It seemed like a stretch of credulity that 20 years later Independence Day: Resurgence could live up to the success of its original. There's been so many imitators and huge evolutions in SFX technology since their brand of alien made a flambé of our planet's cities, that nostalgia was not going to suffice. But Emmerich could have at least tried. I've never seen such a lazy, half-assed brazen cash-cow of a sequel in a long time. The script literally made no sense, even for Sci-fi, but no one seems to care. The cast of pretty accomplished actors couldn't give too hoots about convincing performances (perhaps more concerned with how to spend their pay checks). This is all about the money, for the movie makers, for the marketers, for the studio. No care is given to the moviegoer. Hollywood as its most audaciously awful.
Reviews
39 Reviews
45 Years
(2015)
Powerful performances pack a punch
16 August 2020
45 Years is a masterclass in character study, communicating volumes with a moment of stillness. The plot is sleight, a slice of uncomfortable history resurfaces to disturb the apparent equilibrium as a couple approach their wedding anniversary. The emotional power of Rampling and Courteney's delicately understated performances is captivating. Each scene is gripping; each look carries a weight of historic subtext, of chances missed, of betrayal. Within a flicker this is all suppressed again into everyday pleasantries as only the British can do. Despite a short run time I've never been so impacted or moved by a film which such a sedate pace. It's through its naturalism in performance and pace, that 45 Years gets its devastating power.
Rogue One: A Star Wars Story
(2016)
No fanboy footnote, but a bold blockbuster in its own right.
16 August 2020
With Rogue One Edwards has achieved a masterful balancing act; he's stayed faithful enough to the ethos of the original Star Wars universe to appease the fans, whilst bringing a unique, darker, sinister and more adult edge to his film which appeals to a newer audiences. Quite a big ask, but he's more or less succeeded. The action is great, SFX outstanding, the plot easy enough to follow for the non-initiated without being inconsequential and there's some great comic relief from a new sarcastic robot side-kick. Sounds a similar formula. However the menace of the empire seems less comic book here. The stakes more real. The consequences more serious. Perhaps it's deliberately more allegorical considering the times we now live in. Or maybe it's simply a braver film than George Lucas would have made. Whilst it is a fine addition to the Star Wars canon, Rogue One isn't merely the fanboy footnote it could have been, but a bold blockbuster standing on its own merits.
Starter for 10
(2006)
Pleasant undemanding Brit-flick comedy
16 August 2020
Starter For 10 is a pleasant addition to the typical gentle Brit-com genre; perfect for a rainy Sunday afternoon. Nothing too demanding is expected of the viewer, but the plot trots along effortlessly. There are moments of humour, a few English cringe moments that'll send most of us reminiscing back to our uni follies, and of course a sentimental ending. Nostalgia abounds for anyone who remembers Britain in the 80s, University Challenge or Nicholls' original novel - the essence of which has been successfully captured on screen. There's added pleasure in watching a multitude of early career performances from now household names - all of which are perfectly cast - from James McAvoy, Rebecca Hall, Benedict Cumberbatch and James Cordon.
The Terminal
(2004)
Too sugary sweet for my tastes.
16 August 2020
A surprisingly light weight affair for Spielberg; light in both tone and content. What starts as an interesting concept quickly loses traction as characters lapse into pantomime stereotype and the plot unravels from sweet to implausible to utterly ridiculous. The movie is largely saved by Hanks' Everyman charm and if there is a standout in The Terminal it's a showcase for Hanks superb comic timing and physical comedy. It's perfectly watchable but given the talent involved a strangely saccharine misfire.
Wonder Woman
(2017)
A DC breakthrough in enjoyable superhero films balancing action, humour and a solid story
16 August 2020
Wonder Woman doesn't quite breathe new life into the superhero genre but it certainly resurrects the almost extinct DC movie franchise. As another origins film it can't help but fall into familiar patterns of exposition, character development, fish out of water comedy and paper thin villains. However Gadot's charisma and genuineness shine through in an innocence that is captivating and unique. The motivation behind her Diana Prince is well thought out, believable, honorable and against the inspired background of WWI politically charged. Granted there's still some ropey CGI (which on these budgets is just lazy) and the running time is about 20 mins too long. But with a nye-on perfect cast (Pine is superb as an experienced foil for Gadot without trying to steal her limelight) and some great comedic moments (take note Zack Snyder) you have a formulaic blockbuster but one that more or less uses the positive ingredients of its predecessors and bins the bad ones.
Elysium
(I) (2013)
Good intentions don't work out in predictable action flick
16 August 2020
Despite it's original and thought provoking premise, Blomkamp can't make lightening strike twice with Elysium. It's a fragmented film, laudably trying to blend social commentary with action and Sci-Fi. Yet even Hollywood's finest talent can't distract us from a hollow script populated by wafer thin characters desperately in need of more development. Matt Damon's natural charm lifts Max marginally off the page. Foster however sleep walks through her cardboard cut out villain, bringing nothing to the role except an excruciating off-colour British accent showcased by possibly the worst sound dubbing ever committed to celluloid. The effects are good, action engrossing enough, but after the first 30 minutes it's all a little disappointing.
The Magnificent Seven
(2016)
Attempted Western revival delivers action over substance
16 August 2020
A valiant attempt at reviving the Western, that is well produced easy to watch cinema. The pace rattled along and the required gunslinging action was suitably tense, exciting and at times shocking (the film's opening sequence unequivocally setting a credible not comic tone). For me what Magnificent 7 lacked was much to make it magnificent. Character backstory was light with fairly thin context to motivate our heroes and drive the plot. I suspect this is simply a symptom of the genre, but in 2017 the average filmgoer expects a bit more than enigmatic saviours who both metaphorically and literally ride off into the sunset. Fuqua does balance some of the script's inadequacies with a superb cast with Washington and Pratt in particular naturally deepening their roles with their trademark gravitas and charisma. Enjoyable but I won't be jumping back in the saddle for another Western anytime soon.
Deepwater Horizon
(2016)
Watchable but unexceptional disaster movie
16 August 2020
A paint by numbers disaster film, saved by an A list cast and captivating effects. Berg does manage to inject a fair amount of pace and tension into a very light weight script to make a watchable, undemanding popcorn flick.
Their Finest
(2016)
Twee but charming
16 August 2020
Their Finest is as twee and quaint as British cinema gets, yet a distinguished and committed cast somehow manage to elevate an otherwise cliched and trite script to become a pleasant watch. Nighy is a particular delight, clearly sending himself and fellow luvvies up a treat and Arterton manages to permeate a heavily laid on Welsh accent to produce a convincing and warm performance. It's all highly far fetched and tonally unsubstantial, but Their Finest just about retains enough charm to keep you onside.
Moonlight
(I) (2016)
A brave tale told in a bold and unique manner.
16 August 2020
Moonlight is a tender exploration of sexuality and self-acceptance. A parable of life in underprivileged ghettos of society, told with the upmost delicacy and respect. Whilst Moonlight focuses on the American working class black community, it's moral theme of cyclical self-depreciation and desperation could be retold in any home devoid of love or community lacking hope. Given the subject matter Moonlight could have been an arduously grim experience. However Jenkins crafts Moonlight masterfully, punctuating the bleak storyline with sumptuous cinematography and a juxtaposing classical score. Told through three snapshots of Chiron's coming of age, a uniformly superb cast keep us engaged. Part of the viewers frustration at Chiron is that he misses the glimmers of hope - such as the tender hearted acceptance of Juan and Teresa. Whilst it's far from the stereotypical Oscar winner chock full of barn-storming dramatics and elongated "nomination bait" speeches, Moonlight's subtlety sticks with you. A brave tale told in a bold and unique manner.
Hidden Figures
(2016)
Engaging and emotionally uplifting biopic.
16 August 2020
Hidden Figures tells an important and largely unheard chapter in modern scientific achievement and social history. Melfi's aim is clearly to tell this story to the masses, keeping Hidden Figures unashamedly mainstream. The trio of central performances are well balanced delivering humour and pathos. The plot flows from A to B with ease, character arcs are far from complex and the result is a pleasant, undemanding watch. But this is not intended as a criticism. After all you don't need to torture the audience to produce a memorable cinematic experience. What is delivered is a thoroughly engaging, emotionally powerful and satisfyingly uplifting movie.
Blade Runner 2049
(2017)
Beautiful looking, ponderous sci-fi that never goes anywhere
16 August 2020
There were many elements of a masterpiece. Powerful but simple concept. A functional, comprehensible storyline - which did leave room for some unexpected turns. Striking and suitably foreboding production design artistically materialising Blade Runner's famous dystopian future on a blockbuster budget. Gosling is perfect as the modern day Ford, chiselled and enigmatic. Once he appears, Ford injects his trademark sardonic wit. But and it's a big BUT, the pace is morose in the extreme. Earnest scene after earnest scene eek out proceedings at an interminable speed. Several times I thought the film was finally going to ramp up, but any burst of energy evaporates as suddenly as it arrives for more ponderous bleak vistas and dramatic pauses galore. Villeneuve is a fan of contemplative science fiction, but whereas Arrival drew all the slowly woven threads together to a fulfilling climax, Blade Runner limps to an unsatisfying end. Some restraint and at least 30 minutes chopped in the editing suite could have produced a classic. For me what we had was a classic case of directorial self-indulgence.
The Nice Guys
(2016)
A recipe that shouldn't work but is an unexpected delight!
16 August 2020
A buddy comedy about morally dubious private detectives. Both thoroughly uncool losers. With slapstick physically comedy and an outlandish plot that stretches credulity. Set in the 70s. Revolving around porn and automobile corruption. Starring Ryan Gosling. And Russell Crowe. It was a brave studio exec that green-lit this project. But one who spied a touch of genius. There's nothing in this recipe that should work, yet somehow Shane Black has blended up a black comedy that feels simultaneously from a bygone movie era and completely refreshing. Gosling and Crowe both reveal superb comic skills that no one foresaw and spark off each other like they are the new Odd Couple. And it's genuinely funny. A totally unexpected delight of a movie!
Lincoln
(2012)
An enlightening and engrossing history picture
14 August 2020
Lincoln educates and entertains in equal measure. Spielberg once again proves himself the master of his craft by producing a lengthy, sometimes sedate but captivating lesson in American history without ever being overly didactic or patronising. Whether the characterisations are factually accurate I can't say. However Day Lewis is impeccable as Lincoln, mesmerising with dignity, drive and a surprising amount of wit. Jones also unexpectedly stands out as embattled Thaddeus Stevens, stealing the show with his highly amusing politicking. Field was a little keen on chewing the scenery for my liking and I'd hoped for more development of Mr and Mrs Lincoln's strained relationship. However Spielberg has produced another enlightening and engrossing period picture to add to his already impressive collection.
Kingsman: The Golden Circle
(2017)
Enjoyable stuff for fans of the first Kingsman
14 August 2020
Sequels always have a tough job to please everyone. On the one hand you want to maintain a level of familiarity to replicate the original's success. On the other you inevitably have to bring something new to counteract the natural lack of novelty and freshness. Kingsman: The Golden Circle almost pulls this feat off. Fans will still enjoy the hyper-stylised violence, the delicately balanced humour and the charisma of Egerton still on-form as loveable rogue Eggsy. The new element, our friends across the pond in Statesman, just about works thanks to an array of Hollywood's finest. That said the plot hardly strays far from that of the original - more of a stretch here would have been welcome. The foul language is dialled up a notch for some unknown reason and whilst one scene is unnecessarily crude, the fun of the franchise isn't at all diminished. There's just about enough freshness to make The Golden Circle stand on its own two feet (principally down to a very likeable cast, and one particular cameo clearly loving every second). If there's a third instalment, which I hope there is, a bit more originality in the story would help proceedings.
London Has Fallen
(2016)
Another city gets blown to kingdom come
14 August 2020
London Has Fallen is a capable addition to the brainless destruction action movie genre. Pace is fast, effects good, tension relatively high. The plot is more contrived and clearly purely functional compared to its far superior predecessor. Unfortunately there's some unpleasant jingoism leaving a nasty taste in the mouth - which makes me hope this is the last in the Fallen series.
All the Money in the World
(2017)
Plummer excels in solid kidnap drama
14 August 2020
A capable but unexceptional drama punctuated with some above average performances from Plummer and the always watchable Williams. Despite the plot centring on the kidnapping of a teenager, All the Money in the World strangely lacks much suspense. In fact the pace is decidedly laid back delivering very little tension until the final 20 minutes. It holds your interest however and is an impressive turnaround considering the extensive last minute re-shooting
Battle of the Sexes
(2017)
An accomplished easy watch with charismatic leads
14 August 2020
Battle of the Sexes is an accomplished dramedy that hammers home it's social commentary without becoming a bore. By focusing as heavily on the personal trials of Billie Jean King and Bobby Riggs than the entirely obvious outcome of one tennis match it also largely evades the predictable pitfalls of the usual sports film genre. Stone and Carrell once again prove charismatic leads, effortlessly balancing (a surprising amount of) humour with heartfelt pathos. Ultimately it's a light piece, gently drawing cultural parallels of sexism, whilst delivering a touching story of personal discovery.
Collateral Beauty
(2016)
More like collateral damage.
14 August 2020
Even a cast of the most accomplished screen actors of a generation can't elevate this ill-thought through attempt at a modern day fusion of A Christmas Carol and It's a Wonderful Life. The idea is charming enough and could've possibly worked if the script hadn't been so riddled with cliches, under-developed characters and an incredibly rushed conclusion. The base material is so woefully under-developed that inevitably Collateral Beauty is a puddle-deep drama with no emotional heft. All rushed and pointless. Makes you wonder what blackmail material the director had over the cast...
Hunt for the Wilderpeople
(2016)
A quirky indie gem.
14 August 2020
A quirky, quaint and genuinely touching tale of two lost souls finding a purpose through each other. It's far from an original concept but Waititi stamps proceedings with his trademark Kiwi humour so that Wilderpeople never feels stale. Young Dennison is remarkable, with a cutting deadpan delivery that rivals Rebel Wilson. Sam Neill is the grouchy heart, delivering one of his finest performances. Add dozens of cracking one liners and some truly spectacular New Zealand scenery and you've got a sweet indie gem.
More mildly warm than scorching hot
14 August 2020
The Scorch Trials certainly lacks an original conceit like its predecessor. Fans have also been critical of its deviation from the books. However judging the film on its own merits it's certainly an acceptable action sci-fi flick. It maintains a strong pace throughout, there's a few jumpy moments and ok perhaps it panders to the zombie zeitgeist but at least it's well executed. The characters remain sufficiently engaging to pique my interest for the third and undoubtedly final instalment. If you're searching for Friday night thrills with no mental effort you could do far worse.
Annihilation
(I) (2018)
Ponderous sci-fi
14 August 2020
Annihilation is another existential sci-fi asking big (largely unanswered) questions about humanity's destiny on this planet. Unlike Arrival and BladeRunner however Garland mixes in more typical blockbuster action and traditional thrills and jumps along the way. That said Annihilation doesn't build tension as you'd expect, despite similar set-plays to Jurassic Park, Predator etc. Whilst the premise is interesting enough, as with Ex-Machina Garland is too preoccupied with the film's "big message" delivering under-involving characters and a vague marginally dissatisfying pay off. I couldn't escape the feeling annihilation was too much like a longer, very well produced (and expensive) episode of Black Mirror.
Ready Player One
(2018)
Nostalgia laden effects hide scant substance
14 August 2020
Nostalgia brings with it a natural charm and affection with 80s retro especially popular at the moment. However in Ready Player One a litany of computer game and pop culture references simply mask a hokum story, told bluntly with awkward exposition, populated with bland characters and lazy acting. It's a weak film of little substance glazed with a superficial veneer which rapidly wears thin. Quite possibly Spielberg's worst film.
xXx: Return of Xander Cage
(2017)
Lowest common denominator action flick
14 August 2020
A ridiculous film aimed at action-flick addicts who think James Bond is too high-brow. The plot, if we can call it that, is no more than find the Macguffin or the world will end - the most overused excuse for a film - wrapped around some truly lamentable acting. Toni Collette in particular turns in an excruciatingly camp performance composed of struts, pouts and the occasional eye brow arch. She at least should know better! Diesel is pleasant enough as Xander but insufficient to overcome the tirade of tired cliches, lacking anything close to suspense. The only interesting element was seeing a truly international ensemble battle a corrupted US government who confuse patriotism with tyranny. Coincidentally apt.
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