Considering how bad I am at regularly updating this blog under typical circumstances, it's hardly surprising I missed a ton of reviews during my GCSE period. Fortunately, that's now over. Unfortunately, I still don't have the time/can't be bothered to keep up with new releases whilst writing full reviews for every film I missed. So, instead, I'm going to use the same cop-out as last year and squeeze several capsule reviews into one post.
Coco
I never saw The Good Dinosaur because - by all accounts - it was pretty mediocre, but I did see Cars 3 and it was... pretty mediocre. Coco, on the other hand, is not. Whilst maybe not the crème de la crème of Pixar films, Coco is still high up there. It does what Pixar does best: blending vivid, whimsical magic with thoughtful, mature themes, appealing to young and old audiences alike. This time, Pixar tackle mortality, loss and grief with beautiful animation and a rich appreciation of Mexican culture. There's also gorgeous music woven throughout the film, further cementing Coco's unique identity amongst Pixar's greatest hits. 8.1/10
The Shape of Water
The Shape of Water is majestically weird. Of course, the filmmaking is impeccable. Every frame oozes with gothic magic thanks to Guillermo Del Toro's flawless direction and the Oscar-winning score and production design. However, it's the film's treatment of its central relationship that makes it special. The human/fish monster love story could have been viewed with disgust but is instead depicted with the same sincerity as a 'normal' romance. This theme of acceptance is expanded to the film's supporting characters, consisting of typically disenfranchised groups given an empathetic spotlight. All of this is encapsulated in the tense atmosphere of the Cold War, making The Shape of Water a beautiful and timely film that fully deserved its Best Picture win. 9.3/10
I, Tonya
Despite being marketed as a dark comedy, I didn't find I, Tonya hugely funny. In fact, I've found that films with a lot of energy and personality are often mistakenly presented as comedies. However, that doesn't take away from the fact that what I, Tonya actually is is rather good. Margot Robbie is an absolute tour de force as the titular skater and Allison Janney is unrecognisably nasty as her abusive mother. The film doesn't shy away from the complexity of its characters, either, as it avoids reducing any of them to simple hero or villain roles. Most successfully, I Tonya sharply subverts the biopic genre. Witty fourth wall breaks intentionally clash the conflicting testimonies given by the character's real-life counterparts. 8.3/10
Ready Player One
Ready Player One has received a lot of criticism for being an indulgent nostalgia-fest, but I don't think much of it is warranted. The majority of the pop culture references are just set decoration and the more prominent ones are (mostly) used creatively. Ready Player One's main weakness is how unengaging the main characters are. Most attempts at character development are laughably superficial and the actors are disappointingly uncharismatic. However, Steven Spielberg's usual adventurous spirit elevates Ready Player One above more generic action films and Mark Rylance's exquisite performance as the misunderstood game developer James Halliday gives the film its uniquely endearing heart. 7.4/10
Isle of Dogs
Ignoring the political controversies surrounding this film, Isle of Dogs is an absolute blast. Director Wes Anderson is well known for his attention to detail, but he really steps it up a notch for this film. The intricate creativity in every shot never ceases to amaze, with awe-inspiring beauty even in the bleakest of landscapes. Anderson's signature offbeat tone is at the top of its game here, which is good news for committed Anderson fans like me even if it's unlikely to win over sceptics. Every dog has their own nuanced characterisation, never succumbing to one-dimensional tropes thanks to idiosyncratic performances from their voice actors. As previously stated, there are thorny issues with culture and representation here (I'd argue it's more cultural appreciation than appropriation, although the predominantly white male cast is harder to excuse). However, its central message of understanding and cooperation ultimately transcends these problems and everything else is a perfect example of animated filmmaking at its finest. 9/10
Love, Simon
As a film, Love, Simon isn't overwhelmingly special. It's a very well put together but not particularly challenging coming-of-age high school rom-com that's regularly funny, charming and heartwarming. However, that's exactly why it's successful. For the most part, LGBTQ characters have been relegated to weird indie films or pretentious arthouse films with limited appeal. By contrast, Love, Simon is an absolute crowd pleaser. You could definitely argue that Love, Simon is too sanitised. Beyond his secret sexual orientation, Simon's life is pretty breezy. However, this does allow for the film to comfortably embed itself into the mainstream, resulting in an important (and thoroughly entertaining) milestone for the representation of gay characters in popular culture. 8/10
Annihilation
It's an absolute shame Annihilation got such a limited cinematic release. I only saw it on Netflix, which is a tragedy because the film looks stunning. This isn't just superficial style, either. A lot of thought has clearly gone into Annihilation's bewitching visuals. Off the back of his mesmerising directorial debut Ex Machina, Alex Garland has intensified that film's sci-fi and psychological horror elements to craft something too weird for the mainstream but undeniably impressive. Garland's admirable risk-taking frequently pays off in moments of both disturbing and spellbinding wonder. Annihilation is held together by a highly affecting central performance from Natalie Portman, who provides a down-to-earth entry point for the audience amidst all the ambitious madness. 8.6/10
A Quiet Place
A Quiet Place is ruthlessly effective. John Krasinski's savagely frightening horror-thriller has an ingenious concept and a razor-sharp focus on the characters' terror. In a year of behemoths like the 160-minute Avengers: Infinity War, A Quiet Place's 91-minute runtime is more than refreshing. There is absolutely no fat in this film; every scene plays a vital role in dragging the viewer closer to the edge of their seat. Horror films have used silence to scare audiences for decades, but Krasinski utilises the gruelling anxiety it creates to its fullest potential. Krasinski also recognises how important it is audiences care about the characters. Krasinski, Emily Blunt and the rest of the cast bring to life an authentic family that you feel scared for. Just make sure everyone you're watching it with keeps their mouth shut. 9.1/10
Deadpool 2
I was probably too harsh on the first film but even with that in mind Deadpool 2 is an impressive improvement. Ryan Reynolds is still perfectly cast, bringing the titular mercenary's signature meta-humour to riotously irreverent new heights. Alongside this is a surprisingly deep commitment to character development. Deadpool is given an engaging vulnerability that avoids clashing too often with the film's comedy. Occasionally it's not entirely clear if the film wants you to laugh or cry, but the two tones mostly blend neatly. Deadpool 2 also takes the X-Men franchise's sexual orientation allegory into dark and ambitious territory. Eddie Marsan delivers a masterfully repulsive performance as the film's antagonist: the fanatical headmaster of an abusive 'Mutant Re-education Centre'. 8.1/10
Coco
I never saw The Good Dinosaur because - by all accounts - it was pretty mediocre, but I did see Cars 3 and it was... pretty mediocre. Coco, on the other hand, is not. Whilst maybe not the crème de la crème of Pixar films, Coco is still high up there. It does what Pixar does best: blending vivid, whimsical magic with thoughtful, mature themes, appealing to young and old audiences alike. This time, Pixar tackle mortality, loss and grief with beautiful animation and a rich appreciation of Mexican culture. There's also gorgeous music woven throughout the film, further cementing Coco's unique identity amongst Pixar's greatest hits. 8.1/10
The Shape of Water
The Shape of Water is majestically weird. Of course, the filmmaking is impeccable. Every frame oozes with gothic magic thanks to Guillermo Del Toro's flawless direction and the Oscar-winning score and production design. However, it's the film's treatment of its central relationship that makes it special. The human/fish monster love story could have been viewed with disgust but is instead depicted with the same sincerity as a 'normal' romance. This theme of acceptance is expanded to the film's supporting characters, consisting of typically disenfranchised groups given an empathetic spotlight. All of this is encapsulated in the tense atmosphere of the Cold War, making The Shape of Water a beautiful and timely film that fully deserved its Best Picture win. 9.3/10
I, Tonya
Despite being marketed as a dark comedy, I didn't find I, Tonya hugely funny. In fact, I've found that films with a lot of energy and personality are often mistakenly presented as comedies. However, that doesn't take away from the fact that what I, Tonya actually is is rather good. Margot Robbie is an absolute tour de force as the titular skater and Allison Janney is unrecognisably nasty as her abusive mother. The film doesn't shy away from the complexity of its characters, either, as it avoids reducing any of them to simple hero or villain roles. Most successfully, I Tonya sharply subverts the biopic genre. Witty fourth wall breaks intentionally clash the conflicting testimonies given by the character's real-life counterparts. 8.3/10
Ready Player One
Ready Player One has received a lot of criticism for being an indulgent nostalgia-fest, but I don't think much of it is warranted. The majority of the pop culture references are just set decoration and the more prominent ones are (mostly) used creatively. Ready Player One's main weakness is how unengaging the main characters are. Most attempts at character development are laughably superficial and the actors are disappointingly uncharismatic. However, Steven Spielberg's usual adventurous spirit elevates Ready Player One above more generic action films and Mark Rylance's exquisite performance as the misunderstood game developer James Halliday gives the film its uniquely endearing heart. 7.4/10
Isle of Dogs
Ignoring the political controversies surrounding this film, Isle of Dogs is an absolute blast. Director Wes Anderson is well known for his attention to detail, but he really steps it up a notch for this film. The intricate creativity in every shot never ceases to amaze, with awe-inspiring beauty even in the bleakest of landscapes. Anderson's signature offbeat tone is at the top of its game here, which is good news for committed Anderson fans like me even if it's unlikely to win over sceptics. Every dog has their own nuanced characterisation, never succumbing to one-dimensional tropes thanks to idiosyncratic performances from their voice actors. As previously stated, there are thorny issues with culture and representation here (I'd argue it's more cultural appreciation than appropriation, although the predominantly white male cast is harder to excuse). However, its central message of understanding and cooperation ultimately transcends these problems and everything else is a perfect example of animated filmmaking at its finest. 9/10
Love, Simon
As a film, Love, Simon isn't overwhelmingly special. It's a very well put together but not particularly challenging coming-of-age high school rom-com that's regularly funny, charming and heartwarming. However, that's exactly why it's successful. For the most part, LGBTQ characters have been relegated to weird indie films or pretentious arthouse films with limited appeal. By contrast, Love, Simon is an absolute crowd pleaser. You could definitely argue that Love, Simon is too sanitised. Beyond his secret sexual orientation, Simon's life is pretty breezy. However, this does allow for the film to comfortably embed itself into the mainstream, resulting in an important (and thoroughly entertaining) milestone for the representation of gay characters in popular culture. 8/10
Annihilation
It's an absolute shame Annihilation got such a limited cinematic release. I only saw it on Netflix, which is a tragedy because the film looks stunning. This isn't just superficial style, either. A lot of thought has clearly gone into Annihilation's bewitching visuals. Off the back of his mesmerising directorial debut Ex Machina, Alex Garland has intensified that film's sci-fi and psychological horror elements to craft something too weird for the mainstream but undeniably impressive. Garland's admirable risk-taking frequently pays off in moments of both disturbing and spellbinding wonder. Annihilation is held together by a highly affecting central performance from Natalie Portman, who provides a down-to-earth entry point for the audience amidst all the ambitious madness. 8.6/10
A Quiet Place
A Quiet Place is ruthlessly effective. John Krasinski's savagely frightening horror-thriller has an ingenious concept and a razor-sharp focus on the characters' terror. In a year of behemoths like the 160-minute Avengers: Infinity War, A Quiet Place's 91-minute runtime is more than refreshing. There is absolutely no fat in this film; every scene plays a vital role in dragging the viewer closer to the edge of their seat. Horror films have used silence to scare audiences for decades, but Krasinski utilises the gruelling anxiety it creates to its fullest potential. Krasinski also recognises how important it is audiences care about the characters. Krasinski, Emily Blunt and the rest of the cast bring to life an authentic family that you feel scared for. Just make sure everyone you're watching it with keeps their mouth shut. 9.1/10
Deadpool 2
I was probably too harsh on the first film but even with that in mind Deadpool 2 is an impressive improvement. Ryan Reynolds is still perfectly cast, bringing the titular mercenary's signature meta-humour to riotously irreverent new heights. Alongside this is a surprisingly deep commitment to character development. Deadpool is given an engaging vulnerability that avoids clashing too often with the film's comedy. Occasionally it's not entirely clear if the film wants you to laugh or cry, but the two tones mostly blend neatly. Deadpool 2 also takes the X-Men franchise's sexual orientation allegory into dark and ambitious territory. Eddie Marsan delivers a masterfully repulsive performance as the film's antagonist: the fanatical headmaster of an abusive 'Mutant Re-education Centre'. 8.1/10
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