wijajo-72563 Reviews

Killers of the Flower Moon (2023)

A story as undeveloped as 1920's Osage County

[5/10 · 28 May 2024]

When a film's run time is as long as Lord of the Rings, you expect either an epic saga or some very developed characters. Killers of the Flower Moon impressively offers us neither.

We plod along with a talented cast, some nice sets, and an interesting setting. Our trip through Osage County is accompanied by a brooding darkness and tension that kept me engaged, but the end destination was underwhelming.

When the films ends, you'll view Killers of the Flower Moon as a wasted opportunity. The storytelling just isn't there. If Scorsese can't make a mysterious genocide and cover up in the early West interesting, it's a damning fall from grace for one of Hollywood's great directors.

Locke (2013)

A commute or a road trip? My partner and I were left divided.

[8/10 · 6 April 2024]

How can one be honourable and reliable when life provides competing demands? This is the unpleasant situation Ivan Locke finds himself in as he's torn between family, work, and a 'stranger' he feels responsible for.

Taking place on a journey between Birmingham and London, Ivan fields calls in a desperate bid to make things right. It's a character study of a man in crisis, with all other characters relegated to audio-only appearances. It's a good job then that the only on-screen actor, Tom Hardy, puts in a fabulous performance as the emotionally stoic, and somewhat ordinary Welshman, Ivan. He's complemented by a talented selection of voice actors, including Academy-Award-winner Olivia Coleman, and a script that could have carried a lesser film. The single set film takes place almost in real time as we travel down the motorway towards London, with the real life drive only taking 1.5 hours between the two cities. That a well-received film can consist of a single actor in a car is a triumph in cinema-making, story-telling, and script-writing, even if Locke compromises with a shorter run-time.

As a half-Welsh Brummie who lives in London, I've done the journey many a time, but watching it cinematically, via Locke, has certainly been my favourite. It's a good film - and I do not hesitate when saying that. However, I do understand why some may be less enthused, particularly those who crave action over character-led drama. Ultimately, it is just a man in a car for an hour and a half and for my partner, it ended up feeling as close to a commute as it did a road trip. For me, the potent mix of character development, great acting, emotional moments, originality, and questions the story poses, more than makes up for the (purposeful) banality of some of the conversations, or the restrictive environment. I was invested in this car ride!

Hacksaw Ridge (2016)

Not top in its genre, but still has some weaponry in its arsenal

[7/10 · 5 April 2024]

At first, I found the film a bit plain. There was a typical depiction of a drunkard father, a cheesy romance with a small-town beau that Doss falls for, and other aspects that appeared a bit generic. There were also some shots where the contrast between the characters and the background meant that, real or imagined, it felt like there was a green screen used. Fast forward a little in the film, and we're in the barracks with a ragtag bunch of larger than life characters - I felt again that I'd been here many times before and was waiting for a bit more originality.

Ascending the ridge, things get a little more interesting. We're shown the horrors of war in some excellent opening shots of the battles. There are some unrealistic moments within the battle scenes, but for the most part we have a gritty realism that approaches Saving Private Ryan. Those one-dimensional characters are given some extra dimensions and it becomes clearer why the film made a bang when it came out. It also gets some bonus points from me for the focus being on the less covered Pacific theatre in WW2 - Letters From Iwo Jima being my favourite in the genre.

Overall, the film is a bit Hollywoody at times, even if filmed very far from there. The lack of originality in its storytelling is why I'm not rating it too highly. It's also hard to go wrong with the source material - even some of the real life unbelievable aspects didn't make the cut. That all being said, it's a well-acted film with a lot going for it, including a mix of fantastic battle scenes, romance, character development, and a real life story behind it. Clips at the end showing the real life characters in the 77th show that lots of the casting, and acting, was dead on. That it was all filmed in a (relatively) low-budget way on a farm in Australia makes it all the more impressive, even if I don't rank it as one of my top war films.

The White Tiger (2021)

Between Slumdog and Parasite, but an equal of neither

[7/10 · 31 March 2024]

Between Slumdog and Parasite, yet an equal of neither, this fresh Indian story follows a servant called Balram slowly turning his back on servitude in a rags to riches tale.

The film celebrates the spirit of India while also denigrating the multiple failings that trap millions in desperate poverty. It highlights how Balram seems to hit glass ceiling after glass ceiling, trapped by caste, education level, and a poor family wanting to extract the little wealth he earns. It also explores the complex relationship between servants and their employers, where the employees are essentially dependents. Tackling many themes, without preachiness, White Tiger entertains in a light-hearted upbeat drama with dark undertones.

Perhaps its best quality is that characters are multi-dimensional, hard to predict, and torn between competing interests and motives. So many other films would have reduced the characters and themes to good and evil and offered a simple message or solution - White Tiger offers nothing beyond exploring difficulties of living in India.

White Tiger dropped some marks from me for its ridiculous starting premise that is continued throughout - Balram writing his life story, secrets and all, to a Chinese foreign dignitary. White Tiger also repeats some ideas four or five times in the script, such as the flawed chicken coop metaphor and the oddly racial assertion that the white man's time has ended. The ending scene is also odd at best. Most importantly though, the story just doesn't come together in the same way as Slumdog Millionnaire or other highly rated films - something feels missing. Perhaps its the rather dramatic climax that doesn't seem to flow from the rest of the film. While its no masterpiece, the journey is nonetheless enjoyable.

Platoon (1986)

This gritty 'chaos of war' film is a flawed gem

[7/10 · 30 March 2024]

The good - Platoon is a gritty film showing the horrors of war and benefits from a star-studded cast (thanks partly to Platoon catapulting the careers of some of the supporting actors). Oddly, it's the supporting actors who steal the show, with Charlie Sheen's performance eclipsed by his colleagues. From start to finish, Platoon entertains with its varied mix of poetic narrative, action scenes, moral dilemmas, and character conflict. The pacing here is bang on - we journey into the war in fits and starts. It's as unpredictable as the Vietnam war.

The bad - Two diametrically opposed sergeants battle for the new recruit's (Sheen) heart, each vying to ensure their version of war plays out within the platoon - dirty, illegal, and cutthroat, or a more upstanding approach. This dichotomy, also to a lesser degree played out amongst the rest of the platoon, allows various questions to be posed and various scenes (showing both good and bad behaviour) to be depicted. While it was somewhat effective, the idea of the evil character and the good character is somewhat simplistic and more complex characters that, due to circumstance or conviction, chose different paths would have been better. Battle scenes were generally good, though there were a couple of occasions where characters ran into a swarm of Cong with an unrealistically cavalier attitude and somehow survived. Another posted noted that as soon as one has seen the realism of Spielberg's Saving Private Ryan opening scene, films before it look somewhat dated and I have to agree here, even if everything remains passable. The script was variable, with it sometimes over-ladled with pussy comments. Lastly, the overlaid narrative was supposed to be letters from the main character to his grandmother, but no one sends letters like that. The above are reasons why I didn't rate the film higher, but none endanger the film from being enjoyable.

The ugly - Tom Berenger's scarred face.

Dune: Part Two (2024)

Fails to live up to the debut installment

[5/10 · 23 March 2024]

Just like Matrix Reloaded or 'Sicario: Day of the Soldado', 'Dune: Part Two' fails to add wonder to a universe already created in the series' impressive debut feature. For all the beautiful cinematography and atmospheric music, it lacked the originality that made the first film special and seemed to miss the mark on pacing, rushing crucial events despite it's long run time. For example, the huge army of Fremen seen in the trailer appears almost instantaneously ready for a Hollywood fight scene, unlike say Game of Thrones which showed the gruelling build up of Stannis's army. Little attention was given to the supposed transition from ragtag fighters to a global uprising comprising of a competent organised fighting force - the repeated beautiful desert dune shots and worm appearances came at the unacceptable expense of immersion.

Other directorial choices dampened my enthusiasm further. The ease to which Harkennons patrols are sometimes killed is in direct contrast to the first film's emphasis of them being a powerful advanced army. A new Harkennon character is introduced in a series of slick stylised scenes reminiscent of somewhere between the Gladiator and Kill Bill, yet seems an utterly pointless addition by the end of the film. And there's a continuation of Hollywoody one on one combat scenes and acts of revenge that adds nothing to the plot and provides entertainment only for those looking for Jason-Statham-esque cheesy action.

It's not a bad film by any means and provides us with enough to fill our collective desire for more Dune action, but the success of Dune: Part One looms large and for me Dune: Part Two resides entirely in its shadow.

Jojo Rabbit (2019)

A partial victory...

[7/10 · 17 November 2023]

It's feel good fun mixed with the tragedy and utter horrors of the second world war. What could go wrong?

While at times it's cringy how such a bleak time in our history is greeted with such levity, the film generally finds a good balance and makes it work. Whereas Inglorious Basterds was simply silly jingoism after its opening scene, Jojo is a bit more hard-hitting. It shows child soldiers, indoctrination, family break up, and the holocaust without overtly saying much about any of the above. The way these themes are normalised in the world of Jojo brings these horrors to life in the film's own unique way.

Overall, I enjoyed the film and it got a couple of laughs from me, though the frequency of comedy and feel-good moments could have been increased. It's not as good as its trailer, but it remains passable and is certainly unique.

One more thing to note - the performance by Roman Davis (JoJo). Shockingly, I learnt this was his first professional role. Child acting is often bumpy, yet he gave an amazing performance opposite Scarlett Johannsson and Thomasin McKenzie, another talented child actor.

The Menu (2022)

A beautiful journey to nowhere...

[6/10 · 17 November 2023]

For starters, we were served a beautiful premise that held plenty of flavour. An array of wealthy characters arrive on a private island to experience a dining experience like no other. Served thriller-style with lashings of brooding tension.

For mains, we delve a bit deeper into the characters and it's overtly revealed that all is not as it should be. It's well-executed, paired with great individual performances, and the Noma-like culture of absolute subordination and discipline brings a unique chill. However, the plot is a bit thin, and we're hoping for some more meat on the bone.

To finish, we're left with a rather plain and unoriginal that verges on the silly. The latter half is an anti-climax when we remember back to the appetisers.

The Menu entertains, certainly, but it's wayward dead-end plot is hard to stomach when other ingredients hit the spot.

Barbarian (2022)

Decent before descending...

[4/10 · 31 October 2023]

The film starts well enough, with good acting, suspense, and a couple of characters you're scratching your head at, wondering if they're innocent characters or malevolent actors.

However, once the film really gets going (after a toilet paper scene), and we descend into the bowels of the house, the film descends with it. A refreshing change half way through the film holds our attention, but while the audience imagine these separate segments are building to something greater, we find only incoherence, loose ends, and plot holes.

The start of Barbarian is highly believable, the premise is a seemingly innocent double booking of an AirBnB and no easy accommodation solutions. From here, characters make increasingly illogical and inconsistent decisions and things slowly stop making sense.

Predator (1987)

When mere explosions were enough to hold your attention

[4/10 · 27 September 2023]

It's cringeworthy when so-called elite troops walk brazenly into the open and somehow kill dozens as bullets dance around them. It's the sort of the film where any military doctrine or strategy is suspended and the 'good guys' are invincible and the 'bad guys' can't aim. How boring!

Meanwhile, Dutch (Arnold Shwarzenegger) and his old buddy Dillon (Carl Weathers) deliver some of the most emotionally stunted scenes known to cinema where manliness can be conveyed in ever more intense stares. The word 'acting' is a stretch here.

There are a few visually interesting scenes, good costume design for the 'predator', and certainly plenty of action, but the absence of effort in delivering a script, a more complex plot, or any thought out military tactics makes this film a massive miss for me. I don't think Predator has aged well even if its basic concept and design still entertains.

The Gold Rush (1925)

Chaplin is gold

[8/10 · 26 September 2023]

I'm once again surprised how much I enjoyed a silent film. The Gold Rush is simultaneously funny, surreal, tragic, uplifting, and moving. Across Alaskan wastes and gold rush towns, we're treated to some great slapstick scenes. Not only does Chaplin meet a colourful array of characters, but he also meets some animal friends too.

Even without sound or much dialogue, I found myself far more invested in the central character's fortunes than many modern films. And part of the beauty of slapstick is that you never know what's coming next - the characters' luck swings wildly in and out of their favour!

It's the first Chaplin I've seen and I look forward to seeing more.

Oppenheimer (I) (2023)

Historically questionable

[5/10 · 25 September 2023]

While it's a good film in many aspects, such as acting quality, imagination, and technical prowess, it failed to captivate me.

Oppenheimer is a historical biopic that uses a non-linear format to create a more interesting storytelling format. Yet, this also makes the film harder to comprehend, especially with dozens of characters over a long run time. Being of historical interest, I would have preferred a chronological format that helped me to understand the events better.

One must also question the emphasis given to certain events and characters over others. Many American films emphasise American involvement at the expense of British or say Canadian involvement. However, it was more surprising here to see the British scientist contingent as a mere footnote in the film when the British started the world's first nuclear weapons research project and helped initiate the Manhattan Project alongside the Americans. More than simply being downplayed, the British are even shown in a negative light.

As with many biopics, Oppenheimer verges on idolisation of the central figure. While it certainly touches upon some negative attributes of Oppenheimer, there is a clear hero and villain in the film, which is always dangerous in non-fiction settings. Scenes repeatedly show crowds giving undivided attention to Oppenheimer as if he were a God. It felt over-the-top.

I'm fine with a long run time, but I didn't feel the film justified it. Despite an interest in physics, history, and war, I found my attention waning. With history so interesting (it was one of the great 'what ifs' and turning points in history), I think this is unforgivable. I appreciate that, based on the many positive reviews on this site, this may be a contrarian opinion.

Drive (I) (2011)

Weak plot prevents this from being a stylistic classic

[5/10 · 21 September 2023]

The film starts well with nice cinematography, a great soundtrack, and some stellar acting by Gosling, Mulligan, and Cranston. Gosling plays an oddball, reminiscent of Gyllenhaal in Nightcrawler, and he does well to adapt to the role.

Drive is stylised with slow-mo shots, long pauses, and quick violent action. It's a winning combination, or would be if it wasn't for the storytelling which let the film down.

With an uninspiringly simple plot, the viewer is still left confused for much of the film as a needlessly bloodthirsty series of events ensues. Unfortunately, there are just too many moments that don't add up for one to appreciate the many good things that adorn this picture.

Rogue One: A Star Wars Story (2016)

Star Wars is a great franchise in the wrong hands.

[3/10 · 19 September 2023]

From start to finish, the battle scenes are ludicrous. Some choice examples (without spoilers) include:

A) Our hero is outnumbered with only a melee weapon against startroopers with guns and a clear shot. Don't worry! Our startroopers will run towards them until they're close enough to be disarmed.

B) Another hero is pinned down by heavy fire and utterly outgunned. Don't worry! Our hero can just walk through all the gunfire.

C) Our hero has just seen an ally get shot. Don't worry! He can casually walk into the battlefield to find all enemies have conveniently disappeared without explanation so he can have some grieving time.

You get the idea. Visually, the film is beautiful, but the action scenes are ill-thought out and the plot seems typically absurd. It's Hollywood at its most stereotypical.

The silver lining is K, our new charismatic robot friend, and a Felicity Jones who plays her part flawlessly.

Solo: A Star Wars Story (2018)

A little less action, a little more scriptwriting please...

[3/10 · 10 September 2023]

It's rare for me to abandon films halfway through, but at least I'll save an hour of my life. The Star Wars universe is rich, mature, and exciting, yet this film is a boring flop.

Visually, it's impressive. It was the most expensive Star Wars ever filmed and the production value is high, but that only gets you so far when the action is slapstick, the dialogue stiff and cheesy, and the story so unbelievable as to break your suspense of reality. In an action scene where guns are firing everywhere, why do characters just stand brazenly in the open each time?

For my part, I'm running for cover. It's not surprising to hear there were 'creative differences' between the directors and LucasFilm. At least one of them seem to have got something terribly terribly wrong.

The Town (2010)

Starts off well, then descends into stupidity

[4/10 · 27 August 2023]

Within a team of bank robbers, one team member's moral compass starts to create tensions with the increasingly violent and unpredictable 'brother'. Torn between loyalty, morality, love, and fear, we watch the central character grapple with increasingly difficult emotions and decisions. It's a great premise.

Then, halfway through the film, it starts to descend into stupidity. Action is put front and centre at the cost of realism or the plot. Police with pistols continue to chase and pull up right next to the getaway van after automatic weapons are fired. The actions of the central character seem in opposition to the character development we had just witnessed (since when was he a police killer?). Bank robbers with little weapon experience appear to kill as many SWAT as hits to their own team. An ambulance manages to break through a metal gate despite very little run up and an upwards slope to get out (and SWAT able to shoot it). It's a mess.

Hachi: A Dog's Tale (2009)

It felt like I was waiting 9 years for the film to end...

[4/10 · 15 August 2023]

Hachi: A Dog's Tale is a remake of the Japanese 1987 Hachi-ko, with the story now taking place in Rhode Island as opposed to Tokyo. With the change of scene, we receive a very Americanised film now focussing on a picture-perfect rich family in suburbia.

What works well is the very touching main story, based on real life events. We make a positive connection early on to both Hachi and the kind professor that owned him. The film also did well to train the 3 animals involved in playing Hachi. Apart from that, there's very little to the film.

They stretched 30 minutes of content into an hour and a half film. The film isn't interestingly shot, nor is the dialogue of note. The framing of the story was unoriginal. No risks were taken in this film, and no rewards reaped. My favourite part of the film was learning that the director's name is "Lasse".

You might have some sympathy about the film struggling to fill a feature film with the story of a dog waiting for its owner. However, when you read the actual story, you see there's more to it. A student followed Hachi to the home of the professor's gardener, where he learned more about Hachi's story. He published the story and did a census of the Akita breed - only 30 were found across Japan. Hachi's story popularised the breed and Hachi became a symbol of loyalty amongst the populace in imperial Japan. If more content was needed, the real life story offered more possibilities.

Yes, there are cute dog scenes. Yes, the dog is nice. Yet, halfway through, I felt like I was waiting years for the film to end...

Annie Hall (1977)

Novel, witty rom-com that failed to get me invested

[7/10 · 14 August 2023]

Keaton and Allen play Alvie and Annie, two odd-balls that find a natural chemistry but nonetheless always seem to be clashing. The film flicks between past and present exploring the ups and downs of the relationship. At times, it's a blur that resembles memories, with one seemingly inconsequential scene abruptly ending, and another playing out straight afterwards as if unrelated to the former. Relationships are not led by events, but relations between one another, and it is this that the film focuses on.

The rom-com offers a little bit for everyone. There's laugh out loud (and sometimes absurd) comedy, novel filming techniques, intellectual references, and an exploration of a relationship that cuts deeper than most romantic films.

I found enough bits clever and enough bits funny to appreciate the film, but I also found myself increasingly detached by the end. I looked at how much time was left a couple of times, which is surprising given the short length of the feature. The way the film was stitched together is part of its originality and appeal, but I also think the style resulted in me failing to get invested in either character.

Cube (1997)

Nice concept, but massively disappointing

[1/10 · 13 August 2023]

The concept is nice, but that's where the fun ends. Here are some reasons I didn't like the Cube:

1. The acting is abysmal. The main character over-acts incessantly. While watching the film, I was wondering if they were paid actors.

2. The characters are unbelievable. There is a complete paucity of character development - characters just change personality seeming instantaneously. A ditsy character turns into a genius half-way through, while another character transforms even more so seemingly randomly.

3. There are plot holes.

4. The dialogue is one of the worst I've seen.

If you like the concept, but want a better film, watch 'The Platform' (aka El Hoyo). At the very least, watch the Japanese remake, which looks to be slightly better judging from the trailer.

The Whale (2022)

A lacking plot perfectly performed

[7/10 · 13 August 2023]

The Oscars got it right this time. The acting was mesmerising. Brendan Foster absolutely deserved the best actor, with Hong Chau also nominated with Best Supporting Actress. The film also deservedly won best make-up. Yet, despite all these accolades, it wasn't nominated for best film.

Charlie, the obese main character, is full of both humanity and sadness. Spending time with Charlie, and a small group of his friends and acquaintances, is an emotional ride brought to life by Foster's performance of a lifetime. But while there was plenty of cinematic gold throughout the film, there's also little that happens to move the plot along.

Guy Ritchie's the Covenant (I) (2023)

More than just an action film...

[9/10 · 13 August 2023]

The trailer doesn't do it justice, Guy Ritchie delivers far more than a simple action film. The cinematography, music, acting and spectacular directing all combine to make something far more than the sum of its parts.

Both Gyllenhaal and Salim deliver. In one of my favourite scenes, the thoughts of the characters were played out just using eye movements. The first half was gripping, tense, and moving.

The second half brings the film down a peg or two. It's not bad, it's just more of a mainstream Hollywood style and content than the first half (think one-man-army type unrealism). Still a great film overall though and more than worth the watch.

Argo (2012)

Good film that shows events with varying degrees of accuracy

[7/10 · 12 August 2023]

The film does well to build and hold tension throughout the film. The acting is great, the story compelling, and although there's some dramatisation here and there, the film shows that action isn't needed to hold attention.

At the end, the film flicks between the film's depiction of events and footage from the time. The casting, hair and make up, and set designers did a fantastic job of recreating the feel and look of the Iranian Revolution. This is one of the most impressive aspects of the film, but the adherence for historical accuracy in one area also makes it far sadder that the film engages in revisionism in another. As others pointed out, it was mainly a Canadian operation, not American. The American film industry repeatedly side-lines allied nations' efforts in media at others' expense.

Edge of Tomorrow (2014)

Edge of Tomorrow = Saving Private Ryan + Matrix + Memento?

[7/10 · 12 August 2023]

The Edge of Tomorrow seems to borrow elements from across the breadth of cinema.

It mixes the visceral beach assault action of Saving Private Ryan with Matrix-like futuristic mechanised warfare (complete with enemy "Mimics" that mimic Matrix's "The Machines") and adds a frustrating time loop reminiscent of Memento or 50 First Dates.

It doesn't reach the heights of any of these films (bar 50 First Dates, which is a low bar to achieve), partly because by borrowing concepts so readily, it fails to add the novelty that the above films brought.

Still, it's entertaining enough. It's not a film I'd think of when recommending films to friends, but it's an okay watch if you're looking for some easy-watching action.

Amélie (2001)

Made me smile, but doesn't deserve its depth of praise

[6/10 · 5 August 2023]

An oddball finds happiness helping strangers, until she realises that there's something missing in her life too.

Existing in a world entirely of her own, we experience a life through Amelie's eyes - an amusing and surreal experience. While feel-good in parts and accompanied with a more unique plot, I felt myself getting bored nearer the end. It was clear where the plot was heading early on.

I'm confused to whether or not it's a rom-com. It seems to not be funny enough to be a comedy, and lacks the depth of relationships to deserve a romance label. Nor is it much of a drama. Amelie exists between all these genres in its own purgatory, delivering a bit of everything, but not enough to satiate your appetite of any.

The film is shot in a Wes-Anderson-style, with narrators introducing larger-than-life characters with odd facts and framing characters with flat backgrounds perpendicular to the camera. Many will be a fan of this, but though I appreciate many Wes Anderson films, I didn't think the style worked particularly well here.

Dune (2021)

A modern, imaginative epic

[8/10 · 24 July 2023]

Dune is an artistic visual masterpiece that dazzles the brain.

It combines great costume-design, imaginative new worlds and machinery, cutting-edge CGI, action, and storytelling to great effect. It's a modern low fantasy epic that depicts troubles brewing in the galaxy. With its high production values, compelling story and talented cast, the Dune trilogy could be the Star Wars of the modern era (as there are over 20 more Dune books to adapt, there's a high possibility of extra trilogies too).

Unfortunately, many of us weren't aware that we were watching just the first of many chapters. When the screen went black, I joked to my partner that that was the end. To my horror, it was. In many ways, it was this that allowed Dune to beautifully set the scene, but for the unsuspecting viewer, the end comes suddenly and unexpectedly.

While there was one "that person would never make that decision" moment, and a couple of "that person would never have survived" moments, the blockbuster managed to avoid most of the predictability and ridiculousness of Hollywood action scenes and the film remained story-led, over action-led.

Overall, Dune is an enthralling and accessible blockbuster that should appeal to both film buffs and mainstream cinema-goers.