The Shallows (2016) – Film Review

Ever since the release of the original blockbuster: ‘Jaws’ in 1975, shark films have never quite managed to reach the same heights, with flops such as: ‘Deep Blue Sea’, ‘Bait’, ’47 Meters Down’ and ‘Shark Night’ feeling quite distant from reality as they present the animals as nothing but blood-thirsty monsters that devour brain-dead characters. And while ‘The Shallows’ does feel like a slight improvement over many of these other flicks (mostly in regards to its protagonist), the film still falters at many turns.

Plot Summary: After losing her mother in an accident, medical student: ‘Nancy’ dumps her responsibilities in Galveston and travels to Mexico, hitchhiking a ride to a hidden beach that her mother loved when she was young. But following her discovery of a whale carcass whilst surfing, ‘Nancy’ is attacked by a great white shark, leaving her bleeding and stranded on a small rock, with no sign of rescue.

Releasing in 2016 to great success, ‘The Shallows’ was one of the first major shark films released into cinemas in quite some-time, but as well as being a creature-feature, the film also serves as a survival thriller, along the same lines of: ‘127 Hours Later’. As ‘Nancy’ has to face not only the shark, but also hunger, thirst, weather, and of course, the severe leg injury she receives when she first encounters the apex-predator. Yet despite this focus making for a far more engaging experience, the narrative simultaneously tries its hand at character development, with ‘Nancy’ receiving plenty of charactersation in the film’s first act, which is sadly made less interesting as its delivered through some immensely corny dialogue.

Blake Lively, who is by no means a renowned actress, with only two films throughout her career featuring her in the top-billed cast, carries the film solo, and her commitment to this role is certainly admirable, as Lively gives a very intense performance as a result of: ‘Nancy’ being in agonising pain for most of the runtime. Additionally, Lively did most of her own stunts for the film aside from her character’s surfing. In fact, in one particular scene, where ‘Nancy’ crushes a crab and then proceeds to eat it raw, Lively is actually eating a real crab that the production crew found dead on a nearby beach, so her reactions of disgust are genuine even though the crab initially getting crushed was achieved through CGI. This is all made even more impressive by the fact that Lively was pregnant with her second child at the time of filming. 

Flavio Martínez Labiano’s cinematography does provide a handful of attractive and memorable shots when not focusing on the characters, these usually being when the shots revolve more around the shark lurking beneath the water, or when the camerawork effectively uses framing to display how far ‘Nancy’ is from safety. And of course, with the film being shot off the Gold Coast of Australia (excluding a few scenes which were shot in a large water-tank), the film’s signature beach and crystal-clear waves are always an alluring sight, which is a superb visual-clash with the horror that lies within.

The original score by Marco Beltrami serves the story well enough, as the film’s soundtrack drifts from beautiful calming tracks like ‘Paddle In’ and ‘Nancy and Dad Facetime’, to much more tense tracks such as: ‘Main Title’ and ‘Towards the Dead Whale’. However, its when the story shifts into full on threat that the score begins to feel extremely generic, most notably, the track: ‘Underwater Attack’, which is barley distinguishable from any other thriller soundtrack as it doesn’t encapsulate either the beauty or isolation of the ocean as many of the other tracks do.

Unlike ‘Jaws’ or even ‘Deep Blue Sea’ during a few moments, ‘The Shallows’ exclusively uses CGI to bring its shark to-life, which is unfortunate. As while there was clearly a huge level of detail put-into the shark, as director Jaume Collet Serra (Orphan, Unknown, Non-Stop) worked closely with the art department to ensure a sense of realism in the shark’s design, having the team do thousands of hours of research. This all sadly goes to waste due to the demands of the film’s script, as the shark in ‘The Shallows’ rarely acts like a real animal, often feeling like just a hulking murderous monster whose CG effects drastically vary depending on the shot.

To conclude, ‘The Shallows’ is a step-up from a number of other shark flicks, but even with its above-average filmmaking and solid performance from Blake Lively. The film still falls into many of the common issues shark films do, as the story favours the idea of using its shark as a monster of the ocean and that alone, and this on-top of the film’s occasionally strange stylistic choices, shoddy CG effects and cheesy dialogue, result in the film becoming just another poor attempt at revitalising the great white shark as a cinematically enthralling antagonist. A high 4/10 overall.

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Midnight Special (2016) – Film Review

Written and directed by Jeff Nichols (Take Shelter, Mud, Loving), ‘Midnight Special’ may not be one of the most original or imaginative science fiction films to be released in recent years. But regardless of its many recycled story elements and unexplored ideas, this low-budget sci-fi drama/thriller still manages to retain a sufficient amount of entertaining scenes, impressive CG effects and terrific performances to-boot. All equalling to a fairly enjoyable experience, even if the film never quite reaches its full potential.

Plot Summary: ‘Alton Meyer’ is a boy unlike any other, a child with powerful abilities and strange weaknesses alike. But after ‘Alton’s abilities attract the attention of both an isolated cult and the U.S. government, ‘Alton’s father: ‘Roy’, vows to protect his son as the two rival forces pursue the pair across the country.

Although ‘Midnight Special’ was Nichols’ first film made in-conjunction with a large production company, Nichols wanted to ensure he had full creative control over the project just as he had previously with his low-budget indie films. So despite Nichols originally considering making the film with an independent film studio rather than with Warner Bros Pictures. During his last meeting with the company, the producers actually agreed to all his demands, due to the small-budget needed for the film. Meaning Nichols got his complete-control, and the film was more successful at the box-office as a result of its wider release. This did however, mean many audience members were left a little dissatisfied with the film, as ‘Midnight Special’ doesn’t follow the usual sci-fi clichés many would expect.

Michael Shannon leads the film as the concerned father: ‘Roy Meyer’, and as per-usual, excels in his role as this simple yet engaging character, wanting to protect his son at any cost, occasionally even at the expense of others. Playing into the age-old theme of doing anything to protect your child. Then there is also Jaeden Martell as ‘Alton’ himself, which considering his young age of twelve during filming, gives a competent performance. As even though ‘Alton’ may look like a normal child, he acts in a very robotic and eccentric manner. Whilst this is completely intentional, this type of performance does sometimes make it quite difficult to resonate with ‘Alton’ as effectively as his father. The supporting cast of Joel Edgerton, Kristen Dunst and Adam Driver are all also great additions to the film, even though their characters don’t add much to the overall narrative.

Well shot throughout, Adam Stone’s cinematography for: ‘Midnight Special’ may not be some of the most astounding camerawork ever seen within the sci-fi genre, but due to the film mostly being set at night, the film does manage to enhance many of its already attractive shots through its dim lighting. In addition to the cinematography, the film also makes fantastic use of its many CG effects, with the majority of them being used quite sparsely to ensure they all appear as detailed as possible without going over-budget.

The original score by David Wingo also isn’t too memorable when compared to some other scores composed for science fiction flicks, yet it still greatly adds to the film. Alternating from slow piano-focused tracks to more electronic pulse-pounding tracks when necessary, the entire soundtrack is both atmospheric and suitably sci-fi, with my two personal favourite tracks: ‘Doak and Levi’ and ‘New World’ being the perfect two examples of this change in tone when it comes to the score. The film also features a new rendition of the classic folk song: ‘Midnight Special’ during its end credits, which is actually where the film gets its title.

Yet in spite of its appealing cinematography and remarkable original score, the area where ‘Midnight Special’ falls flat is its story. As whilst many stories similar to this have been executed-well in film before, most notably the sci-fi classic: ‘Starman’ from 1984. ‘Midnight Special’ revels in not providing its audience with much information, keeping many aspects of: ‘Alton’s character, his abilities, and the world the story takes-place within a mystery. This is most evident when it comes to the (presumably) sinister cult known as ‘The Ranch’, as while the cult does play a small role in the story, they remain mostly underdeveloped throughout the film, and as the runtime approaches its end, soon disappear entirely.

To conclude, ‘Midnight Special’ is a sci-fi film that will appeal to a more niche audience. As whilst a simple pitch of the plot may sound both familiar and interesting to many fans of the genre, its the way ‘Midnight Special’ goes about its story that will divide many viewers. If the film was to provide a little more backstory/exposition here-and-there, perhaps the story would’ve felt more fleshed-out and matched with the brilliant efforts of its filmmaking. But as it is, ‘Midnight Special’ feels like a bit of a wasted opportunity, as it remains a decent film that could’ve been so much more. All in all, a high 6/10.

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The Autopsy of Jane Doe (2016) – Film Review

A twisted and unique indie horror that is certainly not for the squeamish, ‘The Autopsy of Jane Doe’ utilises it’s simple concept and individual location to the best of its ability, immersing its audience into its grim setting almost as if they are performing the autopsy themselves alongside the film’s characters. Whilst the film may still suffer from a couple of the same issues that plague many other modern horrors, ‘The Autopsy of Jane Doe’ manages to overcome most of its faults to become a compelling slice of low-budget horror.

Plot Summary: While investigating the murder of a family, a small-town Sheriff and his team are puzzled with the discovery of a mysterious body buried underneath the crime scene. After bringing the corpse of the unnamed: ‘Jane Doe’ to family coroners: ‘Tommy’ and ‘Austin Tilden’ for a cause of death, the pair soon discover the corpse is harbouring a dark secret.

Directed by André Øvredal (Troll Hunter, Scary Stories to Tell in the Dark), ‘The Autopsy of Jane Doe’ may be slightly lacking in terms of budget, yet the film always manages to use this to its advantage by setting nearly the entirety of its story within the walls of the ‘Tilden Morgue and Crematorium’. Through which, the film constantly retains its eerie atmosphere and even a partial feeling of claustrophobia. In addition to also keeping its audience entranced within its narrative through its signature mystery, as the questions of who is ‘Jane Doe’? And how was she killed? Remains on every viewer’s mind after the opening scene.

The main father and son duo portrayed by Brian Cox and Emile Hirsch both do a great job throughout the film, with the writing also contributing to the film’s engagement as their characters receive a decent amount of characterisation. Easily the most challenging (and respectfully most impressive) performance of the film has to be the corpse herself: ‘Jane Doe’ however, as while there were some prosthetics used during production, it may surprise many to know this role was actually portrayed by actress Olwen Catherine Kelly for the majority of the film. As André Øvredal felt it was necessary to have an actress in the role to help connect to the audience on a human level, eventually leading Kelly to be cast due to her knowledge of yoga, which helped her minimalize her breathing.

The cinematography by Roman Osin is overall admirable, implementing a number of attractive shots during the runtime. However, the film’s cinematography is still best utilised when it comes to the many gruesome close-ups, as the film never shies away from the ‘Autopsy’ part of its title, displaying nearly every part of the autopsy from the initial exterior examination through to the interior examination, securing this film’s position as not one for the faint of heart when its comes to blood/gore (or nudity for that matter). The lighting throughout ‘The Autopsy of Jane Doe’ also benefits its story, as the film’s array of tense moments are only enhanced as a result of the morgue being shrouded in shadows.

Danny Bensi and Saunder Jurriaans handle the film’s original score, which in spite of its complete lack of memorability does help add to the film’s dark tone and blood-curdling atmosphere. As the score feels more like ominous ambience rather than a standard horror score, with the track: ‘Hair Cut’ being the clearest example of this. The film also places a heavy emphasis on the song: ‘Open Up Your Heart and Let the Sun Shine In’, a classic 50s song which repeatedly plays over the overly-static radio within the morgue, resulting in the song quickly becoming one of the film’s creepiest aspects.

Whilst ‘The Autopsy of Jane Doe’ does avoid many of the usual horror clichés, the film unfortunately still suffers from the most common problem in horror, jump-scares. Despite relying far more-on its atmosphere and occasional chilling visuals to place its audience on-edge, the film still feels the need to spread a variety jump-scares throughout its tight runtime. In particular, within the film’s final act, which is when the film loses much of its originality in favour of becoming more generic and predictable.

In conclusion, ‘The Autopsy of Jane Doe’ is a fairly underrated gem in the realm of modern horror, surpassing many other films that attempt many of the same ideas but usually end-up feeling quite tasteless. Although not perfect in its execution, the film still delivers on its set-up of a tense and engrossing tale that also manages to make time for its characters in the process, and even though I personally don’t find Øvredal’s filmography impeccable, I do believe this director has talent, and projects like ‘The Autopsy of Jane Doe’ prove he can be a worthy contributor to the horror genre. Altogether, a high 7/10.

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The Magnificent Seven (2016) – Film Review

After taking-on a number of exciting action flicks in recent years such as: ‘Training Day’, ‘Olympus Has Fallen’ and ‘The Equalizer’, director Antonie Fuqua brings this remake of the original 1960 ensemble western to the silver screen. Combining a superb cast with some explosive moments of action and plenty of highly-detailed costumes and sets, ‘The Magnificent Seven’ manages to remain an entertaining remake of the beloved classic despite its few faults.

Plot Summary: In 1897, seven gunmen from a variety of different backgrounds are brought together by a vengeful young widow in order to protect her hometown of: ‘Rose Creek’ from the private army of a destructive industrialist.

Other than a few changes to the names of its characters, the remake of: ‘The Magnificent Seven’ follows a very similar storyline to the original film, which was essentially just a retelling of the iconic Japenese film: ‘Seven Samurai’ but now set in the Wild West. As the remake avoids making-any definite changes to the narrative in favour of simply just updating the story for a more modern-audience, meaning the film has much faster-pacing and more of a focus-on creating thrilling action set-pieces than the original, which is both a good and a bad thing. As whilst the film does still pay homage to many classic westerns, the film occasionally also adopts many of the issues that plague plenty of modern blockbusters today, the most notable of which being the film’s overabundance of cheesy/predictable dialogue.

Denzel Washington, Chris Pratt, Ethan Hawk, Vincent D’Onofrio, Byung-hun Lee, Manuel Garcia-Rulfo and Martin Sensmeier all give splendid performances as the line-up of: ‘The Seven’, each portraying a different personality and skillset between them. But of course, similar to many other films lead by a group of characters rather than just a single protagonist. ‘The Magnificent Seven’ suffers from a lack of equal development for its cast as a result of Denzel Washington and Chris Pratt as ‘Chisolm’ and ‘Josh Faraday’ hogging most of the screen-time, with the film’s antagonist: ‘Bartholomew Bogue’ portrayed by Peter Sarsgaard, also having a deficient intimidating presence when on-screen due to this.

Whilst the film’s cinematography never falls into the category of being exceedingly bland, the cinematography by Mauro Fiore is only above-average overall. As although the film does feature an array of attractive close-ups and wide-shots alongside its many suitably barren locations, the film also has quite a heavy overreliance on shot-reverse-shot during many of the conversations between characters. However, a smaller detail that I felt added to the film’s visual appeal (and realism) is definitely its use of nature surrounding/within its various locations, as the film’s main setting of: ‘Rose Creek’ is littered with trees and tall grass rather than just continuous desert similar to many other westerns, with some areas of Baton Rouge, Louisiana (where filming took place) even having to be relandscaped to further resemble the Old West.

Being the last film Horner worked-on as a composer before he sadly passed away in 2015, the original score by him and Simon Franglen does suitably feel like the score of a traditional western for the majority of the film’s runtime. Although there are still a few tracks that feel fairly generic, the soundtrack redeems itself through the great tracks: ‘Rose Creek Oppression’ and ‘Seven Riders’, in addition to also bringing back the original film’s theme composed by the late Elmer Bernstein for its end credits.

As the remake of: ‘The Magnificent Seven’ focuses more-on action over anything else (with the entire final act of the film essentially being one long action sequence) a lot of pressure lies-on the film to live-up to this intent, which thankfully, it does. As all of the stirring moments throughout the film make fantastic use of their impressive stunt work and subtle CG effects. That being said, nearly-all of the action scenes are also distinctly missing an element of both grittiness and violence, which can be fairly distracting. As despite many of: ‘Bartholomew Bogue’s guns-for-hire being shot, stabbed and blown-up, blood is barely ever-seen, and whilst I understand classic westerns also didn’t really revel in violence, I’ve always seen that as more of a restriction of the time-period rather than just a skimp to lower the film’s age-rating.

In conclusion, while ‘The Magnificent Seven’ may not fully deliver-on the ‘Magnificent’ part of its title, the film is still is an enjoyable throwback to the westerns of old with plenty of exhilarating action set-pieces to-boot. As even when taking-into account all of the remake’s issues and general lack of memorability, I’d still say the film is on the better side of reimagined classics in recent memory and is worth a watch if you’re a true western enthusiast or perhaps just desire to see a remake that doesn’t attempt to simply recreate the original shot-for-shot. A 7/10 overall.

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Hidden Figures (2016) – Film Review

Based on the book of the same name by Margot Lee Shetterly, the film adaptation of: ‘Hidden Figures’ serves as compelling and entertaining delve into the past as it tells the true story of the mostly unknown women who helped push-forward the space program. Through its brilliant performances from Taraji P. Henson and Kevin Costner (among the rest of the cast) alongside its magnificent writing, the film manages to keep its audience constantly invested in spite of its occasionally bland filmmaking.

Plot Summary: Katherine G. Johnson, Dorothy Vaughan and Mary Jackson, three brilliant African-American women working at NASA in the 1960s cross all gender and race barriers within their workplace to follow their dreams and inspire generations, serving as the brain-force to help send astronaut John Glenn into Earth’s orbit.

Despite focusing-on three separate stories of three separate characters, ‘Hidden Figures’ never feels unfocused, as each of the three protagonists receive a decent amount of development as well as at least one or more memorable scenes between them. As the film displays its main theme of female and black empowerment proudly, without ever becoming overly cliché as it avoids many of the over-done tropes that other films built-around the racist barriers of the 60s can begin to rely-on. For example, the film’s opening scene in which the trio of women are confronted by a white police officer, as this moment could’ve easily felt like overly-familiar ground should it have been handled-poorly, yet aside from some inappropriate stereotyping at first, the scene actually results in the three of them heading to NASA without any horrific racial ridiculing.

The three protagonists portrayed by Taraji P. Henson, Octavia Spencer and Janelle Monáe are all excellent throughout the film, as each of them remain determined and outgoing despite the world’s many attempts to drag them down, always fighting against the unfair judgement of them simply for the way they look, repeatedly with a lack of preachy dialogue. Alongside them, the supporting cast of Kevin Costner, Jim Parsons, Kristen Dunst and Mahershala Ali are all great even if some of their characters are a little under-utilised within the narrative. One of the reasons the performances within the film are as accurate as they are is due to some of the cast actually having the opportunity to meet with the story’s icons before production began. Most notably Taraji P. Henson, who met with the real Katherine Johnson (who was ninety-eight-years-old at the time) after she signed-on for the role.

The cinematography by Mandy Walker is serviceable overall, as while the film features a good number of attractive shots, they are dragged-down by its many mundane ones. However, ‘Hidden Figures’ does actually make effective yet subtle use of colour throughout its runtime. As the film’s colour palette constantly reflects the mood within each scene, with the many of the sets at NASA where calculations and preparations take-place utilising mostly sterile whites, greys, and silvers, which creates a sharp contrast to the warm/inviting colours of the ladies’ homes.

Hanz Zimmer and Benjamin Wallfisch handle the original score for the film, which is an incredibly mixed-bag overall. As whilst the film does have some decent tracks such as: ‘Katherine’, ‘Mission Control’ and ‘Hidden Figures’, the soundtrack also features a number of pop-songs by Pharrell Willaims, which don’t remotely fit the tone of the film or the story’s time-period. Usually resulting in it feeling very forced and sometimes even takes-away from the film’s dramatic moments. This is most likely a result of Pharrell Willaims overseeing all aspects of the film’s soundtrack, which I personally feel is a huge misstep as his style of music really isn’t suited for a drama.

In addition to portraying the female heroes of the real-life story as accurately as possible, the film also makes substantial use of its time-period. As to keep the viewer up-to-date with what knowledge that the American public had at the time, ‘Hidden Figures’ occasionally cuts-away to stock footage of rocket testings or president John F. Kennedy making public announcements, both which are surprisingly effective despite not being used continuously. Personally however, I still would’ve preferred a bigger presence of songs from the 1960s rather than the constant barrage of pop-songs the film contains, as mentioned previously.

In conclusion, I feel ‘Hidden Figures’ is an important film many should experience. As whilst there has been an array of films based around the misogynistic/racist nature of the 1950s/1960s, ‘Hidden Figures’ is for sure a stand-out through its engaging and thought-provoking narrative. Although films like ‘Do the Right Thing’ and ‘BlacKkKlansman’ may be slightly more powerful with their message(s), I feel ‘Hidden Figures’ is fairly underrated when it comes to historical dramas, as the film is simultaneously both informing and touching. Overall, a high 7/10.

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Nocturnal Animals (2016) – Film Review

Part thriller, part drama and part art-house film, ‘Nocturnal Animals’ may not appeal to every viewer, but those it will, it will certainly leave an impression. As this extremely underrated thriller lead by some sublime performances from Amy Adams and Jake Gyllenhaal is incredibly dark and compelling from start-to-finish. Directed by former fashion-designer turned director Tom Ford (A Single Man) and based on the novel: ‘Tony and Susan’ by Austin Wright. ‘Nocturnal Animals’ may not be flawless in its execution, but it is definitely worth a watch.

Plot Summary: An unhappy and lamenting art-curator (Susan Morrow) begins to imagine herself within the pages of a novel manuscript sent to her by her former husband, whose negative associations of their relationship takes-on a fictionalised violent direction in a symbolic revenge tale.

Split between two different storylines, one set in the real-world and one set within the pages of the fictional novel. ‘Nocturnal Animals’ definitely has some changes in tone, as every scene with ‘Susan’ usually focuses on her broken marriage and current lifestyle, which feels very different when compared to the tense revenge story of the novel, and yet, neither of these stories ever feel dull, as they both are engaging for different reasons. Director Tom Ford also makes brilliant use of this structure, as for those more keen-eyed viewers, there are a variety of visual links between the two narratives, the most obvious of which being how ‘Susan’ imagines ex-husband: ‘Edward’ as the father character within the novel, meaning Jake Gyllenhaal takes on two separate roles.

The main cast of Amy Adams, Jake Gyllenhaal, Michael Shannon, Aaron Taylor-Johnson, Isla Fisher, Ellie Bamber and Armie Hammer are all brilliant throughout the film. As everyone one of the film’s characters gets plenty of development, usually all playing a crucial role within the film regardless of whichever storyline they are in. Although Jake Gyllenhaal does a pretty great job taking-on two separate roles, the plot of the novel mostly takes-place within the Texas desert, meaning the father character: ‘Tony Hastings’ does have a Texas accent, and whilst not terrible, it is a little inconsistent. This is easily redeemed by the stand-out performance by Aaron Taylor-Johnson as ‘Ray Marcus’ however, as this usually bland actor gives an amazing performance as a redneck delinquent who is just as intimidating as he is erratic.

Although the cinematography by Seamus McGarvey is nothing extraordinary overall, there are still plenty of attractive shots throughout the runtime. As the film uses its cinematography fairly effectively to create a contrast between the two stories, as the film uses an array of wide-shots when focusing on the story within the novel adding too many of its tense moments. Whereas the majority of the scenes within the real-world mostly uses a large number of close-ups and mid-shots to add to the film’s drama.

Without a doubt however, my personal favourite aspect of the film is the original score by Abel Korzeniowski. Utilising an ensemble of violins, the score for: ‘Nocturnal Animals’ is very memorable and excellently builds tension throughout the film, as the soundtrack always remains very beautiful despite also feeling quite haunting. The original score even manages to capture the feeling of loneliness and sadness from ‘Susan’s storyline, with the tracks: ‘A Solitary Women’ and ‘City Lights’ fitting this idea perfectly, yet neither of these two tracks beat-out my personal favourite: ‘Revenge’. Referred to by most as the film’s signature track.

Throughout either of the two plots, the film is also filled with plenty of themes and underlining messages, many of which relate to the idea of expression through art, which does help distract slightly from the main issue I have with ‘Nocturnal Animals’, this being the editing. As although it may be intentional. At points, the editing throughout the film becomes very fast-paced, usually cutting between shots quite rapidly, sometimes even using jump-cuts during some of the more drawn-out shots. If this style of editing was present continuously throughout the film, then perhaps it wouldn’t have been as noticeable, but as it was only occasionally, I personally found it quite distracting.

‘Nocturnal Animals’ may not be a masterpiece, but I do believe this film is very overlooked when it comes to thrillers, as the outstanding performances from the cast mixed-in with the array of very tense moments and wonderful original score make for a genuinely gripping and interesting experience, and overall, an 8/10. Whilst some audience members may not completely understand the themes and messages behind the story, I do feel this film will leave an impact-on those it does appeal to.

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The Nice Guys (2016) – Film Review

This 70s throwback to classic buddy-cop comedy films hits all the right marks, as the fantastic chemistry between Russell Crowe and Ryan Gosling alongside the film’s great visuals and hilarious comedic moments. All make ‘The Nice Guys’ certainly worth a watch whether you are incredibly fond of action-comedies or not, as I feel this humorous flick definitely deserves more attention.

Plot Summary: Set in 1970s Los Angeles, a mismatched pair of private eyes stumble-upon a case of a missing girl and the mysterious death of a pornstar, initially alleged as a suicide.

Heavily inspired by action/comedy classics such as: ‘Lethal Weapon’ and ‘Rush Hour’, ‘The Nice Guys’ is directed by Shane Black (Kiss Kiss Bang Bang, Iron Man 3, The Predator) who clearly brings all his love for this genre to the forefront. As despite the film doing quite poorly in cinemas upon its initial release, the film is clearly a true passion project for Shane Black, being filled with the director’s usual style and classic witty dialogue from start-to-finish.

Russell Crowe and Ryan Gosling make an excellent paring as: ‘Jackson Healy’ and ‘Holland March’ throughout the film’s story. As both actors have an enormous amount of chemistry with each other and add plenty of humour into the plot through their interactions with their opposite, as well as ‘Holland’s daughter: ‘Holly March’ portrayed by Angourie Rice, who is very sarcastic and angsty towards many of the other characters (which can become a little irritating after a while). Matthew Bomer, Margaret Qualley, Yaya DaCosta and Keith David also have small roles within the film, and are all decent despite not being given much screen-time overall.

Philippe Rousselot handles the cinematography throughout ‘The Nice Guys’, and although attractive throughout most of the runtime, the variety of shots is probably the weakest aspect of the film just down to elimination. Still, the cinematography does back-up the story very effectively, never taking the viewer’s attention away from the mystery unravelling throughout the narrative. I also feel the film’s colour palette could’ve really added to the film’s visual flair more, as the colour palette doesn’t really delve much into the 1970s style aside from the occasional vibrant shot. However, the film does integrate 70s style in its opening titles which I appreciated, as the Warner Brothers logo seen in the beginning of the film is the actual Warner Brothers used during the 1970s.

The original score by John Ottman and David Buckley fits the film’s style and time-period perfectly, as the soundtrack attempts to replicate the music of the time through its use of trumpets and a drumkit to add to many of the comedic moments and establishing shots, with the tracks: ‘Cars That Drive Themselves’ and ‘P.I. Life’ being my two personal favourites (in addition to the film’s main theme). Many of the film’s action scenes do slightly weaken the score however, as anytime the screen is filled with bullets and fistfights, the original score suddenly becomes a lot more generic.

The majority of the jokes throughout the film do land very successfully in my opinion, as ‘The Nice Guys’ has a pretty wide-range of humour throughout its runtime. From the hilarious and quippy dialogue between the two main protagonists to the parodying of classic action tropes and even a little bit of slapstick thrown-in for good measure. All of the comedy throughout the film is pretty inventive and ensures that the film is filled with humour for every-kind of viewer.

Despite the film’s main focus being its humour however, the action throughout the film is actually very well-executed, from a high-speed car chase through to chaotic shoot-outs and bare-fist scuffles. ‘The Nice Guys’ nails it’s action scenes just as well as it’s jokes, as each action set-piece is always exciting and brilliantly choreographed. My only real criticism of the film is probably it’s length, as I feel the film does go on for slightly too-long nearing end of its story.

Overall, it’s a real shame many that audiences had no interest in ‘The Nice Guys’, as although many would consider buddy-cop action flicks a dead genre similar to westerns. I personally feel we need more films like this, as bringing back these old kinds of stories really makes the film stand-out amongst the complete onslaught of modern superhero blockbusters and generic horror scare-fests. A solid 8/10 when it comes to ‘The Nice Guys’, although I feel a sequel with these characters sometime in the future is unlikely, the mere mention of one as even a possibility still gets me excited to this day.

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Hacksaw Ridge (2016) – Film Review

Serving as both an intense war film as well as the real-life biography of Desmon T. Dos, ‘Hacksaw Ridge’ is a respected Oscar-nominated film which deserves much of the praise it receives. As through the stand-out performance by Andrew Garfield alongside the attractive cinematography by Simon Duggan and array of tense moments, ‘Hacksaw Ridge’ soon becomes a very emotional and memorable experience for any viewer, whether overly familiar with the war genre or not.

Plot Summary: Based-on the real-life story of World War II American Army Medic Desmon T. Doss, who served during the Battle of Okinawa and refused to kill anyone despite push-back from his superiors. Doss soon became the first man in American history to receive the Medal of Honor without firing a single shot-on the battlefield.

Directed by Mel Gibson (Braveheart, The Passion of the Christ, Apocalypto), ‘Hacksaw Ridge’ is most effective when displaying war at it’s most brutal, never turning away from displaying the graphic violence and horrific destruction World War II inflicted on many people’s lives, and while the film can sometimes go a little too far when it comes to its gore (feeling a little tasteless and over-the-top at points). I did find ‘Hacksaw Ridge’ more engaging than many similar films within the war genre, and the grim atmosphere the film presents is sure to keep any audience member constantly on the edge-of-their-seat.

The main cast of Andrew Garfield, Teresa Palmer, Hugo Weaving, Rachel Griffiths and Luke Bracey are all phenomenal, with Andrew Garfield in particular, giving a fantastic performance as Desmon T. Dos. Never failing to portray him as a likeable and brave man thrown-into the dark world of war, despite a huge amount of scenes being left-on the cutting-room floor as a result of time, which I feel is a shame, as the film isn’t overly long and could’ve benefitted from a few more moments of characterisation. However, ‘Hacksaw Ridge’ also features some extremely peculiar choices when it comes to the supporting cast, as Vince Vaughn and Sam Worthington both portray strict war-camp generals early-on in the story, which in spite of them both giving fairly decent performances within their roles, I couldn’t help but feel their characters could’ve been better cast.

Although the cinematography by Simon Duggan isn’t anything overly incredible throughout the runtime, the film does have a number of visually pleasing shots, in addition to the film utilising an array of hand-held shots to further the film’s presentation of the uncontrollable chaos of war. Unfortunately, despite not being used very heavily throughout the film, the shots involving CGI that we do see could definitely do with some improvement. As the CG effects for the film’s enormous battleships and fiery explosions do look a little unusual when compared to the film’s time-period accurate battlefront.

The original score by Rupert Gregson-Williams is one of the stronger elements of the film however, as the soundtrack helps to build tension throughout the story in addition to being surprisingly memorable. Although in my opinion, I always felt the score never quite managed to build tension as well as the score for: ‘Dunkirk’, or had the huge emotional impact as the original score from one of the definitive war films: ‘Saving Private Ryan’, which stopped the soundtrack from reaching the heights it truly could. That being said, the late James Horner was initially attached to the film after being the composer for much of Gibson’s other work. But after Horner’s untimely death, another composer was brought-on before Rupert Gregson-Williams was eventually finalised-on, so the film’s soundtrack has been through a very rough-road of development.

One area of the film I feel is fairly underappreciated is the make-up and costume design, as every horrific injury seen throughout the film always appears realistic and looks extremely painful, whilst every costume also feels very accurate to the film’s time-period, almost making the film appear as if the production actually took-place during World War II itself. These elements also help make-up for some of the weak writing early-on in the film. As whilst the film’s writing isn’t awful by any means, a large amount of the dialogue could be seen as a little cheesy/cliché when it comes to developing the film’s characters.

‘Hacksaw Ridge’ is one of those rare films that is both entertaining and distressing, whilst it isn’t quite perfect in its execution, mostly due to its few small issues in regards to its writing, excessive violence and supporting cast. I still feel all of these problems are mostly minor when compared to the remainder of the film. As ‘Hacksaw Ridge’s brilliant war-torn visuals and tense atmosphere on-top of the memorable and charismatic performance by Andrew Garfield, leave ‘Hacksaw Ridge’ a film I feel many should see at least once, and is a solid 8/10 overall.

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The Belko Experiment (2016) – Film Review

An intense thriller with elements of dark comedy thrown-in for good measure, ‘The Belko Experiment’ is written by ‘Guardians of the Galaxy’ director James Gunn, and directed by ‘Wolf Creek’ and ‘Rogue’ director Greg McLean. A strange combination which works surprisingly well in my opinion, as it results in a tense, unique and very fast-paced film.

Plot Summary: In a twisted social experiment, eighty American employees are locked in their high-rise corporate office building in Bogotá, Colombia, and ordered by an unknown voice coming from the company’s intercom system to participate in a deadly game of kill or be killed. Throwing every employee of the company into a state of panic, and a question of morals.

As you can probably tell from the plot, the film doesn’t hold back from throwing the audience straight into the gory chaos after only about ten to fifteen minutes of screen-time. From here, the film continues to build tension and a dreading atmosphere throughout the remainder of the film.

John Gallagher Jr and Adria Arjona are the main two protagonists of the film, as well as Tony Goldwyn and John C. McGinley as the antagonists. Who are all great in their varied roles, due to there being an entire building worth of employees involved in the main story however, there’s an enormous amount of characters, which of course means barley any of characterisation for most of them aside from a couple of lines or the occasional scene.

Whilst the cinematography by Luis David Sansans isn’t any overly impressive, it is decently pleasing throughout the runtime and does manage to show off many of the practical gore effects within the film to their best extent. The same can not be said for the CGI throughout the film however, as despite not always being noticeable, there are a few moments where the CGI becomes extremely obvious due to the film’s smaller budget and can take the viewer out of the film for a moment or two. In addition to this, the original score by Tyler Bates is not very memorable or unique despite doing a decent job of building tension throughout the film, as the soundtrack rises and changes over-time to fit the more tense and chaotic feel of the narrative. However, the score can also feel a little out-of-place when some of the more comedic scenes come into play, but this issue is also noticeable when it comes to the tone of the film, as despite much of the comedy actually working fairly well, the film sometimes changes from horrific imagery to humour a little too quickly.

One of the main elements of the film is obviously the gory deaths, as the story resolves pretty much completely around the deaths of the various characters, and while the film does have a few memorable moments and kills. I was a little dissatisfied with the variety, as the majority of the characters seem to die simply from gunshots, rather than the film getting creative and making better use of the office location it’s set-in, perhaps by having characters use office/everyday equipment and supplies as improvised weapons.

As you may also expect with a violent set-up such as this one, ‘The Belko Experiment’ also delivers on plenty of underlining themes and messages. Focusing mostly on how we react as humans to traumatic events and give-in to our most primal instincts and selfish desires, and while I do wish these ideas were delved into a little further. They are present throughout the film regardless, and I did find the way the film explored the ideas of human survival pretty interesting. Even my personal favourite scene within the film (which takes place in the main reception of the building) excels at expressing these themes in pretty a brutal way.

If all you’re searching for on your Saturday night is a bit of gory, comedic excitement with a few underlining themes mixed-in good measure. Then ‘The Belko Experiment’ happily delivers, as the film is an enjoyable thrill-ride with some quick-pacing and practical gore effects, regardless of some of its weak characters, CG visuals and relatively simplistic story. Although it may not appeal to all, for me, it’s a decent 7/10.

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Deadpool (2016) – Film Review

Extremely meta, violent and hilarious from start-to-finish, ‘Deadpool’s first on-screen appearance is exactly what hardcore fans of the character would want from their favourite potty-mouthed anti-hero. Despite being made on a lower-budget than the most superhero blockbusters, ‘Deadpool’ still manages to avoid the variety of issues that may come from this by having a ‘different’ kind of appeal for superhero fans.

Plot Summary: After the wisecracking ex-mercenary known as: ‘Wade Wilson’, volunteers for an experiment to save his life from cancer, only to awaken superpowered and immortal… but also very ugly, ‘Wade’ begins to track-down the man who ruined his good-looks, and execute his revenge.

Despite the narrative being very simplistic, the story is actually surprisingly engaging. Giving the audience plenty of exciting action scenes, whilst still delivering on a decent romantic subplot between ‘Deadpool’ and his girlfriend: ‘Venessa’, even managing to give the anti-hero a decent character-arc by the end of the runtime.

Morena Baccarin, Ed Skrein, T.J. Miller and Stefan Kapicic are all decent in their respective roles, with Ryan Reynolds, who portrays the protagonist: ‘Deadpool’ extremely well, also having a hand in the production process, being a producer on the film as well as having a large impact on the script, and I definitely feel he is a big reason as to why the film works as well as it does. As it’s clear that Reynolds works very well with director Tim Miller, mostly known for his work on Netflix’s anthology series: ‘Love, Death and Robots’.

The cinematography by Ken Seng is nothing spectacular, but it does have it’s moments. In a similar way to the editing, the cinematography can even be used for a little gag at various points within the film. The original score by ‘Junkie XL’ or Thomas Holkenborg, mostly known for his work on: ‘Mad Max: Fury Road’ and ‘Batman vs. Superman: Dawn of Justice’, really helps back up the exciting over-the-top tone of the film, combing a rock-like soundtrack with small almost dubstep elements, which works perfectly for many of the action scenes throughout the film.

The film also delivers on plenty of the meta jokes fans would expect from this character, having many references to Ryan Reynolds past career choices, other characters from the Marvel universe, and even past iterations of: ‘Deadpool’ himself which I really enjoyed. Unfortunately, due to the film’s smaller budget, the film can have some distractingly rough visuals. Having many action scenes with tons of CGI, along with plenty of explosions and gore effects. I found myself sometimes be taken out of the film through the overuse of these visual effects. However, on a more positive note, having a smaller budget than most superhero flicks is also often used for short gag by ‘Deadpool’ himself.

Of course, with a character as loud and over-the-top as ‘Deadpool’, it’s always possible that not everyone would find the character so likeable and funny. As sometimes the constant bombardment of humour can be overwhelming, and in large doses, I could definitely see ‘Deadpool’ becoming very irritating for some. This is really one of the only complaints I have with the film however, and after watching this film’s sequel: ‘Deadpool 2’. It’s fair to say I found myself missing the original, mostly for its originality and structure.

In conclusion, ‘Deadpool’ delivers on what everyone would expect to see from a film like this. It’s not perfect of course, but the film does always manage to be funny, gory and exciting throughout. Not landing every joke of course, but making the audience burst into tears with every joke that it does. Overall, a great comedy/comic book flick and a solid 8/10, I really hope films such as: ‘Deadpool’, ‘Logan’, and ‘The New Mutants’ (should it ever be released) continue to green-lit in upcoming years, as with how oversaturated the superhero genre is today, it could really do with some more variety now and then.

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