Film Blog

About Time (2013) – Film Review

/ Joe Baker / 1 Comment

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, it’s a shame that the film barely touches upon the great deal of consequence time-travelling can have, as scenes focusing on time paradoxes and 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 also great, as each member of the cast serves an important purpose within the narrative whether big or small. But, it’s 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 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-travelling 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 straightforward 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, all of 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 romantic 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.

In summary, ‘About Time’ is enjoyable, it just doesn’t quite live up to its interesting ideas or nearly two-hour runtime. 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 and colour palette simply can’t be ignored, and even though 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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The Invitation (2015) – Film Review

/ Joe Baker / 2 Comments

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 audience’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 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 underlying 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, it’s 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 cosy 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 between them.

Spoilers ahead in this section for those who wish to go in blind. But, when it’s finally revealed that the goal of the dinner party is to murder all the guests present for the purpose of pleasing 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 groups, with the two most obvious influences being ‘Heaven’s Gate,’ and, of course, Charles Manson and ‘The Manson Family.’

In summary, ‘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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Hotel Artemis (2018) – Film Review

/ Joe Baker / 1 Comment

Easily one of the most overlooked and commercially underwhelming films of 2018, ‘Hotel Artemis’ is one of those rare releases that feels very unsuited to the genre it’s actually a part of, as whilst this enclosed story set within the walls of an illegal hospital is certainly interesting, ‘Hotel Artemis’ also bizarrely serves as a science fiction flick. Boasting plenty of futuristic technology alongside its snappy dialogue, charismatic performances and gorgeously designed central location, it’s just a shame that this neo-noir thriller doesn’t always know what to do with the above.

Plot Summary: In the riot-torn, near future of Los Angeles, 2028. Disgruntled thieves and criminals make their way to ‘Hotel Artemis,’ a secret members-only hospital operated by ‘The Nurse,’ a no-nonsense doctor who tends to their injuries under the condition that anyone who enters the hotel sticks to the set rules. But, after ‘The Nurse’ receives word the notorious crime lord; ‘The Wolf King,’ is in bound with a gunshot wound, ‘The Nurse’ is forced to break her own rules as the hotel is thrown into violent chaos…

Written and directed by Drew Pearce, ‘Hotel Artemis’ is actually Pearce’s directorial debut, as before this film Pearce had exclusively worked as a screenwriter, writing blockbusters, such as ‘Iron Man 3’ and ‘Mission Impossible: Rogue Nation,’ as well as the ‘Fast and Furious’ spin-off; ‘Hobbs & Shaw,’ later down the line. This might explain why ‘Hotel Artemis’ is as compellingly written as it is, as in spite of its quick pacing and very limited number of locations, the film manages to squeeze a fair amount into its extremely tight runtime, exploring some of the world outside of the hotel in addition to developing many of the hotel’s criminal inhabitants, all the while, the film remains tense as a result of the interactions between the characters and the impending arrival of ‘The Wolf King.’

Jodie Foster leads the cast as ‘The Nurse,’ her first acting role since the sci-fi film; ‘Elysium’ in 2013, and her all too rare screen presence is a pleasure to see again, as she gives a convincingly mournful performance, portraying ‘The Nurse’ as an elderly women refined to the sanctuary of her work following the tragic death of her son. Then there are also the criminals, assassins and thieves (and hotel security), portrayed by Sterling K. Brown, Sofia Boutella, Dave Bautista, Charlie Day, Zachary Quinto and Jeff Goldblum, who are all enjoyable to watch as the various scum of the futuristic Los Angeles, and all receive a fair amount of development although many characters don’t receive a payoff.

The film’s greatest strength is without a doubt its setting, as the penthouse floor of ‘The Artemis’ is rich with atmosphere as the hotel’s set design and set dressing is reminiscent of the art deco style of hotels of the 1930s, almost giving the impression its a building from day’s past. From the velvet cushions to the green slightly teared wallpaper, ‘Hotel Artemis’ is a very memorable location, it’s just unfortunate the film attempts to weave in sci-fi wires and screens, etc. The cinematography by Chung-hoon Chung also greatly adds to the film’s visuals, as the film keeps its shots and colourful lighting as diverse as possible and avoids utilising too much hand-held camerawork.

Cliff Martinez’s original score is another superb element of the film, as the soundtrack features plenty of noteworthy tracks, like ‘It Smells Like Somebody Died in Here,’ ‘Hands Off the Gooch,’ ‘I Only Kill Important People’ and ‘Don’t Cross My Line,’ all of which elevate both the tension and style of the film. ‘Hotel Artemis’ also integrates a few songs from the 1970s, such as ‘California Dreamin’ and ‘Helpless,’ which whilst catchy, further adds to the idea of the film seeming out-of-place as a science fiction flick, but then I suppose without the link to that genre we wouldn’t have the rest of this fantastically computerised score.

As mentioned many times before, the biggest flaw of ‘Hotel Artemis’ for me is its near future setting, as due to many of the film’s characters feeling like modern-day criminals in their actions and personalities, it soon becomes clear that with just a few small alterations the entire narrative could really be switched to fit within a modern time-period, making the sci-fi aspects ultimately pointless. However, with the idea of a hotel for criminals already being explored with the ‘Continental Hotel’ in the ‘John Wick’ series, it’s possible that these characteristics were introduced as a way of avoiding too many similarities with that franchise.

In summary, whilst some characters may not quite get the resolution they deserve and a number of concepts do feel undercooked, ‘Hotel Artemis’ is still a tense and engaging story with many exciting moments of action in-between. Although I personally would only recommend the film to viewers who specifically enjoy intense sci-fi-thrillers, it is a pity that ‘Hotel Artemis’ mostly received lukewarm reviews and was an utter box-office failure, because there is clearly a level of effort put into the film, and I do feel it’s worth a watch should it seem appealing. Final Rating: low 7/10.

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Escape Room (2019) – Film Review

/ Joe Baker / 1 Comment

Divertive yet still rather thrilling in parts, ‘Escape Room’ directed by Adam Robitel (The Taking of Deborah Logan, Insidious: The Last Key) fails to unlock much of the potential in its premise, eventually devolving into what is simply scene-after-scene of the film’s characters solving puzzles in a number of themed rooms whilst on a strict time-limit. Yet, depending on what you desire to see from a modern thriller, this may be enough to serve a passing diversion, as the film chooses to just ignore its lack of realism and originality in favour of distracting its audience through creative set design and tense fast-paced sequences.

Plot Summary: When six strangers are each sent a mysterious black puzzle box withholding an invitation to an immersive escape room, they all make their way to the ‘Minos’ facility on the promise of being able to win a fortune should they escape. But, after entering what seems to be the building’s waiting area, innocent fun soon turns into a deadly game as the group discover that each room thy enter is actually an elaborate trap…

From a mere mention of the film’s plot, the ‘Saw’ and ‘Cube’ franchises are understandably the first two things that come to mind. As, in many ways, ‘Escape Room’ is effectively just a far less violent version of those familiar setups, with a character heading into a room only to be greeted with a convoluted trap that will result in their death should they not escape it. And, while ‘Escape Room’ does contain at least a couple of sparks regarding something original, the film is also far from subtle in both its storytelling and dialogue, with plenty of cheesy lines, implausible events and characters’ backstories being shown through literal flashbacks.

Taylor Russell, Logan Miller, Jay Ellis, Tyler Labine, Deborah Ann Woll and Nik Dodani all give passable performances as the main group of characters forced into a twisted game. Their actual characters, however, are possibly the film’s biggest missed opportunity, as whilst a few of the characters do receive development early on in the narrative, its quickly becomes clear as to which characters the film is favouring, making it easy to predict who is going to live, and who is going to die. But, if the film would’ve managed to better balance its characterisation, then not only would the story have been more compelling, but this would’ve kept the viewer constantly guessing as to who could go next.

Aside from one or two wide shots when the group first enter a new room, the cinematography by Marc Spicer is mostly uninspired, never really attempting to integrate any incredibly innovative or unique shots. Still, the cinematography does serve its purpose for the most part, backing up the story without ever relying too heavily on the use of hand-held camerawork or overly choppy editing. Additionally, the film’s CG effects (as sparsely used as they may be), are serviceable but not much else beyond that.

Contrarily, the original score by Brian Tyler and John Carey is fairly inventive, as the pulsing and suspenseful electronic score utilises everything from ticking clocks to power tools, representing the time-pressed characters and the constantly changing environments from which they are trying to escape. This means tracks, such as ‘Coaster’ and ‘Testing Your Limits,’ massively help to build tension, whereas moody tracks, like ‘The King of Trading’ and ‘Let the Games Begin,’ feel more sci-fi and atmospheric in nature. The film’s main theme, simply titled; ‘Escape Room,’ even receives a dubstep-like remix by musicians ‘Madsonik’ and ‘Kill the Noise,’ which plays over the film’s stylised end credits.

The film’s set-design is possibly its best aspect, as rather than going for the bog-standard look of libraries and basements for the basis of each room, the film explores an array of diverse environments for its puzzles. From a snowy log cabin, complete with a grand mountain vista, to an upside-down billiards bar, the film’s ever-changing locations help keep the story’s signature concept feeling fresh. Many of the rooms also relate to the character’s traumatic backstories, the first room, for example, is essentially a giant oven which will burn the group alive should they not escape, this mimics ‘Amanda’s backstory, who was badly burned after she barely survived an IED explosion while serving her country.

In summary, not only is ‘Escape Room’ similar to the ‘Saw’ series in terms of its story and setup, but, unfortunately, also in terms of its franchise potential, as its pretty obvious from the film’s extremely forced ending that Sony Pictures wanted their own low-budget horror/thriller franchise as an easy way to gain profit, and riffing on an already iconic series is a trouble-free way to achieve this. So, although it’s set-design and original score are admirable, in addition to a large majority of the filmmaking ‘Escape Room’ has on display being above-average, if not better, the film definitely has its share of problems, and, in my opinion, isn’t worthy of an entire film series. Final Rating: 5/10.

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A Monster Calls (2016) – Film Review

/ Joe Baker / Leave a comment

Based on the novel of the same name by Patrick Ness and directed by J. A. Bayona (The Orphanage, The Impossible, Jurassic World: Fallen Kingdom), 2016’s ‘A Monster Calls’ is far from being the simplistic creature-feature its title may imply. Instead, this imaginative and soul-stirring drama balances its mature themes and fairytale-esque elements to deliver an engrossing and incredibly moving story, which despite its many positive reviews, has mostly gone unmentioned by many film fanatics since its initial release.

Plot Summary: After realising his mother is dying from terminal cancer, twelve-year-old ‘Conor O’Malley’ struggles to accept that he soon may have to live in a world without his caring mum. Until, later that night, when ‘Conor’ is visited by a tree-like monster in what he believes to be a dream, ‘Conor’ sees an opportunity to save his mother as the creature tells the boy he will heal her after he listens to his three stories…

Focusing on heavy themes of family and loss, the film adaptation of ‘A Monster Calls’ follows its source material very closely, with only a few small differences. One of these alterations being some additional scenes that were written exclusively for the film, including one scene that takes place immediately after the ending of the novel. But, with the original author Patrick Ness writing the film’s screenplay, this accuracy shouldn’t be too surprising. However, interestingly, it wasn’t Ness who originated the story, as the novel was actually started by Siobhan Dowd, who, sadly left it unfinished after her death, leaving Ness to complete the novel in 2011, yet Dowd is still credited as the creator of the original idea during the film’s end credits.

While the film’s supporting cast of Felicity Jones, Sigourney Weaver, Toby Kebbell, and Liam Neeson as the voice of ‘The Monster,’ are all superb in their various roles, its Lewis MacDougall who takes on the lead role as ‘Conor’, which is by no means an easy feat considering his age, as ‘Conor’ is a fairly complex character, being a young boy dealing with a very difficult situation he doesn’t fully understand, unwilling to accept that is mother is in constant pain, and more than likely, won’t be able to recover from her sickness. ‘Conor’s young age also makes his outbursts of rage and sorrow more understandable, as nearly every viewer can probably recall the difficulty of attempting to control their emotions when they themselves were a child. The now-sought-after actor Tom Holland also has a small role in the film, as Holland actually served as the stand in for ‘The Monster’ on set, following his previous collaboration with Bayona on ‘The Impossible’ in 2012.

The film’s cinematography by Oscar Faura not only manages to capture the true scale of ‘The Monster’ at many points, but also allows for a large array of visually appealing shots, effectively utilising everything from extreme close-ups to aerial wide shots to increase the film’s spectacle. The film’s CG effects aren’t quite as impeccable, however, as there are a noticeable amount of CGI-heavy moments which have suffered (if only slightly) from the film’s age.

Although the story of ‘A Monster Calls’ is very powerful on itself, there is no denying it is greatly elevated by Fernando Velázquez’s original score, as many of the film’s accompanying tracks, such as ‘Dad Arrives’, ‘Big Dreams’, ‘The Truth,’ and certainly the film’s final track; ‘End Credits’, all massively help to evoke emotion in the viewer, inevitably adding up to the film’s gut-wrenching conclusion. Any fans of Bayona’s early filmography are also sure to enjoy the film’s quick throwback to the director’s horror roots, as the score becomes quite dread-inducing during the first scene with ‘The Monster,’ as ‘Conor’ is unsure of the creature’s intentions.

But, without a doubt the most impressive aspect of this adaptation has to be ‘The Monster’s stories, as every time ‘The Monster’ tells ‘Conor’ these fantastical tales, the film takes a dramatic shift from live-action into animation, bringing its stories to life through water-coloured drawings and sketches, which not only plays into ‘Conor’ and his mother’s flair for artistry, but these sequences are also when the film is at its most creative, having the camera fly through splurges of paint and water, engulfing the viewer in an array of magnificent colours and locations alike.

In summary, ‘A Monster Calls’ is truly a touching and prodigious film. Whilst perhaps not completely flawless in its execution, mostly due to its unexplored side characters and occasional piece of hand-held camerawork, I feel most would find it impossible to not relate to the story in someway, as it’s sublime performances, enchanting visuals, and beautiful original score all serve their purpose of complimenting the film’s narrative, which is just as captivating as it’s novel counterpart. And, for me, ‘A Monster Calls’ still reigns as my personal favourite film from J. A. Bayona, and I’m positive the film became (and will continue to be) a showcase for Patrick Ness as a talented screenwriter. Final Rating: 8/10.

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Krampus (2015) – Film Review

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Whilst most Christmas films get across their message about how family is the true meaning of the holiday in a wholesome and light-hearted fashion, ‘Krampus’ takes quite a different approach as director Michael Dougherty (Trick ‘r Treat, Godzilla: King of the Monsters) crafts a cynical and amusing horror-comedy based around ‘Krampus,’ a creature from European folklore with origins stretching back to the days before Christianity, serving as essentially the sinister twin of jolly ‘Saint Nicholas,’ punishing those who misbehave in various odious ways. And, while the film is far from perfect, ‘Krampus’ creative ideas and impressive practical effects make the film worth its runtime.

Plot Summary: When his dysfunctional family clash over the holidays, young ‘Max’ finally decides to turn his back on Christmas, tearing up his letter to ‘Santa Claus’ in a fit of rage. Little does he know, his lack of Christmas spirit has unleashed the wrath of ‘Krampus,’ an ancient demon who punishes those who don’t celebrate the festive season. Forcing ‘Max’ and the rest of his family to fight for one another if they hope to survive…

Although there are plenty of enjoyable films out there to watch over the festive season, I usually always find myself craving something new around the Christmas period, as the cliché narrative of children helping ‘Santa Claus’ save Christmas gets very old quick. ‘Krampus’, however, does certainly attempt something new, even if it isn’t always successful. While the original outline for the film was closer to a straightforward horror, focusing mostly on ‘Krampus’ picking people off throughout ‘Max’s town, it was eventually decided to make it more of a dark retelling of a traditional Christmas film. This is why the plot is kicked off with a letter to ‘Santa,’ and why the film’s first act begins much like a family film would before then having a drastic turn towards horror and dark fantasy.

The film’s large cast of Adam Scott, Toni Collette, Emjay Anthony, David Koechner, Allison Tolman, Stefania LaVie Owen, Conchata Ferrell and Krista Stadler are all serviceable in their roles, even though many of their characters aren’t developed nowhere near enough. Additionally, ‘Tom Engel,’ a.k.a. ‘Max’s father, also has many moments where he doesn’t seem to take their life-threatening situation that seriously, almost as if he is acknowledging how bizarre the story is, which diminishes the film’s tension at points. But, with ‘Krampus’ featuring moments of humour and fright alike, the film obviously has many shifts in tone between scenes.

Jules O’Loughlin’s cinematography is nothing amazing altogether, as in spite of the film having quite a few memorable and attractive shots, there are also a large number of bland shots whenever the camera is focusing on the actors themselves. What is far more admirable though is how the camerawork enhances the film’s set design, making the audience believe that the film was shot inside a real house and outside on a real wintry street. When, in reality, over 95% of the film was shot on a soundstage, with the snow covering the ground being made from a material that’s commonly used for making nappies.

Composer Douglas Pipes handles the film’s original score, and he described his soundtrack as “A Collection of Twisted Christmas Carols With Pagan Thrown in,” as the score incorporates everything from the sounds of chains, bells, bones and animal-skin drums in addition to having choirs chant and whisper in different tongues, making for a foreboding but suitably Christmassy score. The track; ‘A Cold Wind,’ also does a phenomenal job of reiterating ‘Krampus’ as the ominous shadow of ‘Santa Claus’ through its use of sleigh bells. However, the film’s actual sound design features some incredibly strange choices for horror, as many cartoonish sound effects can be heard within the film, feeling immensely out of place every time they are.

One of the finest aspects of ‘Krampus’ as a film has to be its effects, as rather than having an overreliance on CG visuals, ‘Krampus’ brings all of its uniquely creepy creatures to life through detailed costumes and animatronics, harkening back to classic ’80s horror-comedies, like ‘Gremlins’ and ‘Fright Night.’ Many of the film’s terrifying monsters also share wonderfully horrific designs, with the final design for ‘Krampus’ and his elves being distilled from various postcards and illustrations seen over time. Or, in the case of the malevolent toys, taking inspiration from the 1992 low-budget horror, ‘Demonic Toys,’ with the angel ornament, teddy bear, robot and Jack-in-a-box that attack the family sharing many similarities to the toys seen in that obscure horror flick.

In summary, ‘Krampus’ is a rollicking ride of a Christmas film even if it isn’t quite as polished as Dougherty’s Halloween flick; ‘Trick ‘r Treat,’ as the film’s excellent practical effects, menacing creature designs and great original score all lend themselves very well to the distinctive story, despite the narrative itself often feeling like wasted potential considering ‘Krampus’ doesn’t full appear until near the end of the runtime. Regardless, this horror-comedy is still, in my opinion, the best on-screen interpretation of ‘Krampus’ and his devilish minions as of yet. Final Rating: 7/10.

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Chronicle (2012) – Film Review

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In spite of its short runtime and novice director, ‘Chronicle’ is both a unique and refreshing take on the found-footage subgenre. Diverting from the usual teen horror stories that have completely overtaken the found-footage style for a more sci-fi-esque narrative, which overcomes its gimmicky camerawork and occasionally dated CG effects through riveting moments of action, fast-paced direction and charismatic performances from its young cast.

Plot Summary: After three high school friends venture into a mysterious hole which travels deep beneath the Earth, they reemerge with incredible telekinetic abilities, with introverted; ‘Andrew.’ becoming the most powerful of the three. But, as ‘Andrew’ struggles to cope with his mother’s terminal illness and his father’s alcoholic abuse towards him, his friends ‘Matt’ and ‘Steve’ soon realise ‘Andrew’s abilities are beginning to consume him…

Directed by the infamous Josh Trank (Fantastic Four, Capone) and written by Max Landis, best known for his work on Netflix’s ‘Bright’ and ‘Dirk Gently’s Holistic Detective Agency.’ ‘Chronicle’ takes a lot of inspiration from modern superhero blockbusters, which in a way is ironic, as cast members Dane DeHaan and Michael B. Jordan would later go on to star in big-budget superhero films, with DeHaan portraying ‘Harry Osborn/The Green Goblin’ in ‘The Amazing Spider-Man 2’ and Jordan going on to portray ‘Johnny Storm’ in the ‘Fantastic Four’ remake as well as the threatening antagonist; ‘Killmonger,’ in 2018’s ‘Black Panther.’ So, for DeHaan and Jordan, ‘Chronicle’ essentially served as the jumping off point for their future careers.

Before filming actually began on ‘Chronicle,’ director Josh Trank had actors Dane DeHaan, Alex Russell and Michael B. Jordan live in a house together for fifteen days, and it’s due to this (in addition to Landis’ teenage-accurate writing) that you do feel a genuine bond between the three, as the group of friends act like real teenagers, reckless and immature yet not totally unlikeable, which was an important area to succeed in as a large majority of the story early on leans on their antics as they share banter and test how far their abilities can truly go. However, even with all three characters having quite diverse personalities, it’s ‘Andrew’ who really steals the film as a character. As, his descent into hysteria serves as a compelling character arc within the story, and is well-executed aside from one or two lines nearing the end of the runtime, which are reminiscent of a cheesy supervillain quote from an early 2000s blockbuster.

While the film’s cinematography by Matthew Jensen does begin as your standard affair for a found-footage flick, when it comes to the film’s final act it can be quite difficult to tell where (or what) the camera is actually supposed to be, as its during the final act the characters fully embrace their abilities, allowing them to fly, tear through buildings, make objects float with ease and even throw vehicles, with many of their impowered actions being seen through various CCTV footage or onlookers’ floating phones and tablets, resulting in a fairly chaotic conclusion in spite of its creativity.

Also, as a result of its found-footage style, ‘Chronicle’ lacks an original score, yet the film still features many songs through sources within the world of the film itself like radios and phones. And, while the film does have a more realistic feel because of this, the film’s constant overreliance on glitchy transitions have the complete opposite effect, as the overuse of glitches soon becomes just as irritating as it is distracting considering ‘Andrew’ is often filming through a contemporary camera.

Sadly, in the years since it’s release, much of the CGI throughout ‘Chronicle’ hasn’t aged well, as while some of the CG effects still hold up, there is such a huge number of effects seen within the film that it would’ve been difficult for all of them to remain unblemished. These dated CG visuals might also relate to the film’s budget of £8.9 million, which may seem like a large amount, but is actually quite thin when taking into account what is required of it. The film’s budget also played a part in where it was filmed, as ‘Chronicle’ was primarily shot in Cape Town, South Africa, with American designed vehicles needing to be shipped over for the production, even though the story takes place in Seattle.

In summary, whilst the film has its issues like many other found-footage flicks, ‘Chronicle’ is certainly an underappreciated entry in the subgenre, excelling in many different ways. And, since the film’s initial release, there have been plenty of rumours regarding a sequel, with Max Landis constantly being attached and then unattached as its writer. But, I think it’s pretty evident now that we’ll probably never see a sequel to this underrated science fiction story, which I believe is a good thing, as although the film does have some concepts which could be further explored, I feel the story of ‘Andrew’s psychotic downfall will always be the main focus of ‘Chronicle,’ and without his character, it would seem incomplete. Final Rating: 7/10.

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Non-Stop (2014) – Film Review

/ Joe Baker / 1 Comment

Although ‘Non-Stop’ has been heavily overshadowed by a number of other films within the thriller genre, being mostly forgotten amongst the strew of critically acclaimed films that released in 2014. I personally feel this high-altitude thriller is one of the better stories set within the confines of an aircraft, utilising Liam Neeson’s action expertise to craft a compelling mystery with occasional moments of excitement, even if the film is noticeably lacking in both realism and memorability.

Plot Summary: While on a flight from New York to London, ‘Bill Marks,’ a worn and alcoholic air marshal, receives an anonymous text message, informing him that unless one hundred and fifty million dollars are transferred into an offshore account within the next twenty minutes, someone aboard the plane will die. Now, finding himself in the middle of a deadly cat-and-mouse game, ‘Bill’ desperately searches for the suspect, unintentionally implicating himself into a hostage crisis unfolding at thirty-thousand feet…

‘Non-Stop’ is actually the second of four films directed by Jaume Collet-Serra that feature Liam Neeson, beginning with ‘Unknown’ in 2011, then ‘Run All Night’ in 2015, and lastly ‘The Commuter’ in 2018. And, whilst Collet-Serra’s other films also contain a central mystery, ‘Non-Stop’ certainly has the most interesting location of the bunch, using its tight and claustrophobic setting of an aircraft to great effect as the film never cuts away from the plane itself, even when ‘Bill’s contacts his superiors we the audience remain inside the aircraft with the characters, adding to the suspense. The film also attempts to integrate themes of airline safety and security into its story, which are intriguing though they are never fully explored, nor is the terrorist’s motivation when it’s finally revealed.

Liam Neeson leads the cast as ‘Bill Marks,’ giving his standard action film performance as a mostly straight-faced action hero. But, just as he is in the ‘Taken’ franchise and every other explosive blockbuster, Neeson is an easy protagonist to root for, and ‘Bill’ is given a fair amount of development for what is required. Julianne Moore also makes an appearance in the film as ‘Jen Summers,’ who similar to the rest of the supporting cast of Michelle Dockery, Scoot McNairy, Corey Stoll, Jason Butler Harner, Nate Parker, Omar Metwally, and Lupita Nyong’o, is given limited characterisation and is mostly in the film to serve as a potential suspect, but I suppose considering this is the basis for the story, it would’ve been an enormous challenge to development the huge array of passengers and crew aboard the flight.

The cinematography by Flavio Martínez Labiano is serviceable for the most part, as whilst the film features a few attractive shots and focus pulls throughout its runtime, the majority of the film’s camerawork focuses on hand-held shots, which aside from lending themselves effectively to action sequences and scenes where the plane experiences turbulence, do become a little monotonous. ‘Non-Stop’ also features a couple of scenes that were filmed entirely within a single take, most notably, from the moment ‘Bill’ begins his announcement to the passengers about his phone inspection, through to the moment he duct-tapes a suspect’s hands together, there isn’t a single cut.

John Ottman’s original score does suit the film well, with tracks, like ‘Non-Stop,’ ‘Welcome to Aqualantic,’ and ‘Reluctant Passenger/Blue Ribbon,’ having a nice fusion of synth sounds, percussion, strings, and brass, adding up to simplistic yet competent soundtrack. Constantly pushing or creating the tension in a simple and confined environment while simultaneously fitting with the modern set design of the plane and ‘Bill’ as a reluctant hero forced into action.

With 95% of the film taking place within an aircraft, the set for the plane itself was certainly a crucial detail to get right. Luckily, ‘Non-Stop’ does succeed here, as despite the set having to be built slightly larger than a standard commercial airliner to accommodate for equipment and Liam Neeson’s 6’4′ height. The set does feel like a real plane, having both sleek business class and first class areas as well as lavatories and a crew rest compartment, all of which are very cramped and dimly lit, as the story takes place over the course of one night. This realism is even more impressive considering that the aircraft and airline are clearly fictional, as the aircraft type is never referred to yet its cabin interior and flight deck layout doesn’t match any real aircraft design.

In summary, even though films, like ‘Red Eye’ and ‘Flightplan,’ have taken the enclosed setting of an airplane and made it work before, I believe ‘Non-Stop’ has slightly more entertainment value, as whilst some viewers may find the story’s absence of realism quite frustrating at points, the film distracts from its over-the-top ideas and bland side characters through its tense and fast-paced narrative, making for a thrilling mystery for those that can suspend their disbelief for a few elements. And, with Liam Neeson and the rest of the cast helping ‘Non-Stop’ to collect plenty of air-miles for enjoyability, I’d say the film is worth a watch. Final Rating: low 7/10.

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Moonlight (2016) – Film Review

/ Joe Baker / Leave a comment

Directed by Barry Jenkins (Medicine for Melancholy, If Beale Street Could Talk) and based on the unproduced stage play; ‘In Moonlight Black Boys Look Blue’ by Tarell Alvin McCraney. ‘Moonlight’ has been heavily praised since its initial release in 2016, being just one of the films from adored production company A24, who also brought us modern indie classics, like ‘Hereditary,’ ‘Waves,’ ‘Eighth Grade,’ ‘The Witch’ and ‘A Ghost Story,’ just to name a few. And, although ‘Moonlight’ may not be the company’s greatest film to date, it is certainly one of the finest examples of visual storytelling and subtle characterisation in recent memory.

Plot Summary: Through three different time periods, young adolescence, mid-teen and young adult, African-American; Chiron, grapples with his identity and sexuality as he grows up in Miami, his journey to manhood being guided by the kindness, support and love of the community that helped raise him…

In addition to receiving almost universally positive reviews, ‘Moonlight’ also won three Oscars for Best Picture, Best Screenplay and Best Supporting Actor in 2017. And, with the film only having a budget of around £1.1 million, ‘Moonlight’ has the lowest budget of any Best Picture winner since ‘Rocky’ in 1976, which cost only £820,000. However, even with this smaller budget, director Barry Jenkins and writer Tarell Alvin McCraney always had a clear vision as to what the film would be, as both men had similar childhood experiences living in Miami, with mothers who had both struggled with drug addiction. So, it was decided early on to replicate those experiences, with roughly 80% of the film being shot in the same neighbourhood the pair originally grew up.

Alex R. Hibbert, Ashton Sanders and Trevante Rhodes portray ‘Chiron’ across the three different time periods of his life, and all do a great job in spite of them not sharing many of the same mannerisms outside of ‘Chiron’s manner of speaking, yet this doesn’t stop the trio from still making ‘Chiron’s quiet and sheepish personality shine. The supporting cast of Mahershala Ali, Naomie Harris, Janelle Monáe and André Holland, are all also fantastic, but with all four being such skilled actors who have given few bad performances throughout their careers, it was unlikely this indie drama would ever be an exception, it’s just a shame their characters aren’t featured more within the narrative.

Despite a large amount of James Laxton’s cinematography consisting of shaky hand-held shots, the film’s camerawork does allow for plenty of movement, as the camera rarely remains still during conversations between characters, making many of the story’s dramatic moments far more visually interesting and giving each scene a consistent flow through the many revolving shots. Additionally, the film also utilises its cinematography to reflect ‘Chiron’s emotional state at many points, combining with the film’s original score for some very impactful story beats. All of this working in synch with the film’s bright colour palette and smooth editing, which both make superb use of the beautiful setting of Miami.

Another masterful and memorable aspect of ‘Moonlight’ is its original score by Nicholas Britell, as the film has a very diverse yet gentle score with tracks ranging from orchestral to more piano-focused, as Britell decided to ‘Chop and Screw’ the orchestra to create a new kind of sound, this technique can be seen throughout the tracks; ‘The Middle of the World,’ ‘Chiron’s Theme’ and ‘Chef’s Special,’ with director Barry Jenkins stating that he always wanted the film’s score to be distinctive, as he actively tried to avoid the cliché of Black-lead films featuring exclusively hip-hop soundtracks.

Much of ‘Moonlight’s story was also inspired by Barry Jenkins’ own childhood in Miami, where he was surrounded by lush green grass and stunning golden sunsets, yet also lived in a neighbourhood where some tragic events took place, declaring his childhood; “A Beautiful Struggle.” And, whilst the film’s slow pacing allows this story to be fully explored, this shouldn’t put viewers off, as the narrative doesn’t move along at a brutally slow pace, only slow enough to fully immerse its events/characters in realism. Then, of course, there is the film’s visual/minimalist storytelling, which is some of the best executed I’ve seen in a long-time, as the film hides many small visual/audio details for those paying close attention, presenting its themes of embracing yourself, addiction and masculinity in such a fashion that I feel different audience members will interpret the story in their own way.

In summary, ‘Moonlight’ is a prepossessing coming-of-age story, even if it isn’t one of the best films A24 has to offer, as while the film is still an incredibly entertaining and well-written drama with an equally well-crafted original score and some creative cinematography to boot. A24 simply has such a vast and exceptional range of indie films to choose from, as the production company is never hindered by genre, style or tone for projects they green-light. But, if you enjoy dramas or are a lover of Barry Jenkins’ other work, then ‘Moonlight’ will surely be a captivating watch followed by a fascinating discussion, just be sure to give the film your full attention. Rating: 8/10.

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Southpaw (2015) – Film Review

/ Joe Baker / Leave a comment

Raw, dramatic, and gripping, ‘Southpaw,’ released in 2015, may suffer from feeling a little too familiar at points, following an almost identical structure to many other boxing flicks, like ‘Rocky,’ ‘Warrior,’ and ‘The Fighter,’ in addition to featuring some fairly bland filmmaking. But, through Jake Gyllenhaal’s powerhouse performance alongside the story’s strong grasp on realism, ‘Southpaw’ rolls with the punches to become a mostly enthralling watch throughout its typical rags-to-riches narrative.

Plot Summary: Professional boxer; ‘Billy Hope,’ lives a life of luxury with his supportive wife; ‘Maureen,’ and their daughter; ‘Leila,’ after winning forty-three consecutive fights in a row, becoming a world-famous champion in light-heavyweight boxing. But, after the zealous contender; ‘Miguel Escobar,’ publicly challenges ‘Billy,’ a violent confrontation breaks out between the two, during which, ‘Maureen’ is fatally shot, sending ‘Billy’ down a rampant path of self-destruction. Months later, ‘Billy’ is forced back into the ring, now fighting to revive his career and reclaim his daughter from child protective services…

Directed by Antoine Fuqua (Training Day,  The Equalizer, The Magnificent Seven), ‘Southpaw’ is quite a diversion from Fuqua’s usual trend of directing action-heavy blockbusters. However, strangely, ‘Southpaw’ was originally conceived as an unofficial follow-up to the drama; ‘8 Mile,’ which was based on the real-life story of renowned rapper; ‘Eminem,’ with the rapper himself also set to return as the film’s protagonist. But, as a result of the evolution of the film’s screenplay and ‘Eminem’s music career conflicting with ‘Southpaw’s production schedule, the idea was eventually scrapped. Yet, ‘Eminem’ still has an appearance within the film having worked on the soundtrack, performing the songs; ‘Phenomenal’ and ‘Kings Never Die,’ alongside being an executive producer for the rest of the film’s music.

Jake Gyllenhaal’s performance is for most, the best element of ‘Southpaw’ as a whole, and it’s clear to see why, as Gyllenhaal makes the film far more engaging through his portrayal of ‘Billy Hope,’ displaying a huge range of emotions for the boxer from intense rage to devastating loneliness. Gyllenhaal’s performance even hints to the idea his character may be suffering from a traumatic brain injury, as early on in the film, after ‘Billy’ is brutally beaten during a fight, he struggles to have a simple conversation with his wife or answer questions from the press. Gyllenhaal has stated that he was inspired by real-world boxer Miguel Cotto, which might explain why his portrayal is so accurate. Forrest Whitaker, Rachel McAdams, and Oona Laurence are all also excellent within the film, with each character undertaking an important role within the story.

When it comes to ‘Southpaw’s editing or it’s cinematography by Mauro Fiore, the film doesn’t really allow for anything overly creative or surprising, as while many close-ups are effectively utilised for when ‘Billy’ fights his opponents within the ring, with the camera paying close attention to the sheer amount of sweat, spit and blood that protrudes from the pugilists. Most of the film’s camerawork consists of standard close-ups of character’s reactions or mid-shots of dimly-lit environments. That is, before the story travels to the Las Vegas and Madison Square Garden stadiums, which are both much larger in scale and therefore, also spectacle.

Sadly, the second-to-last film to have a score composed by James Horner. ‘Southpaw’s original score doesn’t receive too much focus during the runtime, despite being a decently emotional and impactful score even if it isn’t all that memorable. Interestingly, director Antoine Fuqua actually had no money to pay James Horner to compose the film as a result of ‘Southpaw’s budget running short. However, Horner didn’t care as he adored the film’s screenplay, and eventually (and generously) decided he’d compose the film for free.

In spite of the film pummelling it’s audience with genre clichés, I admittedly did find a few of ‘Southpaw’s story-beats engrossing. Most notably, the notion of ‘Billy’ dealing with his emotions, as the boxer faces everything from severe grief to bitter rage throughout the film, ultimately leading him to drug abuse and the eventual loss of his daughter, as I felt these personality flaws made ‘Billy’ a more realistic and in some ways relatable character, appearing as a struggling father rather than just a boxing champion who fails to beat an opponent due to his pride. The screenplay also gives the impression that writer Kurt Sutter did his research into the world of professional boxing, as the film continuously displays how unforgiving the sport can be, with ‘Billy’ receiving serious bruises/wounds after each fight, and when training, has to perform an abundance of techniques beyond just repeatedly hitting a punching bag.

In summary, although ‘Southpaw’ does have its issues and isn’t likely to become a drama recognised for generations to come, Jake Gyllenhaal’s spectacular performance certainly raises the film higher, and makes for an enjoyable time whether you’re a fanatic of sport-orientated dramas or not, with the film’s grimy realism and commentary on the harsh world of boxing (as underdeveloped as it may be) simply being extra additions to the mixture. Final Rating: low 7/10.

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