As I've mentioned in my review of Bohemian Rhapsody and A Star is Born, there are a number of films I tragically didn't get the opportunity to review whilst Doctor Who was on. There are still a couple more I want to give full reviews to (hopefully before the end of the year) but right now I'm going to catch up on the majority of the films I missed with another collection of capsule reviews. It's a Christmas miracle!
The Post
I somehow forgot to write about this one when I did my last catch-up, but that doesn’t matter, because I can write about it now! The Post is a Spielberg film in a similar vein to 2015’s surprisingly brilliant Bridge of Spies. With the content itself not being as fantastical as what Spielberg is known for, his brilliant filmmaking skills are given extra space to shine. This is most noticeable in the incredible way the cinematography reflects the discomfort Meryl Streep’s Kay Graham feels when entering a room filled with stuffy blokes. Alongside a host of expectedly assured performances and a genuinely thrilling narrative, The Post is ultimately more gripping than Spielberg’s other outing this year, the visually spectacular but largely emotionally stale Ready Player One. 8.4/10
Possum
Possum is truly horrifying. Matthew Holness’ feature film debut is a masterfully twisted and profoundly disturbing psychological horror trip. Sean Harris’ turn as disgraced puppeteer Philip is outstanding, conveying the character’s repressed torment with arresting unease. The colour palette surrounding Philip only perpetuates this feeling, as gross, miserable browns suffocate every frame with an aesthetic of unbearable dread. Holness’ filmmaking is hypnotically torturous (in a good way), with sudden, surreal montages stabbing the viewer if they ever dare to get too comfortable. Most horrific of all, however, is the ‘possum’ itself. A hideous, monstrous puppet and a pervasive manifestation of Philip’s trauma, the possum is intensely, overwhelmingly grotesque. This is an ingenious horror film that seeps deep into your psyche and severely unsettles you long after it finishes. 8.2/10
I somehow forgot to write about this one when I did my last catch-up, but that doesn’t matter, because I can write about it now! The Post is a Spielberg film in a similar vein to 2015’s surprisingly brilliant Bridge of Spies. With the content itself not being as fantastical as what Spielberg is known for, his brilliant filmmaking skills are given extra space to shine. This is most noticeable in the incredible way the cinematography reflects the discomfort Meryl Streep’s Kay Graham feels when entering a room filled with stuffy blokes. Alongside a host of expectedly assured performances and a genuinely thrilling narrative, The Post is ultimately more gripping than Spielberg’s other outing this year, the visually spectacular but largely emotionally stale Ready Player One. 8.4/10
You Were Never Really Here
Lynne Ramsay’s psychological study of a tortured hitman is another striking, abstract collage that explores its central character through the masterful use of editing, cinematography and mise-en-scene. Like her previous film We Need to Talk About Kevin, Ramsay exemplifies the art of showing rather than telling, forcing you to pay attention to every spectacularly crafted detail to understand the true depths on offer. It’s also an utterly enthralling watch, presenting what could’ve been a straightforward thriller in an elliptical and mesmerising fashion. When it wants to be violent it absolutely can be, but Ramsay prefers to craft sequences that are more poetic, engrossing us in the tormented mind of Joaquin Phoenix’s brutal protagonist. Enhanced by Johnny Greenwood’s bewitching score, You Were Never Really Here sees Ramsay successfully infusing the thriller genre with her uniquely fascinating approach to filmmaking. 8.7/10
Christopher Robin
There isn’t a lot to say about Christopher Robin. It is, as a whole, a pleasant and entertaining diversion with a sweet nostalgic atmosphere and not much else. The animation bringing the Winnie the Pooh characters to life in the style of their original illustrations is wonderful, balancing realism and charm with a level of skill similar to the great Paddington films. Beyond that, there isn’t loads to get excited about. The narrative and character development are serviceable and Ewan McGregor gives the aged Christopher Robin an empathetic performance, but most of it is unremarkably contrived in that way the more throwaway Disney films tend to be. Still, I had a good time watching it, just don’t expect to be bowled over. 6.9/10
There isn’t a lot to say about Christopher Robin. It is, as a whole, a pleasant and entertaining diversion with a sweet nostalgic atmosphere and not much else. The animation bringing the Winnie the Pooh characters to life in the style of their original illustrations is wonderful, balancing realism and charm with a level of skill similar to the great Paddington films. Beyond that, there isn’t loads to get excited about. The narrative and character development are serviceable and Ewan McGregor gives the aged Christopher Robin an empathetic performance, but most of it is unremarkably contrived in that way the more throwaway Disney films tend to be. Still, I had a good time watching it, just don’t expect to be bowled over. 6.9/10
The Little Stranger
A deeply intriguing and (naturally) strange film from the impressively diverse Lenny Abrahamson, the director responsible for 2014’s absurdly hilarious Frank and 2016’s simply stunning Room. The Little Stranger is no fast-paced thriller, but it still manages to draw you in with its carefully plotted and richly fascinating gothic mystery. Domnall Gleeson is compellingly enigmatic in the lead role, but it’s the intricately nuanced performance Ruth Wilson gives that really steals the show. You’re not going to find your heart racing that frequently and some viewers may also find themselves a little bored. However, for me, this complexly detailed and admirably subtle drama is a worthy addition to Abrahamson’s eclectic filmography. 7.8/10
Possum
Possum is truly horrifying. Matthew Holness’ feature film debut is a masterfully twisted and profoundly disturbing psychological horror trip. Sean Harris’ turn as disgraced puppeteer Philip is outstanding, conveying the character’s repressed torment with arresting unease. The colour palette surrounding Philip only perpetuates this feeling, as gross, miserable browns suffocate every frame with an aesthetic of unbearable dread. Holness’ filmmaking is hypnotically torturous (in a good way), with sudden, surreal montages stabbing the viewer if they ever dare to get too comfortable. Most horrific of all, however, is the ‘possum’ itself. A hideous, monstrous puppet and a pervasive manifestation of Philip’s trauma, the possum is intensely, overwhelmingly grotesque. This is an ingenious horror film that seeps deep into your psyche and severely unsettles you long after it finishes. 8.2/10
The Ballad of Buster Scruggs
I’m unfamiliar with anthology films, but I love the Coen brothers and I love westerns, so I was thoroughly excited about The Ballad of Buster Scruggs. It’s strange to think this was originally intended as a TV series because the individual stories don’t work as well apart as they do as a whole. The individual stories are fascinatingly eclectic, ranging from black comedy to tragic romance, all told in that unique Coen brothers fashion that absolutely nails the vast range of tones attempted. However, with The Ballad of Buster Scruggs, the Coens have clearly carefully crafted each story to serve the overall framework first and foremost. The film begins as an irreverent absurdist comedy, then the tales gradually become more sincere, focusing on the characters with greater empathy and exploring America’s darkest and most revealing depths. By the final story, the film becomes fascinatingly meta and wickedly macabre, concluding this transfixing collection of fables at perhaps its most enchanting. 8.9/10
Fantastic Beasts: The Crimes of Grindelwald
The latest Fantastic Beasts has suffered a highly negative reception. This seems strange to me because I honestly didn’t think the first was much better. Many of the criticisms levelled at The Crimes of Grindelwald apply to its predecessor as well, especially issues regarding jarring shifts in tone and an excessive number of plot threads. The plot is much more directionless than the first, only ever feeling like it’s getting into gear by the third act. The film tries to make up for that with more ambitious themes and better character development, but it stumbles over the former with mixed messages and gets lost in the latter thanks to the incoherent plot. Eddie Redmayne’s Newt Scamander remains a unique protagonist, subverting the stock male action hero and toxic masculinity in a welcome way. If only the film was any good. 4.9/10
I’m unfamiliar with anthology films, but I love the Coen brothers and I love westerns, so I was thoroughly excited about The Ballad of Buster Scruggs. It’s strange to think this was originally intended as a TV series because the individual stories don’t work as well apart as they do as a whole. The individual stories are fascinatingly eclectic, ranging from black comedy to tragic romance, all told in that unique Coen brothers fashion that absolutely nails the vast range of tones attempted. However, with The Ballad of Buster Scruggs, the Coens have clearly carefully crafted each story to serve the overall framework first and foremost. The film begins as an irreverent absurdist comedy, then the tales gradually become more sincere, focusing on the characters with greater empathy and exploring America’s darkest and most revealing depths. By the final story, the film becomes fascinatingly meta and wickedly macabre, concluding this transfixing collection of fables at perhaps its most enchanting. 8.9/10
Fantastic Beasts: The Crimes of Grindelwald
The latest Fantastic Beasts has suffered a highly negative reception. This seems strange to me because I honestly didn’t think the first was much better. Many of the criticisms levelled at The Crimes of Grindelwald apply to its predecessor as well, especially issues regarding jarring shifts in tone and an excessive number of plot threads. The plot is much more directionless than the first, only ever feeling like it’s getting into gear by the third act. The film tries to make up for that with more ambitious themes and better character development, but it stumbles over the former with mixed messages and gets lost in the latter thanks to the incoherent plot. Eddie Redmayne’s Newt Scamander remains a unique protagonist, subverting the stock male action hero and toxic masculinity in a welcome way. If only the film was any good. 4.9/10
Ralph Breaks the Internet
I thought this was going to be dreadful. I was genuinely convinced by the trailers that this was essentially going to be another Emoji Movie but with more Disney properties. It is certainly true that there are a lot of “woah, I recognise that website” moments, but fortunately, those don’t detract from the film too much. Instead, there’s a surprisingly thoughtful focus on character, exploring the dynamics of friendship and the importance of respecting each other's autonomy. It isn’t a wildly funny film - only provoking the occasional chuckle - and the plot is much more contrived than the original, but it’s far from the trainwreck I anticipated. 6.6/10
I thought this was going to be dreadful. I was genuinely convinced by the trailers that this was essentially going to be another Emoji Movie but with more Disney properties. It is certainly true that there are a lot of “woah, I recognise that website” moments, but fortunately, those don’t detract from the film too much. Instead, there’s a surprisingly thoughtful focus on character, exploring the dynamics of friendship and the importance of respecting each other's autonomy. It isn’t a wildly funny film - only provoking the occasional chuckle - and the plot is much more contrived than the original, but it’s far from the trainwreck I anticipated. 6.6/10
Bumblebee
A good Transformers film? Surely not?! Yet that’s what Bumblebee is. Jettisoning the excruciating excess of Michael Bay’s signature style, Bumblebee director Travis Knight has taken the franchise in a heartfelt and nostalgic direction. The nature of Bumblebee is perhaps best summed up by the redesigned Transformers. They’re simple and more distinct, evoking the style of the original generation one characters and barely acknowledging the cold and incoherent look Bay favoured. This approach extends to every aspect of Bumblebee, as Knight keeps things relatively basic but charmingly down-to-earth and drenches everything in ‘80s pop culture and plot tropes. Hailee Steinfeld’s fantastic performance also elevates what could’ve been a relatively generic protagonist into someone you genuinely care about and the animation brings the titular Transformer to life in a delightfully ET-ish way. It's still not on the same level as a good MCU film, which I think is the gold standard for every blockbuster franchise, but it’s a promising reset for the Transformers series. 7.7/10
A good Transformers film? Surely not?! Yet that’s what Bumblebee is. Jettisoning the excruciating excess of Michael Bay’s signature style, Bumblebee director Travis Knight has taken the franchise in a heartfelt and nostalgic direction. The nature of Bumblebee is perhaps best summed up by the redesigned Transformers. They’re simple and more distinct, evoking the style of the original generation one characters and barely acknowledging the cold and incoherent look Bay favoured. This approach extends to every aspect of Bumblebee, as Knight keeps things relatively basic but charmingly down-to-earth and drenches everything in ‘80s pop culture and plot tropes. Hailee Steinfeld’s fantastic performance also elevates what could’ve been a relatively generic protagonist into someone you genuinely care about and the animation brings the titular Transformer to life in a delightfully ET-ish way. It's still not on the same level as a good MCU film, which I think is the gold standard for every blockbuster franchise, but it’s a promising reset for the Transformers series. 7.7/10
Comments
Post a Comment