Joker (2019) – Film Review

Since even the first day of its release, ‘Joker’ has seemingly split audiences straight down the middle, being hit with numerous reviews all with varied ratings. Everything from the film’s violence to its intricate themes to especially its Oscar-nominations, have all been brought-up in recent conversation, as this film’s character-driven narrative focuses on the origins of: ‘The Joker,’ arch-nemesis of the caped-crusader: ‘Batman.’ Yet ultimately, becomes far more of an affecting and compelling drama/thriller rather than your standard superhero affair.

Plot Summary: In ‘Gotham City’ during the 1980s, mentally troubled comedian: ‘Arthur Fleck,’ is disregarded and mistreated by society. Over-time, this leads him to embark on a downward spiral of revolution and bloody crime, eventually bringing him face-to-face with his chaotic alter-ego: ‘The Joker.’

Being directed by Todd Phillips (Old School, The Hangover, War Dogs), throughout ‘Joker’ you really get the sense that Phillips truly puts his all into it, pretty much leaving behind the realm of comedy flicks entirely to craft a film which puts more of an emphasis on character and filmmaking. As every aspect of the film from its performances to it’s writing, cinematography and even original score, all feel as if they’ve been thought-over profusely. ‘Joker’ also attempts to back-up its story with plenty of thought-provoking themes of mental health and the cruel nature of modern-day society, which I feel are represented very well throughout the film, giving Phillip’s version of this iconic character more depth beyond him being a mysterious and lawless antagonist.

From ‘Joker’s laugh to his broken mental state, Joaquin Phoenix gives a true powerhouse performance as the classic comic book villain. Making the character sadistic and dangerous yet also sympathetic wherever possible, as even though ‘Arthur’ commits many horrible acts as the runtime continues on. You can’t help but feel sorry for him, being beaten relentlessly by the world he lives within. In my opinion, Joaquin Phoenix’s portrayal of this iconic character truly elevates the film as a whole, and I’d even argue is up-there with Heath Ledger’s beloved performance in ‘The Dark Knight’ many years earlier. The supporting cast of Robert De Niro, Zazie Beetz, Frances Conroy and Brett Cullen are all also great within the film, with Robert De Niro’s character: ‘Murray Franklin’ being an obvious throwback to his character from the classic Scorsese film: ‘The King of Comedy’ from 1982.

All of the cinematography by Lawrence Sher throughout the film is very impressive, which is actually quite surprising considering ‘Joker’ is shot by the same cinematographer as the rest of Phillip’s work (which all contain mostly bland shots due to their focus on comedic writing). Featuring a variety of both stunning and memorable shots throughout, ‘Joker’s cinematography does serve its narrative and dark tone very well, with the now-iconic scene: ‘Staircase Dance’ since becoming one of the most recognised and celebrated moments of 2019 pop-culture. Additionally, ‘Joker’ continues to steer-away from becoming an average superhero flick through its implementation of bloody violence, never shining away from displaying scenes of visceral murder.

Despite feeling a little unfitting during some scenes, the original score by Hildur Guðnadóttir is both very beautiful and also quite tragic. As the score really enhances the viewer’s journey into ‘Arthur’s depressing and broken state of mind. However, that being said, some of the tracks can begin to feel a little too similar over-time, with the signature track: ‘Bathroom Dance’ almost beginning to feel replicated later within the film, despite the soundtrack’s many attempts to do otherwise.

The main criticism ‘Joker’ has faced since its release has been its overreliance on borrowing elements from other films, most notably classic Martin Scorsese films such as: ‘Taxi Driver’ and the previously mentioned: ‘The King of Comedy.’ As ‘Joker’ utilises a style very reminiscent of: ‘Taxi Driver’ whilst also featuring a protagonist not too dissimilar to the protagonist from: ‘The King of Comedy,’ and while I definitely understand these complaints, I also feel many films throughout history have always borrowed elements from others, and in addition to having Martin Scorsese himself on-board as an executive producer, ‘Joker’ does include some aspects of its own making to help it stand-out.

In conclusion, ‘Joker’ certainly isn’t perfect, but I do feel the film is successful enough, as while its occasional cheesy dialogue and derivative aspects may drag the film down, its stunning cinematography and haunting original score really lend themselves effectively to the already gripping story. Not to mention Joaquin Phoenix’s captivating performance, all of which leave ‘Joker’ an impactful and refreshing origin story for this cherished comic book character. So if you’re a huge fan of this iconic antagonist or just have a fondness for character studies/intense dramas, I’d recommend you give ‘Joker’ a watch in spite of its mixed perception. Final Rating: 8/10.

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It (2017) – Film Review

Finally, after many years of waiting, horror and literature fans alike got their wishes granted as director Andy Muschietti (Mama) signed on to direct a remake (or re-adaptation) of one of Steven King’s most iconic and beloved horror stories, this of course, being: ‘It.’ And due to its excellent cinematography by Chung-hoon Chung and incredibly memorable performance from Bill Skarsgård as the demonic clown ‘Pennywise.’ ‘It’ is certainly one of the better Steven King adaptations in recent years, even with the array issues the film still suffers from.

Plot Summary: In the summer of 1989, a group of unpopular kids band-together in order to destroy a shape-shifting monster known only as ‘Pennywise,’ a creature which has been terrorising their home town of: ‘Derry’ for decades and can disguise itself as whatever it’s victim fears most…

Following the film’s incredibly successful release in 2017, ‘Pennywise’ has quickly become a modern horror icon despite only having about four minutes of dialogue in the entire film. But its easy to see why this is, as not only does ‘It’ share the familiar fun tone of classic films of the 1980s such as: ‘The Goonies’ and ‘The Monster Squad,’ but ‘It’ also manages to adapt the novel’s antagonist: ‘Pennywise’ fairly closely from the original source material, resulting in a mostly entertaining novel-to-screen transition.

The main cast of: ‘The Losers Club’ features Jaeden Martell, Sophia Lillis, Finn Wolfhard, Jeremy Ray Taylor, Jack Dylan Grazer, Chosen Jacobs and Wyatt Oleff who all share pretty great chemistry with each other, as alongside the film’s terrific writing, the children truly feel like an actual group of kids, with the group constantly cursing and sharing in plenty of quippy banter with each other. In addition to the younger cast, ‘Pennywise’ is this time around portrayed by Bill Skarsgård, and while I have always loved Tim Curry’s cheesy yet menacing portrayal of the iconic clown. Bill Skarsgård is a stand-out aspect of the film for sure. Capturing the eerie qualities of the character as well as his unworldly nature perfectly, really embracing the idea that ‘Pennywise’ isn’t just a psychotic clown, but something far stranger…

The cinematography by Chung-hoon Chung is surprisingly brilliant for a modern horror, featuring a number of attractive shots which blend extremely-well with the film’s story. The film does have one recurring shot which is quite irritating however, as during many of the scenes where ‘Pennywise’ appears to his victims, the film utilises a shot in which the sinister clown approaches the camera straight-on, sprinting directly towards the screen, and while I understand what the filmmakers were trying to accomplish with this shot, I feel it only comes-off as fatuous and looks very out-of-place when compared to the rest of the film’s visually-enthralling camerawork.

Admirable yet flawed, the original score by Benjamin Wallfisch ranges from being your typical horror soundtrack to eventually becoming more emotional for the more character-focused scenes. The main issue I take with the original score are some of the tracks which feature deep bass-like sounds, as I feel these tracks really don’t fit with the film’s tone or time-period. Regardless, the tracks: ‘Paper Boat’ and ‘Derry’ do serve the film’s story delightfully-well, with one of the film’s final tracks: ‘Blood Oath,’ also being a beautiful send-off for these characters before their inevitable return.

From ‘Pennywise’s uncanny appearance to the abandoned house ‘It’ lives within on ‘Neibolt Street,’ many of the film’s designs are also pretty memorable despite their limited screen-time. These fantastic designs are dragged-down by the film’s poor CG effects however, as the film always seems to resort to CG visuals during many of its more tense moments, which can take away from their impact. This is also where ‘It’s most substantial problem comes into play, as ‘It’ has really split audiences down the middle when it comes to its focus on horror. As while the film does have a few eerie scenes and creepy visuals, this adaptation seems to be more focused on being the coming-of-age story the novel mostly is. Although many viewers may be disappointed by this, desiring a narrative based more around the story’s darker elements, I feel the film’s distracting CG effects and constant barrage of jump-scares are made-up for by its interesting delve into its themes of childhood fears and growing-up.

In my opinion, ‘It’ is a pretty solid Steven King adaptation, as while certainly let-down by its weak CG visuals, overreliance on jump-scares and occasionally inconsistent tone, the film still is a pretty enjoyable watch throughout its two-hour runtime, mostly due to the film’s great performances and general memorability, and with ‘It: Chapter Two’ turning-out to be an underwhelming experience for most. I’d say it further proves that this film is the direction to go when it comes to adapting King’s work. Final Rating: 7/10.

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Iron Man (2008) – Film Review

Before ‘The Avengers’ or the ‘Guardians of the Galaxy’ hit the silver screen, director Jon Favreau began the Marvel Cinematic Universe with its first character: ‘Iron Man.’ Blowing audiences away with some incredible visual effects, thrilling action scenes and a very charismatic lead performance by Robert Downey Jr. as the egotistical: ‘Tony Stark.’ Considering the film was self-financed by Marvel and had a mostly improvised script, it’s incredibly impressive that ‘Iron Man’ is as entertaining and as exhilarating as it is by today’s standards.

Plot Summary: After being held captive by terrorists in an Afghan cave for months, billionaire and weapons engineer: ‘Tony Stark’ builds a weaponised suit of armour to fight his way out after discovering his weapons are being used for a more sinister purpose. Yet even after safely returning home, ‘Tony’ soon uncovers a nefarious plot with global implications, forcing him to don his new suit once again and vow to protect the world as ‘Iron Man.’

Although most now know ‘Iron Man’ as a superhero icon, at the time in 2008, ‘Tony Stark’ was a relatively unknown character. Similar to ‘Thor’ and ‘Captain America,’ many of Marvel’s ‘B’ characters truly owe their now enormous fan-bases and iconic statuses mostly to their first appearances in Marvel’s live-action film franchise, with the first ‘Iron Man’ in particular adapting his comic book origins fairly closely from the comics to a now-successful action-blockbuster.

The supporting cast of Gwyneth Paltrow, Jeff Bridges, Terrence Howard, Clark Gregg and Shaun Toub are great throughout the film despite only serving small roles within the story. However, it should go without saying that Robert Downey Jr. as ‘Iron Man’ himself absolutely nails it throughout the film, as he delivers every line of dialogue as an arrogant pretentious genius. ‘Tony Stark’ even gives the narrative an engaging thread with his character-arc throughout the film, becoming more likeable as the plot continues on, and although done many times before, it still feels pretty satisfying by the end of the runtime. Unfortunately, the biggest problem with Iron Man’ is the same issue that most Marvel flicks suffer from, this being the film’s weak antagonist. As although Jeff Bridges does attempt to give his character: ‘Obadiah Stane’ as much depth as possible, his transformation from a greedy executive to murderous psychopath feels extremely rushed and undeveloped.

Matthew Libatique’s cinematography is fairly creative throughout the film however, from the various tracking shots of: ‘Tony’ soaring through the sky in his suit, through to shots of: ‘Iron Man’ taking down groups of terrorists. A large majority of the cinematography backs-up the quick-pacing of the film and utilises movement very effectively. Whilst the film isn’t ever overly-focused on its science fiction elements aside from the suit itself, the CGI effects throughout the film still hold-up very well to say that was it was released in 2008, aside from the occasional shot of: ‘Tony Stark’s head being placed on-top of the suit.

The original score by Ramin Djawadi is a soundtrack which perfectly fits alongside the character of: ‘Iron Man,’ as the score makes excellent use of electric guitars and a drum kit to match ‘Tony’s young rock-star-like personality and taste in music, as there are multiple scenes of: ‘Tony Stark’ listening to rock songs such as: ‘Back in Black’ and ‘Institutionalised’ throughout the film. Not to mention ‘Black Sabbath’s now-iconic: ‘Iron Man’ played-over the end credits.

Even though all of the action scenes throughout the film are quite short, each action set-piece is always exciting from start-to-finish, as ‘Iron Man’ takes-down his enemies with style every-time, utilising an array of different weapons and gadgets the film manages to still represent ‘Tony Stark’s cocky personality through these suited-up action scenes. ‘Iron Man’ was also the first film that kicked-off Marvel’s typical style of humour, and while not as noticeable as some of Marvel’s other films, the film still contains plenty of scenes in which ‘Tony’ makes sarcastic comments or degrades those around him, and while many of these moments do make for some decent comic relief, I could see many of these scenes becoming irritating for those who don’t enjoy this type of comedy.

Despite its few flaws, ‘Iron Man’ was one hell of an opener for the Marvel Cinematic Universe. As without this film, we truly wouldn’t have what is now considered one of the most successful franchises in cinematic history, even with this ignored however, the film is still exceedingly fun and is filled with plenty of memorable moments on its own, all of this of course held-up by the brilliant performance from Robert Downey Jr. If you finally want to get around to watching this long-running film series, I’d say the original: ‘Iron Man’ will definitely prepare you for what’s to come. Final Rating: 8/10.

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After Earth (2013) – Film Review

‘After Earth’ attempts to be a thrilling sci-fi adventure following a father and son as they crash on a hostile planet, surviving together, and bonding every step of the way, and with real-life father and son Will and Jaden Smith as the main two cast members, the film should be a recipe for success. However, with some awful CG visuals along with plenty unexplored story ideas and even some surprisingly poor performances, ‘After Earth’ is far more of a comedy than it is the exciting science fiction flick it set-out to be.

Plot Summary: In the far future, a crash landing leaves ‘Kitai Raige’ and his father: ‘Cypher’ stranded on Earth, a millennium after catastrophic events forced humanity to abandon the planet, with ‘Cypher’ injured, ‘Kitai’ must embark on a perilous journey alone to signal for help. Little do they know, ‘Kitai’ is being hunted by a deadly creature every step of the way…

Directed by the once great M. Night Shyamalan (The Sixth Sense, Unbreakable, Signs), ‘After Earth’ is just another one of the many duds Shyamalan has directed in recent memory. As while many scenes throughout ‘The Sixth Sense’ will always be iconic and beautifully crafted alongside some of his other work, many feel that this director has simply had his day. As aside from the semi-sequel to ‘Unbreakable,’ ‘Split’ back in 2016. Shyamalan has directed nothing but dreadful attempts at horrors and thrillers, before now turning his eye towards the sci-fi genre.

Unfortunately, the majority of the performances throughout ‘After Earth’ range from very bland to simply laughable, as although not quite as bad as some of the unintentionally hilarious performances in director M. Night Shyamalan’s other film: ‘The Happening,’ the film isn’t far off this standard, with one scene in particular where ‘Kitai’ is bitten by a poisonous insect coming-off as purely comedic. What makes this so surprising however, is that this acting duo have worked well together previously in ‘The Pursuit of Happyness.’ Yet this time around, the two seem to have very little chemistry with each other throughout most of the film’s runtime in addition to feeling very miscast in their respective roles. As Will Smith who is usually known for being incredibly charismatic and funny portrays: ‘Cypher Raige’ as a cold, emotionless warrior. Going completely against his best qualities as an actor.

Throughout ‘After Earth,’ the cinematography by Peter Suschitzky is simply just decent. As whilst the film doesn’t really contain many inventive or memorable shots, the cinematography does make great use of many of the film’s spectacular natural locations. As the large variety of wide-shots do effectively display the true scale of the newly-formed forests, waterfalls and mountains that now inhabit this new-era of Earth.

The original score by James Newton Howard is another dull aspect of the film, as the film’s score is barely recognisable from any other action or sci-fi film despite this composer actually crafting many wonderful soundtracks in the past, including the original score for: ‘The Sixth Sense.’ The film’s problems even extend into its narrative structure, as during the early stages of the film, ‘After Earth’ bombards the audience with information on this sci-fi world, cutting rapidly between an enormous array of different clips, usually leaving a viewer with far more questions than answers as the film forces its exposition down the audience’s throat in one overly-long scene.

The film’s CG effects sadly don’t show much improvement either, as the huge variety of creatures within the story ranging from tigers to birds, to savage monkeys, all look less than mediocre. However, to give the film credit, the film’s main antagonist known as the ‘Ursa,’ does have a pretty interesting design. As although the creature does share some weak CG visuals similar to many of the other creatures, the ‘Ursa’ simply has more of a presence within the film, and does feel somewhat intimidating and unique despite barley being utilised or developed. The film’s underdeveloped ideas are even more bizarre considering originally, the film wasn’t even supposed to be a sci-fi. As Will Smith’s first concept for the film focused on a farther and son on a camping trip in modern-day, which I personally think sounds far more interesting and enjoyable as opposed to viciously-morphing the project into a science fiction story.

Overall, ‘After Earth’ is a complete disaster of a science fiction blockbuster, as the film’s terrible performances alongside its abysmal CG effects and mostly bland filmmaking, all result in the film being extremely boring and even sometimes laughably bad. Another unfortunate flop for director M. Night Shyamalan, and definitely a huge dint in Jaden Smith’s acting career, as the young actor hasn’t appeared on-screen since. Despite some great ideas here and there, ‘After Earth’ is certainly a low-point in Will Smith’s film catalogue, Final Rating: high 2/10.

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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 managing 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. So although its undeniably in need of some improvement, I feel you can still get something out of this creature-feature. Final Rating: low 7/10.

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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…

Us

Beginning the year in quite a disappointing fashion, Jordan Peele’s follow-up to his 2017 smash-hit: ‘Get Out’ was a far-cry from excellent for me. As despite its brilliant reviews, I personally found the film’s story to be bloated with unexplained ideas and ridiculous scenes alike, equalling to a horror flick that places far more emphasis on it’s themes than it’s actual narrative, alongside being incredibly inconsistent with its tone.

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Joker

One of my favourite films of the year, ‘Joker’ directed by Todd Philips, 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 talented filmmaker once again after his smash-hit: ‘Looper,’ as although I personally wasn’t an enormous fan of: ‘Star Wars – Episode VIII: The Last Jedi.’ I knew this director had skill 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 to not 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 ‘Conjuring’ prequel: ‘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 bring the demonic clown: ‘Pennywise’ back 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 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

Incredibly iconic director Martin Scorsese 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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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 CG effects and dreadful comedic moments, leave the film pleasing no one, despite David Harbour’s serviceable 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 Family’ 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 initial 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 from 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 passes the mark for most of its goals, as ‘Unicorn Store’ is far more dull and forgettable than the whimsical and uplifting tale its story attempts 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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Rise of the Planet of the Apes (2011) – Film Review

Many years after the original: ‘Planet of the Apes’ franchise ended, the series was rebooted in its entirety with a new ‘Planet of the Apes’ trilogy, with these films almost serving as prequels to the original films despite being set within their own timeline. ‘Rise of the Planet of the Apes’ was the first of this new series, and surprised many people upon its initial release in 2011.

Plot Summary: When a substance designed to help the brain repair itself and cure Alzheimers gives advanced intelligence to a chimpanzee named: ‘Caesar,’ he soon begins to enhance other apes in order to lead an ape uprising through the city of San Francisco.

Although I was never an enormous fan of the original: ‘Planet of the Apes’ film from 1968 as I was always overly-familiar with the sci-fi classic purely through its iconic plot twist near the end of its narrative, I personally feel that director Rupert Wyatt (The Escapist, The Gambler, Captive State) did a pretty great job revamping the science fiction series. As despite the film having plenty of sci-fi elements throughout its story, the film is mostly grounded in reality, focusing more on being a tense thriller with small elements of science fiction scattered throughout.

Andy Serkis takes on the difficult role of portraying the completely CG protagonist: ‘Caesar,’ and does a superb job of it. As he manages to capture the movements and mannerisms of an ape perfectly through motion-capture (which is even more impressive when considering that the film was one of the earliest to use a motion-capture set-up on location) all whilst ensuring the audience sympathises with ‘Caesar.’ In addition to Andy Serkis, the rest of the cast of James Franco, Freida Pinto, John Lithgow and Brian Cox are all decent in their roles, despite the film having the occasional cliché line of dialogue for most characters.

The cinematography by Andrew Lesnie is visually pleasing for the most part, having a variety of attractive shots as well as having plenty of movement especially when following the apes sprinting or climbing. The way many of the shots are also framed further feeds into the theme of man controlling nature (which is present throughout the film). Many of the scenes set within the ape sanctuary also link back to this theme, including my personal favourite scene of the film: ‘Caesar Speaks,’ which is executed perfectly.

Despite the later films in the trilogy being composed by the fantastic Michael Giacchino, the original score by Patrick Doyle is decent throughout the film. As while it definitely doesn’t have a variety of memorable tracks, the soundtrack does back-up many of the action scenes and more emotional moments quite well. I also felt the sound design throughout the film helped add to the film’s realism, mostly through the enormous amount of ape roars, squeals and grunts whenever the animals interacted with humans or each other.

The CG effects throughout the film still hold-up surprisingly well, as although the visual effects have definitely aged since the film’s initial release in 2011, and the CG visuals are for sure the weakest when it comes to the entire trilogy. The visuals effects are still heavily detailed and feel very real when placed into their locations, which is lucky as if not, I do feel the weak CG effects could’ve possibly derailed some of the excellent performances from the cast. Aside from the flaws already mentioned with the visual effects however, the action scenes throughout the film are handled pretty well, as many would probably know this film mostly for its huge action set-piece on San Francisco’s iconic Golden Gate Bridge.

‘Rise of the Planet of the Apes’ may not be the best film within the new trilogy, but it definitely is a very strong start. As although the visual effects may be lacking at points, the great cinematography, decent original score and brilliant motion-capture all backing-up Andy Serkis’ outstanding performance, all leads this initial entry to have plenty of entertainment-value throughout its runtime, and I’d be very surprised if this first film doesn’t make many viewers want to continue on with this sci-fi series. Final Rating: 8/10.

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Clash of the Titans (2010) – Film Review

In this modern remake of the 1981 classic, ‘Perseus’ takes on a variety of gods and monsters in this somewhat fun, yet still very generic and sometimes even over-the-top recreation of the original story. As this time around, director Louis Leterrier (The Transporter, The Incredible Hulk, Now You See Me) focuses more on action set-pieces and enormous CG spectacle than ever before.

Plot Summary: When ‘Perseus’ the demi-god son of: ‘Zeus’ finds himself caught in the middle of a war between gods and mortals, in which his mortal family are killed. He gathers a war band to help him conquer the mighty: ‘Kraken,’ ‘Medusa’ and ‘Hades,’ the sinister God of the underworld.

Going-off the negative reviews from both critics and audiences, I wasn’t expecting much from ‘Clash of the Titans’ on my initial watch. However, I was surprised to find the film is mostly entertaining, as although there isn’t much substance to this remake, I still find it to be a somewhat exciting action flick, having plenty of creatures and adventure throughout its runtime despite its various flaws. But this may also be due to my fondness for Greek mythology, as I’ve had an interest in this area of fantastical legends/history since I was very young.

Although there aren’t any particular stand-outs when it comes to the cast, Gemma Arterton, Liam Neeson, Ralph Fiennes, Mads Mikkelsen and Jason Flemyng all do a decent job throughout the film. However, Sam Worthington who portrays the protagonist: ‘Perseus’ I personally found to be one of the weakest elements of the film, as despite him having a number of large roles in huge blockbusters such as: ‘Avatar’ and ‘Terminator: Salvation’ in the past, he has always seemed extremely bland to me, never really coming-off as anything other than a generic action hero with little charisma, and ‘Clash of the Titans’ is unfortunately, no exception to this. 

The cinematography by Peter Menzies Jr. is also quite bland, as although I do appreciate the lack of incredibly shaky hand-held shots during many of the action scenes. Many of the shots throughout the film are usually very standard, as the cinematography never really attempts to enhance the visuals or make use of the story’s impressive and unique locations (aside from the occasional wide shot).

One very bizarre element of the film is definitely the original score by Ramin Djawadi, as although some tracks sound perfect for a fantasy epic such as this one. Other tracks almost sound as if they’ve been performed by a rock band, making them feel incredibly out-of-place within the film’s time-period. Yet the film’s soundtrack actually does work quite well in my personal favourite scene of the film, as the scene set within ‘Medusa’s lair uses the score to build tension and atmosphere surprisingly well.

The CG effects throughout ‘Clash of the Titans’ are definitely one of the film’s better aspects, as regardless of whether it’s being used for creatures, gods or locations, the visual effects always look great. However, this is also partially due to the designs of many of the creatures within the film, as the designs manage to perfectly blend the appearance of modern-day monsters mixed with classic Greek mythology. This also lends itself effectively to many of the various action scenes throughout the film (this obviously being the film’s main draw) as the action throughout the narrative is mostly pretty solid, making great use of the various different creatures abilities and always placing ‘Perseus’ in different dangerous scenarios.

To conclude, I personally found ‘Clash of the Titans’ fairly entertaining for what it was, which is essentially is nothing more than your usual action blockbuster with some Greek mythology thrown-in for good measure. As while the film is successful for what it sets out to do, the film does fall flat in many other areas, from Sam Worthington’s dull performance, to some of the weak writing and occasionally unusual original score, I feel only people truly interested in Greek mythology could get something out of this one. But with all that in mind, ‘Clash of the Titans’ still isn’t the worst remake I’ve ever seen. Final Rating: low 5/10.

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Jurassic Park (1993) – Film Review

One of Steven Spielberg’s most iconic and beloved films of all-time, ‘Jurassic Park’ based on the science fiction novel of the same name by Michael Crichton, is a classic from many people’s childhoods including my own. From it’s incredible practical and CG effects which still hold-up today, through to its memorable characters and beautiful original score by John Williams. The film has made a gigantic impact on cinematic pop-culture and is a true joy to experience for all ages.

Plot Summary: On the tropical island of: ‘Isla Nublar,’ three-hundred and sixty-five miles off the coast of Costa Rica. Billionaire ‘John Hammond’ has become the first man in history to bring back an extinct species with genetically engineered dinosaurs. But when a tropical storm wipes-out the island’s main security systems, his newly invited guests are thrown into peril amongst the prehistoric creatures.

Not only does ‘Jurassic Park’ have an extremely fun and original narrative when compared to many films before it, but the film is also very important when it comes to CG effects, as Spielberg and his team we some of the earliest filmmakers to explore the idea of computer-generated imagery and implement it into film. As Spielberg initially wasn’t impressed with many of the stop-motion effects which had been shown to him up to that point, and surprisingly, many of the visual effects throughout the film are still quite impressive, even by today’s standards for CG effects.

The entire cast of: ‘Jurassic Park’ are truly brilliant, as Sam Neill, Laura Dern, Richard Attenborough, Bob Peck and of course, the outstanding Jeff Goldblum who portrays: ‘Dr. Ian Malcom’ (possibly his most popular character) are all excellent in their respective roles, and despite each character not getting an enormous amount of development throughout the story, all the characters still manage to feel very varied and memorable. However, my only real issue with the film does relate to the characters, as there has always been a few scenes throughout the film where characters seem to make ridiculous decisions for no apparent reason, and while this isn’t a major problem, it can be a little irritating on rewatches.

The cinematography by Dean Cundey is unfortunately, one of the weaker aspects of the film, as although the film isn’t lacking in attractive or iconic shots. The cinematography is mostly very average for the majority of the film’s runtime, with many of the film’s most memorable shots being mostly due to the film’s practical dinosaur effects. However, the film also makes excellent use of its sets, as every location from the iconic: ‘Visitor Centre’ through to the ‘T-Rex Paddock’ is always very eccentric and memorable.

Probably one of the most recognisable soundtracks in history for film fans, the original score by John Williams is simply incredible throughout the entire film. Having a great blend of beautiful calming tracks in addition to many tracks that help build tension, the soundtrack is truly something to be admired, with the tracks: ‘Welcome to Jurassic Park,’ ‘Journey to the Island’ and ‘Hatching Baby Raptor’ being my personal favourites.

In addition to the CG visual effects, Stan Winston, most known for his work on iconic films such as: ‘Predator,’ ‘Terminator 2: Judgment Day’ and ‘Aliens.’ Created a variety of practical effects for the film, as Spielberg wanted every close-up with the prehistoric creatures to be a practical animatronic, all of which of course are completely life-size and look outstanding, this is even more impressive when considering some of the issues the filmmakers ran into when it came to the rain during the scene: ‘The T-Rex Paddock’ (my personal favourite scene of the film). As the Tyrannosaurus Rex animatronic would constantly break-down due to the enormous amount of water it’s rubber skin absorbed, usually having to be wiped-down in-between takes.

Personally, I don’t have many issues when it comes to the original: ‘Jurassic Park,’ as the film is nearly perfect in many ways for me. As a few unbelievable character choices and some small plot holes don’t take away from what is still an exciting adventure filled with great performances, some fantastic practical and visual effects as well as so much more. ‘Jurassic Park’ is a film for the ages, and I definitely believe it deserves its place among the most iconic films of all-time. Final Rating: low 9/10.

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Halloween (2018) – Film Review

A direct sequel to John Carpenter’s original 1978 classic: ‘Halloween,’ this sequel ignores all the other entries in the franchise in favour of a new story set forty-years later. As Jamie Lee Curtis returns to her iconic character of: ‘Laurie Strode,’ now much older and wiser, and while definitely a decent attempt at continuing the ‘Halloween’ series, the film is still far from perfect.

Plot Summary: ‘Laurie Strode’ confronts her long-time foe: ‘Michael Myers’ once again, as the masked figure who has haunted her since she narrowly escaped his killing spree on Halloween night four decades ago, now begins a new massacre after his recent prison escape.

Although the film’s narrative does have some interesting ideas, the film always felt a little too familiar to me, as I usually found myself correctly predicting what was around the next corner, leaving little to be surprised by. Under the direction of David Gordon Green, mostly known for his drama: ‘Stronger’ from 2017. The film does pay plenty of respect to the original film, as can always tell whilst watching that Green does have a passion for this horror franchise (as he clearly understands what made the original work so well). I still feel a better director could’ve been chosen. As at points, the story does seem to be slightly lacking in direction, and with his previous work in mind, it’s clear that he doesn’t specialise in horror.

It is great however, to see Jamie Lee Curtis back as her classic character once again, as she really excels in showing how ‘Laurie Strode’ has been affected by those horrific events many years ago. Alongside the rest of the great cast of Judy Greer, Andi Matichak, Will Patton and especially Haluk Bilginer as: ‘Dr. Sartain,’ who I was initially concerned would be nothing more than another ‘Dr. Loomis’ type character, but did actually end-up going in a very different direction.

The cinematography by Michael Simmonds is nothing outstanding for the majority of the film, yet is still attractive when combined with the dark lighting throughout, especially anytime ‘Michael’ is on-screen. Another strong element of the film is the wonderful original score by John Carpenter, his son Cody Carpenter and Daniel A. Davies. As although the soundtrack does slightly rely on tracks from the original film, there is plenty of new score here as well. Proving John Carpenter is brilliant at his craft once again, with the tracks: ‘The Shape Hunts Allyson’ and ‘The Shape Burns’ being some of Carpenter’s best work for a long-time in my opinion.

One of the strongest elements of the film for me are definitely the kills, as it’s clear the filmmakers got very creative with the ways ‘Michael Myers’ disposes of his victims, usually creating very memorable scenes with some fantastic practical gore effects included. I also felt the film represented the iconic slasher very well, as ‘Michael Myers’ is always intimidating through his movements, ‘Michael’ even manages to steal the film for me by being the main focus of my personal favourite scene of the film, as ‘The Shape’ stalks his way through Haddonfield’ with murderous intent, all completed within a single-take.

As the film is produced by Blumhouse Pictures, the film unfortunately also features the usual pandering to younger audiences you’d come to expect by now. As the film is littered with jump-scares throughout the runtime, with little attempt to create an eerie atmosphere or build large amounts of tension. In addition to this, the writing throughout the film is decent when it comes to the characters, but usually is very lacking when the film attempts comedy. Resulting in many cringy lines of dialogue and plenty of out-of-place jokes, especially one scene in particular featuring a babysitter, which goes on for far too long in my opinion.

In conclusion, ‘Halloween’ is mostly enjoyable, but with a lack of originality, some cheesy lines and forced comedy (not to mention it’s reliance on jump-scares) the film doesn’t even come close to replicating the classic horror’s best qualities. I do hold the original film in high regard of course, it being one of my personal favourite horrors, but with plenty of entertaining moments throughout, this latest entry in the ‘Halloween’ series is definitely on the higher-end of classic horror sequels for me. Final Rating: 7/10.

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