘Tasya Vos’ struggles to suppress her violent memories and urges, soon causing her to completely lose control when taking-over the mind of a new subject, whose identity now threatens to destroy her own…

Debuting at Sundance Film Festival in early 2020, ‘Possessor’ has quickly gone-down as one of the best low-budget releases of that year. Or at least this version of the film has, as according to writer-director Brandon Cronenberg, there was an alternate screenplay for: ‘Possessor’ which drastically differed from the version that was released. So much so, that Brandon stated it could possibly become a second film later down the line, encompassing all of the material that didn’t quite make it into the first, which was primarily inspired by two pieces of media, the first being the 1971 novel: ‘Physical Control of the Mind: Toward a Psycho-Civilised Society’ by José Delgado, and the second being the short film: ‘Please Speak Continuously and Describe Your Experiences as They Come to You,’ written and directed by David Cronenberg.

Andrea Riseborough gives a fantastically-cold performance throughout the film as ‘Tasya Vos,’ making it clear within only a few minutes that ‘Tasya’ is deeply suffering from the effects of her job. As each-time she steps into the life of a new subject, she remerges different, finding it harder and harder to untangle her true identity from the one she just inhabited. And it probably goes without saying that as a sci-fi focused-around entering other people’s bodies, the story does explore sexual desire/discomfort, never shying-away from scenes of: ‘Tasya’ being entranced with her new body after taking-over the mind of: ‘Colin Tate’ portrayed by Christopher Abbott. Who also gives a superb performance as the unfortunate host chosen to execute the company’s assassination, continuously switching between two personalities before eventually becoming devoid of all emotion as minds conflict.

‘Possessor’s cinematography by Karim Hussain also rarely ceases to impress, as nearly every shot is both attractive and memorable, with many shots leaning-into the narrative’s themes in addition to providing a closer-look at the heavily-detailed gore effects through an array of extreme close-ups. The innovative camerawork is also enhanced by the film’s terrific use of colour, as the lighting/colour palette swiftly alters from bright yellows to dark blues to eye-piercing reds. But this isn’t where ‘Possessor’s filmmaking peaks, as it can’t be denied that the film is at its best whenever it visualises ‘Tasya’ and ‘Colin’ mentally-battling for control of: ‘Colin’s body, as the film visually-displays this interesting concept of a psychic battle on the astral-plane through a range of editing techniques and creative yet strange practical effects. The scene in which ‘Tasya’ first enters ‘Colin’s mind is particularly astounding, as the film displays fake bodies of the two main cast members, which then melt entirely into liquid flesh.

Many of the film’s bizarre visuals are also elevated to a great extent by Jim Williams’ original score, as ‘Possessor’s synth-esque soundtrack keeps the film’s eerie atmosphere present throughout the runtime, capturing the story’s surreal tone and constantly building tension through its atmospheric feel until we arrive at the story’s thrilling climax. My two personal favourite tracks: ‘Reborn in the Mind of Another’ and ‘A False Reputation’ aren’t exactly distinctive, but both tracks do help tremendously in this regard.

The main issue ‘Possessor’ suffers from is its lack of world-building, as supposedly the film takes-place in an alternate version of the year 2008, but aside from one short scene where we see ‘Colin’s day-to-day job as a data miner (which does at least serve as a comment on the paranoia of corporate overlords and their nefarious activities), the world of: ‘Possessor’ receives very little development and can often feel inconsistent when it comes to its technological advances.

To conclude, ‘Possessor’ is the perfect hybrid of sci-fi, character study and body-horror. As whilst its lack of world-building and compelling side characters do stop the film from reaches its true potential, ‘Possessor’ (along with Brandon’s previous film), definitely prove that Cronenberg’s son has talent for telling harrowing and violent stories, all the while never forgetting to integrate intriguing concepts and ideas. And with Brandon pushing for most of: ‘Possessor’s effects to be completed in-camera rather than with CGI, the two directors may be even more alike than I first thought. Final Rating: low 8/10.

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Steve Jobs (2015) – Film Review

The third film to be based on the real-life story of tech-designer Steve Jobs following ‘Pirates of Silicon Valley’ in 1999 and ‘Jobs’ in 2013. ‘Steve Jobs’ is a gripping drama which interestingly chooses to take-place over the time-span of three iconic product-launches, focusing on much of the backstage drama of Jobs’ life as he attempts to revolutionise the world of technology and eventually become the CEO of Apple Inc. Making for the best cinematic-interpretation of Steve Jobs’ life story as of yet, despite the film lacking in memorability in a few areas.

Plot Summary: Steven Paul Jobs has always been known a major player in the digital-revolution of the 1980s and 1990s, his passion and ingenuity being the driving force behind the digital-age we currently inhabit. Yet whilst his commitment to revolutionise the technological-landscape was more than commendable, it was also sacrificial, as Jobs’ work often took a toll on his family life.

Directed by Danny Boyle (Trainspotting, 28 Days Later, Slumdog Millionaire), ‘Steve Jobs’ was actually considered a box-office failure upon its initial release, with the film being pulled from over two-thousand cinemas after just two-weeks. And while I can’t say this is too surprising, as a biography focused around the story of a computer-designer does sound dull at a first mention. In execution, ‘Steve Jobs’ is anything but boring, as the film’s sharply-written screenplay makes for a very captivating watch, and draws many parallels to ‘The Social Network’ from 2010. Which is no coincidence, as both films were written by Aaron Sorkin. Furthermore, David Fincher was once attached to direct the film following his previous collaboration with Sorkin on ‘The Social Network,’ but Fincher was eventually dropped in favour of Danny Boyle after he demanded a higher-salary.

First and foremost, ‘Steve Jobs’ is definitely an actor’s film, as the performances outweigh nearly every other aspect of the film aside from perhaps the writing, with Kate Winslet, Seth Rogen, Michael Stuhlbarg and Jeff Daniels all giving tremendous portrayals of these real-life figures. With Michael Fassbender portraying the titular man himself, and although Fassbender is quite far physically from Jobs’ appearance (with Fassbender going the extra-mile to wear brown eye-contacts to achieve a closer look), Fassbender impresses as usual, presenting Steve Jobs as a brilliant success when it comes to his products, but a significant failure when he tries to communicate with the people in his life. And refreshingly, the film is never afraid to delve into Jobs’ many personality flaws.

With the film playing-out over the course of three different product-launches, beginning with the Macintosh in 1984 and ending with the unveiling of the iMac in 1998. The three time-periods are cleverly represented through the cinematography by Alwin H. Küchler, with each segment being shot on 16mm, 35mm, and digital to illustrate the advancement in Apple’s technology across the sixteen-years of Jobs’ depicted life. And with the camera constantly tracking the actors as they walk through ever-changing locations, the camerawork really helps to make the film more engaging. Director Danny Boyle even integrates some of his signature ‘Trainspotting’ style with the film’s editing, displaying flashbacks through snappy quick-cuts and projection-like images which appear stretched over the walls behind those in frame.

From ‘It’s Not Working’ to ‘Child (Father),’ ‘Russian Roulette’ and ‘1998. The New Mac.’ The original score by Daniel Pemberton is a perfect mixture of minimalist electronic and grand orchestral tracks, encapsulating both the technological achievements of Jobs’ career as well as the spectacle of each one of unveilings. Unfortunately, the one moment the film’s soundtrack falters is an important one, as the film’s very last scene is sadly spoilt by the use of the pop-song: ‘Grew Up at Midnight,’ which feels immensely out-of-place when compared to the remainder of the film’s score.

Whilst ‘Steve Jobs’ is well-written on all regards, with much of the film’s dialogue being continuously witty and humorous in addition to playing-into Jobs’ God-complex and smug nature. However, with that said, a large amount of the film’s writing also relies on tech-specific dialogue, with everything from circuit boards to graphical interfaces and binary code all being casually mentioned in conversations, which I imagine could be fairly confusing for some viewers depending on how familiar they may be with that terminology.

In conclusion, ‘Steve Jobs’ is certainly one of the better biographies in recent years. Although I’m sure many will still be disinterested in the film purely for its main focus, the film does have a lot to offer, and in my opinion not only excels past the previous films based on the story the late tech-designer, but also the novel: ‘Pirates of Silicon Valley’ which the screenplay actually takes heavy-inspiration from. And even in spite of several of Jobs’ associates claiming the film doesn’t represent the man they knew, just like Mark Zuckerberg in ‘The Social Network,’ this version of Jobs is very much a creation of its writer, and what a sensational creation it is. Final Rating: 8/10.

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The Voices (2014) – Film Review

This obscure horror-comedy released in late 2014 will certainly make for a divisive viewing, as while ‘The Voices’ does feature an inspired use of colour and set-design alongside a stand-out performance from Ryan Reynolds, the film is also far more disturbing than much of its marketing would lead you to believe, swerving from absurd moments of humour to visceral moments of gore in a heart-beat. The resulting film essentially becoming a parody/throwback of/to classic horrors like ‘American Psycho,’ and is a far-cry from a realistic study of psychosis for better, and for worse.

Plot Summary: After working a nine-to-five job at his local bathtub factory, the mentally ill: ‘Jerry’ finds comfort in returning home to his beloved pets: ‘Bosco’ and ‘Mr. Whiskers.’ Until one day, with the help of his psychiatrist, ‘Jerry’ decides to pursue his office crush: ‘Fiona.’ But when their relationship takes a sudden, murderous turn leaving ‘Jerry’ with the corpse of his co-worker, he tries desperately to strive for normalcy, only to fall deeper into instability…

Early in the pre-production of: ‘The Voices,’ director Mark Romanek, best known for the 2002 drama: ‘One Hour Photo’ was attached as the film’s director, before Marjane Satrapi (Persepolis, Chicken with Plums, Radioactive) later took-over as the head of the project. And whilst ‘The Voices’ does feel like quite a large shift from Satrapi’s usual work, its hard to know exactly which director would’ve excelled with a screenplay as original as this one is. As while ‘The Voices’ does share some similarities to other serial killer flicks, many of the film’s ideas are just brimming with personality, as everything from ‘Jerry’ showing symptoms of OCD when cutting-up the bodies of his victims, to ‘Jerry’ living above an abandoned bowling alley, the film just has such a unique appeal.

Ryan Reynolds really gets a chance to shine portraying the film’s mentally ill protagonist, as whilst ‘Jerry’ does commit many horrible acts over the course of the runtime, Reynolds manages to capture the idea of: ‘Jerry’ being a man forced down a road of violence. He is a distinct serial killer in the sense that he desires companionship and happiness, and doesn’t receive any pleasure from killing. So when its eventually revealed what happened to him as a child, you can’t help but sympathise with him, invoking a level of emotion that many murderous characters struggle to achieve. But unfortunately, the film’s side characters portrayed by Gemma Arterton, Anna Kendrick and Jacki Weaver, all feel quite thin as a result of them only being in the story to serve as ‘Jerry’s potential victims.

Maxime Alexandre handles the film’s cinematography well, as the camerawork throughout ‘The Voices’ remains fairly creative. The film’s visuals are most impressive most however, when it comes to the film’s colour palette and set-design. As with nearly the entirety of the story being seen through ‘Jerry’s perspective, the film displays the true extent of: ‘Jerry’s delusions through its use of colour/sets. For example, when not on his prescribed medication, ‘Jerry’ views his apartment as very clean and organised, giving the location a much more comfortable feel, whereas when ‘Jerry’ does take his medication, he sees the grim reality of his home.

The original score by Olivier Bernet is similar, never reaching into full-on horror, but being a mixture of cartoonish dreamlike tracks such as: ‘In the Woods’ and ‘Jesus Dad,’ before then moving onto more upbeat tracks like ‘Don’t Mess with Milton’. A seemingly a ironic track focused around the fictional woodland town of: ‘Milton’ where the story is set, claiming the town to be nothing but a friendly and welcoming place.

The main aspect of: ‘The Voices’ that I feel could make or break the film for many is likely to be its comedy, as whilst it is revealed fairly early on that many of the film’s bizarre moments such as: ‘Jerry’s pets speaking to him or ‘Jesus’ appearing on a forklift are all taking-place within his mind, much of this strange humour is very hit-or-miss. However, an interesting yet small detail regarding the talking pets is that Ryan Reynolds actually voices each one of the animals himself, with each pet having a different accent, furthering ‘Jerry’s delusions. In fact, Reynolds actually modelled the voice of: ‘Mr. Whiskers,’ a.k.a. ‘Jerry’s cat, after a Scottish friend he knew for over twenty-years.

Overall, while ‘The Voices’ is overflowing with both charm and wit, it also has many issues. From its quickly altering tone and many jokes that fall-flat, the film is far from a perfect horror-comedy. But it does redeem many of its faults through its great performances and eccentric style, all playing into the film’s quirky personality. And its due to all of this that the film feels as if its made for a very niche audience, yet for those ‘The Voices’ does appeal to, there is a fair amount to enjoy here. Final Rating: low 7/10.

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About Time (2013) – Film Review

Written and directed by Richard Curtis (Love Actually, Pirate Radio), ‘About Time’ would go on to be the final outing for Curtis as a director, as after this time-travelling drama’s release in 2013, Curtis would return to exclusively being a screenwriter, which I feel is probably for the best. As whilst ‘About Time’ does manage to keep itself afloat thanks to its captivating writing and wonderful performances, the film is often let-down by its fairly bland presentation and apparent disinterest in exploring its unique time-travelling concept, ensuring the film’s eventual confusion with many of the other romantic-dramas seen in recent years.

Plot Summary: At the age of twenty-one, the timid: ‘Tim Lake’ is informed by his father that men in their family have the unique ability to travel through time. Although this ability is restricted to the window of their own lives, it can be used to undo any past mistakes, so ‘Tim’ decides to use his newly-found ability to escape his current lonely existence, visiting all of his past loves to find the one who could be his future.

Due to Richard Curtis writing a number of iconic rom-coms from ‘Love Actually’ to ‘Four Weddings and a Funeral’ and ‘Bridget Jones’ Diary’ in the past, it comes as no surprise that ‘About Time’s screenplay is certainly its finest aspect. As in many scenes, the film chooses to push ‘Tim’s time-travelling ability aside in favour of delivering sincere character moments, playing into the story’s theme of life itself being the greatest experience. Yet while I do like both of these ideas, its a shame that the film barley touches upon the great deal of consequence time-travelling can have, as scenes focusing on time-paradoxes/the butterfly effect could’ve made for some of the film’s most impactful story-beats. Sadly, they are incredibly sparse and only appear when the story necessitates them.

The main couple of: ‘Tim’ and ‘Mary’ portrayed by Domhnall Gleeson and Rachel McAdams do share a good amount of chemistry and have plenty of charming moments together, as ‘Tim’ tries desperately to impress ‘Mary’ by recalling everything he remembers about her from his past encounters. The supporting cast of Lydia Wilson, Lindsay Duncan, Tom Hollander and Margot Robbie are all also great, as each member of the cast serve an important purpose within the narrative whether big or small. But its ‘Tim’s father portrayed by Bill Nighy who is the true emotional core of the film outside of: ‘Tim’s love-life, with Nighy doing a fantastic job as usual.

Despite visuals never being the main focus of rom-coms, the cinematography by John Guleserian is the film’s worst element. As any even somewhat-creative shots are rarely seen throughout the runtime, with the film usually just relying on mid-shots or close-ups to enhance the drama. The film’s colour palette doesn’t help in this regard either, as the pale colours almost present the film as if each scene is an extension of a photo framed in the family’s home, which is ingenious if that was the filmmakers’ attention, yet I’m not entirely sure it was. ‘Tim’s time-traveling ability however, is a little more visually-interesting in spite of its simplicity. As the film makes use of rapid-editing to cut between many different events during ‘Tim’s life, a straight-forward but understandable method of displaying how ‘Tim’ is flicking-through his memories.

Although ‘About Time’s cinematography is lacking, the original score by Nick Laird-Clowes is far more enthralling, as the film’s soundtrack utilises ticking clocks and heart-beating sound effects to relate to the story’s aspect of time-travel. And when focusing more on the story’s characters, the score switches things-up to be piano-focused, depicting a variety of experiences of life such as joy, heartbreak, reflection and confusion. ‘About Time’ also features a number of recognisable songs similar to much of Richard Curtis’ other work, which luckily, never distract from the story.

While ‘About Time’ does eventually continue on to cover a fair number of years throughout the character’s lives, much of the early portion of the film leans on ‘Tim’ trying to ignite the spark with ‘Mary,’ and with Rachel McAdams’ previously portraying the titular character in ‘The Time Traveler’s Wife’ from 2009, this should seem like familiar ground. However, unlike McAdams’ character in that sci-fi flick, ‘Mary’ is never made aware of: ‘Tim’s time-bending secret, which might make some viewers a little uncomfortable regarding the absence of honesty in their relationship.

To conclude, ‘About Time’ is enjoyable overall, it just doesn’t quite live-up to its interesting ideas or nearly two-hour runtime. As unfortunately, whilst the film’s many humorous and heartwarming moments do excel, the story’s huge missed opportunities are always ever-present, and the mostly dull cinematography/colour palette simply can’t be ignored. Although I would personally only recommend ‘About Time’ to those who have a sweet-tooth for light-hearted romantic-dramas, I can’t deny that the film is heartfelt, with a fragile sort of sincerity at its centre. Final Rating: 6/10.

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Black Swan (2010) – Film Review

Fantastically deranged at all times, ‘Black Swan’ directed by Darren Aronofsky (Requiem for a Dream, The Wrestler, Mother!) is for many, the pinnacle of the director’s filmography as of yet. As the film’s combination of numerous genres soon evolves into an incredibly unique experience that leaps onto the stage in an effort to impress, with its gorgeous lighting, dreamlike atmosphere and occasionally grotesque visuals all elevating the film’s twisted tale of a dancer obsessed with achieving her dreams. And whilst the film does trip over itself once or twice, its faults are few and far between.

Plot Summary: When ‘Nina,’ a ballerina for the New York ballet company discovers she has been chosen for the lead role in the company’s production of: ‘Swan Lake,’ she struggles to maintain her sanity as her rival dancers, eccentric casting director and obsessive mother twist her perception of reality, forcing ‘Nina’ to prove herself worthy of the duel role and be the exemplary for both the ‘White’ and ‘Black Swan.’

Although the film was never marketed as such, director Darren Aronofsky has always maintained that ‘Black Swan’ is first and foremost a psychological horror film, as the story delves into themes of mental illness and obsession, in addition to displaying many graphic sequences of what is essentially body-horror. And yet, the film also somehow manages to never feel restrained to just one genre, which is what keeps it so compelling. This experimental nature might also explain why it took around ten-years to be green-lit, as Aronofsky made many changes to the original screenplay in an attempt to get the film funded, with his original hopes for a budget of around £22 million being drastically-lowered to roughly £9 million in the end.

The phenomenal lead performance from Natalie Portman nabbed the actress an Oscar back in 2010, and throughout the film it quickly becomes clear as to why she won, as Portman flawlessly portrays ‘Nina’ as a committed and talented dancer being crushed by the pressure of the role she is undertaking. Portman even went to the extent of altering her voice (which had been continuously criticised by directors in the past for its childish qualities), as Aronofsky requested that for the role of: ‘Nina,’ Portman would need to regress backwards and make her voice more child-like. Furthermore, Portman not only lost over twenty-pounds for the role, but at least 95% of the dancing seen within the film was performed by Portman herself, with the professional ballerina Sarah Lane acting as her body/dance-double for the complex en-pointe work. All of this is without even mentioning the excellent supporting cast of Mila Kunis, Vincent Cassel, Barbara Hershey and Winona Ryder, whose performances all add to the film’s surrealist feel.

Matthew Libatique handles the film’s cinematography, which despite relying far too heavily on hand-held shots during some scenes, also makes for some truly astonishing visuals at points. As the film’s cinematic lighting alongside the grand gothic-influence that the film borrows from cult horrors and other art-house films, most notably, the stylised supernatural horror: ‘Suspiria’ from 1977, grant the film a very distinct and striking look. Aronofsky’s trademark of camerawork also creeps its way into the film, as there are a number of moments throughout the runtime where the camera tracks ‘Nina’ from behind as she walks through various locations, giving the cinematography a great sense of movement not too dissimilar to dancing.

The original score by Clint Mansell suitably feels like a score composed for a ballerina recital, as ‘Black Swan’s orchestral soundtrack is mostly a variation on Pyotr Ilyich Tchaikovsky’s ‘Swan Lake’ ballet, the only difference being that the notes are played backwards in a distorted manner. This makes the entire score feel very extravagant and almost overly-dramatic, as tracks like ‘Nina’s Dream,’ ‘A Swan is Born’ and ‘Perfection’ add to both the tragedy and beauty of the story.

As previously mentioned, due to its many scenes of graphic (and frankly disturbing) moments of mutilation, ‘Black Swan’ is far from an easy watch. As while the film doesn’t feature any ‘gore’ per-say, all of the scenes of: ‘Nina’s harmful acts towards herself feel more grounded in realism as a result of how minimal they are, with all of the skin-picking and dancing injuries she endures being reminiscent of a real disorder, known to medical professions as Dermatillomania, a disorder primarily focused on skin-picking.

In conclusion, although many believe ‘Black Swan’ to be Aronofsky’s best effort, ‘Requiem for a Dream’ will always be my personal favourite film from the director. As in spite of: ‘Black Swan’s beautiful visuals and captivating narrative, the film also feels like it isn’t quite reaching its full potential, mostly due to its overuse of hand-held camerawork and unexplored characters/ideas. Regardless, this art-house horror does sustain its entertainment-value for the most part, and just like many other art-house films, can be interpreted very differently from viewer to viewer. Final Rating: high 7/10.

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The Invitation (2015) – Film Review

A fairly subdued but very effective thriller, ‘The Invitation’ released in 2015, builds-up an almost absurd amount of tension over the course of its ninety-nine-minute runtime, maintaining the intrigue within its plot whilst also constantly defying the viewer’s expectations. Although the film does eventually devolve into generic slasher-territory for its final act, this indie thriller utilises its confined location and fantastic performances so effectively that it soon overcomes the majority of its flaws.

Plot Summary: After ‘Will’ and his girlfriend: ‘Kira’ accept a formal invitation to a dinner party in the Hollywood Hills hosted by his ex-wife: ‘Eden’ and her new husband, ‘Will’ begins to feel unsettled as his ex-wife seems overly-eager to reunite with her previous lover and the friends she lost contact with over two years ago. But as the dinner party continues, ‘Will’ is presented with mounting evidence that their hosts have a more sinister agenda…

Directed by Karyn Kusama (Girlfight, Jennifer’s Body, Destroyer), ‘The Invitation’ is a low-budget film in the best possible way, as the director and writers had complete creative-control over the project due to it being produced without any involvement from major production companies. This is more than likely why the film lacks any unnecessary jump-scares or a forced cliffhanger ending to serve as sequel/prequel bait. Instead, the story has strong underlining themes of past trauma, as the protagonist: ‘Will’ along with his ex-wife: ‘Eden’ both share a dark past which looms over their present-day lives.

Logan Marshall-Green portrays: ‘Will’ very well, as the excellent character-writing combined with Marshall-Green’s performance make ‘Will’ feel like not only a realistic character, but also somewhat of a stand-in for the audience themselves. As upon ‘Will’s arrival at the party, he immediately suspects that something is wrong, as he analyses the small yet strange details of their hosts. But obviously its also understandable as to why the other guests question or even just deny his claims, as his traumatic background makes him appear almost jealous that his ex-wife has moved on from their past in search of happiness. The rest of the cast of Tammy Blanchard, Emayatzy Corinealdi, John Carroll Lynch and Toby Huss (just to name a few), are all also stellar in their respective roles.

Everything from the film’s colour palette to its lighting to its cinematography by Bobby Shore, all visually-display the contrast between the story’s cozy setting and the tension and discomfort that is building throughout the narrative. As the film’s visuals are intentionally quite dim and warm in order to relate to the idea of the lavish house being a safe environment, when in reality, something far more ominous is at work, which in a way is also visually-represented through the darkness of the night creeping its way into the house via the windows. Additionally, the film’s huge amount of variety when it comes to its camerawork helps to make ‘The Invitation’ a more engrossing experience, as with the film mostly relying on its structure of every combination of characters slinking away into the next room for a conversation, it manages to avoid becoming tiresome as a result of its cinematography and score.

Speaking of the soundtrack, the original score by Theodore Shapiro goes a long way to accentuate the feeling of foreboding that the story protrudes, as the soundtrack only utilises solitary stringed instruments. This minimalist approach works perfectly, as the subtlety is reflective of both the story itself and the dimmed-down visuals, really driving a knife through the viewer through the simple use of a violin. The two tracks: ‘Into the Canyon’ and ‘I’m Actually Early’ are brilliant examples of this, but in all honesty, the score features so many wonderful tracks that its difficult to pick favourites.

Spoilers ahead in this section for those who wish to go in blind. But when its finally revealed that the goal of the dinner party is to murder all the guests present for a malevolent cult, the film does lose much of its charm. As the short scene we see of the guests being shot one-by-one doesn’t feel like a truly rewarding payoff considering how long the build-up actually was. However, the film does still make an attempt to develop the cult, and it quickly becomes clear that the group share many similarities to real-world cults, with the two most obvious being: ‘Heaven’s Gate’ and of course, Charles Manson and ‘The Manson Family’.

To conclude, ‘The Invitation’ is quite the underappreciated gem, as the film makes great use of its thin budget to craft a slow-burning yet layered thriller. While there are a few minor plot threads left lingering, the film does give enough clues/hints for keen-eyed viewers to find, and aside from perhaps the lacklustre climax, I personally have very few gripes with ‘The Invitation,’ and I would recommend it to anyone in search of a tense and entrancing story with equally entrancing filmmaking. Final Rating: low 8/10.

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