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Reviews
Land (2021)
Serene but slight
Land is a moving if slight drama. The plot beats are predictable and if done right there'd be nothing wrong with the execution however, this just chooses to not do most of those tropes without replacing them with something more meaningful. It results in an efficient film that moves too fast to be boring but won't linger long afterwards.
Robin Wright gives herself the lead performance and is good enough to make that decision work so it doesn't feel vain. She's even better when paired with Demián Bichir, who gets to play a truly kind soul who's harbouring his own pain. His presence really brings the film to life and the strongest part is that bond between him and Wright.
Even with some squandered emotional beats, Robin Wright's direction still crafts a calming film. Aided by picturesque cinematography by Bobby Bukowski and a score by Ben Sollee & Time for Three that quickly finds its place after an overbearing start, it all creates a serene experience that has its moments of sadness whilst still beaming with warmth and hope overall.
The Florida Project (2017)
Heartfelt and real
The Florida Project is an involving slice of everyday Americana. It's consistently heartwarming with its fair share of heartbreaking moments that make it feel more real opposed to schmaltzy. Deliberately opposed to Tangerine in its filmmaking techniques to make for a follow-up that's distinct whilst still feeling like the same creative voice.
The child actors here, especially Brooklynn Prince, are astonishingly good. They have all the necessary innocence, boundless energy and their performances feel so natural. Considering she had no prior acting experience Bria Vinaite is faultless and it's wonderful to see Willem Dafoe playing such a nice person for once, made even better because it's one of his best roles.
Sean Baker's direction and editing accentuates how natural everything feels. The dialogue being drowned out by the loudest off screen noises, the lack of a score and the way some scenes may linger for a little longer than expected all makes it more investing. With vibrant colours and gorgeous cinematography by Alexis Zabe, the film finds so much beauty in everyday life.
Lion (2016)
Emotionally honest
Lion is so great that it doesn't register as Oscar bait. Unlike the worst of the films that are so desperate for awards, this is a genuinely emotionally investing drama where the tearjerker of an ending is absolutely earned. As Saroo travels across India and witnesses the worst of humanity, the film skilfully avoids being exploitative whilst going to dark places.
Sunny Pawar is incredible, giving one of the best performances in the history of child acting. He's forced to be wise beyond his years and does so much without dialogue. In the second half, Dev Patel is equally endearing. Seeing his growing pain as he feels guilty for things out of his control is heartbreaking and makes the conclusion all the more impactful.
Garth Davis directs with care and sensitivity, aided by beautiful cinematography by Greig Fraser. The score by Dustin O'Halloran & Volker Bertelmann is the right kind of sweeping. It can be grand without undercutting the emotional beats and it needed to be this good to make up for the thoroughly misguided Sia song that serenades the credits.
Hit Man (2023)
Ideal showcase for Powell & Ajorna
Hit Man is fittingly duplicitous. For the majority of the runtime this is an easygoing rom com but it gradually reveals a darker side without losing any of the charm of everything that preceded it. It's a really fun look at the many faces and personalities people can employ depending on the situation and if some people even have a true self.
This feels like the final step in Glen Powell's road to becoming a fully fledged movie star. It's the ideal performance to showcase all of his leading man talents thanks to the many performances within the main performance, allowing him to remain thoroughly charming whilst skillfully blurring the lines between Gary and Ron as it goes along.
Adria Ajorna is just as essential to this film working and gets an almost equally layered performance that deserves to make her a star as well. Her chemistry with Powell is electric from their very first encounter and she makes her character empathetic whilst adding a sense of mystery to her character as their relationship develops.
Richard Linklater is on top form here with understated direction that plays to his strengths. He has a way of making his films feel so warm, trundling along nicely in a way that's patient yet engrossing with characters who are a pleasure to spend 2 hours with. Plus it still feels refreshing to see a mainstream film that isn't afraid to get hot and heavy.
Inside Out 2 (2024)
One of Pixar's best sequels
You're never truly done growing up so a sequel to Inside Out 2 makes complete sense but at the same time it initially feels like a cynical idea. So it's a real testament to the team at Pixar that the end result has none of that cynicism with a sequel that's wholeheartedly worthy of the original. It's essentially Inside Out again with an almost equally impactful emotional core.
All the returning emotions remain faultless with Amy Poehler getting another satisfying arc in which she realises how draining being constantly joyful can be. Even though Tony Hale and Liza Lapira aren't seamless replacements for Fear and Disgust they still do a great job of embodying those emotions. All the new emotions are perfectly chosen though, especially Maya Hawke as anxiety.
Kelsey Mann's direction along with the screenplay by returning writer Meg LeFauve and Dave Holstein really brings the imagination once again. It builds on everything the first did so well with so many fun and inventive concepts for all the new things Riley is experiencing with stunning animation that keeps things fresh in surprising ways.
Inside Out (2015)
Pixar's best film
Inside Out is pure Pixar magic. It's the rare film to focus on childhood imagination that actually has the endless imagination to really sell that concept. It's the classic Pixar blend of great comedy, constant invention, and a simple yet profound message at its core, all contained in a stunningly realised world that results in their best film.
All the core emotions are so perfectly cast. They bring everything to their performances and they really do sound like the embodiment of the emotions they're playing. Richard Kind's Bing Bong is somehow even more perfectly cast. His line delivery is faultless with naivety and kindness pouring out of every word which crescendos in an emotional moment that never loses its potency.
Pete Docter's direction along with the screenplay by himself, Josh Cooley, and Meg LeFauve never runs out of ideas. Ideas, emotions, and personality traits are all realised in really smart ways that also lend themselves to a lot of clever jokes. They really trust you to understand some of the subtler points made without needing to say anything or draw attention to them.
The animation is stunning as usual, something Pixar's teams are so consistently good that it's never not mind blowing. It's amazing how they're able to create embodiments of feelings whilst still giving them an ethereal nature plus there's a nice contrast between the vibrant world of Riley's mind and the bleak reality of the outside world.
Michael Giacchino's score is beautiful. He's an immensely talented composer who's done his fair share of iconic scores for other Pixar films and yet he continues to be able to create something distinct for each new entry. From the opening notes of this one, it's instantly calming with a genuine sense of joy and sadness when required.
Monster Hunter (2020)
Power through the first act for beautiful stupidity
Monster Hunter feels like catfishing in cinematic form. Initially promising a beautifully silly and fairly faithful adaptation before quickly piling on a bunch of misguided new ideas. Once it gets past all the boring military stuff though, this becomes a really fun B-movie that's mostly the right kind of stupid. It's easily one of Paul W. S. Anderson's best and most coherent movies.
Just like the film itself, Milla Jovovich's performance gets a lot better when she's able to have fun with it instead of when she's burdened with a blandly stoic military leader. Tony Jaa doesn't need any dialogue to be endearing as he's so good at communicating through movement and when he's paired with Jovovich, it makes for an entertaining double act with a solid buddy dynamic.
Paul W. S. Anderson's direction still massively over-edits the hand to hand fights but as most of the action is staged against giant creatures, it's definitely less choppy than usual thankfully. The cliffhanger ending, which is basically a staple of his work, is frustrating though because it stops just as the film peaks, only to attempt a sequel bait for a follow-up it's never getting.
It's also satisfyingly practical for the majority of the film despite all the CGI monsters, which mostly look good, thanks to all the real locations and props employed. Paul Haslinger's score is amazing as it really leans into the unashamedly cheesy throwback nature of it all. It's main concern is sounding cool and every time it appears it's a major standout.
Sous la Seine (2024)
Saved by the third act
Under Paris is the kind of misguided dumb shark movie that thinks it's a smart shark movie at first. It spends too much time on its admittedly well intentioned premise and goes too long between shark encounters. However, it's saved by the thoroughly serious tone combined with a third act that finally realises its full potential and just goes for broke.
It wants to be one of those rare creature features where you actually care about the characters so it dedicates a lot of screen time to their struggles and past failures and yet they still feel one dimensional overall but it at least understands to give the most annoying character a memorable death. Nassim Lyes manages to make his character likeable on performance alone.
Xavier Gens' direction is helped massively by the 15 rating which allows him to actually show the brutality of the shark attacks, which can create some tension in the really impressive underwater sequences. The fact that there's no in-jokes and everyone takes this completely seriously even as it starts to get into gleefully stupid territory was absolutely the right choice as well.
Kindergarten Cop (1990)
Never nails the tone but always heartwarming
The only real issue with Kindergarten Cop is the tone. It's an action comedy that never finds the balance between its unexpectedly violent action and all the adorable comedy. However, the humour that is here always works and it does wholeheartedly commit to the action beats so even if they don't cohere, it's still a really good Schwarzenegger vehicle.
Arnold Schwarzenegger displays impressive comedic timing. All the greatest moments come from any scene where he's with the children, his frustration and their naivety are a wonderful combination and seeing become really invested in being a teacher is really heartwarming stuff. Plus, his accent actually enhances some of the line delivery.
Ivan Reitman's direction shows surprising competency when it comes to the opening and closing action scenes and his comedic skills remain strong with a collection of jokes that either land or power through on cuteness. Randy Edelman's score is a delightfully twee presence, confirming which of the two conflicting tones is dominant.
The Watchers (2024)
Like father, like daughter
The Watchers proves the apple really doesn't fall far from the tree for Ishana Night Shyamalan. Just like most of her father's output, this is a handsomely mounted picture that struggles when it comes to the dialogue. What starts off as a slow burning thriller obsessed with voyeurism eventually gets wilder and more baffling with every twist and turn.
Dakota Fanning gives a reserved lead performance which comes with standard issue trauma to overcome and she makes it work with a muted presence. Georgina Campbell, Oliver Finnegan, and Olwen Fouéré all do a good job with characters written in very broad strokes. Olwen Fouréré in particular really sells the sense of fear for the first half.
Ishana Night Shyamalan's direction makes up for all the ham-fisted exposition with visual dynamism. Before it goes wild in that second half, there's a strong atmosphere that revels in the fear of the unknown to great effect and even when it goes off the rails later on, the bold swings are still appreciated. Abel Korzeniowski's score keeps it investing thanks to its mysterious nature.
Patriot Games (1992)
Solid 90s thriller despite the stupidity
90s American action thrillers always deliver what's expected of them and Patriot Games has some great action but by using the IRA as the bad guys with a healthy dose of distracting accents, it also has a level of stupidity that's unusually hard to accept. It's still refreshingly small scale though, as all the action and espionage culminates in a personal tale of revenge.
Harrison Ford has always played action heroes who are a little more human so him taking on the role of Jack Ryan feels as natural as possible. It's cool to see him share several scenes with Samuel L. Jackson, especially since this is before he became truly famous and even with a distracting accent, Sean Bean remains a solid villain.
Philip Noyce's direction lays on the English and Irish stereotypes thick and fast, making up for it when it comes to the action sequences which all have the required tension and danger. James Horner's is completely serious and makes the personal stakes feel as important as possible, even if also can't help indulging in some stereotypes.
12 Strong (2018)
Really good tribute to heroism
12 Strong proves they kinda still make them like they used to. It's certainly got the required patriotism and is probably a lot less problematic than many of its counterparts but it lacks the same level of technical bombast that the best of these never failed to deliver. Still, it's a well made tribute to heroism that remains investing right up to the end.
Chris Hemsworth leads in stoic fashion. Proof he can be a dramatic lead with ease and along with the rest of his team there's a believable camaraderie between them all. As good as everyone else is, this is Navid Negahban's film. He's the most memorable by far and his greatest strength is how he's able to humanise his character/real life figure.
Nicolai Fuglsig is clearly trying to direct with more than just technical competence. There's some impressively composed shots and the action has a level of intensity to it, he just can't compete with the greats in a way that's more noticeable than in other genres. Lorne Balfe's score on the other hand can easily match that same level of patriotic heroism and bombast.
Bad Boys: Ride or Die (2024)
Still going strong
Bad Boys For Life flirted with Fast & Furious territory but Bad Boys: Ride or Die fully commits to it. It's full of deep cut references, drastic revisions to the franchise history and even completely redeems the previous films villain. It all works because the film also doubles down on what made its predecessor a huge surprise whilst avoiding a bloated run time.
Will Smith and Martin Lawrence remain flawless together. Their opening scene makes it feel like it's been mere moments since last time as opposed to the 4 years it has been and none of the off screen events seep into this. Swapping their dynamics was a great idea cause Lawrence being the daredevil and Smith being more fearful ensures it stays fresh.
Paola Nuñez, Vanessa Hudgens, and Alexander Ludwig all return and prove why they deserve to stay plus Joe Pantoliano doesn't let his character's death stop him from bringing some welcome heart and humour. The villains are kinda naff though, especially with a surprise bad guy so obvious they shouldn't even have attempted to keep it a secret.
Adil El Arbi and Billal Fallah have only gotten more confident with their direction. The inventive staging from last time has gotten more ambitious with drone shots that would make Michael Bay proud and a first person shooter style shootout which single-handedly gets it another point. Their direction here is further proof that cancelling Batgirl was a huge mistake.
Napoleon Dynamite (2004)
Delightfully awkward
Napoleon Dynamite has a very specific wavelength and for those attuned to it, the experience is glorious. The actual plot doesn't kick in until well over halfway through and that aimlessness is a feature, not a bug. Its best jokes are all front loaded but it's got the heart and right amount of weirdness to easily sustain itself for the rest of the run time.
All of the cast nail the delivery and timing this is going for with dialogue that's designed to feel awkward and has deliberately long pauses between lines. Jon Heder is perfect as Napoleon because he delivers almost every single line with a sense of exhausted frustration. Diedrich Bader is such a hilarious scene stealer the only downside is that he doesn't get more screen time.
Jared Hess' direction has an inventive way to stage the opening credits whilst finding tightly composed frames in the empty landscapes of rural America and Jeremy Coon's editing has a real snappy nature to it which nicely counterbalances the intentional aimlessness. It also boasts one of the longest and most worthwhile end credits scenes that adds a lot without undermining the previous ending.
Babe: Pig in the City (1998)
George Miller through and through
The wildest thing about Babe: Pig in the City isn't that it's directed by George Miller, it's that it's recognisably a George Miller film. The narration, chaptered structure and overall insanity are thoroughly his plus there's a lot here that either comes from his Mad Max Saga or would end up in it afterwards. This may look family friendly but it goes to some dark places.
Elizabeth Daily nails the endless optimism of Babe, a character who always does the right thing no matter what and her voice acting matches that straight away. Everyone else does a good job of voicing their on screen animals opposed to any signs of stunt casting, making it one of the least uncanny versions of this mostly bygone trend.
George Miller's direction powers through any and all flaws on sheer weirdness alone. The world building is really fascinating as the titular city is a real smorgasbord of recognisable landmarks and iconography from across the globe which keeps the whole thing interesting, even when some set pieces start to overstay their welcome.
Blue Bayou (2021)
So much emotion
Blue Bayou is undoubtedly an emotional experience that succeeds even though it occasionally tries too hard to earn those moments. It's a weird complaint to say that a film can have too much emotion but some scenes early on don't earn what they're going for. Other than that though, this is a rightfully angry film with an emotional earnesty and honesty that hurts.
Justin Chon is instantly likeable in the lead role, his first scenes with Sydney Kowalske are endlessly heartwarming. Whilst he does try to keep things light, the pain of his past and uncertain future always creep in to give him heavier moments, making him a fully rounded character. Alicia Vikander spends a lot of the film stressed or in pain, which makes her rendition of Blue Bayou a beautiful and calming moment.
Justin Chon's direction is amazing, which completely makes up for any clunky scriptwriting. Shooting on film gives everything a gorgeous grain and interspersed between all the usual indie filmmaking techniques are some striking dream sequences filled with stunning shots. Its direction that's designed to be noticed, balancing its urgency with serenity.
Sting (2024)
Good enough for one viewing
Sting really didn't need to be an alien spider, it shouldn't have explained so much and despite the tight run time, it's got some serious pacing issues. It takes way too much time to get to the good stuff and then ends abruptly but a strong cast, some creepy kills and a well intentioned love of Aliens all help to make it an entertaining one-time watch.
Alyla Browne and Ryan Corr are the heart of the film whilst Jermaine Fowler is a sparingly used comic relief. They care for each other affectionately whilst struggling to properly communicate at points. The arc they go on holds few surprises which isn't a problem since it gives the film some stakes by endearing you to them and helps keep you invested in their survival.
Kiah Roache-Turner's direction gives the film a campy tone which helps as often as it hinders. Starting it near the end creates a solid hook and the scares are at their strongest when they're just really gross. Brad Shield's cinematography glides through the impressive sets which gives the film an energy that almost makes up for how slow it is.
Paul (2011)
Great reunion of Pegg & Frost
By reuniting Simon Pegg & Nick Frost, Paul instantly draws comparisons to their other collaborations that it's obvious nowhere near as good as. However, this is a fun road trip movie with a sci-fi spin that's filled with charming references to most of the core pillars of nerd culture. It just doesn't quite nail the tonal swap from second to third act.
Pegg & Frost are wonderful together. Their friendship feels so genuine because it is and they're both gifted comedic performers who get ample time to shine. Jason Bateman playing a convincing bad guy is an impressive sight to witness and Seth Rogen really is just voice acting in the literal sense but he's funny enough to make that a positive thing rather than a hindrance.
Greg Mottola's direction keeps things moving along nicely. As a road movie, there's plenty of pit stops along the way with memorable moments and none of them drag the film out. Even though it doesn't make the tonal shift feel seamless, the commitment to the change definitely helps with shootouts, car chases and exploding houses certainly selling the newfound seriousness.
Meet the Parents (2000)
A masterclass in awkward comedy
Meet the Parents is a comedy that revels in awkwardness. It may not have a significant number of belly laughs but it more than makes up for that with some great lines and several sequences so horrifying in their embarrassment that you're left speechless. It's not a mean spirited film though, as there's a warmth that shines through by the end.
Ben Stiller is obviously the way into this slightly weird family and the comedy he mines from being a fish out of water is really solid. He's not as typecast as some of his co-stars here often can be however, he definitely has a specific set of skills that overlap with his other work in unobtrusive ways. The main thing is he's dialling it down to the exact level of Stiller this film needs from him.
Robert De Niro is so funny. It's a prime example of a serious actor being a natural at comedy by treating all the ridiculous dialogue with the same level of commitment as he would for anything else, and the results are glorious. It's also nice to see him play someone who is just a really nice guy, a caring father and someone who's greatest issue is that they're just overprotective.
Jay Roach's direction is really good at escalating the biggest slapstick set pieces. They build and build to their most shocking moment and then know exactly when to end so they don't overstay their welcome. Randy Newman's score weaves in and out of the film, knowing when it's needed and when it's not, ensuring the wholesome centre is never lost in all the chaos.
American Underdog (2021)
Satisfyingly formulaic sports movie
American Underdog is pure formula and further proof that sometimes doing all the greatest hits with genuine earnesty is enough to be a really good sports movie. Just like Rocky, the film commits just as much screen time to the romance as it does to all the drama of the sport which allows it to have a broader appeal beyond those who already know the story.
Zachary Levi gets a welcome opportunity to show that he's more than capable of handling a more dramatic role. His endlessly optimistic nature naturally fits into an underdog story about a person who never gave up. Anna Paquin is just as good, getting ample screen time as her goals and struggles are just as integral to this film as everything involving Levi.
Andrew & Jon Erwin prove themselves to be reliable directors for hire. Their greatest strength being how they can assemble a formulaic sports movie with all the highs and lows balanced and paced in an effective fashion. John Debney's score rejects any subtlety in favour of being as sweeping as possible, playing every major plot beat as if the whole world is at stake.
Hancock (2008)
Highly entertaining despite the tonal shift
Hancock certainly has one of the most drastic tonal shifts of recent memory. What starts off as a really fun superhero comedy turns into an unexpectedly self serious melodrama. Both halves are entertaining even though they don't mesh and that first half in particular has only gotten better since comic book movies really had their moment.
It's interesting to see something that is first and foremost a comedy, take the conventions of the genre more seriously than the more straight faced films that succeeded it. Few comic book movies openly acknowledge the responsibility that comes with godlike power like this does and it still finds the time to shove a man's head up another's ass.
Will Smith's general disinterest works so well for Hancock's carefree attitude. His boundless charisma shines through with every insult and it's kinda refreshing to see all that energy dialled back whilst losing none of his personality. If anyone comes close to making that massive tonal shift work, it's definitely Charlize Theron who wholeheartedly commits to both sides of it.
Peter Berg's direction moves too fast which works in its favour when it comes to preventing the more serious second half from draining all the fun out of it and the action uses the superpowers for pretty inventive ideas. John Powell's score makes it obvious what films were used as reference points by sounding very similar to their scores without actually stealing from them.
The Lincoln Lawyer (2011)
Highly satisfying legal thriller
Like its titular character, The Lincoln Lawyer takes a big gamble by having three separate endings which risks it overstaying its welcome but the gamble pays off in the end. This is a great legal thriller that's been tailor made to be as satisfying as possible with clear morals, good guys who are super likeable and bad guys designed to be hated.
Even though this has a big supporting cast who are all great, it is the Matthew McConaughey show. His natural charisma and soothing southern drawl ensure you're on his side straight away despite his initially shady nature. When it comes to the courtroom scenes, he controls the room with ease and is totally believable as someone who's got it all planned out.
Brad Furman's direction is at its strongest when doing impressive things without drawing attention to itself. The takes that go on for a little longer than expected or cover an impressive amount of distance in one continuous movement are the best however, the documentary style zooms are a distracting choice that thankfully don't cause too much damage since there's not too many of them overall.
La bête (2023)
Art house Cloud Atlas
The Beast is a timely story that depicts a tragic future where humanity has been stripped from mankind, to show just how important that humanity is. Moving between three different timelines at a slow but engaging pace whilst really emphasising how history can often rhyme with its interconnecting events, dialogue and motifs.
This is a phenomenal showcase for Léa Seydoux and George MacKay. Both of them get to play three different characters who are distinct whilst still feeling linked to their previous iterations. MacKay continues to take challenging roles purely because of that middle chapter and Seydoux single-handedly anchors every timeline with her undying humanity.
Bertrand Bonello's direction moves between genres with ease, undoubtedly helped by the longer run time as it allows each period to have plenty of screen time. It moves from a yearning period drama into a tense home invasion thriller and culminates in a sci-fi romance and throughout it all, Anna & Bertrand Bonello's score is there with a suitably ethereal nature.
Punch-Drunk Love (2002)
Stressful romance
Punch-Drunk Love is a beautiful movie with gorgeous imagery and big speeches about the power of love that also happens to be a really stressful movie as well. As a film about a businessman juggling multiple problems whilst owing money to some shady people starring Adam Sandler, it truly feels like a precursor to Uncut Gems, just with a healthy dose of hope.
Adam Sandler is phenomenal, it's the rare showcase of his dramatic capabilities that still has time for his comedic talents. He moves through happiness, stress and full on rage with grace, making him flawed but sympathetic. Emily Watson's chemistry with Sandler completes the core relationship and really sells the instant connection just as much as he does.
Paul Thomas Anderson's direction is masterful with striking silhouettes and tightly composed frames punctuating the film from the very first scene. Jon Brion's score is the perfect accompaniment to what's on screen. It can be just as stressful and high energy when necessary whilst still being able to gracefully switch gears into old school Hollywood flourishes when the moment arises.
Rango (2011)
A proper Western
Rango is wild. It's not an animated family friendly riff on the Western, it is a Western. All the classic tropes are accounted for in a story of capitalism at its most cruel with duels at high noon and big speeches about how the outlaw is a dying breed as modernity encroaches. It just also happens to be a really funny and wildly inventive animated movie.
Johnny Depp is a natural at voice acting. There's so much life to his performance and from moment one it's clear that Rango won't be a Jack Sparrow imitation or him just using his regular voice. It's a performance within a performance as he has to fake a level of confidence he really doesn't have to survive in such an unforgiving landscape.
Gore Verbinksi proves he's one of those rare directors who can swap between live action and animation without losing any of his recognisable sensibilities. The set pieces are epic and genuinely thrilling plus the film has the same boundary pushing nature (for a PG) as his work on the Pirates of the Caribbean franchise, especially with the gnarly character designs.