Denis Villeneuve’s long-awaited sequel to Ridley Scott’s cult classic Blade Runner may be set some three decades after the original but is packed with dystopian pertinence so in line with the issues of the present day that the gap feels more intensely condensed than its predecessor ever could. Every bit on the forefront of visual technology itself, the triumph of Blade Runner 2049 is how well it emulates and advances the essence of the original, whilst offering one of the most cinematographically perfect experiences ever brought to the big screen.
Continue reading Blade Runner 2049 | Review
In a biblically-charged masterpiece, hell hath no fury like a mother scorned.
Continue reading mother! | Review
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.
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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.
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‘The world we live in. It’s so
wondrous insipid, mysterious terrifying, even magical disturbing…’
Continue reading The Emoji Movie | Review