How to Train Your Dragon (2010) – Film Review

One of the highest-regarded films from DreamWorks Animation, 2010’s ‘How to Train Your Dragon’ is successful in nearly every regard as an animated feature, making many changes to its original source material (all of which for the better), to excel as a brilliant piece of family-focused storytelling. With plenty of memorable characters, exhilarating action sequences and an outstanding original score by John Powell, ‘How to Train Your Dragon’ would soon go on to become one of DreamWorks’ most recognisable and profitable franchises for good reason.

Plot Summary: On the island of: ‘Berk’, ‘Hiccup’, the frail son of the Viking Chief, aspires to hunt dragons and keep his home safe like the rest of his clan, earning the respect of his fellow Vikings. But after inuring a ‘Night Fury’, one of the rarest and most powerful dragons known to exist, ‘Hiccup’ forms an unlikely friendship with the creature, soon realising that dragons aren’t at all what Vikings believe them to be.

The first film to be directed by duo Chris Sanders and Dean DeBlois since the Disney classic: ‘Lilo and Stitch’ in 2002. The film adaptation of: ‘How to Train Your Dragon’ makes many alterations to the story seen in the original children’s book. As firstly, ‘Hiccup’ does not have a love interest, and the now-iconic DreamWorks character: ‘Toothless’ is about the size of the ‘Terrible Terror’ dragon breed, his skin is also green and red, not black. Furthermore, ‘Toothless’ gets his name when ‘Hiccup’ first finds him with no teeth. But the film’s producers decided, with the approval of author Cressida Cowell, that it would be more cinematic to make ‘Toothless’ large enough to be ridden as a flying mount. As such, ‘Toothless’ was completely redesigned as a rare ‘Night Fury’, a highly intelligent breed of dragon evolved for speed and stealth with teeth that retract into their jaw when shooting a fiery-pulse.

Protagonist: ‘Hiccup’ is portrayed by Jay Baruchel, a fairly under-the-radar actor. But similar to his character in ‘The Sorcerer’s Apprentice’ from 2011, Baruuchel suits a nervous character like ‘Hiccup’ extremely well due to his naturally-anxious voice, making for a likeable yet never vexatious protagonist. Gerard Butler as ‘Hiccup’s father: ‘Stoick’ is another member of the cast who naturally fits his character, as Butler’s rough Scottish voice melds with the hefty Viking leader’s design perfectly. The film also features a great ensemble cast for the other young dragon recruits through America Ferrera, Jonah Hill, Christopher Mintz-Plasse, T.J. Miller and Kristen Wiig, who together provide many of the film’s comedic moments.

The animated cinematography throughout ‘How to Train Your Dragon’ is superior to a number of other animated flicks when put in comparison, as the film continuously features beautiful visuals. The most obvious being within the scene: ‘First Flight’, in which, ‘Hiccup’ hops aboard ‘Toothless’ for the first-time as they soar across the stunning land of: ‘Berk’, breezing over acres of forest and past/through cliffs all while being tracked by the camera. Interestingly, many of these dragon-flying moments are also inspired by combat and aerobatic aircrafts, as ‘Toothless’ performs many aerobatic maneuvers such as a ‘Loop and Snap’.

Nominated for an Oscar at one point-in-time, the original score by John Powell is truly sensational, a majestic score that occasionally even utilises bag-pipes in order to further fit with the film’s Scottish setting (which is alluded to by the many Scottish accents). And while Powell has always been known for creating phenomenal scores for animated flicks, with ‘Ice Age’, ‘Kung Fu Panda’ and ‘Horton Hears a Who!’ being just some of his sublime work, the soundtrack for: ‘How to Train Your Dragon’ is by far some of his best, with the tracks: ‘This is Berk’ and ‘Forbidden Friendship’ becoming some of the most notable tracks in all animation.

The animation itself has begun to show its age in a handful of shots since the film’s initial release, but as a result of the film’s many wonderful designs, usually in relation to its dragons, which display different abilities, colours, horns and skin-tones for each breed, the film manages to redeem any shot that feels at all dated. These pleasant designs also help distract from the film’s overly-fast-pacing, as whilst I understand that younger viewers may have shorter attention-spans, the film can sometimes feel as if its rushing through one scene to quickly get to the next.

Although I share the quite controversial opinion of disliking the sequels to ‘How to Train Your Dragon’, as I personally find them much more generic and paint-by-numbers in terms of plot. The original film is still one of DreamWorks Animation’s best efforts, and I’d even argue is on the level of beating-out their previous fantasy franchise: ‘Shrek’ when it comes to its characters and world-building. So even if you don’t enjoy animated/family films, perhaps ‘How to Train Your Dragon’ will sway you into the genre just as it does with its wonderous story. Overall, a low 8/10.

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Don’t Be Afraid of the Dark (2010) – Film Review

Co-written/produced by Guillermo del Toro and directed by Troy Nixey, ‘Don’t Be Afraid of the Dark’ embraces many of the same elements as del Toro’s other films, crafting a narrative which combines both traditional gothic horror and childlike fantasy. But sadly, unlike a usual del Toro project, there is a noticeable absence in everything from captivating characters to memorising practical effects/creatures, resulting in a film that feels like a mostly copy-and-paste effort beyond a few interesting ideas.

Plot Summary: After being sent to live with her father and his new girlfriend at their recently-renovated manor, the previous home of the long-missing painter: ‘Emerson Blackwood’. Young ‘Sally’ begins to hear ominous voices emanating from the basement’s ash-pit, soon leading her to discover the cause of the painter’s disappearance…

Taking heavy inspiration from the classic H.P. Lovecraft short story: ‘The Rats in the Walls’. ‘Don’t Be Afraid of the Dark’ is actually a remake of a low-budget 1973 TV film, as the now-iconic director Guillermo del Toro has stated in the past that he was terrified of the film when he first watched it as a child, later inspiring him to reimagine the mostly-unknown horror flick. Yet even with a much larger-budget and a more well-known cast, the film is still quite underwhelming when it comes to both its scares and story, as the film’s narrative follows a formula almost identical to many other modern horrors.

All of the performances throughout the film aren’t anything overly-impressive, as whilst Katie Holmes does try her best to portray a young girl witnessing sights that no one else believes. Her character: ‘Sally’ (similar to the rest of the film’s characters) receives very limited characterisation, which does make many of the scenes revolving around the family-dynamic far less entertaining. Then there is also ‘Sally’s father and his girlfriend: ‘Kim’ portrayed by Guy Pearce and Bailee Madison respectively, and although Madison gives a serviceable performance, Pearce may give one of the weakest performances of his career here. As ‘Sally’s father: ‘Alex’ always shows little concern or remorse when it comes to his daughter, making the character immensely difficult to resonate with.

The cinematography by Oliver Stapleton is very grand in its execution, allowing for a large number of wide-shots, some of which even flow smootly-around the various rooms of the manor. But it’s the film’s colour palette which is most worth noting, as the film utilises much more red and yellow than many other modern horrors, which is a pleasant change in terms of visuals as the more vibrant colours reflect the manor’s elegant design, which is probably one of the most visually-striking ‘haunted houses’ in recent memory, with even the manor’s front entrance having a beautiful carving of an old oak tree merged into the multi-coloured glass.

Marco Beltrami and Buck Sanders provide the original score for the film, which similar to the film’s cinematography, gives the story a much more ‘epic’ feel. As the heavy-orchestral score could’ve easily been taken from any classic gothic horror, lending itself effectively to many scenes aside from a couple of generic tracks. The film often also features some fantastically-creepy sound design, as the film’s creatures continuously speak to ‘Sally’ using their ghostly whispering voices, which seemingly echo throughout the usually-empty corridors of the manor.

Although many of del Toro’s other outings do provide plenty of wonderful practical effects to gaze at, usually creating an array of unsettling/memorable creatures, ‘Don’t Be Afraid of the Dark’ takes another (less-appealing) route to its monsters. As the film’s creatures are brought-to-life almost entirely though CG effects, which not only makes some shots appear slightly dated, but also manages to take-away from nearly all of the film’s tense moments. Additionally, the film’s creature designs aren’t all that menacing, as despite the idea of evil fairytale monsters being quite unique (as the creatures are later revealed to be a sinister incarnation of tooth-fairies). The creature’s extremely small-size does make them feel very unthreatening even if it is a nice change-of-pace over having one large entity, as the film never does enough with its miniature antagonists regardless of what knives/tools they arm themselves with.

‘Don’t Be Afraid of the Dark’ is regrettably a film that is just not worth its short runtime. As while I admire the effort to combine famed fairytale stories with a chilling atmosphere, the predominantly poor performances and numerous unexplored concepts leave the film simply another bland horror flick with a surprisingly weak screenplay by del Toro to-boot, especially when compared to much of his other work. Still, with all that said, I feel that Troy Nixey does deserve another shot in the director’s chair someday, as since this film’s initial release, he actually hasn’t worked on any other projects, which is unfortunate, as I do believe he does have some talent as a filmmaker when looking at this film’s merits. Overall, a high 3/10.

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Where the Wild Things Are (2009) – Film Review

Although its themes and ideas may go over many younger viewer’s heads, ‘Where the Wild Things Are’ feels like a film that reflects what many felt whilst being a child themselves. As writer/director Spike Jonze (Being John Malkovich, Adaptation, Her) creates a moving, thoughtful and occasionally even woeful experience that dramatically elevates its original source material, with a charming soundtrack compiled by musician ‘Karen O’ and plenty of wonderful creature designs and locations. ‘Where the Wild Things Are’ is truly a unique yet uncompromising film that sends its audience back to the innocent days of childhood.

Plot Summary: Following a fight with his mother and yearning for adventure, a young boy runs-away from home and sails to a mysterious island filled with creatures who take him in as their king after ‘Max’ makes a promise to solve all their problems.

As previously mentioned, the film adaptation of: ‘Where the Wild Things Are’ is a large step-up from the original children’s book it’s based on by Maurice Sendak. As while the classic story of a young boy visiting a land of fantastical creatures in order to escape reality has always been a staple of children’s literature, Jonze manages to deepen the overall narrative with his adaptation. Having themes of maturity, imagination and balancing ones own emotions (all of which are presented in a mature and subtle way). In fact, the film’s production company, Warner Brothers, were initially so unhappy with the final product (as it was far-less family-friendly than they imagined) that they wanted Jonze to reshoot the entire film, instead, the two agreed to satisfy both parties by giving the film more time in production.

Max Records leads the cast as the excitable and resentful: ‘Max’, who gives a genuinely brilliant performance considering the actor’s young age at the time of filming. Alongside him of course, is the group of creatures portrayed by the voice cast of Lauren Ambrose, Chris Cooper, Catherine O’Hara, Forest Whitaker and Paul Dano. Whose voices all match their respective characters flawlessly. Its the late James Gandolfini as ‘Carol’ who really shines within the film however, having the most memorable design of the all the creatures within the original book, ‘Carol’ serves as a reflection of: ‘Max’s childish attributes, from his tantrums to his jealously and sadness, all of which is given such life through Gandolfini’s performance.

While the film’s colour palette remains fairly vibrant throughout despite featuring a large amount of beiges and browns, the cinematography by Lance Acord is sadly the weakest aspect of the film. As ignoring the large array of stunning sunrise/sunset shots, ‘Where the Wild Things Are’ utilises hand-held camera for the majority of its runtime, which when combined with the film’s occasionally chaotic editing can make some scenes feel a little impetuous. Yet despite not having an overly large-budget, the film’s CG effects do still hold-up remarkably well, with all of the facial expressions of the creatures and extensions to many of the island’s locations not seeming even remotely out-of-place.

The film’s soundtrack complied by musician ‘Karen O’ really benefits to the film’s already calming and mature presentation. From the opening track: ‘Igloo’ through to the more upbeat tracks: ‘Rumpus’ and ‘Sailing Home’, to even the film’s more lyric-based tracks with ‘All is Love’ and ‘Hideaway’. The soundtrack for: ‘Where the Wild Things Are’ doesn’t feel like a traditional film score in the best possible sense, giving more of an impression of a slow-paced yet beautiful acoustic guitar album, which just like the film itself, is immensely underappreciated.

However, one of my personal favourite elements of the film and certainly the most visually-striking has to be the many different designs of the creatures who live on the island. As not only do the designs fit each character’s personality, but every design is also a perfect live-action recreation of the creature’s original appearances within the pages of the book, with all of the creatures being brought-to-life using enormous and heavily-detailed suits from the Jim Henson Company rather than just simply using CGI. The Jim Henson Company are known of course, for the creation of: ‘The Muppets’, whose familiar charm isn’t lost here.

‘Where the Wild Things Are’ is to me, an incredibly underrated modern classic. Despite its few flaws, the film surpasses its source material and then some, creating a genuinely gut-wrenching experience at points. Whilst the film has been criticised by some since its release mostly as a result of being seen as too mature and possibly even a little frighting for younger viewers. I believe the film gets across a number of important messages for children, and I appreciate the film’s more in-depth approach to crafting an imaginative family adventure. Overall, a low 8/10. Even though Spike Jonze may not have an extensive catalogue of films as a director, his work never ceases to impress me, and ‘Where the Wild Things Are’ is just another piece of the puzzle.

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The Problem with Live-Action Disney Remakes – Film Discussion

In years recent years, Disney has noticeably been taking quite an aggressive approach to reimagining many of the company’s classic animated adventures into live-action blockbusters, which I personally feel is having a bad influence on the rest of the film industry in more ways than one.

Despite Disney actually beginning the trend of remaking their classic films all the way back in 2010 with the semi-sequel/remake of: ‘Alice in Wonderland’ directed by Tim Burton. Disney didn’t begin to get truly rampant with its approach until the later successes of: ‘Cinderella’ and ‘The Jungle Book’ in 2015 and 2016 respectively, with ‘Beauty and the Beast’, ‘Dumbo’ and ‘Aladdin’ following not far behind, eventually leading to their most recent releases, that being: ‘The Lion King’ and ‘Lady and the Tramp’. Yet whilst all of these films did receive mostly positive reviews from both critics and audiences upon their initial release, I personally have never understood why. As for me, none of these remakes ever manage to really justify their existence, with each new film simply feeling like nothing more than a product, a money machine disguised as a film created purely for the purpose of rinsing profit out of Disney fans who desire to see their childhood classics recreated in a new light, and by this point, I just find it irritating.

Of course, remaking classic/iconic films is nothing new for the film industry, with dreadful remakes such as: ‘RoboCop’, ‘Ghostbusters’ and ‘Robin Hood’ all being great examples of how taking a classic film and giving it a sleek modern-aesthetic doesn’t automatically make it superior to the original. However, it’s the way Disney goes about executing their remakes that makes them even more frustrating. As even though most reimaginings may not differ too much of the original story, the majority of Disney remakes feel almost identical to their animated counterparts, featuring nearly all of the same scenes and dialogue, now just dragged-down by much weaker visuals, vocal performances and songs. Which in turn, also allows directors and writers to simply borrow material from previous filmmakers without having to innovate much themselves. Another issue I have with Disney converting their animated classics into live-action is that many of the original stories were always envisioned to be animated as they were being written, meaning when transferred into a different style of filmmaking, they usually are forced to rely on enormous amounts of CGI.

Although most audiences seemingly don’t take issue with Disney’s constant remakes, there are still some Disney fans who have spoken-out about losing interest Disney’s future live-action endeavours. In particular, I personally recall many weren’t looking forward to watching the ‘Aladdin’ remake around the time of its release, which I feel is understandable. As just from its trailer alone, it was clear that not only would the film intensely mirror the original, but it was obvious just from a glance that its visuals were also far, far duller, as the remake was lacking in both colour and style. Focusing more on being semi-realistic rather than fully engaging in its elements of fantasy (which for a narrative revolving around a powerful genie who grants three magical wishes feels like a huge mistake to me). Whilst the original: ‘Aladdin’ may not be the most visually-enthralling of Disney’s catalogue of family flicks, the classic style of 2D hand-drawn animation is still very pleasing to look at even by today’s standards for CG animated films.

It may even surprise some to know that many of these bland remakes were actually directed by talented filmmakers like Jon Favreau and the previously mentioned Tim Burton. Yet with each new film, every-director’s unique style always seems to be stripped-away or completely absent. As not only does each remake barely utilise any creative cinematography or editing, relying nearly entirely on CG effects to impress the audience. But usually inventive directors such as: Guy Richie, who has made phenomenal use of his unique style editing and humour in the past within his films: ‘Snatch’ and ‘The Gentlemen’, suffers as a result of how simply generic and even somewhat boring his reimagining of: ‘Aladdin’ is, and while Disney may not be entirely to blame for this, I do believe the company would prefer to keep each remake fairly easy to digest in order to appeal to a wider-audience.

In addition to both the visuals and directing however, the cast of the original animated flicks were also a huge contributing factor to them becoming as beloved as they now are, with not only actors like Robin Williams as the original: ‘Genie’ of course, but also lesser-known actors such as: Nathan Lane and Ernie Sabella as ‘Timon’ and ‘Pumbaa’, to Jodi Benson and Pat Carroll as ‘Ariel’ and ‘Ursula’. As all these voices not only gave the characters great comedic timing and a distinct tone, but they soon even became an extension of the characters themselves, making them recognisable purely through their voice. Whereas Disney’s newer remakes prefer to just take the much easier approach of simply casting the most relevant actors at the time and throwing them into an iconic role, and whilst actors like Donald Glover and Chiwetel Ejiofor will always be superb at their craft, forcing these performers into roles within ‘The Lion King’ simply due to their popularity will always make their vocal performance feel very out-of-place when in comparison with the original film.

The final area I find Disney remakes to be most lacking is with the tampering of classic Disney songs, as although I’m personally not an enormous fan of musicals within the realm of live-action, I’ve always enjoyed many of the songs in Disney animated classics. As not only do I feel these songs add to the characters and the story of each film immensely, but many classic Disney songs also manage to become iconic amongst themselves, with nearly any fan of animation more than likely knowing all the words to ‘Be Our Guest’, ‘The Circle of Life’ and ‘Under the Sea’ (just to name a few). But when it comes to the remakes, once again, both the original score and songs feel far more dull, even in spite of the legendary Hanz Zimmer returning for: ‘The Lion King’ remake to recreate many of his classic tracks. Still, a few of the reimaginings do at least attempt to throw-in some original songs, which unfortunately end-up being mostly forgotten due to them being overshadowed by the classic songs audiences more familiar with.

In conclusion, it seems the influx of live-action Disney remakes won’t be stopping anytime soon, with ‘The Lion King’ racking-in over £1.298 billion worldwide, Disney will most likely continue this remaking trend until their audience completely loses interest. As reimaginings of: ‘Mulan’, ‘Peter Pan’, ‘The Little Mermaid’, ‘Pinocchio’, The Sword in the Stone’ and ‘Lilo and Stitch’ as well as many, many more, are already set for release. Whilst the ‘House of Mouse’ does still have a few original films on the horizon, Disney seems to be heading down a similar path to their paired animation company Pixar, that being one of laziness, relying mostly on their previous stories and franchises for profit rather than creating something new, which in turn is also encouraging other production companies to do the same. So if you share my opinion, perhaps sit-out Disney’s next live-action release, stay at home, and just relive many of the beautifully animated stories from the past, as I honestly believe many of these films are timeless.

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The Dark Crystal (1982) – Film Review

Despite the success of the recent prequel series: ‘The Dark Crystal: Age of Resistance’ on Netflix, most audiences still seem relatively unaware of the original: ‘Dark Crystal’s existence, which unfortunately, received mostly lukewarm reviews and massively underperformed at the box-office upon its initial release. Yet regardless of its age, ‘The Dark Crystal’ is still in my opinion, an extraordinary family adventure. Creating an intriguing and developed fantasy world brimming with plenty of memorable characters, spectacular locations and terrifying creatures, all flawlessly brought-to-life by the film’s enormous array of brilliant practical effects and detailed puppets.

Plot Summary: Centuries-ago on the world of: ‘Thra’, the mysterious: ‘Dark Crystal’ was cracked and brought-forth two races. One, the villainous bird-like creatures known as the ‘Skeksis’, who now rule over the planet with an iron-fist, and the other, a peaceful race known as the ‘Mystics’. But after a young ‘Gelfling’s ‘Mystic’ master passes-on, ‘Jen’ is sent-on a quest to locate the missing shard of: ‘The Dark Crystal’ and save his homeworld.

Directed by legendary puppeteers Jim Henson and Frank Oz, most known for their creation of the beloved ‘Muppets’ franchise. ‘The Dark Crystal’ is known by many for being rather frighting for younger viewers, as the film always explores its fantasy world without ever shying away from any of its darker elements. Resulting in many who experienced the film at a young age only recalling it due to being ‘traumatised’ by the film’s menacing antagonists, the ‘Skeksis’. However, despite ‘The Dark Crystal’ giving this ghastly depth to the world it’s narrative takes-place within, the film still suffers from the occasional story cliché. As while I’m sure these ideas were less-familiar in the early 1980s, the concept of: ‘Jen’ being the last of his kind and having to undertake an epic journey does feel fairly overdone by today’s standards.

Stephen Garlick and Lisa Maxwell lend their voices well to the two protagonists of the film: ‘Jen’ and ‘Kira’, alongside the voice of Billie Whitelaw and the late Jim Henson and Frank Oz themselves as puppeteers, and while Jim Henson and Frank Oz both do a fantastic job as usual when it comes to their work with puppeteered-characters. It’s the late Barry Dennen as the most devious of the ‘Skeksis’, ‘The Chamberlain’, who is truly superb. As ‘The Chamberlain’ soon becomes a very memorable antagonist heavily in-part because of his obnoxious high-pitched voice and now-iconic whimper.

Whilst the cinematography by the late Oswald Morris does serve the film’s story effectively, many shots throughout ‘The Dark Crystal’ are a little restricted due to the focus primarily being placed-on the puppets themselves (especially when there is a large number of characters on-screen). That being said, the cinematography does still manage to provide plenty of beautiful wide-shots to establish the story’s various locations, the majority of which are elevated through some incredibly impressive matte paintings and miniature sculptures.

Although I do prefer the original score by Daniel Pemberton for the Netflix prequel series, the score for the original film by Trevor Jones is still terrific. Feeling like a mixture between a classic fantasy score along with some sinister undertones to help build tension. From the film’s signature track: ‘Overture’, through the track that plays-over one of the film’s final moments: ‘The Great Conjunction’, the film’s original score is still an enjoyable piece to hear even if it seems many viewers prefer the soundtrack of Henson’s other 80s fantasy flick: ‘Labyrinth’.

Of course, the main draw of: ‘The Dark Crystal’ is (and will always be) the puppets themselves, as while the idea of not a single human appearing within a live-action film may sound daunting to some, the film’s huge variety of practical effects from the different creatures that prowl the forests/swamps to each one of the detailed and intricate sets for: ‘The Castle of the Crystal’. Every single creative aspect of the film in regards to its designs constantly feels as if great talent and effort has been put-into each of them, with much of the film’s visuals actually being inspired by the illustrations of Brian Froud, who would eventually join the production as a conceptual designer.

To conclude, ‘The Dark Crystal’ is truly a film of its time, as despite the new prequel series helping the unique fantasy series reach a wider-audience, I’m not too surprised this ambitious film has been largely forgotten in modern pop-culture. As the film’s fascinating and fleshed-out world alongside its entertaining story and huge number of amazing practical effects sadly weren’t enough to save it from its eventual neglected fate. Still, an 8/10 for: ‘The Dark Crystal’. Even if this fantastical family adventure didn’t receive the praise it deserved when it was released in 1982, I feel it certainly can now from modern viewers, if just for its painstaking puppeteering work and great character designs alone.

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Tangled (2010) – Film Review

Disney’s first CG animated fairytale is both incredibly funny and heartwarming. As ‘Tangled’ brings to life the well-known fairy princess: ‘Rapunzel’, now-updated for a new generation of children. Through some beautiful animation, wonderful original songs and an incredibly vibrant colour palette. ‘Tangled’ feels almost as if it’s an enchanting classic restored from Disney’s golden age of animation, despite its few small problems here and there.

Plot Summary: When the ‘Kingdom of Corona’s most-wanted and most charming bandit: ‘Flynn Rider’ hides-out in a mysterious tower, he’s taken hostage by ‘Rapunzel’, a feisty tower-bound teen with magical golden hair. Eventually leading the two of them to strike a deal so ‘Rapunzel’ can achieve her long-desired dream of seeing the annual release of the kingdom’s lanterns.

Heavily praised since its release, ‘Tangled’ was created by Walt Disney Animation Studios, which have produced a variety of fantastic animated films in recent days. Releasing films such as: ‘Bolt’, ‘Zootropolis’, ‘Wreck-It Ralph’, ‘Moana’ and of course, the mega smash-hit: ‘Frozen’ in 2013. Many of which even beginning to surpass Disney’s other animation company over-time, this obviously being Pixar, who now seem to be far more focused-on creating constant sequels, prequels and spin-offs rather than original stories.

Mandy Moore and Zachary Levi bounce extremely well-off each other as ‘Rapunzel’ and ‘Flynn Rider’, with both the characters having plenty of amusing moments in addition to some surprisingly great chemistry (considering they are fully animated). The cast also features Donna Murphy as ‘Mother Gothel’ and Ron Perlman as one of the ‘Stabbington Brothers’ aka. the antagonists of the film, and although neither of these two villains ever become quite as memorable or as iconic as some other Disney antagonists. They do serve their roles within the story effectively and are intimidating enough. During the story, ‘Rapunzel’ also receives a character-arc, growing as a character to become more confident and independent as the runtime continues-on, which I feel is not only executed well but also gets across an important message for children.

Featuring an array of stunning wide-shots, the animated cinematography throughout ‘Tangled’ is decent overall. While nothing overly imaginative, the animated cinematography works really well for many of the film’s fast-paced action sequences. The animated cinematography is also improved by the film’s incredibly colourful visuals, as many scenes throughout the film are dripping with bright colours and magnificent lighting. Some of the colouring of character’s clothing even reflect their personalities, as ‘Rapunzel’ wears purple, a colour often associated with royalty and ‘Flynn’ wears blue and white, colours that often stand for goodness. Whereas ‘Mother Gothel’ wears red, a colour that usually symbolises evil.

The original score by Alan Menken is certainly the weakest element of the film, as ignoring the actual songs within the film, most notably: ‘When Will My Life Begin’ and ‘I See the Light’. The score is mostly generic and little bland at points when it comes to animated flicks, as I feel the soundtrack could’ve been greatly improved if the score would’ve embraced the more fantasy-esque aspects of its narrative. Occasionally, the film can also over-rely on musical cues, as during a number of scenes the film feels the need to accompany every action or piece of humour with a trumpet cue, which feels nothing but unnecessary throughout.

Being many years-on from the film’s initial release, it’s inevitable that the film’s animation would begin to age. However, although a couple of the close-ups on character’s faces may look a little out-dated. ‘Tangled’s animation predominantly holds-up well since 2010. In particular, the CG effects on ‘Rapunzel’s long-hair, which still look marvellous even today. The film’s humour is also fairly excellent, as the film has a large amount of range when it comes to its jokes, usually having plenty of comedic moments that will appeal to older viewers as well as young children. ‘Tangled’ also gets some great comedic moments out of its horse character: ‘Maximus’, who quickly ends-up becoming one of the film’s greatest characters through his constant drive to catch ‘Flynn Rider’, with many of his movements being presented as if he is a large dog or even a human.

Although it may not be one of Disney’s best, ‘Tangled’ is still very enjoyable from start-to-finish. Despite its sometimes overly fast-pacing and slightly dated animation. The film has more than enough to please families, with some likeable protagonists, plenty of memorable songs and an overall joyful and adventurous tone. ‘Tangled’ is in my opinion, on the higher-level of fantastical family films, and whilst some may feel the film is aimed more towards one gender with its story being based around a fairy princess, I’d argue otherwise. A low 8/10 in total.

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Unicorn Store (2019) – Film Review

Both starring and directed by Oscar-winner Brie Larson, ‘Unicorn Store’ is a light-hearted comedy/drama which attempts to delve into those childhood dreams many people have, but seems to fall very short in more aspects than one. As aside from a pretty great original score by Alex Greenwald, the film is mostly very bland and forgettable, usually flopping most of the emotional moments and attempts at humour within its fantastical story.

Plot Summary: When ‘Kit’ is forced to move back in with her parents after being kicked out of art school, she takes on a boring office job in an attempt to finally grow-up. But when a mysterious stranger sends her an invitation, she is welcomed into a magical store with the promise of owning her own pet unicorn, her greatest desire as a child.

Personally, I do feel this is one of those films where the lack of experience from the director is a big part in what makes it fail overall, as although the writing throughout the film is fairly decent. The film’s visuals as well as the weak performances from the cast, leave the film feeling almost as if it’s presentation doesn’t match with the story itself, and whilst I’m definitely not this film’s main target audience, I don’t imagine even young girls could get much out of this less-than-imaginative experience.

Although Brie Larson has given a variety of excellent performances throughout her career, with ‘Room’ and ‘Scott Pilgrim vs. the World’ being the first two that come to mind. Her performance is extremely mixed throughout ‘Unicorn Store’, as in some scenes she fairly decent, whilst in others, she is quite bland. This could also be due to her character however, as ‘Kit’ is very irritating throughout the majority of the film. Portraying the character as childish and loud in all the wrong ways, the supporting cast of Mamoudou Athie, Samuel L. Jackson, Bradley Whitford and Joan Cusack are also serviceable however, yet do have their weak moments similar to Brie Larson.

Aside from the bright colour palette which does somewhat help to improve the film’s visuals despite not being as overly colourful as I initially expected. The overall cinematography by Brett Pawlak is mostly very dull, as the film is overflowing with a variety of boring shots, all displayed through soft hand-held camera techniques, which I actually found quite distracting throughout. This is also the case when it comes to the lighting, as aside from one visually pleasing scene with the unicorn itself nearing the end of the runtime, every scene is usually very white and pale (which is essentially the complete opposite of the story’s themes).

Alex Greenwald handles the original score for the film as already mentioned, and although not an incredible soundtrack by any means, the score is probably the best element of the film for me. As the original score succeeds where the film’s visuals fail, as the soundtrack embraces the more magical childlike tone of the film, utilising what almost sounds like wind chimes and harps to fit effectively alongside the film’s narrative.

Despite the story not quite reaching the heights it could in terms of humour and emotion, I do really like many of the film’s ideas. As the film’s themes of letting-go of your childhood and growing-up are interesting, and have been explored well before in a variety of Pixar and DreamWorks animated classics. However, ‘Unicorn Store’ seems to not place much emphasis on these ideas aside from a few lines of dialogue from ‘Kit’ herself. Initially, ‘Unicorn Store’ was supposed to be directed by Miguel Arteta, best known for his romantic drama: ‘The Good Girl’ from 2002, and although I don’t think this director would’ve done an exceptional job with the film. I do feel he could’ve explored these themes better, and possibly even made the film more engaging when it comes to its characters, as this was always one of the stronger aspects of his previous works.

In the end, ‘Unicorn Store’ was pretty much what I expected it to be, whilst I could be a little biased due to my distaste of Brie Larson (mostly as a person rather than as an actress). The film simply isn’t that entertaining throughout, with its bland cinematography and lighting, in addition to some of its irritating characters and mediocre story. ‘Unicorn Store’ just isn’t worth it’s time when there’s plenty of other fantastic films currently available to watch on Netflix. Overall, a low 4/10 for this one.

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Kong: Skull Island (2017) – Film Review

Jordan Vogt-Roberts directs his first major film with ‘Kong: Skull Island’, another reboot of the iconic monster this time set within a different time-period and featuring plenty of vibrant visuals. Resulting in ‘Kong: Skull Island’ being a pretty entertaining monster flick overall, despite the film still being plagued with a range of issues throughout its two-hour runtime.

Plot Summary: Shortly after the Vietnam war in 1973, a team of scientists explore an uncharted island in the Pacific, without knowing it, they soon venture into the domain of the mighty ‘King Kong’, and must fight their way through an onslaught of dangerous creatures to escape the deadly: ‘Skull Island’.

Just from a quick glance at the film, it’s obvious that the film takes heavy inspiration from the war epic: ‘Apocalypse Now’ when it comes to its visuals, which is by no means a bad thing, as ‘Kong: Skull Island’ really embraces its 1970s time-period. Making every set, costume and piece of military equipment fit well within the world the film builds-on, which really gives some style to what could’ve just been your standard action-blockbuster.

The all-star cast of Thomas Hiddleston, Brie Larson, Samuel L. Jackson, John Goodman, Corey Hawkins, Tian Jing, Thomas Mann, Toby Kebbell and my personal favourite, John C. Reilly, are all decent in their respective roles despite their characters not being given much depth beyond a few short scenes, as due to the enormous size of the cast, many characters end-up becoming nothing more than clichés through their rushed introductions. Aside from Samuel L. Jackson and John C. Reilly as ‘Preston Packard’ and ‘Hank Marlow’ however, as both of their characters receive the most development and play into the film’s main theme of the damage war can have on the mind, which I personally found very interesting and wish the film explored further. Rather than focusing so much on many of the awful comedic moments the film crams into the story, which aside from a few improvised lines from John C. Reilly, fall mostly flat.

The cinematography by Larry Fong is fairly creative throughout the film, as in addition the film’s very ranged colour palette. ‘Kong: Skull Island’ does have an array of visually interesting shots, many of which contain plenty of movement and give the viewer some stunning views of: ‘Skull Island’. The cinematography also lacks many of the shots that made the ‘Godzilla’ remake from 2014 so impressive as a creature-feature, that being shots that display the true scale of: ‘Kong’, yet the lack of these shots may also be due to the ‘Kong’s ever-changing size, which did begin to irritate me after a while, despite ‘Kong’ still manging to feel pretty imposing and powerful throughout the film.

The original score by Henry Jackman does help to make-up for this however, it being of his better scores in my opinion. As throughout the narrative, the soundtrack always adds to the adventurous tone of the film, utilising large tribal drums to give each character’s confrontation with ‘Kong’ genuine weight. The film also uses a number of classic songs from the 70s to further push the film’s time-period, and whilst this does sometimes work effectively, with an early helicopter scene featuring the iconic: ‘Fortunate Son’ being the most memorable. It can also feel very forced at points, mostly due to the sheer amount of songs featured within the film.

One of the film’s best aspects, and most likely the main thing most viewers will gravitate towards when it comes to ‘Kong: Skull Island’, is its action scenes. As throughout the story, the film constantly throws its characters into plenty of intense encounters with the terrifying (and equalling unique) creatures of the island, and whilst the film does have a few too many scenes which feel overly-cheesy due to an overreliance on slow-motion. Each action set-piece is entertaining in its own way, usually making effective use of each monster’s various abilities and their surrounding locations. My personal favourite definitely being the sinister and brilliantly designed: ‘Skullcrawlers’, ‘Kong’s main adversaries. All of these creatures are obviously displayed through the film’s CG effects, which are decent enough throughout the runtime, yet certainly aren’t flawless.

Overall, ‘Kong Skull Island’ is pretty enjoyable, as whilst filled with a variety of problems, mainly in regards to the film’s weak characterisation and fairly simplistic story, the film still manages to be exciting through its fantastic use of CG effects and thrilling action scenes, all backed-up by a great original score and a constructive use of the 1970s time-period. A low 7/10 for: ‘Kong’, although undeniably in need of some improvement, I feel you can still get something out of this one.

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This Year in Film (2019) – Film List

Personally, I feel this year in film has been a bit of a mixed-bag, as while I do feel we’ve had our fair share of great films this year, I also feel we’ve had plenty of disappointing entries as well. Obviously, I haven’t had the chance to see every film this year, and I will most likely update this list as time goes on. But for now, in no particular order, here are my thoughts on a variety of films I saw this year…

Joker

Without a doubt one of my favourite films of the year, ‘Joker’ directed by Todd Philips (The Hangover, Old School, War Dogs) is an interesting take on the comic book genre. Focusing more on being an engaging character piece with themes of untreated metal illness rather than your usual barrage of CG action and explosions, all shown through some beautiful cinematography and an eerie original score.

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Knives Out

Director Rian Johnson proves himself a brilliant filmmaker once again after his smash-hit: ‘Looper’, as although I personally wasn’t an enormous fan of: ‘Star Wars: The Last Jedi’. I knew this director had talent elsewhere, and this was proven to me by ‘Knives Out’. A hilarious and clever twist on the classic murder mystery, with some great performances from the huge cast, plenty of plot twists and a well-written narrative. I feel you’d struggle not to enjoy ‘Knives Out’.

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In the Tall Grass

One of many Steven King adaptations from this year, ‘In the Tall Grass’ comes to us from ‘Cube’ director Vincenzo Natali, and with that sci-fi classic being a personal favourite of mine, I had high-hopes for this Netflix thriller despite its somewhat weak source material. However, as the runtime continued on, I soon realised the film was far more interested in attempting to explain its bizarre and messy plot rather than experiment with any of its unique ideas.

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Marriage Story

Standing out mostly for the fantastic performances from the all-star cast of Adam Driver and Scarlett Johansson, director Noah Baumbach takes on this wonderful story of a couple broken apart by relationship troubles and long distances, which, despite not being anything outstanding in regards to filmmaking, still manages to be entertaining, emotional and very enjoyable from start-to-finish.

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The Silence

Easily one of the worst films I’ve seen this year, ‘The Silence’ directed by John R. Leonetti, mostly known for the awful: ‘Annabelle’ and ‘Wish Upon’. Is another generic horror with weak performances, dreadful CG effects and a plot which feels as if it’s been ripped straight from: ‘A Quiet Place’ released back in 2018.

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Haunt

Although the plot of a group of teens heading into a haunted house on Halloween only to get more than they bargained for may initially sound incredibly over-done, ‘Haunt’ is actually one of the hidden gems of the year in my opinion. Utilising some visually impressive sets and lighting in addition to an array of tense moments and creative ideas, the film is certainly one of the better horrors/thrillers from this year despite its issues.

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Le Mans ’66 (Ford v Ferrari)

After directing one of my favourite films of 2017: ‘Logan’, director James Mangold now takes on the real-life story of the creation of one of the fastest race cars ever built in order to win the iconic: ‘Le Mans ’66’. Featuring some excellent performances from the main cast in addition to some great cinematography and high-fueled racing scenes, ‘Le Mans ’66’ is a true thrill-ride of a film.

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Toy Story 4

‘Toy Story 4’ is definitely one of the most disappointing films of the year for me, as the original ‘Toy Story’ trilogy is (in my opinion) near perfect, and this film seems to do nothing but continue the story for the sake of it. As although the animation is incredible throughout the film, and the performances and original score are also pretty great, the narrative and character-arcs simply let the film down and make it the weakest of the ‘Toy Story’ series for me.

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I Am Mother

This slick science fiction thriller had me excited for quite some-time leading up to its release. However, when I eventually watched: ‘I Am Mother’ I found myself a little disappointed. As the beautiful visuals and solid sci-fi soundtrack are sadly let down by a drawn-out and sometimes bland story. As while not boring by any means, I felt the film was a bit of wasted potential overall.

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It: Chapter 2

Director Andy Muschietti returns to once again bring the demonic clown: ‘Pennywise’ to life in this sequel to the ‘It’ remake from 2017. This time around however, I personally found the film to be a bit of a letdown. As although there were plenty of entertaining scenes and great character moments throughout the film’s extremely long runtime, there were also plenty of ridiculous moments alongside the barrage of enormous CG monsters.

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Crawl

Going off the initial reviews, I originally had high hopes for: ‘Crawl’, hoping it would be an extremely tense, edge of your seat kind of experience. But unfortunately, the film felt like a mostly standard thriller by the end of its runtime. Having nothing more than a few tense scenes and a couple of effective jump-scares to make up for its mediocre CG effects and mostly dull characters.

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Yesterday

Whilst definitely not on the same level as many of the others films from director Danny Boyle’s catalogue, ‘Yesterday’ was still a pretty entertaining feel-good comedy which I felt had an enjoyable upbeat tone, and enough likeable characters to carry it through many of its cheesy moments and sometimes overly predictable story.

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The Platform

Definitely a futuristic thriller fans of: ‘The Belko Experiment’ should check out, ‘The Platform’ is just as violent as it is suspenseful, as this Spanish sci-fi thriller deals with a variety of dark themes and ideas, all whilst keeping the viewer engaged through its interesting plot, decent performances and surprising turns.

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Aladdin

This year’s first entry from the usual barrage of pointless live-action Disney remakes: ‘Aladdin’ is exactly what I expected it to be. The classic story most know and love but incredibly dulled-down, trying to capture the adventure of the original film through an enormous amount of CG visuals, nostalgia and a new cast lead by Will Smith which are all rather bland.

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The Hustle

Although I may not have been the target audience for: ‘The Hustle’, judging by the dreadful reviews from critics and audiences alike, it seems as if I wasn’t alone in finding this comedy just as bland as it was unfunny, with many of the jokes feeling extremely lazy as the film takes all the obvious hits anyone would expect at Anne Hathaway and Rebel Wilson without attempting much else in terms of humour.

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Velvet Buzzsaw

Despite ‘Velvet Buzzsaw’ not quite being the hilarious, gory and extremely weird horror/comedy I was initially hoping for, in addition to going off the back of director Dan Gilroy’s other film: ‘Nightcrawler’ (which is one of my all-time favourites). I still found the film interesting enough throughout its story to keep me watching, despite it not being overly memorable in its entirety.

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Avengers: Endgame

Marvel finally bring their enormous franchise of superhero flicks to an end (for now that is) with ‘Avengers: Endgame’, a blockbuster spectacular which gives many viewers the conclusion they’ve been desiring for many years, and although it isn’t one of my personal favourite Marvel films, I enjoyed: ‘Avengers Endgame’ for what it was. As the film provides some endings for characters alongside plenty of comedic moments, fan service and thrilling action set-pieces.

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Dolemite Is My Name

Based on the real-life story of Rudy Ray Moore, Eddie Murphy makes his awaited return to film after a long break. As this brilliant comedy/drama makes all the right moves to keep its audience engaged within its story through plenty of humour, style and emotion throughout its runtime.

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Jumanji: The Next Level

A sequel to ‘Jumanji: Welcome to the Jungle’ from 2017, as well as the original: ‘Jumanji’ from 1995. ‘Jumanji: The Next Level’ is very similar to the previous instalment in regards to its tone and story (with some elements mixed-up of course) and despite some humour and story moments going a little too over-the-top for my taste. The film is still enjoyable enough for those seeking another fun family adventure from this franchise.

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Godzilla: King of the Monsters

Unable to actually decide what I thought of the film initially, ‘Godzilla: King of the Monsters’ is a true mixed-bag of a blockbuster, having some fantastic monster action with flawless CG effects and a surprisingly ranged colour palette be completely bogged down by weak characters, cheesy moments and at points, a very messy story.

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Once Upon a Time… in Hollywood

Director Quentin Tarantino returns to the silver screen once again with ‘Once Upon a Time… in Hollywood’. Bringing us a slight subversion of some of his usual film tropes, to focus more on a story of a man seeking his return to fame in Hollywood, all shown through some beautiful cinematography and an excellent 1960s soundtrack.

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Terminator: Dark Fate

Of all the franchises dragging themselves out in an attempt to drawn-in whatever loose profits still remain, ‘Terminator’ has been by far the worst, with ‘Terminator: Dark Fate’ only further proving this. Being extremely bland and cliché throughout, this time-travelling sci-fi series truly feels as if it’s got nothing more to offer, even with a talented director at the helm and James Cameron back on-board as a producer, this franchise is now really just a shadow of its former-self.

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John Wick: Chapter 3 – Parabellum

In another one of this year’s biggest disappointments, ‘John Wick: Chapter 3 – Parabellum’ is the third entry in the ‘John Wick’ series, which sadly, leaves a lot to be desired. As many of the trilling and well-executed action scenes are dragged down by a messy and uninteresting story, as well as a variety of extremely out-of-place comedic moments.

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Star Wars – Episode IX: The Rise of Skywalker

Arguably the most disappointing film of the year for many, ‘Star Wars: The Rise of Skywalker’ attempted to close the enormous legacy of the ‘Star Wars’ saga, which unfortunately failed quite miserably. As overly fast-pacing and an extremely messy (and unsatisfying) narrative really dragged the film down despite its fun moments and exciting action scenes, further proving that this franchise needs a long-rest before it’s inevitable return.

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Spider-Man: Far From Home

Most likely my favourite Marvel film of this year, ‘Spider-Man: Far From Home’ hardly breaks new ground when it comes to superhero flicks. But the main cast’s great performances mixed with plenty of exciting action and a surprisingly interesting antagonist, leave ‘Spider-Man: Far From Home’ an enjoyable and mostly faithful comic book adventure for the iconic web-head.

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The Lion King

The second of this year’s live-action Disney remakes: ‘The Lion King’ directed by Jon Favreau, is definitely one of the worst in my opinion, as although the film’s CG visuals are nearly flawless, the film simply lacks any of the charm, heart and overall personality of the original film. Resulting in the remake being nothing more than an overall boring experience.

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Little Monsters

Although the film is help-up by some strong performances and some interesting ideas, ‘Little Monsters’ never manages to break the structure of your usual zombie film. Coming-off as an occasionally fun yet mostly bland horror/comedy, which is just as predictable as it is dull, despite many of its decent comedic moments.

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Serenity

Whilst I personally didn’t dislike ‘Serenity’ as much as many others, the film still suffers from a variety of issues. As director Steven Knight attempted to achieve something very different with this film, which at some points works quite well, and at others doesn’t work at all. As many of the unusual performances and can really drag down the film’s great cinematography and editing.

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Fractured

Overly predictable and formulaic, ‘Fractured’ focuses on the potentially compelling narrative of a father’s family mysteriously disappearing within the walls of a hospital, yet despite its few effective scenes, ‘Fractured’ soon ends-up feeling like a path nearly every-viewer has been down before. Resulting in the film becoming just another forgettable Netflix Original.

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The Lighthouse

Despite my dislike of director Robert Egger’s other film: ‘The Witch’ back in 2016, ‘The Lighthouse’ had me gripped to the screen throughout its runtime. As the film’s black and white colour palette along with it’s eerie original score and intriguing story, leave the ‘The Lighthouse’ a film that’s just an interesting to discuss as it is to watch.

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Parasite

I went to experience Korean director Bong Joon Ho’s ‘Parasite’ mostly due to its outstanding reviews rather than due to its trailers (which I personally found quite poor). But yet, with some absolutely gorgeous cinematography and brilliant performances, ‘Parasite’ is now definitely up-there with some of my personal favourite foreign flicks such as: ‘Oldboy’, ‘Veronica’ and ‘The Host’, in addition to possibly being my favourite release of this year.

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Captain Marvel

One of the blandest Marvel films I’ve seen for a while, ‘Captain Marvel’ focuses far too much on pushing on themes of strong female empowerment that it forgets to actually create a likeable protagonist or an interesting origin story, making the film overall feel simply forgettable more than anything else.

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Zombieland: Double Tap

Surprisingly, Zombieland: Double Tap’ was more enjoyable than I was initially expecting. As while far from as memorable or as enjoyable as the original for me, there were more than a few moments of humour between the cast that had me laughing, despite the film’s tone going even more over-the-top than before.

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The Irishman

Iconic director Martin Scorsese (Taxi Driver, Goodfellas, The Wolf of Wall Street) returns to bring us another tale of crime and regret with ‘The Irishman’, and while the over three-hour-long runtime can definitely make the film drag at points, the brilliant performances and phenomenal filmmaking are sure to keep those paying attention engaged for the majority of the film’s runtime.

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Us

Director Jordan Peele’s follow-up to his 2017 smash-hit: ‘Get Out’, was a far-cry from excellent for me. As despite the brilliant reviews, I personally found the film’s story to be bloated with rushed ideas and ridiculous scenes, all adding up to a horror flick that placed more focus it’s themes than it’s narrative. Resulting in a film which was just as inconsistent with its tone as it was with its story.

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Hellboy

The latest superhero to get his own remake is the iconic: ‘Hellboy’, with the remake this time falling far, far from the mark. As a ridiculously messy story mixed-with poor CGI effects and dreadful comedic moments, leave the film pleasing no-one, despite David Harbour’s decent performance as the horned anti-hero.

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1917

Made to appear as if it was filmed entirely within one shot, ‘1917’ is a brutal, gripping and engaging story involving two soldiers who set-off in a race against time to save thousands of men from a doomed battle, and while not flawless, the film is definitely impressive for both it’s narrative and filmmaking.

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Fighting with My Family

Directed by actor and comedian Stephen Merchant, ‘Fighting with My Family’ is a light-hearted British comedy-drama based on the true story of WWE wrestler: ‘Paige’ portrayed extremely-well throughout the film by Florence Pugh, and despite a few cringy scenes, ‘Fighting with My Famly’ was a huge surprise for me. As a very investing story and some brilliant moments of humour leave the film a genuinely enjoyable experience that seemingly went under most people’s radars upon its intial release.

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Jojo Rabbit

Heartfelt, emotional and brimming with comedic charm, ‘Jojo Rabbit’ is another one of my favourites from this year. Being a completely different take on the war genre by giving the audience a new view of the events of the Second World War through the eyes of a child. All under the excellent direction of Taika Waititi (What We Do in the Shadows, Hunt for the Wilderpeople, Thor: Ragnarok).

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Missing Link

From Lakia animation studio, the production company that brought to life many of my favourite stop-motion animated films, such as: ‘Coraline’ and ‘Kubo and the Two Strings’ comes another fun family adventure. Shame this one couldn’t have done better at the box office, as the film is wonderfully put together, featuring plenty of humorous moments alongside the great voice acting and beautiful animation.

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Ready or Not

One of the most surprising films of the year for me, ‘Ready or Not’ may have your usual cliché plot for a modern horror, but somehow the film manages to carry it through. Managing to be extremely funny, gory and fun throughout nearly the entirety of its runtime.

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Doctor Sleep

The long-awaited sequel to Stanley Kubrick’s classic: ‘The Shining’, ‘Doctor Sleep’ attempts to continue the story of the ‘Overlook Hotel’, and does so with mixed results. As although the film does pay plenty of the respect to the original film, I couldn’t help but feel the film doesn’t stand on its own very well, having a mostly predictable story with some pretty bland characters within its nearly three-hour runtime.

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Child’s Play

From the producers of the ‘It’ remake from 2017, this reimaging of the horror classic: ‘Child’s Play’ does have some great elements, such as some hilarious scenes of dark comedy, gory and creative death scenes and even a pretty memorable voice performance by Mark Hamill as the iconic killer doll: ‘Chucky’, and yet, the film never quite manages to escape its remake roots and goofy original idea, usually feeling more unnecessary than anything else.

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Wounds

Regardless of its atrocious reviews from both critics and audiences, I actually quite enjoyed: ‘Wounds’. As although this psychological horror may have some bland cinematography and an overreliance on jump-scares at points, the film’s weirdly unique narrative and main performance by Armie Hammer simply won me over by its end, despite the film being nothing that memorable in the long-run.

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Pet Sematary

In this new remake of Steven King’s classic novel, Jason Clarke and Amy Seimetz portray: ‘Louis’ and ‘Rachel Creed’ a couple who move to rural Maine only to soon discover a mysterious burial ground hidden within the woods near their new home, and aside from the dark and interesting plot the film provides. ‘Pet Sematary’ is nothing more than a bland jump-scare fest with little focus on building character or atmosphere.

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I Lost My Body

This unique animated French film co-written by the writer of the beloved: ‘Amélie’, is very charming and beautifully crafted throughout the entirety of its tight runtime, with a variety of stunning shots and plenty of creative ideas, ‘I Lost My Body’ is certainly worth a watch despite being overshadowed by many other films released this year.

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Uncut Gems

After many poor attempts at comedies in recent days, Adam Sandler gives one of his best performances in years with ‘Uncut Gems’, portraying a shady jeweller who’s actions and consequences carry the film brilliantly from start-to-finish, despite the film’s shaky cinematography and bizarre original score being a little distracting at points.

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Midsommar

Although I quite enjoyed: ‘Hereditary’, director Ari Aster’s first film from 2017, ‘Midsommar’ was most certainly not for me. Feeling far too pretentious at points with a slow-paced narrative and weak characters, the film’s unique ideas and attractive visuals simply couldn’t save from becoming the boring experience it eventually ended-up being for me, with the exception of another excellent performance by Florence Pugh from this year.

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Unicorn Store

Led by a mediocre and sometimes irritating performance by Brie Larson, ‘Unicorn Store’ attempts to be a fun, colourful and heartwarming tale of a grown woman letting-go of her childhood. Yet unfortunately, the film falls far off the mark for most of these goals, as ‘Unicorn Store’ is more dull and forgettable than the whimsical tale it set-out to be.

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Scary Stories to Tell in the Dark

Whilst I definitely would’ve preferred an anthology-type structure when it comes to an adaptation of the ‘Scary Stories to Tell in the Dark’ book series, this Guillermo del Toro produced horror does still have some entertainment value, and I could see the film being very appealing to younger viewers desiring a gateway into the genre.

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The Kid Who Would Be King

A decent fantasy adventure for families, ‘The Kid Who Would Be King’ directed by Joe Cornish (Attack the Block) definitely has some areas in need of improvement. As the film is brimming with cheesy moments and a very out-of-place original score. Despite this however, the film still manages to utilise its fun story and exciting action scenes to the best of its advantage, resulting in an entertaining if not perfect family flick.

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