So after watching La La Land I had 40 minutes to chill until my next film; T2: Trainspotting, the eagerly awaited (by some) sequel to the Danny Boyle classic Trainspotting. Narrowly avoiding the crowd of middle aged women storming into Fifty Shades of Grey, I took my seat (slightly inhibited might I add) to watch a sequel I never knew I wanted, but was glad is here now.
Let me just start by saying its not as good as the first film. Obviously. I also don't think its as good as the other Irvine Welsh adaptation 'Filth', starring James McAvoy in the lead role. So calling this the 'third best film' in my so-called 'Welsh Trilogy' seems a bit harsh because it's an enjoyable film - just not as good as the two films that preceded it.
The story was a little bit weak, concentrating a little too much on nostalgia rather than plot, yet if you're a big enough fan of the first one I'm sure you wouldn't mind. This film is definitely a sequel rather than an individual film. Sometimes you have sequels you can watch without seeing the first one, this is not one of those films.
The acting is good all round, sometimes the accents can be a nuisance to understand but I'm not sure if that's because of the director, the editor, the actors or me being slightly pissed. However can't get away from some really nice moments, especially between Frank and his family.
The film wasn't bad. I'm not sure it was good either, but it wasn't what I would call a memorable experience. Although I saw this film yesterday, I can easily remember more moments from teh first film (I watched many months ago) than this one. If you liked the first one, go see it, although it might be best avoided if you haven't seen the original.
My Score: 7/10
Saturday, 11 February 2017
My Oscar Predictions
It's that time of year again - OSCAR SEASON.
Here are my predictions for the 89th Academy Awards:
Here are my predictions for the 89th Academy Awards:
My Oscar Predictions:
Best Picture: La La Land
Best Actor in a Leading Role: Casey Affleck (Manchester by the Sea)
Best Actress in a Leading Role: Natalie Portman (Jackie)
Best Actor in a Supporting Role: Mahershala Ali (Moonlight)
Best Actress in a Supporting Role: Viola Davis (Fences)
Best Animated Feature Film: Zootopia
Best Cinematography: Linus Sandgren (La La Land)
Best Costume Design: Madeline Fontaine (Jackie)
Best Director: Damien Chazelle (La La Land)
Best Film Editing: John Gilbert (Hacksaw Ridge)
Best Foreign Language Film: Toni Erdmann
Best Makeup and Hairstyling: Star Trek Beyond
Best Music (Original Score): Justin Hurwitz (La La Land)
Best Music (Original Song): Justin Hurwitz (La La Land)
Best Production Design: David Wasco (La La Land)
Best Short film (Animated): Borrowed Time
Best Sound Editing: Ai-Ling Lee (La La Land) OR Robert Mackenzie (Hacksaw Ridge)
Best Sound Mixing: Andy Nelson (La La Land) OR Kevin O’Connel (Hacksaw Ridge)
Best Visual Effects: Robert Legato (The Jungle Book)
Best Writing (Adapted Screenplay): Barry Jenkins (Moonlight)
Best Writing (Original Screenplay): Kenneth Lonergan (Manchester by the Sea)
Some of the categories I cannot decide between because I feel this year the quality of films are so high that I find it nearly impossible. Despite not knowing how it will go on Sunday, I can only hope that I am not too drastically wrong and look like a bit of a prat.
We shall see
La La Land (2016) (Review)
So on the 10th February I went to see a double bill of La La Land followed by T2: Trainspotting, and I sat down for the long haul, eagerly anticipating the movies that lay in front of me. First up, was La La Land.
La La Land is an exceptional film. On every technical level it exceeds (although sometimes the sound mixing is poor with the actors voices slightly too quiet), and the acting and writing too exceeded my expectations and created one of the most entertaining, gripping and emotional experiences I have EVER had in a cinema.
Before the film even started my foot was tapping, my whole body buzzing for the film ahead; not since The Force Awakens (or perhaps Civil War) have I been this physically excited for a film to begin. The opening? It did NOT disappoint. From the first musical number - I was hook, line and sinker for this film.
As the film progresses Damien Chazelle's writing really comes to the foreground. Although the music was still exceptional, I found myself much more intrigued by the story and characters - without the music - than I thought I would be. I found myself drawn so far into their magnetizing relationship which drew me to the edge of my seat, the edge of happiness. I didn't want to fall in. But I did.
The last ten minutes destroyed me. I fell over the edge and into the dark depths of broken love. I could barely hold off the tears as we witness, from Seb's perspective what could of been, something so common for us as a society to do. We always look to what could of been, sometimes never truly living in the moment of what we have. That final look between Seb and Mia ruined me. If the film wasn't going to get a glistening review before those final ten minutes, it would be now.
La La Land was one of the greatest experiences I can remember in recent memory of having in a cinema. It was exciting, bold and, throughout, exceptionally beautiful. This is how cinema should be.
My Score: 9/10
La La Land is an exceptional film. On every technical level it exceeds (although sometimes the sound mixing is poor with the actors voices slightly too quiet), and the acting and writing too exceeded my expectations and created one of the most entertaining, gripping and emotional experiences I have EVER had in a cinema.
Before the film even started my foot was tapping, my whole body buzzing for the film ahead; not since The Force Awakens (or perhaps Civil War) have I been this physically excited for a film to begin. The opening? It did NOT disappoint. From the first musical number - I was hook, line and sinker for this film.
As the film progresses Damien Chazelle's writing really comes to the foreground. Although the music was still exceptional, I found myself much more intrigued by the story and characters - without the music - than I thought I would be. I found myself drawn so far into their magnetizing relationship which drew me to the edge of my seat, the edge of happiness. I didn't want to fall in. But I did.
The last ten minutes destroyed me. I fell over the edge and into the dark depths of broken love. I could barely hold off the tears as we witness, from Seb's perspective what could of been, something so common for us as a society to do. We always look to what could of been, sometimes never truly living in the moment of what we have. That final look between Seb and Mia ruined me. If the film wasn't going to get a glistening review before those final ten minutes, it would be now.
La La Land was one of the greatest experiences I can remember in recent memory of having in a cinema. It was exciting, bold and, throughout, exceptionally beautiful. This is how cinema should be.
My Score: 9/10
Thursday, 9 February 2017
Returning to post!
You may not care, hell, who does? But I am returning to this blog to post film reviews through 2017. Whoop? I guess.
I'm hoping to post here pretty regular my thoughts on new films, classic films, bad films and just film in general. So stay tuned! Or don't. Its ok.
- James
I'm hoping to post here pretty regular my thoughts on new films, classic films, bad films and just film in general. So stay tuned! Or don't. Its ok.
- James
Sunday, 10 April 2016
The Witch (2016) (Mini Review)
A tense, terrifically shot, terrifically executed horror masterclass from first time director, Robert Eggers. The film is a burning, intense flame which over the course of an hour and a half, doesn't scare you with cheap jumpscares, but instead haunts you with intense religious imagery and horrific acts of violence and gore.
The acting is incredible for such a young cast (bare the two main adults). Anya Taylor-Joy steals the show, and despite not the strongest of starts by Harvey Scrimshaw, his final harrowing scenes creating daunting imagery and acting that you'd expect from a seasoned aged professional.
The film looks and sounds stunning, the score and editing helping provide the slow burn of tension this film as aiming for. From the opening credits you know how this film will work, the slow tension obvious, as the music and long edits grip you tightly and for an hour and a half don't let you go.
To call The Witch this years The Babadook is unfair, it is a genius horror in its own right. It is an intense, beautifully shot film that will leave you in your seat after the film genuinely spooked to the core.
My score: 8/10
The acting is incredible for such a young cast (bare the two main adults). Anya Taylor-Joy steals the show, and despite not the strongest of starts by Harvey Scrimshaw, his final harrowing scenes creating daunting imagery and acting that you'd expect from a seasoned aged professional.
The film looks and sounds stunning, the score and editing helping provide the slow burn of tension this film as aiming for. From the opening credits you know how this film will work, the slow tension obvious, as the music and long edits grip you tightly and for an hour and a half don't let you go.
To call The Witch this years The Babadook is unfair, it is a genius horror in its own right. It is an intense, beautifully shot film that will leave you in your seat after the film genuinely spooked to the core.
My score: 8/10
Saturday, 26 March 2016
Batman vs Superman: Dawn of Justice (2016) (Review)
I am one of the rare people that actually liked Man of Steel. Like actually ENJOYED Man of Steel. We are a rare group of people, but nay, we do exist. So when I heard Batman was showing up in the sequel I was like; "Yay, so now we can get a kick ass comic Batman AND let Synder make up for his mistakes in MOS - what could go wrong!". The answer to what could go wrong? Well evidently a lot, as is shown in this cluster-fuck, which is Batman vs Superman: Dawn of Justice.
What does Zack Synder and me have in common? Both our asses hurt. Mine hurt because I had to painstaking sit through two and a half hours of bullshit, and his ass hurt cause he basically shitted for two hours on screen to make a movie. Maybe I'm being a bit harsh, but its 1am and I am tired as f*ck.
The movie has positives.
Batman.
The movie has negatives.
More or less everything else.
Batman was well crafted, enjoyable and basically kicked ass. Lex Luthor wasn't ASSSSSS bad as I thought he could of been, but thats not from Synder's lack of trying. The dialogue was poorly written, but Eisenberg's delivery, believe it or not, kept it from appearing too much to a grade schooler's level. Perry White was great as was Alfred, and I felt the so called 'smaller' characters did more for the film than Superman or Wonder Woman did.
However, even though there was negatives they are sadly outweighed by the negatives. The pacing is god-awful. The fight scenes are god-awful. The writing is god-awful. Lois Lane and Superman made me want to cry as I found myself praying to god we don't get another scene between them - and then low and behold Zacky boy shoved another one in.
Did it build a good world for future films to build on? Nope. Was it a good film? Nope. Was it at least enjoyable? (Minus ONE scene where Batman kicks serious ASS) Nope. Will I watch it again? Hell no, I physically couldn't take it.
Never have I wanted a film to be good and never as a film let me down so much. I have huge hope for a Batman stand alone film as the Batman element was good, but its a shame it was wrapped in over used CGI garbage, which ruined the film for me.
My score: 5.5/10
What does Zack Synder and me have in common? Both our asses hurt. Mine hurt because I had to painstaking sit through two and a half hours of bullshit, and his ass hurt cause he basically shitted for two hours on screen to make a movie. Maybe I'm being a bit harsh, but its 1am and I am tired as f*ck.
The movie has positives.
Batman.
The movie has negatives.
More or less everything else.
Batman was well crafted, enjoyable and basically kicked ass. Lex Luthor wasn't ASSSSSS bad as I thought he could of been, but thats not from Synder's lack of trying. The dialogue was poorly written, but Eisenberg's delivery, believe it or not, kept it from appearing too much to a grade schooler's level. Perry White was great as was Alfred, and I felt the so called 'smaller' characters did more for the film than Superman or Wonder Woman did.
However, even though there was negatives they are sadly outweighed by the negatives. The pacing is god-awful. The fight scenes are god-awful. The writing is god-awful. Lois Lane and Superman made me want to cry as I found myself praying to god we don't get another scene between them - and then low and behold Zacky boy shoved another one in.
Did it build a good world for future films to build on? Nope. Was it a good film? Nope. Was it at least enjoyable? (Minus ONE scene where Batman kicks serious ASS) Nope. Will I watch it again? Hell no, I physically couldn't take it.
Never have I wanted a film to be good and never as a film let me down so much. I have huge hope for a Batman stand alone film as the Batman element was good, but its a shame it was wrapped in over used CGI garbage, which ruined the film for me.
My score: 5.5/10
Saturday, 5 March 2016
Slow West (2015) (Mini-Review)
First time director John Maclean brings a fresh, interesting take on the western genre giving us an intriguing black comedy western which despite its slow burn (pun intended), delivers an exciting enjoyable journey that shows good things to come from Maclean in the future.
Set across the American frontier, 16 year-old Jay Cavendish (Kodi Smit-McPhee) journeys to find his sweetheart from Scotland and is joined by Silas (Michael Fassbender), a mysterious traveller, as they negotiate the rough American west. The film is a beautifully shot western epic, with a really small and personal story where the emphasis is on character development and emotion, rather than grand spectacle. It is a beautifully shot art house film, that when compared to commercial Hollywood film, makes you wish more filmmakers would employ Maclean's techniques as you feel fully immersed in this world, and truly emotionally connect with Cavendish's struggles and tribulations.
Without giving much away, the climax of the film is a wonderful pay off, with Maclean's direction really coming to the forefront with some truly exceptional cinematic payoffs which brings the film full circle and excellently wraps up an emotional film that may not be open to multiple viewings, but defiantly a film to remember.
A brilliantly shot and directed film, Maclean brings his fresh take on the western genre, and I personally cannot wait to see his next directorial effort, because if its anything like Slow West, then I'm sure to watch and enjoy it.
My Score: 7.5/10
Set across the American frontier, 16 year-old Jay Cavendish (Kodi Smit-McPhee) journeys to find his sweetheart from Scotland and is joined by Silas (Michael Fassbender), a mysterious traveller, as they negotiate the rough American west. The film is a beautifully shot western epic, with a really small and personal story where the emphasis is on character development and emotion, rather than grand spectacle. It is a beautifully shot art house film, that when compared to commercial Hollywood film, makes you wish more filmmakers would employ Maclean's techniques as you feel fully immersed in this world, and truly emotionally connect with Cavendish's struggles and tribulations.
Without giving much away, the climax of the film is a wonderful pay off, with Maclean's direction really coming to the forefront with some truly exceptional cinematic payoffs which brings the film full circle and excellently wraps up an emotional film that may not be open to multiple viewings, but defiantly a film to remember.
A brilliantly shot and directed film, Maclean brings his fresh take on the western genre, and I personally cannot wait to see his next directorial effort, because if its anything like Slow West, then I'm sure to watch and enjoy it.
My Score: 7.5/10
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