My intermittent feature on (usually) albums that were either denied classic status on release or have been forgotten about since. I'm not sure the long delayed, much maligned second and final album by The Stone Roses quite qualifies but it's far, far better than the car crash disaster it's remembered as.
My intermittent feature on (usually) albums that were either denied classic status on release or have been forgotten about since. I'm not sure the long delayed, much maligned second and final album by The Stone Roses quite qualifies but it's far, far better than the car crash disaster it's remembered as.
Where the industry led push for Timothy "Baby-cham" Chamalet to win continues and a good but not great film breaks the record for most nominations ever in a pretty average year for movies.
Where the industry led push for Timothy "Baby-cham" Chamalet to win continues and a good but not great film breaks the record for most nominations ever in a pretty average year for movies.
There's no doubt Pitchfork is the most important music criticism magazine this century, once the epicenter of the music world. The last decade or more has seen them slide further away from both their implied mission statement and success. Now a pay wall has gone up and that will likely be the end of many ends. But Vale Pitchfork.
There's no doubt Pitchfork is the most important music criticism magazine this century, once the epicenter of the music world. The last decade or more has seen them slide further away from both their implied mission statement and success. Now a pay wall has gone up and that will likely be the end of many ends. But Vale Pitchfork.
In the worst year of movies I've actually watched since I started doing these reviews. The year in which mediocrity reigned supreme. Featuring Superman, One Battle After Another, Warcraft, Sinners, Weapons and many more.
In the worst year of movies I've actually watched since I started doing these reviews. The year in which mediocrity reigned supreme. Featuring Superman, One Battle After Another, Warcraft, Sinners, Weapons and many more.
Exactly what it says it is, in a terrific year for album length releases.
Exactly what it says it is, in a terrific year for album length releases.
Director Zach Cregger, follows his (overrated) "IT" horror, Barbarian, with a film that is better in near every way than its messy predecessor. Though good rather than great and far more cohesive film-making, its still guilty of throwing ideas up in the air without delving any deeper.
Director Zach Cregger, follows his (overrated) "IT" horror, Barbarian, with a film that is better in near every way than its messy predecessor. Though good rather than great and far more cohesive film-making, its still guilty of throwing ideas up in the air without delving any deeper.
This old school sports movie - a near remake of the classic Robert Redford baseball movie, The Natural - is built entirely out of cliches and hokum, and I kinda love it. Brad is ace, they don't rely on a wall of CGI and everything radiates good looking, exciting fun. They don't make em like this (much) anymore.
This old school sports movie - a near remake of the classic Robert Redford baseball movie, The Natural - is built entirely out of cliches and hokum, and I kinda love it. Brad is ace, they don't rely on a wall of CGI and everything radiates good looking, exciting fun. They don't make em like this (much) anymore.
I felt bad for the last film in this venerable (near 30 year!) franchise. It not only got Barbenheimered at the box office but it was also the first real step backwards in quality. Sadly I would say that's the case once again, as pretty much everything was better even in Dead Reckoning. It's still ultra high quality in most film making areas but the story, people and screenplay are lesser.
I felt bad for the last film in this venerable (near 30 year!) franchise. It not only got Barbenheimered at the box office but it was also the first real step backwards in quality. Sadly I would say that's the case once again, as pretty much everything was better even in Dead Reckoning. It's still ultra high quality in most film making areas but the story, people and screenplay are lesser.
The esteemed Mr William Bevin's latest isn't quite his ambient side nor his beat-heavy side, though it does feel like listening to a club way in the distance. Classy stuff but I would've liked a bit more.
The esteemed Mr William Bevin's latest isn't quite his ambient side nor his beat-heavy side, though it does feel like listening to a club way in the distance. Classy stuff but I would've liked a bit more.
Following on from the outstanding debut album, Madres, a lesser EP from the Berlin based Peruvian DJ. Two fantastic tracks but also a bit of filler.
Following on from the outstanding debut album, Madres, a lesser EP from the Berlin based Peruvian DJ. Two fantastic tracks but also a bit of filler.
After an interminable half year of being spammed by this over-promoted battle between, directors Zack Snyder, of the previous DC comic book movies and his replacement, James Gunn, the movie itself is not actually any good. Just as goofy as the pre-release shots proclaimed it to be and too lightweight in all directions to build a universe off of. The irony is Snyder gave us Superman but no Clark Kent, whereas Gunn has given us Clark Kent and no Superman.
After an interminable half year of being spammed by this over-promoted battle between, directors Zack Snyder, of the previous DC comic book movies and his replacement, James Gunn, the movie itself is not actually any good. Just as goofy as the pre-release shots proclaimed it to be and too lightweight in all directions to build a universe off of. The irony is Snyder gave us Superman but no Clark Kent, whereas Gunn has given us Clark Kent and no Superman.
This timely second live album from Radiohead, is of their most overtly political album, at a time when the band's impenetrable force-field has been broken by politics over Israel. Many tracks outstrip their studio counterparts in a pretty thrilling document of the band in their best live era.
This timely second live album from Radiohead, is of their most overtly political album, at a time when the band's impenetrable force-field has been broken by politics over Israel. Many tracks outstrip their studio counterparts in a pretty thrilling document of the band in their best live era.
Director Danny Boyle and writer Alex Garland, return to their iconic zombie franchise. While it probably wont satiate fans of the first two films in the same way, it does have its own unexpected successes. It looks pretty amazing for a movie filmed on iPhones and has a far deeper soul than relentless zombie kills.
Director Danny Boyle and writer Alex Garland, return to their iconic zombie franchise. While it probably wont satiate fans of the first two films in the same way, it does have its own unexpected successes. It looks pretty amazing for a movie filmed on iPhones and has a far deeper soul than relentless zombie kills.
Arguably the MVP of solo rap these last ten years, and particularly for his single producer albums with Madlib and (this album's returning) The Alchemist. It's a fine album but in the context of those other albums, not a stand out. The immaculate luxurious lounge-soul back drop, can get repetitive and overly low-key, but it does give one of rap's technical masters space to do whatever he wants.
Arguably the MVP of solo rap these last ten years, and particularly for his single producer albums with Madlib and (this album's returning) The Alchemist. It's a fine album but in the context of those other albums, not a stand out. The immaculate luxurious lounge-soul back drop, can get repetitive and overly low-key, but it does give one of rap's technical masters space to do whatever he wants.
I'm not entirely sure where the rebirth happens in the 7th movie of the financially indestructible franchise, given it's basically a remake of Jurassic Park 3. But it is viciously hamstrung by terrible dialogue and acting, more befitting a low budget horror movie. Instantly the worst of the lot and I've never seen Scarlett Johansson so bored in a movie.
I'm not entirely sure where the rebirth happens in the 7th movie of the financially indestructible franchise, given it's basically a remake of Jurassic Park 3. But it is viciously hamstrung by terrible dialogue and acting, more befitting a low budget horror movie. Instantly the worst of the lot and I've never seen Scarlett Johansson so bored in a movie.
The modern music critic is the biggest coward going. If it ticks the right boxes, they worship it out of fear. That's the only reason for the insane level of universal acclaim this album from the very talented Londoner has got. I found it difficult to get through, bland, almost Beiber-esque modern mainstream pop-R&B/Rap, and it definitely doesn't live up to it's title and theme. It feels more like the day-time TV of Black British Music.
The modern music critic is the biggest coward going. If it ticks the right boxes, they worship it out of fear. That's the only reason for the insane level of universal acclaim this album from the very talented Londoner has got. I found it difficult to get through, bland, almost Beiber-esque modern mainstream pop-R&B/Rap, and it definitely doesn't live up to it's title and theme. It feels more like the day-time TV of Black British Music.
This John Wick spin off suffers most for an unforgivably trite story. I feel like I've seen this 'young girl that loses her parents and grows up to be an assassin' story a hundred times already. It also fails to make good use of its luminous star. Outside of that, it looks fantastic, is made with great competence and an enjoyable watch.
This John Wick spin off suffers most for an unforgivably trite story. I feel like I've seen this 'young girl that loses her parents and grows up to be an assassin' story a hundred times already. It also fails to make good use of its luminous star. Outside of that, it looks fantastic, is made with great competence and an enjoyable watch.
Given Mr Young's insane amount of releases in recent years, I suspect this maybe one fans have skipped. You shouldn't. In a banner year for live performances from Young (Glastonbury etc), this attendant studio album is one of the most ramshackle he's ever made, but its full of idiosyncrasy and Young in the now. Unusually specific personal lyrics, churning garage rockers and several gentle ballads, that show he has lost none of his ability to craft melodies and songs as pretty as Helpless or Harvest Moon.
Given Mr Young's insane amount of releases in recent years, I suspect this maybe one fans have skipped. You shouldn't. In a banner year for live performances from Young (Glastonbury etc), this attendant studio album is one of the most ramshackle he's ever made, but its full of idiosyncrasy and Young in the now. Unusually specific personal lyrics, churning garage rockers and several gentle ballads, that show he has lost none of his ability to craft melodies and songs as pretty as Helpless or Harvest Moon.
The feverishly awaited return of the mighty Thornton brothers, Pusha T and Malice (plus production again from the Neptunes/Pharrell Williams) after more than fifteen years, has been the rap event of the modern era. Unless you like children's rap like Travis Scott and Drake. There was no way on earth it could live up to the hype or their heyday best. It does. Every last aspect - from the rollout to the music - is peerless class.
The feverishly awaited return of the mighty Thornton brothers, Pusha T and Malice (plus production again from the Neptunes/Pharrell Williams) after more than fifteen years, has been the rap event of the modern era. Unless you like children's rap like Travis Scott and Drake. There was no way on earth it could live up to the hype or their heyday best. It does. Every last aspect - from the rollout to the music - is peerless class.
One of the best reviewed superhero projects since GOTG3 and it still stiffed at the box office. The days of comic book movies earning a billion are long gone, even half that is a success now. Florence Pugh takes over from Scarlett Johansson (who ironically just killed her at the box office...) as the new Black Widow (kind of). There are big plusses and nearly as big minuses here. The themes, soul of the film, the lead actor and for once even its visuals, are excellent. Shame they had to saddle it with the worst dialogue this side of The Batman, and some repetitive scenarios and overlong sequences can be a drag.
One of the best reviewed superhero projects since GOTG3 and it still stiffed at the box office. The days of comic book movies earning a billion are long gone, even half that is a success now. Florence Pugh takes over from Scarlett Johansson (who ironically just killed her at the box office...) as the new Black Widow (kind of). There are big plusses and nearly as big minuses here. The themes, soul of the film, the lead actor and for once even its visuals, are excellent. Shame they had to saddle it with the worst dialogue this side of The Batman, and some repetitive scenarios and overlong sequences can be a drag.
My intermittent series on albums, movies or bands that either were denied classic status on release or have been forgotten about since. Though their Krautrock peers, Can, Neu!, Faust and Kraftwerk still get plenty of coverage, these equally brilliant pioneers are rarely mentioned. Their first three album run, Phallus Dei, Yeti and Dance of the Lemmings (two of which are doubles) is one of the finest in rock. In fact this was supposed to be their first FIVE albums but I ran out of time (#5 Wolf City is also a masterpiece). A genuinely wild ride through some of the best proto-metal, prog rock, space rock and krautrock out there.
My intermittent series on albums, movies or bands that either were denied classic status on release or have been forgotten about since. Though their Krautrock peers, Can, Neu!, Faust and Kraftwerk still get plenty of coverage, these equally brilliant pioneers are rarely mentioned. Their first three album run, Phallus Dei, Yeti and Dance of the Lemmings (two of which are doubles) is one of the finest in rock. In fact this was supposed to be their first FIVE albums but I ran out of time (#5 Wolf City is also a masterpiece). A genuinely wild ride through some of the best proto-metal, prog rock, space rock and krautrock out there.
A new segment on this channel called Overrated. I am a hater at heart and love trashing things more than loving them. So this bit will feature things that have garnered universal acclaim, that I don't think are actually any good. Here the holy cow, that stinks up every list of best war films, reviewed in depth, where I factually and objectively state why Saving Private Ryan was never any good.
A new segment on this channel called Overrated. I am a hater at heart and love trashing things more than loving them. So this bit will feature things that have garnered universal acclaim, that I don't think are actually any good. Here the holy cow, that stinks up every list of best war films, reviewed in depth, where I factually and objectively state why Saving Private Ryan was never any good.
In an era where the live music mega-festival has changed, a look at two elements from the recent Glastonbury festival. Charli xcx Vs Neil Young, is live music important at a live music festival anymore? And the Kneecap/Bob Vylan controversy.
In an era where the live music mega-festival has changed, a look at two elements from the recent Glastonbury festival. Charli xcx Vs Neil Young, is live music important at a live music festival anymore? And the Kneecap/Bob Vylan controversy.
MASSIVE SPOILERS Director Ryan Coogler certainly has critics bending over backwards, but like Black Panther, this - the best reviewed major release so far this year - is nowhere near as good as the insane level of praise it's got. A beautifully made and totally worthy watch, but a long way shy of a masterpiece in multiple ways. The first half is done so well, I kinda wished the vampires had stayed away.
MASSIVE SPOILERS Director Ryan Coogler certainly has critics bending over backwards, but like Black Panther, this - the best reviewed major release so far this year - is nowhere near as good as the insane level of praise it's got. A beautifully made and totally worthy watch, but a long way shy of a masterpiece in multiple ways. The first half is done so well, I kinda wished the vampires had stayed away.
My intermittent series on something either denied classic status on release, or has been forgotten about since. I wanted to review this all time fave but struggled to know if it belonged here. It DID get classic status, but many years after it was made, and that was the 90s. Since then the final, notorious and never conclusively released final album from Alex Chilton's power-pop inventing Big Star, has faded from view. Like Nick Drake around the same time period, they released two classic, hugely influential, critically acclaimed albums, that sold nothing and left them to produce one final angry, dejected, hopeless finale. Often ranked as one of the darkest and most harrowing of albums, it's shot through with brilliance and bitter beauty.
My intermittent series on something either denied classic status on release, or has been forgotten about since. I wanted to review this all time fave but struggled to know if it belonged here. It DID get classic status, but many years after it was made, and that was the 90s. Since then the final, notorious and never conclusively released final album from Alex Chilton's power-pop inventing Big Star, has faded from view. Like Nick Drake around the same time period, they released two classic, hugely influential, critically acclaimed albums, that sold nothing and left them to produce one final angry, dejected, hopeless finale. Often ranked as one of the darkest and most harrowing of albums, it's shot through with brilliance and bitter beauty.
The fabulous Victoria Beverley Walker, aka PinkPatheress, hasn't put a foot wrong with her three major releases, including this new mixtape. Unlike contemporaries like Billie Eilish, she actually is a self created bedroom star and not an industry plant, and one who wipes the floor musically with the likes of Sabrina Carpenter. In fact she is about the only peer of Brat-era Charlie XCX.
The fabulous Victoria Beverley Walker, aka PinkPatheress, hasn't put a foot wrong with her three major releases, including this new mixtape. Unlike contemporaries like Billie Eilish, she actually is a self created bedroom star and not an industry plant, and one who wipes the floor musically with the likes of Sabrina Carpenter. In fact she is about the only peer of Brat-era Charlie XCX.
What a con-artist Swans leader, Michael Gira is. After creating the greatest achievement in rock the last decade, the monolithic, gargantuan trilogy of, The Seer, To be Kind and The Glowing Man, he promised us he was done with these planet sized two hour behemouths and that Swans would enter a new phase of very different music. Well, they did for two albums, but he's right back into it with Birthing, another two-hour, widescreen apocalypse - and a hugely worthy addition to the now quadrilogy. And given how much fun they sound like they're having this time out, a great choice for my first Swans album for the terrified and uninitiated.
What a con-artist Swans leader, Michael Gira is. After creating the greatest achievement in rock the last decade, the monolithic, gargantuan trilogy of, The Seer, To be Kind and The Glowing Man, he promised us he was done with these planet sized two hour behemouths and that Swans would enter a new phase of very different music. Well, they did for two albums, but he's right back into it with Birthing, another two-hour, widescreen apocalypse - and a hugely worthy addition to the now quadrilogy. And given how much fun they sound like they're having this time out, a great choice for my first Swans album for the terrified and uninitiated.
This substance free, Casio-presets, ambient waffle, is the worst album length project the (recently under fire) Radiohead front man has been involved with. Worse, it completely wastes the talents of a legend of British electronic music, who may as well not even be here, so little is his noticeable input. Someone needs to sit Thom down and say, stop commenting on the Middle East and stop releasing ghostly ethereal ballads. A total wasted opportunity.
This substance free, Casio-presets, ambient waffle, is the worst album length project the (recently under fire) Radiohead front man has been involved with. Worse, it completely wastes the talents of a legend of British electronic music, who may as well not even be here, so little is his noticeable input. Someone needs to sit Thom down and say, stop commenting on the Middle East and stop releasing ghostly ethereal ballads. A total wasted opportunity.
As a huge fan of the underappreciated original, I could not be more disappointed by this utter slop. "Critics think it's better than the original"?! How?! By watering down and denuding everything that was different and special about the first film, until it's homogenized garbage? Even Ben Affleck's lead doesn't escape, his previous intensity as the autistic hitman, is now just goofy and the usually reliable ace in the deck, Jon Bernthal, has never been so annoying.
As a huge fan of the underappreciated original, I could not be more disappointed by this utter slop. "Critics think it's better than the original"?! How?! By watering down and denuding everything that was different and special about the first film, until it's homogenized garbage? Even Ben Affleck's lead doesn't escape, his previous intensity as the autistic hitman, is now just goofy and the usually reliable ace in the deck, Jon Bernthal, has never been so annoying.
Not an original bone in it's body but utterly enjoyable sub-Hitchcock hokum, that makes great cinematic use of limited environs. Luckily they also have an excellent lead to helm it all in Meghann Fahy, as she traverses a dinner date with murderous complications.
Not an original bone in it's body but utterly enjoyable sub-Hitchcock hokum, that makes great cinematic use of limited environs. Luckily they also have an excellent lead to helm it all in Meghann Fahy, as she traverses a dinner date with murderous complications.
As a painfully stick in the mud old school rap fan, I am deeply ashamed to have featured the last two Armand Hammer albums, without paying any attention to the twenty-five plus year career of one half of the duo, Billy Woods. Golliwog is one of the finest and most immersive rap albums of the recent era, though that immersion is not pleasant, the world being a nightmarish horror-scape, it is however brilliant.
As a painfully stick in the mud old school rap fan, I am deeply ashamed to have featured the last two Armand Hammer albums, without paying any attention to the twenty-five plus year career of one half of the duo, Billy Woods. Golliwog is one of the finest and most immersive rap albums of the recent era, though that immersion is not pleasant, the world being a nightmarish horror-scape, it is however brilliant.
DJ Felix Manuel has delivered one of the best - and classiest, and most listenable - electronic albums of recent years. A pairing of his virtuoso piano playing and equally dexterous drum programming - all produced to sonically beautiful fidelity.
DJ Felix Manuel has delivered one of the best - and classiest, and most listenable - electronic albums of recent years. A pairing of his virtuoso piano playing and equally dexterous drum programming - all produced to sonically beautiful fidelity.
A few years ago I would've ranked Alex Garland alongside Robert Eggers, as one of the most exciting new directors out there, now it's two utterly forgettable war films, back to back, that are bad in completely different ways. Though Warfare does share with Civil War, having both nothing to say and being at the back of the pack of numerous other much better films on the same subject. Watch something like The Outpost to see how the single battle film can be done so much better.
A few years ago I would've ranked Alex Garland alongside Robert Eggers, as one of the most exciting new directors out there, now it's two utterly forgettable war films, back to back, that are bad in completely different ways. Though Warfare does share with Civil War, having both nothing to say and being at the back of the pack of numerous other much better films on the same subject. Watch something like The Outpost to see how the single battle film can be done so much better.
After my initial exposure to the mercurial talents of John Martyn - who created his own language through Folk, Blues and Jazz through the 1970's and on - a follow up. Before I focused on the immortal albums like Solid Air and One World, this time an extensive look at the rest. Well, up to a point, specifically from his debut, London Conversations in 1967 to The Apprentice in 1990. A slow start, and some real 80s trash lie in wait, but a few more classics are added to the list and it's a fascinating journey. Fans of Beverley Martyn turn away.
After my initial exposure to the mercurial talents of John Martyn - who created his own language through Folk, Blues and Jazz through the 1970's and on - a follow up. Before I focused on the immortal albums like Solid Air and One World, this time an extensive look at the rest. Well, up to a point, specifically from his debut, London Conversations in 1967 to The Apprentice in 1990. A slow start, and some real 80s trash lie in wait, but a few more classics are added to the list and it's a fascinating journey. Fans of Beverley Martyn turn away.
After a lackluster decade of documentaries, Theroux returns with one of his finest, most important - and most timely - ever, on Israeli colonization of the West Bank and Gaza Strip. It says the quiet part out loud - it never has been about how the Palestinians behave, it's always been about ethnic cleansing.
After a lackluster decade of documentaries, Theroux returns with one of his finest, most important - and most timely - ever, on Israeli colonization of the West Bank and Gaza Strip. It says the quiet part out loud - it never has been about how the Palestinians behave, it's always been about ethnic cleansing.
Since their second album, Ants From Up There, bagged my album of the year in 2022, and promptly lost their iconic leader - no British indie act has gone through more change. Now firmly ensconced in their Harry Potter House Band/Music Hall Indie phase with a beguiling, detailed and unique baroque new album.
Since their second album, Ants From Up There, bagged my album of the year in 2022, and promptly lost their iconic leader - no British indie act has gone through more change. Now firmly ensconced in their Harry Potter House Band/Music Hall Indie phase with a beguiling, detailed and unique baroque new album.
Director Gareth Evans rightfully made his name with the iconic Indonesian action crime films, The Raid and the even better The Raid 2. This grimy cop thriller goes unexpectedly full tilt Hong Kong era John Woo, but it's a law of diminishing returns as the dozens (hundreds) of bodies pile up, albeit imaginatively.
Director Gareth Evans rightfully made his name with the iconic Indonesian action crime films, The Raid and the even better The Raid 2. This grimy cop thriller goes unexpectedly full tilt Hong Kong era John Woo, but it's a law of diminishing returns as the dozens (hundreds) of bodies pile up, albeit imaginatively.
Happily, Justin Vernon's much loved project has made the tilt away from the experimental, abstract songwriting of the last two albums, and a return to more satisfying complete pieces of the first two, albeit with the odd slightly annoying and incongruous hangover stylistic elements. Still, it's great to have him back in this pocket and with his own defined genre of Neo-Country-Soul.
Happily, Justin Vernon's much loved project has made the tilt away from the experimental, abstract songwriting of the last two albums, and a return to more satisfying complete pieces of the first two, albeit with the odd slightly annoying and incongruous hangover stylistic elements. Still, it's great to have him back in this pocket and with his own defined genre of Neo-Country-Soul.
Well who knew, if you take something with a rusted on fan-base and don't abuse that fan-base or take them for granted, people will come and watch your film. There's nothing good about it - great turns from Jason Momoa and Jack Black aside - but there's nothing really bad about it either.
Well who knew, if you take something with a rusted on fan-base and don't abuse that fan-base or take them for granted, people will come and watch your film. There's nothing good about it - great turns from Jason Momoa and Jack Black aside - but there's nothing really bad about it either.
I went in expecting mid-tier MCU, like Captain Marvel or Black Panther, I got bottom tier, like Antman 3 or The Marvels. This is an abomination of a film with no reason to be and horrible visuals. An excellent Harrison Ford aside - there's zero reason to even bother once.
I went in expecting mid-tier MCU, like Captain Marvel or Black Panther, I got bottom tier, like Antman 3 or The Marvels. This is an abomination of a film with no reason to be and horrible visuals. An excellent Harrison Ford aside - there's zero reason to even bother once.
There are commonalities with Hollywood and TV in recent years. Having not one single original idea and remaking something no one asked for, to a terrible standard and for some reason, cynically using an existing fan-base but rubbing that fan-bases noses in it by race/sexuality or gender swapping a lead character. There's also a more vile and insidious trend going on here where only one person always seems to pay the price.
There are commonalities with Hollywood and TV in recent years. Having not one single original idea and remaking something no one asked for, to a terrible standard and for some reason, cynically using an existing fan-base but rubbing that fan-bases noses in it by race/sexuality or gender swapping a lead character. There's also a more vile and insidious trend going on here where only one person always seems to pay the price.
Director Steven Soderbergh's latest is a classy Tinker Tailor Soldier Spy variant, expertly made and with an impeccable cast, exceptionally led by Cate Blanchett and Michael Fassbender. The odd improbabilities aside.
Director Steven Soderbergh's latest is a classy Tinker Tailor Soldier Spy variant, expertly made and with an impeccable cast, exceptionally led by Cate Blanchett and Michael Fassbender. The odd improbabilities aside.
I do love Germany's DJ Koze, and ranked both his previous long form behemoths, Amygdala (2013) and Knock Knock (2018) as my second best albums of those respective years. The same cannot be said for his third. A beautifully produced and effortlessly classy affair, that is almost never compelling, sadly.
I do love Germany's DJ Koze, and ranked both his previous long form behemoths, Amygdala (2013) and Knock Knock (2018) as my second best albums of those respective years. The same cannot be said for his third. A beautifully produced and effortlessly classy affair, that is almost never compelling, sadly.
I think this is an all time first for me, an album where I hated the first half and actually liked the second half. The "UK Bass" artist has one of the most acclaimed albums of the year, I suspect in large part to music critics rating anything that mentions gender or sexual identity higher than it deserves. The first five tracks of yelping vegan Death Grips are interminable, yet the next five are vastly better.
I think this is an all time first for me, an album where I hated the first half and actually liked the second half. The "UK Bass" artist has one of the most acclaimed albums of the year, I suspect in large part to music critics rating anything that mentions gender or sexual identity higher than it deserves. The first five tracks of yelping vegan Death Grips are interminable, yet the next five are vastly better.
The most mind-blowing album I've heard in years. This psychedelic journey through a club apparently owned by Cthulhu, by Bolivian-American siblings, encourages you to invent a new genre at every turn. A colossal monolith of dayglow noise that is, in an already exceptional year for albums, my new reigning album of the year (sorry Deafheaven/Darkside).
The most mind-blowing album I've heard in years. This psychedelic journey through a club apparently owned by Cthulhu, by Bolivian-American siblings, encourages you to invent a new genre at every turn. A colossal monolith of dayglow noise that is, in an already exceptional year for albums, my new reigning album of the year (sorry Deafheaven/Darkside).
This years brightest new indie attack, levels with octopus armed percussion and a sound like no one else. Music to attune to (like Trout Mask Replica) before all its glories are revealed.
This years brightest new indie attack, levels with octopus armed percussion and a sound like no one else. Music to attune to (like Trout Mask Replica) before all its glories are revealed.
This latest and most rote Stephen King adaption has 79% on Rotten Tomatoes. How. Following on from last years tepid, flat and overrated Long Legs, the same director is getting kudos for an even worse film. Far far worse. It's utter garbage.
This latest and most rote Stephen King adaption has 79% on Rotten Tomatoes. How. Following on from last years tepid, flat and overrated Long Legs, the same director is getting kudos for an even worse film. Far far worse. It's utter garbage.
The superb Deafheaven, always welcomed by the COMPLETELY REASONABLE gatekeepers of Death Metal, sound reborn on their masterpiece sixth album. The only questions being, is it their best release yet? (possibly) and is it my album of the year so far? (yes).
The superb Deafheaven, always welcomed by the COMPLETELY REASONABLE gatekeepers of Death Metal, sound reborn on their masterpiece sixth album. The only questions being, is it their best release yet? (possibly) and is it my album of the year so far? (yes).
Mike Hadreas, aka Perfume Genius, was expected to follow his last collection with a return to the his perfectly sculpted run of albums, so why does this feel more like another disjointed collection, when compared to his best work?
Mike Hadreas, aka Perfume Genius, was expected to follow his last collection with a return to the his perfectly sculpted run of albums, so why does this feel more like another disjointed collection, when compared to his best work?
Or more accurately an EP review of a minor, yet still excellent collection of music the esteemed Canadian electronic composer has made for films.
Or more accurately an EP review of a minor, yet still excellent collection of music the esteemed Canadian electronic composer has made for films.
The British TV drama has become a lightning rod for a burning issue, shining a spotlight in the online spaces turning young boys into misogynists. It's also artistically brave in its structure, superbly shot and directed and features some of the best acting you'll see on TV.
The follow up
https://brownnote.podbean.com/e/adolescence-what-to-do-about-a-problem-like-jamie/
The British TV drama has become a lightning rod for a burning issue, shining a spotlight in the online spaces turning young boys into misogynists. It's also artistically brave in its structure, superbly shot and directed and features some of the best acting you'll see on TV.
The follow up
https://brownnote.podbean.com/e/adolescence-what-to-do-about-a-problem-like-jamie/
The Russo brothers latest attempt to turn as much cash as possible into a bad movie, is nowhere near as terrible as the reviews suggest. Its a pretty watchable, near remake of Bumblebee - with everything a bit worse.
The Russo brothers latest attempt to turn as much cash as possible into a bad movie, is nowhere near as terrible as the reviews suggest. Its a pretty watchable, near remake of Bumblebee - with everything a bit worse.
This side quest to the excellent A Quiet Place sci-fi horrors, is immaculately made, directed and acted. So it's rare for me to trash it - I just can't remember seeing a film with so little reason to exist.
This side quest to the excellent A Quiet Place sci-fi horrors, is immaculately made, directed and acted. So it's rare for me to trash it - I just can't remember seeing a film with so little reason to exist.
Mel Gibson puts his director hat back on for an unusually small project for him. It's really just three people in a room - or in this case a plane. It's been pretty trashed by critics but as a low key B movie actioner it's worth a once through.
Mel Gibson puts his director hat back on for an unusually small project for him. It's really just three people in a room - or in this case a plane. It's been pretty trashed by critics but as a low key B movie actioner it's worth a once through.
Maestro Nicolas Jaar is one of modern music's MVPs. His long run of solo albums plus the two superb AAL albums plus the Pink Floyd analogous cat-nip Darkside project, with guitarist Dave Harrington and now winningly drummer, Tlacael Esparza. Possibly their best album in this now The Smile analogous collective. Continually restless and evolving - often in one track - and always hugely listenable, my fave of the year so far.
Maestro Nicolas Jaar is one of modern music's MVPs. His long run of solo albums plus the two superb AAL albums plus the Pink Floyd analogous cat-nip Darkside project, with guitarist Dave Harrington and now winningly drummer, Tlacael Esparza. Possibly their best album in this now The Smile analogous collective. Continually restless and evolving - often in one track - and always hugely listenable, my fave of the year so far.
Noah Lennox - aka Panda Bear - has long established himself as the most prominent offshoot of the erstwhile Animal Collective band. I have found recently albums - even with the (godlike) Sonic Boom co-album Reset - to be too simplistic and over acclaimed. That's half true here, where songwriting, melody and sequencing get it over the line. I do miss the wild abandon and inspiration of Person Pitch though.
Noah Lennox - aka Panda Bear - has long established himself as the most prominent offshoot of the erstwhile Animal Collective band. I have found recently albums - even with the (godlike) Sonic Boom co-album Reset - to be too simplistic and over acclaimed. That's half true here, where songwriting, melody and sequencing get it over the line. I do miss the wild abandon and inspiration of Person Pitch though.
One of the most fascinating aberrations ive ever reviewed. Will Oldham (aka Bonnie "Prince" Billy) has an impeccable thirty year discography, with some of his best and most interesting work in recent years. He is undoubtedly one of the finest songwriters and lyricists in modern American history. So for some reason he has decided to release a generic modern mainstream country album. The lyrics are either very broad and trite, or surprisingly on the nose takes on men and women, the instrumentation, arrangements and song progressions as predictable and unambitious as modern country itself. Then there's the anti gun track. Most baffling of all is how this album is actually acclaimed by critics.
One of the most fascinating aberrations ive ever reviewed. Will Oldham (aka Bonnie "Prince" Billy) has an impeccable thirty year discography, with some of his best and most interesting work in recent years. He is undoubtedly one of the finest songwriters and lyricists in modern American history. So for some reason he has decided to release a generic modern mainstream country album. The lyrics are either very broad and trite, or surprisingly on the nose takes on men and women, the instrumentation, arrangements and song progressions as predictable and unambitious as modern country itself. Then there's the anti gun track. Most baffling of all is how this album is actually acclaimed by critics.
One of the buzziest internet-rap stars of the last couple of years, makes distinctive wall-of-sound melodic rap, that is very post Chief Keef, even more Playboi Carti and a little Salem. It's pleasant stoner music/head music but could do with a wider variety of attack.
One of the buzziest internet-rap stars of the last couple of years, makes distinctive wall-of-sound melodic rap, that is very post Chief Keef, even more Playboi Carti and a little Salem. It's pleasant stoner music/head music but could do with a wider variety of attack.
It's a set up and environment worthy of a computer game, with two high class leads and being beautifully shot and produced. However the tonal shifts and a world that doesn't seem explored enough, along with a lot of plot conveniences to facilitate the story, it's only just worth it.
It's a set up and environment worthy of a computer game, with two high class leads and being beautifully shot and produced. However the tonal shifts and a world that doesn't seem explored enough, along with a lot of plot conveniences to facilitate the story, it's only just worth it.
I'm a huge fan of Gerard Butler tilting towards being a B movie action titan in mold of Liam Neeson or Jason Statham and loved the grimy, flawed Heat via Training Day via Bad Lieutenant charms of the original. Happily this seems to now have morphed into a franchise, though shifting in tone to a near buddy comedy, it still does enough.
I'm a huge fan of Gerard Butler tilting towards being a B movie action titan in mold of Liam Neeson or Jason Statham and loved the grimy, flawed Heat via Training Day via Bad Lieutenant charms of the original. Happily this seems to now have morphed into a franchise, though shifting in tone to a near buddy comedy, it still does enough.
In an immortal era for British indie guitar music, out of the holy trinity of BCNR, Black Midi and Squid - they are now the only ones with either their original lead singer or who haven't split entirely. Their excellent third album is every bit as good as their first and a tiny bit less so than their classic second. Another cohesive, oblique look at the absolute state of society and the world around them.
In an immortal era for British indie guitar music, out of the holy trinity of BCNR, Black Midi and Squid - they are now the only ones with either their original lead singer or who haven't split entirely. Their excellent third album is every bit as good as their first and a tiny bit less so than their classic second. Another cohesive, oblique look at the absolute state of society and the world around them.
Abel Tesfaye's last outing as The Weeknd, allegedly, caps a magnificent modern pop trilogy. It may be a little more diluted than After Hours, or Dawn FM due to its incredible length but it still showcases a the most thematically fascinating modern pop star and his peerless voice, melody and production.
Abel Tesfaye's last outing as The Weeknd, allegedly, caps a magnificent modern pop trilogy. It may be a little more diluted than After Hours, or Dawn FM due to its incredible length but it still showcases a the most thematically fascinating modern pop star and his peerless voice, melody and production.
Another of the big Oscar contenders and one of the most unexpected. What I thought would be some dour indie love drama, is actually the funniest screw-ball comedy in years. It's laugh out loud hysterical throughout with a mega-watt powerhouse lead. Though if you've a low tolerance for hardcore sex/nudity/drug taking and swearing, you might want to give it a wide berth.
Another of the big Oscar contenders and one of the most unexpected. What I thought would be some dour indie love drama, is actually the funniest screw-ball comedy in years. It's laugh out loud hysterical throughout with a mega-watt powerhouse lead. Though if you've a low tolerance for hardcore sex/nudity/drug taking and swearing, you might want to give it a wide berth.
Writer-Director Brady Corbet enters the big league of hugely ambitious auteurs, with this intermission requiring epic, chronicling the post WW2 life of a holocaust surviving Jewish architect. A near masterpiece and understandable front runner at this years Oscars, though if the astonishing acting masterclass given by Adrien Brody gets beaten by nepo baby Timothy Chamalet's Bob Dylan impersonation for best actor, there truly is no god.
Writer-Director Brady Corbet enters the big league of hugely ambitious auteurs, with this intermission requiring epic, chronicling the post WW2 life of a holocaust surviving Jewish architect. A near masterpiece and understandable front runner at this years Oscars, though if the astonishing acting masterclass given by Adrien Brody gets beaten by nepo baby Timothy Chamalet's Bob Dylan impersonation for best actor, there truly is no god.
Thoughts on the most tepid Oscars in modern history. What's been missed - from a stellar year in horror to high profile performances by veteran actresses (Pamela Anderson, Kate Winslet, Kirsten Dunst) that were all ignored. The issue of category fraud (I'm looking at you best supporting) finally gets talked about and why the only thing I really care about is nepo baby Timothy Mid-strength Chamalet and Dune being shut out. Good luck to The Substance, Anora, The Brutalist and Conclave though.
Thoughts on the most tepid Oscars in modern history. What's been missed - from a stellar year in horror to high profile performances by veteran actresses (Pamela Anderson, Kate Winslet, Kirsten Dunst) that were all ignored. The issue of category fraud (I'm looking at you best supporting) finally gets talked about and why the only thing I really care about is nepo baby Timothy Mid-strength Chamalet and Dune being shut out. Good luck to The Substance, Anora, The Brutalist and Conclave though.
This immaculately made drama about anointing a new Pope, is far from dry or austere, but exciting and entertaining. More like House of Cards in its evocation of the behind the scenes political machinations and deal making involved in the process. Sadly a couple of very distracting and misguided story elements arrive right at the end, in an almost ruinous manner. SPOILER ALERT as I discuss that ending.
This immaculately made drama about anointing a new Pope, is far from dry or austere, but exciting and entertaining. More like House of Cards in its evocation of the behind the scenes political machinations and deal making involved in the process. Sadly a couple of very distracting and misguided story elements arrive right at the end, in an almost ruinous manner. SPOILER ALERT as I discuss that ending.
Scottish Post-rock titans, Mogwai, have been on a fine run of pretty decent new albums in recent years. However, though they sound very much alive, one of their only genuine peers, Godspeed You! Black Emperor, have been making relevant and vital music that rivals the best they've ever done. Here is a godlike band, dipping their toes into very inconsequential and unambitious music that in no way is worthy of them.
Scottish Post-rock titans, Mogwai, have been on a fine run of pretty decent new albums in recent years. However, though they sound very much alive, one of their only genuine peers, Godspeed You! Black Emperor, have been making relevant and vital music that rivals the best they've ever done. Here is a godlike band, dipping their toes into very inconsequential and unambitious music that in no way is worthy of them.
The current heavyweight champion of Latin Pop, Benito Antonio Martínez Ocasio, aka Bad Bunny, completes a victory lap with his seventh - and most political - album. And it's a fine effort with welcome Salsa and Puerto Rican musical influences. It also repeats my complaint about his previous release, like a Drake album, it appears stuffed with too many mediocre tracks to try and game the streaming charts.
The current heavyweight champion of Latin Pop, Benito Antonio Martínez Ocasio, aka Bad Bunny, completes a victory lap with his seventh - and most political - album. And it's a fine effort with welcome Salsa and Puerto Rican musical influences. It also repeats my complaint about his previous release, like a Drake album, it appears stuffed with too many mediocre tracks to try and game the streaming charts.
Director Robert Eggers is right at the top of arguments for the MVP of film making right now. His four films have near been impeccable. This remake of the original 1920's classic is very different from what I'd been led to believe - it's by far the most fun and actually funny (at times) of his often challenging filmography. If it doesn't have the substance of previous works, the cinematography, production design and soundtrack are outstanding.
Director Robert Eggers is right at the top of arguments for the MVP of film making right now. His four films have near been impeccable. This remake of the original 1920's classic is very different from what I'd been led to believe - it's by far the most fun and actually funny (at times) of his often challenging filmography. If it doesn't have the substance of previous works, the cinematography, production design and soundtrack are outstanding.
David Lynch (January 20, 1946 – January 15, 2025) never made a blockbuster movie in his life, yet is as famous a director as Steven Spielberg. This a show celebrating his unique artistic vision, one that puts in on a par with Kubrick or Hitchcock. He is also a director with a stronger connection to the music in his projects than almost anyone in history. A trawl through every major project of Lynch's and the music used in each.
*Dune doesn't appear in the video version due to a corrupt file. The full music is on the radio version.
Original Twin Peaks: The Return review (10/10)
https://www.podbean.com/eas/pb-v38dr-e42e47
Original Mullholland Drive review (10/10)
https://www.podbean.com/eas/pb-u4exc-dfc2c8
David Lynch (January 20, 1946 – January 15, 2025) never made a blockbuster movie in his life, yet is as famous a director as Steven Spielberg. This a show celebrating his unique artistic vision, one that puts in on a par with Kubrick or Hitchcock. He is also a director with a stronger connection to the music in his projects than almost anyone in history. A trawl through every major project of Lynch's and the music used in each.
*Dune doesn't appear in the video version due to a corrupt file. The full music is on the radio version.
Original Twin Peaks: The Return review (10/10)
https://www.podbean.com/eas/pb-v38dr-e42e47
Original Mullholland Drive review (10/10)
https://www.podbean.com/eas/pb-u4exc-dfc2c8
Following last years UNIVERSALLY LOVED piece, Oasis Are Shite, an imaginative followup - were they ever any good to start with? So I have done what no sane adult should do, and what I haven't done in 25 years, actually listened to Oasis. Obviously Be Here Now and on are complete garbage, but were those first three great albums, Definitely Maybe, What's the Story.. and The Masterplan ever great? and how do they hold up now?
Following last years UNIVERSALLY LOVED piece, Oasis Are Shite, an imaginative followup - were they ever any good to start with? So I have done what no sane adult should do, and what I haven't done in 25 years, actually listened to Oasis. Obviously Be Here Now and on are complete garbage, but were those first three great albums, Definitely Maybe, What's the Story.. and The Masterplan ever great? and how do they hold up now?
My irregular series on artists, albums or movies that were either denied classic status at the time or who have been forgotten from the conversation since. Here a look a 60s UK folk music genius who branched out into astonishing music in the 1970s (see also Nick Drake, John Fay, Vashti Bunyan...). A walk through his life and career through the lens of four totemic albums from that period, including the absolutely essential for anyone releases, Solid Air (10/10) and One Word (10/10).
My irregular series on artists, albums or movies that were either denied classic status at the time or who have been forgotten from the conversation since. Here a look a 60s UK folk music genius who branched out into astonishing music in the 1970s (see also Nick Drake, John Fay, Vashti Bunyan...). A walk through his life and career through the lens of four totemic albums from that period, including the absolutely essential for anyone releases, Solid Air (10/10) and One Word (10/10).
Perhaps the embodiment of Hollywood's incessant, remake-reboot era, given it's one of the wildest takes on needing a sequel ever. But given director Ridley Scott is himself one of the wildest properties in film this century - you have zero idea what you are going to get with this man lately, maybe it could work? No, no, it does not. Following the original screenplay so slavishly it continually invites always belittling comparisons, not to mention extra appreciation for the (missing) original star, Russell Crowe, given the appalling casting of rom-com level Paul Mescal as his replacement.
Perhaps the embodiment of Hollywood's incessant, remake-reboot era, given it's one of the wildest takes on needing a sequel ever. But given director Ridley Scott is himself one of the wildest properties in film this century - you have zero idea what you are going to get with this man lately, maybe it could work? No, no, it does not. Following the original screenplay so slavishly it continually invites always belittling comparisons, not to mention extra appreciation for the (missing) original star, Russell Crowe, given the appalling casting of rom-com level Paul Mescal as his replacement.
Nothing is more redundant most best films lists, as any critics top ten will include five films the public wont even see until next year. So my most and least favorite films actually widely released in 2024.
Note - I really did mean to say Abigail at number 15, but looking at the thumbnail, decided to describe the film Megan instead. The perils of live radio.
Nothing is more redundant most best films lists, as any critics top ten will include five films the public wont even see until next year. So my most and least favorite films actually widely released in 2024.
Note - I really did mean to say Abigail at number 15, but looking at the thumbnail, decided to describe the film Megan instead. The perils of live radio.
Exactly what it says on the tin. Tis the season of lists, and in a banner year for albums, particularly alt-rock and rap, my top twenty favorite albums of 2024.
https://open.spotify.com/playlist/26A8L15kpvZtRl3gRhddG5?si=jZKf4draTgqcWC8cjiXiKw
Exactly what it says on the tin. Tis the season of lists, and in a banner year for albums, particularly alt-rock and rap, my top twenty favorite albums of 2024.
https://open.spotify.com/playlist/26A8L15kpvZtRl3gRhddG5?si=jZKf4draTgqcWC8cjiXiKw
Perhaps rounding off a banner year for Horror movies, writer-director, J.T. Mollner's twisted take on Horror movie tropes and serial killer films. Spit ingeniously into six non-chronological chapters, each upending the previous, this challenging and provocative film is beautifully made, and anchored by awards-worthy leads, Willa Fitzgerald and Kyle Gallner.
Perhaps rounding off a banner year for Horror movies, writer-director, J.T. Mollner's twisted take on Horror movie tropes and serial killer films. Spit ingeniously into six non-chronological chapters, each upending the previous, this challenging and provocative film is beautifully made, and anchored by awards-worthy leads, Willa Fitzgerald and Kyle Gallner.
The original Smile was a top tier "ordinary" horror, as opposed the more art-house/A24 world. It's sequel bridges that gap, whilst outpacing its predecessor in nearly every way. Once again the female lead (Naomi Scott) is outstanding, but now the focus on interior mental breakdown - this time for a pop star put under too much stress - is so good, it almost outweighs the need for a horror film at all.
The original Smile was a top tier "ordinary" horror, as opposed the more art-house/A24 world. It's sequel bridges that gap, whilst outpacing its predecessor in nearly every way. Once again the female lead (Naomi Scott) is outstanding, but now the focus on interior mental breakdown - this time for a pop star put under too much stress - is so good, it almost outweighs the need for a horror film at all.
Francis Ford Coppola's decades long passion project is deeply, unforgivably flawed, in so many ways. It's also amazing and brilliant in so many others. In a world where billionaires send themselves into space and all they come back with if tales of flaccid penises, that someone could spend so much on such a piece of art, designed, unconsciously, to defend the very notion of its own existence, is a marvel.
Francis Ford Coppola's decades long passion project is deeply, unforgivably flawed, in so many ways. It's also amazing and brilliant in so many others. In a world where billionaires send themselves into space and all they come back with if tales of flaccid penises, that someone could spend so much on such a piece of art, designed, unconsciously, to defend the very notion of its own existence, is a marvel.
It takes an awful lot to get me back into new material from a classic band I've loved to remember at their peak and pretty much since the career capping classic, Disintegration, in 1989, that had been the case with The Cure. However, the first new material in 16 years had garnered such raves, I couldn't resist and I'm glad I didn't. Despite some of the worst production and mixing I've ever heard from a band of their stature, and a questionable opening salvo, Songs.. is undoubtedly their finest, most tortured and monolithic work in decades. I'm outside in the dark Wondering how I got so old!!!
It takes an awful lot to get me back into new material from a classic band I've loved to remember at their peak and pretty much since the career capping classic, Disintegration, in 1989, that had been the case with The Cure. However, the first new material in 16 years had garnered such raves, I couldn't resist and I'm glad I didn't. Despite some of the worst production and mixing I've ever heard from a band of their stature, and a questionable opening salvo, Songs.. is undoubtedly their finest, most tortured and monolithic work in decades. I'm outside in the dark Wondering how I got so old!!!
The second album in 2024 from the Radiohead offshoot, The Smile, is nowhere near as great or coherent as Wall of Eyes. It's perfectly fine, just very undeveloped songwriting wise - as befitting its title - and even Thom Yorke seems to be half involved in many tracks.
The second album in 2024 from the Radiohead offshoot, The Smile, is nowhere near as great or coherent as Wall of Eyes. It's perfectly fine, just very undeveloped songwriting wise - as befitting its title - and even Thom Yorke seems to be half involved in many tracks.
Ridley Scott gave his baby new life with the premise of Prometheus, massively expanding the context of the whole Alien universe, then promptly killed it dead with Covenant abandoning that story entirely. This new film has been hailed as an excitingly fresh rebirth, but I don't see it. The production design is superb, but other than the lead, the acting is pretty dire. The biggest problem though, is with how unambitious the story is, at this late stage, going all the way back to the being hunted on a spaceship story of the first film, which has been done a million times since.
Ridley Scott gave his baby new life with the premise of Prometheus, massively expanding the context of the whole Alien universe, then promptly killed it dead with Covenant abandoning that story entirely. This new film has been hailed as an excitingly fresh rebirth, but I don't see it. The production design is superb, but other than the lead, the acting is pretty dire. The biggest problem though, is with how unambitious the story is, at this late stage, going all the way back to the being hunted on a spaceship story of the first film, which has been done a million times since.
I've nothing but respect for the band's talent but I've rarely heard an album more self-sabotaged than this (despite rave reviews). Almost every song - many of which are very decent - have a math-rock violent interlude half way through, that is often annoyingly goofy and usually stops everything they've built up to that point dead. This makes it all a hard listen, I'd struggle to go back to.
I've nothing but respect for the band's talent but I've rarely heard an album more self-sabotaged than this (despite rave reviews). Almost every song - many of which are very decent - have a math-rock violent interlude half way through, that is often annoyingly goofy and usually stops everything they've built up to that point dead. This makes it all a hard listen, I'd struggle to go back to.
Sometimes in the relentless recycle and repackage world that is modern Hollywood, timing can be everything. No one asked for a sequel to director Tim Burton's breakout 1988 film but it was a hugely welcome return anyway. There's a lot of love for re-pairing the originals leads, Winona Ryder and surely the least disliked legacy actor out there, Michael Keaton. Burton too is back delivering his trademark wildly enjoyable gothic comedy horror.
Sometimes in the relentless recycle and repackage world that is modern Hollywood, timing can be everything. No one asked for a sequel to director Tim Burton's breakout 1988 film but it was a hugely welcome return anyway. There's a lot of love for re-pairing the originals leads, Winona Ryder and surely the least disliked legacy actor out there, Michael Keaton. Burton too is back delivering his trademark wildly enjoyable gothic comedy horror.
No one has ruined more films than Guillermo del Toro, by not directing them. But this time I fell the second attempt at rebooting the Hellboy franchise doesn't deserve the appalling reviews. It's refreshing to see the relentless barage of $200 million failed franchise movies give way to something far more low budget and weird, and the Appalachian horror setting is kinda great.
No one has ruined more films than Guillermo del Toro, by not directing them. But this time I fell the second attempt at rebooting the Hellboy franchise doesn't deserve the appalling reviews. It's refreshing to see the relentless barage of $200 million failed franchise movies give way to something far more low budget and weird, and the Appalachian horror setting is kinda great.
I feel this Brad and George star vehicle was slightly maligned on release. It remains a high quality outing for the platinum-plated pair and very well made. Plus not reliant on relentless high octane action, at least at first.
I feel this Brad and George star vehicle was slightly maligned on release. It remains a high quality outing for the platinum-plated pair and very well made. Plus not reliant on relentless high octane action, at least at first.
If ever there were a case of following your own imitators. The XX alumni's debut, In Colour, helped set a template that Coachella-esque electronic music has tried to follow ever since, making this sophomore album lack the lightning in a bottle aspect of its predecessor. Though a lackluster first half gives way to a much stronger second, particularly when the soul samples and collaborators are in the background.
If ever there were a case of following your own imitators. The XX alumni's debut, In Colour, helped set a template that Coachella-esque electronic music has tried to follow ever since, making this sophomore album lack the lightning in a bottle aspect of its predecessor. Though a lackluster first half gives way to a much stronger second, particularly when the soul samples and collaborators are in the background.
For the first time since the first album review on this channel, Black Country, New Road's Ants From up There, a BIG FAT TEN OUT OF TEN, for the latest album from the Canadian Post-Rock titans. Some of their most stadium worthy rock to date, whilst feeling closer to a symphony by Gustav Mahler. And in case you were wondering. as of 25 October 2024 42,847 dead. 16,765 of those children.
For the first time since the first album review on this channel, Black Country, New Road's Ants From up There, a BIG FAT TEN OUT OF TEN, for the latest album from the Canadian Post-Rock titans. Some of their most stadium worthy rock to date, whilst feeling closer to a symphony by Gustav Mahler. And in case you were wondering. as of 25 October 2024 42,847 dead. 16,765 of those children.
Writer director Coralie Fargeat announces herself in manner akin to Quentin Tarantino, with her second film. Being both unbelievably don't give a f*ck bold and hugely literate in the history of cinema, wearing a dazzling array of influences across this amazingly wild schlock horror. Margaret Qualley and an awards-likely Demi Moore are fearless accomplices. One of the years best, most controversial and talked about films.
Writer director Coralie Fargeat announces herself in manner akin to Quentin Tarantino, with her second film. Being both unbelievably don't give a f*ck bold and hugely literate in the history of cinema, wearing a dazzling array of influences across this amazingly wild schlock horror. Margaret Qualley and an awards-likely Demi Moore are fearless accomplices. One of the years best, most controversial and talked about films.
Like its predecessor - Live Drugs - I'm left with the same feeling that I wish half the song choices were different, as at its best, the opening a closing salvos, it's fantastic and a fine representation of one of alt-rocks great bands but much of the middle run is a bit too flat an samey. Def one for fans only. Though Under the Pressure is one of the finest 10 mins of music this year.
Like its predecessor - Live Drugs - I'm left with the same feeling that I wish half the song choices were different, as at its best, the opening a closing salvos, it's fantastic and a fine representation of one of alt-rocks great bands but much of the middle run is a bit too flat an samey. Def one for fans only. Though Under the Pressure is one of the finest 10 mins of music this year.
Although it wont stand on quality as being one of the esteemed Dan Snaith's finest, as either Caribou or his other alt Daphne, Honey will go down as one of the most important and challenging albums of this era. The use of AI in music is already a hugely controversial topic and one Snaith hits head on by using AI to turn his own voice into a variety of female singers.
Although it wont stand on quality as being one of the esteemed Dan Snaith's finest, as either Caribou or his other alt Daphne, Honey will go down as one of the most important and challenging albums of this era. The use of AI in music is already a hugely controversial topic and one Snaith hits head on by using AI to turn his own voice into a variety of female singers.
My infrequent series on albums, movies or bands that were either denied classic status on release or have been forgotten about since. I've gone on at painful length about my anger at The House of Love - the first exciting and original British indie guitar band since The Smiths - never being included in conversations about either Shoegaze or Britpop, despite being more foundational and sooner for bands like RIDE and Slowdive than My Bloody Valentine themselves. The fact is, that with most of their best material being recorded before the 90's waves even began, they were too soon to a party they helped create. Here a look back at their debut album and the releases either side, that show them as one of the best British bands of the whole show.
My infrequent series on albums, movies or bands that were either denied classic status on release or have been forgotten about since. I've gone on at painful length about my anger at The House of Love - the first exciting and original British indie guitar band since The Smiths - never being included in conversations about either Shoegaze or Britpop, despite being more foundational and sooner for bands like RIDE and Slowdive than My Bloody Valentine themselves. The fact is, that with most of their best material being recorded before the 90's waves even began, they were too soon to a party they helped create. Here a look back at their debut album and the releases either side, that show them as one of the best British bands of the whole show.
A quick shout out of total respect to the Internets busiest music nerd, The Needle Drop, AKA Anthony Fantano. His recent posts on Macklemore and Godspeed You! Black Emperor, have been amazing in a world where so many journalists and socially conscious artists avoid the genocide in Gaza like the plague. Link below
https://youtu.be/oInyT46gNHE?si=VvN9SJfON9Y6_6n8
A quick shout out of total respect to the Internets busiest music nerd, The Needle Drop, AKA Anthony Fantano. His recent posts on Macklemore and Godspeed You! Black Emperor, have been amazing in a world where so many journalists and socially conscious artists avoid the genocide in Gaza like the plague. Link below
https://youtu.be/oInyT46gNHE?si=VvN9SJfON9Y6_6n8
Outstanding meta commentary, charisma between the leads, humor. Actual film and story - quite slight.
Outstanding meta commentary, charisma between the leads, humor. Actual film and story - quite slight.
It's been a while between drinks (Madame Web I think) but we're back and firing with a BIG FAT ZERO out of ten for this well loved and warmly received remake of the overrated but hugely influential original. Here, FKA Twigs (with apparently BOTOX in both her face AND emotions), plays a talentless aspiring musician, with model looks, who hangs around in rich people's apartments >cough< whilst Machine Gun Kelly falls in love with her. If you can imagine how insufferable spending time with these two is, as they discuss their moon tattoos, you can imagine the awful first 40 minutes of The Crow being some of the hardest cinema I have watched this side of Salo or Come and See.
It's been a while between drinks (Madame Web I think) but we're back and firing with a BIG FAT ZERO out of ten for this well loved and warmly received remake of the overrated but hugely influential original. Here, FKA Twigs (with apparently BOTOX in both her face AND emotions), plays a talentless aspiring musician, with model looks, who hangs around in rich people's apartments >cough< whilst Machine Gun Kelly falls in love with her. If you can imagine how insufferable spending time with these two is, as they discuss their moon tattoos, you can imagine the awful first 40 minutes of The Crow being some of the hardest cinema I have watched this side of Salo or Come and See.
Nepo baby and first time director, Zoe Kravitz, takes on what's becoming quite a trope lately - rich people on an island behaving badly, in one of 2024's IT horror movies. Despite some strong ideas thematically, compared to the likes of Infinity Pool or The Menu or even Knives Out 2, it's nearer the back of the pack.
Nepo baby and first time director, Zoe Kravitz, takes on what's becoming quite a trope lately - rich people on an island behaving badly, in one of 2024's IT horror movies. Despite some strong ideas thematically, compared to the likes of Infinity Pool or The Menu or even Knives Out 2, it's nearer the back of the pack.
The honorable Sam Shepherd returns with his raviest Floating Points album yet, and probably the years best electronic release.
The honorable Sam Shepherd returns with his raviest Floating Points album yet, and probably the years best electronic release.
Auteur of the moment, Greek director Yorgos Lanthimos shuns his recent foray into Hollywood royalty (The Favorite/Poor Things) with a return to the punishing uncomfortable art-house of The Killing of the Sacred Deer. For nearly three uncompromising hours, across three deliberately bleak and obtuse stories. It feels like either an attack or a challenge on the viewer but Jessie Plemons is a career best twice.
Auteur of the moment, Greek director Yorgos Lanthimos shuns his recent foray into Hollywood royalty (The Favorite/Poor Things) with a return to the punishing uncomfortable art-house of The Killing of the Sacred Deer. For nearly three uncompromising hours, across three deliberately bleak and obtuse stories. It feels like either an attack or a challenge on the viewer but Jessie Plemons is a career best twice.
Their 18th studio album unexpectedly turns the unfortunately thrilling second act of Nick Cave into the maximalist, away from the brilliant abstract, avant experimentalism of Skeleton Tree and Ghosteen. There's plenty to adore in Cave's battle with the God's, though the heavyweight first half of the album is more compelling than the more resigned and conventionally composed second half.
Their 18th studio album unexpectedly turns the unfortunately thrilling second act of Nick Cave into the maximalist, away from the brilliant abstract, avant experimentalism of Skeleton Tree and Ghosteen. There's plenty to adore in Cave's battle with the God's, though the heavyweight first half of the album is more compelling than the more resigned and conventionally composed second half.
We are all of us blessed to have lived in the same time as the deity Nicolas Cage, bathed in his magnificence. Now no longer viewed as an A list actor who went off the boil, his modern filmography contains numerous low key classics. My ten favorite Cage films from the last twenty years.
We are all of us blessed to have lived in the same time as the deity Nicolas Cage, bathed in his magnificence. Now no longer viewed as an A list actor who went off the boil, his modern filmography contains numerous low key classics. My ten favorite Cage films from the last twenty years.
Director Jeremy Saulnier continues his strong run of idiosyncratic films, with this inspired take on one of cinemas most overused tropes, the mysterious (and tough) stranger, walks into a small town and comes into conflict with the authorities. With top notch casting and writing, it may get to the same place as nearly every one of these post First Blood films, but the journey there is a hell of a lot more interesting, if long.
Director Jeremy Saulnier continues his strong run of idiosyncratic films, with this inspired take on one of cinemas most overused tropes, the mysterious (and tough) stranger, walks into a small town and comes into conflict with the authorities. With top notch casting and writing, it may get to the same place as nearly every one of these post First Blood films, but the journey there is a hell of a lot more interesting, if long.
And in an era where music festivals are dying, featuring rote pop acts as headliners, with no musicians and backing tracks, how the Oasis reunion could save music, by bringing back the band.
And in an era where music festivals are dying, featuring rote pop acts as headliners, with no musicians and backing tracks, how the Oasis reunion could save music, by bringing back the band.
In the first banner year for the rap album in a decade, another great album. This time with a wild foray into Death Metal and Death Grips, from one of the biggest mavericks in underground Hip hop.
In the first banner year for the rap album in a decade, another great album. This time with a wild foray into Death Metal and Death Grips, from one of the biggest mavericks in underground Hip hop.
The White Stripes supremo drops his most exciting solo project yet and it feels perfectly timed. With the Oasis reunion in full swing, this fabulous album, harking back to the heady early garage rock days of his most famous band could not be more on point.
The White Stripes supremo drops his most exciting solo project yet and it feels perfectly timed. With the Oasis reunion in full swing, this fabulous album, harking back to the heady early garage rock days of his most famous band could not be more on point.
What's most startling about this low-rent big-budget Mission Impossible rip-off is how vastly superior the panned Gal Gadot movie, Heart of Stone, is in every way.
What's most startling about this low-rent big-budget Mission Impossible rip-off is how vastly superior the panned Gal Gadot movie, Heart of Stone, is in every way.
Arguably the year's It horror movie was far closer to upper mid-tier than I'd hoped. It's well crafted and has a strong mood, but is relatively insubstantial and has a lacklustre lead. Though a mad-cap Nicolas Cage (barely in the movie) makes you wish for a Pearl like origin story.
Arguably the year's It horror movie was far closer to upper mid-tier than I'd hoped. It's well crafted and has a strong mood, but is relatively insubstantial and has a lacklustre lead. Though a mad-cap Nicolas Cage (barely in the movie) makes you wish for a Pearl like origin story.
My simping for star Mia Goth reached insufferable heights with the one-two punch of Pearl and Infinity Pool, where I claimed she was this era's Bridget Bardot, but a much better actor. Sadly this third in the X film trilogy is by far the weakest and the biggest let down of the year, next to Civil War. At least Mia is photographed exceptionally well and is as electric onscreen as always. But such a great premise is totally wasted by unexpectedly tepid delivery. Please don't be wasting Mia like this.
My simping for star Mia Goth reached insufferable heights with the one-two punch of Pearl and Infinity Pool, where I claimed she was this era's Bridget Bardot, but a much better actor. Sadly this third in the X film trilogy is by far the weakest and the biggest let down of the year, next to Civil War. At least Mia is photographed exceptionally well and is as electric onscreen as always. But such a great premise is totally wasted by unexpectedly tepid delivery. Please don't be wasting Mia like this.
Given the high praise afforded this latest reboot, I can't help but feel let down. It's not really any better than the 2014 tornado/Twister movie, Into the Storm - in fact I can't say the tornado effects are any more impressive. Plus it often plays like a Nicholas Sparks romance movie. It is scarier than its two predecessors though, and we get a couple of charismatic leads in Glen - man of the moment - Powell, and Daisy Edgar-Jones, who has been a stand out in anything she's been in, and has the most haunting brown eyes imaginable.
Given the high praise afforded this latest reboot, I can't help but feel let down. It's not really any better than the 2014 tornado/Twister movie, Into the Storm - in fact I can't say the tornado effects are any more impressive. Plus it often plays like a Nicholas Sparks romance movie. It is scarier than its two predecessors though, and we get a couple of charismatic leads in Glen - man of the moment - Powell, and Daisy Edgar-Jones, who has been a stand out in anything she's been in, and has the most haunting brown eyes imaginable.
The second excellent album from a Californian modern/alt-pop artist who gets nowhere near the respect or acclaim she deserves, and is far more thrilling and individualistic than most of her more lauded peers.
The second excellent album from a Californian modern/alt-pop artist who gets nowhere near the respect or acclaim she deserves, and is far more thrilling and individualistic than most of her more lauded peers.
The full title of the compilation of the year - and an essential own and analogous to the classic Nigeria 70 collection, broke my computer it's so long. It's also the perfect reflection of this awesome psych-funk-soul-rock-RnB music.
Congo Funk! - Sound Madness From The Shores Of The Mighty Congo River (Kinshasa/Brazzaville 1969-1982) (Analog Africa No. 38)The full title of the compilation of the year - and an essential own and analogous to the classic Nigeria 70 collection, broke my computer it's so long. It's also the perfect reflection of this awesome psych-funk-soul-rock-RnB music.
Congo Funk! - Sound Madness From The Shores Of The Mighty Congo River (Kinshasa/Brazzaville 1969-1982) (Analog Africa No. 38)
My biggest gripe in recent years, is one of the worst ever eras of music critics, clamming so many mid-tier female solo pop/rnb & rap albums are masterpieces. Witness my most overrated album from last year, from Caroline Polachek. Or anything by Beyonce. So here we are with this years anointed album of the year. All I can say is that I am always fair.
My biggest gripe in recent years, is one of the worst ever eras of music critics, clamming so many mid-tier female solo pop/rnb & rap albums are masterpieces. Witness my most overrated album from last year, from Caroline Polachek. Or anything by Beyonce. So here we are with this years anointed album of the year. All I can say is that I am always fair.
The esteemed post-rock(?) trio are three decades in and with increasing gaps between albums - a whopping twelve years this time between drinks. There latest is a unexpected balm for anxious times, near true ambient music in its way of sucking negative emotions out of you and replacing them with more meditative and positive energy.
The esteemed post-rock(?) trio are three decades in and with increasing gaps between albums - a whopping twelve years this time between drinks. There latest is a unexpected balm for anxious times, near true ambient music in its way of sucking negative emotions out of you and replacing them with more meditative and positive energy.
Doug Liman is a massively underappreciated and endlessly malleable director - from Swingers to The Bourne Identity to Edge of Tomorrow to Road House. Given the cast he gets is near perfect for this kind of sub-Tarantino crime film, that makes this a let down on nearly every level. Just about passable. Casey Affleck is great though.
Doug Liman is a massively underappreciated and endlessly malleable director - from Swingers to The Bourne Identity to Edge of Tomorrow to Road House. Given the cast he gets is near perfect for this kind of sub-Tarantino crime film, that makes this a let down on nearly every level. Just about passable. Casey Affleck is great though.
I did not have esteemed auteur director, Richard Linklater, swerving into Rom-coms i my 2024 bingo. Other than being a tiny bit superficial and slight, this film is an utter blast. Very funny and with two of the most engaging leads of the year. Glen Powell excels as the titular fake hit man (based on a very real person) and for fans of Triple Frontier, finally Hollywood seems to be catching on to the gorgeous, electric presence of Adria Arjona. Think Grosse Point Blank more than Pretty Woman.
I did not have esteemed auteur director, Richard Linklater, swerving into Rom-coms i my 2024 bingo. Other than being a tiny bit superficial and slight, this film is an utter blast. Very funny and with two of the most engaging leads of the year. Glen Powell excels as the titular fake hit man (based on a very real person) and for fans of Triple Frontier, finally Hollywood seems to be catching on to the gorgeous, electric presence of Adria Arjona. Think Grosse Point Blank more than Pretty Woman.
The relentless reboot and remake cycle reaches the once unthinkable - lets re-do Beverly Hills Cop. Though the electric magic of the original is missing, it's powered across the line by a star missing from our screens (other than in donkey form) for far too long, Eddie Murphy is completely undiminished, possibly due to witchcraft.
The relentless reboot and remake cycle reaches the once unthinkable - lets re-do Beverly Hills Cop. Though the electric magic of the original is missing, it's powered across the line by a star missing from our screens (other than in donkey form) for far too long, Eddie Murphy is completely undiminished, possibly due to witchcraft.
We all hoped superhero comic book movies had died off. First with a perfect Endgame to the MCU universe, then a run of genuinely terrible and unsuccessful movies. But no, nothing will stop them, even the most cynical and creatively bankrupt act in major franchise movie history - recasting your most popular actor as a new character. This is some Bobby Ewing level garbage.
We all hoped superhero comic book movies had died off. First with a perfect Endgame to the MCU universe, then a run of genuinely terrible and unsuccessful movies. But no, nothing will stop them, even the most cynical and creatively bankrupt act in major franchise movie history - recasting your most popular actor as a new character. This is some Bobby Ewing level garbage.
Director Jeff Nichols latest, is a superb subject with a great cast. It's also sadly, trite, superficial and far less than sum of its visually gorgeous parts.
Director Jeff Nichols latest, is a superb subject with a great cast. It's also sadly, trite, superficial and far less than sum of its visually gorgeous parts.
The first post slap-heard-around-the-world Will Smith movie, is another broadly successful entry into the unexpectedly rebooted franchise, though with far less narrative ambition than its predecessor.
The first post slap-heard-around-the-world Will Smith movie, is another broadly successful entry into the unexpectedly rebooted franchise, though with far less narrative ambition than its predecessor.
Perhaps alongside Beach House as the most well established of the second wave of Shoegaze and Dreampop bands, though on this immaculately presented effort, sadly not as prepared as to offer variety or imagination to their sound.
Perhaps alongside Beach House as the most well established of the second wave of Shoegaze and Dreampop bands, though on this immaculately presented effort, sadly not as prepared as to offer variety or imagination to their sound.
The Hyperdub label head and his head honcho team up and not for the first time. After Burial's recent extremely punishing EP, this is one of his most commercial sounding releases. Full of light skipping 2step beats and UK garage flourishes, plus a heap of hooky vocals and synths. Kode9 ably backs it up veering into early 90s rave and Drum n Bass. Undemanding but in a good way.
The Hyperdub label head and his head honcho team up and not for the first time. After Burial's recent extremely punishing EP, this is one of his most commercial sounding releases. Full of light skipping 2step beats and UK garage flourishes, plus a heap of hooky vocals and synths. Kode9 ably backs it up veering into early 90s rave and Drum n Bass. Undemanding but in a good way.
My intermittent series on albums/artists/films that were either denied classic status on release or forgotten since. Both in this case. Forever he will be known for the tragic element to his career, for not reaching superstar status, after turning down the offer at the end of the Sixties to become the front man of Led Zeppelin. And Deep Purple. But his talent as a guitarist and one of the finest ever British rock vocalists can perhaps be enjoyed best on his third album River, the kind of music pretty much anyone would like, sitting equidistant between Blues, Folk, Rock and RnB.
My intermittent series on albums/artists/films that were either denied classic status on release or forgotten since. Both in this case. Forever he will be known for the tragic element to his career, for not reaching superstar status, after turning down the offer at the end of the Sixties to become the front man of Led Zeppelin. And Deep Purple. But his talent as a guitarist and one of the finest ever British rock vocalists can perhaps be enjoyed best on his third album River, the kind of music pretty much anyone would like, sitting equidistant between Blues, Folk, Rock and RnB.
Colombian JP López turns in possibly three of the best electronic tracks of the year on one powerhouse 4 track EP, that seems to be more inspired by the more experimental post dub-step UK artists than Latin Club music per se.
Colombian JP López turns in possibly three of the best electronic tracks of the year on one powerhouse 4 track EP, that seems to be more inspired by the more experimental post dub-step UK artists than Latin Club music per se.
I was annoyed when they couldn't help themselves in the endless rebooting of existing projects cycle that is modern cinema, given the recent films were the best SciFi-Fantasy trilogy since The Lord of the Rings. However, the odd quibble aside, this is far better than we could've hoped for and again, much better than Dune 2.
I was annoyed when they couldn't help themselves in the endless rebooting of existing projects cycle that is modern cinema, given the recent films were the best SciFi-Fantasy trilogy since The Lord of the Rings. However, the odd quibble aside, this is far better than we could've hoped for and again, much better than Dune 2.
George Miller's unexpectedly reborn Mad Max franchise is now more consistently great, than its peers, The Terminators, Predators and Aliens, with the latest falling just shy of the heights of the instant classic Fury Road, a film it actually deepens. It's also a miles better SciFi-Fantasy than Dune 2.
George Miller's unexpectedly reborn Mad Max franchise is now more consistently great, than its peers, The Terminators, Predators and Aliens, with the latest falling just shy of the heights of the instant classic Fury Road, a film it actually deepens. It's also a miles better SciFi-Fantasy than Dune 2.
The question isn't whether the debut solo album by the iconic Portishead singer, lives up to the unbearable weight of expectation, it's whether it will be my album of the year.
The question isn't whether the debut solo album by the iconic Portishead singer, lives up to the unbearable weight of expectation, it's whether it will be my album of the year.
The New Jersey via Haiti mystery that is Mach-Hommy seems to be circling closer to the mainstream with a worthy follow up to 2021's Pray for Paris, in a year that seems a standout in rewarding old heads with actually decent rap albums.
The New Jersey via Haiti mystery that is Mach-Hommy seems to be circling closer to the mainstream with a worthy follow up to 2021's Pray for Paris, in a year that seems a standout in rewarding old heads with actually decent rap albums.
Although I've been fonder of the more intense and dense albums by the UK's Darren J. Cunningham, unlike the recent Four Tet release, this at least goes on a cohesive journey and ends up being more than the sum of its parts.
Although I've been fonder of the more intense and dense albums by the UK's Darren J. Cunningham, unlike the recent Four Tet release, this at least goes on a cohesive journey and ends up being more than the sum of its parts.
With a show-stopping performance from Alisha Weir as a young kidnapped rich girl (>cough<), an uneven yet ultimately welcome entry into a golden era for horror films, this deliberately at the schlockier end of the spectrum.
With a show-stopping performance from Alisha Weir as a young kidnapped rich girl (>cough<), an uneven yet ultimately welcome entry into a golden era for horror films, this deliberately at the schlockier end of the spectrum.
Despite having everything on paper - including strong reviews - this amiable farce is only half the film it could be, or needs to be. A waste of the talent and budget on display. It's too slight and surface level and the story too weak to be anything more than a forgettable once through. And I'm docking it another point for that godforsakenly awful cover of The Unknown Stuntman.
Despite having everything on paper - including strong reviews - this amiable farce is only half the film it could be, or needs to be. A waste of the talent and budget on display. It's too slight and surface level and the story too weak to be anything more than a forgettable once through. And I'm docking it another point for that godforsakenly awful cover of The Unknown Stuntman.
The hugely surprising second act in the once terrible, now pretty great, director Guy Ritchie's career continues. Ironically Henry Cavill gets to play the guy that inspired James Bond, in this wild re-telling of a genuine WW2 story. Superficial to a fault but hugely entertaining. Someone help him with his movie titles though.
The hugely surprising second act in the once terrible, now pretty great, director Guy Ritchie's career continues. Ironically Henry Cavill gets to play the guy that inspired James Bond, in this wild re-telling of a genuine WW2 story. Superficial to a fault but hugely entertaining. Someone help him with his movie titles though.
This excellent and surprisingly art-house prequel to the original (and superb) Omen movie, is also very bizarrely close to the recent Immaculate.
This excellent and surprisingly art-house prequel to the original (and superb) Omen movie, is also very bizarrely close to the recent Immaculate.
I was a huge fan of Tom Krell's early work How to Dress Well, though faded when it became a more ordinary RnB proposition. This wildly artistic and conceptual 6th album is criminally underrated and one of the years unsung gems.
I was a huge fan of Tom Krell's early work How to Dress Well, though faded when it became a more ordinary RnB proposition. This wildly artistic and conceptual 6th album is criminally underrated and one of the years unsung gems.
Being very much down with my fellow kids, I am a big fan of the last decades king of outsider rap, particular in the middle of a terrible era for mainstream rap music. Keef's wildly prolific period of endless album length projects on whatever the hell he felt like, has given way to much stronger and more focused releases in recent year, culminating with the rap album I will probably play the most this year.
Being very much down with my fellow kids, I am a big fan of the last decades king of outsider rap, particular in the middle of a terrible era for mainstream rap music. Keef's wildly prolific period of endless album length projects on whatever the hell he felt like, has given way to much stronger and more focused releases in recent year, culminating with the rap album I will probably play the most this year.
Damon McMahon, AKA Amen Dunes' last album, 2018's Freedom, is one of the great singer-songwriter albums of the last few years and the first to make, sounds a bit like David Gray into a compliment. However, his far more experimental follow up has nowhere near the memorable songs of its predecessor.
Damon McMahon, AKA Amen Dunes' last album, 2018's Freedom, is one of the great singer-songwriter albums of the last few years and the first to make, sounds a bit like David Gray into a compliment. However, his far more experimental follow up has nowhere near the memorable songs of its predecessor.
My irregular series on albums that are perfect 10/10s - here celebrating the 25th anniversary of the album that put the underground alt stars on the same level as Radiohead, and with Yoshimi, one of the great one-two's in alternative music. Much credit has always gone to the incredible "Indie Pet Sounds" music, but Wayne Coyne's singing and in particular, lyrics are criminally underappreciated. It's one of the greatest alternative albums thematically - and its themes of angst filled superheroes, scientists trying to save the world and existential dread and wonder, feel even more relevant today.
My irregular series on albums that are perfect 10/10s - here celebrating the 25th anniversary of the album that put the underground alt stars on the same level as Radiohead, and with Yoshimi, one of the great one-two's in alternative music. Much credit has always gone to the incredible "Indie Pet Sounds" music, but Wayne Coyne's singing and in particular, lyrics are criminally underappreciated. It's one of the greatest alternative albums thematically - and its themes of angst filled superheroes, scientists trying to save the world and existential dread and wonder, feel even more relevant today.
What should be the year's most important film, is its biggest let down. Director-writer Alex Garland, refuses point blank, to engage with anything at all happening in America today, and instead delivers yet another war correspondent film, and not a good one, that could have been filmed in any country, about any conflict in the last 50 years.
What should be the year's most important film, is its biggest let down. Director-writer Alex Garland, refuses point blank, to engage with anything at all happening in America today, and instead delivers yet another war correspondent film, and not a good one, that could have been filmed in any country, about any conflict in the last 50 years.
Actor Dev Patel has had a wild ride of a career so far, back to back the world conquering high of Slumdog Millionaire followed by the atomic crash of The Last Airbender. In recent years he has grown back fully into stature, peaking with his directoral debut - correctly dubbed the Indian John Wick.
Actor Dev Patel has had a wild ride of a career so far, back to back the world conquering high of Slumdog Millionaire followed by the atomic crash of The Last Airbender. In recent years he has grown back fully into stature, peaking with his directoral debut - correctly dubbed the Indian John Wick.
Much like it's unexpectedly entertaining precessor, I enjoyed it more than most critics. Though it misses the faux-Spielberg 80s magic of Afterlife, once it clicks into gear, the second half is the superior.
Much like it's unexpectedly entertaining precessor, I enjoyed it more than most critics. Though it misses the faux-Spielberg 80s magic of Afterlife, once it clicks into gear, the second half is the superior.
I've been a big fan of the American iteration of the Godzilla franchise, though after the high water mark of the previous outing, this is arguably the least essential of the lot. Still enjoyable hokum but undeniably shown up by its proximity to the awesome Godzilla Minus One. A much lower stakes and for some reason lower scale outing.
I've been a big fan of the American iteration of the Godzilla franchise, though after the high water mark of the previous outing, this is arguably the least essential of the lot. Still enjoyable hokum but undeniably shown up by its proximity to the awesome Godzilla Minus One. A much lower stakes and for some reason lower scale outing.
Wildly imaginative and original and actually thrilling, plus a great showcase of a so far unsung actor, that crops up over and over again in hugely memorable bit parts (from Nolan's Batman to Villeneuve's Prisoners) David Dastmalchian. Writer/Director/Editors Colin and Cameron Cairne's 70s chat show horror is NOT a satire but definitely is a horror.
Wildly imaginative and original and actually thrilling, plus a great showcase of a so far unsung actor, that crops up over and over again in hugely memorable bit parts (from Nolan's Batman to Villeneuve's Prisoners) David Dastmalchian. Writer/Director/Editors Colin and Cameron Cairne's 70s chat show horror is NOT a satire but definitely is a horror.
Only being available to watch on Paramount Plus streaming in Japan, I took a flight to the country and ordered one months subscription, to be able to bring you this review. Is it worth the hype? It certainly is. The writing and development of the human characters wipes the floor with the (often excellent) modern American Godzilla franchise, the cinematography, effects and score are magnificent and the story packs a real wallop.
Only being available to watch on Paramount Plus streaming in Japan, I took a flight to the country and ordered one months subscription, to be able to bring you this review. Is it worth the hype? It certainly is. The writing and development of the human characters wipes the floor with the (often excellent) modern American Godzilla franchise, the cinematography, effects and score are magnificent and the story packs a real wallop.
The California singer songwriter broadens the setting of her voice on her lovely new album, sounding less idiosyncratic than in the past, though more of that instrumentation would've been welcome.
The California singer songwriter broadens the setting of her voice on her lovely new album, sounding less idiosyncratic than in the past, though more of that instrumentation would've been welcome.
The first album by the legendary Hartnoll brothers is bizarrely a group in flux even on their debut. Much more a collection of tracks compared to the immortal run of albums that would follow and a more dated sound. Yet it's still often fascinating and when the material peaks across tracks like Chime and Belfast, they were already a cut above. This 5 CD reissue benefits from remastered sound quality, though is really for completists who want everything from an era nowhere near as interesting as what was coming.
The first album by the legendary Hartnoll brothers is bizarrely a group in flux even on their debut. Much more a collection of tracks compared to the immortal run of albums that would follow and a more dated sound. Yet it's still often fascinating and when the material peaks across tracks like Chime and Belfast, they were already a cut above. This 5 CD reissue benefits from remastered sound quality, though is really for completists who want everything from an era nowhere near as interesting as what was coming.
In my infrequent series on art denied classic status on release or forgotten from the conversation since. Like almost no one since Sergio Leone, director Paul Verhoeven's work was been critically derided on release, hugely successful with the public and gone through countless upward critical revision since. Whereas Robocop and Total Recall have remained permanently in the public consciousness, Starship Troopers has undergone endless re-appraisal and even Showgirls has become a cult classic, his most controversial film of all has remained curiously quiet, a look back at the impeccably made Neo-noir that cause such a stir on release - a much better film than the trash-controversy elicits and in Sharon Stone, one of the most electric major league debuts in cinema history.
In my infrequent series on art denied classic status on release or forgotten from the conversation since. Like almost no one since Sergio Leone, director Paul Verhoeven's work was been critically derided on release, hugely successful with the public and gone through countless upward critical revision since. Whereas Robocop and Total Recall have remained permanently in the public consciousness, Starship Troopers has undergone endless re-appraisal and even Showgirls has become a cult classic, his most controversial film of all has remained curiously quiet, a look back at the impeccably made Neo-noir that cause such a stir on release - a much better film than the trash-controversy elicits and in Sharon Stone, one of the most electric major league debuts in cinema history.
As one of the world's most renowned PHD experts on Liam Neeson action movies, the modern era has been a truly testing time, with virtually nothing that hasn't been terrible. So with great exhalations I am thrilled to announce, by miles the best Liam actioner since the golden era of The Grey, Cold Pursuit and Run All Night. Imagine The Banshees of Inisherin but gangsters and terrorists and you're virtually there.
As one of the world's most renowned PHD experts on Liam Neeson action movies, the modern era has been a truly testing time, with virtually nothing that hasn't been terrible. So with great exhalations I am thrilled to announce, by miles the best Liam actioner since the golden era of The Grey, Cold Pursuit and Run All Night. Imagine The Banshees of Inisherin but gangsters and terrorists and you're virtually there.
I don't even know who this man is.
I don't even know who this man is.
The second solo album by Sonic Youth founder, Kim Gordon, is every bit as avant-garde, abrasive, scouring and brilliant as her first. Though this time around we get some of the best art-house rap beats as a sound-stage, you wish Danny Brown was a collaborator on one of the albums of the year.
The second solo album by Sonic Youth founder, Kim Gordon, is every bit as avant-garde, abrasive, scouring and brilliant as her first. Though this time around we get some of the best art-house rap beats as a sound-stage, you wish Danny Brown was a collaborator on one of the albums of the year.
Given Kieran Hebden (AKA Four Tet), one of the century's most esteemed electronic music artists, capped his already exemplary career, with a well earned day in the sun at Coachella last year, I've no idea who this highly dull, wallpaper backing music album is for, or why it was even made.
Given Kieran Hebden (AKA Four Tet), one of the century's most esteemed electronic music artists, capped his already exemplary career, with a well earned day in the sun at Coachella last year, I've no idea who this highly dull, wallpaper backing music album is for, or why it was even made.
Artistic titan, Zack Snyder, gives the world what it's been waiting for - a sequel to the all concurring first installment and a return to the amazingly original and well developed universe he created. We watch in awe as the packed story develops in ways we could never have seen coming, such as nothing at all happening in the first hour - absolute madman! We are lucky to be alive in an era when he wants to make six of these, each with a four hour cut.
Artistic titan, Zack Snyder, gives the world what it's been waiting for - a sequel to the all concurring first installment and a return to the amazingly original and well developed universe he created. We watch in awe as the packed story develops in ways we could never have seen coming, such as nothing at all happening in the first hour - absolute madman! We are lucky to be alive in an era when he wants to make six of these, each with a four hour cut.
IT-girl of the moment, Sydney Sweeney, is either incredibly smart, incredibly lucky or has a great agent, as this Gallo/Nunsploitation horror throwback is exactly the film she should be a lead actress in right now. It aligns her with two of the other hottest and trendiest actresses out there - Mia Goth and Anya Taylor-Joy - who've also made a massive mark through horrors. Its a perfectly decent film, with a wildly transgressive final third and Sweeney shines without resorting to her big guns.
IT-girl of the moment, Sydney Sweeney, is either incredibly smart, incredibly lucky or has a great agent, as this Gallo/Nunsploitation horror throwback is exactly the film she should be a lead actress in right now. It aligns her with two of the other hottest and trendiest actresses out there - Mia Goth and Anya Taylor-Joy - who've also made a massive mark through horrors. Its a perfectly decent film, with a wildly transgressive final third and Sweeney shines without resorting to her big guns.
The live music festival is dying for a number of reasons, including the acts that are headlining, the now failing Coachella is both an embodiment of why and far far worse.
The live music festival is dying for a number of reasons, including the acts that are headlining, the now failing Coachella is both an embodiment of why and far far worse.
A retrospective of Tarantino's very different third film.
A retrospective of Tarantino's very different third film.
Amazingly, despite being a massive Shawshank fan, I had never seen The Green Mile before.
Amazingly, despite being a massive Shawshank fan, I had never seen The Green Mile before.
Arguably the most faultless three album opening run since Arcade Fire, hit a speed bump with the loss of Rostam, a core member and producer, resulting in the least well received album of their career, Father of the Bride and wonders whether the golden era was over. Only God is a dramatic return to form and will be an obvious contender for album of the year.
Arguably the most faultless three album opening run since Arcade Fire, hit a speed bump with the loss of Rostam, a core member and producer, resulting in the least well received album of their career, Father of the Bride and wonders whether the golden era was over. Only God is a dramatic return to form and will be an obvious contender for album of the year.
Two of the most prominent definers of modern commercial rap combine again, though this time for an album length project (already succeeded by a follow up) that is both a weak album and a crappy review as I was tormented by a wasp.
Two of the most prominent definers of modern commercial rap combine again, though this time for an album length project (already succeeded by a follow up) that is both a weak album and a crappy review as I was tormented by a wasp.
The venerable Uk indie-rock titans second comeback album, is sadly not as interesting as their first Anthems for Doomed Youth, but despite flirting perilously close with land-fill indie, has its more vital moments and it's still good to have them back.
The venerable Uk indie-rock titans second comeback album, is sadly not as interesting as their first Anthems for Doomed Youth, but despite flirting perilously close with land-fill indie, has its more vital moments and it's still good to have them back.
Finally getting a wider release, debut director Andrew Cumming (who insanely uses a made up language on his first film) excels with a post cave-man horror, with an outstanding score and cinematography.
Finally getting a wider release, debut director Andrew Cumming (who insanely uses a made up language on his first film) excels with a post cave-man horror, with an outstanding score and cinematography.
Director Matthew Vaughn seems to inhabit this middle ground between Guy Ritchie and Zack Snyder, for better or worse. As much of a fan of Bryce Dallas Howard and Sam Rockwell as I am (both excellent casting choices here) this post-Kingsmen spy caper, has all the hallmarks of Synder's over delivery and poor execution.
Director Matthew Vaughn seems to inhabit this middle ground between Guy Ritchie and Zack Snyder, for better or worse. As much of a fan of Bryce Dallas Howard and Sam Rockwell as I am (both excellent casting choices here) this post-Kingsmen spy caper, has all the hallmarks of Synder's over delivery and poor execution.
1. Beyoncé Is the most overrated recording artist this century, an average two bit hack put together in a laboratory and the blandest mass produced corporate product since the Big Mac
2. The only reason she recorded a modern pop country album, is her fragile, Princess Diana style ego, cannot handle Taylor Swift getting far more attention than she does
1. Beyoncé Is the most overrated recording artist this century, an average two bit hack put together in a laboratory and the blandest mass produced corporate product since the Big Mac
2. The only reason she recorded a modern pop country album, is her fragile, Princess Diana style ego, cannot handle Taylor Swift getting far more attention than she does
The underappreciated Shoe-gave titans third comeback album is by far the best. The most urgent, dynamic, cohesive, melodically memorable and impactful of their trio of post come-back releases and their best album since Going Blank Again.
The underappreciated Shoe-gave titans third comeback album is by far the best. The most urgent, dynamic, cohesive, melodically memorable and impactful of their trio of post come-back releases and their best album since Going Blank Again.
Arguably the most important cultural artifact since the Rosetta Stone.
Arguably the most important cultural artifact since the Rosetta Stone.
One of this years major Oscar contenders is, I'm sorry, a massive let down. Two very different parallel films, that don't work together, shoved into one. A handsomely produced and acted rich people family drama occupies 80% of the film and is ordinary and boring, whereas the far more more interesting satire side of the movie is totally undeveloped.
One of this years major Oscar contenders is, I'm sorry, a massive let down. Two very different parallel films, that don't work together, shoved into one. A handsomely produced and acted rich people family drama occupies 80% of the film and is ordinary and boring, whereas the far more more interesting satire side of the movie is totally undeveloped.
The only 100% true review of this movie online today.
The only 100% true review of this movie online today.
The return of Schoolboy Q heralds back to an era of rap, that saw long form projects that were high art and not just gaming streaming charts, and his best work yet, one of the albums of the year.
The return of Schoolboy Q heralds back to an era of rap, that saw long form projects that were high art and not just gaming streaming charts, and his best work yet, one of the albums of the year.
The near excellent second album from the UK post-punk alumni is self aware to a fault.
The near excellent second album from the UK post-punk alumni is self aware to a fault.
One of the early contenders for album of the year, outstanding lyrics and voice - perhaps a little more variety in the instrumentation and arrangements would've pushed it over the edge, but still fabulous.
One of the early contenders for album of the year, outstanding lyrics and voice - perhaps a little more variety in the instrumentation and arrangements would've pushed it over the edge, but still fabulous.
Yorgos Lanthimos is well established as at the very top of directors internationally and one of the best cross-overs from foreign art-hours to English language "big pictures", with artistry and acclaim only increasing, a rare feat. Poor Things, probably the second most successful film at this years Oscars is worthy of the acclaim and one of the most imaginative films of the era. If I want to nit pick, the middle act is far too long and repetitive and the characters a little superficial.
Yorgos Lanthimos is well established as at the very top of directors internationally and one of the best cross-overs from foreign art-hours to English language "big pictures", with artistry and acclaim only increasing, a rare feat. Poor Things, probably the second most successful film at this years Oscars is worthy of the acclaim and one of the most imaginative films of the era. If I want to nit pick, the middle act is far too long and repetitive and the characters a little superficial.
Well it's back-to-back BIG FAT ZEROS out of ten for the last two MCU films. It's even worse than The Marvels but sadly never so bad it's good, it's far too boring to ever be entertaining. But it is interesting to watch the actors actually become totally disinterested in even being there. No one cared at all about any aspect of this film, which supplants its predecessor as the worst post Iron Man comic book super hero film yet
Well it's back-to-back BIG FAT ZEROS out of ten for the last two MCU films. It's even worse than The Marvels but sadly never so bad it's good, it's far too boring to ever be entertaining. But it is interesting to watch the actors actually become totally disinterested in even being there. No one cared at all about any aspect of this film, which supplants its predecessor as the worst post Iron Man comic book super hero film yet
Having watched David Fincher's finest film (bar none) for the umpteenth time recently, my appreciation for it has only grown. The across the board class in direction, score, cinematography, casting, acting and writing and the fact there's not one wasted scene or moment that drags. It's also become far less about Mark Zuckerbeg and Facebook and far more about the terrifying years since.
Having watched David Fincher's finest film (bar none) for the umpteenth time recently, my appreciation for it has only grown. The across the board class in direction, score, cinematography, casting, acting and writing and the fact there's not one wasted scene or moment that drags. It's also become far less about Mark Zuckerbeg and Facebook and far more about the terrifying years since.
A stellar review for Jonathan Glazer's latest art piece, a full decade after the equally impressive, Under the Skin, though this is his undoubted masterpiece - and a slightly better 2023 film than Oppenheimer. This hugely unusual and very disquieting take on the Holocaust, has arguably the best use of sound in cinema history.
A stellar review for Jonathan Glazer's latest art piece, a full decade after the equally impressive, Under the Skin, though this is his undoubted masterpiece - and a slightly better 2023 film than Oppenheimer. This hugely unusual and very disquieting take on the Holocaust, has arguably the best use of sound in cinema history.
Exactly what it says on the tin.
Exactly what it says on the tin.
The Britpop/Madchester legends come together for arguably the finest album in the history of Liam Gallagher and John Squire albums, warning contains frequent swearing and quotation of John Squires lyrics.
The Britpop/Madchester legends come together for arguably the finest album in the history of Liam Gallagher and John Squire albums, warning contains frequent swearing and quotation of John Squires lyrics.
The most stunning of the recent four live album releases by Krautrock titans, Can, features two caveats not present on the previous releases. Actually featuring previously recorded songs, and major ones, and also vocals, by the recently deceased Damo Sazuki. It's immediately their most essential and thrilling live release and perfectly timed.
The most stunning of the recent four live album releases by Krautrock titans, Can, features two caveats not present on the previous releases. Actually featuring previously recorded songs, and major ones, and also vocals, by the recently deceased Damo Sazuki. It's immediately their most essential and thrilling live release and perfectly timed.
This Rambo 2-esque actioner may have one of the worst titles in modern history, and very little story, but director William Eubank is proving to be so competent technically, fans of high tech, Delta Force shoot-outs in the jungle will have plenty salivate over.
This Rambo 2-esque actioner may have one of the worst titles in modern history, and very little story, but director William Eubank is proving to be so competent technically, fans of high tech, Delta Force shoot-outs in the jungle will have plenty salivate over.
With the recent passing of legendary singer, Damo Suzuki (16 January 1950 – 9 February 2024), from Krautrock legends, Can, a walk through one of the finest runs in music, a discography I would keep over the peak album periods of The Beatles, Led Zeppelin or Pink Floyd and possibly my favorite band in history.
With the recent passing of legendary singer, Damo Suzuki (16 January 1950 – 9 February 2024), from Krautrock legends, Can, a walk through one of the finest runs in music, a discography I would keep over the peak album periods of The Beatles, Led Zeppelin or Pink Floyd and possibly my favorite band in history.
Turning an Agatha Christie story in a broad, comedic, European farce, sounds fatal on paper. But with its acidic, modernist Noel Coward script, a cast from heaven to deliver it (Maggie Smith, Diana Rigg, Peter Ustinov, James Mason, Jane Birkin...) all sound-tracked by Cole Porter, as a film, it maybe the finest Christie adaption of all.
Turning an Agatha Christie story in a broad, comedic, European farce, sounds fatal on paper. But with its acidic, modernist Noel Coward script, a cast from heaven to deliver it (Maggie Smith, Diana Rigg, Peter Ustinov, James Mason, Jane Birkin...) all sound-tracked by Cole Porter, as a film, it maybe the finest Christie adaption of all.
Hollywood's relentless imagination and originality never fails to amaze. After last weeks review of The Beekeeper, where an ex hot shot intelligence agent, enjoying anonymity in retirement as a humble beekeeper, is dragged back into action, now The Bricklayer, where an ex hot shot intelligence agent, enjoying anonymity in retirement as a humble bricklayer, is dragged back into action.
Hollywood's relentless imagination and originality never fails to amaze. After last weeks review of The Beekeeper, where an ex hot shot intelligence agent, enjoying anonymity in retirement as a humble beekeeper, is dragged back into action, now The Bricklayer, where an ex hot shot intelligence agent, enjoying anonymity in retirement as a humble bricklayer, is dragged back into action.
A welcome throwback to the days Jason Statham action films weren't The Fast and the Furious related, though director David Ayer misses an opportunity to lean fully into what's great about it and create a classic of the genre.
A welcome throwback to the days Jason Statham action films weren't The Fast and the Furious related, though director David Ayer misses an opportunity to lean fully into what's great about it and create a classic of the genre.
After Van Morrison's Astral Weeks, my second favorite album of all time, regards drug addiction and obsessive love as the same thing as religion, in a 1997 album actually superior to OK Computer.
After Van Morrison's Astral Weeks, my second favorite album of all time, regards drug addiction and obsessive love as the same thing as religion, in a 1997 album actually superior to OK Computer.
Arguably the most important British electronic music artist this side of the Aphex Twin, returns, not with ambient whale noises, but two absolute bangers. Can it be true!? Oh Happy Day!
Arguably the most important British electronic music artist this side of the Aphex Twin, returns, not with ambient whale noises, but two absolute bangers. Can it be true!? Oh Happy Day!
My intermittent series on albums denied classic status at the time or forgotten from the conversation since. Here the outlier to Krautrock's astonishing Cosmic Joker releases, where some of the finest mainland Europe musicians to ever play 'rock' music, wound up being in a band they didn't even know about, but did release two proper collaborative works. One with LSD guru Timothy Leary (7UP) and this vastly superior double album, by mystic, artist and Tarot card reader, Walter Wegmüller. Featuring flat out geniuses like Klaus Schulze and Manuel Göttsching, exploring space-rock, psych-folk, drone, Psych-funk and post-rock, in a stunning double album.
My intermittent series on albums denied classic status at the time or forgotten from the conversation since. Here the outlier to Krautrock's astonishing Cosmic Joker releases, where some of the finest mainland Europe musicians to ever play 'rock' music, wound up being in a band they didn't even know about, but did release two proper collaborative works. One with LSD guru Timothy Leary (7UP) and this vastly superior double album, by mystic, artist and Tarot card reader, Walter Wegmüller. Featuring flat out geniuses like Klaus Schulze and Manuel Göttsching, exploring space-rock, psych-folk, drone, Psych-funk and post-rock, in a stunning double album.
A few thoughts on one of the more controversial Oscar noms lists.
A few thoughts on one of the more controversial Oscar noms lists.
Boasting career best performances from Carey Mulligan and Bradley Cooper, and a massive step up for the latter as a director, a very high class entry into the best picture Oscar race with the Leonard Bernstein biopic.
Boasting career best performances from Carey Mulligan and Bradley Cooper, and a massive step up for the latter as a director, a very high class entry into the best picture Oscar race with the Leonard Bernstein biopic.
The much delayed sequel has an atrocious daggy single dad start, where they manage to lose both sides of the Amber Heard argument, but given my low expectations, ends up one of the better post Endgame, comic-book super-hero watches. Unlike The Marvels, it actually looks like they spent MORE than $200 million on the spectacular visual design.
The much delayed sequel has an atrocious daggy single dad start, where they manage to lose both sides of the Amber Heard argument, but given my low expectations, ends up one of the better post Endgame, comic-book super-hero watches. Unlike The Marvels, it actually looks like they spent MORE than $200 million on the spectacular visual design.
The second from the frankly pointless Radiohead side project, that may as well just be Radiohead, is slightly better than their excellent debut, A Light For Attracting Attention. A more cohesive whole a the years first great album. Straight white indie boys can get best new music from Pitchfork. If your name is Thom Yorke.
The second from the frankly pointless Radiohead side project, that may as well just be Radiohead, is slightly better than their excellent debut, A Light For Attracting Attention. A more cohesive whole a the years first great album. Straight white indie boys can get best new music from Pitchfork. If your name is Thom Yorke.
My irregular feature on outstanding masterpieces touches down (after another pinnacle year for Stevens with his latest high-water mark album, Javelin) with the album that made his name, still one of the most ambitious and successful album length projects this century.
My irregular feature on outstanding masterpieces touches down (after another pinnacle year for Stevens with his latest high-water mark album, Javelin) with the album that made his name, still one of the most ambitious and successful album length projects this century.
Pitchfork music magazine has apparently been executed, the century's most important music bible being folded into GQ magazine by its evil corporate overlord Conde Nast. As a devout consumer of Pitchfork since the turn of the century, I've been predicting this for the last five years - the post Fetch the Bolt Cutters years, but really the five years that editor in chief Puja Patel has been in charge, and until I hear otherwise, misguidedly shaped the direction of Pitchfork into oblivion. Conde Nast bought Pitchfork over a decade ago and it survived, it's the direction the publication took under Patel that killed it. Sidelining music that was it's core audience to promote music for people that never even read Pitchfork. A sad day.
Pitchfork music magazine has apparently been executed, the century's most important music bible being folded into GQ magazine by its evil corporate overlord Conde Nast. As a devout consumer of Pitchfork since the turn of the century, I've been predicting this for the last five years - the post Fetch the Bolt Cutters years, but really the five years that editor in chief Puja Patel has been in charge, and until I hear otherwise, misguidedly shaped the direction of Pitchfork into oblivion. Conde Nast bought Pitchfork over a decade ago and it survived, it's the direction the publication took under Patel that killed it. Sidelining music that was it's core audience to promote music for people that never even read Pitchfork. A sad day.
I walked in expecting a fairly decent 6/10 movie that had been review bombed into the dust by bro-tastic Brie Larson haters, I got literally the worst MCU film yet and kick off the year with a big fat zero out of ten. Even the terrible Thor 4 and Antman 3 have so many more things going for it than this abysmal travesty of film-making.
I walked in expecting a fairly decent 6/10 movie that had been review bombed into the dust by bro-tastic Brie Larson haters, I got literally the worst MCU film yet and kick off the year with a big fat zero out of ten. Even the terrible Thor 4 and Antman 3 have so many more things going for it than this abysmal travesty of film-making.
Director Ridley Scott is having a grand old time of it his later years, putting out some of his wildest films. The Last Duel was a totally underrated true life historical movie, yet actually it's House of Gucci that Napoleon is far closer to. It fails its main job of delivering a convincing biopic of its titular character but succeeds in being entertaining - if draining - due to how completely crazy it is.
Director Ridley Scott is having a grand old time of it his later years, putting out some of his wildest films. The Last Duel was a totally underrated true life historical movie, yet actually it's House of Gucci that Napoleon is far closer to. It fails its main job of delivering a convincing biopic of its titular character but succeeds in being entertaining - if draining - due to how completely crazy it is.
Since I recorded this, Gervais' latest special won a Golden Globe, remarkable in a few ways. I almost gave up on Ricky's stand ups after the very tepid, Humanity, but this one, though not perfect, has a lot more fire and reason to be.
Since I recorded this, Gervais' latest special won a Golden Globe, remarkable in a few ways. I almost gave up on Ricky's stand ups after the very tepid, Humanity, but this one, though not perfect, has a lot more fire and reason to be.
Sadly the weakest of the probably six Chappelle specials I've reviewed. Certainly with the least amount of top tier material and reason to exist.
Sadly the weakest of the probably six Chappelle specials I've reviewed. Certainly with the least amount of top tier material and reason to exist.
Emerald Fennell's follow up to the outstanding debut, A Promising Young Woman, isn't as vital or brilliant, but certainly has plenty to recommend. Mainly it's pairing of Barry Keoghan and a stellar Rosamund Pike. It's an often great, if superficial and fairly meaningless collision between Brideshead Revisited and The Talented Mr. Ripley.
Emerald Fennell's follow up to the outstanding debut, A Promising Young Woman, isn't as vital or brilliant, but certainly has plenty to recommend. Mainly it's pairing of Barry Keoghan and a stellar Rosamund Pike. It's an often great, if superficial and fairly meaningless collision between Brideshead Revisited and The Talented Mr. Ripley.
Hearing this was a young adult romance and musical, there was no way I was going near this with a fifty foot pole, but being desperate I did. After nearly cringing myself to death during the opening half hour, a surprising good story developed. Although it doesn't really dove-tail into the most iconic YA film series of all, I've nothing but respect for a director with this much narrative NOT splitting it into two films (I see you Zack Snyder). Overall a surprisingly good and intelligent watch.
Hearing this was a young adult romance and musical, there was no way I was going near this with a fifty foot pole, but being desperate I did. After nearly cringing myself to death during the opening half hour, a surprising good story developed. Although it doesn't really dove-tail into the most iconic YA film series of all, I've nothing but respect for a director with this much narrative NOT splitting it into two films (I see you Zack Snyder). Overall a surprisingly good and intelligent watch.
Zack Snyder came out of the DC Extended Universe something of a cult hero, neutered from his vision by an uncaring world and leaving the unexpectedly superb Snyder Cut of Justice League as a goodbye. Next to James Cameron and Christopher Nolan, he also has one of the most annoying online fan-bases of any director, just without the great movies. The aggravatingly titled and critically mauled Rebel Moon, earns its atrocious reviews. It is nearly so bad it's good and there is some fun to be had playing guess the movie, as it is the most derivative movie I have ever seen.
Zack Snyder came out of the DC Extended Universe something of a cult hero, neutered from his vision by an uncaring world and leaving the unexpectedly superb Snyder Cut of Justice League as a goodbye. Next to James Cameron and Christopher Nolan, he also has one of the most annoying online fan-bases of any director, just without the great movies. The aggravatingly titled and critically mauled Rebel Moon, earns its atrocious reviews. It is nearly so bad it's good and there is some fun to be had playing guess the movie, as it is the most derivative movie I have ever seen.
In a banner year for big, great and terrible movies, my best and worst films of 2023.
Emperor's New Clothes award going to, Killers of the Flower Moon, sadly.
In a banner year for big, great and terrible movies, my best and worst films of 2023.
Emperor's New Clothes award going to, Killers of the Flower Moon, sadly.
My yearly list of the best albums, in a pretty decent but not great year in music, in a particularly poor era for music journalism. Movies to follow.
Emperors New Clothes award for most inexplicably, universally praised album of the year - Caroline Polachek - Desire, I Want to Turn Into You
Full show with music - https://www.mixcloud.com/julian-brown/top-25-albums-of-2023/
My yearly list of the best albums, in a pretty decent but not great year in music, in a particularly poor era for music journalism. Movies to follow.
Emperors New Clothes award for most inexplicably, universally praised album of the year - Caroline Polachek - Desire, I Want to Turn Into You
Full show with music - https://www.mixcloud.com/julian-brown/top-25-albums-of-2023/
Every single time I watch this Liam Neeson "actioner" my appreciation for it as a modern classic grows. For me it is the greatest film to examine the difference between toxic masculinity and positive masculinity, as a group of near awful or at least deeply broken men, all become better versions of themselves through adversity. The pack of wolves hunting them representing a beautiful tone poem on inescapable mortality and how you greet that.
Every single time I watch this Liam Neeson "actioner" my appreciation for it as a modern classic grows. For me it is the greatest film to examine the difference between toxic masculinity and positive masculinity, as a group of near awful or at least deeply broken men, all become better versions of themselves through adversity. The pack of wolves hunting them representing a beautiful tone poem on inescapable mortality and how you greet that.
I fully expected director, David Fincher's new film to be a stone cold Day of The Jackal look into the mind of an assassin. It isn't, its a far more rote and overdone revenge story, yet at the same time, the level of class every single aspect of its making possesses, the awards worthy performance of a long absent Michael Fassbender and the fact it leans fully into black comedy, makes it feel new and incredibly watchable.
I fully expected director, David Fincher's new film to be a stone cold Day of The Jackal look into the mind of an assassin. It isn't, its a far more rote and overdone revenge story, yet at the same time, the level of class every single aspect of its making possesses, the awards worthy performance of a long absent Michael Fassbender and the fact it leans fully into black comedy, makes it feel new and incredibly watchable.
If the undoubted cinematic success story of the year was Barbenheimer, it's undoubted biggest victim was Mission: Impossible 7. Coming off the back of Tom Cruise's most warmly received mega hit, Top Gun Maverick and with stellar reviews, the movie hit the immovable force that 76% of movie goers were watching either Barbie or Oppenheimer in its second week of release. Often analogous with The Fast and Furious franchise, there were a couple of weak-spots compared to the previous three high water marks. It's still ultra high quality entertainment and nowhere near Fast X stagnation yet, but some of the same signifiers are emerging, repetition, fatigue, reusing old cast members and perhaps most egregious - denying the satisfaction that a complete movie would offer. I'm still desperate to see the next one though.
If the undoubted cinematic success story of the year was Barbenheimer, it's undoubted biggest victim was Mission: Impossible 7. Coming off the back of Tom Cruise's most warmly received mega hit, Top Gun Maverick and with stellar reviews, the movie hit the immovable force that 76% of movie goers were watching either Barbie or Oppenheimer in its second week of release. Often analogous with The Fast and Furious franchise, there were a couple of weak-spots compared to the previous three high water marks. It's still ultra high quality entertainment and nowhere near Fast X stagnation yet, but some of the same signifiers are emerging, repetition, fatigue, reusing old cast members and perhaps most egregious - denying the satisfaction that a complete movie would offer. I'm still desperate to see the next one though.
This underappreciated low key gem gives us the best Uma Thurman lead of the modern era - seriously why is this woman not used more? And if it isn't her wondrous basket case of an art gallery owner/modern art guru wannabe on screen, its Samuel L Jackson - what more do you want? It may be a tad obvious and predictable but its 100% worth the (short) ride for Uma alone.
This underappreciated low key gem gives us the best Uma Thurman lead of the modern era - seriously why is this woman not used more? And if it isn't her wondrous basket case of an art gallery owner/modern art guru wannabe on screen, its Samuel L Jackson - what more do you want? It may be a tad obvious and predictable but its 100% worth the (short) ride for Uma alone.
A short, flowing and classy sequel to one of last years finest electronic full lengths - Half Moon Bay.
A short, flowing and classy sequel to one of last years finest electronic full lengths - Half Moon Bay.
Part of the UK's holy trinity of Shoegaze, along with RIDE and MBV, all of whom made strong comebacks after twenty-years absences, with new albums and tours. Sadly this second comeback album is nowhere near the perfection of the self-titled 2017 effort and is sadly too slight in almost every direction.
Part of the UK's holy trinity of Shoegaze, along with RIDE and MBV, all of whom made strong comebacks after twenty-years absences, with new albums and tours. Sadly this second comeback album is nowhere near the perfection of the self-titled 2017 effort and is sadly too slight in almost every direction.
The late Mark Linkous' esteemed band receives a totally unexpected final album, the one he was working on at the time of his suicide in 2010, and completed by his family members. And it's wonderful.
The late Mark Linkous' esteemed band receives a totally unexpected final album, the one he was working on at the time of his suicide in 2010, and completed by his family members. And it's wonderful.
The tenth album by the UK stalwarts is, for me, arguably their finest since the high point of Surrender in '99. Tracks like Live Again and the Beck featuring, Skipping Like a Stone amongst the years finest.
The tenth album by the UK stalwarts is, for me, arguably their finest since the high point of Surrender in '99. Tracks like Live Again and the Beck featuring, Skipping Like a Stone amongst the years finest.
This Is England, director, Shane Meadows first masterpiece, retains immense power as a treatise on small town brutality and toxic masculinity, especially with the never better performance of Paddy Consadine.
This Is England, director, Shane Meadows first masterpiece, retains immense power as a treatise on small town brutality and toxic masculinity, especially with the never better performance of Paddy Consadine.
Director Ari Aster has had quite a wild ride. His debut, Hereditary, was one of the defining films of both horror and A24 in a decade defined by both, the followup Midsommar was derivative trite trash, with a bizarre fan-base. So seeing the tepid reviews of his most ambitious film yet, I gave 'Beau no hope - and ended up with possibly my film of the year.
Director Ari Aster has had quite a wild ride. His debut, Hereditary, was one of the defining films of both horror and A24 in a decade defined by both, the followup Midsommar was derivative trite trash, with a bizarre fan-base. So seeing the tepid reviews of his most ambitious film yet, I gave 'Beau no hope - and ended up with possibly my film of the year.
The YouTube powerhouse duo release one of the IT horror movies of the year but though really good its not great. It's certainly never the level of originality, impact or quality of an A24 top tier entry. Perhaps an equal to the likes of last years Smile.
The YouTube powerhouse duo release one of the IT horror movies of the year but though really good its not great. It's certainly never the level of originality, impact or quality of an A24 top tier entry. Perhaps an equal to the likes of last years Smile.
Fitting perfectly in with the post Endgame malaise of terrible failures of comic book superhero movies but with a Latino twist! Amazingly rote and unambitious stuff at this stage.
Fitting perfectly in with the post Endgame malaise of terrible failures of comic book superhero movies but with a Latino twist! Amazingly rote and unambitious stuff at this stage.
I thought the worst that could happen was a 6/10 and it couldn't physically be possible to make a worse Indi film than the Crystal Skull. I was wrong. Not only is it just a stupid and bad, it's also far more boring. For an unforgivable lack of imagination, a dullness beyond belief, the worst ever on screen use of Mad Mikkelsen, an awful Phoebe Waller-Bridge character and nearly no sequence that either sticks in the memory or justifies it being one of the most expensive films of all time - a BIG FAT ZERO OUT OF TEN.
I thought the worst that could happen was a 6/10 and it couldn't physically be possible to make a worse Indi film than the Crystal Skull. I was wrong. Not only is it just a stupid and bad, it's also far more boring. For an unforgivable lack of imagination, a dullness beyond belief, the worst ever on screen use of Mad Mikkelsen, an awful Phoebe Waller-Bridge character and nearly no sequence that either sticks in the memory or justifies it being one of the most expensive films of all time - a BIG FAT ZERO OUT OF TEN.
What in tarnation is one time enfant terrible Ben Wheatley doing directing this!? (seriously, watch The Kill List or Sightseers). Happily, nearly everything is done better here than the lackluster first film, including a magnificent final third.
What in tarnation is one time enfant terrible Ben Wheatley doing directing this!? (seriously, watch The Kill List or Sightseers). Happily, nearly everything is done better here than the lackluster first film, including a magnificent final third.
An entirely listenable but also slight release from the greatest electronic musician of all time.
An entirely listenable but also slight release from the greatest electronic musician of all time.
I've featured all four of the Canadian electronic chanteuses albums on my radio show and love her style, this is another fine entry, but I definitely prefer the more upbeat, percussive tracks to the slow burn FKA Twigs adjacent/quiet storm material.
I've featured all four of the Canadian electronic chanteuses albums on my radio show and love her style, this is another fine entry, but I definitely prefer the more upbeat, percussive tracks to the slow burn FKA Twigs adjacent/quiet storm material.
Recent reviews of the new album by acoustic-led psych folk band The Clientele and the paranoid existential post Vietnam fever dream film Jacob's Ladder, both led me back to one of my favorite albums of all time. Impossibly predicting the fall out of and come down from the summer of love, whilst in the middle of it in 1967, the LA band Love created a twitching, dread-fueled, schizophrenic masterpiece of incredible songwriting, mind-blowing arrangements, incredible lyrics and existential dread.
Recent reviews of the new album by acoustic-led psych folk band The Clientele and the paranoid existential post Vietnam fever dream film Jacob's Ladder, both led me back to one of my favorite albums of all time. Impossibly predicting the fall out of and come down from the summer of love, whilst in the middle of it in 1967, the LA band Love created a twitching, dread-fueled, schizophrenic masterpiece of incredible songwriting, mind-blowing arrangements, incredible lyrics and existential dread.
The longstanding UK psych-folk-indie band break out of their confines, with a hugely welcome tilt towards more experimental fare and one of the best albums of the year.
The longstanding UK psych-folk-indie band break out of their confines, with a hugely welcome tilt towards more experimental fare and one of the best albums of the year.
The fascinatingly diverse late director, Richard Donner, certainly created an archetype that has proven potent to this day, with his iconic first big hit. The modern wave of horror from Hereditary to Insidious to Sinister all crib from the mounting family dread over a possessed child, that admittedly is also post The Exorcist. What is often hokum wins here by playing it with a straight face, having zero fat on the screenplay and a titan like Gregory Peck at the helm. It still packs a lean punch.
The fascinatingly diverse late director, Richard Donner, certainly created an archetype that has proven potent to this day, with his iconic first big hit. The modern wave of horror from Hereditary to Insidious to Sinister all crib from the mounting family dread over a possessed child, that admittedly is also post The Exorcist. What is often hokum wins here by playing it with a straight face, having zero fat on the screenplay and a titan like Gregory Peck at the helm. It still packs a lean punch.
I sat down on a Friday night to watch what I thought from memory, was an agreeable mash up of Platoon and The Sixth Sense. I was wrong, and immediately regretted my choice. It was closer to a mash up of Requiem For a Dream and Uncut Gems. The film from my youth was far more unrelentingly intense, harrowing and depressing than I'd remembered. It was also far more profound, beautiful, moving and unusual than it's ever given credit for. Tim Robbins stars as a man driven to psychosis by his post Vietnam waking nightmare, in director Adrian Lyne's hugely influential yet still underappreciated near masterpiece. Be warned though - this is an unexpectedly tough ride.
I sat down on a Friday night to watch what I thought from memory, was an agreeable mash up of Platoon and The Sixth Sense. I was wrong, and immediately regretted my choice. It was closer to a mash up of Requiem For a Dream and Uncut Gems. The film from my youth was far more unrelentingly intense, harrowing and depressing than I'd remembered. It was also far more profound, beautiful, moving and unusual than it's ever given credit for. Tim Robbins stars as a man driven to psychosis by his post Vietnam waking nightmare, in director Adrian Lyne's hugely influential yet still underappreciated near masterpiece. Be warned though - this is an unexpectedly tough ride.
29% on Rotten Tomatoes for the new Netflix, Gal Gadot starring, Mission Impossible rip off, a right royal trashing. For the first half hour, I toyed with turning it off - the dialogue was so trite and the tech angle so grating. But after the film calmed itself down, it was a perfectly well plotted and performed hokey fun spy film, with plenty of action, that was less generic than I'd been led to believe, and not as bombastic as something like The Grey Man. Gal is great and the whole shebang is surprisingly agreeable - I wouldn't mind them coming back tbh.
29% on Rotten Tomatoes for the new Netflix, Gal Gadot starring, Mission Impossible rip off, a right royal trashing. For the first half hour, I toyed with turning it off - the dialogue was so trite and the tech angle so grating. But after the film calmed itself down, it was a perfectly well plotted and performed hokey fun spy film, with plenty of action, that was less generic than I'd been led to believe, and not as bombastic as something like The Grey Man. Gal is great and the whole shebang is surprisingly agreeable - I wouldn't mind them coming back tbh.
I know next to nothing about the rapper That Mexican Outta Texas but he sure sounds like fun, on this personality filled, eminently agreeable album.
I know next to nothing about the rapper That Mexican Outta Texas but he sure sounds like fun, on this personality filled, eminently agreeable album.
I've no idea why this second album from the new wave of British Indie Titans doesn't appear to have been more successful than the first. It's certainly more accessible and the yelping has been toned down, the melody increased and the songs shortened. With a great lyrical and musical cohesiveness - it's one of the years finest albums and a worthy answer to last years fantastic Black Midi album.
I've no idea why this second album from the new wave of British Indie Titans doesn't appear to have been more successful than the first. It's certainly more accessible and the yelping has been toned down, the melody increased and the songs shortened. With a great lyrical and musical cohesiveness - it's one of the years finest albums and a worthy answer to last years fantastic Black Midi album.
Oh dear, I'm not making any friends with this one (and for the record, I gave the original a great score). Along with GOTG3, one of only two MCU (or even comic-book/superhero movie) bright-spots post Endgame and the most loved with both critics and audiences in years. Thanks, I hated it. The story takes an hour and a half to even properly start, and then it's just "to be continued". WTF!? NOTHING HAPPENS. And the highly praised visuals are sometimes 10/10 inspired and sometimes gratingly jerky and appallingly, Michael Bay style, over-edited. But the lack of story is unforgivable.
Oh dear, I'm not making any friends with this one (and for the record, I gave the original a great score). Along with GOTG3, one of only two MCU (or even comic-book/superhero movie) bright-spots post Endgame and the most loved with both critics and audiences in years. Thanks, I hated it. The story takes an hour and a half to even properly start, and then it's just "to be continued". WTF!? NOTHING HAPPENS. And the highly praised visuals are sometimes 10/10 inspired and sometimes gratingly jerky and appallingly, Michael Bay style, over-edited. But the lack of story is unforgivable.
A film about transformers, who are robots in disguise.
A film about transformers, who are robots in disguise.
The one true post Endgame MCU film that is valid, is of comparable quality and has a reason to be. It's also the most upsetting and extreme comic-book, super-hero film post Iron Man - conjuring up, not only horrific animal testing but the experiments on humans by the Nazi's and WW2 Japan. Somehow Rocket Racoon and his three compadres guileless optimism in the face of such horrors, makes it all far worse. How the hell did the extreme content here get a PG rating?!
The one true post Endgame MCU film that is valid, is of comparable quality and has a reason to be. It's also the most upsetting and extreme comic-book, super-hero film post Iron Man - conjuring up, not only horrific animal testing but the experiments on humans by the Nazi's and WW2 Japan. Somehow Rocket Racoon and his three compadres guileless optimism in the face of such horrors, makes it all far worse. How the hell did the extreme content here get a PG rating?!
Alongside Get Carter and Performance, one of the greatest hard edged 70s British gangster films. Despite being hugely influential on more trite post Lock Stock fair, this is a hugely complicated screenplay, with massive, almost Shakespearean themes as a never better Bob Hoskings, goes through a proto-Uncut Gems nightmare. With deals he cant hang onto anymore than what he already has. Visions of a fading and rising Thatcherite UK merge into a fever dream - with a stunning soundtrack - as Hoskins and a superb Helen Mirren, realise too late, the Barbarians at the gate are more than they can handle.
Alongside Get Carter and Performance, one of the greatest hard edged 70s British gangster films. Despite being hugely influential on more trite post Lock Stock fair, this is a hugely complicated screenplay, with massive, almost Shakespearean themes as a never better Bob Hoskings, goes through a proto-Uncut Gems nightmare. With deals he cant hang onto anymore than what he already has. Visions of a fading and rising Thatcherite UK merge into a fever dream - with a stunning soundtrack - as Hoskins and a superb Helen Mirren, realise too late, the Barbarians at the gate are more than they can handle.
My irregular series on usually albums either denied classic status on release or forgotten about since. I'm not sure this album has been (completely) forgotten, but with the immortal duo Clipse reforming, a time to look back at what I call the best rap album released this century.
My irregular series on usually albums either denied classic status on release or forgotten about since. I'm not sure this album has been (completely) forgotten, but with the immortal duo Clipse reforming, a time to look back at what I call the best rap album released this century.
Perhaps the most valuable of the three unreleased pearls in Neil Young's archive series, this never released album features some of Young's most worshiped songs, and nearly all have ended up elsewhere, but it's a suit of songs of such quality that it would've been one of the best albums of the 70's.
Perhaps the most valuable of the three unreleased pearls in Neil Young's archive series, this never released album features some of Young's most worshiped songs, and nearly all have ended up elsewhere, but it's a suit of songs of such quality that it would've been one of the best albums of the 70's.
Oh dear, I knew this would happen. Apparently I waffled for 22 minutes on my radio show about BarbenHeimer.
Oh dear, I knew this would happen. Apparently I waffled for 22 minutes on my radio show about BarbenHeimer.
The 8th album from arguably the best (last?) rock band on on Earth, is still good but with less reason to be than their previous albums, other than adding another three or four great QOTSA tracks to their live set.
The 8th album from arguably the best (last?) rock band on on Earth, is still good but with less reason to be than their previous albums, other than adding another three or four great QOTSA tracks to their live set.
The universal acclaim for this collection of outtakes from the esteemed New York music icon, is a perfect example of the emperors new clothes. A series of sketches, often so slight, you wonder if the artist would be furious they were even released. Definitely not worth having.
The universal acclaim for this collection of outtakes from the esteemed New York music icon, is a perfect example of the emperors new clothes. A series of sketches, often so slight, you wonder if the artist would be furious they were even released. Definitely not worth having.
My series on mainly albums but also films, that were either denied classic status on release or have been forgotten about since - Hamburger Hill is both. Derided a little on release as a poor cousin of the defining Platoon and a lower rent Full Metal Jacket, this sometimes trite Vietnam film builds up to an incredible climax, redolent of the harrowing intensity of Come and See, far more than Saving Private Ryan.
My series on mainly albums but also films, that were either denied classic status on release or have been forgotten about since - Hamburger Hill is both. Derided a little on release as a poor cousin of the defining Platoon and a lower rent Full Metal Jacket, this sometimes trite Vietnam film builds up to an incredible climax, redolent of the harrowing intensity of Come and See, far more than Saving Private Ryan.
You may have heard of it. BarbieOpp arrives at a unique crossroads in movie history - with regards to the hegemony of comic book super-hero franchises and people even going to the cinema at all - but it is a good film, and remarkably even handed in its view of the sexes. The best of it doesn't seem to celebrated enough - a hugely clever screenplay and a superb Margot Robbie. Its only flaws are being little flat and dragging here and there but overall a very good - if not great great - cinematic milestone that will earn a billion dollars.
You may have heard of it. BarbieOpp arrives at a unique crossroads in movie history - with regards to the hegemony of comic book super-hero franchises and people even going to the cinema at all - but it is a good film, and remarkably even handed in its view of the sexes. The best of it doesn't seem to celebrated enough - a hugely clever screenplay and a superb Margot Robbie. Its only flaws are being little flat and dragging here and there but overall a very good - if not great great - cinematic milestone that will earn a billion dollars.
The last thing I wanted from the Icelandic post-rock titans was an orchestral album, but I was wrong. Alongside Suns Signature's release last year, one of the two most beautiful albums in recent years, an immersive, soothing balm for troubled times. Immaculately sequenced, constantly ebbing and flowing, one of the years finest albums and their best since 2007's Takk.
The last thing I wanted from the Icelandic post-rock titans was an orchestral album, but I was wrong. Alongside Suns Signature's release last year, one of the two most beautiful albums in recent years, an immersive, soothing balm for troubled times. Immaculately sequenced, constantly ebbing and flowing, one of the years finest albums and their best since 2007's Takk.
Another fine, though often very low key album in the indicative style, all of his own, from Archy Marshall. Though still yet to reach the incredible peak of 2017's The Ooz.
Another fine, though often very low key album in the indicative style, all of his own, from Archy Marshall. Though still yet to reach the incredible peak of 2017's The Ooz.
The Run The Jewels alumni delivers his first solo project since 2012's RTJ launching R.A.P. Music, which contained my track of the year Reagan. Having followed him ever since, this project lacks the widescreen dynamism and variety, lyrically and sonically of the RTJ albums, ironic, given this uses multiple producers and guest artists.
The Run The Jewels alumni delivers his first solo project since 2012's RTJ launching R.A.P. Music, which contained my track of the year Reagan. Having followed him ever since, this project lacks the widescreen dynamism and variety, lyrically and sonically of the RTJ albums, ironic, given this uses multiple producers and guest artists.
The latest Scream film has some massive problems. Like its predecessor, it's so heavy handed with the over done self-awareness it becomes extremely tiresome. Yet despite continually talking about slasher movie stereotypes, it also embodies the most stupid ones, in a manner I found grating.
The latest Scream film has some massive problems. Like its predecessor, it's so heavy handed with the over done self-awareness it becomes extremely tiresome. Yet despite continually talking about slasher movie stereotypes, it also embodies the most stupid ones, in a manner I found grating.
I liked the first in this John Wick adjacent, also stunt-man directed, saga a great deal, but everything about the sequel seems slightly better, classier and more cohesive. The prison break is a long form action sequence for the ages.
I liked the first in this John Wick adjacent, also stunt-man directed, saga a great deal, but everything about the sequel seems slightly better, classier and more cohesive. The prison break is a long form action sequence for the ages.
After avoiding this like the plague, I found myself enjoying it about three times more than I expected and about ten times more than Avatar 2 - in comparison with that other billion dollar success, also made for twelve-year old boys, the excited voice cast, brevity, fun and visuals, wipe the floor with Cameron's interminable nightmare of dullness. Perhaps the LEAST written film in history - yet this isn't a hindrance.
After avoiding this like the plague, I found myself enjoying it about three times more than I expected and about ten times more than Avatar 2 - in comparison with that other billion dollar success, also made for twelve-year old boys, the excited voice cast, brevity, fun and visuals, wipe the floor with Cameron's interminable nightmare of dullness. Perhaps the LEAST written film in history - yet this isn't a hindrance.
Michael Gira's 37 year old Swans are moving into a post Seer/To Be Kind era, and if 2019's Leaving Meaning was an underappreciated collection of great songs, The Beggar is a more coherent (two hour long) album length statement as to what that looks like. Some of the most direct and powerful lyricism of his career, amongst what accounts to almost easy listening in this bands catalogue, with plenty of acoustic-led and pretty tracks, with deep existential lyrics. We'll still touch base with medieval torture music and have a forty-four minute long track, naturally. Still one of the best and most interesting rock bands on earth, in a period of transition.
Michael Gira's 37 year old Swans are moving into a post Seer/To Be Kind era, and if 2019's Leaving Meaning was an underappreciated collection of great songs, The Beggar is a more coherent (two hour long) album length statement as to what that looks like. Some of the most direct and powerful lyricism of his career, amongst what accounts to almost easy listening in this bands catalogue, with plenty of acoustic-led and pretty tracks, with deep existential lyrics. We'll still touch base with medieval torture music and have a forty-four minute long track, naturally. Still one of the best and most interesting rock bands on earth, in a period of transition.
My occasional series on (usually) an album that was either denied classic status on release or has been forgotten about since. Immediately I feel maybe I should've chosen the second Leftfield album for this - as has Leftism been forgotten that much? It was alongside Portishead's Dummy and Air's Moon Safari, in every CD library back then. Maybe it has a bit, due to their initial run only being two albums before largely disappearing, whilst contemporaries, The Chemical Brothers, Orbital, Underworld, The Prodigy... all kept releasing and playing live prominently. None the less it remains a stunning landmark of the most fertile period of British electronic music ever, and despite coining the entire genre of progressive house, is a wide overview of everything that made that first five years of the 90s of British dance electronica so incredible - from techno to house to drum n bass/jungle, trip-hop and reggae/soundystem music - a beautifully produced and sequenced 10/10.
My occasional series on (usually) an album that was either denied classic status on release or has been forgotten about since. Immediately I feel maybe I should've chosen the second Leftfield album for this - as has Leftism been forgotten that much? It was alongside Portishead's Dummy and Air's Moon Safari, in every CD library back then. Maybe it has a bit, due to their initial run only being two albums before largely disappearing, whilst contemporaries, The Chemical Brothers, Orbital, Underworld, The Prodigy... all kept releasing and playing live prominently. None the less it remains a stunning landmark of the most fertile period of British electronic music ever, and despite coining the entire genre of progressive house, is a wide overview of everything that made that first five years of the 90s of British dance electronica so incredible - from techno to house to drum n bass/jungle, trip-hop and reggae/soundystem music - a beautifully produced and sequenced 10/10.
With my PHD in the Fast and Furious franchise I have both pluses and minuses with episode ten. I prefer its leaner nature to the overwhelmingly messy previous two installments - though the heyday of 5,6&7 is long gone - but that said, the $340 million shooting budget isn't visible and the profit point of $850 million pure insanity. There are, however, a lot of down sides. Too many characters, meaning no one gets much meaningful screen time, exacerbated by splitting up that main cast - the best thing about the franchise - into different locations, meaning they're never together and have even less screen time. It's also quite repetitive, thinly written, and as a result, weakly performed. Let's hope the finale performs a Harry Potter/Hunger Games and sends the franchise off into the sunset with a much better film.
With my PHD in the Fast and Furious franchise I have both pluses and minuses with episode ten. I prefer its leaner nature to the overwhelmingly messy previous two installments - though the heyday of 5,6&7 is long gone - but that said, the $340 million shooting budget isn't visible and the profit point of $850 million pure insanity. There are, however, a lot of down sides. Too many characters, meaning no one gets much meaningful screen time, exacerbated by splitting up that main cast - the best thing about the franchise - into different locations, meaning they're never together and have even less screen time. It's also quite repetitive, thinly written, and as a result, weakly performed. Let's hope the finale performs a Harry Potter/Hunger Games and sends the franchise off into the sunset with a much better film.
I'm a big fan of Ben Affleck and all his trials and tribulations, though I thought Argo, his massive Oscar winner, was his weakest film as a director and his debut, Gone Baby Gone his best. Air - the story of Michael Jordan and Nike - is a new bow for him, pure, flat out entertainment and one of the years most easily enjoyable films. Plus he gets to give best bud Matt Damon a great starring role. Possibly not that memorable but who cares.
I'm a big fan of Ben Affleck and all his trials and tribulations, though I thought Argo, his massive Oscar winner, was his weakest film as a director and his debut, Gone Baby Gone his best. Air - the story of Michael Jordan and Nike - is a new bow for him, pure, flat out entertainment and one of the years most easily enjoyable films. Plus he gets to give best bud Matt Damon a great starring role. Possibly not that memorable but who cares.
A surprising delight, that works best when it trusts itself, by leaning fully into the comedy and chemistry of leads Chris Pine and Michelle Rodriguez, and illusions to the likes of The Princess Bride and even Shrek. Often hilarious, with plenty of expensive fantasy action and some fine support from Hugh Grant and Regé-Jean Page
A surprising delight, that works best when it trusts itself, by leaning fully into the comedy and chemistry of leads Chris Pine and Michelle Rodriguez, and illusions to the likes of The Princess Bride and even Shrek. Often hilarious, with plenty of expensive fantasy action and some fine support from Hugh Grant and Regé-Jean Page
Though rightly being called the Finnish John Wick, the stunningly barren landscape and WW2 Nazi setting make it wholly distinct, and the non-more grizzled star (Jorma Tommila) takes stoicism to painful new levels. It still has a strong sense of self-awareness, even though its better the straighter it plays things. Cat-nip for fans of ultra violence against Nazis.
Though rightly being called the Finnish John Wick, the stunningly barren landscape and WW2 Nazi setting make it wholly distinct, and the non-more grizzled star (Jorma Tommila) takes stoicism to painful new levels. It still has a strong sense of self-awareness, even though its better the straighter it plays things. Cat-nip for fans of ultra violence against Nazis.
The British organic-electronic wizz returns with another inventive, detailed, immersive album length concept which will as always end up as one of the finest 'electronic' albums of the year.
The British organic-electronic wizz returns with another inventive, detailed, immersive album length concept which will as always end up as one of the finest 'electronic' albums of the year.
This criminally underappreciated gonzo blast is way more self aware and hilarious than it's been given credit for. I really hope Russell Crowe's moped riding, devil-bashing, rootin tootin priest (with an EXCELLENT ITALIAN ACCENT) is just staring his cinematic journey. Truly a thing of joyous wonder.
This criminally underappreciated gonzo blast is way more self aware and hilarious than it's been given credit for. I really hope Russell Crowe's moped riding, devil-bashing, rootin tootin priest (with an EXCELLENT ITALIAN ACCENT) is just staring his cinematic journey. Truly a thing of joyous wonder.
I launched this channel with a 10/10 review for my joint album of the year (with Rosalia's Motomami) Ants From Up There, then immediately their totemic lead singer and lyricist, Isaac Wood quit then band for mental reasons. Where would this outstanding premier new wave of British indie act go from here? A near perfect answer is a live album of entirely new material, which is often fabulous and contains my song of the year so far, the aptly titled Up Song.
I launched this channel with a 10/10 review for my joint album of the year (with Rosalia's Motomami) Ants From Up There, then immediately their totemic lead singer and lyricist, Isaac Wood quit then band for mental reasons. Where would this outstanding premier new wave of British indie act go from here? A near perfect answer is a live album of entirely new material, which is often fabulous and contains my song of the year so far, the aptly titled Up Song.
Surely the dumbest name for a movie ever, given this unexpectedly superb step out of his comfort zone for Mr Ritchie, can only be hamstrung by wedding itself to his signature style. Both leads Jake Gyllenhaal and Dar Salim are excellent, but the shock is Ritchie getting the tone so right for a serious post Gulf war film, sonically and visually - it's closer to Lone Survivor than anything in his filmography. I once derided him but the last four films are his best run.
Surely the dumbest name for a movie ever, given this unexpectedly superb step out of his comfort zone for Mr Ritchie, can only be hamstrung by wedding itself to his signature style. Both leads Jake Gyllenhaal and Dar Salim are excellent, but the shock is Ritchie getting the tone so right for a serious post Gulf war film, sonically and visually - it's closer to Lone Survivor than anything in his filmography. I once derided him but the last four films are his best run.
The female indie super-group of Julien Baker, Lucy Dacus and Phoebe Bridgers is definitely one of the music stories of the year, and the outstanding performance at godforsaken Coachella made me believe more - but I feel the album, though often great, is a little weighed down by a few inconsequential tracks. Little doubt how much of a star Phoebe Bridgers is though.
The female indie super-group of Julien Baker, Lucy Dacus and Phoebe Bridgers is definitely one of the music stories of the year, and the outstanding performance at godforsaken Coachella made me believe more - but I feel the album, though often great, is a little weighed down by a few inconsequential tracks. Little doubt how much of a star Phoebe Bridgers is though.
God bless Keanu Reeves and Chad Stahelski for the greatest vanity project in modern cinema - barely a foot wrong in four films. JW 4 is arguably the pinnacle, sonically and visually it's the most beautiful action film this side of Fury Road. It also boast the best side characters in the series, a screenplay that easily handles a near three-hour run time and a performance from Keanu that is like an old man reclining into a chesterfield. A wort of art.
God bless Keanu Reeves and Chad Stahelski for the greatest vanity project in modern cinema - barely a foot wrong in four films. JW 4 is arguably the pinnacle, sonically and visually it's the most beautiful action film this side of Fury Road. It also boast the best side characters in the series, a screenplay that easily handles a near three-hour run time and a performance from Keanu that is like an old man reclining into a chesterfield. A wort of art.
Another 4K retro review and a real eyeopener. Perhaps my idea of this film had been sullied by subsequent sequels but it is far less goofy or zany than I remembered, and far more thoughtful and, often beautiful. It also hews far closer to the original of these films, the classic Out of Sight. With as charismatic a cast as modern films get, an iconic soundtrack from David Holmes, a surprisingly brilliant script, and more style than is even fair, it rivals The Sting as the greatest heist movie ever made. It is also, on every level, one of the most perfectly made films put together this century.
Another 4K retro review and a real eyeopener. Perhaps my idea of this film had been sullied by subsequent sequels but it is far less goofy or zany than I remembered, and far more thoughtful and, often beautiful. It also hews far closer to the original of these films, the classic Out of Sight. With as charismatic a cast as modern films get, an iconic soundtrack from David Holmes, a surprisingly brilliant script, and more style than is even fair, it rivals The Sting as the greatest heist movie ever made. It is also, on every level, one of the most perfectly made films put together this century.
I swear these films are getting worse. Removing anything remotely charming or funny about the first two films and with a main cast that appears tonally to be acting in different movies, this is an objectively worse film than the awful Shazam 2, but a brilliant Jonathan Majors villain, Kang, and some pretty pictures, save it from a big fat zero out of ten.
I swear these films are getting worse. Removing anything remotely charming or funny about the first two films and with a main cast that appears tonally to be acting in different movies, this is an objectively worse film than the awful Shazam 2, but a brilliant Jonathan Majors villain, Kang, and some pretty pictures, save it from a big fat zero out of ten.
An overview of the iconic, yet somehow awful festival - including the elephant in the room (that isn't Frank Ocean). Consider this - on the biggest night of the biggest music festival in America, the four biggest acts on the biggest stage - in a row - did not feature one single musician playing an instrument. Half the acts sing over the top of backing tracks and some even mimed their entire sets. This is a disgrace and for the biggest live music festival in the USA, there's disturbingly little live music. Also reviews of the highlights, including Rosalia, Boygenius, Jai Paul and Blink 182 but also the low lights, Gorillaz, Blackpink, Calvin Harris, the mimers and of course the already notorious Frank Ocean. Lol - I said there's a 60% chance he would cancel week 2 and he already has, disgrace of a man didn't even mention the fans that spent thousands on flights, tickets and accommodation and didn't even say sorry. F*** Frank Ocean.
An overview of the iconic, yet somehow awful festival - including the elephant in the room (that isn't Frank Ocean). Consider this - on the biggest night of the biggest music festival in America, the four biggest acts on the biggest stage - in a row - did not feature one single musician playing an instrument. Half the acts sing over the top of backing tracks and some even mimed their entire sets. This is a disgrace and for the biggest live music festival in the USA, there's disturbingly little live music. Also reviews of the highlights, including Rosalia, Boygenius, Jai Paul and Blink 182 but also the low lights, Gorillaz, Blackpink, Calvin Harris, the mimers and of course the already notorious Frank Ocean. Lol - I said there's a 60% chance he would cancel week 2 and he already has, disgrace of a man didn't even mention the fans that spent thousands on flights, tickets and accommodation and didn't even say sorry. F*** Frank Ocean.
I swear the comic-book/super-hero movies are getting worse, in what maybe their long downward spiral. Amazingly this universe-connected film is even worse than Black Adam - by miles. Incredibly unambitious story, mid-to-bottom tier characters, barely passable acting and the most monumental air of will this do yet. Awful on every level.
I swear the comic-book/super-hero movies are getting worse, in what maybe their long downward spiral. Amazingly this universe-connected film is even worse than Black Adam - by miles. Incredibly unambitious story, mid-to-bottom tier characters, barely passable acting and the most monumental air of will this do yet. Awful on every level.
The Adam Driver/Young Gomora(!!!) starring sci-fi got royally trashed by critics, but due to a great premise and some nice production design, just about limps over the line for a once through.
The Adam Driver/Young Gomora(!!!) starring sci-fi got royally trashed by critics, but due to a great premise and some nice production design, just about limps over the line for a once through.
A perfect 10/10 for the greatest Western of the last forty years, with a special emphasis on the career best - and Breaking Bad relatable - performance from director Clint Eastwood's finest hour.
A perfect 10/10 for the greatest Western of the last forty years, with a special emphasis on the career best - and Breaking Bad relatable - performance from director Clint Eastwood's finest hour.
After acquiring a big TV, continuing my journey back through widescreen classics. Here Martin Scorcese's luxurious follow up to the greatest gangster film of all time, Goodfellas. Another classic no doubt but the main takeaway from this review is that it isn't better than that film, as I and many others have often claimed.
After acquiring a big TV, continuing my journey back through widescreen classics. Here Martin Scorcese's luxurious follow up to the greatest gangster film of all time, Goodfellas. Another classic no doubt but the main takeaway from this review is that it isn't better than that film, as I and many others have often claimed.
Finally! a review of one of the biggest movies of all time and also one of the most inexplicable successes. Once I watched it, I realized why - it's solely aimed at 12 year old boys, and no one is talking about how sexualised the blue girls are. It's basically a $400 million dollar blue alien fantasy for 12 year old boys. It also is visually like a gaudy Saturday morning CGI kids tv show, with 90's slang, flat acting, awful writing, next to no story and its acclaimed visuals representing a high definition screen saver - earning it a rare big fat zero out of ten.
Finally! a review of one of the biggest movies of all time and also one of the most inexplicable successes. Once I watched it, I realized why - it's solely aimed at 12 year old boys, and no one is talking about how sexualised the blue girls are. It's basically a $400 million dollar blue alien fantasy for 12 year old boys. It also is visually like a gaudy Saturday morning CGI kids tv show, with 90's slang, flat acting, awful writing, next to no story and its acclaimed visuals representing a high definition screen saver - earning it a rare big fat zero out of ten.
A slightly odd story about being TV shamed, has led me to the world of giant 4K TV's and subsequently, re-watching widescreen classics. Here Ridley Scott's genre re-birthing sword and sandals epic stands up well for it's great, dynamic, propulsive screenplay and a superb central cast of characters and performances. It's also probably more relevant to modern politics and populism than ever.
A slightly odd story about being TV shamed, has led me to the world of giant 4K TV's and subsequently, re-watching widescreen classics. Here Ridley Scott's genre re-birthing sword and sandals epic stands up well for it's great, dynamic, propulsive screenplay and a superb central cast of characters and performances. It's also probably more relevant to modern politics and populism than ever.
The two beloved stalwarts of underground weird rap are a logical combination - and a possible next level Run The Jewels (which is literally a track name here). It's wild, imaginative fun, swerving minute to minute - but the mixing on the vocals can be off. Still probably the best rap album so far this year and a blast.
The two beloved stalwarts of underground weird rap are a logical combination - and a possible next level Run The Jewels (which is literally a track name here). It's wild, imaginative fun, swerving minute to minute - but the mixing on the vocals can be off. Still probably the best rap album so far this year and a blast.
Their fifth album has a great sound stage and strong moments but a lot of the songs are under developed and it can get sonically quite repetitive. Not as flat out brilliant as the last two.
Their fifth album has a great sound stage and strong moments but a lot of the songs are under developed and it can get sonically quite repetitive. Not as flat out brilliant as the last two.
Our lady saint Lana del Rey returns with her massive ninth album, and after the seismic breakthrough of NFR! was followed by two slightly lesser works, a record that stands nearly as high. Her most personal and confident description of who she is garners my highest score for a while.
Our lady saint Lana del Rey returns with her massive ninth album, and after the seismic breakthrough of NFR! was followed by two slightly lesser works, a record that stands nearly as high. Her most personal and confident description of who she is garners my highest score for a while.
The 73 year old outsider artist has pivoted towards music in later life, with the opening of his bio on Wikipedia reading, "He was born the 7th of 27 children during the Jim Crow era and claims to have been traded for a bottle of whiskey when he was four". This though is highly accessible and in no way off-puting music, that at its best draws a link from 1800's slavery to modern variants.
The 73 year old outsider artist has pivoted towards music in later life, with the opening of his bio on Wikipedia reading, "He was born the 7th of 27 children during the Jim Crow era and claims to have been traded for a bottle of whiskey when he was four". This though is highly accessible and in no way off-puting music, that at its best draws a link from 1800's slavery to modern variants.
This fabulous little film has double what it needs to get over the line story wise. Completely undemanding, quite thrilling and for older people, deeply distressing - kids don't even clean up after parties anymore, they just google it!
This fabulous little film has double what it needs to get over the line story wise. Completely undemanding, quite thrilling and for older people, deeply distressing - kids don't even clean up after parties anymore, they just google it!
Brandon Cronenberg's psych/body horror sadly lacks the X factor and substance his esteemed father brings to the table, but is still well worth it for fans of depraved, explicit, transgressive JG Ballard-esque societal horror. But none of that matters. We are but peasants for the goddess Mia Goth, the new Bridget Bardot - and a far better actor.
Brandon Cronenberg's psych/body horror sadly lacks the X factor and substance his esteemed father brings to the table, but is still well worth it for fans of depraved, explicit, transgressive JG Ballard-esque societal horror. But none of that matters. We are but peasants for the goddess Mia Goth, the new Bridget Bardot - and a far better actor.
It's a bear. On Cocaine. Can you believe this hype machine cost near twice as much to make as Everything, Everywhere all at Once?!?!? It looks like it was shot on a 90s cam-corder. As with any film like this, you will ask yourself if it had enough to justify sitting through it, the answer is not quite.
It's a bear. On Cocaine. Can you believe this hype machine cost near twice as much to make as Everything, Everywhere all at Once?!?!? It looks like it was shot on a 90s cam-corder. As with any film like this, you will ask yourself if it had enough to justify sitting through it, the answer is not quite.
The music of 100 Gecs is not a crime against humanity, but against all living species on earth. I was fooled into believing this new album was a development in their sound - that, was a lie. I advise only professional music critics with support networks, subject themselves to hearing this. You may develop some form of cancer from hearing it.
The music of 100 Gecs is not a crime against humanity, but against all living species on earth. I was fooled into believing this new album was a development in their sound - that, was a lie. I advise only professional music critics with support networks, subject themselves to hearing this. You may develop some form of cancer from hearing it.
The still anonymous, South Korean shoe-gaze/emo independent artist expands on their breakout, To See the Next Part of the Dream album, in every way - for a massive and intensely melodic slow burn and of the best albums of the year.
The still anonymous, South Korean shoe-gaze/emo independent artist expands on their breakout, To See the Next Part of the Dream album, in every way - for a massive and intensely melodic slow burn and of the best albums of the year.
Guy Ritchie's latest still isn't doubling down on the career high of The Gentlemen, but whilst the luminescent Aubrey Plaza or an irascible Hugh Grant are on screen, this appallingly rote spy-flick is elevated.
Guy Ritchie's latest still isn't doubling down on the career high of The Gentlemen, but whilst the luminescent Aubrey Plaza or an irascible Hugh Grant are on screen, this appallingly rote spy-flick is elevated.
One of this years major Oscar contenders is a total tour de force, with an already well celebrated lead actor. It is also an unexpected foray into the world of post #MeToo and cancel culture.
One of this years major Oscar contenders is a total tour de force, with an already well celebrated lead actor. It is also an unexpected foray into the world of post #MeToo and cancel culture.
Sweden's The Knife alumni turns in by far their most compelling solo album (out of three) and the best new album I've heard this year.
Sweden's The Knife alumni turns in by far their most compelling solo album (out of three) and the best new album I've heard this year.
Probably this years most acclaimed album so far, is, for me decidedly mid, lackluster, dated and often boring, oh dear.
Probably this years most acclaimed album so far, is, for me decidedly mid, lackluster, dated and often boring, oh dear.
Perhaps an ironic title for this crushingly bleak finale to probably the TV event of the year - and a fitting strong episode that is centered on a massive moral question - would you sacrifice the person you love the most to save everyone else in the world.
Perhaps an ironic title for this crushingly bleak finale to probably the TV event of the year - and a fitting strong episode that is centered on a massive moral question - would you sacrifice the person you love the most to save everyone else in the world.
I suspect that Ukraine played a big part in the awards success of this German anti-war film, which even the Germans called "Shallow, cynical and horny for Oscars", because other than the awards-worthy cinematography, sound and score - everything else is decidedly mid-tier. Almost as basic and trite as a modern war film could be without being directed by Steven Spielberg.
I suspect that Ukraine played a big part in the awards success of this German anti-war film, which even the Germans called "Shallow, cynical and horny for Oscars", because other than the awards-worthy cinematography, sound and score - everything else is decidedly mid-tier. Almost as basic and trite as a modern war film could be without being directed by Steven Spielberg.
Exactly what it says on the tin, my yearly round-up of the Oscars.
Exactly what it says on the tin, my yearly round-up of the Oscars.
After a righteous victory lap with last years 30 Something celebrations, where would one of the all time greatest and most important electronic music acts go? For me they've successfully welded their past and modern electronic music into a highly political album that hits a surprisingly sweet spot.
After a righteous victory lap with last years 30 Something celebrations, where would one of the all time greatest and most important electronic music acts go? For me they've successfully welded their past and modern electronic music into a highly political album that hits a surprisingly sweet spot.
After the middling episode 7 the series roars back into life, with one of the most powerhouse and satisfying episodes (perhaps alongside Ep 5) and also the darkest and most brutal. Bella Ramsey has her finest hour as Ellie and an excellent Scott Shepherd as preacher David, is the lowest humanity has sunk so far. Great stuff.
After the middling episode 7 the series roars back into life, with one of the most powerhouse and satisfying episodes (perhaps alongside Ep 5) and also the darkest and most brutal. Bella Ramsey has her finest hour as Ellie and an excellent Scott Shepherd as preacher David, is the lowest humanity has sunk so far. Great stuff.
The Velvet Underground legend's fine seventeenth solo album makes the unexpected detour into Yacht-rock/pop and electronica with a raft of contemporary artists. I wouldn't mind a bit of trimming over its occasionally duller first half but it's and album that grows through its duration and also repeated listens.
The Velvet Underground legend's fine seventeenth solo album makes the unexpected detour into Yacht-rock/pop and electronica with a raft of contemporary artists. I wouldn't mind a bit of trimming over its occasionally duller first half but it's and album that grows through its duration and also repeated listens.
Gradually getting back into newer album releases, with this surprise-around-christmas victory-lap release from the recent Mercury Music Prize winner and correct speller of little. Another consistent and solid album from the UK rap star and her in house producer, the already legendary Sault alumni, Inflo - if the least impressive of her golden run.
Gradually getting back into newer album releases, with this surprise-around-christmas victory-lap release from the recent Mercury Music Prize winner and correct speller of little. Another consistent and solid album from the UK rap star and her in house producer, the already legendary Sault alumni, Inflo - if the least impressive of her golden run.
Oh dear, after the hugely successful Ep3 pulled the same stunt, stopping the forward momentum built up from Ep's 4-6 dead for another (gay) love story (a really tiny bit) falls a bit flatter this time. We get the necessary back story of Ellie (Bella Ramsey), her past at the military academy and her relationship with her room-mate and love, Riley. It's good but the weakest episode, quite repetitive, a slog, feels like low stakes filler and curiously like an episode of Stranger Things. Ellie only spends minutes with Joel this time but those minutes are more compelling than all the time spent with Riley. A victim of its excellent policy of only showing one episode a week, leading viewers to need a massive episode each time.
Oh dear, after the hugely successful Ep3 pulled the same stunt, stopping the forward momentum built up from Ep's 4-6 dead for another (gay) love story (a really tiny bit) falls a bit flatter this time. We get the necessary back story of Ellie (Bella Ramsey), her past at the military academy and her relationship with her room-mate and love, Riley. It's good but the weakest episode, quite repetitive, a slog, feels like low stakes filler and curiously like an episode of Stranger Things. Ellie only spends minutes with Joel this time but those minutes are more compelling than all the time spent with Riley. A victim of its excellent policy of only showing one episode a week, leading viewers to need a massive episode each time.
The English Trainspotting. I've decided to include movies in "Gone But Forgotten" where I focus on something either denied classic status on release or ignored today or both in the case of this Nick Love adaption of epic writer, John Kings novel about football hooliganism. It's impeccably cast, moves like a rocket, has surprisingly great cinematography, awesome dialogue and a soundtrack that aces even Trainspotting itself. It also tells a few unknowable truths about working-class Britain.
The English Trainspotting. I've decided to include movies in "Gone But Forgotten" where I focus on something either denied classic status on release or ignored today or both in the case of this Nick Love adaption of epic writer, John Kings novel about football hooliganism. It's impeccably cast, moves like a rocket, has surprisingly great cinematography, awesome dialogue and a soundtrack that aces even Trainspotting itself. It also tells a few unknowable truths about working-class Britain.
Old M. Night Shyamalan has been on one wild ride these last fifteen years, a run of some of the worst films this century, followed by a couple of the worst films of all time - the ship seems to be righting though. Mainly his last few Unbreakable films and this book adaption have fared far better. He is still his own films worst enemy though, going PG or Spielberg when he should be going R-rated or confrontational, even reversing two major elements from the award winning novel to make them happier!?!? Still these are intriguing themes, reasonably well explored and with a soulful, committed turn from David Bautista - and the blandest gay couple in history - it just gets over the line.
Old M. Night Shyamalan has been on one wild ride these last fifteen years, a run of some of the worst films this century, followed by a couple of the worst films of all time - the ship seems to be righting though. Mainly his last few Unbreakable films and this book adaption have fared far better. He is still his own films worst enemy though, going PG or Spielberg when he should be going R-rated or confrontational, even reversing two major elements from the award winning novel to make them happier!?!? Still these are intriguing themes, reasonably well explored and with a soulful, committed turn from David Bautista - and the blandest gay couple in history - it just gets over the line.
Even Scottish band, Simple Minds, rote story is all but forgotten - that they were purveyors of bombastic stadium rock alongside the peers U2, throughout the mid eighties, draping themselves in worthy social issues. This completely misses the even more hidden truth - in the four years between 1979 and 1982, the band released six albums in what was one of the most progressive and brilliant runs by any band, including The Beatles and Can. A look through that period - so deserving of reappraisal - and how the rest of the decade played out for them. It started as a review of the masterpiece (10/10) album New Gold Dream but I felt the wider story needed addressing.
Even Scottish band, Simple Minds, rote story is all but forgotten - that they were purveyors of bombastic stadium rock alongside the peers U2, throughout the mid eighties, draping themselves in worthy social issues. This completely misses the even more hidden truth - in the four years between 1979 and 1982, the band released six albums in what was one of the most progressive and brilliant runs by any band, including The Beatles and Can. A look through that period - so deserving of reappraisal - and how the rest of the decade played out for them. It started as a review of the masterpiece (10/10) album New Gold Dream but I felt the wider story needed addressing.
Released as UK Punk raged, for me the greatest album by David Bowie artistically. A near remake of the also 10/10 Low from not even a year before - Low may get more plaudits for being first, but, that minimalist album is just shaded by its maximalist followup as far as outright satisfaction goes.
Released as UK Punk raged, for me the greatest album by David Bowie artistically. A near remake of the also 10/10 Low from not even a year before - Low may get more plaudits for being first, but, that minimalist album is just shaded by its maximalist followup as far as outright satisfaction goes.
After watching director, Ti West's first Pearl movie "X", which alongside Pearl was regarded as 2022's high points in horror, I didn't really get it, but I wasn't prepared for the gulf in class between that good-but-rote standard horror and the masterpiece that is Pearl. Mia Goth is, I think, alongside Anya Taylor Joy, Pedro Pascal and Bella Ramsey, one of the four hottest properties in acting right now. Here she gives a performance for the ages in one of the most complete portrayals of a psychopath since Psycho itself. Hyperbolically I give it a 9.5/10 - same as The Northman and Everything, Everywhere All At Once - my top two films of last year.
After watching director, Ti West's first Pearl movie "X", which alongside Pearl was regarded as 2022's high points in horror, I didn't really get it, but I wasn't prepared for the gulf in class between that good-but-rote standard horror and the masterpiece that is Pearl. Mia Goth is, I think, alongside Anya Taylor Joy, Pedro Pascal and Bella Ramsey, one of the four hottest properties in acting right now. Here she gives a performance for the ages in one of the most complete portrayals of a psychopath since Psycho itself. Hyperbolically I give it a 9.5/10 - same as The Northman and Everything, Everywhere All At Once - my top two films of last year.
As a double PHD in both Liam Neeson action movies post Taken, and pre-Fast Jason Statham action movies, I feel Gerard Butler may well send me back to university. I'm really liking where he's at now and after the fabulous Greenland, we get this almost puritan throw back to 80s Jean Claude Van Dam era actioners, just with way better acting and directing. But please stop under-using the wonderful Daniella Pineda. Utilitarian film-making at its finest.
As a double PHD in both Liam Neeson action movies post Taken, and pre-Fast Jason Statham action movies, I feel Gerard Butler may well send me back to university. I'm really liking where he's at now and after the fabulous Greenland, we get this almost puritan throw back to 80s Jean Claude Van Dam era actioners, just with way better acting and directing. But please stop under-using the wonderful Daniella Pineda. Utilitarian film-making at its finest.
Although I rarely watch new TV series, I have been swept up in the hype of this acclaimed video game adaption, and was presented with a very classy yet not mind-blowing show. It has, however grown to become enthralling and undoubtedly the TV event of the year. Ironically I have reviewed EVERY series of Narcos, so am one of the people viewing Pedro Pascal's assent to God status with a "yes, we told you this ten years ago". For all it's achievements in technical and writing areas, there's no doubt it's biggest success - the greatest lead pairing in modern TV and how emotionally wedded to Joel (Pascal) and Ellie (Bella Ramsey) we already are.
Although I rarely watch new TV series, I have been swept up in the hype of this acclaimed video game adaption, and was presented with a very classy yet not mind-blowing show. It has, however grown to become enthralling and undoubtedly the TV event of the year. Ironically I have reviewed EVERY series of Narcos, so am one of the people viewing Pedro Pascal's assent to God status with a "yes, we told you this ten years ago". For all it's achievements in technical and writing areas, there's no doubt it's biggest success - the greatest lead pairing in modern TV and how emotionally wedded to Joel (Pascal) and Ellie (Bella Ramsey) we already are.
I cannot get a line on writer-director Damien Chazelle at all. His films Whiplash and First Man were brilliant but in totally different ways. His films La La Land and Babylon are terrible but in totally different ways. I definitely didn't expect this to be this bad and I sat through three-hours and ten-minutes of it so you don't have to. I thought I'd get a wildly flawed, art-house triumph, instead I got the Baz Luhrmann's The Great Gatsby, only even more superficial and empty. Car crash cinema.
I cannot get a line on writer-director Damien Chazelle at all. His films Whiplash and First Man were brilliant but in totally different ways. His films La La Land and Babylon are terrible but in totally different ways. I definitely didn't expect this to be this bad and I sat through three-hours and ten-minutes of it so you don't have to. I thought I'd get a wildly flawed, art-house triumph, instead I got the Baz Luhrmann's The Great Gatsby, only even more superficial and empty. Car crash cinema.
"Gone but forgotten" is an album (sometimes an artist) that was either denied classic status on release or has fallen completely out of the conversation. Alongside The Pixies and Sonic Youth, Bob Mould's 80's act, Hüsker Dü were one of the holy trinity that formed American alternative rock music and especially grunge - his follow up three piece, Sugar, had a fair crack of making some of Grunge's best music. They were certainly acclaimed at the time, but now revisionism of the era tends to bring in acts like Stone Temple Pilots or Alice in Chains - but I barely hear Sugar mentioned, despite Copper Blue being up there with Nevermind, Siamese Dream and Ten as one of the best albums of that first rush, and one that I have always gone back to.
"Gone but forgotten" is an album (sometimes an artist) that was either denied classic status on release or has fallen completely out of the conversation. Alongside The Pixies and Sonic Youth, Bob Mould's 80's act, Hüsker Dü were one of the holy trinity that formed American alternative rock music and especially grunge - his follow up three piece, Sugar, had a fair crack of making some of Grunge's best music. They were certainly acclaimed at the time, but now revisionism of the era tends to bring in acts like Stone Temple Pilots or Alice in Chains - but I barely hear Sugar mentioned, despite Copper Blue being up there with Nevermind, Siamese Dream and Ten as one of the best albums of that first rush, and one that I have always gone back to.
This Mia Goth led slasher has a lot to recommend it, mainly it's cast and direction - but the least interesting thing about it is probably the horror movie it becomes.
This Mia Goth led slasher has a lot to recommend it, mainly it's cast and direction - but the least interesting thing about it is probably the horror movie it becomes.
A new feature on this channel - on the radio show I have "Gone but forgotten" which is an album (sometimes an artist) that was either denied classic status on release or has fallen completely out of the conversation.
A new feature on this channel - on the radio show I have "Gone but forgotten" which is an album (sometimes an artist) that was either denied classic status on release or has fallen completely out of the conversation.
Being an enormous fan of the underrated outing by this films director (Scott Cooper) and star (Christian Bale), Out of the Furnace - which also received tepid reviews - I was sure this Edgar Allan Poe featuring murder mystery was a lock. I was wrong, I've no idea what went wrong here but this is actually atrocious and some great actors give their worst ever performances (not Bale btw)
Being an enormous fan of the underrated outing by this films director (Scott Cooper) and star (Christian Bale), Out of the Furnace - which also received tepid reviews - I was sure this Edgar Allan Poe featuring murder mystery was a lock. I was wrong, I've no idea what went wrong here but this is actually atrocious and some great actors give their worst ever performances (not Bale btw)
Has eating the rich ever been more literal? Yes as they aren't actually eaten (unlike The Cook, the Thief, His Wife & Her Lover) but this class/foodie warfare tale is even better than I'd been led to believe and slightly superior to the analogous Glass Onion.
Has eating the rich ever been more literal? Yes as they aren't actually eaten (unlike The Cook, the Thief, His Wife & Her Lover) but this class/foodie warfare tale is even better than I'd been led to believe and slightly superior to the analogous Glass Onion.
An unexpectedly timely rumination on male relationships and depression, as well the most welcome cinematic reuniting of a director and cast since Another Year. Probably Oscar winning writer/director, Martin McDonagh's most complete film, as well as star, Colin Farrell's most complete performance. With its focus on existential crisis, despair, depression and suicidal idealisation, the oddest companion piece with Everything, Everywhere, All at Once, possible.
An unexpectedly timely rumination on male relationships and depression, as well the most welcome cinematic reuniting of a director and cast since Another Year. Probably Oscar winning writer/director, Martin McDonagh's most complete film, as well as star, Colin Farrell's most complete performance. With its focus on existential crisis, despair, depression and suicidal idealisation, the oddest companion piece with Everything, Everywhere, All at Once, possible.
No matter the critics consensus, the sequel to the breakout modernist take on Agatha Christie, Knives Out, isn't quite the film its predecessor was. This time both the characters (a rogues gallery of internet famous people) and the murder mystery itself, are both less interesting. This is still top quality entertainment though, and feels like a million dollars, even when it's slapping itself on the back. We wont tire of Benoit Blanc any time soon, as long as the quality is at least this high.
No matter the critics consensus, the sequel to the breakout modernist take on Agatha Christie, Knives Out, isn't quite the film its predecessor was. This time both the characters (a rogues gallery of internet famous people) and the murder mystery itself, are both less interesting. This is still top quality entertainment though, and feels like a million dollars, even when it's slapping itself on the back. We wont tire of Benoit Blanc any time soon, as long as the quality is at least this high.
Bizarrely, in the same year another, very different Australian director thought it was time for a biopic of Elvis, auteur Andrew Dominik finally realised a decade long goal of bringing another icon back to the silver screen, Marilyn Monroe. Dominik has only released four films this century and this is his most art-house and dangerous project. Sadly, despite the luminous and brilliant Ana de Armas, some outstanding visuals and music (courtesy of Nick Cave and Warren Ellis) it's hampered by bad writing, mostly soaring when people aren't talking.
Bizarrely, in the same year another, very different Australian director thought it was time for a biopic of Elvis, auteur Andrew Dominik finally realised a decade long goal of bringing another icon back to the silver screen, Marilyn Monroe. Dominik has only released four films this century and this is his most art-house and dangerous project. Sadly, despite the luminous and brilliant Ana de Armas, some outstanding visuals and music (courtesy of Nick Cave and Warren Ellis) it's hampered by bad writing, mostly soaring when people aren't talking.
The sequel The Woman King apparently. But seriously not good.
The sequel The Woman King apparently. But seriously not good.
Not, apparently, Black Panther 2 Electric Boogalaoo but a different film entirely. And a lot more fun.
Not, apparently, Black Panther 2 Electric Boogalaoo but a different film entirely. And a lot more fun.
The Rock makes The Eternals but funnier and faster, at times, which is something I guess.
The Rock makes The Eternals but funnier and faster, at times, which is something I guess.
Which indeed it is, featuring underappreciated efforts from Suns Signature, Indio Sparke, Chief Keef, Spiritualised, Tomu DJ, Just Mustard and The Afghan Whigs.
Which indeed it is, featuring underappreciated efforts from Suns Signature, Indio Sparke, Chief Keef, Spiritualised, Tomu DJ, Just Mustard and The Afghan Whigs.
Exactly what it says on the tin. Plus lambasting ever redundant critics year end lists of films no one has seen.
Exactly what it says on the tin. Plus lambasting ever redundant critics year end lists of films no one has seen.
Ahhh, Neil, my old friend - you get the last album review of the year and what an intriguing one it is, amongst the EIGHT Neil Young albums to come out in 2022. Compared to the good if not outstanding, Barn, released at the start of the year (also with Crazy Horse) what stands this out most from a serviceable recent run of new albums, is a ton of personality. It's all done with such wild abandon, with zero concessions to anyone, it almost feels related to something like, Tonight's The Night.
Ahhh, Neil, my old friend - you get the last album review of the year and what an intriguing one it is, amongst the EIGHT Neil Young albums to come out in 2022. Compared to the good if not outstanding, Barn, released at the start of the year (also with Crazy Horse) what stands this out most from a serviceable recent run of new albums, is a ton of personality. It's all done with such wild abandon, with zero concessions to anyone, it almost feels related to something like, Tonight's The Night.
The second album, after the spectral wonder of her first, Echo, has been damned with faint praise but for me is continually elevated by the sheer number of immediate choruses and melodies, outweighing it not being experimental or varied enough. Here the astonishing voice, married to a raft of really big tunes makes it one of the albums of the year for me.
The second album, after the spectral wonder of her first, Echo, has been damned with faint praise but for me is continually elevated by the sheer number of immediate choruses and melodies, outweighing it not being experimental or varied enough. Here the astonishing voice, married to a raft of really big tunes makes it one of the albums of the year for me.
The most misunderstood film of the year. David O. Russell certainly had a massive critical comedown - after the likes of Silver Linings Playbook and American Hustle - with this star studded, borderline historical farce. Everything about this film is slightly off kilter and I can appreciate why it bombed, but after a while of thinking it was indeed terrible, kinda adjusting to its hyper-weird language. It's one of the most bizarre films to have come out of a major studio and almost everything about it is strange. A possible future cult film I actually liked.
The most misunderstood film of the year. David O. Russell certainly had a massive critical comedown - after the likes of Silver Linings Playbook and American Hustle - with this star studded, borderline historical farce. Everything about this film is slightly off kilter and I can appreciate why it bombed, but after a while of thinking it was indeed terrible, kinda adjusting to its hyper-weird language. It's one of the most bizarre films to have come out of a major studio and almost everything about it is strange. A possible future cult film I actually liked.
The Colombia-via-Berlin artists latest certain recalls NIcholas Jaar's Space Is Only Noise period and unsurprisingly as they've released on his label - but more so of a connection with Rosalia. It's like the alpha to Rosalia's much more art-house, MOTOMAI, omega.
The Colombia-via-Berlin artists latest certain recalls NIcholas Jaar's Space Is Only Noise period and unsurprisingly as they've released on his label - but more so of a connection with Rosalia. It's like the alpha to Rosalia's much more art-house, MOTOMAI, omega.
Canada's Dan Snaith hits his most prominent album that isn't under the name Caribou, with this DJ mixtape in fell, collection of more up tempo, club-oriented tracks, akin to Nicholas Jaar doing his AAL project. Catnip (for me) references, early 90s techno, Orbital, UK garage, Four Tet, filter disco, and on... for a nearly (but not 100%) perfectly curated set.
Canada's Dan Snaith hits his most prominent album that isn't under the name Caribou, with this DJ mixtape in fell, collection of more up tempo, club-oriented tracks, akin to Nicholas Jaar doing his AAL project. Catnip (for me) references, early 90s techno, Orbital, UK garage, Four Tet, filter disco, and on... for a nearly (but not 100%) perfectly curated set.
Jamie Foxx is good value in a colorful but only intermittently entertaining or funny vampire romp, that feels more like a zombie flick and is very surface level, but just about gets over the line.
Jamie Foxx is good value in a colorful but only intermittently entertaining or funny vampire romp, that feels more like a zombie flick and is very surface level, but just about gets over the line.
One of musics most indefatigable voices has had a dream run since he punctuated his long recording career by releasing music under his own name. Even against that 'Reality" is a high water mark. Focused, upright, compelling, consistent, well curated and with several of the best things he's every done. Add a fully developed sweet of songs, with a dynamic sound stage (often veering into the avant-garde and atonal) and great lyrics throughout, one of his very finest.
One of musics most indefatigable voices has had a dream run since he punctuated his long recording career by releasing music under his own name. Even against that 'Reality" is a high water mark. Focused, upright, compelling, consistent, well curated and with several of the best things he's every done. Add a fully developed sweet of songs, with a dynamic sound stage (often veering into the avant-garde and atonal) and great lyrics throughout, one of his very finest.
One of the most acclaimed low-budget cross-over horror successes of the year, but having watched it near back to back with, Smile, I kinda feel the reviews for both films should be reversed. Admittedly this film is much more original and has much stronger themes, but where as Smile is relentless, scary and dread-fueled, Barbarian has a LOT of down time and a lot of dead ends. Much of the story and characters seem in service to the themes, there wasn't much dread and few scares. I appreciated its gonzo final third and imaginative, jarring shifts but felt it was way less than the sum of its parts.
One of the most acclaimed low-budget cross-over horror successes of the year, but having watched it near back to back with, Smile, I kinda feel the reviews for both films should be reversed. Admittedly this film is much more original and has much stronger themes, but where as Smile is relentless, scary and dread-fueled, Barbarian has a LOT of down time and a lot of dead ends. Much of the story and characters seem in service to the themes, there wasn't much dread and few scares. I appreciated its gonzo final third and imaginative, jarring shifts but felt it was way less than the sum of its parts.
The ninth album from Pennsylvania's Alex G contains compelling and immediate melodies and emotional, personal lyircs SOME of the time. It can also drift a bit.
The ninth album from Pennsylvania's Alex G contains compelling and immediate melodies and emotional, personal lyircs SOME of the time. It can also drift a bit.
The latest in the long line of low budget horrors, that cross over to major box office, is a far classier affair than expected, with a superb lead performance by Sosie Bacon. Like the movie, she is at her best credibility descending in psychosis in this supernatural chiller. A brilliant sound-stage and music and an expert hand at the overused trope of jump scares rounds out a near excellent film.
The latest in the long line of low budget horrors, that cross over to major box office, is a far classier affair than expected, with a superb lead performance by Sosie Bacon. Like the movie, she is at her best credibility descending in psychosis in this supernatural chiller. A brilliant sound-stage and music and an expert hand at the overused trope of jump scares rounds out a near excellent film.
Last review for a bit, and slightly less than the universal acclaim - though still very strong and often thrilling for the long awaited UK duo's debut.
Last review for a bit, and slightly less than the universal acclaim - though still very strong and often thrilling for the long awaited UK duo's debut.
I'm not sure why the stunning new album from veteran, Beth Orton isn't being called post rock, as it fits firmly into the heritage of Talk Talk's, Spirit of Eden and Laughing Stock.
I'm not sure why the stunning new album from veteran, Beth Orton isn't being called post rock, as it fits firmly into the heritage of Talk Talk's, Spirit of Eden and Laughing Stock.
My favorite rapper eschews his famed one-producer projects with few guests to go for the multi-guest, multi-producer angle most others can only do. It's never going to be bad, though I wished he'd pushed even further and sadly it's only the old head guest spots that are on par with the MVP himself.
My favorite rapper eschews his famed one-producer projects with few guests to go for the multi-guest, multi-producer angle most others can only do. It's never going to be bad, though I wished he'd pushed even further and sadly it's only the old head guest spots that are on par with the MVP himself.
Well, well, well. It's been a couple of years since we last found ourselves at the zero out of ten saloon. Thank me for watching the Idris Elba lion film, so you never have to. Less Jaws, than Jaws 4 - only without the laughter and entertainment. A whopping big fat zero for no merit in any direction of film-making. The Megan Fox lion film was MUCH better.
Well, well, well. It's been a couple of years since we last found ourselves at the zero out of ten saloon. Thank me for watching the Idris Elba lion film, so you never have to. Less Jaws, than Jaws 4 - only without the laughter and entertainment. A whopping big fat zero for no merit in any direction of film-making. The Megan Fox lion film was MUCH better.
Brad Pitt brings a fair bit of comedic charm to a rote action film that aims at a very low hill and struggles likes a guinea pig to get over it.
Brad Pitt brings a fair bit of comedic charm to a rote action film that aims at a very low hill and struggles likes a guinea pig to get over it.
Not really, unless you count her winning 26% of the vote, in a country with 65 governments since WW2 - closer to one a year than two - where 74% of Italian voters didn't vote for her and where AT LEAST three parties are needed to form government at any one time. Especially so when you factor in that Italians voted for economic reasons above all else, including right wing populism - with the blow back from the unending war in Ukraine causing parts of the country to register 20% plus now living in poverty. But that does not mean it should be ignored, fascism rarely rises with majority support and in both Sweden and Italy, immigration is a problem the left and centre ignore or delegitimize at their peril.
Not really, unless you count her winning 26% of the vote, in a country with 65 governments since WW2 - closer to one a year than two - where 74% of Italian voters didn't vote for her and where AT LEAST three parties are needed to form government at any one time. Especially so when you factor in that Italians voted for economic reasons above all else, including right wing populism - with the blow back from the unending war in Ukraine causing parts of the country to register 20% plus now living in poverty. But that does not mean it should be ignored, fascism rarely rises with majority support and in both Sweden and Italy, immigration is a problem the left and centre ignore or delegitimize at their peril.
Greg Dulli's 90's stalwarts were one of the greatest alt rock acts of arguably the greatest decade in American alt rock, with a run of albums that rival anyone and in 1965 (a straight 10/10) still being one of my favorite go to albums. Since their 2010's rebirth, they've hardly been slouches, but this third album is their finest document since their heyday. In a terrific year for indie and alt guitar music - one of the best.
Greg Dulli's 90's stalwarts were one of the greatest alt rock acts of arguably the greatest decade in American alt rock, with a run of albums that rival anyone and in 1965 (a straight 10/10) still being one of my favorite go to albums. Since their 2010's rebirth, they've hardly been slouches, but this third album is their finest document since their heyday. In a terrific year for indie and alt guitar music - one of the best.
Happily, the UK's Kevin Martin (aka The Bug, King Midas Sound and many others) continues to double down on the monolithic intensity of 2007 landmark classic, London Zoo, as he did with my album of the year from 2021, Fire. This is far more an experiment than an full album though, using the same base track with multiple vocalists. A fine concept but the vocalists themselves are rarely interesting enough to sell it.
Happily, the UK's Kevin Martin (aka The Bug, King Midas Sound and many others) continues to double down on the monolithic intensity of 2007 landmark classic, London Zoo, as he did with my album of the year from 2021, Fire. This is far more an experiment than an full album though, using the same base track with multiple vocalists. A fine concept but the vocalists themselves are rarely interesting enough to sell it.
As a fan of the long running UK electronic pop since the start, like many fans I suspect, I expect each new album to garner a couple of great new tracks to the list, whilst being a little too middle of the road to be memorable a year later. That's double the case here- the opening four tracks are the most dynamic and exciting a run the band has had since their probable high point, The Warning, after that however it's a law of diminishing returns.
As a fan of the long running UK electronic pop since the start, like many fans I suspect, I expect each new album to garner a couple of great new tracks to the list, whilst being a little too middle of the road to be memorable a year later. That's double the case here- the opening four tracks are the most dynamic and exciting a run the band has had since their probable high point, The Warning, after that however it's a law of diminishing returns.
The second album from the California based electronic artist, eschews the abrasive freneticism inherent in Chigao's Footwork music scene, for something melodic, chilled and almost ambient. Well sequenced, poised, relaxing and subtle, one of the most attractive electronic releases of the year.
The second album from the California based electronic artist, eschews the abrasive freneticism inherent in Chigao's Footwork music scene, for something melodic, chilled and almost ambient. Well sequenced, poised, relaxing and subtle, one of the most attractive electronic releases of the year.
40% on Rotten Tomatoes? Now way is that fair for this comic book/super-hero-hiding-in-plain-sight (see Unbreakable) Stallone vehicle. Its screenplay/basic story maybe as rote as it gets but we get a strong director, a top tier soundtrack, great dialogue and near the same visuals. Plus Stallone is superb, not just phoning it in and the hard edge totally belies its PG-13 rating. In fact pretty much everything bar a hackneyed basic story (with an admittedly strong twist) is very good.
40% on Rotten Tomatoes? Now way is that fair for this comic book/super-hero-hiding-in-plain-sight (see Unbreakable) Stallone vehicle. Its screenplay/basic story maybe as rote as it gets but we get a strong director, a top tier soundtrack, great dialogue and near the same visuals. Plus Stallone is superb, not just phoning it in and the hard edge totally belies its PG-13 rating. In fact pretty much everything bar a hackneyed basic story (with an admittedly strong twist) is very good.
After reading a few reviews of this cross over indie success - about two friends stuck 2,000 ft up a tower, I have to disagree with most of the criticism. I didn't find it over reliant on hanging off things, too long or injected with melodrama. For the most part this "climbing-horror" plays out like Waiting for Godot in the sky, has a screenplay that builds pretty expertly (rushed end aside) and when the melodrama comes, its given short shift. Fall has enough stare-through-your-fingers height scares, but crucially not too much.two pretty great leads, a reliance on script, is well paced and a stunning visual (symbolic?) location. Top stuff.
After reading a few reviews of this cross over indie success - about two friends stuck 2,000 ft up a tower, I have to disagree with most of the criticism. I didn't find it over reliant on hanging off things, too long or injected with melodrama. For the most part this "climbing-horror" plays out like Waiting for Godot in the sky, has a screenplay that builds pretty expertly (rushed end aside) and when the melodrama comes, its given short shift. Fall has enough stare-through-your-fingers height scares, but crucially not too much.two pretty great leads, a reliance on script, is well paced and a stunning visual (symbolic?) location. Top stuff.
After trashing the esteemed Baz Luhrmann's filmography for years, the for someone reason timely biopic of Elvis, is the first time this most singular of auteurs has effectively controlled his uniquely unwieldy talents across a whole movie. It maybe surface level noise but it's also an incredible work or art and is an absolute pinnacle of film-making craft.
After trashing the esteemed Baz Luhrmann's filmography for years, the for someone reason timely biopic of Elvis, is the first time this most singular of auteurs has effectively controlled his uniquely unwieldy talents across a whole movie. It maybe surface level noise but it's also an incredible work or art and is an absolute pinnacle of film-making craft.
A belated review of the supernova success of the Top Gun sequel, helmed by Tom Cruise, with his cockiness nowhere to be found and replaced by his most likeable and humble turn, it does exactly what it says on the tin.
A belated review of the supernova success of the Top Gun sequel, helmed by Tom Cruise, with his cockiness nowhere to be found and replaced by his most likeable and humble turn, it does exactly what it says on the tin.
I often think the parable of the emperor's new clothes is really about movie and music critics, who are either cowards following each other blindly or greet anything they don't understand by ascribing meaning to it, lest they look stupid. That's the only way I could understand some of the stellar reviews wonder-director, Jordan Peele's worst film by miles, is getting. Trust me - it's flat, repetitive, boring, devoid of meaning, with unwritten characters and a pointlessly bolted on side story that wipes the floor with the main film.
I often think the parable of the emperor's new clothes is really about movie and music critics, who are either cowards following each other blindly or greet anything they don't understand by ascribing meaning to it, lest they look stupid. That's the only way I could understand some of the stellar reviews wonder-director, Jordan Peele's worst film by miles, is getting. Trust me - it's flat, repetitive, boring, devoid of meaning, with unwritten characters and a pointlessly bolted on side story that wipes the floor with the main film.
It wouldn't be a weekday if Neil Young wasn't releasing an album. If his insanely prolific archive series has tiers of interest - from completests only fair to previously unreleased treasures of gold, this sits almost uniquely in the top pile. Not in anyway fascinating by the standards of a long ditched, never released classic album, it's a simple live set with his, ahem, Crazy Horse-lite band of much younger players, The Promise of the Real. But what elevates this to the heavens, is that its from a 2019 tour in honor of his late manager a close friend of 50 years, Elliot Roberts, so for this most cantankerous and uncommercial of artists, we get a tracklist of 'greatest hits' and "golden oldies", nothing after 1995, the kind of thing he never does. Putting it immediately alongside the iconic live sets, Weld and Live Rust. The set list alone will blow any Neil Young tragic's mind but almost uniquely in his catalogue, this one expertly blends gentle country laments, country rock and full blown guitar feedback blitzkriegs into one enthusiastic, compelling whole.
It wouldn't be a weekday if Neil Young wasn't releasing an album. If his insanely prolific archive series has tiers of interest - from completests only fair to previously unreleased treasures of gold, this sits almost uniquely in the top pile. Not in anyway fascinating by the standards of a long ditched, never released classic album, it's a simple live set with his, ahem, Crazy Horse-lite band of much younger players, The Promise of the Real. But what elevates this to the heavens, is that its from a 2019 tour in honor of his late manager a close friend of 50 years, Elliot Roberts, so for this most cantankerous and uncommercial of artists, we get a tracklist of 'greatest hits' and "golden oldies", nothing after 1995, the kind of thing he never does. Putting it immediately alongside the iconic live sets, Weld and Live Rust. The set list alone will blow any Neil Young tragic's mind but almost uniquely in his catalogue, this one expertly blends gentle country laments, country rock and full blown guitar feedback blitzkriegs into one enthusiastic, compelling whole.
A musical collision between the Spaceman 3 legend, Sonic Boom, aka Peter Kember (getting everywhere of late) and his close friend and Animal Collective MVP, Panda Bear, aka Noah Lennox, would seem the years most tantilising collaboration. However this could not be further from a marriage between Lennox's, Person Pitch and the totally under appreciated recent Kember album, All Things Being Equal if it tried. In fact it maybe the most inconsequential album either artist has been associated with.
A musical collision between the Spaceman 3 legend, Sonic Boom, aka Peter Kember (getting everywhere of late) and his close friend and Animal Collective MVP, Panda Bear, aka Noah Lennox, would seem the years most tantilising collaboration. However this could not be further from a marriage between Lennox's, Person Pitch and the totally under appreciated recent Kember album, All Things Being Equal if it tried. In fact it maybe the most inconsequential album either artist has been associated with.
Normally one noise or hardcore act will breakthrough the walls of their genre each year, but with Soul Glo and now this Oklahoma based sludge metal band, dropping two of the years most exiting debuts, that looks like being two. This time keeping the politicised nature of the former band's music but in an even more direct an honest form on the anti-homelessness tirade, Why? A terrific, noisy and timely scream into the void.
Normally one noise or hardcore act will breakthrough the walls of their genre each year, but with Soul Glo and now this Oklahoma based sludge metal band, dropping two of the years most exiting debuts, that looks like being two. This time keeping the politicised nature of the former band's music but in an even more direct an honest form on the anti-homelessness tirade, Why? A terrific, noisy and timely scream into the void.
I'm latently a big believer that the Predator series is one of the most underappreciated of franchises, but Prey recognises a complete rebirth (after the undervalued Shane Black attempt recently). Instantly the paradigm of dumping the predator in different periods of history has proven a winning move. I had looked up who the spectacularly named Amber Midthunder was in three previous low rent (ish) films, so was not surprised by her winning turn here, I was surprised by this turning into Predator vs The Revenant! And by how amazing it is, from nowhere, one of the films of the year.
I'm latently a big believer that the Predator series is one of the most underappreciated of franchises, but Prey recognises a complete rebirth (after the undervalued Shane Black attempt recently). Instantly the paradigm of dumping the predator in different periods of history has proven a winning move. I had looked up who the spectacularly named Amber Midthunder was in three previous low rent (ish) films, so was not surprised by her winning turn here, I was surprised by this turning into Predator vs The Revenant! And by how amazing it is, from nowhere, one of the films of the year.
The most baffling Marvel universe film yet and a massive signifier of just how badly the wheels have fallen off after Endgame. Now way in the past would the first half of this film have ever been allowed, and the light seems to have slightly dimmed on wonder director, Taika Waititi, after the roaring success of Thor Ragnorak. It's like there is no quality control at all anymore and no one is at the helm. The first half maybe the worst of any Marvel film, its grating, Benny Hill like comedic tone (and completely misguided narration from the director himself) at incongruous odds with the story arcs of Christian Bale and Natalie Portman, plus no one wanted dad-bod Thor at this point. The vastly superior second half, resets everything, and feels like an entirely different director took over.
The most baffling Marvel universe film yet and a massive signifier of just how badly the wheels have fallen off after Endgame. Now way in the past would the first half of this film have ever been allowed, and the light seems to have slightly dimmed on wonder director, Taika Waititi, after the roaring success of Thor Ragnorak. It's like there is no quality control at all anymore and no one is at the helm. The first half maybe the worst of any Marvel film, its grating, Benny Hill like comedic tone (and completely misguided narration from the director himself) at incongruous odds with the story arcs of Christian Bale and Natalie Portman, plus no one wanted dad-bod Thor at this point. The vastly superior second half, resets everything, and feels like an entirely different director took over.
Arguably the king pins of the golden rebirth of British indie guitar music, alongside the likes of Black Country, New Road, Squid and Working Men's Club, return for a third album, and again seem like a group who play tennis upside down because they were bored kids not being challenged. Despite initial misgivings about them being too noisy or too frenetic here - there are plenty of oasis of calm, and it maybe their best yet.
Arguably the king pins of the golden rebirth of British indie guitar music, alongside the likes of Black Country, New Road, Squid and Working Men's Club, return for a third album, and again seem like a group who play tennis upside down because they were bored kids not being challenged. Despite initial misgivings about them being too noisy or too frenetic here - there are plenty of oasis of calm, and it maybe their best yet.
The northern English band, one of the guiding light of the golden new wave of British indie, return with a second album. Though still a fine and cohesive record, it perhaps doesn't reach the thrilling, lofty, dynamic heights of either their debut or recent records by their peers.
The northern English band, one of the guiding light of the golden new wave of British indie, return with a second album. Though still a fine and cohesive record, it perhaps doesn't reach the thrilling, lofty, dynamic heights of either their debut or recent records by their peers.
Elizabeth Fraser is the greatest British indie singer of all time and the most beautifully expressive British female vocalist this side of Kate Bush, in fact she's in a tiny peer group with Bush and Bjork. She has chosen now, at this darkest of hours to return to grace us with her totally undimmed golden voice. With her partner Damon Reece, they've sculpted a small album of infinite beauty and star spun wonder. Like Galadriel returned from the West to save us. And it really makes you talk that wanky.
Elizabeth Fraser is the greatest British indie singer of all time and the most beautifully expressive British female vocalist this side of Kate Bush, in fact she's in a tiny peer group with Bush and Bjork. She has chosen now, at this darkest of hours to return to grace us with her totally undimmed golden voice. With her partner Damon Reece, they've sculpted a small album of infinite beauty and star spun wonder. Like Galadriel returned from the West to save us. And it really makes you talk that wanky.
Once the home of some of the best and most artistic films each year, Netflix has sunk firmly into an annoying paradigm - throw 100-200 million dollars at a cool action project but give it a terrible screenplay and poor director. Here at least the presence of the Russo brothers would appear to allay the latter but to no effect on the former.
Once the home of some of the best and most artistic films each year, Netflix has sunk firmly into an annoying paradigm - throw 100-200 million dollars at a cool action project but give it a terrible screenplay and poor director. Here at least the presence of the Russo brothers would appear to allay the latter but to no effect on the former.
No, absolutely not. I have a lot of problems with modern activism and its focus on small things but the rally to only have an actor play a role to which they are assigned is simply upside down, wrong head and self destructive. Equality is not only a trans, gay, disabled or ethnic minority being able to play those roles, its trans, gay, disabled or ethnic minority actors having equal opportunity to play any role.
No, absolutely not. I have a lot of problems with modern activism and its focus on small things but the rally to only have an actor play a role to which they are assigned is simply upside down, wrong head and self destructive. Equality is not only a trans, gay, disabled or ethnic minority being able to play those roles, its trans, gay, disabled or ethnic minority actors having equal opportunity to play any role.
Perhaps no-one deserves the moniker of post Kubrick auteur than Canadian director, David Cronenberg, who has plowed his own singular vision, without bending to any outside will, for decades. His entire body of work is surprisingly vast and full and his latest plays like a greatest hits riff on it all - as denoted by reusing a film title and re-writing a story he never completed, including his first return to the body horror that made him this century. Though not quite the equal of the films I recognized here - the surgery = sex of Dead Ringers, the body mangling of Crash, the dystopian underground secret world of Videodrome, even Eastern Promises gets a nod - it's still among the best and most interesting films this year. Long time compatriot Viggo Mortensen cuts a bizarrely compelling Hunchback of Notre Dame via Aragorn character and two actresses I've often criticised shine. Lea Seydoux has never been better and it what universe is it even possible that Kristen Stewart 'lights up' the screen?!
Perhaps no-one deserves the moniker of post Kubrick auteur than Canadian director, David Cronenberg, who has plowed his own singular vision, without bending to any outside will, for decades. His entire body of work is surprisingly vast and full and his latest plays like a greatest hits riff on it all - as denoted by reusing a film title and re-writing a story he never completed, including his first return to the body horror that made him this century. Though not quite the equal of the films I recognized here - the surgery = sex of Dead Ringers, the body mangling of Crash, the dystopian underground secret world of Videodrome, even Eastern Promises gets a nod - it's still among the best and most interesting films this year. Long time compatriot Viggo Mortensen cuts a bizarrely compelling Hunchback of Notre Dame via Aragorn character and two actresses I've often criticised shine. Lea Seydoux has never been better and it what universe is it even possible that Kristen Stewart 'lights up' the screen?!
In one of the most prolific archival releases from any artist in history, a genuine previously canned Neil Young and Crazy Horse album would appear to be one of the top tier items to have come out. This is tempered by the fact the album was virtually re-recorded with Booker T and the MG's as Are You Passionate, never an album I particularly liked. But the low key stakes are perhaps the album's greatest strength, nothing is a dud and tracks like Going Home and Boom Boom Boom are long form burn barner's worthy of Crazy Horse cannon.
In one of the most prolific archival releases from any artist in history, a genuine previously canned Neil Young and Crazy Horse album would appear to be one of the top tier items to have come out. This is tempered by the fact the album was virtually re-recorded with Booker T and the MG's as Are You Passionate, never an album I particularly liked. But the low key stakes are perhaps the album's greatest strength, nothing is a dud and tracks like Going Home and Boom Boom Boom are long form burn barner's worthy of Crazy Horse cannon.
Just clearing a couple of minor releases before a run on big albums. For me the Buffalo NY State Griselda records crew of Westside Gunn, Benny the Butcher, Conway the Machine and (sort of) Mach Hommy is the most interesting thing happening in American rap in some fairly tepid recent years. This low stakes, 2 day recorded mixtape is entirely amiable in no bad way.
Just clearing a couple of minor releases before a run on big albums. For me the Buffalo NY State Griselda records crew of Westside Gunn, Benny the Butcher, Conway the Machine and (sort of) Mach Hommy is the most interesting thing happening in American rap in some fairly tepid recent years. This low stakes, 2 day recorded mixtape is entirely amiable in no bad way.
After trashing this franchise as one of the worst in film history, where every subsequent cash in release was dire, it was no surprise to see this "middle trilogy (probably)" get the worst reviews of all, and even called one of the worst blockbusters of recent years, HOWEVER. Last time out I gave a near respectable pass to Fallen Kingdom - liking everything up to the volcano exploding, before it, yet again, descended into a predictable Velociraptor/T-Rex love in. But this, shockingly I actually liked. I appreciated its wider international scope of locations, the bigger human and dinosaur cast, including winning returns for the original team and some timely themes, even some profound ones. Am I the only one who enjoyed this one?!
After trashing this franchise as one of the worst in film history, where every subsequent cash in release was dire, it was no surprise to see this "middle trilogy (probably)" get the worst reviews of all, and even called one of the worst blockbusters of recent years, HOWEVER. Last time out I gave a near respectable pass to Fallen Kingdom - liking everything up to the volcano exploding, before it, yet again, descended into a predictable Velociraptor/T-Rex love in. But this, shockingly I actually liked. I appreciated its wider international scope of locations, the bigger human and dinosaur cast, including winning returns for the original team and some timely themes, even some profound ones. Am I the only one who enjoyed this one?!
The Marvel Universe-Tree of Life-Cloud Atlas-Ingmar Bergman-Being John Malkovich-Brazil crossover you never knew you needed, by the A24/Russo brothers collab the world needed. Second time directors, Daniel Kwan and Daniel Scheinert have created one of the century's most imaginative and wild films, that pretends to be a comedic superhero film but is a film about existential crisis - how to deal with the suicidal depressing realisation that life, no life, has any meaning at all. This is everything Dr. Strange 2 was not and even expands what is cinema is capable of. In this multiverse, even two inanimate rocks made be both laugh and cry. Everything is stupendous all of the time. The three leads are outstanding - 59 year old legend Michelle Yeoh, joins the women over 40 action hero club but so much more. Her career best needs to win best actress Oscar or it's a farce. I say in the review no action/fantasy/superhero actor has ever won an acting Oscar in the post LOTR era before, but forgot about the Joker's! It also needs to be nominated for best director, picture, screenplay, soundtrack and cinematography. After The Northman got 9.5/10 and my film of the year last time out, this joins it - but I nearly went full 10.
The Marvel Universe-Tree of Life-Cloud Atlas-Ingmar Bergman-Being John Malkovich-Brazil crossover you never knew you needed, by the A24/Russo brothers collab the world needed. Second time directors, Daniel Kwan and Daniel Scheinert have created one of the century's most imaginative and wild films, that pretends to be a comedic superhero film but is a film about existential crisis - how to deal with the suicidal depressing realisation that life, no life, has any meaning at all. This is everything Dr. Strange 2 was not and even expands what is cinema is capable of. In this multiverse, even two inanimate rocks made be both laugh and cry. Everything is stupendous all of the time. The three leads are outstanding - 59 year old legend Michelle Yeoh, joins the women over 40 action hero club but so much more. Her career best needs to win best actress Oscar or it's a farce. I say in the review no action/fantasy/superhero actor has ever won an acting Oscar in the post LOTR era before, but forgot about the Joker's! It also needs to be nominated for best director, picture, screenplay, soundtrack and cinematography. After The Northman got 9.5/10 and my film of the year last time out, this joins it - but I nearly went full 10.
For fans of utterly generic CIA/Terror B-flicks, this is a far better movie than its paltry 29% on Rotten Tomatoes would suggest. I'm a huge fan of the incredible amount of "women over 40" being pushed as action hero's in recent years (there must've been four or five female ex-assassin films last year alone) and it's great to see Michelle Monaghan - so often used as the perfect wife or girlfriend for a male lead in similar flicks - take the lead role herself. Stand out though is undoubtedly Jason Clarke as a living, breathing terminator - back in the torture rooms of Zero Dark Thirty but on the opposite side of the fence. It's well made fare and a pass for fans of such.
For fans of utterly generic CIA/Terror B-flicks, this is a far better movie than its paltry 29% on Rotten Tomatoes would suggest. I'm a huge fan of the incredible amount of "women over 40" being pushed as action hero's in recent years (there must've been four or five female ex-assassin films last year alone) and it's great to see Michelle Monaghan - so often used as the perfect wife or girlfriend for a male lead in similar flicks - take the lead role herself. Stand out though is undoubtedly Jason Clarke as a living, breathing terminator - back in the torture rooms of Zero Dark Thirty but on the opposite side of the fence. It's well made fare and a pass for fans of such.
The much heralded Irish "Shoe-gazers" second album proves it's the genre that will never die and after Black Country, New Road probably my second favorite "Indie" album of the year. Built on a nightmarish fever dream sound-stage of squalling guitars, Suicide/Joy Division throbbing bass, break-beat drumming and the dead eyed, wide mouthed realm of terror that is Katie Bell, one of the most exciting indie singers in years.
The much heralded Irish "Shoe-gazers" second album proves it's the genre that will never die and after Black Country, New Road probably my second favorite "Indie" album of the year. Built on a nightmarish fever dream sound-stage of squalling guitars, Suicide/Joy Division throbbing bass, break-beat drumming and the dead eyed, wide mouthed realm of terror that is Katie Bell, one of the most exciting indie singers in years.
With already one of the most impeccable discographies over the last decade, Mike Hadreas' latest is a wild left turn into the avant-garde. Originally music for a modern dance piece, here assembled as an album, gone are the front and center vocals and melodies, replaced by in turns ambient, left field and industrial passages - that fair better on a compelling second half.
With already one of the most impeccable discographies over the last decade, Mike Hadreas' latest is a wild left turn into the avant-garde. Originally music for a modern dance piece, here assembled as an album, gone are the front and center vocals and melodies, replaced by in turns ambient, left field and industrial passages - that fair better on a compelling second half.
Already established as one of the modern era's great singer song writers, Olsen goes pretty much full (alt-ish) country on her sixth album, responding to a wild few years of coming out as queer and her parents passing. Another fine record but perhaps a little blander and a little less interesting on the musicality and universality of the first half, which snaps far more into focus on the more painful and personal later tracks.
Already established as one of the modern era's great singer song writers, Olsen goes pretty much full (alt-ish) country on her sixth album, responding to a wild few years of coming out as queer and her parents passing. Another fine record but perhaps a little blander and a little less interesting on the musicality and universality of the first half, which snaps far more into focus on the more painful and personal later tracks.
A look back at esteemed film critic and director Alex Cox's most famous hour (after Repo Man perhaps) reveals a first half so camply wild and cartoonish it could be from Baz Luhrmann himself. A second half that leaves the Sex Pistols behind and focuses on punk's own Romeo and Juliet, is a more thoughtful, sad and tragic affair - that goes a long way to humanising a potentially obnoxious couple. Both an early Gary Oldman and Chloe Webb are outstanding in the titular roles. The cinematography of a mid eighties New York hellscape was so good I looked up who did it and was fairly shocked to find the one and only Roger Deakins!
A look back at esteemed film critic and director Alex Cox's most famous hour (after Repo Man perhaps) reveals a first half so camply wild and cartoonish it could be from Baz Luhrmann himself. A second half that leaves the Sex Pistols behind and focuses on punk's own Romeo and Juliet, is a more thoughtful, sad and tragic affair - that goes a long way to humanising a potentially obnoxious couple. Both an early Gary Oldman and Chloe Webb are outstanding in the titular roles. The cinematography of a mid eighties New York hellscape was so good I looked up who did it and was fairly shocked to find the one and only Roger Deakins!
Did I like it? You bet I bloody did! My favorite film of the year so far, a whopping 9.5/10 and positions Roger Eggers (The Witch, The Lighthouse) as arguably the greatest current director in the world. The tale of Amleth (Hamlet), the Danish prince, with a father murdered by his uncle is arguably the most famous Nordic tale of all, due to a certain British retelling of the story. But everything shines here, the cast, the direction, the screenplay, the music and the cinematography are all top notch - it's even riveting. The William Shakespeare/Lord of the Rings crossover you never knew you needed and far more the art-house Eggers than I'd thought possible.
Did I like it? You bet I bloody did! My favorite film of the year so far, a whopping 9.5/10 and positions Roger Eggers (The Witch, The Lighthouse) as arguably the greatest current director in the world. The tale of Amleth (Hamlet), the Danish prince, with a father murdered by his uncle is arguably the most famous Nordic tale of all, due to a certain British retelling of the story. But everything shines here, the cast, the direction, the screenplay, the music and the cinematography are all top notch - it's even riveting. The William Shakespeare/Lord of the Rings crossover you never knew you needed and far more the art-house Eggers than I'd thought possible.
It's Morbin time! fellow kids. Despite awful reviews, I didn't have a problem with this 300% on Rotten Tomatoes smash fail. I haven't been a fan of Jared Leto's jarring cameos in recent movie history, but he fares much better as a lead here, and both he and Matt Smith have, I think well developed and well acted characters, in a story with strong motivations. I've certainly seen worse from the Marvel stable and - shock horror - enjoyed it slightly more than The Batman.
It's Morbin time! fellow kids. Despite awful reviews, I didn't have a problem with this 300% on Rotten Tomatoes smash fail. I haven't been a fan of Jared Leto's jarring cameos in recent movie history, but he fares much better as a lead here, and both he and Matt Smith have, I think well developed and well acted characters, in a story with strong motivations. I've certainly seen worse from the Marvel stable and - shock horror - enjoyed it slightly more than The Batman.
As we continue to trawl the depths of remake and reboot - the unasked for return to a lesser Steven King novel and its even lesser film version, has been panned by critics. A whopping 11% Rotten Tomatoes. HOWEVER if you like the modern era's low key, low budget, homage to cult 70's/80's horror or Sci-fi movies with awesome soundtracks - by the very king of this himself, John Carpenter (if only he'd directed too!) I actually liked this, especially its off the leash final third.
As we continue to trawl the depths of remake and reboot - the unasked for return to a lesser Steven King novel and its even lesser film version, has been panned by critics. A whopping 11% Rotten Tomatoes. HOWEVER if you like the modern era's low key, low budget, homage to cult 70's/80's horror or Sci-fi movies with awesome soundtracks - by the very king of this himself, John Carpenter (if only he'd directed too!) I actually liked this, especially its off the leash final third.
The once universally loved wizarding world arrived at the third installment of this prequel to the Harry Potter franchise in much darker waters. The replacement of Johnny Depp and the equally large controversy surrounding JK Rowling. Both far more compelling than this unnecessary franchise (or lead character) has ever been. Despite the gay love story adding unexpected depth, there's little here to do than ponder what the purpose of any of this was.
The once universally loved wizarding world arrived at the third installment of this prequel to the Harry Potter franchise in much darker waters. The replacement of Johnny Depp and the equally large controversy surrounding JK Rowling. Both far more compelling than this unnecessary franchise (or lead character) has ever been. Despite the gay love story adding unexpected depth, there's little here to do than ponder what the purpose of any of this was.
Canada's indie royalty, Arcade Fire, have struggled this last decade to sustain the immortal high of their first three albums, their latest, WE, seems to want to hark back to that golden era. It almost does so successfully - at times. The first half less so, than a near faultless second, and Butler's lyrics are occasionally hello kids cringe, but there's a raft of compelling and soaring new songs here.
Canada's indie royalty, Arcade Fire, have struggled this last decade to sustain the immortal high of their first three albums, their latest, WE, seems to want to hark back to that golden era. It almost does so successfully - at times. The first half less so, than a near faultless second, and Butler's lyrics are occasionally hello kids cringe, but there's a raft of compelling and soaring new songs here.
Video game adaptions are a historic basket case for no real reason either, just hire some one to write a decent script and screenplay and the rest is already in place. This Mark Wahlberg/Tom Holland'er has neither and is possibly shallower than the games themselves but despite almost nothing to recommend it, I couldn't bring myself to hate it - mainly because it has a climactic battle of Spanish galleons jousting beneath giant helicopters.
Video game adaptions are a historic basket case for no real reason either, just hire some one to write a decent script and screenplay and the rest is already in place. This Mark Wahlberg/Tom Holland'er has neither and is possibly shallower than the games themselves but despite almost nothing to recommend it, I couldn't bring myself to hate it - mainly because it has a climactic battle of Spanish galleons jousting beneath giant helicopters.
Definitely the toughest gig for reviewers in the modern era, given his peerless history and the uncompromising difficultly of the double album offered here. Plenty that is amazing and also a fair bit that is not. Still a wildly impressive and artistic fulmination to the five chapter story arc began with Section.80. I'd go 8.5/9.5/9.5/7/7.5
Definitely the toughest gig for reviewers in the modern era, given his peerless history and the uncompromising difficultly of the double album offered here. Plenty that is amazing and also a fair bit that is not. Still a wildly impressive and artistic fulmination to the five chapter story arc began with Section.80. I'd go 8.5/9.5/9.5/7/7.5
The Puerto Rican superstar is probably the MVP of Latin music right now and at a time it has become the only ever serious rival to English language pop in history. Could well prove the Alpha to Rosalia's art house Omega - Motomami this year and is already the second ever non-English language number one Billboard album after... his last album. An often great double, showcasing a raft of styles that is definitely better in its second half.
The Puerto Rican superstar is probably the MVP of Latin music right now and at a time it has become the only ever serious rival to English language pop in history. Could well prove the Alpha to Rosalia's art house Omega - Motomami this year and is already the second ever non-English language number one Billboard album after... his last album. An often great double, showcasing a raft of styles that is definitely better in its second half.
Managing to occupy an incredibly narrow strip between Radiohead front man Thom Yorke's solo albums and the main band, whilst featuring fellow band alumni, Johnny Greenwood, wasn't an exciting prospect for me and pretty much Radiohead tbh. However, this was a much more thrilling and dynamic offering than expected. Offering some of the finest white funk this side of the immortal Krautrock legends Can and some of Yorke's most beautiful singing. Even if the dystopian lyrics were a bit slogany and the second half outweighed the first, it still would've made an excellent follow up to A Moon Shaped Pool - which it does I guess.
Managing to occupy an incredibly narrow strip between Radiohead front man Thom Yorke's solo albums and the main band, whilst featuring fellow band alumni, Johnny Greenwood, wasn't an exciting prospect for me and pretty much Radiohead tbh. However, this was a much more thrilling and dynamic offering than expected. Offering some of the finest white funk this side of the immortal Krautrock legends Can and some of Yorke's most beautiful singing. Even if the dystopian lyrics were a bit slogany and the second half outweighed the first, it still would've made an excellent follow up to A Moon Shaped Pool - which it does I guess.
Even though the rabid fan boys will never admit it, Endgame should've been the perfect ending is was and the quality has dropped off a cliff since. But apparently the Marvel Comic Universe will never stop until its stopped by force. This is one of the slightest and most pointless Marvel films yet, it doesn't even look that good, the only possible reason for coming is a superb Elizabeth Olsen - if only she'd played it like that in the main films - absolutely every thing else here is an instantly forgettable and aggravatingly cynical excuse for a movie.
Even though the rabid fan boys will never admit it, Endgame should've been the perfect ending is was and the quality has dropped off a cliff since. But apparently the Marvel Comic Universe will never stop until its stopped by force. This is one of the slightest and most pointless Marvel films yet, it doesn't even look that good, the only possible reason for coming is a superb Elizabeth Olsen - if only she'd played it like that in the main films - absolutely every thing else here is an instantly forgettable and aggravatingly cynical excuse for a movie.
Crucially closer to Romancing The Stone than Raiders of the Lost Ark, this is an un-challenging balm for troubled times. Sandra Bullock and Channing Tatum have the charisma and comic chops to carry the movie, even if the frequent flat spots stop it shy of greatness. It should be criminal, however, not to have had Brad Pitt in two thirds of the movie in arguably the cameo of the year (spin off!!!) and has Daniel Radcliff finally found his groove playing evil billionaires?!
Crucially closer to Romancing The Stone than Raiders of the Lost Ark, this is an un-challenging balm for troubled times. Sandra Bullock and Channing Tatum have the charisma and comic chops to carry the movie, even if the frequent flat spots stop it shy of greatness. It should be criminal, however, not to have had Brad Pitt in two thirds of the movie in arguably the cameo of the year (spin off!!!) and has Daniel Radcliff finally found his groove playing evil billionaires?!
Still pushing the line that his previous brotherly duo, Clipse's Hell Hath No Fury album is the centuries best rap record, the decade solo Pusha continues one of Hip-hops hot streaks, after the instant classic Daytona. Reuniting with both that record's producer Kanye West and that previous masterpieces producer, Pharrell Williams, for another thrilling ride of apex coke-rap.
Still pushing the line that his previous brotherly duo, Clipse's Hell Hath No Fury album is the centuries best rap record, the decade solo Pusha continues one of Hip-hops hot streaks, after the instant classic Daytona. Reuniting with both that record's producer Kanye West and that previous masterpieces producer, Pharrell Williams, for another thrilling ride of apex coke-rap.
Jason Pierce's longstanding coda to his previous band, Spacemen 3, have been ploughing the maximalist space rock field for decades now, and their high point, Ladies and Gentlemen We Are Floating in Space, is my second favorite album of all time. After the excellent and very underappreciated, And Nothing Hurt in 2018, Pierce has now opted for a full-on Phil Spector wall of sound assault, touching on most parts of the bands history, to mainly great effect.
Jason Pierce's longstanding coda to his previous band, Spacemen 3, have been ploughing the maximalist space rock field for decades now, and their high point, Ladies and Gentlemen We Are Floating in Space, is my second favorite album of all time. After the excellent and very underappreciated, And Nothing Hurt in 2018, Pierce has now opted for a full-on Phil Spector wall of sound assault, touching on most parts of the bands history, to mainly great effect.
Arguably the world's most important band, after the still largely anonymous London collective have now put out six near fantastic albums in only three years. But this one is a shocker, after five albums steeped in "black" music, whether that be retro, contemporary or future - they decided a classical album was the way to go. Even more surprising is how white it is - as least in its wholehearted embrace of a very European classical tradition of choral, brass and orchestral traditions. Beautiful paced, overlaying imaginative shifts to this paradigm at expertly placed spots - a triumph.
Arguably the world's most important band, after the still largely anonymous London collective have now put out six near fantastic albums in only three years. But this one is a shocker, after five albums steeped in "black" music, whether that be retro, contemporary or future - they decided a classical album was the way to go. Even more surprising is how white it is - as least in its wholehearted embrace of a very European classical tradition of choral, brass and orchestral traditions. Beautiful paced, overlaying imaginative shifts to this paradigm at expertly placed spots - a triumph.
Released to zero fanfare and tepid reviews - my most undervalued film so far this year, it's wonderful. Perhaps it is an ordinary spy thriller but that's just a framing device (like the beautifully shot and helmed dinner sequence) for what the film really is, a tragic love story. Chris Pine and Thandiwe Newton are sublime, subsumed with passion and regret, it's beautifully shot, sound-tracked and story-boarded - so the delicate pace drip feeds a continually changing and compelling world. The riveting story here isn't a who done it spy drama but the question that has defined each of the two leads lives, why did you break my heart? The answers are shattering.
Released to zero fanfare and tepid reviews - my most undervalued film so far this year, it's wonderful. Perhaps it is an ordinary spy thriller but that's just a framing device (like the beautifully shot and helmed dinner sequence) for what the film really is, a tragic love story. Chris Pine and Thandiwe Newton are sublime, subsumed with passion and regret, it's beautifully shot, sound-tracked and story-boarded - so the delicate pace drip feeds a continually changing and compelling world. The riveting story here isn't a who done it spy drama but the question that has defined each of the two leads lives, why did you break my heart? The answers are shattering.
I honestly try to give Michael Bay the benefit of the doubt every time. I figure the further we get from the Transformers era, the more we will get films like Pain and Gain, 13 Hours or even the better half of 6 Underground but alas, despite some of best reviews of his later career, Ambulance is a steaming pile of crap and the worst film I've seen so far this year. All his worst is on continual display - the world's most annoying headache inducing over-editing, the nausea inducing camera that cant stop swooping and spinning around and painfully thin not at all written characters with awful dialogue and poor, very poor performances. And sadly, incomprehensibly, the great Jake Gyllenhaal's worst performance and role ever.
I honestly try to give Michael Bay the benefit of the doubt every time. I figure the further we get from the Transformers era, the more we will get films like Pain and Gain, 13 Hours or even the better half of 6 Underground but alas, despite some of best reviews of his later career, Ambulance is a steaming pile of crap and the worst film I've seen so far this year. All his worst is on continual display - the world's most annoying headache inducing over-editing, the nausea inducing camera that cant stop swooping and spinning around and painfully thin not at all written characters with awful dialogue and poor, very poor performances. And sadly, incomprehensibly, the great Jake Gyllenhaal's worst performance and role ever.
We are living in the AGE OF CAGE and finally the world is waking up, surely we are close to a Keanufication of this living deity. This one is a real treat - arguably the most un-watched Martin Scorcese film since Goodfellas, his last with writer Paul Schrader (Taxi Driver/Raging Bull) and a link to the later man's recent First Reformed. It's also the only post 1980's art film Scorcese has made. Plus this heartbreaking look at the people who look after us, barely holding it together feels even more relevant in COVID times. A still underappreciated near masterpiece.
We are living in the AGE OF CAGE and finally the world is waking up, surely we are close to a Keanufication of this living deity. This one is a real treat - arguably the most un-watched Martin Scorcese film since Goodfellas, his last with writer Paul Schrader (Taxi Driver/Raging Bull) and a link to the later man's recent First Reformed. It's also the only post 1980's art film Scorcese has made. Plus this heartbreaking look at the people who look after us, barely holding it together feels even more relevant in COVID times. A still underappreciated near masterpiece.
The relentless recasting and rebooting of this character continues unabated, now completely ignoring the failed DCU universe - though it's serious and dark tone (a high point) make it more relatable to the Snyder Cut and The Joker than those films. In fact it rivals the Snyder Cut of Justice League as one of the best looking superhero films ever - without Christopher Nolan's reliance on massive scope, the cinematography is unexpectedly art-house, even recalling hyper-stylized films like Mandy at times, the sound-stage is nearly as good. The Agatha Twistie detective yarn that runs through the main part of the film is another high. HOWEVER, the writing of both dialogue and characters is really poor, leading to great actors, who've been better every other time I've seen them, wrestle with place holder roles. Given the writing track record of the uniformly excellent director Matt Reeves, it smacks of written by committee. Add to the that a main protagonist and labored final hour that are both completely inconsequential and it all adds up to a bit of a big nothing.
The relentless recasting and rebooting of this character continues unabated, now completely ignoring the failed DCU universe - though it's serious and dark tone (a high point) make it more relatable to the Snyder Cut and The Joker than those films. In fact it rivals the Snyder Cut of Justice League as one of the best looking superhero films ever - without Christopher Nolan's reliance on massive scope, the cinematography is unexpectedly art-house, even recalling hyper-stylized films like Mandy at times, the sound-stage is nearly as good. The Agatha Twistie detective yarn that runs through the main part of the film is another high. HOWEVER, the writing of both dialogue and characters is really poor, leading to great actors, who've been better every other time I've seen them, wrestle with place holder roles. Given the writing track record of the uniformly excellent director Matt Reeves, it smacks of written by committee. Add to the that a main protagonist and labored final hour that are both completely inconsequential and it all adds up to a bit of a big nothing.
I have been promoting the AGE OF CAGE for some years now and am pleased the Keanu-fication of the deity Nick Cage is nearly complete. Adding to his raft of actually great performances in actually great indie fair, is one of the most surprising films of recent years. Better to watch it thinking you are getting a John Wick rip off with a pig, than read up on just how far wrong that assertion is. Wonderful, in the truest sense of the word.
I have been promoting the AGE OF CAGE for some years now and am pleased the Keanu-fication of the deity Nick Cage is nearly complete. Adding to his raft of actually great performances in actually great indie fair, is one of the most surprising films of recent years. Better to watch it thinking you are getting a John Wick rip off with a pig, than read up on just how far wrong that assertion is. Wonderful, in the truest sense of the word.
I love that the UK music press has remembered it's past and has unrealistically amped up this duo to second coming of Christ levels. Despite the ear catching singles, the albums is a very patchy affair, and patches are almost all second hand, despite a fine and charismatic lead from Rhian Teasdale, a whiff of emperors new clothes permeates like moth balls.
I love that the UK music press has remembered it's past and has unrealistically amped up this duo to second coming of Christ levels. Despite the ear catching singles, the albums is a very patchy affair, and patches are almost all second hand, despite a fine and charismatic lead from Rhian Teasdale, a whiff of emperors new clothes permeates like moth balls.
UK Drill is the most zeitgeist rap genre in the world right now and originator Digga D's third 'album' the current epicenter of it, despite the best efforts of the 1984 like London Metropolitan police. It's an album that had to be given to them to vet, shockingly on every level. It's also an album of two halves, a consistently good, if slightly staid ordinary album offset by the seven incendiary extra tracks of the extended version.
UK Drill is the most zeitgeist rap genre in the world right now and originator Digga D's third 'album' the current epicenter of it, despite the best efforts of the 1984 like London Metropolitan police. It's an album that had to be given to them to vet, shockingly on every level. It's also an album of two halves, a consistently good, if slightly staid ordinary album offset by the seven incendiary extra tracks of the extended version.
The ex War on Drugs Alumni is undoubtedly one of my favorite artists but this Covid-distanced production is his least consequential or compelling album. Something got lost in translation as the band traded parts back and forth in the process of making it. Still lovely chilled out background music but with none of the zest of detail of almost any other album of his.
The ex War on Drugs Alumni is undoubtedly one of my favorite artists but this Covid-distanced production is his least consequential or compelling album. Something got lost in translation as the band traded parts back and forth in the process of making it. Still lovely chilled out background music but with none of the zest of detail of almost any other album of his.
I've never rated thespian icon Kenneth Branagh as either an actor or a director - the only time I have really liked anything he's done was in a Harry Potter movie. So after his turgid Murder on the Orient Express hit every bum note I expected from him, and completely ignored the electric Agatha Christie rebirth of Knives Out, I nearly avoided this one entirely, bad reviews and all. I'm glad I didn't, after a first hour that resembles the previous film as well as other vacuous, overly glossy work like The Great Gatsby, the film and characters became far more compelling - leading to a fairly thrilling second half. There it became far more alive and even injected some much needed grit - the same goes for Branagh's performance of Hercule Poirot.
I've never rated thespian icon Kenneth Branagh as either an actor or a director - the only time I have really liked anything he's done was in a Harry Potter movie. So after his turgid Murder on the Orient Express hit every bum note I expected from him, and completely ignored the electric Agatha Christie rebirth of Knives Out, I nearly avoided this one entirely, bad reviews and all. I'm glad I didn't, after a first hour that resembles the previous film as well as other vacuous, overly glossy work like The Great Gatsby, the film and characters became far more compelling - leading to a fairly thrilling second half. There it became far more alive and even injected some much needed grit - the same goes for Branagh's performance of Hercule Poirot.
Commanding work on debut from writer director Graham Moore and writer John McClain (seriously John McClain) and an expectedly brilliant lead from Mark Rylance (where was that Oscar nom for Don't Look Up?) playing a tailor tangled up with the Chicago mob post WW2. A one room film (doesn't feel it) shot on a low budget (doesn't look it) and apart from its sumptuously visual and sound presentation, reliant solely on a cracking scrip and set of performances. The low key gem of the year so far for me. One for fans of Millers Crossing, The Usual Suspects and the work of David Mamet. Sequel is required please guys - The Outfit London.
Commanding work on debut from writer director Graham Moore and writer John McClain (seriously John McClain) and an expectedly brilliant lead from Mark Rylance (where was that Oscar nom for Don't Look Up?) playing a tailor tangled up with the Chicago mob post WW2. A one room film (doesn't feel it) shot on a low budget (doesn't look it) and apart from its sumptuously visual and sound presentation, reliant solely on a cracking scrip and set of performances. The low key gem of the year so far for me. One for fans of Millers Crossing, The Usual Suspects and the work of David Mamet. Sequel is required please guys - The Outfit London.
All this talk of how age has wearied them, made me expect a far more circumspect offering from the boys, but in reality it's far closer to the original films than I imagined it would be. Like those three, you are rarely more than two minutes away from a belly laugh - of which they remain the most consistent provider of, of any film series this century. A perfectly executed groin shot will never not be funny, it's art, look it up.
All this talk of how age has wearied them, made me expect a far more circumspect offering from the boys, but in reality it's far closer to the original films than I imagined it would be. Like those three, you are rarely more than two minutes away from a belly laugh - of which they remain the most consistent provider of, of any film series this century. A perfectly executed groin shot will never not be funny, it's art, look it up.
Being the kind of hardcore fan that dips into acts like of Deafheaven every year or so an act crosses over, I'm not the most trusted voice here. However, I can tell when a great and rising band is firing at their peak - as here with one of the debut albums of the year. The politicized Philadelphia collective posit themselves in a logical trajectory from the MC5, through At The Drive In, landing somewhere near Death Grips.
Being the kind of hardcore fan that dips into acts like of Deafheaven every year or so an act crosses over, I'm not the most trusted voice here. However, I can tell when a great and rising band is firing at their peak - as here with one of the debut albums of the year. The politicized Philadelphia collective posit themselves in a logical trajectory from the MC5, through At The Drive In, landing somewhere near Death Grips.
This London based collective have the level of cultural and ethnic pull to drive critics wild, but sadly little of the music that makes seemingly fellow band Sault one of the most important acts in the world. Too often the wildly potent offering of the opening track makes way for far blander and more middle of the road material, and too little in the song writing department.
This London based collective have the level of cultural and ethnic pull to drive critics wild, but sadly little of the music that makes seemingly fellow band Sault one of the most important acts in the world. Too often the wildly potent offering of the opening track makes way for far blander and more middle of the road material, and too little in the song writing department.
As I suspect, being a fairly common fair weather Chili Peppers fan - who revolves almost solely around John Frusciante and Rick Rubin albums - this is a time to dip back in and see how this now almost peerless dinosaur navigates a world bereft of stadium rock acts. Mostly very well, with a consistently strong album that makes a political point of playing it very straight (no musical experimentation here) and resting on the bands best strengths - low key melodic rock with intricate and talented instrumentalists.
As I suspect, being a fairly common fair weather Chili Peppers fan - who revolves almost solely around John Frusciante and Rick Rubin albums - this is a time to dip back in and see how this now almost peerless dinosaur navigates a world bereft of stadium rock acts. Mostly very well, with a consistently strong album that makes a political point of playing it very straight (no musical experimentation here) and resting on the bands best strengths - low key melodic rock with intricate and talented instrumentalists.
Exactly what it says on the tin. My yearly round-up of the Oscars is nearly Will Smith free - a look at actually the poorest selection of awards contenders from the poorest pool of talent for any year in Oscar's history.
Exactly what it says on the tin. My yearly round-up of the Oscars is nearly Will Smith free - a look at actually the poorest selection of awards contenders from the poorest pool of talent for any year in Oscar's history.
Director Sean Ellis seems to have taken a long meander to his first (I think) big English language film - but it's time very well spent, as he arrives with seemingly full mastery of the medium. The direction, pacing, screenplay, casting and luxurious, thickly atmospheric sound and visual design are all perfectly realised and denote a far more expensive film. This underappreciated gem takes its fairly standard premise and turns in a near A24 adjacent horror.
Director Sean Ellis seems to have taken a long meander to his first (I think) big English language film - but it's time very well spent, as he arrives with seemingly full mastery of the medium. The direction, pacing, screenplay, casting and luxurious, thickly atmospheric sound and visual design are all perfectly realised and denote a far more expensive film. This underappreciated gem takes its fairly standard premise and turns in a near A24 adjacent horror.
Now everyone is reversing like the French army back from criticism of Bruce Willis, Liam Neeson better watch out. His latest in a never ending run of apparent duds has a new low of 7% on Rotten Tomatoes. As a connoisseur of post-Taken Neeson movies, most of these films haven't been bad (not you Ice Road) or felt that cheap (not you Ice Road). With a sizable budget and nearly everything done reasonably well, this VERY stock standard Neeson actioner may not reignite the great Cold Pursuit era, but it's serviceable and it's star pretty decent.
Now everyone is reversing like the French army back from criticism of Bruce Willis, Liam Neeson better watch out. His latest in a never ending run of apparent duds has a new low of 7% on Rotten Tomatoes. As a connoisseur of post-Taken Neeson movies, most of these films haven't been bad (not you Ice Road) or felt that cheap (not you Ice Road). With a sizable budget and nearly everything done reasonably well, this VERY stock standard Neeson actioner may not reignite the great Cold Pursuit era, but it's serviceable and it's star pretty decent.
It's easy to see why this Belgian duo's debut is one of the best reviewed albums of the year - throw in their racial diaspora make up and focus on social, gender, sexual and immigration issues, critics will likely lose their minds. For me however, this often enjoyable, light, bouncy, aerated post electro house too often lacks any sense of narrative or meaning in the lyrics. It's often painfully like a well meaning but cringe inducing school counselor relaying platitudinous sentences.
It's easy to see why this Belgian duo's debut is one of the best reviewed albums of the year - throw in their racial diaspora make up and focus on social, gender, sexual and immigration issues, critics will likely lose their minds. For me however, this often enjoyable, light, bouncy, aerated post electro house too often lacks any sense of narrative or meaning in the lyrics. It's often painfully like a well meaning but cringe inducing school counselor relaying platitudinous sentences.
The North of England lads were an absolute blast with 2020's most fun and ebullient debut album, Full Whack No Brakes, but there was always a worry their shtick could grate - sadly realised by a second album that's twice as serious and half as fun. Though there are occasional brakes (sic) in their tried and tested post Robin S - Show Me Love bassline house, its more often than not like being hit over the head with varieties of the same mallet.
The North of England lads were an absolute blast with 2020's most fun and ebullient debut album, Full Whack No Brakes, but there was always a worry their shtick could grate - sadly realised by a second album that's twice as serious and half as fun. Though there are occasional brakes (sic) in their tried and tested post Robin S - Show Me Love bassline house, its more often than not like being hit over the head with varieties of the same mallet.
Alongside the review of Ghostbusters (2016), catching up on a couple of films I deliberately missed through sheer lack of interest but recently caught up on and had surprisingly strong reactions to. After not falling for the first IT film at all - especially the portrayal of the clown - I couldn't be bothered with the sequel, yet it's long, meandering, episodic nature felt far closer to the novel. Unexpectedly satisfying.
Alongside the review of Ghostbusters (2016), catching up on a couple of films I deliberately missed through sheer lack of interest but recently caught up on and had surprisingly strong reactions to. After not falling for the first IT film at all - especially the portrayal of the clown - I couldn't be bothered with the sequel, yet it's long, meandering, episodic nature felt far closer to the novel. Unexpectedly satisfying.
Alongside the review of IT: Chapter 2, catching up on a couple of films I deliberately missed through sheer lack of interest but recently caught up on and had surprisingly strong reactions to. I assumed this first reboot of the Ghostbusters franchise would be a fairly decent film, shot down by the egregious toxic masculinity that preceded it. I was wrong, its an abomination.
Alongside the review of IT: Chapter 2, catching up on a couple of films I deliberately missed through sheer lack of interest but recently caught up on and had surprisingly strong reactions to. I assumed this first reboot of the Ghostbusters franchise would be a fairly decent film, shot down by the egregious toxic masculinity that preceded it. I was wrong, its an abomination.
Ryan Reynolds feels a bit jaded this time around, like Netflix is really flogging his persona to death in this unbelievably rote and derivative sci-fi. Some pretty pictures and a mainly likable cast, that are occasionally moving but a paper thin plot and zero imagination.
Ryan Reynolds feels a bit jaded this time around, like Netflix is really flogging his persona to death in this unbelievably rote and derivative sci-fi. Some pretty pictures and a mainly likable cast, that are occasionally moving but a paper thin plot and zero imagination.
One of the years "IT" horrors with strong reviews, ends up being very "meh". Throws a lot of interesting and contemporary ideas up in the air but doesn't really land any of them and after a promising (Young Woman) start, peters out a bit into nothing - plus its lightness of tone makes it difficult to imbue any sense of seriousness to, on paper, very dark themes.
One of the years "IT" horrors with strong reviews, ends up being very "meh". Throws a lot of interesting and contemporary ideas up in the air but doesn't really land any of them and after a promising (Young Woman) start, peters out a bit into nothing - plus its lightness of tone makes it difficult to imbue any sense of seriousness to, on paper, very dark themes.
The Catalan superstar builds on the stunning success of her minimalist breakthrough, El Mal Querer, with a maximalist follow up that sums up the entirety of the near dominant urban Latino music world, again, without ditching her traditional Spanish roots entirely and never pandering to mainstream success. A triumph of experimental contemporary music. Thank god it's a lot closer to that second album than I dared hope and not awash with Drake and Travis Scott features.
The Catalan superstar builds on the stunning success of her minimalist breakthrough, El Mal Querer, with a maximalist follow up that sums up the entirety of the near dominant urban Latino music world, again, without ditching her traditional Spanish roots entirely and never pandering to mainstream success. A triumph of experimental contemporary music. Thank god it's a lot closer to that second album than I dared hope and not awash with Drake and Travis Scott features.
The fifth studio album from the Adrianne Lenker's indie darlings - worshiped like saints by the likes of Pitchfork - follows the huge critical acclaim of U.F.O.F. If I thought that album was half brilliant but a bit overrated, I've moved the dial along to mostly brilliant but still a bit overrated. Certainly the final third contains some inessential tracks.
The fifth studio album from the Adrianne Lenker's indie darlings - worshiped like saints by the likes of Pitchfork - follows the huge critical acclaim of U.F.O.F. If I thought that album was half brilliant but a bit overrated, I've moved the dial along to mostly brilliant but still a bit overrated. Certainly the final third contains some inessential tracks.
If some acts like Bowie change and reinvent with every album, others (like Japanese sushi chefs or The War on Drugs) refine one perfect thing, over and over. The meticulous Baltimore dream pop duo, Beach House certainly do the latter but the 4 EP presentation of their 8th studio album, is itself the most fascinating change this time around for an always great album's band.
If some acts like Bowie change and reinvent with every album, others (like Japanese sushi chefs or The War on Drugs) refine one perfect thing, over and over. The meticulous Baltimore dream pop duo, Beach House certainly do the latter but the 4 EP presentation of their 8th studio album, is itself the most fascinating change this time around for an always great album's band.
After the British director (who I'm still up in the air about) Matthew Vaughn, breathed fresh air into the genre/franchise market with the sometimes near obscene and always wild and free, first installment of the Kingsman, he followed it by trashing everything great about the first film with an obscenely bad second installment. Given the poor reviews and reception of this third films, I prepared for the worst. Don't believe the hype, this is vastly superior than reviews suggest and has nothing at all in common with the previous film.
After the British director (who I'm still up in the air about) Matthew Vaughn, breathed fresh air into the genre/franchise market with the sometimes near obscene and always wild and free, first installment of the Kingsman, he followed it by trashing everything great about the first film with an obscenely bad second installment. Given the poor reviews and reception of this third films, I prepared for the worst. Don't believe the hype, this is vastly superior than reviews suggest and has nothing at all in common with the previous film.
A belated - strong - review of this near excellent sensory horror sequel. Like Alien/Aliens or Terminator/T2 it replaces the creeping low key dread of the original with more a more bombastic action film, but to near equal effect. And who knew the always getting better, Cillian Murphy would make such a great Appalachian woodsman.
A belated - strong - review of this near excellent sensory horror sequel. Like Alien/Aliens or Terminator/T2 it replaces the creeping low key dread of the original with more a more bombastic action film, but to near equal effect. And who knew the always getting better, Cillian Murphy would make such a great Appalachian woodsman.
I'm now including the odd album review - not everything but anything I think is worth talking about. This second release from the British indie band, in an era where British indie guitar music has risen out of nowhere. Even among the slew of great releases from likes of Squid, Black Midi, Dry Cleaning and Working Mens Club, this album stands tall. Like its totemic biggest inspiration, Arcade Fire's Funeral, it ranks as one of the finest indie or alt-rock albums this century.
I'm now including the odd album review - not everything but anything I think is worth talking about. This second release from the British indie band, in an era where British indie guitar music has risen out of nowhere. Even among the slew of great releases from likes of Squid, Black Midi, Dry Cleaning and Working Mens Club, this album stands tall. Like its totemic biggest inspiration, Arcade Fire's Funeral, it ranks as one of the finest indie or alt-rock albums this century.
A belated review of one of the only TV series I've consistently followed this last decade, the always excellent Narcos Franchise. One of the most dramatically exciting, dynamic and rock n roll shows since Breaking Bad. This, the 3rd iterations of Narcos: Mexico and the sixth and final series (for now) overall, doesn't reach the incredible heights of the brilliant Diego Luna starring first two installments, but is very very close.
A belated review of one of the only TV series I've consistently followed this last decade, the always excellent Narcos Franchise. One of the most dramatically exciting, dynamic and rock n roll shows since Breaking Bad. This, the 3rd iterations of Narcos: Mexico and the sixth and final series (for now) overall, doesn't reach the incredible heights of the brilliant Diego Luna starring first two installments, but is very very close.
Underappreciated and definitely hamstrung by the streaming release - as far as box office and the likely sequels go. It's not great but certainly decent and Keanu gives a much stronger performance than he was capable of when the iconic original was released. Flawed but still worth your while.
Underappreciated and definitely hamstrung by the streaming release - as far as box office and the likely sequels go. It's not great but certainly decent and Keanu gives a much stronger performance than he was capable of when the iconic original was released. Flawed but still worth your while.
Del Toro's best written film and significantly better than the wildly overrated Oscar winning Shape Of Water. As Martin Scorcese has stated, one of the only true film noir's of the modern era - not relying solely on wearing the clothes of a private detective and moody lighting - but truly desperate people on the margins, doing desperate things and paying for it. It's brutal stuff. Massively underrated, this was a real gut punch that sticks, and for once in Del Toro's filmography, the stunning production design is in the service of the screenplay, not the boss of it.
Del Toro's best written film and significantly better than the wildly overrated Oscar winning Shape Of Water. As Martin Scorcese has stated, one of the only true film noir's of the modern era - not relying solely on wearing the clothes of a private detective and moody lighting - but truly desperate people on the margins, doing desperate things and paying for it. It's brutal stuff. Massively underrated, this was a real gut punch that sticks, and for once in Del Toro's filmography, the stunning production design is in the service of the screenplay, not the boss of it.
The best reviewed film of 2021 is, frankly, a bit of an empty let down. A compellingly intense and awful opening gives way to a rather unexpectedly neutered melodrama that wastes the potential of Cumberbatche's malevolent potential. It goes nowhere and ends unsatisfactory, though beautifully made.
The best reviewed film of 2021 is, frankly, a bit of an empty let down. A compellingly intense and awful opening gives way to a rather unexpectedly neutered melodrama that wastes the potential of Cumberbatche's malevolent potential. It goes nowhere and ends unsatisfactory, though beautifully made.
SPOILER HEAVY REVIEW. Truth is I've never been a fan of either Spiderman's teen angst and jokey tone or most of the actors to play him, Tom Holland included. This is certainly better than the awful second Holland installment though still very overrated. I get the excitement over the fan service and it's half great. It's also extremely padded out through the middle and the hero's actions and motivations are infuriating.
SPOILER HEAVY REVIEW. Truth is I've never been a fan of either Spiderman's teen angst and jokey tone or most of the actors to play him, Tom Holland included. This is certainly better than the awful second Holland installment though still very overrated. I get the excitement over the fan service and it's half great. It's also extremely padded out through the middle and the hero's actions and motivations are infuriating.
Peter Jackson's 'found footage' documentary of The Beatles at a most pivotal point in their history has only one flaw, its length - which does make sections repetitive. It is still completely surreal to spend so much time as a fly on the wall with the most famous band in history and see them in a way that almost no one outside their friends and family ever has. It doesn't even seem real half the time. The guys are completely self aware and often meta about their existence, whilst pummeling through music, arguments, soulful observations and most importantly, reconnecting as friends. Awesome unforgettable stuff riven with magic.
Peter Jackson's 'found footage' documentary of The Beatles at a most pivotal point in their history has only one flaw, its length - which does make sections repetitive. It is still completely surreal to spend so much time as a fly on the wall with the most famous band in history and see them in a way that almost no one outside their friends and family ever has. It doesn't even seem real half the time. The guys are completely self aware and often meta about their existence, whilst pummeling through music, arguments, soulful observations and most importantly, reconnecting as friends. Awesome unforgettable stuff riven with magic.
I've long championed Adam McKay since I made The Big Short my film of the year, now he has definitive works on the GFC, the destruction of American democracy (Vice) and climate change. He's the most important director in America. This film is polarizing, not because it attacks politicians and the media, but the public too - and none of them like it. Flawed but unflinching and brilliant, it's empowering to see such an acidic film become the most watched in Netflix history.
I've long championed Adam McKay since I made The Big Short my film of the year, now he has definitive works on the GFC, the destruction of American democracy (Vice) and climate change. He's the most important director in America. This film is polarizing, not because it attacks politicians and the media, but the public too - and none of them like it. Flawed but unflinching and brilliant, it's empowering to see such an acidic film become the most watched in Netflix history.
After starting last year giving Chloe Zhao my first ever 10/10 for a new release for my film of the year, Nomadland, the opposite end of the scale for one of the limpest ever Marvel movies. A perfect embodiment of the Star Wars/Phantom Menace paradox. That 40 years after Star Wars release, Hollywood still doesn't understand that the number one factor in the public loving a big budget blockbuster is not the special effects but the cast.
After starting last year giving Chloe Zhao my first ever 10/10 for a new release for my film of the year, Nomadland, the opposite end of the scale for one of the limpest ever Marvel movies. A perfect embodiment of the Star Wars/Phantom Menace paradox. That 40 years after Star Wars release, Hollywood still doesn't understand that the number one factor in the public loving a big budget blockbuster is not the special effects but the cast.
Popular opinion #947. In light of Damon Albarn (whose music I don't really rate either) and his nuclear attack on saint Taylor Swift and her writing her own songs, he used Billie Eilish of all people as an example of her opposite. Garbage. Billie Eillish is the most fabricated star this century, a corporate hack who met with both Apple and fashion house Channel to define her image (like all natural bedroom indie breakout stars do...) before releasing any major music. Her maudlin croak, mediocre music and force heroin chic look could exist without comment were it not so relentlessly over promoted.
Popular opinion #947. In light of Damon Albarn (whose music I don't really rate either) and his nuclear attack on saint Taylor Swift and her writing her own songs, he used Billie Eilish of all people as an example of her opposite. Garbage. Billie Eillish is the most fabricated star this century, a corporate hack who met with both Apple and fashion house Channel to define her image (like all natural bedroom indie breakout stars do...) before releasing any major music. Her maudlin croak, mediocre music and force heroin chic look could exist without comment were it not so relentlessly over promoted.
This biopic of Serena and Venus Williams indomitable father, is obvious Oscar bait but has a decent stab at a worthy subject. Centered by a possible career best from a triumphant Will Smith, after wallowing in a career low for that last few years. The screenplay doesn't match his performance and we could do with a lot more grit but it's certainly emotionally satisfying and exciting entertainment.
This biopic of Serena and Venus Williams indomitable father, is obvious Oscar bait but has a decent stab at a worthy subject. Centered by a possible career best from a triumphant Will Smith, after wallowing in a career low for that last few years. The screenplay doesn't match his performance and we could do with a lot more grit but it's certainly emotionally satisfying and exciting entertainment.
I must admit I stand in opposition to the hugely negative response to the most expensive Netflix film in history. It wasn't as cynical or bombastic as I'd been led to believe, it's actually kinda amiable and fun. Even, dare I say it, quite elegant. The mega watt leads are good value, the long form set pieces well executed and I didn't feel that dirty after watching it.
I must admit I stand in opposition to the hugely negative response to the most expensive Netflix film in history. It wasn't as cynical or bombastic as I'd been led to believe, it's actually kinda amiable and fun. Even, dare I say it, quite elegant. The mega watt leads are good value, the long form set pieces well executed and I didn't feel that dirty after watching it.
The only achievement this sequel, to a highly lack-luster original, has to its name is doing everything the first did badly, even worse. The charm of Tom Hardy and Michelle Williams withstanding, nearly everything is rubbish, it has half the story and some of the worst CGI $200 million can buy.
The only achievement this sequel, to a highly lack-luster original, has to its name is doing everything the first did badly, even worse. The charm of Tom Hardy and Michelle Williams withstanding, nearly everything is rubbish, it has half the story and some of the worst CGI $200 million can buy.
Exactly what it says it is, with a worst film of the year guaranteed to be a popular choice.
Exactly what it says it is, with a worst film of the year guaranteed to be a popular choice.
Working our my usual radio show end of year best-of lists, I was struck by how weak 2021 was - across albums, movies and tracks, the lamest of the century, why?
Working our my usual radio show end of year best-of lists, I was struck by how weak 2021 was - across albums, movies and tracks, the lamest of the century, why?
In the weakest year for albums, tracks and movies of the century.
In the weakest year for albums, tracks and movies of the century.
I've long detested Wes Anderson as the epitome of a director that substitutes kooky and try hard comedy for his lack of artistic substance and 'Dispatch maybe his MOST Wes Anderson film of all. Seemingly a film that consists of no connective tissue and functions far more asa movie about Wes Anderson movies than about the journalists and writers it tries to celebrate.
I've long detested Wes Anderson as the epitome of a director that substitutes kooky and try hard comedy for his lack of artistic substance and 'Dispatch maybe his MOST Wes Anderson film of all. Seemingly a film that consists of no connective tissue and functions far more asa movie about Wes Anderson movies than about the journalists and writers it tries to celebrate.
Do not believe the hype about this box office bomb. I was expecting more of the turgid, awful Kingdom of Heaven style Ridley Scott than Gladiator Ridley Scott - yet this is his most complex, ambitious and challenging film of his career. Of course it tanked - it's closer in tone to an art-house medieval flick like this year's The Green Knight than something rousing and dynamic like Gladiator. A timely, adult and provoking film bolstered by it's three act play - the same story from each of an excellent Matt Damon's, Adam Driver and Jodie Comer's differing perspectives, taking a sobering look at consent, pulling no punches or offering easy answers. The cherry on top of one of the most under appreciated films of the year is it's near verbatim recite of a ridiculously improbable, yet fully documented 700 year old true story.
Do not believe the hype about this box office bomb. I was expecting more of the turgid, awful Kingdom of Heaven style Ridley Scott than Gladiator Ridley Scott - yet this is his most complex, ambitious and challenging film of his career. Of course it tanked - it's closer in tone to an art-house medieval flick like this year's The Green Knight than something rousing and dynamic like Gladiator. A timely, adult and provoking film bolstered by it's three act play - the same story from each of an excellent Matt Damon's, Adam Driver and Jodie Comer's differing perspectives, taking a sobering look at consent, pulling no punches or offering easy answers. The cherry on top of one of the most under appreciated films of the year is it's near verbatim recite of a ridiculously improbable, yet fully documented 700 year old true story.
What a turn around, and what witchcraft is this?! After hating Edgar Wright's last three films (with a passion - especially Baby Driver) and rating him as a talent-less hack that got lucky off the back of the likeability of his stars over his first two films, Shaun of the Dead and Hot Fuzz, just like Guy Ritchie did with Lock Stock and Snatch - also like Guy Ritchie with the unexpected triumph The Gentlemen, he emerged for no reason at all with one of my films of the year. 'Soho is a monumental leap up, an imaginative love letter to swinging sixties London-Horror hybrid, with stunning cinematography, an equally dazzling soundtrack and two leads to match - my favorite film released in 2021.
What a turn around, and what witchcraft is this?! After hating Edgar Wright's last three films (with a passion - especially Baby Driver) and rating him as a talent-less hack that got lucky off the back of the likeability of his stars over his first two films, Shaun of the Dead and Hot Fuzz, just like Guy Ritchie did with Lock Stock and Snatch - also like Guy Ritchie with the unexpected triumph The Gentlemen, he emerged for no reason at all with one of my films of the year. 'Soho is a monumental leap up, an imaginative love letter to swinging sixties London-Horror hybrid, with stunning cinematography, an equally dazzling soundtrack and two leads to match - my favorite film released in 2021.
After an entire James Bond (why are James plural by the way?) special last year, where I listed every Bond film in order of greatness, how does the final Daniel Craig effort shape up to his 3rd best in my list, Casino Royale, or his rock bottom last outing in the terrible Spectre. Thankfully a lot better, though I still expected more.
After an entire James Bond (why are James plural by the way?) special last year, where I listed every Bond film in order of greatness, how does the final Daniel Craig effort shape up to his 3rd best in my list, Casino Royale, or his rock bottom last outing in the terrible Spectre. Thankfully a lot better, though I still expected more.
Although promising a great deal through its first half, this Marvel Universe exploration into Asia, becomes a little too rote and World of Warcraft as it peters out, to feel rather low stakes by the end. The stellar reviews I feel make it another film where critics have simply celebrated another middling superhero effort, due it not being a straight white man in the lead. At least we get the immortal Tony Leung in a great role.
Although promising a great deal through its first half, this Marvel Universe exploration into Asia, becomes a little too rote and World of Warcraft as it peters out, to feel rather low stakes by the end. The stellar reviews I feel make it another film where critics have simply celebrated another middling superhero effort, due it not being a straight white man in the lead. At least we get the immortal Tony Leung in a great role.
This American remake of a modern Danish, one room classic, is a remarkably solid turn from the often wayward Training Day director, Antoine Fuqua. He doesn't get in the way of an anxiety inducing thriller starring (almost entirely) a powerhouse Jake Gyllenhaal. Underappreciated.
This American remake of a modern Danish, one room classic, is a remarkably solid turn from the often wayward Training Day director, Antoine Fuqua. He doesn't get in the way of an anxiety inducing thriller starring (almost entirely) a powerhouse Jake Gyllenhaal. Underappreciated.
When one of the world's greatest directors, Denis Villeneuve, had already landed an impossible 1980's sci-fi godhead classic in Bladerunner 2049, he was the obvious, unimpeachable choice to tackle Frank Herbert's impossible to film best seller. Yet the enormous acclaim afforded this effort points to it being the emperor's new clothes of the modern era, his worst film and the most disappointing film I've seen sine TENET.
When one of the world's greatest directors, Denis Villeneuve, had already landed an impossible 1980's sci-fi godhead classic in Bladerunner 2049, he was the obvious, unimpeachable choice to tackle Frank Herbert's impossible to film best seller. Yet the enormous acclaim afforded this effort points to it being the emperor's new clothes of the modern era, his worst film and the most disappointing film I've seen sine TENET.
Todd Haynes much heralded documentary about a band who are pretty much ground zero for alternative music and created multiple entire universes that are still explored today, is an artistic triumph. If I wanted to nit pick, I'd say it's a little to abstracted. For a band so influential on the history of music, it needs a lacking wider context, it's a little too insular, to be a definitive documentary about them. But for fans of the band who already know all that, it's an illuminating ride.
Todd Haynes much heralded documentary about a band who are pretty much ground zero for alternative music and created multiple entire universes that are still explored today, is an artistic triumph. If I wanted to nit pick, I'd say it's a little to abstracted. For a band so influential on the history of music, it needs a lacking wider context, it's a little too insular, to be a definitive documentary about them. But for fans of the band who already know all that, it's an illuminating ride.
Ignoring the pointless furore over the director's use of artificial intelligence, to speak a couple of Bourdain's written lines, Morgan Neville does everything I could've hoped for in his biopic of one of my favorite people ever. Namely, take me on the same chronological journey I took with the late lamented star, from the beginning of his career to the bitter end, imbuing each stage with far deeper understanding. It's a more painful journey than I expected too - with a shattering yet illuminating final quarter.
Ignoring the pointless furore over the director's use of artificial intelligence, to speak a couple of Bourdain's written lines, Morgan Neville does everything I could've hoped for in his biopic of one of my favorite people ever. Namely, take me on the same chronological journey I took with the late lamented star, from the beginning of his career to the bitter end, imbuing each stage with far deeper understanding. It's a more painful journey than I expected too - with a shattering yet illuminating final quarter.
This sequel to the memorable 1992 horror comes with the pedigree of Jordan Peele writing and great reviews, yet, for me falls wildly short of the mark. The setting in the remanents of the most notorious housing project in American history and the subsequent gentrification is about the only thing this slight film gets right.
This sequel to the memorable 1992 horror comes with the pedigree of Jordan Peele writing and great reviews, yet, for me falls wildly short of the mark. The setting in the remanents of the most notorious housing project in American history and the subsequent gentrification is about the only thing this slight film gets right.
Arguably the world's apex stand up comedian, Dave Chappelle's latest Netflix stand up, The Closer, is the most controversial of the modern age. Why I think it's also the most important. The most fearless, deliberate and confrontational work of his career, less concerned with being funny than staring down the zeitgeist, taking a blow torch to the sound bite universe and running a freight train through cancel culture. Astonishingly, in an era of gun-shy corporations, Netflix knew full well what they were getting into and did it anyway.
Arguably the world's apex stand up comedian, Dave Chappelle's latest Netflix stand up, The Closer, is the most controversial of the modern age. Why I think it's also the most important. The most fearless, deliberate and confrontational work of his career, less concerned with being funny than staring down the zeitgeist, taking a blow torch to the sound bite universe and running a freight train through cancel culture. Astonishingly, in an era of gun-shy corporations, Netflix knew full well what they were getting into and did it anyway.
This post Iraq war gambling morality play came with impossibly high standards for me to hold it up against. The director, Paul Schrader not on;y wrote Taxi Driver and Raging Bull, but his last film, the devastating state of the world address, First Reformed was my film of the year. It doesn't quite live up to those expectations and feels a little unfinished, but it's still one of the years most interesting films, full of quietly powerful moments and anchored by a stunning lead performance from a complex Oscar Isaac.
This post Iraq war gambling morality play came with impossibly high standards for me to hold it up against. The director, Paul Schrader not on;y wrote Taxi Driver and Raging Bull, but his last film, the devastating state of the world address, First Reformed was my film of the year. It doesn't quite live up to those expectations and feels a little unfinished, but it's still one of the years most interesting films, full of quietly powerful moments and anchored by a stunning lead performance from a complex Oscar Isaac.
A massive let down to be honest and far closer to the awful Ready Play One than I'd hoped. Living inside a fake reality films set a high water mark back in the 90's with the likes of The Truman Show and The Matrix, this offers next to nothing. The basic concept of Non Playable Characters inside video games attaining sentience is ripe for exploration, but ideas are thrown up in the air and never explored below surface level noise. It maybe the first romantic adventure for the PewDiePie/YouTube video game set but its cast is closer to the personality of NPC's themselves and relying solely on the trademark charm of Ryan Reynolds to get the movie over the line, is nowhere near enough.
A massive let down to be honest and far closer to the awful Ready Play One than I'd hoped. Living inside a fake reality films set a high water mark back in the 90's with the likes of The Truman Show and The Matrix, this offers next to nothing. The basic concept of Non Playable Characters inside video games attaining sentience is ripe for exploration, but ideas are thrown up in the air and never explored below surface level noise. It maybe the first romantic adventure for the PewDiePie/YouTube video game set but its cast is closer to the personality of NPC's themselves and relying solely on the trademark charm of Ryan Reynolds to get the movie over the line, is nowhere near enough.
Through sheer relentless volume, Aussie director James Wan gets called the king of horror, because it sure isn't quality. I've rarely been impressed by his films. Though this talked about horror is a wild and strange beast indeed. Never scary and seemingly Michael Bay making the most rote body horror imaginable for two thirds of its run time, Wan then decides to turn into a full blown Dario Argento for an insane final third that makes the whole enterprise worth while.
Through sheer relentless volume, Aussie director James Wan gets called the king of horror, because it sure isn't quality. I've rarely been impressed by his films. Though this talked about horror is a wild and strange beast indeed. Never scary and seemingly Michael Bay making the most rote body horror imaginable for two thirds of its run time, Wan then decides to turn into a full blown Dario Argento for an insane final third that makes the whole enterprise worth while.
A big fat zero percent on Rotten Tomatoes is like cat nip to me, how bad can it be! Sadly not interestingly awful, more just terrible. Ex Disney star turned adult entertainer, Bella Thorne seems to have much the same level of talent and charisma as the rest of this cast of rock stars, models and people probably just walking past. The controversy generated by the blasphemous poster turns into immature shock tactics on screen, with only very fleeting glimpses of the true subversion of something like Pink Flamingos. I did, so you don't have to.
A big fat zero percent on Rotten Tomatoes is like cat nip to me, how bad can it be! Sadly not interestingly awful, more just terrible. Ex Disney star turned adult entertainer, Bella Thorne seems to have much the same level of talent and charisma as the rest of this cast of rock stars, models and people probably just walking past. The controversy generated by the blasphemous poster turns into immature shock tactics on screen, with only very fleeting glimpses of the true subversion of something like Pink Flamingos. I did, so you don't have to.
Full disclosure - as I am massively in love with Maggie Q, a fair review is not possible, but I have been saying for years this criminally underused actor deserves exactly this kind of starring role. This very much post Leon the Professional, slightly post Kill Bill Hitman (woman?!) actioner has been underappreciated by critics as it does one crucial thing right. Most films like this start strong and peter out into tedium in the obvious final third - this stayed fresh throughout. Throw a fantastic co-starring role for (an uncomfortably older) Michael Keaton AND Samuel L Jackson alongside the radiance that is Maggie Q and what more do you want from this kind of film???
Full disclosure - as I am massively in love with Maggie Q, a fair review is not possible, but I have been saying for years this criminally underused actor deserves exactly this kind of starring role. This very much post Leon the Professional, slightly post Kill Bill Hitman (woman?!) actioner has been underappreciated by critics as it does one crucial thing right. Most films like this start strong and peter out into tedium in the obvious final third - this stayed fresh throughout. Throw a fantastic co-starring role for (an uncomfortably older) Michael Keaton AND Samuel L Jackson alongside the radiance that is Maggie Q and what more do you want from this kind of film???
This "inspired by" take on the Amanda Knox murder story has been rightly criticised by her but on its own terms is a hugely underrated film, perhaps as it's been mis-marketed as both a crime film and an actioner. It's neither, it's a very patient, very effecting human drama with a surprisingly bitter sting in the tail. Don't come here expecting a Liam Neeson film, it's far more European and based on character growth and interaction and I found it kind of wonderful. I always liked Matt Damon but never regarded him as anything other than a perfunctory actor - with this he turns the corner with a gravity-filled, natural career best. His relationships with a problematic estranged daughter, a deep, believable platonic love and in Abigail Breslin, one of the most charming children in modern movie history are a far more satisfying heart to this movie than the murder mystery.
This "inspired by" take on the Amanda Knox murder story has been rightly criticised by her but on its own terms is a hugely underrated film, perhaps as it's been mis-marketed as both a crime film and an actioner. It's neither, it's a very patient, very effecting human drama with a surprisingly bitter sting in the tail. Don't come here expecting a Liam Neeson film, it's far more European and based on character growth and interaction and I found it kind of wonderful. I always liked Matt Damon but never regarded him as anything other than a perfunctory actor - with this he turns the corner with a gravity-filled, natural career best. His relationships with a problematic estranged daughter, a deep, believable platonic love and in Abigail Breslin, one of the most charming children in modern movie history are a far more satisfying heart to this movie than the murder mystery.
Writer-director David Lowery has become one of the most interesting and exciting auteurs in cinema. This massive left turn for him into the legend of King Arthur thankfully hews far closer to John Boormans 80's classic Excalibur than Guy Ritchie's nadir, though in truth is a far more art-house experience. Dev Patel and Alicia Vikander excel in their meatiest roles in years and the production design is stunning and stylish throughout. Some occasional drifts into boredom and deviations from the source material - the story of Gawain and the Green Knight - that are both huge successes at times and let downs at others don't stop it being one of they years best and most interesting films.
Writer-director David Lowery has become one of the most interesting and exciting auteurs in cinema. This massive left turn for him into the legend of King Arthur thankfully hews far closer to John Boormans 80's classic Excalibur than Guy Ritchie's nadir, though in truth is a far more art-house experience. Dev Patel and Alicia Vikander excel in their meatiest roles in years and the production design is stunning and stylish throughout. Some occasional drifts into boredom and deviations from the source material - the story of Gawain and the Green Knight - that are both huge successes at times and let downs at others don't stop it being one of they years best and most interesting films.
The fifth entry into the occasionally polemical and relevant Purge franchise wastes the brilliant choice to relocate in post Trump America to Texas and the border. Despite having a cast array of low-hanging hand grenades it could set off with Mexicans, immigration and red-necks, it never feels like it engages with anything and could've been about anywhere. American Ninja is even mentioned.
The fifth entry into the occasionally polemical and relevant Purge franchise wastes the brilliant choice to relocate in post Trump America to Texas and the border. Despite having a cast array of low-hanging hand grenades it could set off with Mexicans, immigration and red-necks, it never feels like it engages with anything and could've been about anywhere. American Ninja is even mentioned.
We should thank the DC universe for providing never ending intrigue. The operate like a failed state on the border of Marvel's Europe. After the shocking abomination of WW1984 and the totally unexpected triumph of Zack Snyder's Justice League, we now get a poached Marvel director to fairly decently helm a perfectly watchable invocation of Deadpool.
We should thank the DC universe for providing never ending intrigue. The operate like a failed state on the border of Marvel's Europe. After the shocking abomination of WW1984 and the totally unexpected triumph of Zack Snyder's Justice League, we now get a poached Marvel director to fairly decently helm a perfectly watchable invocation of Deadpool.
Though sadly hewing closer to the likes of The Mummy or Pirates of the Caribbean than Indiana Jones, a winningly likeable cast, with good chemistry, elevate this amiable romp to being a much needed balm for troubled times.
Though sadly hewing closer to the likes of The Mummy or Pirates of the Caribbean than Indiana Jones, a winningly likeable cast, with good chemistry, elevate this amiable romp to being a much needed balm for troubled times.
After a rote first half that presents itself as a Friday the 13th, lets knock the obnoxious kids in the woods, one by one, horror, Wrong Turn explodes in unexpected and far more satisfying ways, recalling the likes of The Wicker Man and ends up much superior to the frankly naff Midsommar.
After a rote first half that presents itself as a Friday the 13th, lets knock the obnoxious kids in the woods, one by one, horror, Wrong Turn explodes in unexpected and far more satisfying ways, recalling the likes of The Wicker Man and ends up much superior to the frankly naff Midsommar.
After reading the less than tepid reviews, I was very surprised by how good the first two acts of this sci-fi actioner were, and how heady and existential the themes it doesn't quite fully engage with are. A dreadful and actually unnecessary third act and frankly lame performance from Chris Pratt crash things back to earth. However I now realise what I've been missing in the stellar Aussie actress Yvonne Strahovski, who is a revelation and who along with an excellent JK Simmons, deserved a movie on their own. Stay for the widescreen effects.
After reading the less than tepid reviews, I was very surprised by how good the first two acts of this sci-fi actioner were, and how heady and existential the themes it doesn't quite fully engage with are. A dreadful and actually unnecessary third act and frankly lame performance from Chris Pratt crash things back to earth. However I now realise what I've been missing in the stellar Aussie actress Yvonne Strahovski, who is a revelation and who along with an excellent JK Simmons, deserved a movie on their own. Stay for the widescreen effects.
One of Marvel's only major mistakes was not striking first with the female superhero movie, when they had the perfect woman for the job. Now we finally get to say goodbye to Scarlett Johansson's Avenger properly. This enormously watchable stand alone isn't quite as reverent as I wanted and too often crashes her party with new franchise concerns - but the leads have great chemistry.
One of Marvel's only major mistakes was not striking first with the female superhero movie, when they had the perfect woman for the job. Now we finally get to say goodbye to Scarlett Johansson's Avenger properly. This enormously watchable stand alone isn't quite as reverent as I wanted and too often crashes her party with new franchise concerns - but the leads have great chemistry.
Incredibly the third mediocre Liam Neeson actioner already this year and sadly the weakest of a pretty lame bunch. A low rent re-make of Wages Of Fear has some decent suspenseful action but dreadful special effects and zero originality.
Incredibly the third mediocre Liam Neeson actioner already this year and sadly the weakest of a pretty lame bunch. A low rent re-make of Wages Of Fear has some decent suspenseful action but dreadful special effects and zero originality.
Zack Snyder's first film since the pivotal Synder Cut of Justice League shows him continuing his Guy Ritchie like rise to actually becoming a decent director - here continuing to show the patience from that previous film, in letting a screenplay build and breathe around characters rather than bludgeoning the audience to death Michael Bay style. Also combining the heist and zombie movies to imaginative effect.
Zack Snyder's first film since the pivotal Synder Cut of Justice League shows him continuing his Guy Ritchie like rise to actually becoming a decent director - here continuing to show the patience from that previous film, in letting a screenplay build and breathe around characters rather than bludgeoning the audience to death Michael Bay style. Also combining the heist and zombie movies to imaginative effect.
Making the case that the band that came from the UK's dreariest town yet turned into the most glamorous act on earth were not only the best singles act of the 80s, who released the most dramatic singles but also the best 'boy-band' since The Beatles and the last great boy-band before it all went to hell.
Making the case that the band that came from the UK's dreariest town yet turned into the most glamorous act on earth were not only the best singles act of the 80s, who released the most dramatic singles but also the best 'boy-band' since The Beatles and the last great boy-band before it all went to hell.
Despite yet again wheeling out the rusting concept of a deadly weapon that can take over the world's computers, the ninth entry into the Fast and the Furious franchise is far less about its main story and more about back story and decent fan service returns. Finding unexpectedly wide scope and fertile ground to explore and expand previously hinted at Fast-lore in satisfying ways in a totally solid almost reboot. Oh, and they drive a car into space to fight a satellite.
Despite yet again wheeling out the rusting concept of a deadly weapon that can take over the world's computers, the ninth entry into the Fast and the Furious franchise is far less about its main story and more about back story and decent fan service returns. Finding unexpectedly wide scope and fertile ground to explore and expand previously hinted at Fast-lore in satisfying ways in a totally solid almost reboot. Oh, and they drive a car into space to fight a satellite.
Believe it or not, this is the EIGHTH entry into the broadly lame Conjuring universe and it limps barely across the line on decent production values without an ounce of imagination. Vera and Patrick are a tiny bit less aggravating leads this time but it is still probably the weakest of the main three films.
Believe it or not, this is the EIGHTH entry into the broadly lame Conjuring universe and it limps barely across the line on decent production values without an ounce of imagination. Vera and Patrick are a tiny bit less aggravating leads this time but it is still probably the weakest of the main three films.
Given I had trashed Guy Ritchie as a director all the way up to the unexpected evolution of his talent with The Gentlemen and consider myself a connoisseur of Jason Statham movies, I was very excited by their return together after near fifteen years apart. Sadly, after a directorialy stunning opening third, Ritchie's most stylish and fluid yet, the film has none of The Gentlemen's strong writing, characters, performance or wit - and makes scant use of Statham. Far closer in fact to one of his underwritten, earlier films.
Given I had trashed Guy Ritchie as a director all the way up to the unexpected evolution of his talent with The Gentlemen and consider myself a connoisseur of Jason Statham movies, I was very excited by their return together after near fifteen years apart. Sadly, after a directorialy stunning opening third, Ritchie's most stylish and fluid yet, the film has none of The Gentlemen's strong writing, characters, performance or wit - and makes scant use of Statham. Far closer in fact to one of his underwritten, earlier films.
Theater legend, Dominic Cooke's second film, starring Benedict Cumberbatch as the real life ordinary Joe and unintentional cold war hero, Greville Wynne, avoids the pitfalls of becoming too Ron Howard or Spielberg, to deliver a fine, satisfying period thriller with a real sting in the tale.
Theater legend, Dominic Cooke's second film, starring Benedict Cumberbatch as the real life ordinary Joe and unintentional cold war hero, Greville Wynne, avoids the pitfalls of becoming too Ron Howard or Spielberg, to deliver a fine, satisfying period thriller with a real sting in the tale.
After 2012's fantastic teacher drama from Danish director Thomas Vinterberg and the esteemed Danish actor Mads Mikkelsen, a hugely welcome return to school for the pair. Not only the best film about drinking ever and a riotous comedy but a soulful, meditative and hugely uplifting drama full of life and the human spirit awakened.
After 2012's fantastic teacher drama from Danish director Thomas Vinterberg and the esteemed Danish actor Mads Mikkelsen, a hugely welcome return to school for the pair. Not only the best film about drinking ever and a riotous comedy but a soulful, meditative and hugely uplifting drama full of life and the human spirit awakened.
This latest relaunch and reboot looked promising through a breezily entertaining first half before falling away to not being enough of well, anything really.
This latest relaunch and reboot looked promising through a breezily entertaining first half before falling away to not being enough of well, anything really.
Spike Lee's masterpiece given a stellar retro review. A fabulous cast of soon to be stars, vividly shot and soundtracked, in one of the most complex portrayals of a powder keg race riot ever presented. As prescient as it gets and top tier film-making across the board - a perfect 10/10.
Spike Lee's masterpiece given a stellar retro review. A fabulous cast of soon to be stars, vividly shot and soundtracked, in one of the most complex portrayals of a powder keg race riot ever presented. As prescient as it gets and top tier film-making across the board - a perfect 10/10.
A round up of an Oscars I would've won a fortune on by guessing every major category right. So salty right now. Including my only ever new release 10/10 review winning the three categories I said it would.
A round up of an Oscars I would've won a fortune on by guessing every major category right. So salty right now. Including my only ever new release 10/10 review winning the three categories I said it would.
Better Call Saul's fabulous Bob Odenkirk makes the thrillingly unexpected move to action hero leading man, in this deliriously fun possible addition to the John Wick universe. It that's not enough seeing the Doc from Back To The Future blasting away with a shotgun should be plenty.
Better Call Saul's fabulous Bob Odenkirk makes the thrillingly unexpected move to action hero leading man, in this deliriously fun possible addition to the John Wick universe. It that's not enough seeing the Doc from Back To The Future blasting away with a shotgun should be plenty.
Long time (and multi Oscar nominated) producer, Robert Lorenz, tries his hand at directing a sadly very bog standard (especially up against The Grey or Cold Pursuit) Liam Neeson action film. It's slight and derivative but well made, with a touch of heartland America and a strong performance from Neeson. I was however devastated they killed of the wonderous Teresa Ruiz in the opening minutes.
Long time (and multi Oscar nominated) producer, Robert Lorenz, tries his hand at directing a sadly very bog standard (especially up against The Grey or Cold Pursuit) Liam Neeson action film. It's slight and derivative but well made, with a touch of heartland America and a strong performance from Neeson. I was however devastated they killed of the wonderous Teresa Ruiz in the opening minutes.
I've been increasingly onboard for the Godzilla side of this equaiton (especially after King of the Monsters) but gave the ambition free Kong: Skull Island a big fat zero out of ten. Here the furry one redeems himself in a surprisingly awesome best film yet that even fixes up its human problem.
I've been increasingly onboard for the Godzilla side of this equaiton (especially after King of the Monsters) but gave the ambition free Kong: Skull Island a big fat zero out of ten. Here the furry one redeems himself in a surprisingly awesome best film yet that even fixes up its human problem.
There is a criminal amount of potential left unexplored in Spanish horror auteur, Jaume Balaguero's relatively high class bank heist film. Unfortunately none of these great ideas are ever pursued and we are left with the most rote version of Ocean's 11 yet. On this awful showing I would put money of The Good Doctor star, Freddie Highmore never becoming a leading man. Unless it's playing twelve-year old boys.
There is a criminal amount of potential left unexplored in Spanish horror auteur, Jaume Balaguero's relatively high class bank heist film. Unfortunately none of these great ideas are ever pursued and we are left with the most rote version of Ocean's 11 yet. On this awful showing I would put money of The Good Doctor star, Freddie Highmore never becoming a leading man. Unless it's playing twelve-year old boys.
Director Lee Isaac Chung's autobiographical film about growing up in rural Arkansas touched a nerve when a debate as to whether it was an American film or a Foreign one for awards purposes - probably an American one. It's a lovely and lyrical film that is perhaps a little too obvious and a little too Jean de Florette. A nice watch that will probably not stay with you too long.
Director Lee Isaac Chung's autobiographical film about growing up in rural Arkansas touched a nerve when a debate as to whether it was an American film or a Foreign one for awards purposes - probably an American one. It's a lovely and lyrical film that is perhaps a little too obvious and a little too Jean de Florette. A nice watch that will probably not stay with you too long.
After hating every Zack Snyder film other than Watchmen, hating the DC Universe's awful films, hating the two years of relentless spam about this movie and hating the original - I couldn't possible have anything nice to say about this film. Could I?
After hating every Zack Snyder film other than Watchmen, hating the DC Universe's awful films, hating the two years of relentless spam about this movie and hating the original - I couldn't possible have anything nice to say about this film. Could I?
First time director and already acting legend Regina King may have just missed out on an Oscar nomination but she does a superb job helming this 2012 stage play adaptation, about an imagined meeting, in 1964, of four of the most prominent African-Americans alive. An outstanding script delves with enormous complexity and depth into the civil rights era and racial politics to a level not seen before in film. Top notch acting caps off a film that is everything Da 5 Bloods isnt.
First time director and already acting legend Regina King may have just missed out on an Oscar nomination but she does a superb job helming this 2012 stage play adaptation, about an imagined meeting, in 1964, of four of the most prominent African-Americans alive. An outstanding script delves with enormous complexity and depth into the civil rights era and racial politics to a level not seen before in film. Top notch acting caps off a film that is everything Da 5 Bloods isnt.
After calling out star Carey Mulligan for shameless Oscar politicking a few weeks ago, I finally get to see this polemical nice-guy destroying debut from British director Emerald Fennel and it didn't disappoint. An incredibly relevant and wildly ambitious, risk-taking destruction of the excuses around rape-culture, entirely focused on a probable and deserving Oscar winning performance from Mulligan. Amazing and essential film making that leaves no prisoners. And though I stand with the critic who Carey destroyed, he was wrong about Margot Robbie being a more natural fit to this role.
After calling out star Carey Mulligan for shameless Oscar politicking a few weeks ago, I finally get to see this polemical nice-guy destroying debut from British director Emerald Fennel and it didn't disappoint. An incredibly relevant and wildly ambitious, risk-taking destruction of the excuses around rape-culture, entirely focused on a probable and deserving Oscar winning performance from Mulligan. Amazing and essential film making that leaves no prisoners. And though I stand with the critic who Carey destroyed, he was wrong about Margot Robbie being a more natural fit to this role.
As an officiando of car crash cinema, I deliberately seek out the truly terrbile (so I can stick the boot in too!). No film of the modern era has generated quite such howling from critics as Australian singer Sia's misguided autistic triumph. Yet I can only call it as I S(ia) it. I actually kinda enjoyed it. It's badness is so wild it almost creates it's own universe but it's never dull for a second, and the main characters, particularly a fantastic nipple-popping Kate Hudson are actually really nice, well drawn and decent to spend time with and even it's daffy continual musical interludes often made me smile. Sesame Street on LSD.
As an officiando of car crash cinema, I deliberately seek out the truly terrbile (so I can stick the boot in too!). No film of the modern era has generated quite such howling from critics as Australian singer Sia's misguided autistic triumph. Yet I can only call it as I S(ia) it. I actually kinda enjoyed it. It's badness is so wild it almost creates it's own universe but it's never dull for a second, and the main characters, particularly a fantastic nipple-popping Kate Hudson are actually really nice, well drawn and decent to spend time with and even it's daffy continual musical interludes often made me smile. Sesame Street on LSD.
The obviously talented and ambitious NZ/China newbie director, Roseanne Liang follows up the local success of her first film with this Twilight Zone referencing full bore B movie, that's far more interesting and surprising than it sounds on paper. A small budget often looks spectacular and Chloë Grace Moretz holds an entire movie together pretty much by herself in an excellent turn. Far wilder and more human than I expected.
The obviously talented and ambitious NZ/China newbie director, Roseanne Liang follows up the local success of her first film with this Twilight Zone referencing full bore B movie, that's far more interesting and surprising than it sounds on paper. A small budget often looks spectacular and Chloë Grace Moretz holds an entire movie together pretty much by herself in an excellent turn. Far wilder and more human than I expected.
It's take directer Sean Durkin nearly a decade to follow up the excellent, Elizabeth Olsen starring, Marth Marcy May Marlene, but he has done so in style with this intense psych-drama starring and excellent Jude Law and Carrie Coon as a collapsing couple. He shows great command throughout, including lifting a stoic film into crazy mania for it's final third.
It's take directer Sean Durkin nearly a decade to follow up the excellent, Elizabeth Olsen starring, Marth Marcy May Marlene, but he has done so in style with this intense psych-drama starring and excellent Jude Law and Carrie Coon as a collapsing couple. He shows great command throughout, including lifting a stoic film into crazy mania for it's final third.
It's been poorly received but this Anthony Mackie starring dystopian sci-fi war-zone pic, is a thoughtful cut-above the never-ending run of bombastic and often stupid Netflix actioners and well worth a once through - though it should wear the heady political and moral themes its tepidly offers with louder pride.
It's been poorly received but this Anthony Mackie starring dystopian sci-fi war-zone pic, is a thoughtful cut-above the never-ending run of bombastic and often stupid Netflix actioners and well worth a once through - though it should wear the heady political and moral themes its tepidly offers with louder pride.
The Aussie outback is one of the most cinematic environments on earth and it's brutal history has given us many unforgettable films - sadly The Furnace is far too slight and poorly played to live up to its illustrious predecessors. Don't believe the reviews, despite an incredibly original and evocative set-up, the story is beyond rote, fairly tame and the acting decidedly average - as shown up by a brilliant David Wenham.
The Aussie outback is one of the most cinematic environments on earth and it's brutal history has given us many unforgettable films - sadly The Furnace is far too slight and poorly played to live up to its illustrious predecessors. Don't believe the reviews, despite an incredibly original and evocative set-up, the story is beyond rote, fairly tame and the acting decidedly average - as shown up by a brilliant David Wenham.
Actor Carey Mulligan (and the whole world) owe film critic Dennis Harvey a massive apology for the disgraceful act of destroying his career and reputation, to try and position themselves in this year's Oscar race. Her completely inferred response to a year old review, was nothing but the usual stories actor's, publicists and studios pump out between Christmas and February, just to put themselves in the minds of academy voters - only more cynical and vile. Harvey never said a word about either Margot or Carey being hot or not, cos a 60 year old gay guy doesn't think like that.
Actor Carey Mulligan (and the whole world) owe film critic Dennis Harvey a massive apology for the disgraceful act of destroying his career and reputation, to try and position themselves in this year's Oscar race. Her completely inferred response to a year old review, was nothing but the usual stories actor's, publicists and studios pump out between Christmas and February, just to put themselves in the minds of academy voters - only more cynical and vile. Harvey never said a word about either Margot or Carey being hot or not, cos a 60 year old gay guy doesn't think like that.
In all the years I've reviewed movies on the main show (posted here more recently) I've never given a perfect 10 out of 10 to a new release film before Nomadland. It's so much more than the grim, cinema verite, politicized look at America's post global financial crisis economic situation I expected. Instead I got the most insanely beautiful and artistic poem about heartland America, an optimistic world of people who'd escaped the "tyranny of the dollar" for an enrichingly soulful existence, that never needs to bang any drum, and gives wonderful characters effected by economic hard times but never formed by them. Front and center, Francis McDormand, who creates a character as likeable, alienated and unknowable as Harry Dean Stanton in Paris Texas - a film I found myself frequently referencing. Director Chloe Zhao shows complete mastery of the form and never makes a single misstep, even the cinematography and music are stunning. I'd feel comfortable calling it the best picture, director and actress Oscar winner, though it will certainly pic up nominations for the screenplay, supporting actor, score and cinematography, so that list maybe too short. A modern masterpiece.
In all the years I've reviewed movies on the main show (posted here more recently) I've never given a perfect 10 out of 10 to a new release film before Nomadland. It's so much more than the grim, cinema verite, politicized look at America's post global financial crisis economic situation I expected. Instead I got the most insanely beautiful and artistic poem about heartland America, an optimistic world of people who'd escaped the "tyranny of the dollar" for an enrichingly soulful existence, that never needs to bang any drum, and gives wonderful characters effected by economic hard times but never formed by them. Front and center, Francis McDormand, who creates a character as likeable, alienated and unknowable as Harry Dean Stanton in Paris Texas - a film I found myself frequently referencing. Director Chloe Zhao shows complete mastery of the form and never makes a single misstep, even the cinematography and music are stunning. I'd feel comfortable calling it the best picture, director and actress Oscar winner, though it will certainly pic up nominations for the screenplay, supporting actor, score and cinematography, so that list maybe too short. A modern masterpiece.
Since Disney started meddling with them, it's been an up and down road for Pixar, with too many sequels and the once sacrosanct originals varying in quality. If there is one man to save them, it's probably director Pete Docter (Monsters Inc., Up, Inside out) who delivers another wildly imaginative and dazzlingly ambitious original concept just worthy of their other high water marks. A less stunning middle section is compensated for by some beautiful artistic choices and the least child-friendly, existentially-adult Pixar concept yet.
Since Disney started meddling with them, it's been an up and down road for Pixar, with too many sequels and the once sacrosanct originals varying in quality. If there is one man to save them, it's probably director Pete Docter (Monsters Inc., Up, Inside out) who delivers another wildly imaginative and dazzlingly ambitious original concept just worthy of their other high water marks. A less stunning middle section is compensated for by some beautiful artistic choices and the least child-friendly, existentially-adult Pixar concept yet.
A film that redefines what the term "hot mess" means to me and makes me think director Patty Jenkins fluked it with the superb first encounter, still the only brilliant DC Universe film. The main flaws here are terminal - awful, lazy, tonally inconsistent, repetitive and dull writing, a director with no coherent vision at all and the most glaring plot-holes and logical inconsistencies of any film at this level in the modern era. Gal Gadot is still unbearably lovely but perhaps the film's most egregious failure (in a litany of them) is there isn't anything feminine about this film, it no longer matters that Wonder Woman is a woman.
A film that redefines what the term "hot mess" means to me and makes me think director Patty Jenkins fluked it with the superb first encounter, still the only brilliant DC Universe film. The main flaws here are terminal - awful, lazy, tonally inconsistent, repetitive and dull writing, a director with no coherent vision at all and the most glaring plot-holes and logical inconsistencies of any film at this level in the modern era. Gal Gadot is still unbearably lovely but perhaps the film's most egregious failure (in a litany of them) is there isn't anything feminine about this film, it no longer matters that Wonder Woman is a woman.
Australia has punched well above it's weight with magnificent low-budget films this century, first with hard nosed crime dramas, then last decade with striking forays into sci-fi and horror. Even against that back-drop the major film debut from writer-director Natalie Erika James stands out as a masterpiece. Posited as a near Hereditary house-horror film, it works in seamless tandem as both a high-class stock horror and something far superior, a metaphorical look at the scariest monster of all - mortality. An emotionally overwhelming and highly original use of standard horror tropes to examine our relationship with ageing parents to a point that I think it's the only horror film I've seen to make me cry. Astonishingly human and utterly devastating.
Australia has punched well above it's weight with magnificent low-budget films this century, first with hard nosed crime dramas, then last decade with striking forays into sci-fi and horror. Even against that back-drop the major film debut from writer-director Natalie Erika James stands out as a masterpiece. Posited as a near Hereditary house-horror film, it works in seamless tandem as both a high-class stock horror and something far superior, a metaphorical look at the scariest monster of all - mortality. An emotionally overwhelming and highly original use of standard horror tropes to examine our relationship with ageing parents to a point that I think it's the only horror film I've seen to make me cry. Astonishingly human and utterly devastating.
Most critics are like sheep. They read each other's reviews and are too scared to rate anything they don't understand accurately lest they get it "wrong". The latest by slow-movie auteur, Kelly Reichardt is case in point, winning numerous movie of the year awards. Though I gave warm reviews to both Meek's Cutoff and Night Moves, this is a weak and virtually empty film, devoid of any real substance, symbolism, depth, artistry or poetry. It's just a diverting half hour spread thinly over two laborious hours. Don't believe the hype.
Most critics are like sheep. They read each other's reviews and are too scared to rate anything they don't understand accurately lest they get it "wrong". The latest by slow-movie auteur, Kelly Reichardt is case in point, winning numerous movie of the year awards. Though I gave warm reviews to both Meek's Cutoff and Night Moves, this is a weak and virtually empty film, devoid of any real substance, symbolism, depth, artistry or poetry. It's just a diverting half hour spread thinly over two laborious hours. Don't believe the hype.
John Adams is undoubtedly a triple threat worth investigation, as here he occasionally directs well, acts in a often dialogue free, nuanced performance very well, and creates a great soundtrack for this indie horror. But no way does this very limited and often ordinary film deserve the place in the pantheon of modern indie horror greats its 75% on Metacritic and 94% on Rotten Tomatoes suggests. Not worth bothering.
John Adams is undoubtedly a triple threat worth investigation, as here he occasionally directs well, acts in a often dialogue free, nuanced performance very well, and creates a great soundtrack for this indie horror. But no way does this very limited and often ordinary film deserve the place in the pantheon of modern indie horror greats its 75% on Metacritic and 94% on Rotten Tomatoes suggests. Not worth bothering.
Exactly what it says in the title, in a very tepid year all round (lots of 8's, not many 9's!) my best and worst films of 2020, with the ten best and worst going head to head.
Exactly what it says in the title, in a very tepid year all round (lots of 8's, not many 9's!) my best and worst films of 2020, with the ten best and worst going head to head.
Bit of cross pollination here with the radio show (show with music https://www.mixcloud.com/julian-brown/the-brown-note-top-25-albums-of-2020/)
My top 25 albums of 2020 in a very flat year all round. Best and worst films of the year next week.
Bit of cross pollination here with the radio show (show with music https://www.mixcloud.com/julian-brown/the-brown-note-top-25-albums-of-2020/)
My top 25 albums of 2020 in a very flat year all round. Best and worst films of the year next week.
David Fincher's return to his father's old screenplay, about the writing of Citizen Kane by the immortal Herman J. Mankiewicz, is awash with Hollywood lore and golden-era standard bearers. If a fairly soulless but utterly whip-smart script of back and forths from ridiculously clever people, in love with how clever they are sounds like your perfect night in, you'll love it. If that sounds like pretentious twaddle and hell on earth, you'll hate it and find it intensely annoying. I loved it and the background of the way socialism was treated by right wing media, pushed it totally over the line for me. Also Gary Oldman's best role of the century as the lead. No doubt multiple Oscar nominations await as Hollywood loves to love itself.
David Fincher's return to his father's old screenplay, about the writing of Citizen Kane by the immortal Herman J. Mankiewicz, is awash with Hollywood lore and golden-era standard bearers. If a fairly soulless but utterly whip-smart script of back and forths from ridiculously clever people, in love with how clever they are sounds like your perfect night in, you'll love it. If that sounds like pretentious twaddle and hell on earth, you'll hate it and find it intensely annoying. I loved it and the background of the way socialism was treated by right wing media, pushed it totally over the line for me. Also Gary Oldman's best role of the century as the lead. No doubt multiple Oscar nominations await as Hollywood loves to love itself.
A recent unexpected TV viewing left me wondering if this is the Citizen Kane of Science Fiction Horror movies. Near perfect film making on every level from James Cameron, on a roll that would include Terminators 1&2 and the most perfect film of the lot. Even the sound effects or the machine guns are sublime. Full marks for production design, screenplay, effects that haven't dated, developed side characters that pack a memorable punch, unbearable building tension, iconic lines and an almost unheard of lead acting Oscar nomination for it's equally unusual female action lead, Sigourney Weaver as Ripley. Hugely influential from video games to any film where a state of the art military force is hopelessly out of its depth and packed with fascinating subtext like having warring mothers as both antagonist and protagonist. A perfect 10/10.
A recent unexpected TV viewing left me wondering if this is the Citizen Kane of Science Fiction Horror movies. Near perfect film making on every level from James Cameron, on a roll that would include Terminators 1&2 and the most perfect film of the lot. Even the sound effects or the machine guns are sublime. Full marks for production design, screenplay, effects that haven't dated, developed side characters that pack a memorable punch, unbearable building tension, iconic lines and an almost unheard of lead acting Oscar nomination for it's equally unusual female action lead, Sigourney Weaver as Ripley. Hugely influential from video games to any film where a state of the art military force is hopelessly out of its depth and packed with fascinating subtext like having warring mothers as both antagonist and protagonist. A perfect 10/10.
Already critically notorious, I was still impressed by how awful and cringe-inducing this latest from the master of Oscar bait and the worst half of trite-Spielberg, Ron Howard, was. Not so much toe curling as shin snapping, Howard's worst ever manages to make Cleetus from the Simpsons seem subtle and deep. Glenn Close will likely win an Oscar but this soft-core poverty porn is the years most misguided film, the Hallmark greeting card version of Winter's Bone, with very little story and a central character who is almost entirely unsympathetic. A front runner for worst film of the year and taken all in all (including the intent of the story arc versus what it actually achieves) - the years second (Hard Kill not included as it isn't a real film) big fat zero out of ten (after We Summon the Darkness).
Already critically notorious, I was still impressed by how awful and cringe-inducing this latest from the master of Oscar bait and the worst half of trite-Spielberg, Ron Howard, was. Not so much toe curling as shin snapping, Howard's worst ever manages to make Cleetus from the Simpsons seem subtle and deep. Glenn Close will likely win an Oscar but this soft-core poverty porn is the years most misguided film, the Hallmark greeting card version of Winter's Bone, with very little story and a central character who is almost entirely unsympathetic. A front runner for worst film of the year and taken all in all (including the intent of the story arc versus what it actually achieves) - the years second (Hard Kill not included as it isn't a real film) big fat zero out of ten (after We Summon the Darkness).
Has director Thomas Bezucha coined an entirely new genre? The senior shoot-em-up. With the instantly winning pairing of a (bulldog) Diane Lane and Kevin Costner, we don't get The Bridges of Maddison County but a Southern potboiler that builds patiently for through its first half of 1960's "white poverty" country folk, before barreling towards a violent denouement, as the leads try to extricate their grandson from the clutches of an abusive matriarch driven clan. All very satisfying and made with intelligence.
Has director Thomas Bezucha coined an entirely new genre? The senior shoot-em-up. With the instantly winning pairing of a (bulldog) Diane Lane and Kevin Costner, we don't get The Bridges of Maddison County but a Southern potboiler that builds patiently for through its first half of 1960's "white poverty" country folk, before barreling towards a violent denouement, as the leads try to extricate their grandson from the clutches of an abusive matriarch driven clan. All very satisfying and made with intelligence.
This slice of extreme cinema barely made a splash on release in 2011 but has inexplicably attained a whole new life on YouTube through TikTok. Hugely controversial and easy to dismiss for either its amateur elements or its brutal content, none the less this internet predator horror is a valid film, that paints as nihilistic and confronting a portrait of young teens as the legendary film Kids and whose portrayal of matter of fact abuse, sex and drug taking is nearly as shocking as the near unwatchable last half hour. Abandon hope ye who enter.
This slice of extreme cinema barely made a splash on release in 2011 but has inexplicably attained a whole new life on YouTube through TikTok. Hugely controversial and easy to dismiss for either its amateur elements or its brutal content, none the less this internet predator horror is a valid film, that paints as nihilistic and confronting a portrait of young teens as the legendary film Kids and whose portrayal of matter of fact abuse, sex and drug taking is nearly as shocking as the near unwatchable last half hour. Abandon hope ye who enter.
Inexplicably given no America cinema release, despite being one of THE most 2020 films imaginable and easily making back it's budget with low-key overseas box office, Greenland is the latest - and one of the best - end of the world/societal collapse movies to feature annihilation by meteor and the best of its kind since Deep Impact. Ric Roman Waugh is a director who has quietly amassed a filmography I have a lot of time for in the prison dramas, Felon and Shot Caller plus rescuing the franchise with Angel Has Fallen. This is his best yet and stars Gerard Butler - whose accent wanders so far from America to Scotland they literally end up talking about kilts.
Inexplicably given no America cinema release, despite being one of THE most 2020 films imaginable and easily making back it's budget with low-key overseas box office, Greenland is the latest - and one of the best - end of the world/societal collapse movies to feature annihilation by meteor and the best of its kind since Deep Impact. Ric Roman Waugh is a director who has quietly amassed a filmography I have a lot of time for in the prison dramas, Felon and Shot Caller plus rescuing the franchise with Angel Has Fallen. This is his best yet and stars Gerard Butler - whose accent wanders so far from America to Scotland they literally end up talking about kilts.
Hollywood's uber-writer Aaron Sorkin continues his well worn migration to directing (after the underappreciated yet not quite there, Molly's Game) with this timely, polemical and fascinating story of Nixon's show trial to punish the counter culture. Mark Rylance, Eddie Redmane and most shockingly Sascha Baron Cohen (by far the star of the show) shine. A really, really good film that perhaps falls just shy of outright greatness by dipping its toe into Ron Howard/Spielberg pat worthiness and awards chasing towards the end. Still a must see.
Hollywood's uber-writer Aaron Sorkin continues his well worn migration to directing (after the underappreciated yet not quite there, Molly's Game) with this timely, polemical and fascinating story of Nixon's show trial to punish the counter culture. Mark Rylance, Eddie Redmane and most shockingly Sascha Baron Cohen (by far the star of the show) shine. A really, really good film that perhaps falls just shy of outright greatness by dipping its toe into Ron Howard/Spielberg pat worthiness and awards chasing towards the end. Still a must see.
Despite containing a lead character so gratingly stupid I wanted Russel Crowe's comical-yet-terrifying man-bear to eat her, terrible writing and almost no engagement in the modern themes it raises, Unhinged just clears a very low bar. It's short, focused, gnarly and tense.
Despite containing a lead character so gratingly stupid I wanted Russel Crowe's comical-yet-terrifying man-bear to eat her, terrible writing and almost no engagement in the modern themes it raises, Unhinged just clears a very low bar. It's short, focused, gnarly and tense.
One of the most exciting and talented new British directors of the last decade, Ben Wheatley, was either an inspired or bizarre choice to take on Alfred Hitchcock's celebrated only Best Picture Oscar winner. Here both visions of the 1938 Daphne du Maurier novel go head to head and it ain't pretty. After scratching my head as to why he even did it, musing that Netflix were solely appealing to the Downton Abbey/Fifty Shades of Grey country house set, I find a whole new appreciation for the modern concerns of the original - domestic violence, psychological abuse, emotional trauma, toxic relationships and gas-lighting - all of which Wheatley's bland, rote film seem oblivious to.
One of the most exciting and talented new British directors of the last decade, Ben Wheatley, was either an inspired or bizarre choice to take on Alfred Hitchcock's celebrated only Best Picture Oscar winner. Here both visions of the 1938 Daphne du Maurier novel go head to head and it ain't pretty. After scratching my head as to why he even did it, musing that Netflix were solely appealing to the Downton Abbey/Fifty Shades of Grey country house set, I find a whole new appreciation for the modern concerns of the original - domestic violence, psychological abuse, emotional trauma, toxic relationships and gas-lighting - all of which Wheatley's bland, rote film seem oblivious to.
My vision of hell is a young adult dystopian future romance, yet the major debut by South African director Michael Matthews is kinda wonderful. Nowhere near the self-serious, po-faced dreck of Maze Runner-like films nor bombastic and broad, 'Monsters is surprisingly thoughtful and soulful, with some gorgeously understated effects, an effecting lead in Dylan O'Brien and after she totally stood up Kristen Stewart in this years Underwater, another star making turn from Jessica Henwick.
My vision of hell is a young adult dystopian future romance, yet the major debut by South African director Michael Matthews is kinda wonderful. Nowhere near the self-serious, po-faced dreck of Maze Runner-like films nor bombastic and broad, 'Monsters is surprisingly thoughtful and soulful, with some gorgeously understated effects, an effecting lead in Dylan O'Brien and after she totally stood up Kristen Stewart in this years Underwater, another star making turn from Jessica Henwick.
Alongside the brilliant, The Long Goodbye (reviewed elsewhere in this podcast) one of the two lost classics and twin pillars of neo-noir. Master-director, Arthur Penn( Bonnie and Clyde), helms Gene Hackman in a highly unusual, cerebral, existential gum-shoe tail, where the characters live on shifting sands, the protagonist has only a limited idea of what's going on and is the unknowing creator of his own story. Very early turns for James Woods and (given she's nude) and uncomfortably young, Melanie Griffiths.
Alongside the brilliant, The Long Goodbye (reviewed elsewhere in this podcast) one of the two lost classics and twin pillars of neo-noir. Master-director, Arthur Penn( Bonnie and Clyde), helms Gene Hackman in a highly unusual, cerebral, existential gum-shoe tail, where the characters live on shifting sands, the protagonist has only a limited idea of what's going on and is the unknowing creator of his own story. Very early turns for James Woods and (given she's nude) and uncomfortably young, Melanie Griffiths.
On the very day Johhny Depp was railroaded (I think) in a UK court, this almost invisible 2018 non-release about the deaths of Tupac and Biggie, and the rampant corruption of the LAPD Rampart division that inspired Training Day, should've been far more interesting but it's very inconsequential and I left feeling confused.
On the very day Johhny Depp was railroaded (I think) in a UK court, this almost invisible 2018 non-release about the deaths of Tupac and Biggie, and the rampant corruption of the LAPD Rampart division that inspired Training Day, should've been far more interesting but it's very inconsequential and I left feeling confused.
With low-budget Sci-fi (and horror) undergoing a revolution this last decade, where artistic powerhouses like Annihilation and Under the Skin exist, and Australia routinely pumps out films like Upgrade, I Am Mother, Predestination and The Rover - a trite, rote dystopian-future subject and bad writing were always going to render 2067 a non-entity. Add awful casting and bad acting to the mix and it sinks like a stone. Kodi Smit-Mcphee's trademark grating, crying teenage man-baby is the icing on a rotten cake.
With low-budget Sci-fi (and horror) undergoing a revolution this last decade, where artistic powerhouses like Annihilation and Under the Skin exist, and Australia routinely pumps out films like Upgrade, I Am Mother, Predestination and The Rover - a trite, rote dystopian-future subject and bad writing were always going to render 2067 a non-entity. Add awful casting and bad acting to the mix and it sinks like a stone. Kodi Smit-Mcphee's trademark grating, crying teenage man-baby is the icing on a rotten cake.
Perhaps slightly too high a score here for this divisive, critically reviled, Janelle Monae starring Civil War/Most Dangerous Game hybrid but still a far superior, better structured and more successful film than the awful yet praised Da 5 Bloods. Flaws certainly but it gets an awful lot of film making aspects right and is perhaps being trashed for not living up to its hugely ambitious racial paradigm and the contentious potential therein. As a horror I found it interesting and well put together.
Perhaps slightly too high a score here for this divisive, critically reviled, Janelle Monae starring Civil War/Most Dangerous Game hybrid but still a far superior, better structured and more successful film than the awful yet praised Da 5 Bloods. Flaws certainly but it gets an awful lot of film making aspects right and is perhaps being trashed for not living up to its hugely ambitious racial paradigm and the contentious potential therein. As a horror I found it interesting and well put together.
It's 2020 and until a week ago I had never seen any Harry Potter movie, so after catching the first on TV, I binged the lot. So this is a previously very reluctant outsiders view of the Potter universe. Every single film reviewed and my top 15 pros and cons.
It's 2020 and until a week ago I had never seen any Harry Potter movie, so after catching the first on TV, I binged the lot. So this is a previously very reluctant outsiders view of the Potter universe. Every single film reviewed and my top 15 pros and cons.
Having grown up watching Scarface on poor quality VHS transfers, a recent re-watch (the first in many years) on a wide-screen, high-definition, gorgeously colored print, was a revelation. Also an opportunity to reward the lurid, populist gangster classic with the critical acclaim it deserves but that commonly eludes it. Three already high octane personalities in director Brian de Palma, screenwriter Oliver Stone and star Al Pacino, all firing at the peak of their game for a film that is far more than the obnoxious relative at the Goodfellas/Godfather family get-togethers.
Having grown up watching Scarface on poor quality VHS transfers, a recent re-watch (the first in many years) on a wide-screen, high-definition, gorgeously colored print, was a revelation. Also an opportunity to reward the lurid, populist gangster classic with the critical acclaim it deserves but that commonly eludes it. Three already high octane personalities in director Brian de Palma, screenwriter Oliver Stone and star Al Pacino, all firing at the peak of their game for a film that is far more than the obnoxious relative at the Goodfellas/Godfather family get-togethers.
Call Me by Your Name director, Luca Guadagnino's remake of Dario Argento's stylistic Gallo-horror masterpiece interestingly abandons the striking color and sound of the original for an opposing grey-noir cold war aesthetic. It is indeed still and not much happens, too little, but I found the world a quietly compelling one all on its own merit, deeply atmospheric and odd and with a denouement that finally tips over into Argento madness. (He is currently remaking Scarface no less).
Call Me by Your Name director, Luca Guadagnino's remake of Dario Argento's stylistic Gallo-horror masterpiece interestingly abandons the striking color and sound of the original for an opposing grey-noir cold war aesthetic. It is indeed still and not much happens, too little, but I found the world a quietly compelling one all on its own merit, deeply atmospheric and odd and with a denouement that finally tips over into Argento madness. (He is currently remaking Scarface no less).
Did you think you were a Facebook customer and not their product? The years most essential documentary paints a terrifying portrait of how devastating and deep the impact of social media has been on society. Not so much a review as an overview of the incredibly important themes the documentary raises.
Did you think you were a Facebook customer and not their product? The years most essential documentary paints a terrifying portrait of how devastating and deep the impact of social media has been on society. Not so much a review as an overview of the incredibly important themes the documentary raises.
Writer, Donald Ray Pollock's debut novel is brought to the screen by director Antonio Campos and with a great cast and strong production values, it's exactly the kind of grimy Hillybilly-noir I should adore. Sadly it's a boring, indistinct, meaningless mess of a film that takes far too long to give us the salvation of Tom Holland and Robert Pattinson.
Writer, Donald Ray Pollock's debut novel is brought to the screen by director Antonio Campos and with a great cast and strong production values, it's exactly the kind of grimy Hillybilly-noir I should adore. Sadly it's a boring, indistinct, meaningless mess of a film that takes far too long to give us the salvation of Tom Holland and Robert Pattinson.
I've been trying to start THE AGE OF CAGE for some time now and with both this from 2018 and The Color out of Space this year, I feel we are really there. Cage is the Omega to Keanu's Alpha, and this utterly magnificent gonzo-horror is the real deal. Director Panos Cosmatos weaves some of the most heavily stylised visual palettes ever (Benjamin Loeb) and music (nearly the last from Jóhann Jóhannsson) into an unforgettable fever-dream nightmare revenge fantasy. A truly committed Nicholas Cages is at the centre of the LSD maelstrom.
I've been trying to start THE AGE OF CAGE for some time now and with both this from 2018 and The Color out of Space this year, I feel we are really there. Cage is the Omega to Keanu's Alpha, and this utterly magnificent gonzo-horror is the real deal. Director Panos Cosmatos weaves some of the most heavily stylised visual palettes ever (Benjamin Loeb) and music (nearly the last from Jóhann Jóhannsson) into an unforgettable fever-dream nightmare revenge fantasy. A truly committed Nicholas Cages is at the centre of the LSD maelstrom.
This latest home invasion horror has a couple of interesting paradigms to throw at the genre (income inequality and the hunter becoming the hunted) but peruses neither effectively with a wayward screenplay and a first half dominated by some of the most obnoxiously stupid characters imaginable. It gets better but only like an awful party improves now the worst people have gone, it's still terrible, despite the efforts of a couple of more esteemed actors and a low rent Florence Pugh knock off.
This latest home invasion horror has a couple of interesting paradigms to throw at the genre (income inequality and the hunter becoming the hunted) but peruses neither effectively with a wayward screenplay and a first half dominated by some of the most obnoxiously stupid characters imaginable. It gets better but only like an awful party improves now the worst people have gone, it's still terrible, despite the efforts of a couple of more esteemed actors and a low rent Florence Pugh knock off.
The only reason you ever came across this no-rent endeavor were the combination of Bruce Willis and a zero on Rotten Tomatoes. I struggled to give it a zero myself as unlike We Summon the Darkness, it didn't really earn it, though alongside The Prince it, I think, makes him the only double recipient of a 0/10 on this podcast. But it's not really a movie, more a filmed paintball session.
The only reason you ever came across this no-rent endeavor were the combination of Bruce Willis and a zero on Rotten Tomatoes. I struggled to give it a zero myself as unlike We Summon the Darkness, it didn't really earn it, though alongside The Prince it, I think, makes him the only double recipient of a 0/10 on this podcast. But it's not really a movie, more a filmed paintball session.
The esteemed Charlie Kaufman's latest is a dark, bleak and most depressing existential, near plotless retread of Eternal Sunshine of the Spotless Mind. And my favorite film of the year so far. Enjoy in a double-bill with Vivarium to lose all hope in living. (NOTE: This radio show is movie heavy as the music is my favorite scores and soundtracks from my list, last year, of my top fifty films of the decade - https://www.mixcloud.com/julian-brown/the-brown-note-radio-show-presented-by-julian-brown-7-sep-2020/ )
The esteemed Charlie Kaufman's latest is a dark, bleak and most depressing existential, near plotless retread of Eternal Sunshine of the Spotless Mind. And my favorite film of the year so far. Enjoy in a double-bill with Vivarium to lose all hope in living. (NOTE: This radio show is movie heavy as the music is my favorite scores and soundtracks from my list, last year, of my top fifty films of the decade - https://www.mixcloud.com/julian-brown/the-brown-note-radio-show-presented-by-julian-brown-7-sep-2020/ )
The years most exciting and eagerly awaited cinematic experience is here and its the dullest and most disappointing movie imaginable, in almost every way a film can be and Nolan's worst film by a long margin. Booo indeed. (NOTE: This radio show is movie heavy as the music is my favorite scores and soundtracks from my list, last year, of my top fifty films of the decade - https://www.mixcloud.com/julian-brown/the-brown-note-radio-show-presented-by-julian-brown-7-sep-2020/ )
The years most exciting and eagerly awaited cinematic experience is here and its the dullest and most disappointing movie imaginable, in almost every way a film can be and Nolan's worst film by a long margin. Booo indeed. (NOTE: This radio show is movie heavy as the music is my favorite scores and soundtracks from my list, last year, of my top fifty films of the decade - https://www.mixcloud.com/julian-brown/the-brown-note-radio-show-presented-by-julian-brown-7-sep-2020/ )
No doubt this Megan Fox starring actioner (think Triple Frontier with schoolgirls instead of money, in Africa, with lions) will head straight for sub 15% Rotten Tomatoes land, pretty much solely on the lion special effect, which will be meme'd to death. Outside of that it's a perfectly reasonable shooter-horror straight-to-video affair, that's richly shot and has perfectly acceptable action.
No doubt this Megan Fox starring actioner (think Triple Frontier with schoolgirls instead of money, in Africa, with lions) will head straight for sub 15% Rotten Tomatoes land, pretty much solely on the lion special effect, which will be meme'd to death. Outside of that it's a perfectly reasonable shooter-horror straight-to-video affair, that's richly shot and has perfectly acceptable action.
The directoral debut from James Franco's brother immediately marks him as someone to watch, as he does nearly everything very well indeed. Taking the overused trope of the cabin in the woods and updating it to the AirBnB age, everything is classy.
The directoral debut from James Franco's brother immediately marks him as someone to watch, as he does nearly everything very well indeed. Taking the overused trope of the cabin in the woods and updating it to the AirBnB age, everything is classy.
For a few years Netflix were one of the best movie "studios" on earth, providing many of the best, most artistic, most original and most challenging films each year. Now they seem stuck in a new and distressing paradigm. Great idea for an action movie, big budget, name actors combined with terrible directors, screenplays and scripts. Not QUITE as terrible as The Old Guard but still annoyingly so.
For a few years Netflix were one of the best movie "studios" on earth, providing many of the best, most artistic, most original and most challenging films each year. Now they seem stuck in a new and distressing paradigm. Great idea for an action movie, big budget, name actors combined with terrible directors, screenplays and scripts. Not QUITE as terrible as The Old Guard but still annoyingly so.
A massively heavyweight effort featuring Noble Prize winning author J M Coetzee adapting his own acclaimed novel and the first English language film from Colombian Embrace of the Serpent Oscar nominated director, Ciro Guerra and actors Johnny Depp, Robert Pattinson and Mark Rylance. Sadly its too flat, uninvolving and heavy handed to be a masterpiece but it's still far better and more interesting (and beautifully shot and acted) than most reviews recognise.
A massively heavyweight effort featuring Noble Prize winning author J M Coetzee adapting his own acclaimed novel and the first English language film from Colombian Embrace of the Serpent Oscar nominated director, Ciro Guerra and actors Johnny Depp, Robert Pattinson and Mark Rylance. Sadly its too flat, uninvolving and heavy handed to be a masterpiece but it's still far better and more interesting (and beautifully shot and acted) than most reviews recognise.
My endless appetite for LA crime films is making me follow one of the kings of the genre, director David Ayer, all the way down to this, just passable as a once through Shia Lebouf starring and fairly low rent, base-line effort. I still don't agree with the consensus of how awful it is, if you think Training Day is a masterpiece this is still - just - worth a once through but only just.
My endless appetite for LA crime films is making me follow one of the kings of the genre, director David Ayer, all the way down to this, just passable as a once through Shia Lebouf starring and fairly low rent, base-line effort. I still don't agree with the consensus of how awful it is, if you think Training Day is a masterpiece this is still - just - worth a once through but only just.
A possible career best performance for Hugh Jackman in this hugely watchable, classily written, warm, amiable and funny reading of America's biggest public school fraud.
A possible career best performance for Hugh Jackman in this hugely watchable, classily written, warm, amiable and funny reading of America's biggest public school fraud.
Michael Mann's signature style given arguably its purest outing in this hugely aesthetic remake of his own iconic TV series. A bit of a failure on release and without the strong narrative or characters of Heat but near sublime as a very expensive, now cult mood piece.
Michael Mann's signature style given arguably its purest outing in this hugely aesthetic remake of his own iconic TV series. A bit of a failure on release and without the strong narrative or characters of Heat but near sublime as a very expensive, now cult mood piece.
Tom Hanks acts his own screenplay in this WW2 naval cat and mouse thriller, that is completely solid but needs to offer a bit more to be great.
Tom Hanks acts his own screenplay in this WW2 naval cat and mouse thriller, that is completely solid but needs to offer a bit more to be great.
Director William Friedkin may have destroyed his career and gone through his own Apocalypse Now journey through hell making it but for me, his remake of the equally classic, Wages of Fear, is a better film than even The French Connection or The Exorcist and his third flat-out masterpiece in a row.
Director William Friedkin may have destroyed his career and gone through his own Apocalypse Now journey through hell making it but for me, his remake of the equally classic, Wages of Fear, is a better film than even The French Connection or The Exorcist and his third flat-out masterpiece in a row.
A big fat zero out of ten for by far the worst film I've seen this year. It's difficult to be a pastiche of bad 80's horror films when you are a much worse film yourself. Dreadful in every single film-making way possible - the T'Pau song over the closing credits is literally the only good part to this travesty.
A big fat zero out of ten for by far the worst film I've seen this year. It's difficult to be a pastiche of bad 80's horror films when you are a much worse film yourself. Dreadful in every single film-making way possible - the T'Pau song over the closing credits is literally the only good part to this travesty.
I've rarely felt more depressed after watching a film. This underappreciated sci-fi eviscerates the perfect suburban life like no other and completely changed my opinion on the abilities of star Imogen Poots.
I've rarely felt more depressed after watching a film. This underappreciated sci-fi eviscerates the perfect suburban life like no other and completely changed my opinion on the abilities of star Imogen Poots.
A deep-water monster flick that barely lives up to its great environment and hint at Cthulhu and whose main purpose seem to be to reaffirm that Kristen Stewart cannot act.
A deep-water monster flick that barely lives up to its great environment and hint at Cthulhu and whose main purpose seem to be to reaffirm that Kristen Stewart cannot act.
Corona binge watch heaven. It's been long enough to do a retrospective of one of televisions finest ever shows. All five seasons of The Wire reviewed and rated.
Corona binge watch heaven. It's been long enough to do a retrospective of one of televisions finest ever shows. All five seasons of The Wire reviewed and rated.
Almost shamefully aims at the Oscars and in a tepid year has every chance. Ben Affleck is magnificent, especially by himself, in a painful performance that reeks of personal reckoning - it stops shy of greatness by tacking on a rote sports film.
Almost shamefully aims at the Oscars and in a tepid year has every chance. Ben Affleck is magnificent, especially by himself, in a painful performance that reeks of personal reckoning - it stops shy of greatness by tacking on a rote sports film.
Yet another of the recent streaming friendly franchise hopeful actioners has inexplicably good reviews. The mythos, Charlize Theron and Matthiias Schoenaerts set things up magnificently but from there on in almost everything is dire. Painfully bad.
Yet another of the recent streaming friendly franchise hopeful actioners has inexplicably good reviews. The mythos, Charlize Theron and Matthiias Schoenaerts set things up magnificently but from there on in almost everything is dire. Painfully bad.
More proof that modernist new horror is where it's at as far as filmmaking is concerned. Ultimately surprising and disturbing and one of the years best.
More proof that modernist new horror is where it's at as far as filmmaking is concerned. Ultimately surprising and disturbing and one of the years best.
The most surprised I've been by a movie in ages. After years of relentlessly bagging Guy Ritchie as one of the most consistently bad directors working (even giving his last outing my worst film of the year) I was shocked to see a massive uptick in his writing and direction here. A film that enthralls whenever Hugh Grant, Charlie Hunnam or Colin Farrell are on screen - which they nearly always are.
The most surprised I've been by a movie in ages. After years of relentlessly bagging Guy Ritchie as one of the most consistently bad directors working (even giving his last outing my worst film of the year) I was shocked to see a massive uptick in his writing and direction here. A film that enthralls whenever Hugh Grant, Charlie Hunnam or Colin Farrell are on screen - which they nearly always are.
After an inspired Aussie TV network showed every Bond film in order, not only showing me lesser films I hadn't seen since childhood but also in detailed wide-screen for the first time, enabling back-to-back comparisons. So here it is - every single Bond film ranked and scored in order, my best and worst bond villains and girls and the top fifteen theme tunes.
After an inspired Aussie TV network showed every Bond film in order, not only showing me lesser films I hadn't seen since childhood but also in detailed wide-screen for the first time, enabling back-to-back comparisons. So here it is - every single Bond film ranked and scored in order, my best and worst bond villains and girls and the top fifteen theme tunes.
Definitely one of the years best and most surprising films, expertly helmed by director Leigh Whannel - whose low budget Aussie sci-fi, Upgrade, I recently raved about. A thrilling new take of an old story that perfectly fits with modern concerns.
Definitely one of the years best and most surprising films, expertly helmed by director Leigh Whannel - whose low budget Aussie sci-fi, Upgrade, I recently raved about. A thrilling new take of an old story that perfectly fits with modern concerns.
Despite a brilliant performance from Chris Hemsworth and great visuals, far too much action and far too little writing spoil the party.
Despite a brilliant performance from Chris Hemsworth and great visuals, far too much action and far too little writing spoil the party.
The age of Cage is returning (though this isn't quite as good as the insane Mandy). A welcome return for long absent director, Richard Stanley in this vivid, psychedelic take on H.P. Lovecraft.
The age of Cage is returning (though this isn't quite as good as the insane Mandy). A welcome return for long absent director, Richard Stanley in this vivid, psychedelic take on H.P. Lovecraft.
One of a raft of streaming friendly actioners released this year. Vin Diesel stars in a promising, yet ultimately underwhelming attempt at franchise starting.
One of a raft of streaming friendly actioners released this year. Vin Diesel stars in a promising, yet ultimately underwhelming attempt at franchise starting.
You have to hand it to the DC comic movie universe - they can do do any kind of movie just as badly as any other. Here they tackle indie/Joker-ish to predictably dire effect.
You have to hand it to the DC comic movie universe - they can do do any kind of movie just as badly as any other. Here they tackle indie/Joker-ish to predictably dire effect.
Politicised Brazilian auteur, Kleber Medonca Filho, is clearly one to watch but his acclaimed genre-bender isn't quite wild enough a ride and falls down in a few areas.
Politicised Brazilian auteur, Kleber Medonca Filho, is clearly one to watch but his acclaimed genre-bender isn't quite wild enough a ride and falls down in a few areas.
My top fifty films from 2010-20 plus my most overrated films of the decade - including one from Martin Scorcese (no, not that one).
My top fifty films from 2010-20 plus my most overrated films of the decade - including one from Martin Scorcese (no, not that one).
This near masterpiece was possibly the most stress inducing film I've ever seen and not one for people with anxiety. Criminally shut out at the Oscars given its strengths in direction, cinematography, screenplay and sound plus a lead performance better than the Joker.
This near masterpiece was possibly the most stress inducing film I've ever seen and not one for people with anxiety. Criminally shut out at the Oscars given its strengths in direction, cinematography, screenplay and sound plus a lead performance better than the Joker.
A look back over the second attempt at rebooting the Star War franchise, which after a strong opening salvo, was nearly as bad as the first attempt. All five films reviewed (and it isn't pretty).
A look back over the second attempt at rebooting the Star War franchise, which after a strong opening salvo, was nearly as bad as the first attempt. All five films reviewed (and it isn't pretty).
What started as a review of the abysmal franchise nadir ended up an overview of the entire character of Rambo.
What started as a review of the abysmal franchise nadir ended up an overview of the entire character of Rambo.
With three incredible and very different, yet socially and politically awake films, as good a decade for Korean director Bong Joon-ho. Paradoxically I thought that though Tarantino deserved best picture at the Oscars, this was also one of the best best picture winners this century.
With three incredible and very different, yet socially and politically awake films, as good a decade for Korean director Bong Joon-ho. Paradoxically I thought that though Tarantino deserved best picture at the Oscars, this was also one of the best best picture winners this century.
All five seasons of Narcos have been superb and none more than the second Mexican cartel focused endeavor, where Diego Luna has a shattering Walter White-like descent into evil, as good as anything on television.
All five seasons of Narcos have been superb and none more than the second Mexican cartel focused endeavor, where Diego Luna has a shattering Walter White-like descent into evil, as good as anything on television.
Trailers rarely ever lie but thank god this modernist take on Agatha Christie wasn't the quirky Wes Andersen twaddle I expected, and instead was a truly wonderful film.
Trailers rarely ever lie but thank god this modernist take on Agatha Christie wasn't the quirky Wes Andersen twaddle I expected, and instead was a truly wonderful film.
It was with supreme irony for a film about how inspired maverick geniuses are held back by corporate interference as that's exactly what it felt like held back this film from greatness.
It was with supreme irony for a film about how inspired maverick geniuses are held back by corporate interference as that's exactly what it felt like held back this film from greatness.
After putting Jesse through hell for most of the final season of Breaking Bad, finally some closure in this nerve jangling stand alone piece.
After putting Jesse through hell for most of the final season of Breaking Bad, finally some closure in this nerve jangling stand alone piece.
Part of a two movie David Hemmings retrospective (along with Blow Up) another classic - Dario Argento's masterpiece is superior to Suspiria.
Part of a two movie David Hemmings retrospective (along with Blow Up) another classic - Dario Argento's masterpiece is superior to Suspiria.
As part of a two film retrospective on actor David Hemmings (along with Deep Red) - a first watch of the Michelangelo Antonioni's counter culture classic didn't let me down.
As part of a two film retrospective on actor David Hemmings (along with Deep Red) - a first watch of the Michelangelo Antonioni's counter culture classic didn't let me down.
I'm no fan of director Sam Mendes at all - he stank up the Bond universe and few films got old quicker than American Beauty. Here he tried the time honored graft of releasing a film based on a gimmick just before the Oscars to hoodwink everyone for a month until they realise it wasn't very good after all - and if it wasn't for those pesky kids...
I'm no fan of director Sam Mendes at all - he stank up the Bond universe and few films got old quicker than American Beauty. Here he tried the time honored graft of releasing a film based on a gimmick just before the Oscars to hoodwink everyone for a month until they realise it wasn't very good after all - and if it wasn't for those pesky kids...
Our liberal democracies are being stolen from us in broad daylight and it's only getting worse and a polarised political scene is doing nothing to stop it. One of the most important documentaries of the modern era - the story of Cambridge Analytica using weapons of war against the public get right wing agendas elected.
Our liberal democracies are being stolen from us in broad daylight and it's only getting worse and a polarised political scene is doing nothing to stop it. One of the most important documentaries of the modern era - the story of Cambridge Analytica using weapons of war against the public get right wing agendas elected.
Retrospectively uploading these reviews as podcasts, I've sometimes disputed my initial review - nothing comes close to this, inexplicably given 7.5/10. It's genuinely atrocious, a pointless and stupid film that takes the over-used trope of going to a major city and blowing up famous landmarks and makes an entire film out of it. A 3/10 awful nadir in the Marvel universe.
Retrospectively uploading these reviews as podcasts, I've sometimes disputed my initial review - nothing comes close to this, inexplicably given 7.5/10. It's genuinely atrocious, a pointless and stupid film that takes the over-used trope of going to a major city and blowing up famous landmarks and makes an entire film out of it. A 3/10 awful nadir in the Marvel universe.
Just like the Hateful 8 (which I also loved) it polarised audiences but I thought the latest Tarrantino effort was his most impressive and mature directoral effort yet - had I not been preoccupied with end of decade best of lists, it would've beaten Parasite as my best film of 2019.
Just like the Hateful 8 (which I also loved) it polarised audiences but I thought the latest Tarrantino effort was his most impressive and mature directoral effort yet - had I not been preoccupied with end of decade best of lists, it would've beaten Parasite as my best film of 2019.
With several of the best fight sequences of the modern era, a breathtaking, flawless first hour and the best use of the mythos yet - the finest of the three Keanu Reeves genre films.
With several of the best fight sequences of the modern era, a breathtaking, flawless first hour and the best use of the mythos yet - the finest of the three Keanu Reeves genre films.
In retrospect a minor classic for me. The human side is still dire but it's evocation of Japanese monster aesthetics through stunning modern effects has never been done better.
In retrospect a minor classic for me. The human side is still dire but it's evocation of Japanese monster aesthetics through stunning modern effects has never been done better.
The most recent of five uniformly good Netflix specials from the stand up legend is arguably the most focused and consistent.
The most recent of five uniformly good Netflix specials from the stand up legend is arguably the most focused and consistent.
I'd rate this hugely unusual, winter-blown black comedic entry into the Liam Neeson multiverse even higher now. Its icy Colorado landscape is hugely appealing, its dark humor closer to something like Fargo and Tom Bateman is one of the greatest gonzo B-movie villains ever.
I'd rate this hugely unusual, winter-blown black comedic entry into the Liam Neeson multiverse even higher now. Its icy Colorado landscape is hugely appealing, its dark humor closer to something like Fargo and Tom Bateman is one of the greatest gonzo B-movie villains ever.
Superb work from writer director Drew Goddard, who takes throws the usual post-Tarrantino school book out the window and instead allows long, slow, patient character development to occupy the front half of the film, ably abetted by an excellent cast.
Superb work from writer director Drew Goddard, who takes throws the usual post-Tarrantino school book out the window and instead allows long, slow, patient character development to occupy the front half of the film, ably abetted by an excellent cast.
If there is a flaw in Steve McQueen's UK-tv female bank heist remake, it's too much of a good thing. All of the micro-universes portrayed in this film are worthy of a film of their own and all contain outstanding acting.
If there is a flaw in Steve McQueen's UK-tv female bank heist remake, it's too much of a good thing. All of the micro-universes portrayed in this film are worthy of a film of their own and all contain outstanding acting.
Director Adam McKay continues to score after his move away from comedy. After the superb The Big Short, this undervalued look at a broken American political system that is even worse today. Christian Bale was robbed of an Oscar, again.
Director Adam McKay continues to score after his move away from comedy. After the superb The Big Short, this undervalued look at a broken American political system that is even worse today. Christian Bale was robbed of an Oscar, again.
Australia continues to produce these incredibly impressive, low-budget sci-fi films. This a perfect blend of body-horror, violent action and cerebral ideas.
Australia continues to produce these incredibly impressive, low-budget sci-fi films. This a perfect blend of body-horror, violent action and cerebral ideas.
Both films have wasted the TV Show's iconic premise and the perfect star to do it justice.
Both films have wasted the TV Show's iconic premise and the perfect star to do it justice.
As I've said, being amiable goes a long way in this kind of film and the central pair of The Rock and (a welcome return for) Neve Campbell are certainly that.
As I've said, being amiable goes a long way in this kind of film and the central pair of The Rock and (a welcome return for) Neve Campbell are certainly that.
One of the most mysterious films of the decade. After the original boasted one of the greatest across the board arrays of talent assembled in a film the last decade, a drop off was to be expected - who knew it would be in the writing. Taylor Sheridan was on the imperious run of Sicario, Hell or High Water and Wind River, yet this films has the most baffling narrative choices in recent memory.
One of the most mysterious films of the decade. After the original boasted one of the greatest across the board arrays of talent assembled in a film the last decade, a drop off was to be expected - who knew it would be in the writing. Taylor Sheridan was on the imperious run of Sicario, Hell or High Water and Wind River, yet this films has the most baffling narrative choices in recent memory.
The superb debut from director Ryan Coogler nails everything it needs to without overdoing anything.
The superb debut from director Ryan Coogler nails everything it needs to without overdoing anything.
For me a massive and impressive return to form after the awful La La Land, in this underappreciated, magnificent, first man on the moon biopic.
For me a massive and impressive return to form after the awful La La Land, in this underappreciated, magnificent, first man on the moon biopic.
I love Ryan Reynolds but hated the acclaimed first film and found its "edgy" humor painful, I enjoyed its sequel more.
I love Ryan Reynolds but hated the acclaimed first film and found its "edgy" humor painful, I enjoyed its sequel more.
A film I gave a reasonably good score to because of how hilariously awful it was, oh dear. Bloody entertaining though.
A film I gave a reasonably good score to because of how hilariously awful it was, oh dear. Bloody entertaining though.
After savaging Da 5 Bloods a far better film from Spike Lee here.
After savaging Da 5 Bloods a far better film from Spike Lee here.
My best and worst films of, drum roll, 2018.
My best and worst films of, drum roll, 2018.
Director James Wan is far better at visual storytelling than creating a coherent narrative in this exposition loaded, over-complicated and overlong film but being amiable goes an awful long way. Be interesting to see if Amber Heard ever gets a role this prominent again.
Director James Wan is far better at visual storytelling than creating a coherent narrative in this exposition loaded, over-complicated and overlong film but being amiable goes an awful long way. Be interesting to see if Amber Heard ever gets a role this prominent again.
Lynne Ramsay and Joaquin Phoenix's incredibly dark drama.
Lynne Ramsay and Joaquin Phoenix's incredibly dark drama.
For years whilst Citizen Kane was ranked the greatest film of all time, I said this was, and over the years, that's exactly where it has risen to be. This is a wonderful article about the film coupled with a shorter 10/10 review.
For years whilst Citizen Kane was ranked the greatest film of all time, I said this was, and over the years, that's exactly where it has risen to be. This is a wonderful article about the film coupled with a shorter 10/10 review.
This utterly pointless reboot is as slight as a level in a video game.
This utterly pointless reboot is as slight as a level in a video game.
The start of the downward spiral in the second failed attempt at rebooting the Star Wars franchise has inexplicably great reviews. I gave it even lower than here on my Star Wars special and it's still only the third worst film.
The start of the downward spiral in the second failed attempt at rebooting the Star Wars franchise has inexplicably great reviews. I gave it even lower than here on my Star Wars special and it's still only the third worst film.
Middling effort in the Liam Neeson mutli-verse.
Middling effort in the Liam Neeson mutli-verse.
Sadly, far less laugh-out-loud funny than previous efforts and with deeply problematic targets (no less than three rows he's had with members of the public on Twitter and a really bad Caitlyn Jenner bit).
Sadly, far less laugh-out-loud funny than previous efforts and with deeply problematic targets (no less than three rows he's had with members of the public on Twitter and a really bad Caitlyn Jenner bit).
Even thought his output this century has been mostly bad, sci-fi used to be Spielberg's safe space. This lackluster, forgettable effort exists in a problematic 1980's boys world.
Even thought his output this century has been mostly bad, sci-fi used to be Spielberg's safe space. This lackluster, forgettable effort exists in a problematic 1980's boys world.
Guillermo del Toro has ruined more sequels by NOT directing them than any other director, this, sadly, has none of the magic that made his original wonderful.
Guillermo del Toro has ruined more sequels by NOT directing them than any other director, this, sadly, has none of the magic that made his original wonderful.
The godawful Jurassic series has so far given one classic and five duds. What on earth was I smoking here to give this such a good review?
The godawful Jurassic series has so far given one classic and five duds. What on earth was I smoking here to give this such a good review?
A lot to enjoy with this board game movie sequel and it sure looks pretty, even if it over-eggs much.
A lot to enjoy with this board game movie sequel and it sure looks pretty, even if it over-eggs much.
One of my favorite comedians this century's lesser stand-up works.
One of my favorite comedians this century's lesser stand-up works.
I've been a fan of Jason Batemen since It's Your Move (look it up) and Rachel McAdams is his worthy co-star in the often hysterical comedy.
I've been a fan of Jason Batemen since It's Your Move (look it up) and Rachel McAdams is his worthy co-star in the often hysterical comedy.
This heart soaring Mexican effort from the Pixar team, sits just shy of WALL-E, Inside Out and UP in their all time hall of fame. (as a side note, on my mixcloud page is a recent 8 episode, 8 hour travelogue on Mexico).
This heart soaring Mexican effort from the Pixar team, sits just shy of WALL-E, Inside Out and UP in their all time hall of fame. (as a side note, on my mixcloud page is a recent 8 episode, 8 hour travelogue on Mexico).
Superior teen-adult comedy finds, improbably, that John Cena - alongside The Rock and Dave Bautista - is as good a comedic actor as wrestler.
Superior teen-adult comedy finds, improbably, that John Cena - alongside The Rock and Dave Bautista - is as good a comedic actor as wrestler.
This huge cultural event - the first black superhero movie - was, whisper it, a mediocre film and more a 6.5/10 than the 7.5/10 I begrudge it here.
This huge cultural event - the first black superhero movie - was, whisper it, a mediocre film and more a 6.5/10 than the 7.5/10 I begrudge it here.
After some mid-franchise wobbles, the Russo brothers landed the Marvel Movie universe better than anyone could've hoped. Part 1 of the finale had one of the decades greatest WTF! endings.
After some mid-franchise wobbles, the Russo brothers landed the Marvel Movie universe better than anyone could've hoped. Part 1 of the finale had one of the decades greatest WTF! endings.
One time zeitgeist hitting novelist and frequent Danny Boyle collaborator, Alex Garland, never impressed me with his overrated debut, Ex Machina, but he sure as hell did here (as did Natalie Portman, who is a much better actress than a decade ago). In the end I think I bumped this sci-fi mind bender at the last minute into 2nd place in my films of the year list - but can't remember what replaced it.
One time zeitgeist hitting novelist and frequent Danny Boyle collaborator, Alex Garland, never impressed me with his overrated debut, Ex Machina, but he sure as hell did here (as did Natalie Portman, who is a much better actress than a decade ago). In the end I think I bumped this sci-fi mind bender at the last minute into 2nd place in my films of the year list - but can't remember what replaced it.
Post The Office, actor-writer-director John Krasinski has led a wildly unexpected path, here both he and his wife (an excellent Emily Blunt) helm one of new-horror's high points and an entry into the human sense genre.
Post The Office, actor-writer-director John Krasinski has led a wildly unexpected path, here both he and his wife (an excellent Emily Blunt) helm one of new-horror's high points and an entry into the human sense genre.
There seems to be a raft of new American war films that don't seem to realise the moral landscape post the invasion of Iraq is very different and trying to portray American military involvement overseas in a golden light is jaw-dropping. This spoils an amazing true-war story here with some great battle sequences.
There seems to be a raft of new American war films that don't seem to realise the moral landscape post the invasion of Iraq is very different and trying to portray American military involvement overseas in a golden light is jaw-dropping. This spoils an amazing true-war story here with some great battle sequences.
Luc Besson's multi-million dollar, neon schlock disasterpiece is a film I have a lot of love for and one that is fatally hamstrung by the insufferable lead pairing of Cara Delevingne and Dane DeHaan, the worst and most damaging casting blunder this century.
Luc Besson's multi-million dollar, neon schlock disasterpiece is a film I have a lot of love for and one that is fatally hamstrung by the insufferable lead pairing of Cara Delevingne and Dane DeHaan, the worst and most damaging casting blunder this century.
I would definitely down-vote this Oscar hoover now, as everything falls apart in an often silly second half.
I would definitely down-vote this Oscar hoover now, as everything falls apart in an often silly second half.
Just when the Marvel universe was entering the home stretch and tiring, with some dodgy entries, along came Kiwi Taika Waititi to unexpectedly deliver a third Thor film that was as fresh and funny as Guardians of the Galaxy.
Just when the Marvel universe was entering the home stretch and tiring, with some dodgy entries, along came Kiwi Taika Waititi to unexpectedly deliver a third Thor film that was as fresh and funny as Guardians of the Galaxy.
All the talk is of Koreans but no one dominated cinema last decade like Mexicans, taking an incredible five out of ten best director Oscars. Like many before him, auteur Guillermo del Toro took home the gong for a far lesser and surprisingly slight work in comparison to a masterpiece like Pans Labyrinth.
All the talk is of Koreans but no one dominated cinema last decade like Mexicans, taking an incredible five out of ten best director Oscars. Like many before him, auteur Guillermo del Toro took home the gong for a far lesser and surprisingly slight work in comparison to a masterpiece like Pans Labyrinth.
I've said before, no director as talented as Steven Spielberg has ever ruined so many films. This century the cupboard is especially bare and he brings his trade mark morally black and white, simplistic, heavy-handed approach to hammer home this flat modern history drama.
I've said before, no director as talented as Steven Spielberg has ever ruined so many films. This century the cupboard is especially bare and he brings his trade mark morally black and white, simplistic, heavy-handed approach to hammer home this flat modern history drama.
A cynically timed and utterly pathetic accusation against director star, James Franco, was all it took to derail Oscar contention for his perfect recreation of the weird world of Tommy Wiseau and his infamous bad movie, The Room.
A cynically timed and utterly pathetic accusation against director star, James Franco, was all it took to derail Oscar contention for his perfect recreation of the weird world of Tommy Wiseau and his infamous bad movie, The Room.
Ric Roman Waugh directs and Nikolaj Coster-Waldau stars in this very underseen, brutal and gritty prison drama, that follows a DUI stockbrokers decent into hell.
Ric Roman Waugh directs and Nikolaj Coster-Waldau stars in this very underseen, brutal and gritty prison drama, that follows a DUI stockbrokers decent into hell.
The uncommonly intelligent, thoughful, superb sci-fi trilogy ends in fitting style, making it four awards worthy performances (including King Kong) for CGI king, Andy Serkis as an ape.
The uncommonly intelligent, thoughful, superb sci-fi trilogy ends in fitting style, making it four awards worthy performances (including King Kong) for CGI king, Andy Serkis as an ape.
The fireman entry into the new-patriot genre of film, that I just made up, to go alongside the likes of Deepwater Horizon, is surprising for NOT starring Mark Walhberg. We get an excellent Josh Brolin instead. Most of these films are far better than they should be and this shocking true wildfire tragedy is top-tier.
The fireman entry into the new-patriot genre of film, that I just made up, to go alongside the likes of Deepwater Horizon, is surprising for NOT starring Mark Walhberg. We get an excellent Josh Brolin instead. Most of these films are far better than they should be and this shocking true wildfire tragedy is top-tier.
Jessica Chastain has never been better (or hotter!) than her criminally ignored role as a high stakes poker madam in the nearly great but overly wordy Aaron Sorkin, true-crime drama.
Jessica Chastain has never been better (or hotter!) than her criminally ignored role as a high stakes poker madam in the nearly great but overly wordy Aaron Sorkin, true-crime drama.
If I thought it was bad here, a rewatch convinced me it's one of the worst sequels of all time. Absolutely everything that made the original such a blast is thrown out.
If I thought it was bad here, a rewatch convinced me it's one of the worst sequels of all time. Absolutely everything that made the original such a blast is thrown out.
It's remarkable how the DC movie universe has managed to get it so badly wrong in so many different ways. This light and airy comedic superhero jaunt is somehow even worse than the dark and turgid BvS.
It's remarkable how the DC movie universe has managed to get it so badly wrong in so many different ways. This light and airy comedic superhero jaunt is somehow even worse than the dark and turgid BvS.
Stephen King's 1980's colossus was a land mark of horror fiction and world creation, here they get the people right but the clown oh so wrong as it works as a human film and not a horror.
Stephen King's 1980's colossus was a land mark of horror fiction and world creation, here they get the people right but the clown oh so wrong as it works as a human film and not a horror.
Ironically, for me director Kathryn Bigelow became better AFTER winning Oscars for the frankly quite naff, The Hurt Locker. This timely true-crime/race drama is however not a pleasant watch.
Ironically, for me director Kathryn Bigelow became better AFTER winning Oscars for the frankly quite naff, The Hurt Locker. This timely true-crime/race drama is however not a pleasant watch.
It was great and timely to have back the somehow uncancelled stand-up god, Dave Chappelle - here a review of the four specials he recorded for Netflix.
It was great and timely to have back the somehow uncancelled stand-up god, Dave Chappelle - here a review of the four specials he recorded for Netflix.
I fell hopelessly in love with director, Luca Guadagnino's beautiful tale of first summer love.
I fell hopelessly in love with director, Luca Guadagnino's beautiful tale of first summer love.
Fearless auteur Denis Villeneuve wasn't afraid to tackle the thankless holy Bladerunner legacy and astonishingly made an entirely worthy followup.
Fearless auteur Denis Villeneuve wasn't afraid to tackle the thankless holy Bladerunner legacy and astonishingly made an entirely worthy followup.
My best and worst films of 2017! That year my number one film of the year was a TV show, something I totally forgot about in my end of decade list.
My best and worst films of 2017! That year my number one film of the year was a TV show, something I totally forgot about in my end of decade list.
Doug Liman remains one of the most unpredictable of American directors, with this Tom Cruise starring true-crime drama about former smuggler, CIA operative and Pablo Escobar courier Barry Seal. What sounds great on paper sadly and bewilderingly decides to focus too much on being a silly action film.
Doug Liman remains one of the most unpredictable of American directors, with this Tom Cruise starring true-crime drama about former smuggler, CIA operative and Pablo Escobar courier Barry Seal. What sounds great on paper sadly and bewilderingly decides to focus too much on being a silly action film.
The only, single time the DC movie universe outdid the Marvel one was in this hugely watchable first female led superhero film.
The only, single time the DC movie universe outdid the Marvel one was in this hugely watchable first female led superhero film.
Esteemed British black-comedy director John Michael McDonagh may not have hit the height of something like, The Guard here but it's still well worth fans of very on the nose humor. Stars Michael Pena and Alexander Skarsgard both shine and are usually hilarious.
Esteemed British black-comedy director John Michael McDonagh may not have hit the height of something like, The Guard here but it's still well worth fans of very on the nose humor. Stars Michael Pena and Alexander Skarsgard both shine and are usually hilarious.
I have as yet not given a perfect 10/10 score to a new release film, solely a few retrospective reviews, so this is as close as it comes. Maybe the pinnacle of David Lynch's career, this jawdropping, arthouse, challenging eighteen-hour movie redefined what both a movie and television could be or even aspire to be. It was also my "movie" of the year.
I have as yet not given a perfect 10/10 score to a new release film, solely a few retrospective reviews, so this is as close as it comes. Maybe the pinnacle of David Lynch's career, this jawdropping, arthouse, challenging eighteen-hour movie redefined what both a movie and television could be or even aspire to be. It was also my "movie" of the year.
A half-way look at the most memorable TV event of the decade.
A half-way look at the most memorable TV event of the decade.
Director Michael Winterbottom and stars Steve Coogan and Rob Brydon's nearly real foodie travelogues have been a uniform, hilarious delight, best seen in their TV format than the truncated film versions, that overwhelm with impersonations.
Director Michael Winterbottom and stars Steve Coogan and Rob Brydon's nearly real foodie travelogues have been a uniform, hilarious delight, best seen in their TV format than the truncated film versions, that overwhelm with impersonations.
An astonishingly inept and awful attempt to boot off a franchise.
An astonishingly inept and awful attempt to boot off a franchise.
Who knew how much better the maligned third film would be, compared to anything that followed? Making absolutely the right decision to bring back Arnie and Linda but then destroying what followed, with atrocious writing and ridiculous narrative choices. Worth watching for the fantastic visual effects alone.
Who knew how much better the maligned third film would be, compared to anything that followed? Making absolutely the right decision to bring back Arnie and Linda but then destroying what followed, with atrocious writing and ridiculous narrative choices. Worth watching for the fantastic visual effects alone.
Martin Scorcese has avoided heavyweight personal projects for most of this century, so I was disappointed by his deeply felt yet quite boring religious epic. Things finally pick up in the final third with the arrival of Liam Neeson.
Martin Scorcese has avoided heavyweight personal projects for most of this century, so I was disappointed by his deeply felt yet quite boring religious epic. Things finally pick up in the final third with the arrival of Liam Neeson.
Fresh off bagging one of my go to targets, Charlie Hunnam, for the awe-inducingly terrible King Arthur film, he only goes and turns in an excellent performance in this wonderful, underappreacted, James Gray directed biopic of lost Amazon adventurer Percy Fawcett.
Fresh off bagging one of my go to targets, Charlie Hunnam, for the awe-inducingly terrible King Arthur film, he only goes and turns in an excellent performance in this wonderful, underappreacted, James Gray directed biopic of lost Amazon adventurer Percy Fawcett.
Korean Maestro Bong Joon-ho had quite the decade, for me I gave all three films 9/10 and all three were my second favorite film of each respective year.
Korean Maestro Bong Joon-ho had quite the decade, for me I gave all three films 9/10 and all three were my second favorite film of each respective year.
Netflix's Narcos franchise has been fantastic across all five seasons, and though we lost the Pablo Escobar story for the Cali cartel here, it's still a perfectly made, high quality and thrilling drama.
Netflix's Narcos franchise has been fantastic across all five seasons, and though we lost the Pablo Escobar story for the Cali cartel here, it's still a perfectly made, high quality and thrilling drama.
I always had a soft spot for the previous, stand alone Wolverine films and unlike the main X-Men reboot, they improved and ended on a massive high.
I always had a soft spot for the previous, stand alone Wolverine films and unlike the main X-Men reboot, they improved and ended on a massive high.
Ignoring the most unexplainable decision in modern cinema, giving someone with Guy Ritchie's track record $200 million to make a King Arthur film, this should be taught at film school. Not only is it mind-blowingly terrible but across the board in editing, shot framing, dialogue, screenplay, characterisation. It ended up my worst film of the year.
Ignoring the most unexplainable decision in modern cinema, giving someone with Guy Ritchie's track record $200 million to make a King Arthur film, this should be taught at film school. Not only is it mind-blowingly terrible but across the board in editing, shot framing, dialogue, screenplay, characterisation. It ended up my worst film of the year.
Even the weakest link in the Keanu Reeves starring, Chad Stahelski helmed action trilogy is up there with the best its kind.
Even the weakest link in the Keanu Reeves starring, Chad Stahelski helmed action trilogy is up there with the best its kind.
A perfectly good, yet slightly less inspired, original and dynamic second volume.
A perfectly good, yet slightly less inspired, original and dynamic second volume.
I massively overrated Christopher Nolan's stunningly produced war film here, a bit of a misfire in retrospect.
I massively overrated Christopher Nolan's stunningly produced war film here, a bit of a misfire in retrospect.
Though travel and cooking shows are cat nip to me and barbecue shows the crack cocaine of cat nip, this laudable Australian documentary on the practice globally has a few flaws and is very uneven.
Though travel and cooking shows are cat nip to me and barbecue shows the crack cocaine of cat nip, this laudable Australian documentary on the practice globally has a few flaws and is very uneven.
For me its three awful films in a row for director Edgar Wright, including this inexplicably lauded sub-Guy Ritchie twaddle.
For me its three awful films in a row for director Edgar Wright, including this inexplicably lauded sub-Guy Ritchie twaddle.
I'm always amazed how many of these overseas vanity projects can spend tens of millions of dollars without getting a half decent screenplay, not awful though.
I'm always amazed how many of these overseas vanity projects can spend tens of millions of dollars without getting a half decent screenplay, not awful though.
At least this entry into the cinematic disaster that is the DC universe has a watchable cast but not much else, passable compared to most of the others.
At least this entry into the cinematic disaster that is the DC universe has a watchable cast but not much else, passable compared to most of the others.
After the stunning first reboot and the wasted second film, a slight improvement.
After the stunning first reboot and the wasted second film, a slight improvement.
A big fat zero out of ten for this competently but cynically made epitome of will-this-do ambition free cinema, that aims squarely for the ground and falls to it, with not one single ounce of inspiration or interest. Very boring, reductive, bad performances and characters, no real plot. The movie equivalent of the back of a cereal box and it made me angry how little effort they made here.
A big fat zero out of ten for this competently but cynically made epitome of will-this-do ambition free cinema, that aims squarely for the ground and falls to it, with not one single ounce of inspiration or interest. Very boring, reductive, bad performances and characters, no real plot. The movie equivalent of the back of a cereal box and it made me angry how little effort they made here.
Positive reviews for this trash are proof there is no God, as it's one of the worst films I've ever seen. I like Seth Rogen but he has been responsible for some serious crimes against humanity.
Positive reviews for this trash are proof there is no God, as it's one of the worst films I've ever seen. I like Seth Rogen but he has been responsible for some serious crimes against humanity.
If they had stuck with the wildly controversial premise, of Chris Pratt waking up Jennifer Lawrence on an interstellar flight, thus consigning her to a lonely death, just so he could have some company, this beautiful film could have been brilliant - sadly turning it into an action adventure film ruined it.
If they had stuck with the wildly controversial premise, of Chris Pratt waking up Jennifer Lawrence on an interstellar flight, thus consigning her to a lonely death, just so he could have some company, this beautiful film could have been brilliant - sadly turning it into an action adventure film ruined it.
Fasion designer Tom Ford's second feature is a second nearly great film. This time a fascinating and flawed, very dark, neo-noir with a great cast.
Fasion designer Tom Ford's second feature is a second nearly great film. This time a fascinating and flawed, very dark, neo-noir with a great cast.
It was beautiful to look at and listen to and intermittently powerful but director Barry Jenkins' "gay-black" drama was a wildly overrated and frankly quite dull film.
It was beautiful to look at and listen to and intermittently powerful but director Barry Jenkins' "gay-black" drama was a wildly overrated and frankly quite dull film.
Before the stunning Manchester by the Sea, writer director, Kenneth Lonergan, spent years in the wilderness trying to bring this almost uniquely, deeply flawed and brilliant film about nearly being an adult but not being able to handle the responsibility, to the screen. A great cast is centered by Anna Paquin, who creates one of the most grating and abrasive teenagers in history.
Before the stunning Manchester by the Sea, writer director, Kenneth Lonergan, spent years in the wilderness trying to bring this almost uniquely, deeply flawed and brilliant film about nearly being an adult but not being able to handle the responsibility, to the screen. A great cast is centered by Anna Paquin, who creates one of the most grating and abrasive teenagers in history.
Kenneth Loergan's devastating portrayal of grief is anchored by an equally shattering performance from Casey Affleck.
Kenneth Loergan's devastating portrayal of grief is anchored by an equally shattering performance from Casey Affleck.
Oh, I'm definitely being kind here - one of my most hated films of the decade, both a terrible film and a terrible musical. Sitcom worthy garbage that somehow ended up Oscar winning, after the magnificent Whiplash a grating letdown.
Oh, I'm definitely being kind here - one of my most hated films of the decade, both a terrible film and a terrible musical. Sitcom worthy garbage that somehow ended up Oscar winning, after the magnificent Whiplash a grating letdown.
Writer Taylor Sheridan's frontier-trilogy (this, Sicario & Wind River) was one of the last decades greatest cinematic achievements and director David Mackenzie does superb work here in this rightly lauded modernist western.
Writer Taylor Sheridan's frontier-trilogy (this, Sicario & Wind River) was one of the last decades greatest cinematic achievements and director David Mackenzie does superb work here in this rightly lauded modernist western.
In retrospect, not as great as I gave it here. The presence of Gibson and a noble theme do indeed infect it with the kind of simplistic, black and white morality I hate in Spielberg films but it's still good.
In retrospect, not as great as I gave it here. The presence of Gibson and a noble theme do indeed infect it with the kind of simplistic, black and white morality I hate in Spielberg films but it's still good.
There are schlock directors and there is the legend that is Paul Verhoeven, long missing from Hollywood but returned here with an amazingly difficult, button-pushing and challenging rape story. That Isabelle Huppert lost best actress Oscar to a garbage turn by Emma Stone is criminal.
There are schlock directors and there is the legend that is Paul Verhoeven, long missing from Hollywood but returned here with an amazingly difficult, button-pushing and challenging rape story. That Isabelle Huppert lost best actress Oscar to a garbage turn by Emma Stone is criminal.
Both star Mark Wahlberg and director Peter Berg are cottage industries when it comes to these 'patriotic' feeling, true-life action movies and to be honest I've had a oft spot for nearly all of them. This underrated recreation of the famed oil-spill disaster would be top of the pile and with stunning production design.
Both star Mark Wahlberg and director Peter Berg are cottage industries when it comes to these 'patriotic' feeling, true-life action movies and to be honest I've had a oft spot for nearly all of them. This underrated recreation of the famed oil-spill disaster would be top of the pile and with stunning production design.
Apex director Denis Villeneuve seems to have hewn even closer to sci-fi after this alien contact movie, here a stunning looking and sounding one that has narrative flaws from its short story origins. Amy Adams is superb though and the main question posed by the film is one of the most powerful in modern cinema (just a shame most viewers seem to be blind to it).
Apex director Denis Villeneuve seems to have hewn even closer to sci-fi after this alien contact movie, here a stunning looking and sounding one that has narrative flaws from its short story origins. Amy Adams is superb though and the main question posed by the film is one of the most powerful in modern cinema (just a shame most viewers seem to be blind to it).
Spike Lee's take on the black Vietnam war experience via the prism of the current, sustained focus on the Black Lives Matter movement, is the years most important, timely and prescient movie - it's also TERRIBLE.
Spike Lee's take on the black Vietnam war experience via the prism of the current, sustained focus on the Black Lives Matter movement, is the years most important, timely and prescient movie - it's also TERRIBLE.
This Liz Garbus directed music biopic changed my opinion of its subject to being one of the top tier musicians of all time.
This Liz Garbus directed music biopic changed my opinion of its subject to being one of the top tier musicians of all time.
This American TV reboot of the UK's Criminal Justice isn't quite perfect but is still outstanding. Viewers were possibly turned off by the irrelevance of the whodunit aspect, in favor of the far more powerful focus on how the criminal justice system itself renders people criminals just by touching them. Riz Ahmed and John Turturro are superb.
This American TV reboot of the UK's Criminal Justice isn't quite perfect but is still outstanding. Viewers were possibly turned off by the irrelevance of the whodunit aspect, in favor of the far more powerful focus on how the criminal justice system itself renders people criminals just by touching them. Riz Ahmed and John Turturro are superb.
Shane Black provided us with the LA Confidential/Inherent Vice crossover we never knew we desperately needed. Criminally ignored and utterly wonderful, especially watch the perfectly matched leads, Gosling and Crowe, trade punches.
Shane Black provided us with the LA Confidential/Inherent Vice crossover we never knew we desperately needed. Criminally ignored and utterly wonderful, especially watch the perfectly matched leads, Gosling and Crowe, trade punches.
I have massive misgivings and Aussie auteur Baz Luhrmann's directoral abilities (even here) and I hate musicals but I adored this insane budget Netflix hip hop creation story.
I have massive misgivings and Aussie auteur Baz Luhrmann's directoral abilities (even here) and I hate musicals but I adored this insane budget Netflix hip hop creation story.
I found this paranormal sequel superior to the first film in every way, particularly as it sidelined the worst part of the original - the two dreadful leads.
I found this paranormal sequel superior to the first film in every way, particularly as it sidelined the worst part of the original - the two dreadful leads.
Every series of Netflix's drug cartel true crime/drama has been superb.
Every series of Netflix's drug cartel true crime/drama has been superb.
As a huge fan of the originals and of Matt Damon, I found this inspiration free franchise reboot devastatingly rote. Like certain other franchises, it made you look back at the first misstep in the series as no longer the worst, and it's predecessor is actually far better than the return of the prodigal Greengrass and Damon here. DIRE.
As a huge fan of the originals and of Matt Damon, I found this inspiration free franchise reboot devastatingly rote. Like certain other franchises, it made you look back at the first misstep in the series as no longer the worst, and it's predecessor is actually far better than the return of the prodigal Greengrass and Damon here. DIRE.
Kiwi director Taika Waititi has long since crossed over to the major league but this excellent two-hander sometimes flails with amateurism.
Kiwi director Taika Waititi has long since crossed over to the major league but this excellent two-hander sometimes flails with amateurism.
Ben Wheatley remains one of Britain's best and most interesting directors. Given his hard art-house edge, he would be the perfect choice to adapt a typically prescient JG Ballard novel but despite a lot to recommend and an A-list cast, it's a bit of a misfire.
Ben Wheatley remains one of Britain's best and most interesting directors. Given his hard art-house edge, he would be the perfect choice to adapt a typically prescient JG Ballard novel but despite a lot to recommend and an A-list cast, it's a bit of a misfire.
This Neo-Nazi/Punk rock horror is well worth a once through but nowhere near as great or as shocking as I was led to believe by reviews.
This Neo-Nazi/Punk rock horror is well worth a once through but nowhere near as great or as shocking as I was led to believe by reviews.
Colombia's first ever best foreign language Oscar nominee is a fine addition to the micro-small but shattering, Heart of Darkness genre alongside Aguirre, The Wrath of God and Apocalypse Now. Stunning to look at and a very dark take on the effects of colonialism.
Colombia's first ever best foreign language Oscar nominee is a fine addition to the micro-small but shattering, Heart of Darkness genre alongside Aguirre, The Wrath of God and Apocalypse Now. Stunning to look at and a very dark take on the effects of colonialism.
Sadly the rebirth of David Brent ended with a shockingly awful film that made the original TV Series look like a Hollywood blockbuster. 6/10 here is WAY too high. There are however quite a few 10/10 comedic scenes as funny as any to feature Brent.
Sadly the rebirth of David Brent ended with a shockingly awful film that made the original TV Series look like a Hollywood blockbuster. 6/10 here is WAY too high. There are however quite a few 10/10 comedic scenes as funny as any to feature Brent.
Gordon Ramsay the movie, kind of. Bradley Cooper has actual form here having AS Anthony Bourdain (nearly) in Bourdain's little seen sitcom. This though is truly dire and offensively so for anyone with a passing knowledge of the foodie world. Narrative choice after narrative choice piles up the absurdity until it's just infuriating.
Gordon Ramsay the movie, kind of. Bradley Cooper has actual form here having AS Anthony Bourdain (nearly) in Bourdain's little seen sitcom. This though is truly dire and offensively so for anyone with a passing knowledge of the foodie world. Narrative choice after narrative choice piles up the absurdity until it's just infuriating.
Part of the fascinating refusal to roll over and die from Mr Mel Gibson. This entirely generic bad gangster hunts the lead/his family action drama falls slightly short of the excellent Get the Gringo but is still worth it.
Part of the fascinating refusal to roll over and die from Mr Mel Gibson. This entirely generic bad gangster hunts the lead/his family action drama falls slightly short of the excellent Get the Gringo but is still worth it.
This uncommonly clever and timely Disney entry about prejudice would make Pixar proud.
This uncommonly clever and timely Disney entry about prejudice would make Pixar proud.
After the rebooted X-Men franchise came flying out of the traps, it seemed Last Stand would forever be the worst X-Men film but it would be beaten not only by this dire entry but an even worse follow-up.
After the rebooted X-Men franchise came flying out of the traps, it seemed Last Stand would forever be the worst X-Men film but it would be beaten not only by this dire entry but an even worse follow-up.
Although a mild diversion at times, at its best this is a sublime comedy with a wonderful performance and character from Kristen Wiig.
Although a mild diversion at times, at its best this is a sublime comedy with a wonderful performance and character from Kristen Wiig.
Although its screenplay is a mess and it's a bit of a fail, for fans of grimey, hard-boiled, Training Day-esque cop pot-boilers, there's just far too much on offer here for it not to be worthwhile. The often brilliant Aussie-director John Hillcoat and an insane cast for a start.
Although its screenplay is a mess and it's a bit of a fail, for fans of grimey, hard-boiled, Training Day-esque cop pot-boilers, there's just far too much on offer here for it not to be worthwhile. The often brilliant Aussie-director John Hillcoat and an insane cast for a start.
High concept, high art, trangressive horror movies have been the vanguard of filmaking for me these last ten years and Robert Eggers medieval-puritan debut is alongside the likes of Hereditary at the very top of that list.
High concept, high art, trangressive horror movies have been the vanguard of filmaking for me these last ten years and Robert Eggers medieval-puritan debut is alongside the likes of Hereditary at the very top of that list.
This riotous Danish crime flick has nothing in common with the expected Nordic-Noir and is instead interested in going completely nuts, to winning effect.
This riotous Danish crime flick has nothing in common with the expected Nordic-Noir and is instead interested in going completely nuts, to winning effect.
Like its title, it is actually very funny often, if not much of a film.
Like its title, it is actually very funny often, if not much of a film.
Ever since the amazing debut of director Jeff Nichols, Shotgun Stories, it's been a story of disappointment for me, especially the awful Mud (watch Joe instead). This is better but still an atmospheric big fat nothing of a film.
Ever since the amazing debut of director Jeff Nichols, Shotgun Stories, it's been a story of disappointment for me, especially the awful Mud (watch Joe instead). This is better but still an atmospheric big fat nothing of a film.
I preferred White House Down over Olympus Has Fallen but it was still a guilty pleasure. Not so this time around for an almost heroically terrible effort that isn't even made to a releasable standard.
I preferred White House Down over Olympus Has Fallen but it was still a guilty pleasure. Not so this time around for an almost heroically terrible effort that isn't even made to a releasable standard.
Prolific and mostly good horror director, Mike Flanagan's entry into the small but notable sensory horror genre. Here we have a deaf and mute heroin to face off against a killer.
Prolific and mostly good horror director, Mike Flanagan's entry into the small but notable sensory horror genre. Here we have a deaf and mute heroin to face off against a killer.
I don't know what I was smoking here to give this only mild abuse, it's truly and in every way godawful. Rivals the likes of Burn After Reading as the worst ever Cohen brother film.
I don't know what I was smoking here to give this only mild abuse, it's truly and in every way godawful. Rivals the likes of Burn After Reading as the worst ever Cohen brother film.
A look at the man baby freak out that greeted the all-female Ghostbusters reboot.
A look at the man baby freak out that greeted the all-female Ghostbusters reboot.
The fascinating filmography of South African Gavin Hood follows Good Kill with a look at the morality of drone warfare and diminished responsibilities.
The fascinating filmography of South African Gavin Hood follows Good Kill with a look at the morality of drone warfare and diminished responsibilities.
Nearly a worthy follow up to the superb Winter Soldier, though with a tiny bit too much franchise building. And just sod off Spiderman. And Ant Man.
Nearly a worthy follow up to the superb Winter Soldier, though with a tiny bit too much franchise building. And just sod off Spiderman. And Ant Man.
It is indeed a Marvel how badly the DC movie universe faltered and in a myriad of different ways. Here we get turgid, muddy and humorless and at 4/10 a surprisingly high score from me.
It is indeed a Marvel how badly the DC movie universe faltered and in a myriad of different ways. Here we get turgid, muddy and humorless and at 4/10 a surprisingly high score from me.
Mary Elizabeth Winstead & John Goodman elevate this paranoid follow up to the found footage original.
Mary Elizabeth Winstead & John Goodman elevate this paranoid follow up to the found footage original.
Argentine Damián Szifron, directed one of my films of the entire decade and a seemingly underappreciated one too. One of the best short story anthologies ever made and brilliant filmaking in every direction, including the best wedding scene ever.
Argentine Damián Szifron, directed one of my films of the entire decade and a seemingly underappreciated one too. One of the best short story anthologies ever made and brilliant filmaking in every direction, including the best wedding scene ever.
No doubt just moaning about who won as they are always terrible.
No doubt just moaning about who won as they are always terrible.
I've gone on at length praising Aussie actor-auteur Joel Edgerton and he does pretty much everything here, in this twisted psych-drama, including star, write and direct.
I've gone on at length praising Aussie actor-auteur Joel Edgerton and he does pretty much everything here, in this twisted psych-drama, including star, write and direct.
Allegedly shot on an iPhone, even the cinematography is superb in this magnificent, zero budget, transgender vignette. Director Sean Baker will obviously go on to greatness.
Allegedly shot on an iPhone, even the cinematography is superb in this magnificent, zero budget, transgender vignette. Director Sean Baker will obviously go on to greatness.
You never know what's next director Danny Boyle. Here a pure biopic based around set moments. Terrific acting from Fassbender in the lead and the heavyweight writing of Aaron Sorkin but as always, Boyles choices can be perplexing. I think I was a little kind here.
You never know what's next director Danny Boyle. Here a pure biopic based around set moments. Terrific acting from Fassbender in the lead and the heavyweight writing of Aaron Sorkin but as always, Boyles choices can be perplexing. I think I was a little kind here.
The "kidnapped child kept in a basement" horror motif that so enthralls and upsets us, gets arguably its purest treatment and an acting Oscar for a Brie Larson who seems to have been vacuumed up into franchise land since. Best in its most disquieting moments.
The "kidnapped child kept in a basement" horror motif that so enthralls and upsets us, gets arguably its purest treatment and an acting Oscar for a Brie Larson who seems to have been vacuumed up into franchise land since. Best in its most disquieting moments.
Only just shy of being completely worthy of its exalted subject and brilliant director.
Only just shy of being completely worthy of its exalted subject and brilliant director.
A wonderful biopic of not just the Beach Boy Brian Wilson but the whole Pet Sounds era too.
A wonderful biopic of not just the Beach Boy Brian Wilson but the whole Pet Sounds era too.
A great example of how what was special about a person can be ignored by documentary makers in favour of their graphic death. Did not enjoy.
A great example of how what was special about a person can be ignored by documentary makers in favour of their graphic death. Did not enjoy.
I will have to re-watch this as I cannot work out how this isn't the Christian Bale starring Moses cinematic disaster.
I will have to re-watch this as I cannot work out how this isn't the Christian Bale starring Moses cinematic disaster.
I'm a big fan of Ryan Reynolds but this wildly overrated adult comic book adaption isn't much better than the Green Hornet.
I'm a big fan of Ryan Reynolds but this wildly overrated adult comic book adaption isn't much better than the Green Hornet.
I must've been on a mission here, full top ten worst films and most underrated.
I must've been on a mission here, full top ten worst films and most underrated.
Sits alongside Wall-E and Up as one of Pixar's greatest artistic achievement and one of the finest in all animation.
Sits alongside Wall-E and Up as one of Pixar's greatest artistic achievement and one of the finest in all animation.
With a cast to die for, this literal, beautifully shot and atmospheric recreation of the 1996 Mount Everest disaster makes a good case for never attempting to climb the bloody thing. Not great but very good and the awesome Aussie actor Jason Clarke center stage for once.
With a cast to die for, this literal, beautifully shot and atmospheric recreation of the 1996 Mount Everest disaster makes a good case for never attempting to climb the bloody thing. Not great but very good and the awesome Aussie actor Jason Clarke center stage for once.
Wildly over acclaimed and incredibly messy but enjoyable and watchable comedy 'hood' drama.
Wildly over acclaimed and incredibly messy but enjoyable and watchable comedy 'hood' drama.
Given the director and stars involved, you'd expect so much more from Guillermo del Toro's latest but it is a sumptuous Gothic horror non the less.
Given the director and stars involved, you'd expect so much more from Guillermo del Toro's latest but it is a sumptuous Gothic horror non the less.
I am a late comer to the cult of Amy Winehouse but the singer left a legacy and talent far beyond her peer and one that reverberates slightly more each year since her passing. This outstanding documentary by Asif Kapadia does her full justice and shows how much of her music simply flowed through her. A tough watch when it all starts to fall apart and yet another star apparently looked after by no one.
I am a late comer to the cult of Amy Winehouse but the singer left a legacy and talent far beyond her peer and one that reverberates slightly more each year since her passing. This outstanding documentary by Asif Kapadia does her full justice and shows how much of her music simply flowed through her. A tough watch when it all starts to fall apart and yet another star apparently looked after by no one.
Well, you have to hand it to them in the Battleships-style, what's the smallest, most limited setting we can have for a movie department, in setting a horror entirely on a computer screen but its pretty rubbish.
Well, you have to hand it to them in the Battleships-style, what's the smallest, most limited setting we can have for a movie department, in setting a horror entirely on a computer screen but its pretty rubbish.
I weep everytime a big budget original, non-franchise concept movie tanks but it's a big fat zero out of ten for this abysmal travesty, that has none of the charm of something like Jupiter Ascending.
I weep everytime a big budget original, non-franchise concept movie tanks but it's a big fat zero out of ten for this abysmal travesty, that has none of the charm of something like Jupiter Ascending.
Director Ridley Scott flies off in such random directions, it's hard to keep track. Here he goes crowd-friendly, big budget, populist Sci-Fi. Enjoyable but forgettable effect.
Director Ridley Scott flies off in such random directions, it's hard to keep track. Here he goes crowd-friendly, big budget, populist Sci-Fi. Enjoyable but forgettable effect.
Aussie director, Sean Byrne's debut is a magnificent, deranged and utterly twisted prom date horror that deserves to be a cult classic.
Aussie director, Sean Byrne's debut is a magnificent, deranged and utterly twisted prom date horror that deserves to be a cult classic.
This hugely anticipated and wildly successful N.W.A. biopic just about lives up to the incredible hype and is never less than massively entertaining.
This hugely anticipated and wildly successful N.W.A. biopic just about lives up to the incredible hype and is never less than massively entertaining.
Everything shines in this drug cartel/DEA action thriller. The direction by Denis Villeneuve, the cinematography by the esteemed Roger Deakins, the atmospheric music by Johan Johannsson and the writing by then man of the moment Taylor Sheridan. Happily the cast, led by Emily Blunt, Benicio del Torro and Josh Brolin are well up to the task. One of the finest array of across the board talent ever assembled for a film of this sort and one of the decades finest.
Everything shines in this drug cartel/DEA action thriller. The direction by Denis Villeneuve, the cinematography by the esteemed Roger Deakins, the atmospheric music by Johan Johannsson and the writing by then man of the moment Taylor Sheridan. Happily the cast, led by Emily Blunt, Benicio del Torro and Josh Brolin are well up to the task. One of the finest array of across the board talent ever assembled for a film of this sort and one of the decades finest.
The fabulous Netflix drug cartel drama now has five fantastic series under it's belt, here with the original Pablo Escobar version.
The fabulous Netflix drug cartel drama now has five fantastic series under it's belt, here with the original Pablo Escobar version.
I may put this last out of 4,5 & 6 in the franchise but that's still near top-tier state of the art action movie making.
I may put this last out of 4,5 & 6 in the franchise but that's still near top-tier state of the art action movie making.
A big fat zero out of ten for Josh Trank's woefully misguided exercise in execrable movie making, nearly perfected here. Actually everything about it is awful in one of the decades biggest cinematic disasters.
A big fat zero out of ten for Josh Trank's woefully misguided exercise in execrable movie making, nearly perfected here. Actually everything about it is awful in one of the decades biggest cinematic disasters.
This far too late in the day movie version of a much loved bro-show pulls a Sex in the City 2, and throws out most of what was special about the program and likable about the characters, making the whole thing a grating yet soporific chore. Awful.
This far too late in the day movie version of a much loved bro-show pulls a Sex in the City 2, and throws out most of what was special about the program and likable about the characters, making the whole thing a grating yet soporific chore. Awful.
The almighty Bacon appears in this slightly diverting drama.
The almighty Bacon appears in this slightly diverting drama.
Matthew Heineman's doco about the Mexican Drug War, was one of the finest of the whole decade and almost a companion piece to the movie Sicario. Incredible, almost unbelievable footage and stories but also cinematography you would sing about if it were in a normal film.
Matthew Heineman's doco about the Mexican Drug War, was one of the finest of the whole decade and almost a companion piece to the movie Sicario. Incredible, almost unbelievable footage and stories but also cinematography you would sing about if it were in a normal film.
Johnny Depp has his own cottage true-crime gangster movie industry with, Donnie Brasco, Blow, Public Enemies and now this, based on the same James "Whitey" Bulger that inspired Jack Nicholson's character in The Departed. Depp is perhaps career best creating a monstrous and terrifying unlikable villain, though director Scott Cooper just fails to convert. There's tons to recommend here though including a stella cast.
Johnny Depp has his own cottage true-crime gangster movie industry with, Donnie Brasco, Blow, Public Enemies and now this, based on the same James "Whitey" Bulger that inspired Jack Nicholson's character in The Departed. Depp is perhaps career best creating a monstrous and terrifying unlikable villain, though director Scott Cooper just fails to convert. There's tons to recommend here though including a stella cast.
Seth MacFarlane's Ted series are a missed opportunity. Still highly watchable and often hilarious but like much of his movie output, weighed down by far too much focus on far too weak screenplays and not enough of the fantastic chemistry between Mark Walhberg and Ted nor the endless opportunities for comedy. This second films misses Mila Kunis round out the main three but is funny slightly more often.
Seth MacFarlane's Ted series are a missed opportunity. Still highly watchable and often hilarious but like much of his movie output, weighed down by far too much focus on far too weak screenplays and not enough of the fantastic chemistry between Mark Walhberg and Ted nor the endless opportunities for comedy. This second films misses Mila Kunis round out the main three but is funny slightly more often.
The only film from director Paul Fieg I've so far been able to stand, riotous James Bond tomfoolery, with a winning and up for it cast, nearly in the same pocket as Kingsmen.
The only film from director Paul Fieg I've so far been able to stand, riotous James Bond tomfoolery, with a winning and up for it cast, nearly in the same pocket as Kingsmen.
Michael Fassbender and Ben Mendelsohn amp up ex-Beta Band, John Maclean's directoral debut. Good, if a little more mainstream and less transgressive or memorable than the raft of extremely dark modern westerns.
Michael Fassbender and Ben Mendelsohn amp up ex-Beta Band, John Maclean's directoral debut. Good, if a little more mainstream and less transgressive or memorable than the raft of extremely dark modern westerns.
The moral and psychological issues surrounding the use of drones in warfare and remote killing, make the worthy subject of this interesting and tense war drama and Ethan Hawke is never not watchable.
The moral and psychological issues surrounding the use of drones in warfare and remote killing, make the worthy subject of this interesting and tense war drama and Ethan Hawke is never not watchable.
>Sudders< Writer-director Adam MacDonald doesn't need any budget to make you cover your eyes in this horrific and scary hiking-horror, based on true events, about a lost couple being hunted by a bear.
>Sudders< Writer-director Adam MacDonald doesn't need any budget to make you cover your eyes in this horrific and scary hiking-horror, based on true events, about a lost couple being hunted by a bear.
Aussie director George Miller inexplicably got everything more right than anyone thought possible, rebooting his fabled Max series. Though Hardy is uncommonly uninteresting as the background Max and it really is an incredible Theron's film, direction, action, cinematography, production design, sound and just about every film-making aspect are all magnificent, in one of the decades most beautifully realised big budget films.
Aussie director George Miller inexplicably got everything more right than anyone thought possible, rebooting his fabled Max series. Though Hardy is uncommonly uninteresting as the background Max and it really is an incredible Theron's film, direction, action, cinematography, production design, sound and just about every film-making aspect are all magnificent, in one of the decades most beautifully realised big budget films.
After beguiling the world with its first installment, the Jurassic films series has delivered four straight duds, mostly awful.
After beguiling the world with its first installment, the Jurassic films series has delivered four straight duds, mostly awful.
The Beach author, Alex Garland's second feature as director (after moving through some prominent screen-writing with Danny Boyle) Annihilation, was everything this empty and wildly overrated first film was claimed to be. Only Oscar Isaac and elements of the production design shine.
The Beach author, Alex Garland's second feature as director (after moving through some prominent screen-writing with Danny Boyle) Annihilation, was everything this empty and wildly overrated first film was claimed to be. Only Oscar Isaac and elements of the production design shine.
Like with Jason Statham movies, I'm the connoisseur when it comes to that titanic body of work, Liam Neeson movies. This is a very high entry, bolstered by great acting and characterizations from Neeson and the always brilliant Ed Harris.
Like with Jason Statham movies, I'm the connoisseur when it comes to that titanic body of work, Liam Neeson movies. This is a very high entry, bolstered by great acting and characterizations from Neeson and the always brilliant Ed Harris.
Memorable, timely, atmospheric and thought provoking entry into the modern horror cannon directed by David Robert Mitchell.
Memorable, timely, atmospheric and thought provoking entry into the modern horror cannon directed by David Robert Mitchell.
There's no doubt South African director Neill Blomkamp fell away a bit with his follow up to District 9 but I still had a lot of time for Elysium, this, his next project was an unmitigated disaster. Fair play to him for actually making money with such a terrible and inexplicable film but it's far too close to the awfulness of the latter Transformer movies.
There's no doubt South African director Neill Blomkamp fell away a bit with his follow up to District 9 but I still had a lot of time for Elysium, this, his next project was an unmitigated disaster. Fair play to him for actually making money with such a terrible and inexplicable film but it's far too close to the awfulness of the latter Transformer movies.
This Finnish action-adventure disaster is a true oddity from director by Jalmari Helander, for instance, what the living hell is Samuel L. Jackson doing here as the President of the United States. Awful and in a weird way.
This Finnish action-adventure disaster is a true oddity from director by Jalmari Helander, for instance, what the living hell is Samuel L. Jackson doing here as the President of the United States. Awful and in a weird way.
The undoubted runt of the otherwise excellent four main Avengers films is purposeless and a near stand alone mess that almost interrupts the arc of the other three. Given all involved it is a surprisingly low-tier entry in to the Marvel movie universe. New franchise offshoots are set up to little effect and a potentially interesting artificial intelligence villain story-line is very muddied, plus the main crew don't really seem to care much this time out. Winters Soldier is the real fourth Avenger film.
The undoubted runt of the otherwise excellent four main Avengers films is purposeless and a near stand alone mess that almost interrupts the arc of the other three. Given all involved it is a surprisingly low-tier entry in to the Marvel movie universe. New franchise offshoots are set up to little effect and a potentially interesting artificial intelligence villain story-line is very muddied, plus the main crew don't really seem to care much this time out. Winters Soldier is the real fourth Avenger film.
Directed by Tony Mahony and Angus Sampson (who is also the lead actor) this Aussie drug smuggling comedy punches miles above its tiny expectations and is an absolute blast. Hysterical and with a hugely distressing toilet situation.
Directed by Tony Mahony and Angus Sampson (who is also the lead actor) this Aussie drug smuggling comedy punches miles above its tiny expectations and is an absolute blast. Hysterical and with a hugely distressing toilet situation.
Brian Knappenberger presents a near perfect doco about the hugely inspiring Aaron Swartz, who traded in a life of wealth for one of political and internet activism. He showed the just like with Julian Assange, if you really trouble the people in power, the hammer of the gods will come down on you. Facing terribly excessive and punitive legal problems, he took his own life at 2 years old.
Brian Knappenberger presents a near perfect doco about the hugely inspiring Aaron Swartz, who traded in a life of wealth for one of political and internet activism. He showed the just like with Julian Assange, if you really trouble the people in power, the hammer of the gods will come down on you. Facing terribly excessive and punitive legal problems, he took his own life at 2 years old.
Alex Gibney is undoubtedly one of the most important documentary makers of this century but I felt like I'd seen it all before with his take on Scientology, something I feel is over-represented anyway.
Alex Gibney is undoubtedly one of the most important documentary makers of this century but I felt like I'd seen it all before with his take on Scientology, something I feel is over-represented anyway.
Much like the franchise itself, I clicked into gear around the excellent Fast 5 and am quite the connoisseur of this guilty pleasure. Furious 7 will always be remembered as the last to feature star Paul Walker, Killed during a break in filming resulting in a box office supanova when it was finally released. Near maintains the high standard set by 5 and deals with the death of franchise lead in a soulful and non-histrionic or mawkish manner.
Much like the franchise itself, I clicked into gear around the excellent Fast 5 and am quite the connoisseur of this guilty pleasure. Furious 7 will always be remembered as the last to feature star Paul Walker, Killed during a break in filming resulting in a box office supanova when it was finally released. Near maintains the high standard set by 5 and deals with the death of franchise lead in a soulful and non-histrionic or mawkish manner.
Actor Joseph Gordon-Levitt turns in near fabulous directoral debut with a hugely relevant adult comedy about, well, modern relationships through the male prism of pornography. Scarlett Johansson is spectacular.
Actor Joseph Gordon-Levitt turns in near fabulous directoral debut with a hugely relevant adult comedy about, well, modern relationships through the male prism of pornography. Scarlett Johansson is spectacular.
For Jason Statham fans this is a stop tier Statham film that flopped massively. A little narrative unevenness for sure but a great character (consumed by gambling addiction) and lead performance, in a fascinating setting, telling a compelling story, backed up by a great cast.
For Jason Statham fans this is a stop tier Statham film that flopped massively. A little narrative unevenness for sure but a great character (consumed by gambling addiction) and lead performance, in a fascinating setting, telling a compelling story, backed up by a great cast.
For me above Blue Velvet as the finest stand-alone movie David Lynch has ever made. A beguiling and, for its last act, heartbreakingly sad masterpiece on the destruction of optimism, hope and dreams. It asks a lot from the viewer and repays. Naomi Watts is unforgettable.
For me above Blue Velvet as the finest stand-alone movie David Lynch has ever made. A beguiling and, for its last act, heartbreakingly sad masterpiece on the destruction of optimism, hope and dreams. It asks a lot from the viewer and repays. Naomi Watts is unforgettable.
Maybe they made it just to do it but they pulled it off with some style. Tom Hardy natural and human in a movie set entirely in a car, with no one else on screen.
Maybe they made it just to do it but they pulled it off with some style. Tom Hardy natural and human in a movie set entirely in a car, with no one else on screen.
Paul Thomas Anderson ranks first amongst his likely peers, the Finchers and Nolans of the directing world but this detective yarn written by the legendary Thomas Pynchon (author of the only book I quit on) really threw me on first viewing. Without a satisfying plot, a story like this should be sunk but it's actually closer to the existentially gumshoe classic, The Long Goodbye. On second viewing I loved it, which made it the only film I've posted a correction review about.
Paul Thomas Anderson ranks first amongst his likely peers, the Finchers and Nolans of the directing world but this detective yarn written by the legendary Thomas Pynchon (author of the only book I quit on) really threw me on first viewing. Without a satisfying plot, a story like this should be sunk but it's actually closer to the existentially gumshoe classic, The Long Goodbye. On second viewing I loved it, which made it the only film I've posted a correction review about.
Highly impressive, brilliantly acted and even well directed but obtuse and unlikable true-life wrestling drama.
Highly impressive, brilliantly acted and even well directed but obtuse and unlikable true-life wrestling drama.
Kinda weird to see Ridley Scott turn in such an incompetent mess or being able to spend such a large sum of other peoples money making such an odd film, so badly, about a subject no one was asking for.
Kinda weird to see Ridley Scott turn in such an incompetent mess or being able to spend such a large sum of other peoples money making such an odd film, so badly, about a subject no one was asking for.
Laura Poitras' essential, Oscar winning documentary about Edward Snowden's whistle-blow is incredible in what happened but sadly not that great of a film.
Laura Poitras' essential, Oscar winning documentary about Edward Snowden's whistle-blow is incredible in what happened but sadly not that great of a film.
Director Kevin MacDonald is one of the only modern directors of his stature to push on with both documentaries and films simultaneously, often to superb effect. Jude Law is excellent against type as a Scottish submarine stealer in this imaginative and criminally ignored heist drama.
Director Kevin MacDonald is one of the only modern directors of his stature to push on with both documentaries and films simultaneously, often to superb effect. Jude Law is excellent against type as a Scottish submarine stealer in this imaginative and criminally ignored heist drama.
Both director, J.C. Chandor, and star, Oscar Isaac, have quietly amassed excellent and rather underappreciated filmography and this near-superb talky about city corruption during a particularly violent year in New York, fits that mold exactly.
Both director, J.C. Chandor, and star, Oscar Isaac, have quietly amassed excellent and rather underappreciated filmography and this near-superb talky about city corruption during a particularly violent year in New York, fits that mold exactly.
Great idea but overrated debut from director Yann Damange, who puts the excellent Jack O'Connell as a soldier in Belfast, during a riot in 1971. Good but not great.
Great idea but overrated debut from director Yann Damange, who puts the excellent Jack O'Connell as a soldier in Belfast, during a riot in 1971. Good but not great.
This superb French entry into the perhaps non-existent, rich-man-gets-kidnapped genre from director Lucas Belvaux is a winner. The brilliant Yvan Attal finds his kidnappers are just the start of his problems as EVERYONE turns on him, as a deeply sympathetic character, who can't find solace anywhere, not from even from his own children or the police. A minor classic.
This superb French entry into the perhaps non-existent, rich-man-gets-kidnapped genre from director Lucas Belvaux is a winner. The brilliant Yvan Attal finds his kidnappers are just the start of his problems as EVERYONE turns on him, as a deeply sympathetic character, who can't find solace anywhere, not from even from his own children or the police. A minor classic.
I'm being generous here not paying out on this travesty more, as only the first film was even watchable. Bearing all the hallmarks of many Stallone written or produced movies, mainly and atrocious script. Leaden and obvious in every way.
I'm being generous here not paying out on this travesty more, as only the first film was even watchable. Bearing all the hallmarks of many Stallone written or produced movies, mainly and atrocious script. Leaden and obvious in every way.
Everything its unasked for predecessor wasn't. Continually laugh-out-loud funny, very self aware, witty, far less anemic and one of the best straight comedies of the decade. Jonah Hill and Channing Tatum shine far brighter the second time around and Ice Cube is the perfect angry foil.
Everything its unasked for predecessor wasn't. Continually laugh-out-loud funny, very self aware, witty, far less anemic and one of the best straight comedies of the decade. Jonah Hill and Channing Tatum shine far brighter the second time around and Ice Cube is the perfect angry foil.
Dare I say this critically trashed box office poison is my favorite Arnie starring film since Terminator 2. For fans of both the grimiest, most violent Southern-pot-boiler/corrupt cop films, this should be pure cat-nip. The film is brutal and has a remarkably unsentimental and unlikable cast, topped by a horrifying turn from Mireille Enos. The Agatha Christie style story is way above what this kind of fare usually offers and it has no problems getting its hands very dirty. The Training Day alumni of (here director) David Ayers and Antoine Fuqua continue to fascinate me even in failure. A should be cult classic.
Dare I say this critically trashed box office poison is my favorite Arnie starring film since Terminator 2. For fans of both the grimiest, most violent Southern-pot-boiler/corrupt cop films, this should be pure cat-nip. The film is brutal and has a remarkably unsentimental and unlikable cast, topped by a horrifying turn from Mireille Enos. The Agatha Christie style story is way above what this kind of fare usually offers and it has no problems getting its hands very dirty. The Training Day alumni of (here director) David Ayers and Antoine Fuqua continue to fascinate me even in failure. A should be cult classic.
Director David Mackenzie may have floundered slightly with his last film, the seemingly little seen Outlaw King, but he sure followed up on the promise of this superb British prison drama with Hell or High Water. The excellent firebrand actor Jack O'Connell has yet to crossover like less talented UK peers (looking at you Tom Holland) but is on fire here and backed by the always welcome Ben Mendlesohn.
Director David Mackenzie may have floundered slightly with his last film, the seemingly little seen Outlaw King, but he sure followed up on the promise of this superb British prison drama with Hell or High Water. The excellent firebrand actor Jack O'Connell has yet to crossover like less talented UK peers (looking at you Tom Holland) but is on fire here and backed by the always welcome Ben Mendlesohn.
Out of a superb, uncommonly thoughtful and intelligent Sci-Fi trilogy, arguably the least great entry. Smaller in scope than the opening and closing films but still with a lot to recommend, especially the king-of-CGI, Andy Serkis, again shining as Caesar.
Out of a superb, uncommonly thoughtful and intelligent Sci-Fi trilogy, arguably the least great entry. Smaller in scope than the opening and closing films but still with a lot to recommend, especially the king-of-CGI, Andy Serkis, again shining as Caesar.
A uniformly strong follow-up to the unexpectedly great reboot of the X-Men franchise, with the superb work from McAvoy and Fassbender but a messy, indistinct and repetitive denouement points to a terrible future.
A uniformly strong follow-up to the unexpectedly great reboot of the X-Men franchise, with the superb work from McAvoy and Fassbender but a messy, indistinct and repetitive denouement points to a terrible future.
Director Jonathan Glazer has one of the most elliptical careers in filmmaking and this uniquely challenging proposition ended up one of the decade's most memorable films, one I liked even more than here on subsequent viewings. Scarlett Johansson shines unforgettably and Mica Levi creates arguably ground zero for a movie decade dominated by stunning avant-electronic soundtracks.
Director Jonathan Glazer has one of the most elliptical careers in filmmaking and this uniquely challenging proposition ended up one of the decade's most memorable films, one I liked even more than here on subsequent viewings. Scarlett Johansson shines unforgettably and Mica Levi creates arguably ground zero for a movie decade dominated by stunning avant-electronic soundtracks.
Director James Gray continues to fascinate me but more often than not fail to completely deliver. This worthy, well acted, beautifully shot, classy period pic is great in so many areas of craft but not great as an actual film.
Director James Gray continues to fascinate me but more often than not fail to completely deliver. This worthy, well acted, beautifully shot, classy period pic is great in so many areas of craft but not great as an actual film.
Another plank in the fabulously uneven and disparate filmography of Go, Swingers and The Bourne Identity, director, Doug Liman. Tom Cruise yet again proves how valuable an asset he is when he, rarely these days, steps away from the Mission Impossible franchise and Emily Blunt is given an early chance to shine and she does. For a mega-budget, original concept, Sci-Fi, its an unqualified success.
Another plank in the fabulously uneven and disparate filmography of Go, Swingers and The Bourne Identity, director, Doug Liman. Tom Cruise yet again proves how valuable an asset he is when he, rarely these days, steps away from the Mission Impossible franchise and Emily Blunt is given an early chance to shine and she does. For a mega-budget, original concept, Sci-Fi, its an unqualified success.
I failed to get on the now Oscar precedent breaking Korean director, Bong Joon-ho, bandwagon with the overrated The Host but was blown away but this modern Sci-Fi marvel, exhibiting his trademark originality and social commentary. Ironically this and his followups, Okja and Parasite would all by my second favorite films of their respective years.
I failed to get on the now Oscar precedent breaking Korean director, Bong Joon-ho, bandwagon with the overrated The Host but was blown away but this modern Sci-Fi marvel, exhibiting his trademark originality and social commentary. Ironically this and his followups, Okja and Parasite would all by my second favorite films of their respective years.
This superb David Gordon directed Southern pot-boiler (a genre for which I am uniquely predisposed) show that not only is Nicholas Cage a brilliant actor with the right material, it's everything the monumental let-down, Mud, should have been.
This superb David Gordon directed Southern pot-boiler (a genre for which I am uniquely predisposed) show that not only is Nicholas Cage a brilliant actor with the right material, it's everything the monumental let-down, Mud, should have been.
Probably as close as I'll get to participating in movie history as I bizarrely sat behind Jimi's ex-girlfriend and her team of lawyers at the Australian premier of this so-so biography of Hendrix, featuring a superb titular turn by Outkast legend Andre 3000. Her enormous, vocal and understandable displeasure at the way she and Jimi were portrayed may have curtailed any wide release for this.
Probably as close as I'll get to participating in movie history as I bizarrely sat behind Jimi's ex-girlfriend and her team of lawyers at the Australian premier of this so-so biography of Hendrix, featuring a superb titular turn by Outkast legend Andre 3000. Her enormous, vocal and understandable displeasure at the way she and Jimi were portrayed may have curtailed any wide release for this.
Director Denis Villeueve is the most convincing next generation replacement for the likes of David Fincher, Christopher Nolan, Paul Thomas Anderson - pretty much the Scorcese's, Spielberg's and Coppola's of this era. Like those, brings his own problems and talents to the table - Nolan's inability to reign in a screenplay or Fincher's ability to adapt to entirely different settings. As an artist, he is happily closer to Anderson and it's difficult imagining any of those directors presenting us with as an austere, unforgiving and art house film as Enemy. Happily one of this generation's greatest talents on the acting side of the camera - Jake Gyllenhaal - is almost the only actor that matters here. What begins as a Sci-Fi mind-bending thriller, gives way to a hugely challenging and difficult near masterpiece, that makes far more common sense than its oblique presentation would suggest. Watch out for the spider.
Director Denis Villeueve is the most convincing next generation replacement for the likes of David Fincher, Christopher Nolan, Paul Thomas Anderson - pretty much the Scorcese's, Spielberg's and Coppola's of this era. Like those, brings his own problems and talents to the table - Nolan's inability to reign in a screenplay or Fincher's ability to adapt to entirely different settings. As an artist, he is happily closer to Anderson and it's difficult imagining any of those directors presenting us with as an austere, unforgiving and art house film as Enemy. Happily one of this generation's greatest talents on the acting side of the camera - Jake Gyllenhaal - is almost the only actor that matters here. What begins as a Sci-Fi mind-bending thriller, gives way to a hugely challenging and difficult near masterpiece, that makes far more common sense than its oblique presentation would suggest. Watch out for the spider.
Almost every word screams stay away, found-footage, low budget, vampire, horror but this unexpectedly great and for once decent cinematography isn't the first casualty. A top tier entry into a deservedly maligned arena of film-making.
Almost every word screams stay away, found-footage, low budget, vampire, horror but this unexpectedly great and for once decent cinematography isn't the first casualty. A top tier entry into a deservedly maligned arena of film-making.
I'm probably alone but I found the sequel to 300 slightly agreeable and certainly better than Gerard Butler's gurning predecessor, with a slightly more interesting lead but mostly for the Greek goddess presence of a fabulous Eva Green. It looks pretty too.
I'm probably alone but I found the sequel to 300 slightly agreeable and certainly better than Gerard Butler's gurning predecessor, with a slightly more interesting lead but mostly for the Greek goddess presence of a fabulous Eva Green. It looks pretty too.
My opinion of this Scorsese hit has weakened even further over the years, to the point I think it's his emptiest and most soulless film this side of The Color of Money. Di Caprio is magnificent on any metric and his pairing with Jonah Hill is as good a pairing as Gene Wilder and Richard Prior but the screenplay presents us with vapid nothing characters in a holding pattern for the same repeated half hour for three hours straight, a time-frame The Irishman earned.
My opinion of this Scorsese hit has weakened even further over the years, to the point I think it's his emptiest and most soulless film this side of The Color of Money. Di Caprio is magnificent on any metric and his pairing with Jonah Hill is as good a pairing as Gene Wilder and Richard Prior but the screenplay presents us with vapid nothing characters in a holding pattern for the same repeated half hour for three hours straight, a time-frame The Irishman earned.
Where I review the world's Oscars in alphabetical order.
Where I review the world's Oscars in alphabetical order.
These two touchstones of 70's cinema are far more arty and weird than expected and the underappreciated, divisive sequel is punishingly challenging. It's rare for any actor to shine as brightly as Gene Hackman but even rarer for a sequel to a multi-Oscar winning film to replace the director with someone equally exciting, going from William Friedkin to John Frankenheimer, both at their peaks. It maybe ground zero for the cynical modern cop drama but are as were as artistically dazzling as these films.
These two touchstones of 70's cinema are far more arty and weird than expected and the underappreciated, divisive sequel is punishingly challenging. It's rare for any actor to shine as brightly as Gene Hackman but even rarer for a sequel to a multi-Oscar winning film to replace the director with someone equally exciting, going from William Friedkin to John Frankenheimer, both at their peaks. It maybe ground zero for the cynical modern cop drama but are as were as artistically dazzling as these films.
A future cult classic. I've often criticized director Ridley Scott but never his taste or understanding of what great cinema is (just his ability to reproduce it). Here we get an insane cast try their hardest to make human sense of the first ever script by one the world's greatest living writers, Cormac McCarthy, who has fared significantly better with other people adapting his novels (No Country for Old Men, The Road). This though is unlike anything in cinema and almost has its own entire language, one that falls down constantly but is often transcendent in ways most films never are. Horrible, dark, bleak and with indelible dialogue, Scott needs to treat this to a directors cut and shave off at least some of the rough edges to Cormack's script and the near impenetrable story and this one will be looked back on.
A future cult classic. I've often criticized director Ridley Scott but never his taste or understanding of what great cinema is (just his ability to reproduce it). Here we get an insane cast try their hardest to make human sense of the first ever script by one the world's greatest living writers, Cormac McCarthy, who has fared significantly better with other people adapting his novels (No Country for Old Men, The Road). This though is unlike anything in cinema and almost has its own entire language, one that falls down constantly but is often transcendent in ways most films never are. Horrible, dark, bleak and with indelible dialogue, Scott needs to treat this to a directors cut and shave off at least some of the rough edges to Cormack's script and the near impenetrable story and this one will be looked back on.
Massively underappreciated cat-nip for fans of the grimy, poverty stricken, violent Southern pot-boiler, this time moved north. Heavyweight producers (inc. Di Caprio and Ridley Scott) and an envious cast (Christian Bale, Willem Dafoe, Casey Affleck, Zoe Saldana, Woody Harrelson all on top form) up the class factor here immensely. Flawed but with such top notch talent and the cinematic environs of run down Braddock, factories and the (extremely pissed off) Ramapugh Mountain Indians that it's far more than a guilty pleasure.
Massively underappreciated cat-nip for fans of the grimy, poverty stricken, violent Southern pot-boiler, this time moved north. Heavyweight producers (inc. Di Caprio and Ridley Scott) and an envious cast (Christian Bale, Willem Dafoe, Casey Affleck, Zoe Saldana, Woody Harrelson all on top form) up the class factor here immensely. Flawed but with such top notch talent and the cinematic environs of run down Braddock, factories and the (extremely pissed off) Ramapugh Mountain Indians that it's far more than a guilty pleasure.
The only time I reviewed a film and gave it 10, though a retrospective review (I mention I would also give its predecessor a 10 too). The five major films from Sergio Leone and Ennio Morricone, remained for many years the most undervalued artistic asset in cinema. It would take until the 2010's before either would even be tossed an Oscar and ironically for a film that is an extended version of a scene in this movie. All five are classics and different, here Once is the Illiad to The Good, The Bad and the Ugly's The Odessy. Perhaps as majestic as either man got or as cinema ever has been. I've never given a new release a ten but see the Twin Peaks controversy for the only new release 10/10.
The only time I reviewed a film and gave it 10, though a retrospective review (I mention I would also give its predecessor a 10 too). The five major films from Sergio Leone and Ennio Morricone, remained for many years the most undervalued artistic asset in cinema. It would take until the 2010's before either would even be tossed an Oscar and ironically for a film that is an extended version of a scene in this movie. All five are classics and different, here Once is the Illiad to The Good, The Bad and the Ugly's The Odessy. Perhaps as majestic as either man got or as cinema ever has been. I've never given a new release a ten but see the Twin Peaks controversy for the only new release 10/10.
Everything outside of the climactic face-off, in this "true" war film (based on ex-Navy Seal Marcus Luttrell's best recollections) is garbage, the lowest rent flag-waving. But the hour or so from engagement with the enemy is jaw-dropping. Director Peter Berg may have next to zero skill when it comes characters talking but the actually bone-crunching carnage, is some of the most brutal and hopeless to underpin a major Hollywood patriotic exercise.
Everything outside of the climactic face-off, in this "true" war film (based on ex-Navy Seal Marcus Luttrell's best recollections) is garbage, the lowest rent flag-waving. But the hour or so from engagement with the enemy is jaw-dropping. Director Peter Berg may have next to zero skill when it comes characters talking but the actually bone-crunching carnage, is some of the most brutal and hopeless to underpin a major Hollywood patriotic exercise.
Writer-director, Spike Jonze, is still undervalued and rightly picked up every screenwriting award going Her, with I think what was my film of the year. Scarlett Johansson is the magnetic, automated love interest for Joaquin Phoenix, that goes from operating system to all too real. Not just a prescient look at technology and romance but love and relationships themselves.
Writer-director, Spike Jonze, is still undervalued and rightly picked up every screenwriting award going Her, with I think what was my film of the year. Scarlett Johansson is the magnetic, automated love interest for Joaquin Phoenix, that goes from operating system to all too real. Not just a prescient look at technology and romance but love and relationships themselves.
Maybe a shade too high but not much, still amazed four performances like this could walk away without a single Oscar. David O. Russell had a seismic year and followed up Silver Linings Playbook with yet more unforgettable characters and performances, this time with consummate, dynamic, Scorcese-worthy cinematic skill.
Maybe a shade too high but not much, still amazed four performances like this could walk away without a single Oscar. David O. Russell had a seismic year and followed up Silver Linings Playbook with yet more unforgettable characters and performances, this time with consummate, dynamic, Scorcese-worthy cinematic skill.
It sounds like I was on the right path with this one but 8.5/10 is still too high for a weirdly empty and hugely overrated (and very stiff) film.
It sounds like I was on the right path with this one but 8.5/10 is still too high for a weirdly empty and hugely overrated (and very stiff) film.
Brad Pitt's mega-budget zombie production seemed troubled during the making and doubly so on the watching. Bizarrely unfocused and lacking a compelling screenplay, a misfire with a weirdly flat final third.
Brad Pitt's mega-budget zombie production seemed troubled during the making and doubly so on the watching. Bizarrely unfocused and lacking a compelling screenplay, a misfire with a weirdly flat final third.
Perhaps a tad harsh here. This drug mule caper comedy is a very poor film but often hysterical and the cast is perfection.
Perhaps a tad harsh here. This drug mule caper comedy is a very poor film but often hysterical and the cast is perfection.
The wonderfully varied and unpredictable Danny Boyle was always going to be horrendous, brilliant of a combination of the two. This messy, unfocused, ill-conceived art heist thrilller leans quite heavily into the former.
The wonderfully varied and unpredictable Danny Boyle was always going to be horrendous, brilliant of a combination of the two. This messy, unfocused, ill-conceived art heist thrilller leans quite heavily into the former.
This successful but tepid and bland, rote, atmospheric horror taped into the new wave on interest in horror but was bested by a superior sequel. One that thankfully spent less time with the underwhelming leads.
This successful but tepid and bland, rote, atmospheric horror taped into the new wave on interest in horror but was bested by a superior sequel. One that thankfully spent less time with the underwhelming leads.
Much of what was so great about the first Star Trek reboot is sadly missing here, and they almost waste the best franchise antagonist in Khan, and the perfect actor to play him in Benedict Cumberbatch. The tone here as shifted more to jokey and not for the better, neither is the increased rom-com focus on Spock.
Much of what was so great about the first Star Trek reboot is sadly missing here, and they almost waste the best franchise antagonist in Khan, and the perfect actor to play him in Benedict Cumberbatch. The tone here as shifted more to jokey and not for the better, neither is the increased rom-com focus on Spock.
Ben Wheatley remains one of the UK's most original, unpredictable and gifted new directors, though perhaps one who still hasn't a definitive film, unless that would be the utterly horrifying Kill List. Here he jinks to pitch black comedy and the underused genre of British country holiday serial killers.
Ben Wheatley remains one of the UK's most original, unpredictable and gifted new directors, though perhaps one who still hasn't a definitive film, unless that would be the utterly horrifying Kill List. Here he jinks to pitch black comedy and the underused genre of British country holiday serial killers.
Genre wish fulfillment movies like this full blown take on Japanese monster movies but with mega Hollywood budget and special effects are rarely more exciting in the flesh than on paper. For once a visionary director of huge talent like the singularly imaginative Guillermo del Toro is given the reigns, to great success but sadly didn't fancy the sequel.
Genre wish fulfillment movies like this full blown take on Japanese monster movies but with mega Hollywood budget and special effects are rarely more exciting in the flesh than on paper. For once a visionary director of huge talent like the singularly imaginative Guillermo del Toro is given the reigns, to great success but sadly didn't fancy the sequel.
Pretty much a dream team for me, given Drive ended up my film of the entire decade, so a reunion of Nicholas Winding Refn and Ryan Gosling, both of whom I'm fans of away, was pure catnip. A hugely stylized, neon lit, ultra violent, existential art film? I didn't stand a chance. It must SURELY have firmly established itself as a cult classic by now? The critics hated it but I loved it.
Pretty much a dream team for me, given Drive ended up my film of the entire decade, so a reunion of Nicholas Winding Refn and Ryan Gosling, both of whom I'm fans of away, was pure catnip. A hugely stylized, neon lit, ultra violent, existential art film? I didn't stand a chance. It must SURELY have firmly established itself as a cult classic by now? The critics hated it but I loved it.
Perhaps generous here as its an almost tedious Si-Fi but with stunning production design. The ever reliable Tom Cruise fights against a vague but often breathtaking backdrop.
Perhaps generous here as its an almost tedious Si-Fi but with stunning production design. The ever reliable Tom Cruise fights against a vague but often breathtaking backdrop.
Director Jeff Nichols debut film, Shotgun Stories, was an astonishing and hugely original film, sadly since then not so much and this far more major film is it's polar opposite. Almost like a homogenized mainstream take on that singular first film and I was generous with the score here. It's very hokey.
Director Jeff Nichols debut film, Shotgun Stories, was an astonishing and hugely original film, sadly since then not so much and this far more major film is it's polar opposite. Almost like a homogenized mainstream take on that singular first film and I was generous with the score here. It's very hokey.
John McNaughton's seminal cinematic terror has not had its horrors dulled by time and still packs an awful punch. A landmark in both serial killer films and horror in general and a rarely unpleasant experience.
John McNaughton's seminal cinematic terror has not had its horrors dulled by time and still packs an awful punch. A landmark in both serial killer films and horror in general and a rarely unpleasant experience.
As with all post 5 rebirth Fast and Furious films, a pretty decent follow up to a slightly superior predecessor.
As with all post 5 rebirth Fast and Furious films, a pretty decent follow up to a slightly superior predecessor.
Jay Bulger's terrific biopic of one of the most legendary rock drummers in history, the frightening Ginger Baker.
Jay Bulger's terrific biopic of one of the most legendary rock drummers in history, the frightening Ginger Baker.
A decent year for great movies and a controversial winner.
A decent year for great movies and a controversial winner.
Well made biopic of the fascinating Liberace, with awards worthy turns from Matt Damon and Michael Douglas.
Well made biopic of the fascinating Liberace, with awards worthy turns from Matt Damon and Michael Douglas.
The Jackass gang convene for a slight dramatic comedy, that's a little more soulful than laugh out loud funny.
The Jackass gang convene for a slight dramatic comedy, that's a little more soulful than laugh out loud funny.
This endlessly adapted novel seems the usual respectful, uninspired fare from director Joe Wright, though lifted a little by the performance of Keira Knightley.
This endlessly adapted novel seems the usual respectful, uninspired fare from director Joe Wright, though lifted a little by the performance of Keira Knightley.
It maybe flawed, too long and the final third lesser than the preceding two but director Derek Cianfrance's heady drama is so ambitious and full of deep, rich characters and feelings, it totally earns it.
It maybe flawed, too long and the final third lesser than the preceding two but director Derek Cianfrance's heady drama is so ambitious and full of deep, rich characters and feelings, it totally earns it.
A 9.5/10 for Robert Altman's existential, mood and scene based take on Raymond Chandler's classic detective yarn, with Elliot Gould filling Philip Marlowe's gum-shoes. A Rosetta Stone for films like Once Upon a Time in Hollywood and Inherent Vice, it backgrounds the plot for atmosphere and a sense of place and time. A slightly underappreciated masterpiece.
A 9.5/10 for Robert Altman's existential, mood and scene based take on Raymond Chandler's classic detective yarn, with Elliot Gould filling Philip Marlowe's gum-shoes. A Rosetta Stone for films like Once Upon a Time in Hollywood and Inherent Vice, it backgrounds the plot for atmosphere and a sense of place and time. A slightly underappreciated masterpiece.
Director Thomas Vinterberg's terrific Norwegian drama makes superb use of the brilliant Mads Mikkelsen. Here playing a teacher undone by a combination of pack mentality and an accusation of child abuse.
Director Thomas Vinterberg's terrific Norwegian drama makes superb use of the brilliant Mads Mikkelsen. Here playing a teacher undone by a combination of pack mentality and an accusation of child abuse.
Go hard or go home appears to be the motto of Australian director, Baz Luhrmann, an ethos he impossibly doubles here with his famed, troubled, maligned by critics, hugely expensive and very successful financially adaption of the famed novel. He just doesn't seem to be as good a director as he is conceiver and producer, which makes me wonder if the atrocious first half of the film was directed by him and someone else took over for the excellent second half. Leo was awards worthy but his performance ignored.
Go hard or go home appears to be the motto of Australian director, Baz Luhrmann, an ethos he impossibly doubles here with his famed, troubled, maligned by critics, hugely expensive and very successful financially adaption of the famed novel. He just doesn't seem to be as good a director as he is conceiver and producer, which makes me wonder if the atrocious first half of the film was directed by him and someone else took over for the excellent second half. Leo was awards worthy but his performance ignored.
No idea why I reviewed this but a real rarity, a rom-com that does not suck. Cameron Crowe's debut remains his best.
No idea why I reviewed this but a real rarity, a rom-com that does not suck. Cameron Crowe's debut remains his best.
I seriously am not even sure this is a real film except for the simpering of a probably smug UK rom-com being deafening even from seven years away.
I seriously am not even sure this is a real film except for the simpering of a probably smug UK rom-com being deafening even from seven years away.
Matthew Cooke's superb and under-appreciated war on drugs documentary has a brilliant two-handed format, the first half detailing the minute of the narcotics trade, the second an unexpectedly searing treatise on the US prison system.
Matthew Cooke's superb and under-appreciated war on drugs documentary has a brilliant two-handed format, the first half detailing the minute of the narcotics trade, the second an unexpectedly searing treatise on the US prison system.
This magnificent doco is a triple threat - as dramatically exciting as any movie, a jaw dropping wtf twist and in Frederic Bourdin, the most interesting possible host to glue this disappeared child true life mystery together.
This magnificent doco is a triple threat - as dramatically exciting as any movie, a jaw dropping wtf twist and in Frederic Bourdin, the most interesting possible host to glue this disappeared child true life mystery together.
I have kind of made my peace with Skyfall now, though perhaps that's mostly down to the sheer awfulness of Spectre, which finished LAST on my ranking of Bond films Bond special from a 2020. It's still very overrated and I'm no fan of director Sam Mendes.
I have kind of made my peace with Skyfall now, though perhaps that's mostly down to the sheer awfulness of Spectre, which finished LAST on my ranking of Bond films Bond special from a 2020. It's still very overrated and I'm no fan of director Sam Mendes.
The notoriously short Tom Cruise was never the problem with the cinematic attempts at these famed novels, and for the most part - barring a perfunctory final third - the first, at least, was mostly excellent.
The notoriously short Tom Cruise was never the problem with the cinematic attempts at these famed novels, and for the most part - barring a perfunctory final third - the first, at least, was mostly excellent.
The Hughes brothers, of Menace II Society fame, haven't fared so well solo and this crime and corruption potboiler was understandably panned but still contains Russell Crowe and Mark Wahlberg to ease the pain. Enough for genre fans.
The Hughes brothers, of Menace II Society fame, haven't fared so well solo and this crime and corruption potboiler was understandably panned but still contains Russell Crowe and Mark Wahlberg to ease the pain. Enough for genre fans.
They'll be no fighting in the war film room! A head to head battle between three of the most prominent modern war films, Saving Private Ryan v Black Hawk Down v The Thin Red Line. I must've been on a good day as SPR is my most overrated film of the last 25 years. Easy winner here.
They'll be no fighting in the war film room! A head to head battle between three of the most prominent modern war films, Saving Private Ryan v Black Hawk Down v The Thin Red Line. I must've been on a good day as SPR is my most overrated film of the last 25 years. Easy winner here.
Despite the apparently heavy subject of disabled people and prostitutes (a dinner table classic), director Ben Lewin's wonderful and under-seen film is full of warmth and easy to get sucked into, thanks to awards worthy central performances from John Hawkins and Helen Hunt (!!!!).
Despite the apparently heavy subject of disabled people and prostitutes (a dinner table classic), director Ben Lewin's wonderful and under-seen film is full of warmth and easy to get sucked into, thanks to awards worthy central performances from John Hawkins and Helen Hunt (!!!!).
A look back at the 2013 winners. No idea why.
A look back at the 2013 winners. No idea why.
For me, Paul Thomas Anderson is ahead of his probable peers, David Fincher/Christopher Nolan etc. The most consistent, the most artistic and the most challenging. His take on religious cults is not even his best work, yet still unforgettable and including magnificent turns from Joaquin Phoenix, Philip Seymour Hoffman and Amy Adams.
For me, Paul Thomas Anderson is ahead of his probable peers, David Fincher/Christopher Nolan etc. The most consistent, the most artistic and the most challenging. His take on religious cults is not even his best work, yet still unforgettable and including magnificent turns from Joaquin Phoenix, Philip Seymour Hoffman and Amy Adams.
Ang Lee's memorable take on Yann Martel's novel dazzled on first view (as I certainly note here) but falls apart badly on subsequent viewings (as I would say now). Visually amazing though and with a subtly revolutionary view on religion.
Ang Lee's memorable take on Yann Martel's novel dazzled on first view (as I certainly note here) but falls apart badly on subsequent viewings (as I would say now). Visually amazing though and with a subtly revolutionary view on religion.
Naomi Watts won an Oscar and Ewan McGregor was subtley effective, in this eventually shattering take on the Asian tsunami destroying a holiday zone. Based on the real life experience of Spainard, Maria Belon.
Naomi Watts won an Oscar and Ewan McGregor was subtley effective, in this eventually shattering take on the Asian tsunami destroying a holiday zone. Based on the real life experience of Spainard, Maria Belon.
I've had plenty negative to say about Steven Spielberg over the years, especially when dealing potentially noble historical projects. The film shines through it's quiet opening two thirds, spent with a magnificent Daniel Day-Lewis but falls to pieces in it's courtroom drama finale.
I've had plenty negative to say about Steven Spielberg over the years, especially when dealing potentially noble historical projects. The film shines through it's quiet opening two thirds, spent with a magnificent Daniel Day-Lewis but falls to pieces in it's courtroom drama finale.
Chopper director Andrew Dominik's crime potboiler boast some impressive turns from Brad Pitt, James Gandolfini and Ray Liotta and is definitely worth a once through, is slightly messy and a little forgettable.
Chopper director Andrew Dominik's crime potboiler boast some impressive turns from Brad Pitt, James Gandolfini and Ray Liotta and is definitely worth a once through, is slightly messy and a little forgettable.
For me the Wachowskis' adaptation of David Mitchell's tome on standing up to authority and the little ripple effects of inspiration throughout time, is arguably the most underappreciated film this century so far. Riven with faults but aiming for the heavens and filled with stunning film-making, even on a philosophical level. The cast play multiple character in different eras as one small act of defiance reverberates forever. A masterpiece, warts and all and one of my very few 9.5/10 for any new release film.
For me the Wachowskis' adaptation of David Mitchell's tome on standing up to authority and the little ripple effects of inspiration throughout time, is arguably the most underappreciated film this century so far. Riven with faults but aiming for the heavens and filled with stunning film-making, even on a philosophical level. The cast play multiple character in different eras as one small act of defiance reverberates forever. A masterpiece, warts and all and one of my very few 9.5/10 for any new release film.
Writer-director, Martin McDonagh's middle film between the sublime, In Bruges, and slightly overrated, Three Billboards Outside Ebbing Missouri, is the least good out of the three but he's never going to be less than interesting. Stellar cast but a little messier this time around.
Writer-director, Martin McDonagh's middle film between the sublime, In Bruges, and slightly overrated, Three Billboards Outside Ebbing Missouri, is the least good out of the three but he's never going to be less than interesting. Stellar cast but a little messier this time around.
I had not been impressed by director Kathyrn Bigelow as a director by the time she inexplicably won best picture, director and screenplay for essentially Point Break in Iraq, The Hurt Locker, an even worse winner than Argo. The excellent, taught and expertly paced hunt for Osama movie, Zero Dark Thirty was everything that film wasn't.
I had not been impressed by director Kathyrn Bigelow as a director by the time she inexplicably won best picture, director and screenplay for essentially Point Break in Iraq, The Hurt Locker, an even worse winner than Argo. The excellent, taught and expertly paced hunt for Osama movie, Zero Dark Thirty was everything that film wasn't.
Peter Jackson's Hobbit trilogy are a superb film - I know what I said. I must've had a spell on me to rate this so dwarf-singing snooze-fest so highly, the films haven't improved with age.
Peter Jackson's Hobbit trilogy are a superb film - I know what I said. I must've had a spell on me to rate this so dwarf-singing snooze-fest so highly, the films haven't improved with age.
The people that brought you the godawful Paranormal Activity series dropped this vastly superior, Scott Derrickson, directed chiller. I'm always a sucker for Ethan Hawke anyway but this is a far more atmospheric work with a terrifying soundtrack.
The people that brought you the godawful Paranormal Activity series dropped this vastly superior, Scott Derrickson, directed chiller. I'm always a sucker for Ethan Hawke anyway but this is a far more atmospheric work with a terrifying soundtrack.
David O. Russell was on an incredible run by Silver Linings, backed by his own great writing and a stellar cast.
David O. Russell was on an incredible run by Silver Linings, backed by his own great writing and a stellar cast.
This is definitely an era where I seemed to hand out 8/10's like candy because there are just to many glaringly awful directorial choices (John Goodman, I'm looking at you) for that to be true. A masterclass of acting from Denzel Washington and a terrific plane sequence make it worth wading through the occasional muck.
This is definitely an era where I seemed to hand out 8/10's like candy because there are just to many glaringly awful directorial choices (John Goodman, I'm looking at you) for that to be true. A masterclass of acting from Denzel Washington and a terrific plane sequence make it worth wading through the occasional muck.
The middle two thirds of this Tarrantino western are flat out classic, sadly the opening twenty and especially the dire comic book final quarter, where Jamie Foxx tanks the film in comic book madness, undercut a near masterpiece.
The middle two thirds of this Tarrantino western are flat out classic, sadly the opening twenty and especially the dire comic book final quarter, where Jamie Foxx tanks the film in comic book madness, undercut a near masterpiece.
This fascinating and original southern eco-drama from writer-director, Benh Zeitlin, deserved the mark it made.
This fascinating and original southern eco-drama from writer-director, Benh Zeitlin, deserved the mark it made.
Virtually every best picture winner of the 2010s was a total farce, no exception here. Ben Affleck got his flat-lining career back on track with a shock success in the directing chair with the superb Gone Baby Gone, followed with the half brilliant, half poor Heat rip-off, The Town, and this forgettable Iranian embassy siege drama was the weakest of the three yet won best picture. Go figure.
Virtually every best picture winner of the 2010s was a total farce, no exception here. Ben Affleck got his flat-lining career back on track with a shock success in the directing chair with the superb Gone Baby Gone, followed with the half brilliant, half poor Heat rip-off, The Town, and this forgettable Iranian embassy siege drama was the weakest of the three yet won best picture. Go figure.
I have an enormous amount of affection for British director, Nick Loves film, The Football Factory, I also love both Ray Winstone and cult hard nosed British cop show The Sweeney. Only that can explain how I gave this car crash 4/10.
I have an enormous amount of affection for British director, Nick Loves film, The Football Factory, I also love both Ray Winstone and cult hard nosed British cop show The Sweeney. Only that can explain how I gave this car crash 4/10.
Pretty happy with my view on things here, as Christopher Nolan raps up what rarely in the modern era was really at least four movies squeezed into three. That final ten minutes though CHRIST, what were you thinking.
Pretty happy with my view on things here, as Christopher Nolan raps up what rarely in the modern era was really at least four movies squeezed into three. That final ten minutes though CHRIST, what were you thinking.
I'm a total sucker for a southern pot-boiler but it seems I was far more enamored of this film than the critics. I also cannot remember a single thing about it and the director doesn't seem to have won any Oscars after this.
I'm a total sucker for a southern pot-boiler but it seems I was far more enamored of this film than the critics. I also cannot remember a single thing about it and the director doesn't seem to have won any Oscars after this.
Wow this really was the era where I overrated everything, don't listen to me at all, it's worth barely a 6. Oliver Stone's barren run continues to stretch all the way back to JFK, with this amiable yet violent and lurid pot dealing movie overloaded with improbabilities (see also Ridley Scott fail in entirely different ways with the future classic (I tells thee) The Counselor). Happy the 70's-90's stalwart of getting the lead actress gratuitously naked didn't catch on again - Blake Lively the victim here. MUCH better the first time than second.
Wow this really was the era where I overrated everything, don't listen to me at all, it's worth barely a 6. Oliver Stone's barren run continues to stretch all the way back to JFK, with this amiable yet violent and lurid pot dealing movie overloaded with improbabilities (see also Ridley Scott fail in entirely different ways with the future classic (I tells thee) The Counselor). Happy the 70's-90's stalwart of getting the lead actress gratuitously naked didn't catch on again - Blake Lively the victim here. MUCH better the first time than second.
Everything about this sumptuous prohibition era gangster film is superb, apart from the films itself, leaving Tom Hardy adrift in a classy, highly watchable sea of cringe. Aussie director John Hillcoat is never less than interesting.
Everything about this sumptuous prohibition era gangster film is superb, apart from the films itself, leaving Tom Hardy adrift in a classy, highly watchable sea of cringe. Aussie director John Hillcoat is never less than interesting.
Not quite as good as I give it but an early look into how capable Matthew McConaughey would become as an actor, in legendary director, William Friedkin's astonishingly grimey and controversially offensive southern pot-boiler.
Not quite as good as I give it but an early look into how capable Matthew McConaughey would become as an actor, in legendary director, William Friedkin's astonishingly grimey and controversially offensive southern pot-boiler.
Nothing annoys me more than average original concept Pixar movies, which should be the domain of their best work. A winning cast and gorgeous videos can't hide a pamphlet of a movie.
Nothing annoys me more than average original concept Pixar movies, which should be the domain of their best work. A winning cast and gorgeous videos can't hide a pamphlet of a movie.
Great year for albums but I wouldn't mind betting the worst year of the decade for films. But at least I put the boot into Wes Anderson. lol
Great year for albums but I wouldn't mind betting the worst year of the decade for films. But at least I put the boot into Wes Anderson. lol
This wondrous and full-blooded Norwegian comedy-drama about a teenager's sexual awakening, is the debut from writer-director Jannicke Systad Jacobsen and as delightful and effervescent as the exclamation mark its title so richly earns.
This wondrous and full-blooded Norwegian comedy-drama about a teenager's sexual awakening, is the debut from writer-director Jannicke Systad Jacobsen and as delightful and effervescent as the exclamation mark its title so richly earns.
Whilst hardly great, this Colin Farrell starring remake of an Arnie Sci-Fi classic, is watchable and, though incredibly iconic and memorable, the original was perhaps not a brilliant film to start with.
Whilst hardly great, this Colin Farrell starring remake of an Arnie Sci-Fi classic, is watchable and, though incredibly iconic and memorable, the original was perhaps not a brilliant film to start with.
This dire sequel throws everything that made the original special out the window, yet still isn't the worst Hangover film.
This dire sequel throws everything that made the original special out the window, yet still isn't the worst Hangover film.
Director Jay Roach seems to operate slightly above mid tier, as is the case with this smarter and more soulful than expected political campaign comedy. Will Ferrell and Zach Glifianakis are well matched but you'll likely not remember it.
Director Jay Roach seems to operate slightly above mid tier, as is the case with this smarter and more soulful than expected political campaign comedy. Will Ferrell and Zach Glifianakis are well matched but you'll likely not remember it.
Full disclosure - I hate everything about Spiderman. This includes the most annoyingly love-struck and teenage of the Marvel gang, the actors playing him and the disrespectfully relentless rebooting of the character, this being one of three iterations since 2002. Though I cannot stand Toby Magurie, the first two Sam Raimi films were undeniably decent but since then its been feeble run. Garfield is my least hated of the actors to take on the role, and the lower key vibe here (without tying itself so opportunistically to the Marvel tent pole) makes it my pick of the films post 2 but its still a curiously vague misfire, just not aggravatingly so.
Full disclosure - I hate everything about Spiderman. This includes the most annoyingly love-struck and teenage of the Marvel gang, the actors playing him and the disrespectfully relentless rebooting of the character, this being one of three iterations since 2002. Though I cannot stand Toby Magurie, the first two Sam Raimi films were undeniably decent but since then its been feeble run. Garfield is my least hated of the actors to take on the role, and the lower key vibe here (without tying itself so opportunistically to the Marvel tent pole) makes it my pick of the films post 2 but its still a curiously vague misfire, just not aggravatingly so.
Ahhh Wes Anderson, king of the kooky and current resident on my banned director list, along with the likes of M Night and Guy Ritchie (though the latter has made an impossible escape just recently) and this is the film that got him there. Lets face it, his best film the Tennanbuams is only a 7/10 due to the presence of Gene Hackman. After hating everything I'd seen, particularly his singular, angular, hipster over substance style, this, yet again inexplicably acclaimed annoyance proved - to this date - the final straw for me. The high score of six here must've been my medication - it's awful.
Ahhh Wes Anderson, king of the kooky and current resident on my banned director list, along with the likes of M Night and Guy Ritchie (though the latter has made an impossible escape just recently) and this is the film that got him there. Lets face it, his best film the Tennanbuams is only a 7/10 due to the presence of Gene Hackman. After hating everything I'd seen, particularly his singular, angular, hipster over substance style, this, yet again inexplicably acclaimed annoyance proved - to this date - the final straw for me. The high score of six here must've been my medication - it's awful.
From the much loved The Last Jedi (lol) to the brilliant Knives Out, writer-director Rian Johnson is one of the most unpredictable forces in modern cinema, again proven with this earlier film, one of the decades most original and atmospheric existential Sci-Fi's. With a strong performance by Bruce Willis backed up by early turns from Joseph Gordon-Levitt and Emily Blunt.
From the much loved The Last Jedi (lol) to the brilliant Knives Out, writer-director Rian Johnson is one of the most unpredictable forces in modern cinema, again proven with this earlier film, one of the decades most original and atmospheric existential Sci-Fi's. With a strong performance by Bruce Willis backed up by early turns from Joseph Gordon-Levitt and Emily Blunt.
A lesser but fascinating work from the always interesting filmmaker David Cronenberg, is a timely and aversive treatise on nihilistic modern capitalism, thats visually arresting and perhaps most interesting now as one of the first jumping off points post Twilight for the kind of actor Robert Pattinson has become.
A lesser but fascinating work from the always interesting filmmaker David Cronenberg, is a timely and aversive treatise on nihilistic modern capitalism, thats visually arresting and perhaps most interesting now as one of the first jumping off points post Twilight for the kind of actor Robert Pattinson has become.
Ex Press Gang alumni and frequent Guy Ritchie orbiter, Dexter Fletcher has quietly amassed a fair few prominent directorial credits - even stepping into Brian Singer's accused shoes for Bohemian Rhapsody. This would be his finest hour so far, featuring a very early and dominant turn from Will Poulter, in an excellent and comedic grimy urban drama, which subverts the dad coming home from prison trope.
Ex Press Gang alumni and frequent Guy Ritchie orbiter, Dexter Fletcher has quietly amassed a fair few prominent directorial credits - even stepping into Brian Singer's accused shoes for Bohemian Rhapsody. This would be his finest hour so far, featuring a very early and dominant turn from Will Poulter, in an excellent and comedic grimy urban drama, which subverts the dad coming home from prison trope.
I found this Aussie film devastating and hugely underrated, its writer/director, Jonathan Teplitzky would go on to the very high profile, Railway Man and Churchill. The often brilliant Matthew Goode is in searing film and what I loved most here is, almost uniquely for a film this emotionally shattering, it begins and its most nihilistic and bleak before gradually climbing back towards the light and ending in hope.
I found this Aussie film devastating and hugely underrated, its writer/director, Jonathan Teplitzky would go on to the very high profile, Railway Man and Churchill. The often brilliant Matthew Goode is in searing film and what I loved most here is, almost uniquely for a film this emotionally shattering, it begins and its most nihilistic and bleak before gradually climbing back towards the light and ending in hope.
This is NOT the awful 2018 teen romance film, but a fantastic and little seen existential vampire film, written and directed by Scott Leberecht. Criminally bypassed by nearly everyone and if you think I'm joking, 95% on Rotten Tomatoes.
This is NOT the awful 2018 teen romance film, but a fantastic and little seen existential vampire film, written and directed by Scott Leberecht. Criminally bypassed by nearly everyone and if you think I'm joking, 95% on Rotten Tomatoes.
Director Kelly Reichardt (who also made the very interesting Night Moves) takes a very slow west, with Michelle Williams (one of my faves). Certainly decent and good, not very memorable.
Director Kelly Reichardt (who also made the very interesting Night Moves) takes a very slow west, with Michelle Williams (one of my faves). Certainly decent and good, not very memorable.
Looking back I wonder if 6/10 for this frankly insufferable rom-com is a tad high. You'd expect Paul Rudd and Jennifer Aniston to be top tier as far as the worst genre in movies goes but it's pretty poor, and my affection for Rudd has waned, possibly because he keeps stinking up the Marvel universe.
Looking back I wonder if 6/10 for this frankly insufferable rom-com is a tad high. You'd expect Paul Rudd and Jennifer Aniston to be top tier as far as the worst genre in movies goes but it's pretty poor, and my affection for Rudd has waned, possibly because he keeps stinking up the Marvel universe.
This Saddam Hussein curio features a superb early turn from Dominic Cooper as Saddam's hellish son's double in a play on real life events but totally over-eggs everything. Directed by Kiwi Lee Tamahori, who stunned with his debut Once Were Warriors, possibly the greatest Kiwi film ever and has had a weird ride ever since.
This Saddam Hussein curio features a superb early turn from Dominic Cooper as Saddam's hellish son's double in a play on real life events but totally over-eggs everything. Directed by Kiwi Lee Tamahori, who stunned with his debut Once Were Warriors, possibly the greatest Kiwi film ever and has had a weird ride ever since.
Given it was one of the biggest and most important films of the decade and ended up in my films of the decade list, what a curiously small review.
Given it was one of the biggest and most important films of the decade and ended up in my films of the decade list, what a curiously small review.
Seth MacFarlane is his own worst enemy when it comes to writing and directing films. If he stuck to the funny, things would always be so much better, but he insists on trying to write actual full length screenplays, which I think we've enough evidence now he is terrible at. Ted, Wahlberg and Kunis are fantastic in an oftern hilarious film but sadly way to much story gets in the way of those moments and 7.5/10 is pretty generous.
Seth MacFarlane is his own worst enemy when it comes to writing and directing films. If he stuck to the funny, things would always be so much better, but he insists on trying to write actual full length screenplays, which I think we've enough evidence now he is terrible at. Ted, Wahlberg and Kunis are fantastic in an oftern hilarious film but sadly way to much story gets in the way of those moments and 7.5/10 is pretty generous.
Well writer/director Sarah Polley doesn't seem to have a full feature film after this and she was on the crest of a wave at the time. Truly one of the most problematic times I've had reviewing a film and there's an awful lot here that fills me with revulsion. One of my favorite actresses Michelle Williams being case in point, wonderful, searing performance but here character made me genuinely angry. Lots of terrible dramatic and narrative decisions really clouded what ultimately was a pretty powerful film with a killer last shot.
Well writer/director Sarah Polley doesn't seem to have a full feature film after this and she was on the crest of a wave at the time. Truly one of the most problematic times I've had reviewing a film and there's an awful lot here that fills me with revulsion. One of my favorite actresses Michelle Williams being case in point, wonderful, searing performance but here character made me genuinely angry. Lots of terrible dramatic and narrative decisions really clouded what ultimately was a pretty powerful film with a killer last shot.
Well I can understand completely forgetting dire films exist but this Korean slasher film sounds awesome and very extreme, especially as it stars no less a luminary than Choi Min-sik as a serial killer (Oldboy himself!) definitely re-watching this, this could end up the best reason for doing the podcast! The director Kim Jee-woon doesn't seem to have done much else of note.
Well I can understand completely forgetting dire films exist but this Korean slasher film sounds awesome and very extreme, especially as it stars no less a luminary than Choi Min-sik as a serial killer (Oldboy himself!) definitely re-watching this, this could end up the best reason for doing the podcast! The director Kim Jee-woon doesn't seem to have done much else of note.
Holy crap I gave Battleships 7.5/10. Jesus. Look I kinda enjoyed it and I really like Taylor Kitsch, he just keeps getting shafted by bad movies. I liked John Carter too.
Holy crap I gave Battleships 7.5/10. Jesus. Look I kinda enjoyed it and I really like Taylor Kitsch, he just keeps getting shafted by bad movies. I liked John Carter too.
Wow, how did I ever give this mindblowingly atrocious film 5/10?! If you've ever hated Sean Penn for taking on roles full of mannerisms, this will have you longing for I Am Sam. Truly one of the worst films that of that decade. Jawdroppingly terrible and inept and bizarre - how someone ever though even the idea of the screenplay (or three or four screenplays as its such a jarring mess) should've been possible to make into a film. Its something like Robert Smith of The Cure lives in a mansion in Ireland, goes to watch a Talking Heads concert and is inspired to shoot Nazis. Seriously not even making that up. Def the worst Sean Penn performance of all.
Wow, how did I ever give this mindblowingly atrocious film 5/10?! If you've ever hated Sean Penn for taking on roles full of mannerisms, this will have you longing for I Am Sam. Truly one of the worst films that of that decade. Jawdroppingly terrible and inept and bizarre - how someone ever though even the idea of the screenplay (or three or four screenplays as its such a jarring mess) should've been possible to make into a film. Its something like Robert Smith of The Cure lives in a mansion in Ireland, goes to watch a Talking Heads concert and is inspired to shoot Nazis. Seriously not even making that up. Def the worst Sean Penn performance of all.
After Fear and Loathing, Johnny Depp returns with another crack at worthy Hunter S Thompson adaption, this time his straighter, slightly less hallucinogenic autobiographic remembrance/recreation in his early years as a journalist in Puerto Rico. Like it's predecessor, I'm glad it exists but it's not a great film. Most notable today for the love interest...
After Fear and Loathing, Johnny Depp returns with another crack at worthy Hunter S Thompson adaption, this time his straighter, slightly less hallucinogenic autobiographic remembrance/recreation in his early years as a journalist in Puerto Rico. Like it's predecessor, I'm glad it exists but it's not a great film. Most notable today for the love interest...
Perhaps a touch harsh here. Ryan Reynolds and Denzil Washington are a great central pair is this very sub Bourne spooks-n-gadgets espionage thriller. It aint great but worth a punt for fans.
Perhaps a touch harsh here. Ryan Reynolds and Denzil Washington are a great central pair is this very sub Bourne spooks-n-gadgets espionage thriller. It aint great but worth a punt for fans.
Wow, will you look at that, apparently Julia Roberts starred in a remake of Sleeping Beauty, I genuinely have no recollection of this ever exisiting.
Wow, will you look at that, apparently Julia Roberts starred in a remake of Sleeping Beauty, I genuinely have no recollection of this ever exisiting.
I really feel for star Taylor Kitsch, who I always like and thinking is hugely underappreciated as a leading man but often wed to failing products. This glorious misfire is as amiable and enjoyable as he is, you can see why it famously and epicaly bombed but theres plenty of grand-scope Sci-Fi to enjoy here, with a strong story and likeable cast. Perfect fodder for home entertainment for people that like big tent fantasy across its occasionally ropey screenplay.
I really feel for star Taylor Kitsch, who I always like and thinking is hugely underappreciated as a leading man but often wed to failing products. This glorious misfire is as amiable and enjoyable as he is, you can see why it famously and epicaly bombed but theres plenty of grand-scope Sci-Fi to enjoy here, with a strong story and likeable cast. Perfect fodder for home entertainment for people that like big tent fantasy across its occasionally ropey screenplay.
What an antidote to the icy new-Nordic thriller this magnificent twisted Norwegian beast is! Frequently crossing far over the line and blackly hilarious.
What an antidote to the icy new-Nordic thriller this magnificent twisted Norwegian beast is! Frequently crossing far over the line and blackly hilarious.
MMA star Gina Carano made such a good start here, you wonder how on earth she got relegated to Fast and the Furious bit parts. For an MMA star launch vehicle its ludicrous - director, Steven Soderbergh, cast including Ewan McGregor, Michael Fassbender and Channing Tatum. holy cow. Well worth checking out and even up against that top tier talent she acquits herself well.
MMA star Gina Carano made such a good start here, you wonder how on earth she got relegated to Fast and the Furious bit parts. For an MMA star launch vehicle its ludicrous - director, Steven Soderbergh, cast including Ewan McGregor, Michael Fassbender and Channing Tatum. holy cow. Well worth checking out and even up against that top tier talent she acquits herself well.
Terrific hard edged genre rewards from a charismatic Mel Gibson, here on the slow road back to redemption. Sadly Gibson's pick of director, Adrian Grunberg would not follow up on this promise with the olympically awful Rambo: Last Blood his only follow up, suggesting Mr Gibson had an enormous hand in making this.
Terrific hard edged genre rewards from a charismatic Mel Gibson, here on the slow road back to redemption. Sadly Gibson's pick of director, Adrian Grunberg would not follow up on this promise with the olympically awful Rambo: Last Blood his only follow up, suggesting Mr Gibson had an enormous hand in making this.
Wow! what a year that was, the top three films from this year ended up my top three of the entire decade. And remember De Niro and Jason Statham starring in The Killer Elite?!? Did that actually happen?
Wow! what a year that was, the top three films from this year ended up my top three of the entire decade. And remember De Niro and Jason Statham starring in The Killer Elite?!? Did that actually happen?
Let's hope Josh Trank redeemed himself with the upcoming Al Capone biopic after he trashed the incredible promise shown in this fascinating superhero outlier, with the dreadful Fantastic Four reboot. Here though he injects the troubled adolescent tropes with supernatural vigor for one of the most imaginative and memorable found footage films.
Let's hope Josh Trank redeemed himself with the upcoming Al Capone biopic after he trashed the incredible promise shown in this fascinating superhero outlier, with the dreadful Fantastic Four reboot. Here though he injects the troubled adolescent tropes with supernatural vigor for one of the most imaginative and memorable found footage films.
Drew Goddard's modern genre bending Sci-Fi horror near classic throws multiple kitchen sinks on top off the college kids in the woods trope, to awesome imaginative effect.
Drew Goddard's modern genre bending Sci-Fi horror near classic throws multiple kitchen sinks on top off the college kids in the woods trope, to awesome imaginative effect.
With the esteemed documentary director Kevin Macdonlad (of Touching the Void fame) at the helm and its charismatic subject, a watchable but curiously flat Bob Marley documentary.
With the esteemed documentary director Kevin Macdonlad (of Touching the Void fame) at the helm and its charismatic subject, a watchable but curiously flat Bob Marley documentary.
By far the best and most compelling of the oddest franchise behemoth of the decade, one that exploded onto the scene and seemed to immediately recede from view with every subsequent release, ending on a dark elliptical note, with a couple of awful middle films along the way. But taken alone the original packs a thematic punch and has the hero to match it in Jennifer Lawrence.
By far the best and most compelling of the oddest franchise behemoth of the decade, one that exploded onto the scene and seemed to immediately recede from view with every subsequent release, ending on a dark elliptical note, with a couple of awful middle films along the way. But taken alone the original packs a thematic punch and has the hero to match it in Jennifer Lawrence.
What it says on the tin - my round up of my favorite and least favorite films of 2014.
What it says on the tin - my round up of my favorite and least favorite films of 2014.
Damien Chazelle's major debut is so thunderously exciting you almost forget the dreadful La La Land ever existed. The brilliant JK Simmons trades drumsticks with a nearly as great Miles Teller.
Damien Chazelle's major debut is so thunderously exciting you almost forget the dreadful La La Land ever existed. The brilliant JK Simmons trades drumsticks with a nearly as great Miles Teller.
The occasionally complex and nuanced direction of Clint Eastwood gives way to a more black and white Spielberg pallet in this Bradley Cooper starring biopic.
The occasionally complex and nuanced direction of Clint Eastwood gives way to a more black and white Spielberg pallet in this Bradley Cooper starring biopic.
Peter Jackson's terribly misguided attempt at stretching the tiny Hobbit novel across seven hours trundles unsatisfying to an end.
Peter Jackson's terribly misguided attempt at stretching the tiny Hobbit novel across seven hours trundles unsatisfying to an end.
Alejandro Inarritu's art-house Oscar hoover reboots a terrific Michael Keaton's career.
Alejandro Inarritu's art-house Oscar hoover reboots a terrific Michael Keaton's career.
Brilliant and essential YouTube hosted documentary on the modern epidemic of obesity and its link to sugar.
Brilliant and essential YouTube hosted documentary on the modern epidemic of obesity and its link to sugar.
Terrifically wild and subversive no budget black comedy debut from director E.L.Katz, based literally on the paradigm of what would you do for a thousand bucks.
Terrifically wild and subversive no budget black comedy debut from director E.L.Katz, based literally on the paradigm of what would you do for a thousand bucks.
More interesting and complex than the cartoon Saving Private Ryan but still more trite than profound, an excellent Brad Pitt anchors the sometimes excellent director David Ayer's tank based war film.
More interesting and complex than the cartoon Saving Private Ryan but still more trite than profound, an excellent Brad Pitt anchors the sometimes excellent director David Ayer's tank based war film.
Barely passable but slightly interesting young adult hokum.
Barely passable but slightly interesting young adult hokum.
One of the best (and truest) Sci-Fi films of the century so far. Aussie/German directors The Spierig Brothers open with one of cinemas greatest shaggy dog stories and it gets even better from there. A stunning, awards worthy Sarah Snook stars opposite Ethan Hawke.
One of the best (and truest) Sci-Fi films of the century so far. Aussie/German directors The Spierig Brothers open with one of cinemas greatest shaggy dog stories and it gets even better from there. A stunning, awards worthy Sarah Snook stars opposite Ethan Hawke.
If only Piers Brosnan had brought this much Daniel Craig grit and intensity to Bond. Underappreciated sub-Bourne actioner well worth a once through. Veteran Kiwi Roger Lindsey Donaldson directs.
If only Piers Brosnan had brought this much Daniel Craig grit and intensity to Bond. Underappreciated sub-Bourne actioner well worth a once through. Veteran Kiwi Roger Lindsey Donaldson directs.
Impressive, serious and unusual ecological thriller with strong turns from a well matched Jessie Eisenberg, Dakota Fanning and Peter Sarsgaard, directed by Meek's Cutoff's Kelly Reichardt.
Impressive, serious and unusual ecological thriller with strong turns from a well matched Jessie Eisenberg, Dakota Fanning and Peter Sarsgaard, directed by Meek's Cutoff's Kelly Reichardt.
Draws a bow between the lesser Police Academy and Wayans brothers comedies and just about clears it to being almost amiable.
Draws a bow between the lesser Police Academy and Wayans brothers comedies and just about clears it to being almost amiable.
Coherence is a mind-bending and deeply eerie Sci-Fi chiller. Dinner party madness directed by debutante James Ward Brykit.
Coherence is a mind-bending and deeply eerie Sci-Fi chiller. Dinner party madness directed by debutante James Ward Brykit.
A muddled and minor entry into the Liam Neeson megalopolis of film, directed by Scott Frank and frankly with no one else interesting in it.
A muddled and minor entry into the Liam Neeson megalopolis of film, directed by Scott Frank and frankly with no one else interesting in it.
Review of the last Philip Seymour Hoffman film released before his death (and a top turn for him to go out on). A cold war esq thriller based on the John Le Carre novel, directed by noted U2 botherer Anton Corbijn, co-starring Rachel McAdams, Willem Dafoe and Robin Wright. Probably not quite as good as this review stated in retrospect but definitely worth watching the great man's final bow.
Review of the last Philip Seymour Hoffman film released before his death (and a top turn for him to go out on). A cold war esq thriller based on the John Le Carre novel, directed by noted U2 botherer Anton Corbijn, co-starring Rachel McAdams, Willem Dafoe and Robin Wright. Probably not quite as good as this review stated in retrospect but definitely worth watching the great man's final bow.
