Speed Reviews- Fantastic Beasts, Nocturnal Animals, Arrival, and Doctor Strange

Not had a lot of time to do my reviews recently, so here's four for the price of one (spoiler alert, they're all good).

Fantastic Beasts and Where to Find Them:

After the disaster that was The Cursed Child (don't argue with me on this, it was shit) I was very sceptical about returning to the Harry Potter universe with this film documenting the adventures of Newt Scamander, writer of the titular textbook. However, this film exceeded expectations from beginning to end. Lighter in tone than the latter Potter films, Fantastic Beast's brings the sense of optimistic wonder that was present in Columbus' early franchise efforts, while also fusing in some pretty sophisticated analysis of minority experience within society (particularly in the cases of sexuality and race). David Yates once again proves that he is the only director that should be allowed anywhere near this series, while JK Rowling's one of a kind imagination builds on the mythos of this world that we have come to love. Some dodgy dialogue and pacing issues aside, this is a really fun film that the whole family would enjoy. Potter fans, you're in for a treat.

Score: 8.6/10

Nocturnal Animals: 

With Nocturnal Animals, Tom Ford gives us a stylised thriller that will have the audience guessing from start to finish. The best thing about this film by far is the strength of its writing. Juggling past, present, fiction and reality, the non-linear structure never once confuses or muddles the film, and the complex plot flows like an unobstructed springtime stream. The cinematography is stunning, and the way Ford uses colour in this film is an achievement in itself. Amy Adams and Jake Gillenhall both shine, but it is the supporting players who steal the show here, with Michael Shannon and Aaron Taylor Johnston both delivering heavyweight performances. A strong contender for a screenwriting nomination at this year's Oscars, expect this effort to be talked about a lot heading into awards season.

Score: 8.8/10

Arrival:

Wow. 

That was the first word out of my mouth after I seen Arrival, which might be the best film I've seen so far this year. Every individual element of this film comes together so well, from its use of sound and its impressive visual effects, to its pitch perfect pacing and incredibly clever story. Amy Adams is great again, with her roles in both this and the aforementioned Nocturnal Animals cementing her status as one of Hollywood's best leading ladies. I won't say much else because it's best you go into this movie knowing as little as possible, but what you should know is that it is director Denis Villeneuve's best film to date, which is impressive considering his previous filmography includes Prisoners and Sicario. A sure fire contender for Best Picture, this is the best sci-fi film of the decade by a considerable distance.

Score: 9.3/10

Doctor Strange:

Doctor Strange is a typical superhero origin story. It follows the "Marvel formula" to a tee and is very heavy in exposition in terms of introducing the audience to both the character and this magical realm of the MCU. The acting is decent, Benedict Cumberbatch has a good presence as Doctor Strange, and Tilda Swinton actually brings some unexpected pathos to her role as "The Ancient One". The plot does have a refreshing resolution that distinguishes it from other superhero efforts, but in saying this it is more of the less the "abra-kadabra" version of Iron Man. What makes Doctor Strange worth seeing is its exceptional special effects work, quite possibly the best I've seen since Inception. The way the filmmakers play with the dimensions of space is extraordinary, and it helps to elevate an average film into a good one.

Score: 7.9/10

Film Review- The Magnificent Seven

Ah reboots, the plague of modern cinema. Don't get me wrong there are occasions when they work (Nolan's Dark Knight trilogy being a notable example) but for the most part they are nothing more than soulless and artless cash-grabs that have no reason to exist. In saying this, such is the world we live in that reboots will not be going away anytime soon, so I've made it my mission to judge each film on an individual basis and not to let my judgement be affected by my thoughts on the practise overall.

When taken as a stand-alone product, the latest incarnation of The Magnificent Seven is rather good.

Directed by Antione Fuqua, this reimagining of the 1960 original (itself an adaption of 1954's The Seven Samurai) stars Denzel Washington, Chris Pratt, Ethan Hawke, Vincent D'Onofrio, Byung-Hun Lee, Manuel Garcia-Rulfo and Martin Sensmeier as the titular heroes who are hired to protect a small town from the wrath of an evil capitalist (gotta love left-wing Hollywood). The story is more or less the same as its predecessor, so a sense of predictability is imminent, but fortunately there is more than enough here to sink your teeth into.

For one, the cast is impeccable. Every single member of this gang shines in one way or another, but to keep this review from becoming a script in itself I'll single out three worthy of extra praise. Denzel Washington (or as he'll henceforth be known "The Ageless Wonder") plays Sam Chisolm, a warrant officer and leader of The Seven. Washington's powerful screen-presence is what makes this character work; you believe that men would follow him into a battle he cannot win, which in itself is a crucial point to convey if the plot is to make any sense whatsoever. Denzel plays Chisolm with an awesome composure and light charm that when we see him divert from this near the movie's conclusion it is all the more emphatic. Chris Pratt is great again, mostly sticking to the same type of performance which has granted him immense success since Guardians of the Galaxy was released in 2014. What he does impressively in this outing however is add a layer of darkness and ambiguity to his performance which, when combined with his usual lovable rogue stique, helps to create an intriguing and complex character who commands your attention any time he is on screen. Arguably the hottest name in Hollywood today, Pratt proves why he is at the top of the proverbial mountain with another stand-out role. Finally, I wanted to give special mention to Byung-Hun Lee, who plays the assassin Billy Rocks. Rocks is by far my favourite character in this film for several reasons: his skill, his likability, his sexuality, his loyalty, his chilled-out nature, as well as the air of mystery that surrounds him. Lee forms what I consider to be the most fully-rounded character of the main cast, and he does so with relatively little screen-time. Anytime a supporting player like this can steal scenes out from underneath the feet of his more famous contemporaries it is something to be admired, and I hope that we get to see this talent again sooner rather than later.

Another element I wanted to mention was the score, which was utterly beautiful. Sadly, this will be the final film ever to feature the music of the talented James Horner, who died half way through the making of this product. The mind behind the soundtracks to films such as Titanic, Avatar and Braveheart, Horner will leave behind an almost unparalleled legacy, being regarded as one of the finest Hollywood composers of the modern era. His score in this film is exquisite, perfectly capturing the gritty yet playful tone of the product as well as layering in some nice throwbacks to Elmer Bernstein's original. A talent of the highest calibre, this score should forever be remembered as a testament to Horner's artistic ability. The cinematography is also stunning, particularly in an IMAX theatre. The wide-screen layout is perfectly capitalised on with absolutely stunning shots of our heroes silhouetted in front of the green American countryside, and the action (edited furiously to give everything a really authentic chaotic feel) is shot with precision. Right from the off, as we are shown our main antagonist burning down a white wooden church, we know this isn't a sloppily shot effort, and it's this type of care in production which helps to put The Magnificent Seven above most blockbusters you will see this year.

Overall, I think the mixed critical reception The Magnificent Seven has received is a bit unfair. In her review of the film, MTV's Amy Nicholson criticised the film's generic themes and accused it of being just another super-hero movie. I have to disagree with this assessment. Yes, it is a fun popcorn romp, but after sitting through a summer of mind-numbingly average big-screen bombs this summer, I welcomed the swagger and excitement that The Magnificent Seven brought to the screen. It isn't innovative (very few films are now days) but it reminds us of why the majority of people go to the cinema: for a good, fun time. The Magnificent Seven is a retread of the original, but it is also extremely well-acted, beautifully made and good fun, therefore putting it among the best big-budget films I have seen this year.

Score: 8.6/10

Film Review- Blair Witch

Sometimes you've got to just judge a film based on the emotions that it evokes in you rather than overanalysing and scrutinising each individual part of its make-up. 

The second half of Blair Witch made me feel one emotion in bucket loads: raw unadulterated fear.

Directed by Adam Wingard, Blair Witch is a follow-up to 1999's "The Blair Witch Project". The plot is very similar to that of its predecessor as is much of its composition. In this film James, the brother of Heather from the first film, goes with a group of friends to the Blair woods in order to look for his missing sibling after footage pops up online which may serve to prove that she is still alive. However once in the woods, the group learn the hard way that there are certain rocks which are better left unturned. 

Like I said, when you break Blair Witch down, there isn't an awful lot to marvel at. The acting isn't top quality, especially in the film's early stages. For a movie who's entire existence relies on the "belief" that it depicts real events, the acting is very pantomime in the first half. James Allen McCune, who plays James, is particularly guilty of this and it is not until the film's climax that he redeems himself a bit in terms of his performance. Also, while the first film popularised the found-footage sub-genre, Blair Witch is now one of many such films to come out in the decade since the initial outing. Because of this, Blair Witch doesn't really feel special from a technical perspective like its predecessor was at the time and therefore can't be considered as "special" a film. Despite this the camera work is very good and the shaky cam style, combined with the low-level lighting, helped to create a particularly realistic feel which other horrors would do well to try to imitate.

However, like I always say, there is only one question that has to be answered in order to judge the quality of a horror film: is it scary? The answer to this question is an extremely firm yes! I've seen mostly every horror film to come out in 2016, but none of them have come close to filling me with the levels of dread that Blair Witch reached in its third act. I was honestly shaking at some points and I will readily admit I had to take a few seconds to steady my breathing before leaving the screen. Yes, the first act is an extremely slow-burner, introducing us to the characters and trying to make us care about them before anything particularly strange happens, but when they do the film goes from 0 to 80 in 2 seconds flat. Eerily atmospheric, filled with scares and featuring a now infamous threat, Blair Witch is by far the scariest horror film to come out this year. 

If you're wanting a good scare, go and see Blair Witch.

Score: 8.5/10

On a side note, what a cracking year this has been for horror movies so far. By far the most consistent genre of 2016.

Film Review- Hell or High Water

Everyone rejoice, the summer is over. The schools are back, the air is getting colder and soon we'll even get an extra hour in bed. But more importantly than that, the films are set to get a whole lot better. 

Awards season is just around the corner, which means that studios will be saving their highest quality of releases so that they will remain in the voters minds when it's time for the Oscar and Golden Globe nominations to begin. There's been a lot of buzz coming out of Telluride and Toronto Film Festivals as to what we should expect the big winners to be come the start of 2017 (with Moonlight, La La Land, Manchester by the Sea and Nocturnal Animals being the most prominent) however after seeing Hell or High Water last week, I would say it has a very good chance of getting some high praise and recognition in a few months time. 

Directed by David Mackenzie and starring Jeff Bridges, Chris Pine, Ben Foster and Gil Birmingham, the film is about two brothers who decide to rob their local banks to take back the money they see as rightfully theirs, while also following two rangers (a soon to be retiree and his successor) who have been tasked with bringing the brothers to justice. 

The first thing that I loved about Hell or High Water was its pacing. It is a very slow and deliberate story, reminiscent of an old style Howard Hawkes film like "Rio Bravo", a filmmaker who I can only gather that Mackenzie is greatly influenced by due to the many similarities I spotted between this film and a lot of Hawkes work. The pacing proves effective as it allows characters to develop in a very organic way and the plot to unveil itself in a profoundly deliberate manner. Linking on to this, "Hell or High Water" explores the intricacies of loving yet platonic male relationships, namely in this case the love and undying loyalty of the brothers and the respect and bond shared by the two rangers. The dialogue and is also very conversational and natural, yet another definitive filmmaking aspect clearly inspired by Hawkes. Despite this, it never comes across as mimicking (this film is considerably less jovial than anything Hawkes made starring The Duke) but it is nice to see these great traditions of the Western genre (in particular Hawkes trilogy) being carried on and updated to reflect where the medium is now in the 21st century. 

The cinematography is brilliant. The framing of every shot is meticulous, and Texas  (or New Mexico where this was actually filmed) is a character in itself, whether it be its beautiful landscape or quaint dusty towns, as the rural setting is what truly brings life to the screen. The lighting is natural and the colour pallet faded, bringing a sense of depressing realism to the screen. The soundtrack is also impeccable, solidifying the tone and working-class centric telling of the story.

It's the outstanding performances the hold everything together here. The two supporting males are absolutely impeccable, showing the sometimes under-appreciated value that a great supporting performances can give a production. Ben Foster has totally redeemed himself in my eyes from the pile of horse-manure that was Warcraft. He is completely encapsulated into this character, giving one of the more exciting yet complete performances I've seen on screen in a long time. His comic timing is impeccable and the simmering undercurrent of the rage felt by this damaged and broken man is both captivating and slightly terrifying in equal measure. Loose cannon characters (ala James Khan in The Godfather or Joe Pesci in Goodfellas) are always bound to be entertaining, but Foster manages to bring an added sense of humanity and child-like vulnerability to his performance which makes me feel he could be a big contender come awards season. Birmingham is the exact opposite, giving a performance so subtle and void of excitement that many might have  glanced over it, but in my opinion his work here is perfect. His expression is wonderful, and the moment he lies tearful in his motel-room bed pulls at the heartstrings because of the quiet and transparent sense of likability he brings to the part. This is a role that should increase Birmingham's stock to no end, and he's definitely earned himself a new fan in me. Pine and Bridges as our two leads are very similar, from my perspective portraying almost two sides of the same coin. They both come from similar social standing, similar areas, share similar views, have both experienced loss in their lives, yet the choices they make are what defines them. When they finally meet in the third act, the tension is palpable, but there is also an innate sense of empathy between the two men. Both are incredibly talented, with each flexing their dramatic muscles here in different ways. Pine's tear-inducing motivations bring understanding to his performance that may at first seem dry, while Bridges coming to terms with his retirement reminds you of the old man he doesn't want to be. Both are leading performances that should be appreciated for their raw presentation and stripped back delivery.

Overall, Hell or High Water is one of the highest quality films I've seen this year. Very artistic without putting off the ordinary viewer, it's a film that I could see becoming a sleeper hit and potential classic due to the universal themes and simple story it aims to present. Smart, classy and elegant, this is a must watch. 

Score: 9.0/10

Film Review- Don't Breathe

I was really looking forward to seeing Don't Breathe. The trailer was strong, the actors involved in the project were all decent and director Fede Alverez was behind the good Evil Dead remake from a couple of years ago. On the surface (and judging from what we'd seen from the trailers) Don't Breathe should have been really quite good. Yet the movie suffers from a serious problem: it's not very scary.

Those are the words no horror or thriller wants to be branded with as it's akin to telling a baker that his bread tastes like crap. The fright factor is the most simple thing a film in this genre should manage to get right and it the most important variable in determining a projects success or failure. Sure, Don't Breathe has some nice moments of tension, but even with all the big reveals and gory moments I was never terrified of the antagonist, mostly because the film never managed to suspend my disbelief and have me belief for even an iota of a second that our main character would meet a gruesome fate. I felt like I telegraphed every turn the film was going to make and this did nothing to heighten my experience of the product. More than this, the flick does borrow certain elements and plot points from 10 Cloverfield Lane which came out earlier this year, except in this film's defence it didn't copy Cloverfield's God awful twist ending.

It didn't help that the acting was a mixed bag either. Jane Levy, who plays our lead character Rocky, is not good. Most of the time her performance is wooden and generic with it genuinely appearing to me like her agent had held a gun to her head and forced her to take the project. There are moments near the film's climax where she seems to try hard or at very least give a damn, but by this point it is too late because I honestly couldn't have cared less about her character anyway. Dylan Minnette who plays Alex (or as he will henceforth be referred, Mr Friendzone) is actually pretty decent. He plays his role a lot more believably than his fellow cast-mates, not subdued per se but far less "screamy" than Levy. To be honest, I would much rather have seen him as the focus of the film as out of all the characters we are presented with, Friendzone comes across as the mots likeable by far. Lastly, I need to mention Stephen Lang who plays our friendly neighbourhood blind psychopath. He's fine, but once again it just felt a bit generic. On a positive note, I felt he took the character in some interesting directions, with his dry and matter-of-fact tone adding a depth of dreaded realism to some of the film's more deplorable moments, but by the same token he was a tad boring. Was he ruthless? Sure. Was he an imposing threat? Yeah. But was I scared of him? Not really, and for me that might have been the film's fatal flaw.

For all its faults, the film did have some really nice touches from a technical perspective. The long shot as the trio of wanna-be burglars enter the house for the first time is really well done, giving us a room-by-room run down of our setting for the next 90 minutes. The sequence where all three of our main characters are engulfed in darkness in the basement is also extremely well-shot, and is by far and away the best five minutes of the entire movie. Yet the biggest compliment I can give to Don't Breathe is that it's audio work was outstanding. Tiny creaks of the floorboards or the sound of someone drawing breath were amplified to build towards the thrills and jump-scares the film provided. It worked well within the context of the plot, and if could separate the quality of this movie's sound and judge it on its own merit away from the final product is give it a very high grade.

Overall, Don't Breathe is a definitive disappointment, albeit a very well-crafted disappointment. The audio and camera-work are impeccable, but unfortunately the story and some of the acting really lets the movie down. It didn't really scare me and as such, in my opinion, it didn't serve its main purpose. Go see Lights Out instead. I really didn't care about this film at all.

Score: 5.9/10

TV Review- Stranger Things

Stranger Things was the best thing to come out of this summer.

Created by The Duffer Brothers, the series takes place in the year 1983 in the town of Hawkins, Indiana and revolves around the disappearance of a young boy named Will Byres and the subsequent efforts of his mother Joyce (Winona Ryder), police Chief Jim Hopper (David Harbour) and Will's friends to locate the boy. Throw an otherworldly monster, a secret government agency and a mysteriously powered girl named Eleven (Millie Bobby Brown) into the mix and you have yourself the best sci-fi piece to possibly come out in this decade.

I really can't praise this show enough. It takes a lot to get me hooked to a TV series, but Stranger Things drew me in straight away, with the one key element that immediately impressed me being how effectively the show utilised nostalgia while also setting itself apart as an original property and story. It pays homage to 80's culture, with references to early Spielberg (the kids running away from a secret agency on bikes), Stephen King (the whole tone of the show could have easily have been taken from a King novel) and even George Lucas (the underlying light and hope characterised by the boys) all very clear to see. It's like everything that made 80's media great has been thrown into a melting pot and mixed together with better filmmaking technology to give us this absolute gift of a television show. In saying this, the references aren't necessarily on the nose: they are just below the surface, clear enough to make you feel something but not enough that it makes the story feel like a retread or a parody. It is nostalgia done perfectly. Furthermore, the story is impeccably paced, gripping the viewer with every twist and turn it takes from the opening episode. As you gradually learn more about the mythology of this world and all of the conspiracy going on within it, I can almost guarantee you will not want to stop watching. It is really that good. The tone shifts as you move between plot threads (eg a dark and dreary supernatural mystery with Joyce and Hopper, an ET-like naivety-laced adventure with Will's friends etc) giving the viewer a literal smorgasbord of different emotions and experiences on each watch. Some have said that the series borrows a bit too much from the culture it is trying to emulate, but for me it strikes the balance just right.

Another thing Stranger Things certainly got right is the casting. Winona Ryder gives what might be one of my favourite performances of all time! I'm not gonna lie, I don't know whether her performance was brilliant or whether it was terrible, all I can tell you is that I freakin loved every single moment she was on my screen. Her character, Joyce, is meant to be a bit unhinged, a single mother who is a bit out-of-touch with society due to working full-time to support her children. So when Will goes missing, she goes completely off the edge, and the viewer is unsure if her POV is in-line with the supernatural elements of the show (I'll say no more to try and keep this spoiler-lite) or represent her descent into insanity. Ryder never once breaks character, she is so beautifully consistent throughout and, while admittedly her portrayal is sometimes over-the-top, it remains unfathomably believable throughout. If I could speak to Winona Ryder right now I would give her a sincere "Thank You", no person's acting has brought me greater joy than she did playing Joyce on Stranger Things. David Harbour is also impeccable as Chief Hopper, the troubled hero of the story. His arc is the most intriguing as he goes from a broken man succumbing to addiction to a man who will do anything to reunite this mother and her son. Harbour makes us believe in Hopper as a genuine bad-ass and with Season 2 on the horizon, I can't wait to see how he develops further moving forward. To be honest though, the real stars of this show are the plethora of great child-actors that Stranger Thing's is lucky to have at its disposal. Finn Wolfhard, Caleb McLaughlin, Natalie Dyer, Charlie Heaton, Noah Schnapp and Joe Keery all give strong, consistent performances throughout all of the show's 8 episodes and in any other show at any other time, any one of these guys could have stolen the spotlight. However for me there were two standouts: Gaten Matterazzo who played Dustin and Millie Bobby Brown who played Eleven. Dustin is the moral centre of his group of friends, as well as being the most hilarious. The show does well not to portray these kids as stupid and the dialogue written for them is very natural and flows well, but Dustin stands out because he is the most relatable: he's loyal, level-headed and a bit of a goofball. Probably the most complete character of his group of friends, Dustin's pragmatically functioning brain alongside his natural fun-loving charm makes him a standout in my book. But as good as Matterazzo and his cast mates are, Millie Bobby Brown is simply better. I'm saying this right now, if she doesn't win all the Emmys for this performance then something is seriously messed up with the world. Not once does she break character! Not once! She gives a more nuanced and bleak portrayal than the majority of actors twice her age could even dream of. I won't say much more because her character's arc is pretty vital to the story, but Brown has put herself on the map with a simple yet powerful performance here.

Other things I enjoyed included the CGI used to bring the creature and the "Upside-Down" to life, the technical mastery on display concerning how the show was shot and of course the awesome title sequence. Slight criticisms for me would invoke gaps in character logic relating to their actions (as interesting as the story was, these characters don't take very much convincing to buy into the supernatural events going on in this town) and the lack of a compelling villain, with the secret government agency and the so called "Demagorgin" seemingly having no redeeming attributes between them (although there is a popular theory surrounding the creature's true identity which could create a new wrinkle in the story). On top of this, with the show heading into its second season I feel it is important that the showrunners try and develops the tone, perhaps shifting it in a darker direction. In saying this, The Duffer's have already been quoted as saying that the second season of the show will take inspiration from classic 80s sequels such as Aliens, Terminator 2: Judgement Day and The Empire Strikes Back, so my slight apprehension will most likely be put at ease as soon as the next instalment in this saga is released early next year.

Overall, I bloody loved Stranger Things. It was fresh, excellently crafted, passionately made and had me hooked to my TV for several hours at a time. The acting is superb and the story is filled with so many glorious twists and top-notch character arcs that it reaffirmed my belief that TV is giving us a far higher level of quality content than the movie industry nowadays. Probably the most impressive first season of any show since Game of Thrones, Stranger Things never once undersells its mythology and builds on this world with such detail that it is truly hard to criticise the show's execution in any way. 

Stranger Things is the media event of the year so far. If you haven't seen it, please start now.

Watch or Avoid: Watch

Film Review- Sausage Party

It's not uncommon nowadays for trailers to show the best parts of their movie. After all, in an age where less and less people are going to the cinema, studios will do whatever it takes to get people to purchase a ticket to their product. In recent times however, this has created major issues, whether it be that the trailers have spoiled what could have been a truly surprising reveal (eg Spider-Man in Civil War or Wolverine in X-Men: Apocalypse) or have given away their big marquee moments (see the Independence Day: Resurgence trailer as a prime example of this). Yet the most concerning aspect of this trend is that we are now getting trailers that are actually better than the film's for which they are advertising. The Suicide Squad trailers captured the world's imagination, but received lukewarm responses from critics upon release. Warcraft promised to be the fantasy event of this generation, but what we got instead was a steaming pile of excrement which no-one in their right mind should ever consider watching. Which brings me to Sausage Party which, while not a bad movie per se, was no-where near as entertaining as the trailer would have had you believe. 

Written by and starring Seth Rogen alongside Kristen Wigg, Jonah Hill, Bill Hader, Edward Norton, Michael Cera, Salma Hayek and James Franco, the film is about several supermarket items whose lives revolve around getting to "The Great Beyond", or in simpler terms being purchased. However, over the course of the movie Frank the Sausage (Rogen) begins to discover what getting to The Great Beyond actually entails and thus begins his quest to convince the other food supplies of the truth and to stand up against the humans who consume them. 

The concept of the film is fantastic, but it might have been better as a 15-20 minute short. It struggles to find enough story to justify its 88 minute run-time and there are moments around the middle wherein nothing seems to happen. On top of this, there becomes a point where food related puns and innuendos stop being funny and start becoming grating and for me personally this transition happens quite early on into the movie. This is my major criticism of Sausage Party, but it also did have several other minor issues on top of this. Many of the characters play off of racial or social stereotypes which will either come across as offensive to some or lazy to others (for me it was the latter). It wasn't even as if the filmmakers tried to subvert any expectations in this regard: the tequila was Mexican and untrustworthy, the Firewater was Native-American and mystical etc. This might have worked in the nineties but humour has evolved since then, and Rogen and company should have been aware that they would have had to work harder than this to help this concept reach its full potential. Finally, the main antagonist of Sausage Party (humans aside) is a douche named Douche, who is seeking revenge against Frank for breaking his nozzle, thereby thwarting any hope he had of reaching The Great Beyond. Douche is a completely pointless character and one of the worst villains I've seen in cinema this year. He's just pointless, there is no need for him to be there and he serves as a secondary antagonist anyway as the humans are meant to be the true enemy of the story. A clear indication of the writers trying desperately to fill out the plot, Douche as a character personifies all the problems with Sausage Party as a whole.  

There is a lot of good things about this film though. The animation was great, and I loved the idea of parodying Pixar, which they actually did really well. The story more or less followed the "Pixar formula", and this actually helped the humour as we could view the film through the lens of it's juxtaposition to the traditional family friendly animated product. "The Great Beyond Song" was also very funny and got the film off to an extremely pleasant start. The voice-acting was also very much on-point, particularly from Norton and David Krumholtz, a bagel and a lavash who parodied the conflict between Israel and Palestine in the Middle-East. While some of their material fell into the aforementioned pit-fall of stereotypical writing, these two managed to elevate the material they were given and stole the show anytime they were on screen. Finally I would like to give this film some goodwill and credit. It's been rare this summer to get a truly original concept on-screen and, while the execution wasn't as finessed as one would have hoped, the idea was great and the film did have some strong standouts moments. Despite being given away in the trailer, the moment the food realise their horrible fate still cracked me up in the screening, and the giant food orgy at the film's end was both one of the most amusing and worst things I've seen all year. 

Overall, Sausage Party was a bit of a disappointment but it wasn't a bad film (which seems to be a recurring theme of this year). I'd compare it to Deadpool in a sense due to the fact that it was a movie that took chances but just didn't push the envelope enough for me personally. Some of the humour was lazy and a bit outdated, but by the same token it was a fresh and original concept which is always good to see on-screen. It wasn't amazing, it wasn't terrible, in the end Sausage Party was a very middle of the road movie in what has been a very middle of the road year at the cinema. I can only hope that as we near the awards season we start to see films coming out that will blow audiences away (my money's on Damien Chizelle's La La Land to pull off this feet by the way.)

Score: 6.6/10

Film Review- Lights Out

Even though the summer blockbuster season overall has been a disappointment, the horror genre has managed to thrive in this time of cinematic upheaval. Releases like The Conjuring 2, Don't Breathe, The Witch and The Shallows (though God knows why) have opened to major critical acclaim while also earning back way more than what their respective budgets should have been entitled to. 

Lights Out, helmed by debuting feature director James F Sandberg, continues this trend. The story revolves around Rebecca (Teresa Palmer), whose mother has fallen under the influence of a demonic entity that is now threatening her younger brother Martin (Gabriel Bateman) and the rest of her family. Based on a very popular short film that Sandberg and his wife made a few years back, the film is produced by horror legend James Wan and has, as of this point, made a 130 million dollar profit at the world-wide box-office. 

That is a bloody outstanding debut financial performance.

The best part of this film was its gimmick. Essentially this spirit could only be seen or be active in darkened areas and to enter any environment touched by light would cause it physical pain. It is a unique concept that sets rules and limitations on the extent of the (for lack of a better word) antagonist's power and is used effectively to add to the stakes and to create drama throughout the movie. Playing on one of humanity's most instinctive fears (the fear of the dark) may seem like a simple or lazy concept on paper, but the way the concept is executed, with such a graceful yet precise technical style, gives the film its edge and puts it above most films you'll see this year. 

Another positive aspect of Lights Out was the performance given by its leading lady Teresa Palmer. You immediately believe Rebecca to be a tough and hardened character, and Palmer personifies this beautifully early on, giving her looks of sheer and unadulterated fear when coming face-to-face with her families tormentor all the more weight. It is a well-written and competent character (her intelligence is an attribute far too commonly missing from protagonists in horror-films) but Palmer brings Rebecca to life in such an organic way that it is impossible not to root for her by the time the film ends. Also (as I suppose would be very much expected) the lighting is brilliant, and the way Sandberg managed to incorporate both natural and artificial light in his shots is technically excellent. The lighting had to be world-class for the concept to work so thank goodness it was. The movie's key themes are however what will have you leaving the theatre thinking about this further, as the whole film serves as one big metaphor for being in an abusive relationship or suffering from depression. Rebecca's mother (played exceptionally by former ER actress Maria Bello) is coerced by the spirit into becoming dependant on her and begins to push those around her away and falls deeper into the rabbit-hole of insanity as the first act progresses. It is not until her daughter reaches out to her with acts of kindness that the mother is able to begin to disperse herself from the demon and, while the arc may end in tragedy, it is a lesson to be learned of how we should treat people who are enduring personal suffering in their own lives. The film teaches us not to let them push us away but to reach out a hand and help them conquer their demons before it's too late, which is a surprisingly tender concept to be tackled by a horror flick. 

The only thing that really holds this back from getting a higher rating is its fright factor. It's not as scary as The Conjuring 2, and it also doesn't really do anything too different cinematically that's going to change the genre in the years to come in the way that say The Blair Witch Project did in the late-90s. In saying that, it is very good and offers more than a conventional horror-movie. Lights Out is a film with substance and one that I would definitely watch again.

Score: 8.1/10

Film Review- The Purge: Election Year

The Purge: Election Year, directed by James DeMonaco, is the sequel to 2014's The Purge: Anarchy and the third instalment in the franchise overall. It follows Senator Charlie Roan (Elizabeth Mitchell) a Presidential candidate who tries to survive the attempts made on her life by the current administration on the annual Purge Night with help of her bodyguard, franchise alumni Leo Barnes (Frank Grillo). Now, I'm not particularly well-versed with this series having never seen the second film and falling asleep about three-quarters of the way through the first. What I do remember is how well the advertising for the initial movie had sold this concept to me, but I do also recall feeling that it just didn't flesh this idea out enough. The original story didn't serve the premise well and was surprisingly boring in my humble opinion. Having done my research on Anarchy (I never found the time to watch it) I can see that the mistakes made by the first film seem to have been rectified in the second outing (which encapsulated much more of this universe and gave us a story on a larger scale) giving me some hope that Election Year would at the very least be watchable. 

I didn't go into this film with high expectations and as such I got some enjoyment out of this movie and left the theatre contented. It was a fun time at the cinema and it was thoroughly decent if you take it all with a pinch of salt. In saying this, The Purge: Election Year is a good "B" movie at best.

I liked many things about this film, particularly its themes. The film aims to explore corruption in US politics, the role of hate in the electoral system, class and racial divides in society, as well as asking the question of if it is ever the right decision to put away our morals in order to achieve a greater good. I don't know about you, but in a small-budget thriller/horror movie like this, I think that it's applaudable and very pleasing to see that they did try to give the story some substance, even if the execution was a bit heavy handed. The protagonists of the story, particularly the supporting players, are all captivating characters and as such elevate the material. Frank Grillo, Elizabeth Mitchell, Mykelti Williamson, Joseph Soria and Betty Gabriel all give strong performances as our main group, forming an emotional connection with the audience and forcing us to care about what was on the screen. Each character is layered, with distinct personalities and history's which helps adds a sense of intrigue to their true motives and plants just small grains of doubt in the head of the viewer.

Yet, the filmmakers do not give us nearly enough organic character moments during the latter stages of the film, possibly due to a very-messy story which substitutes in cheap action for the franchise's famed tense jump scares or gory horror. The dialogue is very on-the-nose and the acting of some of the minor cast (particularly the Reverend and his boss) is laughable at points. The movie also drags a bit during the second act, leaving me looking at my watch as the plot continues to move very slowly on the screen. DeMonaco also fails to create any sense of real and immediate danger, and at no point did I feel that Roan or Barnes were under any real threat of perishing, leading to my boredom as the story progressed. On a final note, the film is also crafted poorly at times, with a particular example being the extreme over-lighting during the daytime scenes in Joe's store.

Overall, The Purge: Election Year is probably a good movie to watch on Netflix one night if there's nothing else on and all your wanting is a fun film that's going to give you a few jump scares, lots of violence and a few terrible moments that will make you chuckle. It's not a film that'll probably watch again in a hurry (and I do hope The Purge franchise calls it a day after this) but it is by no means the worst thing I've seen in the cinema this year and I would give it credit for stretching its 10 million dollar budget as far as it did.

Score: 5.8/10

Film Review- David Brent: Life on the Road

Having not seen any of The Office before entering the theatre, I had very little clue what to expect from David Brent: Life on the Road. The only reason I actually took the time to see this movie was because of the absolutely excellent advertising campaign that had preceded it's release, with the stream of music video's and clips released by the studio making me chuckle every time without fail upon viewing. Written, directed, produced and starring Ricky Gervais in the titular role, the film follows Brent as he takes one last shot at superstardom, organising a "nation-wide" tour for his band around Reading and surrounding areas. Over the course of the tour, Brent has to deal with the intense feelings of dislike directed towards him by his fellow bandmates, the ever-growing cost of the tour, as well as the realisation that he may never make it in the music industry. 

Ironically enough, the music is probably the best aspect of this film. The soundtrack has already climbed to the number 3 position in the UK charts, and it's easy to see why. In an era where The Lonely Island (whose own biographical flick dropped in UK cinemas earlier this week to lukewarm reviews) can sell millions of records with their distinct brand of musical comedy, it's not a stretch to imagine that Gervais could have a rather successful career in this field if he followed a similar path. His bands songs (particularly "Please Don't Make Fun of the Disableds" and "Don't Cry It's Christmas") had me absolutely floored due to their very politically incorrect lyrics and cooky melodic beats. Also great is Ricky Gervais, who once again nails the character of Brent. Having gone back and watched The Office UK after seeing this film, I can see that Gervais has definitely added an extra layer of pitifulness to Brent that wasn't there before, and it actually gives another interesting wrinkle to this character. On one hand he is annoying and delusional, but on the other he is just rather sad and lonely and as the story progresses we as an audience stop laughing at Brent and begin to sympathise with him. There is actually a really lovely moment towards the film's end where Brent's band buy him a pint after the tours final gig and the look of sheer agonising joy in Gervais' eyes at this moment show how talented a dramatic actor he can be when called upon. The supporting players all do a good job in their respective roles, but Gervais is this film's life blood and commands your attention every single time he is on screen.

The biggest issue I had with David Brent: Life on the Road is that it felt like a TV movie. Personally, I would have rather seen this released in a few parts on BBC One or one of its sister channels, due to the somewhat repetitive beats that the comedy tries to hit and the documentary style of filmmaking involved. "Mockumentaries" are hard to get right in a big-screen format, and while I would say that this film does do a very admirable job, it is still hard to tell a satisfying story in this genre in 120 minutes or less. As a result, the conclusion feels rushed and certain plot developments are unearned, causing this effort to slip into the same "so-so" territory of many of its fellow summer-comedy offerings. Also, many of the characters from Brent's new "office" had no business being there, and their inclusion hurt the already slow pacing of this otherwise-competent comedy romp.

Overall, David Brent: Life on the Road is a fun comedy film that left myself and the friends who accompanied me to see it in stitches. Ricky Gervais is excellent, and some of the songs will leave you gasping for breath. It is very bleak and the humour is dryer than the hottest parts of Nevada, so if this type of comedy isn't for you then I would avoid Life on the Road like the plague. Yet, if this is your thing, I would give this film a chance as it is well-worth the price of admission despite its flaws. In saying this, if you don't have time to make it to the cinema to see this flick, just download the soundtrack. It's so bad it's good.

Score: 7.3/10

Film Review- Mike and Dave need Wedding Dates

Mike and Dave need Wedding Dates stars Zac Efron, Anna Kendrick, Adam DeVine and Aubrey Plaza follows the story of two brothers (the titular Mike and Dave) who are forced by their parents to bring dates to their sister's wedding in the hopes that it will help the two reel-in their juvenile tendencies that have ruined many family events in the past. Little do they know that the girls they have picked to attend the wedding with them (Alice and Tatiana) are actually worse than they are in many ways, leading to a bunch of crazy events that threaten to ruin the big day.

I actually quite liked this movie, it had a bunch of really funny moments that had me laughing consistently all the way through and even when the jokes didn't land the film's break-neck pacing meant that these moments of weakness were sort of glanced over. The main cast also gelled very well and had a great chemistry on-screen, particularly Kendrick and Plaza who I would genuinely believe were best friends in real life. In saying this I would say the stand-out performance would have to go to Zac Efron who once again impressed me just as much in this effort as he did in Bad Neighbours 2 earlier in the year. His transition from teen-idol to legitimate comedy star is now very much in top-gear, and what he proved here is that he is more than capable of giving a great leading performance and not just a supporting one. I also liked the way the writers tried to give each of these characters more depth in the third act, as it made them more likeable protagonists whom I could really get behind.

However like I say these efforts to give these characters some emotional depth don't come until quite late into the story, so for the most part it is actually quite hard not to be put off by their juvenile and self-destructive antics. On top of this, there are times the filmmakers choose to swap in vulgarity in the place of humour, which quite frankly won't really hit the mark for audiences above the age of 14. Yet what really hurts this film the most for me is its lack of a standout line or moment. I went to see this movie with a friend last week and I've honestly had to rack my brain for a joke or a particularly funny sequence that stuck with me after the first viewing. A top-level comedy will have at least one stand-out moment that you will associate with that film after watching it (eg Bridesmaid's dress shopping sequence or the stoning scene in Life of Brian) and unfortunately Mike and Dave need Wedding Dates did not have one iconic image that will stick with me, thus affecting its rating. 

Overall I enjoyed my experience watching Mike and Dave need Wedding Dates. It was a fun comedy which gave me a few laughs and Zac Efron once again impressed me with yet another above-average comedic outing. It's a movie I wouldn't rush out to see in the theatres, but I'd definitely give it a chance if it's on one night on Channel 4.

Score: 7.0/10

Film Review- Finding Dory

At the start of the summer, I would have bet my mortgage (if I had one) that Marvel's Captain America: Civil War would wind up being the highest grossing movie of this blockbuster season. Well, thank heavens that no such bet was made, as I would have underestimated the drawing power of a certain regal blue tang and her clown fish friends who have given the Avengers a major run for their money in terms of box-office revenue.

The sequel to 2003's Finding Nemo, Finding Dory is set one year after the events of the original and follows the gang's quest to reunite Dory with her family. Featuring the voice talents of Albert Brooks, Ed O'Neil, Diane Keaton, Ty Burrell and of course Ellen DeGeneres, the project was helmed by director and screenwriter Andrew Stanton, the creative mind behind the original film and other Pixar projects such as A Bug's Life and WALL-E. My initial thought when this film was announced was that it was extremely unnecessary. Finding Nemo was a very complete story, a clear journey with a clear purpose, and I personally just felt that there really wasn't a further story to tell with these characters. Did I doubt that this would be an entertaining romp? No, but I didn't think it would be able to recreate or reimagine the emotional path of the original and make it feel just as organic and compelling. After watching the film, I have to admit that I underestimated the storytelling abilities of Stanton who delivers one of the most satisfying animated sequels in recent years.

What most impressed me from a writing perspective was how they did manage to make this feel like a natural continuation of the story. Stanton didn't make a carbon copy of what he had done before, but rather took what I like to call the "Toy Story Route" in that he looked at the blueprint of the first film and filled in the gaps with a new setting, a mass of memorable and entertaining fresh characters, as well as the exploration of new themes. Adding in an air of mystery and unpredictability to the previous outings "road movie in the sea" vibe was a great idea and allows this movie really to breathe. The emotional stakes are also most certainly there in bucket loads, and the film's opening five minutes (which connects Dory's childhood to the point where we first meet the character in Finding Nemo) are honestly heartbreaking. Dory's short-term memory loss, while given some emotional depth towards the movie's climax, was mostly just treated as a funny character quirk in the first film. Here we explore the tragedy of it more, what this means for Dory in her everyday life and the issues it has plagued her with since her youth. More than just a trait, Dory's memory loss drives the plot forward and helps to distinguish this sequel as its own entity in a sense as Dory tries to piece together the past that she has lost. 

Furthermore, massive props have to be given to Ellen DeGeneres. The comedienne and talk-show host has been campaigning to reprise her role as Dory for many years and her passion and love for this character is what helps this film flourish. Ellen is once again hilarious as Dory, with the pitch-perfect delivery of her lines being her most valuable asset. Yet, it is the intense vulnerability and deep-lying sadness that she portrays during Finding Dory's more tender moments that elevate this character far beyond simply a comedic role, and I would even go as far to compare what Ellen has done with this character to what Robin Williams did with The Genie in Aladdin. Ellen is among the rare group of voice artists that can pull of the dramatic as well as she can the comedic and her performance here once again proves why she deserves to be one of the most high-profile names in the entertainment industry today. Also plaudits have to be given to Modern Family stars Ed O'Neil and Ty Burrell who lend their voices to Hank the Octopus and Bailey the Whale respectively. Both men don't stray too far out their comfort zones, but they both shine due to the high levels of personality each is able to convey in their voice work. All in all the voice work was stellar and there wasn't much I could pick at on this front.

My biggest gripe with the film is this: Marlin and Nemo had no business being in this movie. Both had absolutely nothing to do and only served to take screen-time away from the far more important and compelling aspects of the story. Neither shines and their journey is extremely boring and does nothing but lower the quality of the product for me. On top of this, I actually found Nemo extremely irritable so this didn't help matters. Another issue I would point out is the plot does move very quickly in the opening twenty minutes which does feel quite jarring and out of place with the rest of the movie. Moreover, the film's finale does "jump the shark" a bit and tries to shoe-horn in some high-octane thrills that didn't really have a place being there, and didn't do much for me except from take me out of the action and back to reality.  

However my overall experience with Finding Dory was a positive one. The aesthetic was once again exemplary (as one would expect from Pixar) and the plot was filled with enough mystery and raw emotion that it managed to make the slightly familiar formula feel fresh and new. The voice talent are once again impeccable and it's just overall a really sweet and funny film. It does what you want a Pixar movie to do: explore deeper themes and ideas through the medium of family entertainment. While perhaps not as finely polished as its predecessor, Finding Dory is largely deserving of its critical and commercial success.

Score: 8.3/10 

Film Review- The Shallows

There is an easy way to judge a film in the horror genre and that is by how much it scares you.

The Shallows barely made me flinch.

Starring Blake Lively, the film is centred around medical student Nancy Adams as she tries to survive an attack by a shark while she is surfing more than 200 yards away from the shore. Directed by Jaume Collet-Serra, the man behind Orphan and Non-Stop, the film survived a change in director and filming location before initial photography began in October of 2015. The film was said to be a challenge to everyone involved, with Lively saying she was inspired to take the job after hearing her husband Ryan Reynolds' describe his experience from the set of the similarly close-quarters movie "Buried". 

In truth, Lively is probably this film's brightest spot. Admittedly her line delivery isn't world-class, but as I will get into later, this isn't really her fault. What the Gossip Girl alumni does do well however lies in her physical acting and her reaction to situations. Her cries of pain are spine-tinglingly realistic and her looks of panic are very much grounded in reality. It is very clear to me that this is an actress trying to break-out from the perception that many have of her, even after a decent outing in The Age of Adaline. The film overall did not impress me, but Blake Lively certainly did. The other positive thing that I can say about this movie is that technically it didn't do much wrong, and it did make some very interesting choices on a visual level, such as the frequently shifting of the camera above and below the water to create tension.

Yet, to paraphrase President Obama, putting lipstick on a pig doesn't change the fact that it is a pig. The writing here is absolutely awful, particularly the dialogue, which I genuinely don't think the love-child of Meryl Streep and James Woods could make sound even half-decent. The story also tries to cram in sub-plots surrounding Nancy's medical career and her mother's death at the hands of cancer. To be quite frank, these bits of background knowledge did nothing but clutter what was at heart a very simple survival story. From an aesthetic standpoint, the filmmakers decided to include a very weird graphic whenever our lead was on her phone, giving The Shallows a very tacky, B-movie feel right from the off. If this wasn't enough, the size of the Great White seemed to change at the drop of a hat whilst being composed entirely of CGI, resulting in it looking about as real as Chloe Khan's face (this also goes for the dolphin and jelly-fish that show up throughout the film also). The score too was very on the nose and did nothing to help the final product in any way, shape or form. But let me just go back to the point I made right at the start of this review: The Shallows is not scary. I have a massive fear of sharks and the ocean, I should have been soiling my seat watching this film. Instead, I was bored, more interested in the drama developing on the twenty-something man sitting in front of myself's group chat than what was actually on the screen. As both a horror and even as a survival film, The Shallows fails miserably. 

Overall, The Shallows was 86 minutes of my life which felt more like 86 days in solitary confinement. Seriously, I'd probably rather watch all the Lord of the Rings extended cuts all the way through with no pee-break than watch this again. Visually it is decent and Blake Lively gives it her all, but there is so much inherently wrong with this production from the ground up that I failed to get much enjoyment out of this film. 

If you hadn't already guessed, I would not recommend The Shallows.

Score: 4.4/10

Film Review- Suicide Squad

Suicide Squad is directed by David Ayer and stars Will Smith, Margot Robbie, Jared Leto and Viola Davis amongst others. The film follows on from the events of "Batman v Superman: Dawn of Justice" as the government has recruited a group of villains to combat a much more powerful enemy that threatens humanity. The trailers had got me so hyped to see this movie, and I thought that if there were going to be a sure-fire hit this summer then Suicide Squad would be it. After the mixed response that befell BvS, Warner Brother's seemed to be throwing all there eggs into this one basket and were determined to provide fans of the DC comics characters with a indisputable barn-burner to be proud of.

As it turns out, this was not a blessing for Suicide Squad. It actually hurt the final product.

There were two movies here melded into one: David Ayer's version and the studio's version. This led to the tone being inconsistent throughout, and what I mean by that it every second or third scene felt like it could have been part of a different movie. This was a similar problem to what was experienced by BvS, and it will continue to be a problem as we move forward in the "DC Expanded Universe" if Warner do not learn to put trust in their directors. Marvel wouldn't have reached the level of success that it has if they hadn't allowed filmmakers like Jon Favreau, Sir Kenneth Brannagh and Joss Weadon to shape their franchise. The same could be said about Bryan Singer with the first two X-Men films and Sam Raimi with the original Spider-Man trilogy. David Ayer is a very competent director (as evidenced by the exceptional Brad Pitt-led "Fury") and Warner Brothers should have been brave enough to let him form his own vision of what the Suicide Squad could have been with as little involvement from them as possible. As soon as the reported extensive re-shoots on this project were ordered I feared that it would result in a very confused story, and my apprehension was proven correct. If you want to the point a finger at anyone for Suicide Squad not being an A+ film, point it at Warner Brothers.

In saying this, the plot line didn't do much to service this movie's characters either. The main villain is Enchantress, a centuries-old mythical being who now inhabits the body of Cara Delevingne. That's the first problem: what makes a top hit-man and a psychopath with a baseball bat any further qualified to take on this threat than, let's say, the Batman. The Squad should have been put up against some sort of terrorist organisation or something similar, that would have been a better way to show off their skills. Instead what we get is the villains doing their best to kill mindless henchmen (who seem to be no threat at all) before being absolutely battered around by the Enchantress who, if she was smart, would have just killed them all with her magic there and then. To be honest, the best part of Suicide Squad was the flashbacks that showed us exactly what made these character's the way they now are, but these are not used anywhere near often enough. Add that onto the ridiculous overuse of chart-based music in this film and you'd be forgiven for thinking that Suicide Squad was beyond saving from an abysmal rating.

However, the acting and most of the characterisation of the Suicide Squad is fantastic. Margot Robbie IS Harley Quinn. For those of you who don't know, Harley Quinn was first introduced in Batman: The Animated Series as a one-time sidekick of Mark Hamill's Joker. Yet fan popularity saw her presence grow, and at this point she is featured predominantly in the DC comic-books as well as appearing multiple times in other Batman media. She is one of the most complex and endearing characters to ever have entered Batman's universe, so it is so satisfying to finally see the character brought to life so well on screen. Robbie oozes sex-appeal, fun and a sense of deep dark danger. She bring levity and is strangely likeable, but the filmmakers are always careful to not let us forget that she is, effectively, a serial-killer (see the revelation at the film's opening that she was at least partially responsible for the death of Robin as an example of her evil nature). For most of this movie she looks after her own self-interests (getting back to her beloved Joker) but she forms a bond with the rest of the Squad which sees her finally get to see what it's like to be a part of a team and get a taste of heroism. Simply, Robbie is an absolute joy to watch whenever she is on-screen and I expect her to be a focal point of this universe going forward. Will Smith is also great as the well-known Batman villain, Deadshot. Deadshot is a sociopath who places the same value on human-life as he does on the size of his purse strings. Smith perfectly radiates Deadshot's arrogant demeanour but it is the tender moments he shares on-screen with his daughter that really put this performance above the rest. Smith proves in Suicide Squad that he is still a bankable leading man if given the right part and the opportunity to have fun with the role. The final cast member who I'm going to mention is Jared Leto. Leto's Joker doesn't get too much screen-time here, but every time he is he captivates you with his presence. His performance is sexually charged in the usual ways you would expect from the Oscar winner at this point, but it is his rage and seriousness that sets him apart from any incarnation of the character we have seen before. While Nicholson and Ledger's Jokers felt like a threat on a larger scale, Leto's is the type of villain who would enjoy making you watch him kill your entire family. It's an evil that seems to hit closer to home, and that makes him all the more terrifying. While not in the movie very often, Leto's chemistry with Margot Robbie and his own impressive reinvention of the role have made a believer out of me. All-in-all, Leto is most definitely the right pick for this iconic role.

Yet this brings me to the element of this film that left me most undecided, and that is how The Joker and Harley Quinn's relationship has been portrayed in this movie. Traditionally, fans of the Batman comics have already butchered the true nature of this pairing enough by captioning pictures of the two with "#relationshipgoals" or something similar. In Suicide Squad, we see that this incarnation of The Clown Prince loves Harley and they have been described as the "King and Queen of Gotham". This simply should not be the case if the source material is to be followed. Traditionally, Harley has been portrayed as The Joker's greatest victim, someone who's promising future was stripped from her due to the torture experienced at the hands of her "puddin". While this version would perhaps allow the filmmakers more room to possibly explore a redemption story for Harley, the slightly more mutual affection demonstrated in Suicide Squad gives us more of a wrinkle on The Joker's character and has the potential to create a very emotional arc going forward. It will be interesting to see how the two characters develop and I would love to see the two face-off at one point down the line. Where the Joker/Harley relationship is concerned, I will reserve judgement for now.

Before I finish up, let me say this; I did enjoy Suicide Squad, but there's no denying that it is a bit of a mess for the reasons I've listed above. In saying this, it does have a charm to it that I think comes from the love that the director and the cast have clearly put into this film. At times, it is so much fun. The behind-the-scenes bond that these actors have reportedly formed has clearly translated to the screen, but it is corrupted by the changes made by the studio. In conclusion, Suicide Squad did not live up to its hype, but there is certainly a better film in there somewhere. If a director's cut is released, I will be the first in line to buy it.

Score: 7.4/10

Film Review- Jason Bourne

Jason Bourne is the most refreshing change of pace I've seen this year.

Going into this movie I was starting to lose faith in the potential quality of big-budget releases in the modern era, with most blockbusters this summer ranging somewhere between uninspiring and mediocre, but this Jason Bourne fits in neither of these two categories. This is going to be one of the more positive reviews I've done in a while so I just want to get the negatives of this movie out of the way right off the bat. The story, while incorporating a lot of good elements that serve to reinvigorate the series, was kind of a retread of what we've seen before. In saying this, the same statement could be made about any of the previous Bourne sequels and both of them (the ones starring Matt Damon I mean) were well received and excellent in their own merit. The only other thing I had a problem with was the inclusion of Julia Stiles' character, Nicky Parsons. Stiles didn't look interested at all and her inclusion, while a nice bit of continuity, didn't have the effect on the narrative that it should have.

Now that's all out of the way, let me just say this: the action in Jason Bourne is the best you will see this year. The motorcycle chase through the streets of Athens in the film's first act is absolutely brilliant, only topped by the downright insane car chase at the movie's climax. I can only imagine how much fun those scenes must have been to shoot, and the love that director Paul Greengrass has for this type of sequence translates amazingly well on screen. The hand-to-hand combat is just as it has been with every other Bourne film: gritty and intense. The fist fights in Bourne are head and shoulders above those featured in other action franchises simply due to their realistic nature and hard-hitting feel. The shaky-cam style of filmmaking makes a welcome return, and overall I think it's safe to say that Greengrass and cinematographer Barry Ackroyd have once again knocked it out of the park. If Matt Damon knocking a man out with one punch or a large SWAT truck crashing through a plethora of other vehicles is your type of thing then I'd highly recommend you see this film. 

Speaking of Matt Damon, the man can do no wrong as Bourne. His most beloved character, Damon does not have a lot of dialogue in this movie, but he encapsulates the character so much that he can do more with one simple look over his shoulder than lesser actors could with a monologue penned in collaboration by Arron Sorkin, Quentin Tarrintino and Richard Linklater. Damon knows how to do Bourne and he is as impressive as ever in this outing. Tommy-Lee Jones is a standout as Robert Dewey, the villainous director of the CIA. Dewey gruff demeanour combined with an almost gentleman-like charm make him very endearing as a villain, and Jones is very careful to keep his evil nature very close to the surface. In saying all this, Alicia Vikander steals the movie. Anytime she is on-screen she grabs your attention. Vikander (who won the Oscar for Best Supporting Actress at this year's ceremony) is subtle in her performance that she would have you believe that her character is a one-dimensional good guy who wants to fight against the corruption at the top of the ladder. Yet every line she utters is laced with subtext, and if you look deeper then you will see that her ambition is really what drives her throughout the entire film. Straddling the line between hero and villain, I think that Vikander's Heather Lee will be a brilliant foil for Damon's Bourne should the rumoured further sequels transpire.

The cherry on top of this sundae is simply the fact that this is a blockbuster that makes you think. The underlying themes of this film made me leave the theatre and still think about what I'd seen days before, as well as serving to amplify the film's central story. The conflict between Dewey and Lee mirrors the idea of clashing generations that we are seeing today. Dewey represents an older generation who's seen it all and done it all but refuses to accept he should take a finished role in a world he's beginning to no longer understand, while Lee personifies the young generation who want change and the control to make that change but may overestimate the task they have at hand. The other conflict that runs throughout the film is the argument over the pros and cons of surveillance. While it would be nice to have seen this explored a bit more, the film actually did offer some good counter-arguments to the usual pro-privacy stance traditionally taken by left-wing Hollywood. Combine this with Bourne's continuing struggle to find his place in the world and you have a blockbuster that isn't all just explosions and set-pieces, but one that actually has something interesting to say about the world we live in today.

Overall, Jason Bourne is a prime example of a big-budget movie made with precision and passion. Paul Greengrass knows how to handle this character, and he delivers once again here with stunning action sequences that will have you glued to the screen. I really don't understand why this movie hasn't been more universally praise, and I can only assume that this critical divisiveness is backlash from all the lacklustre sequels and reboots that have come to the screens in recent years. While I would count myself among those who champion original properties and think that we should be seeing more of them on our screen, a franchise film should be given the curtesy of being judged on its own merit. 

My recommendation would definitely be that if you are to see any action movie this summer, it should be Jason Bourne. I guarantee you will be entertained.

Score: 8.6/10