Joker (2019) – Film Review

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

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

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

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

All of the cinematography by Lawrence Sher throughout the film is very impressive, which is actually quite surprising considering ‘Joker’ is shot by the same cinematographer as the rest of Phillip’s work (which all contain mostly bland shots due to their focus on comedic writing). Featuring a variety of both stunning and memorable shots throughout, ‘Joker’s cinematography does serve its narrative and dark tone very well, with the now-iconic scene: ‘Staircase Dance’ since becoming one of the most recognized and celebrated moments of 2019 pop-culture.

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

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

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

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Unicorn Store (2019) – Film Review

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

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

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

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

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

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

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

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

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This Year in Film (2019) – Film List

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

Joker

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

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Knives Out

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

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In the Tall Grass

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

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Marriage Story

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

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The Silence

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

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Haunt

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

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Le Mans ’66 (Ford v Ferrari)

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

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Toy Story 4

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

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I Am Mother

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

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It: Chapter 2

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

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Crawl

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

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Yesterday

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

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The Platform

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

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Aladdin

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

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The Hustle

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

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Velvet Buzzsaw

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

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Avengers: Endgame

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

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Dolemite Is My Name

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

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Jumanji: The Next Level

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

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Godzilla: King of the Monsters

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

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Once Upon a Time… in Hollywood

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

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Terminator: Dark Fate

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

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John Wick: Chapter 3 – Parabellum

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

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Star Wars – Episode IX: The Rise of Skywalker

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

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Spider-Man: Far From Home

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

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The Lion King

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

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Little Monsters

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

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Serenity

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

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Fractured

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

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The Lighthouse

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

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Parasite

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

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Captain Marvel

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

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Zombieland: Double Tap

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

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The Irishman

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

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Us

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

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Hellboy

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

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1917

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

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Fighting with My Family

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

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Jojo Rabbit

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

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Missing Link

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

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Ready or Not

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

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Doctor Sleep

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

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Child’s Play

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

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Wounds

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

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Pet Sematary

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

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I Lost My Body

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

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Uncut Gems

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

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Midsommar

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

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Unicorn Store

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

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Scary Stories to Tell in the Dark

Whilst I definitely would’ve prefered an anthology-type structure when it comes to an adaptation of the ‘Scary Stories to Tell in the Dark’ children’s book series, this horror film for a younger audience certainly has its fair share of flaws. As although not awful by any means, the film is simply just a very mixed-bag overall.

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The Kid Who Would Be King

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

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Godzilla: King of the Monsters (2019) – Film Review

Serving as a sequel to the 2014 American ‘Godzilla’ remake, as well as standing as another chapter in this new franchise of monster films by Legendary Pictures. ‘Godzilla: King of the Monsters’ delivers more on of the exciting monster action and amazing visuals that the first film somewhat lacked. However, the film does cut down on many other aspects to make this possible.

When the world is threatened with extinction, the crypto-zoological agency: ‘Monarch’ is forced to face-off against a roster of god-sized monsters, including the mighty: ‘Godzilla’, who soon collides with the fearsome: ‘Mothra’, ‘Rodan’, and his ultimate nemesis, the three-headed: ‘King Ghidorah’.

As the runtime goes on, the narrative does go a little deeper, but I personally felt the plot gets a little absurd as it continues, becoming almost too layered at points for a simple monster flick. Of course, it can probably go without saying however, that every action scene featuring the creatures is phenomenal. As each monster is always given its own unique way to combat the others, and the film always finds time to give each creature at least one or two memorable scenes. The film also features a lot more action than the previous ‘Godzilla’ film, due to the film’s very quick-pacing and as it jumps from location to location constantly, always trying to increase the spectacle with each cut.

The three main members of the cast, that being Kyle M. Chandler, Vera Farmiga and Millie Bobby Brown. All portray a broken family, forced apart by various responsibilities as well as the loss of one of their children in the past, and while their performances are decent throughout the film. I was disappointed by the lack of any further development for their characters, as I found the set-up for their story very interesting and wish the film went more in-depth with this idea rather than indulging in one more fight scene, this same issue unfortunately also applies to Charles Dance’s antagonist: ‘Alan Jonah’ within the story.

The cinematography by Lawrence Sher is decent overall, as while there are many beautiful and simply awesome shots with the monsters themselves, many of the shots with human characters are rather bland. As there is definitely an over-reliance on hand-held shots every-time ‘Godzilla’ (or one of his counterparts) isn’t on-screen, despite the film’s colour palette actually being very ranged and pretty visually appealing. The original score by Bear McCreary is very different however, as the composer crafts a score which captures the enormous scale of the monsters and their chaotic nature very well, with the soundtrack even going to the extent of giving each one of the creatures their own unique and intimidating theme.

The film’s best aspect in my opinion is definitely the creature designs, as each one is always very creatively designed, and is given many unique features to fit with its abilities and make it stand-out from the remainder of the monsters. Of course, the CGI and visual effects throughout the film also add to this, as although the film can sometimes be bombarded with far too many elements on-screen at once (becoming a little overwhelming at points). Despite this, everything visual effects we see is usually incredibly well detailed and doesn’t feel at all out-of-place.

One element I felt didn’t reach the level of the first film from 2014 was how the film captured the true scale of the creatures, as while director Michael Dougherty (Trick ‘r Treat, Krampus) clearly puts his all into pleasing fans and creating a fun experience, even having the classic theme for: ‘Godzilla’ make a welcomed return. The film simply doesn’t capture the same feeling of being within the real world as these massive creatures roam quite like the first film did.

Overall, ‘Godzilla: King of the Monsters’ is the definition of a mixed-bag for me, even with its explosive monster fights, some amazing visuals and a great original score. It’s over-the-top story displayed through it’s extremely fast-pacing and weak characterisation simply can’t be ignored. Leaving the film, most likely a 5/10 overall. Even with some serious flaws, the film does have some aspects of enjoyment to be had, check this one out if you’re a big fan of the iconic monster.

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Velvet Buzzsaw (2019) – Film Review

A weird, violent and very unpredictable film, Dan Gilroy director of one of my all-time favourite films: ‘Nightcrawler’, works all his charm and creativity into this horror/drama/mystery/dark comedy? It’s difficult to pinpoint what exactly what the genre of this film is. Alongside this, similar to some other films I’ve reviewed, I’d say this is definitely not a film for everyone. But for those who it will appeal to, you will surely enjoy yourself.

After a series of paintings by an unknown artist are discovered, a supernatural force enacts revenge on those who have allowed their greed to get in the way of art. With an original and unusual narrative like this, you are sure to find many memorable scenes and characters, and this is what the film truly delivers on.

The film is mostly built around the shocking deaths throughout the film, as various characters get killed off in different ways. Leaving the rest of the characters in a state of confusion and panic, this allows the film to delve into bits and pieces of characterisation (granted not a lot) in addition to exploring various ideas of what ‘art’ actually is and we criticise and commercialise it, and despite the film not going incredibly in-depth with these ideas, I did still find many of them and the themes of greed and ego interesting.

Jake Gyllenhaal is essentially the main protagonist of the film: ‘Morf Vandewalt’ a very eccentric and strange character who seems to be a parody of over-the-top art critics. Rene Russo, Zawe Ashton, Toni Collette, Natalia Dyer and John Malkovich also all lend their talents to the film. Along with the decent writing, their great performances really help give each character a distinct personality. Unexpectedly however, Zawe Ashton is a true standout of the film for me, only really knowing her from Channel 4’s ‘Fresh Meat’, here she portrays a very different character than ones before.

The cinematography by Robert Elswit also gives the film a very clean look, utilizing many different shots throughout. I still do think the film could’ve done more with the camera work though, especially when compared to Dan Gilroy’s previous films. The does also combine cinematography well with the beautiful sets and locations, giving the film a great visual appeal overall. The original score by Marco Beltrami and Buck Sanders also lends it’s hand to the creepy atmosphere at multiple points throughout the film, yet can also change to more calming or light-hearted when it needs to. 

Although the tone can really vary throughout the film, it never comes off as unbalanced. Comedy is used at points during the story but never to the point of ruining the eerie atmosphere or character moments. When the film does shift into full horror however, we get easily my favourite moments of the film, as it’s these moments we get some very cool CGI effects and unique visuals. As well as a great build-up of intrigue and tension, with the eventual death at the end of the scene usually being very creative, despite not always being very gory.

My main two issues with the film resolve mostly around the pacing of the film, as the film can come off as very slow and can really drag the story down at points. As well as the use of John Malkovich’s character: ‘Piers’, as this character appears in the very first scene of the film and then again later into the runtime. However, he doesn’t really have any impact on the overall narrative, and really felt to me like the film was just using his bland character to fill up screen-time.

I wasn’t entirely sure what I thought of: ‘Velvet Buzzsaw’ on my initial viewing of the film, as the film does suffer from some problems and isn’t quite the incredibly entertaining piece of gory fun I wanted it to be. But I still enjoyed myself through its weird atmosphere and interesting ideas, and it is a film I could maybe see myself returning too at some point. A decent 6/10 overall.

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Serenity (2019) – Film Review

A film I only heard about very recently, ‘Serenity’ is a sci-fi/mystery written and directed by Steven Knight. Although I thought the film looked interesting initially, it has received a lot of bad reviews since it’s release from both critics and audiences alike, so I decided I’d give it a watch and decide for myself.

The story focuses on a fishing boat captain (Baker Dill) as he juggles facing his mysterious past and finding himself ensnared in a reality where nothing is what it seems.

The story and setting of the film definitely feel very fresh for this genre, mostly due to the film seeming like more of a straight drama at first before changing drastically later down the line. ‘Serenity’ also delivers its narrative in a very unusual fashion, editing between scenes at a very quick pace. Keeping the story always in constant motion and placing small seeds which lead into bigger reveals later into the runtime. Some of which only get small appearances for viewers paying close attention. Sadly for viewers paying close attention, the CGI on display here isn’t the most impressive.

Matthew McConaughey, Anne Hathaway and Jason Clarke all give decent performances here, at points however they do feel a little ‘off’. Whilst I’m sure this is intentional, as it fits with the film’s atmosphere, it can sometimes be distracting from the story itself. Jason Clarke’s performance as: ‘Frank Zariakas’ I really enjoyed in particular, as here he plays a completely different character to how we are used to seeing him.

The cinematography by Jess Hall is most certainly one of the highlights of the film for me, resulting in many beautiful and interesting shots. The film also uses the panoramic pivot point camera movement technique (spinning the camera around the actor) for many shots, similar to how the ‘Saw’ franchise does. Personally, though I’m not a huge fan of this technique as it makes the film feel a little cheap. The cinematography also helps with many of the more emotional or tension-filled moments throughout the narrative of the film.

The original score by Benjamin Wallfisch really lends itself to the strange atmosphere of the film for the most part, aside from when the tension rises in a few scenes, as then I felt the soundtrack begin to feel a little generic and action-heavy. However, when you consider the twist at the end of the film, I feel the score could’ve taken some ideas from it into account, which would’ve perhaps made it a little more memorable.

When it comes to the editing, it can definitely vary. Although in some scenes the editing can be a little messy or overly quick, for the most part, the editing is decent and the transitions between scenes are very effective. Even with the quick editing however, the runtime is still overly long and could easily be cut down to at least an hour and a half. In addition to this, when the editing is combined with some of the unintentionally funny writing it can lead some oddly comedic moments.

Overall, ‘Serenity’ is a very different kind of film, it begins as almost a character drama before completely spiralling into its science fiction mystery elements. I can see that if you weren’t prepared for the change in direction, it may come off as very sudden and out-of-place. Soon becoming a film not intended for everyone, but with some great cinematography and some occasional impressive editing alongside the incredibly strange atmosphere. I personally found some entertainment value in this film. A 4/10 for ‘Serenity’, maybe give it a watch if your film taste stretches to more weird territory now and then.

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