Happy Death Day (2017) – Film Review

Another horror flick from production company Blumhouse Pictures, ‘Happy Death Day’ released in 2017, does at least extend-out of the usual range of Blumhouse horrors to become more of a horror-comedy than just a straight-forward teen slasher. But similar to the rest of their associated franchises e.g. ‘Insidious’, ‘The Purge’ and ‘Paranormal Activity’, both ‘Happy Death Day’ and it’s sequel definitely have their issues, with some being far more severe than others.

Waking-up in the dorm room of a boy whose name she can’t remember after a night of heavy-drinking, self-centered college student: ‘Tree Gelbman’ intends to continue her trend of avoiding her birthday, but little does she know that later that night on her way to another party, someone is waiting to murder her. Only after being killed, ‘Tree’ awakens in the same dorm room, soon realising she is being forced to relive her night of murder over-and-over again until she discovers her killer’s identity.

‘Happy Death Day’ similar to many other day-repeating stories in the past, takes most of its inspiration from the comedy classic: ‘Groundhog Day’ from 1993. Yet unlike many of the other films that are inspired by this beloved comedy flick, it becomes clear over-time that ‘Happy Death Day’ is quite derivative of: ‘Groundhog Day’. As the film’s story not only utilises the comedy’s plot without much innovation (only throwing a killer into the mix). But the film even steals the main point of the narrative, that being its main character and their correlating character-arc, using the time-looping concept to punish the protagonist for their cruel behaviour towards others.

In spite of this however, the protagonist: ‘Tree’ portrayed by Jessica Rothe, is by far the best element of the film. As while ‘Tree’ does go through a character-arc that is all too-familiar as previously mentioned, Rothe makes a fantastic first-outing as an actress through her very enjoyable performance. Then of course, there is the killer, whose identity remains a mystery throughout most of the runtime. Known as ‘The Babyface Killer’, the killer’s outfit is actually the mascot of: ‘Bayfield University’ where the film takes-place, and although the costume itself is far more goofy then intimidating, the mask/costume was actually designed by Tony Gardner. The costume designer behind the now-iconic: ‘Ghostface’ costume from the ‘Scream’ series, which does help redeem the killer’s undoubtedly petty motivation.

The film’s cinematography by Toby Oliver isn’t anything amazing overall, but does still back-up the story effectively in a variety of scenes. Whether that’s through its use of wide sweeping-shots when the characters are in an intense chase, or when more shaky hand-held camerawork is used to reflect ‘Tree’s break-down when she first realises she is stuck in her current crisis. Yet similar to much of its story, the film never leans enough into a more outlandish/experimental nature when considering what the film could accomplish with its cinematography.

Talented composer Bear McCreary handles the film’s original score, which isn’t very distinctive from most of his other work within the horror genre. But despite the score’s lack of memorability, it still does feel as if there is a decent amount of effort put-into it, as the soundtrack actually has quite a lot of range even if some of the tracks don’t always fit with the tone of the film. This also goes for many of the songs used throughout ‘Happy Death Day’, as nearly all of the film’s song choices massively differ in both their genre and general popularity.

But still, the biggest problem ‘Happy Death Day’ suffers from is the inconsistency of its tone. As although the film does attempt to have scenes featuring both scares and humour alike, many of the film’s jump-scares and jokes range in quality, and occasionally even cancel each-other out. Additionally, the film also takes an unusual approach to its violence, as while ‘Tree’ dies countless times throughout the film in a number of different ways. The film never allows for any creative or darkly amusing deaths due to its lack of any blood or gore. Yet this wasn’t always the case, as the original script for the film did actually include more violence, so much so that it would have gained the film a higher age-rating, with plenty of scenes having much grislier deaths that were later altered.

Altogether, a 5/10 for: ‘Happy Death Day’. Whilst the stand-out performance by Jessica Rothe does help to make the film far more entertaining, alongside the film’s idea of being murdered repeatedly having plenty of potential for a horror-comedy. The film just doesn’t do enough with its story, feeling almost as if its a little restrictive on-itself, never delving enough into being either funny or freighting respectively. So if you desire a horror-comedy to stick-on one evening, maybe just go-back to your more accustomed choices over this mediocre slasher.

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The Bye Bye Man (2017) – Film Review

Simply from the laughably-atrocious title of the film alone, I’m sure many can guess why ‘The Bye Bye Man’ fails so miserably as a horror flick. Coming-off more as a student film project rather than a feature that actually made its way into cinemas (mostly due to its amateurish acting and filmmaking alike), ‘The Bye Bye Man’ is an incredibly lacklustre and mindless horror down to even its last few minutes of screen-time.

When three college students move into an old house just off-campus, they unwittingly unleash a supernatural entity known as ‘The Bye Bye Man’, a dark creature that preys upon any victim that discovers its name. Now withholding this knowledge, the group attempt to keep the existence of: ‘The Bye Bye Man’ a secret whilst also trying to save themselves.

Despite the film’s title implying otherwise, the actual antagonist of the film hardly appears in-full throughout the runtime. In fact, the story on-which the film is based: ‘The Bridge to Body Island’, actually has a much more complex mythology for the creature than the film itself. Originally being born albino in New Orleans in 1912, who eventually ran-away from home and began murdering people and cutting-out their eyes and tongues, which he would then sew together and bring-to-life using voodoo. The original story of: ‘The Bye Bye Man’ is far more interesting and disturbing than what appears in the film, which is nothing short of undeveloped and even fairly boring in terms of both his design and his abilities.

Relatively new actors Douglas Smith, Cressida Bonas and Lucien Laviscount unfortunately, all lead the film with quite poor performances. As while the cringy and often moronic writing certainly doesn’t help, their performances are lacking in both urgency and charisma, so it becomes quite difficult to care about them once the supernatural occurrences begin. Surprisingly though, the actor behind: ‘The Bye Bye Man’ himself is Doug Jones, known for his fantastic creature/character performances such as: ‘Abe Sapien’ in the ‘Hellboy’ series, and ‘The Amphibian Man’ in ‘The Shape of Water’. Yet even though Jones may seem like too much of an accomplished actor to be in such a minimal role as this, with talented actress Carrie-Anne Moss also making an appearance, its possible that at one point in time the script for this film may have actually contained some creative ideas.

James Kniest’s cinematography is another area in which the film lacks, as the bland camerawork only allows for a couple of visually interesting shots throughout, usually resulting in the film having a very flat and occasionally cheap look. However, one shot the filmmakers must have been pleased with is the shot of an industrial train traveling at night, as this shot is continuously reused at multiple points. But what’s confusing here is that this shot’s inclusion is never explained, nor does it having any bearing-on the plot whatsoever, only appearing at random within the protagonist’s dreams.

The film’s original score by the Newton Brothers isn’t memorable in the slightest, simply being a standard piano/strings-focused horror score with the exception of the track: ‘The Bye Bye Man’, which feels very out-of-place when compared to the rest of the film’s soundtrack. As the creature’s main theme sounds like something ripped straight from an episode of: ‘Goosebumps’. Also worth a quick mention is the film’s corny use of the recognisable 50s song: ‘Bye Bye Love’, which is just far too on-the-nose for me.

From its constant jump-scares to its many typical horror clichés (e.g. a group of college teens, scribbled drawings, the protagonist looking-up the creature’s origins in a library), the film is teeming with many of the usual problems that flood modern horror flicks. Only this time, the film has simply nothing else to set itself apart from others within the genre. The only aspect of the film that could’ve been remarkable would’ve been ‘The Bye Bye Man’ himself and his ‘Seeing-Eye Hound’, made from pieces of his victims. But as already mentioned, the film does nothing with its antagonist or his hound, only utilising the dog-creature to stand alongside ‘The Bye Bye Man’ through some truly abysmal CG effects.

In conclusion, ‘The Bye Bye Man’ is one of the last films I’d recommend to any horror fanatic. Completely absent of any likeable characters, an intriguing/threatening antagonist or any sense of an eerie atmosphere, its hard to believe that the film has any positive reviews at all. Yet it somehow does, just not one from me. A 1/10 overall. All we can do is hope horrors such as this fade into obscurity and never receive a sequel, prequel or anything else of the sort. As this genre has already suffered enough in recent years with the likes of: ‘Truth or Dare’, ‘Ma’ and ‘The Gallows’ just to name a few.

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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 new remake (or readaptation) of one of Steven King’s most iconic and beloved horror stories, this of course, being ‘It’, with some great cinematography by Chung-hoon Chung, and a very memorable portrayal of the demonic clown: ‘Pennywise’ from Bill Skarsgård. The film is one of the better King adaptations in recent years, even with the array issues the film still suffers from.

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 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 visual pleasing cinematography.

The original score for the film is admirable for the most part, being composed by Benjamin Wallfisch, the score ranges from being your typical horror soundtrack to eventually becoming more emotional for the more character-focused scenes. The only issue I have 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 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, and is a decent 7/10 overall.

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The Snowman (2017) – Film Review

Despite being directed by Tomas Alfredson, head of some great films in the past such as: ‘Let the Right One In’ and ‘Tinker Tailor Soldier Spy’. ‘The Snowman’ is a complete mess of a thriller from start-to-finish. Mostly as a result of the variety of issues it faced during its production, from a rushed shooting schedule to plenty of scenes and story elements being left-on the cutting-room floor. Although the film’s isolated location alongside the visually pleasing cinematography by Dion Beebe may be very effective at points, they simply aren’t enough to save the film from its weak writing and boring/confusing narrative, even with the film’s decent source material.

As a rough detective (Harry Hole) investigates the disappearance of a woman whose scarf is found wrapped around an ominous-looking snowman, he begins to fear an elusive serial killer may be active again. So with the help of a brilliant recruit, ‘Harry’ must now connect decades-old cold cases in the hopes of outwitting this threat before the next snowfall.

‘The Snowman’ is based-on the novel of the same name by Jo Nesbø, also known as: ‘Snømannen’ in Norwegian. However, although this is the first time audiences are seeing the character of: ‘Harry Hole’ portrayed on-screen, ‘The Snowman’ is actually the seventh entry in the character’s novel series. Making the narrative itself feel very underdeveloped and even a little out-of-place, almost as if the viewer hasn’t been informed of any of the film’s in-world events before the current story begins (this may also be why the film is brimming with overly-long flashbacks).

Michael Fassbender portrays the protagonist: ‘Harry Hole’ within the film, which is unfortunately one of his weakest performances to date, not only due to his poorly-written character (who is incredibly cliché as an uncaring alcoholic detective) but also as a result of his fairly bland line delivery. The rest of the cast featuring Rebecca Ferguson, Charlotte Gainsbourg, Jonas Karlsson and even a short appearance from J.K. Simmons, are all decent with what they are given, although they also suffer from similar poorly-written characters. Many of the characters throughout the film also never seem to react very realistically to situations, as characters usually just shrug-off horrific sights with ease. Never really delving into how traumatic these experiences would actually be for a person to witness.

The cinematography by Dion Beebe is undoubtedly the best aspect of the film however, as the beautiful yet isolated locations of the story really add to the film’s enormous array of wide-shots and uncomfortable close-ups. Needlessly to say, this doesn’t really help with the lack of tension within the film, as although the film makes more than a few attempts at crafting tension-filled moments when ‘Harry’ investigates various crime scenes, the film never quite manages it, usually failing to build-up much of an eerie atmosphere.

Marco Beltrami handles the original score for the film, and although this composer usually does terrific work, his score for: ‘The Snowman’ is mostly very dull. As with the exception of the tracks: ‘Main Titles’ and ‘Down the Harry Hole’, the entire soundtrack feels as of it could’ve been taken from almost any other generic thriller, which is a huge shame, as I personally feel a more impactful score could’ve really helped with the film’s overall lack of tension.

The film’s location probably intrigued a large number of viewers just on itself, clearly taking inspiration from films such as: ‘Deadfall’ and the dark-comedy classic: ‘Fargo’ from 1996, the film’s snowy Norway setting really gives the film a distinct look, with the bright red blood from many of the killer’s victims standing-out immensely amongst the white snow. These visuals also help to distract from the film’s slow-pacing, as the film’s main mystery usually feels like quite a drag, with clues only being revealed very slowly over the course of the film.

In conclusion, ‘The Snowman’ definitely fails in more categories than one, as despite its interesting location and pretty fantastic cinematography, the film’s messy story and bland performances make the film pretty unappealing when considering it’s over two-hour runtime. Whilst I’m sure ‘The Snowman’ had the potential to be a great semi-Noir thriller at some-point in time, especially considering it was initially going to be directed by the legendary Martain Scorsese, who eventually left the film to pursue other projects. ‘The Snowman’ is still far from the chilling crime tale it attempted to be, and overall is a disappointing 3/10.

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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.

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

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

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

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

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

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

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

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Geostorm (2017) – Film Review

Directed by Dean Devlin, best known for producing the original: ‘Independence Day’ as well as the first (infamous) American ‘Godzilla’ remake from 1998. ‘Geostorm’ takes a much more traditional disaster-route for Devlin’s directorial debut, attempting to capture the usual scale and destruction associated with the genre, along with a few elements of international terrorism and sleek science fiction thrown-in for good measure. Unfortunately however, this still isn’t enough to save the film overall.

When a network of satellites designed to control the global climate begins to attack Earth, it’s a race against time for its original creator to uncover the real threat before a worldwide ‘Geostorm’ wipes out everything and everyone.

From the first scene all the way through to the last, the film felt incredibly cliché to me, as the film definitely follows a very similar structure to the majority of other disaster flicks, as well as also carrying over much of the cheesiness and terrible comedy from many of them. As although the film does have a few exciting action scenes and some entertaining weather-related chaos throughout its runtime, the film never really manages to break-out of its predictability.

Gerard Butler, Jim Sturgess, Abbie Cornish are all decent throughout the film, as while they still suffer from having the usual generic characters for a blockbuster. They do the best they can to keep the audience engaged throughout the story (for the most part). However, the film also has a few side characters which left we more than often questioning their inclusion in the film, as most of them added very little to the plot and only appeared in a few short scenes.

Roberto Schaefer handles the cinematography within ‘Geostorm’, which aside from the occasional attractive shot is mostly bland and uninspired, with many scenes throughout the film also seeming to have far too many different shots, as a simple scene of two people talking could have anywhere from three to seven different shots. The CGI within the film is also another unusual aspect, as although it’s decent throughout most of the film, there are quite a few shots where I felt it dipped massively in quality. Some of the NASA scenes during the film were actually filmed at a NASA facility in New Orleans however, which I did feel added to the film’s story despite the location’s limited appearances.

There are also multiple points where the film attempts to be very emotional and dramatic, yet usually falls completely flat, with the film putting a large amount of focus on the original score by Lorne Balfe, which is your standard action film score, coming-off as an almost entirely forgettable and bland soundtrack.

Whilst watching the film I also couldn’t help but think that there were many missed opportunities throughout, as due to the film’s mostly serious and grounded tone, the film never takes any of its weather attacks to any truly creative places, with the film usually just going for a decently entertaining, (if not very experimental) action set-piece. Although I understand the lack of disaster films in modern cinema is a great way to make the film stand-out, I do still feel a more absurdist tone along with very over-the-top action scenes could’ve at the very least, made the film more memorable and unique.

I didn’t really have high expectations when I first sat down to watch ‘Geostorm’, going off the mostly inexperienced director and the poor reviews from both critics and audiences alike, and although I’ve definitely seen worse in the past. I’d say the film isn’t really worth a watch, being a mostly bland and boring disaster flick despite some original aspects. There is the odd entertaining action scene or interesting visual for any massive fans of the disaster genre, but for me, it’s a low 3/10.

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Wish Upon (2017) – Film Review

A hilariously awful attempt at horror, ‘Wish Upon’ comes to us from director John R. Leonetti. Mostly known for his cinematography on the first two ‘Insidious’ films as well as the first entry in: ‘The Conjuring’ series. With him now recently delving his hand into directing, working on films such as: ‘Annabelle’, ‘The Silence’ and obviously ‘Wish Upon’. However, after watching all of these films, I think I would really rather he just stick to cinematography from now on.

When a teenage girl discovers an old music box that carries strange abilities and can grant her any wish she desires, she believes all her dreams have come true. That is until she realizes that there is a deadly price for using each one.

Although the plot is definitely original, it doesn’t really come off as a creepy narrative to me at first glance. Of course, the fact that the film has little-to-no atmosphere as well as an enormous amount of weak jump-scares throughout, it’s very clear that this film was clearly meant to pander towards horror-loving teenagers. ‘Wish Upon’ is truly one of the least tense horrors I’ve watched in a very long time, even being unintentionally hilarious at various points.

This is also one of the few films where I can safely say that every character in the film is not only poorly portrayed, but also incredibly stupid. As the entire cast of Ki Hong Lee, Sydney Park, Shannon Purser and of course Joey King as the protagonist: ‘Clare Shannon’. All make ridiculous decisions throughout the entire runtime, in addition to never really acting very intensely to anything, no matter what it may be. The writing also doesn’t help however, as none of the characters in the film talk like actual teenagers, and the script is full of incredibly cringy, cliché and cheesy lines.

All of the cinematography throughout the film by Michael Galbraith is very bland and uninspired. Normally using just simple shots without any attempt to integrate any creepy elements into them. The lighting also doesn’t help however, as most of the film looks like a cheaply made for TV film due to being very bright and clear throughout.

The original score by ‘tomandandy’ is your usual horror affair, with nothing really interesting or particularly memorable of note about it. However, the choice of songs throughout the film is memorable however, for all the wrong reasons. As the film chooses to use terrible pop music at various points during the film, which comes completely out of nowhere and ruins whatever little tension or atmosphere the film had up to that point, making the film feel almost like more of a teen comedy than a horror. Simply due to how distracting it is, this was easily the worst element of the film for me.

Only a very small detail, but I feel the only aspect of the film I actually enjoyed is the music box itself, having a very creepy and unique ancient Chinese design. It’s clear the filmmakers were trying hard to make the item iconic in its own right. Whilst obviously not truly successful with this, I still like its design, and the eerie tune that it plays as a horrific event unfolds, the film also has a very surreal and entertaining end title sequence, but this obviously adds very little to the film overall.

‘Wish Upon’ is a true mess of a horror film, everything from the writing, to the cinematography, to the original score is either very poorly done or simply extremely dull and generic. Coming-off as an unintentionally hilarious experience sometimes and lacking in any eerie atmosphere and terrifying scenes, I really couldn’t dislike this film more personally. But at least the film does have plenty of memorable moments if you decided to watch it with some friends for a laugh. A 1/10 for this one.

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Get Out (2017) – Film Review

Comedian and actor Jordan Peele tests his hand at directing for the first time with this intelligent thriller, with a very original story and some great performances. The film is a definite step-up for Blumhouse Productions’ usual standard for films. However, although many viewers think this film is phenomenal throughout it’s most of it’s runtime, I personally don’t agree, as I actually feel there is more than a few areas in need of some improvement.

When a young African-American man visits his white girlfriend’s parents for the weekend, his simmering uneasiness about their reception of him eventually reaches an extreme boiling point. Leading ‘Chris’ to believe more sinister forces may be at work.

As already mentioned, the film’s narrative is original, and any regardless of quality, I always appreciate originality when it comes to storytelling. Despite ‘Get Out’ being initially pitched and advertised a horror however, the film is really anything but, as the film actually has many inclines of comedy mixed-in with some tension-filled moments here and there, and although the film is entertaining, ‘Get Out’ never really manages to build-up an eerie atmosphere or becomes particularly creepy, which is why I believe that the film is now classed as a thriller rather than a horror by most.

The best aspect of the film for me is by far the performances by the cast, as Daniel Kaluuya, Allison Williams, Bradley Whitford and Catherine Keener are all exceptional throughout, with Daniel Kaluuya as the protagonist: ‘Chris Washington’ in particular really keeping me engaged. As he gives a very ranged performance, managing to portray a very likeable and realistic character within only a short period of time. Unfortunately, not all of the supporting cast quite level-up to this standard.

The cinematography by Toby Oliver is a decent throughout the film, as although there are plenty of attractive shots (most of which make great use of the large open spaces the majority of the story takes place-in (especially in the opening scene of the film, which is executed perfectly). There are also a variety of fairly bland shots, this may also be due to the film’s colour palette however, as throughout the film the use of a very restrictive colour palette results in the film feeling a little visually dull, rather than using its colours to play into its story or genre.

Personally, the weakest element of the film for me is the original score by Michael Abels, as the entire soundtrack itself feels very unusual, and although unique, it usually comes-off as incredibly distracting throughout many scenes within the film. Using an orchestra as well as vocals, the score attempts to reflect some of the more surreal scenes nearing the end of the film, and although I appreciate the attempt, I simply don’t think it works, with the track: ‘Sikiliza Kwa Wahenga’ feeling particularly out-of-place as a result of its bizarre lyrics.

Although the original score may be lacking, the writing throughout the film is brilliant throughout. As director/writer Jordan Peele balances the comedy and tension well, in addition to building-up an engaging mystery throughout the story, as every piece of dialogue contains many subtle clues and hidden meanings which come into play later in the narrative. Of course, with a plot such as this one, there is also an enormous amount of themes and social commentary underneath the story itself, and while I did find the majority of the film’s ideas very interesting and thought-provoking, I also found that some of the themes of racism and social issues can sometimes overshadow the film’s main story.

In conclusion, ‘Get Out’ is a decent thriller, as despite the fact that the performances and writing on-display throughout the film is definitely impressive, I still feel the lack of an eerie atmosphere in addition to a suitable original score for the film’s tone really hurt the film. Regardless of this, ‘Get Out’ is still a decent 7/10 overall, while nothing absolutely amazing, the film definitely has it’s moments, and I would say the film is a solid watch if you enjoy the occasional thriller.

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Colossal (2017) – Film Review

Definitely an unusual film that I can say with confidence isn’t for everyone. ‘Colossal’ is a hilarious very original comedy-drama from director Nacho Vigalondo (Time Crimes, V/H/S: Viral – Parallel Monsters, Pooka!) combining some phenomenal performances by Anne Hathaway and Jason Sudeikis and a great visual appeal. The film is very memorable, and one of my personal favourites in recent memory.

‘Gloria’ is an out-of-work party girl forced to leave her life in New York City and move back to her small home town. Whilst reports surface that a giant creature is destroying Seoul in South Korea, as she gradually comes to the realization that she is somehow connected to this strange phenomenon.

Although the narrative of the film leans heavily on the mystery of how the monster and ‘Gloria’ are connected. An element of the writing I enjoyed is that none of the characters are treated like a fool, it doesn’t take our protagonist long to figure out the truth nor does it take her long to convince other people of it. Every decision made by the characters is understandable and realistic within reason. Despite also being an unlikeable character for a large majority of the film, Anne Hathaway manages to keep her character interesting and likeable enough for the audience.

As mentioned previously, the performances here are outstanding, both from Anne Hathaway and Jason Sudeikis, and although he doesn’t appear much throughout the film Dan Stevens is also decent. All the cast have great comedic timing and genuinely excellent chemistry, and along with the film’s well-balanced tone can quickly change to very dramatic. Tim Blake Nelson and Austin Stowel also have small roles in the film, and despite also not having too much screen-time, they are very memorable as ‘Oscar’s close friends.

The cinematography by Eric Kress gives the film a nice visual appeal. Alongside the colour palette consisting mostly of dark blues, greens and purples. Alongside a few brighter blues and yellows. The film really just has a nice look overall, without being too colourful or obnoxious. Any scene containing the giant monster are obviously scenes which use large amounts of CGI, and despite not having a huge-budget. Every-one of these scenes is fantastic, truly showing off the enormous scale of the creature and it’s trail of destruction to the fullest extent.

The weakest element of the film for me is the original score by Bear McCreary, although I usually enjoy this composer’s soundtracks. Creating such memorable scores such as: ’10 Cloverfield Lane’ and AMC’s ‘The Walking Dead’ (including the now-iconic opening theme). This score just feels somewhat lacking, while not particularly bad, the original score simply lacks any character or originality. Aside from sounding somewhat similar to a classic monster score at points similar to: ‘Godzilla’ for example.

‘Colossal’ is the perfect comedy-drama in my opinion, balancing great performances with an original story and some brilliantly executed emotional/funny scenes. The film is extremely enjoyable all the way through. The film keeps us a decent pace and doesn’t overstay it’s welcome, yet still leaves the audience satisfied. The film really just has a great personality to it, and is filled with plenty of memorable scenes throughout its tight runtime. An 8/10 for this one, definitely check it out if it sounds like something you’d be interested in.

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The Shape of Water (2017) – Film Review

Without question one of my favourite films from director Guillermo del Toro (Hellboy, Pacific Rim, Crimson Peak), this strange story of a woman falling in love with an other-worldly fish creature really pushes the limits on both attractive visuals and storytelling. Combing outstanding some cinematography and great make-up effects alongside some memorable performances by Sally Hawkins and Doug Jones, with Michael Shannon also stepping-in as the menacing antagonist. For one truly incredible cinematic experience.

Set against the backdrop of Cold War-era America in 1963. Inside a hidden high-security government laboratory where she works, lonely ‘Elisa’ is trapped in a life of silence and isolation. But ‘Elisa’s life is soon changed forever when she and her co-worker: ‘Zelda’ discover a secret classified experiment lurking behind large closed-doors.

This completely bazaar plot is no doubt an instant turn-off for some people, but I personally feel director Guillermo del Toro truly brings all his charm and passion to this project. As the film is an absolute pleasure to watch from beginning-to-end, which is even more impressive considering both of the film’s protagonists: ‘Elisa’ and the ‘Amphibian Man’, are completely mute for the entirety of the runtime. In fact, one of Octavia Spencer’s favourite things about the screenplay was the fact that, by letting the main couple be mute, most of the dialogue comes from a black woman and a closeted gay man. Who in real-life, would both have experienced oppression during the 1960s setting of the film.

Despite actor Doug Jones being in heavy make-up prosthetics to portray the ‘Amphibian Man’ for all his screen-time, he actually is able to invoke a variety of emotions, and shares plenty of chemistry with his co-star Sally Hawkins as ‘Elisa’, with the supporting cast of Michael Shannon, Richard Jenkins, Octavia Spencer and Lauren Lee Smith also being surprisingly excellent given their character’s limited time on-screen.

Alongside the phenomenal cinematography by Dan Laustsen, which contains an enormous amount of beautiful shots throughout the narrative (with the dark blue colour palette also helping to add to the film’s visuals). In addition to this, the wonderful original score by Alexandre Desplat also adds another outstanding soundtrack to his already overflowing catalogue. As this beautiful (yet unusual) romantic score with an almost French-like tone, is very impactful in many moments throughout the film. In particular with the opening scene however, as the opening shot glides slowly through a flooded room set to the my personal favourite track of the film: ‘The Shape of Water’, preparing the viewer for the strange story that lies ahead.

As well as the marvellous cast, the writing throughout the film is also fantastic, as del Toro writes the script almost like poetry at points. Forming a romantic bond between the two main protagonists as the film progresses, alongside this the film has plenty of subtle commentary on the time-period, backing-up the film’s overall theme of the things that make us different, whether that be because we are deaf, blind, or possibly even some kind of weird fish-creature, which I personally found very compelling.

One of my personal favourite elements of the film is definitely the make-up and prosthetics, as every second of screen-time we get with the ‘Amphibian Man’ the make-up effects look completely flawless, with many aspects of the strange and original design being inspired by real animals. Which is nothing new to this director however, as del Toro has always been known for creating incredible creatures of dark fantasy, such as in ‘Pan’s Labyrinth’ and the ‘Hellboy’ series. Although used less than what many may initially think, the CGI throughout the film is also used very effectivity, amplifying many of the effects around the creature rather than distracting from them. On my initial watch, I also couldn’t help but think that this is definitely a Guillermo del Toro film through and through, as with another director at the helm, I could definitely see this film not working, but del Toro truly brings his ‘A’ game here.

I honestly believe ‘The Shape of Water’ may be one of my all-time favourite films, and definitely one of favourite modern films. As the relationship between the two protagonists and the journey they go on is memorizing from start-to-finish. Backed-up by some amazing cinematography, a great original score as well as the make-up and CG effects, the film is easily a 9/10 for me. Whilst perhaps not a film for everyone, it’s an extremely well-made film regardless.

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