First, he was made an unwilling global megastar and now young Christopher Robin, son of Winnie-the-Pooh writer A. A. Milne, has become a metaphor. Better known in his early years as Billy Moon, C. R. Milne is an icon of humanity in Simon Curtis’ Goodbye Christopher Robin; a Heaney-esque symbol of the death of childhood and exploitative evils of the world. The true story of the creation of Milne’s beloved bear is surprisingly devastating and one possessing very little by way of a happy ending for its protagonists. Yet, with an ample spoonful of sugar (Saving Mr Banks is a spiritual sibling), Curtis’ film retelling of history is by equal measure twinkly and delightful. This hundred acre wood is thicketed with hugely winning adventure and yet tinged with saccharine sadness.
Continue reading Goodbye Christopher Robin | Review
Resurrection is a bad idea, generally. The urge to fend off death, to dig up a treasured memory, is terribly human but rarely humane. So why is it that this keeps on happening? Why won’t Hollywood let go of the past and let sleeping films lie?
Continue reading Flatliners | Review
Are you psychologically unhinged? Have you been thrown out of an MMA fighting club and shooting range for being just a wee bit too violently disturbed? Do you consider the CIA to be a bureaucratic killjoy with too many law-abiding rules? If your answers are yes, yes, and yes, then the CIA wants you on their side.
Continue reading American Assassin | Review
M. Night Shyamalan is the type of director that critics seem to will to have a ‘welcome return to form’. Having made his name with a string of early-noughties supernatural chiller/thrillers – The Sixth Sense among them – a series of financially successful, but generally panned blockbusters followed. Slashing his budget from After Earth’s $150m to $5m for 2015’s The Visit has seen Shyamalan return to his filmmaking origins and it’s a trend that continues with Split. Yes, it’s another generally welcome return.
Continue reading Split | Review
‘The world we live in. It’s so
wondrous insipid, mysterious terrifying, even magical disturbing…’
Continue reading The Emoji Movie | Review
If Kingsman: The Secret Service was intent on, and successful in, putting the fun back into spy cinema, its sequel, The Golden Circle, has clearly been established to bring back the silliness and smutty immaturity. In the directorial hands, once again, of Matthew Vaughn, it’s almost as if the past decade of James Bond never happened.
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Directorial indie debuts are packing some real punches in 2017. In the wake of outings from Hope Dickson Leach and William Oldroyd comes Francis Lee’s God’s Own Country, a rural romance of cold winds and warm hearts. Another in a pleasing tide of British features, here is a film of equal profundity and assured cinematography.
Continue reading God’s Own Country | Review