2017: A Year in Review

Despite a number of scandals in 2017- there were also some great pictures. We saw the emergence of great directors such as Jordan Peele and Sean Baker. Several prominent new female stars threw their names into the ring such as Gal Gadot, Daisy Ridley, and the wonderful Sally Hawkins. Oscar season will be tough to predict this year!

Top 10 Films of 2017

1. Blade Runner 2049 (USA, Dir: Denis Villeneuve) 

It took 30 plus years for Ridley Scott's masterpiece 'Blade Runner' to get a sequel. When it arrived people were crying tears in the rain! Denis Villeneuve delivered a visual feast for his viewers along with a riveting and broad story. Again asking what it means to be human, Blade Runner purists were given the perfect reward for their time and patience. With a perfectly cast Ryan Gosling to anchor this movie, few could have expected the triumph this movie was. If you needed proof that Villeneuve is now one of the true greats, look no further. As Gaff once said, "They've done a man's job sir!" 

2.  Get Out (USA, Dir: Jordan Peele)

This year's most thought-provoking piece, Jordan Peele's debut was a something truly special. Against the Black Lives Matter movement and the growing concern of racism in America, Get Out was horrifying on many levels. With a stunning turn from British actor Daniel Kaluuya, Peele managed to make a film that is equally creepy and hilarious. Few others movies in 2017 had a premise quite as unique as this. 

3.  Three Billboards outside Ebbing, Missouri (UK/USA, Dir: Martin McDonagh) 

Irish director Martin McDonagh once again manage to hit levels of dark hilarity in his tale of revenge. Featuring the always reliable and strong Frances McDormand, Three Billboards was a movie that gave us great belly laughs alongside pure emotion. With great support from Woody Harrellson and Sam Rockwell- McDonagh gave us a multitude of unlikable characters for us to gradually warm too. It also made us think about how far you would go to avenge a loved one? 

4.  The Shape of Water  (USA, Dir: Guillermo Del Toro) 

Guillermo Del Toro has always been a visionary director, but The Shape of Water showed his pictures also have a big heart as well. Bringing us cinema's most offbeat romance, Del Toro was aided by a brilliant silent turn by the excellent Sally Hawkins. Unlike many of Del Toro's recent efforts, this one was more story focused and he gave us a tale that tugged at the heartstrings. Already an awards season favourite, this will be firmly tipped for glory. 

5. Dunkirk (UK, FR, USA, NL, Dir: Christopher Nolan) 

Few directors could have brought the Dunkirk evacuation to life quite like Christopher Nolan. Firmly emphasizing the constant danger the soldiers on the beach faced, Nolan had hearts racing throughout as Hans Zimmer's score ticks like a stopwatch. His refusal to use visual effects gave this movie a great authenticity. Just hearing the sound of real spitfires was worth admission alone. Newcomer Finn Whitehead was the very face of the young British soldier and through this performance, the horrors of war were brought forward. 

6. The Killing of a Sacred Deer  (EIRE, UK, USA, Dir: Yorgos Lathimos) 

Viewers may have been utterly confused and emotionally scarred this effort from Greek director Yorgos Lathimos. With the bizarre, often odd dialogue and the violent undertones, this one cinema at its most original. Colin Farrell and Barry Keoghan made for a glorious odd couple whose friendship slowly turns into something far more sinister. Lathimos always succeeds in pushing cinematic buttons and in The Killing of a Sacred Deer he showed us the extreme's he can take us to.

7. Call Me By Your Name (ITA, USA, BR, FRA, Dir: Luca Guadagnino)

Quite possibly 2017's most heartbreaking effort, Italian Luca Guadagnino gave us the pain of first-time love. Timothee Chalamet was a breakout star in this movie and through his excellent natural performance, he wore movie's heart on his sleeve. Making full use of the gorgeous Italian backdrop, Guadagnino's movie felt like a neverending summer vacation for us all. Armie Hammer also showed us there is far more to his ability than being supporting fodder in big films. Bring tissues in bulk for this one, you will need them by the end. 

8. Lady Bird (USA, Dir: Greta Gerwig) 

The best-reviewed film of the year, Greta Gerwig's debut behind the camera was one to remember. Saoirse Ronan was the perfect star to portray a young woman still coming into herself. Laurie Metcalfe gave the most complex turn as a control freak mother trying her best to keep a family together. Heavily inspired by Gerwig's own childhood in California, this movie had a wonderful realism to it. Set against the difficult economic's of Bush's 2002 America, Gerwig gave us a story that pulled us in all directions. 

9. The Florida Project (USA, Dir Sean Baker) 

An indie darling this year, Sean Baker's film had the most gritty feel to it. Set in a dilapidated Orlando neighborhood, the exploits of six-year-old Moonee (Brooklynn Prince) were some of captivating innocence. The hard-bitten reality of the money struggles is often crushing and her mother Halley (Bria Vinaite) resorts to illicit means to survive. Baker along with Prince emerge as major new talents and this is movie that left both critics and audiences reeling afterwards. 

10.  God’s Own Country (UK, Dir: Francis Lee)

The best piece of British cinema the year had to offer, Francis Lee gives us a love story in the gruffest British style. Romanian Alec Secareanu and Brit Josh O'Connor made for a perfect pair of conflicted lovers. O'Connor, in particular, plays his character with such intensity that his struggle to accept his emotions is spellbinding. Lee showed audiences that love is always in the last place we look. The windswept Yorkshire Moors never looked so inviting. 

Best of the Rest

11. Baby Driver (UK/USA, Dir: Edgar Wright)

Cool and thrilling in equal measure- Edgar Wright gave us a movie of pure fun. With a star-making turn by Ansel Elgort and a thrilling soundtrack, heists never looked so great on screen. Jamie Foxx was also onboard as the resident psycho which was just one of many impressive supporting turns. This movie made car chases a thing of beauty- just look further down. 

12. Logan (USA, Dir: James Mangold)

The final installment of the Wolverine saga was the one we'd been waiting for all along. Unafraid to show a more violent side, this one was a fitting and poetic tribute to a character who deserved on go out strongly. Also, there are few things more delightful than Patrick Stewart dropping F-bombs! 

13. The Big Sick (USA, Dir: Michael Showalter) 

The depiction of the real-life romance between star Kumil Nanjiani and wife Emily V. Gordon was one of the most touching portrayals. Nanjiani alongside the always watchable Zoe Kazan and Holly Hunter emerged a new talent both in front and behind the camera. It also tapped into family tradition and the desire to rebel against what you know. 

14. Hello Destroyer (CAN, Dir: Kevin Funk) 

Showing the devastating effect of when a young man is thrown on the scrap heap- this was Canada's strong film of 2017. Jared Abrahamson to devastating effect showed us a young hockey player abandoned by people he loves after one horrific incident. Its sparse feel and minimal dialogue only intensifies the isolation of our hero. 

15. War for the Planet of the Apes (USA, Dir: Matt Reeves) 

As finales go, few could have been more glorious than War! Andy Serkis confirmed his status as the go-to man for motion capture and Woody Harrelson played his Colonel as an old-school villain with surprising depth. With many brilliantly executed set pieces, this piece was as much about thrills as it was about the future of the human race. Caeser is a character who deserves his own spin-off. 

Male Star of 2017: Colin Farrell

In the past, many have always questioned Colin Farrell's ability. In 2017, he showed his true acting colors. Suitably charming and dangerous in Sophia Coppola's 'The Beguiled', Farrell's John McBurney was a lady killer come wounded animal. His best work proved to be in 'The Killing of a Sacred Deer' where his father character is soon faced with every man's worst nightmare. Farrell is now one of Hollywood's underrated talents and hopefully will see him rewarded come award season. 

Female Star of 2017: Daisy Ridley

Its a tough job looking cool with a lightsabre, but Daisy Ridley managed it with ease. Officially the new hope of the Star Wars franchise, Ridley provided 'The Last Jedi' with the tough and go-getting presence it so badly needed. She also got to show her acting talents outside this universe in 'Murder on the Orient Express'. In a middle of the road picture, Ridley made the most of limited screen time to befuddled Kenneth Branagh. One of the most exciting new British actresses on the block, Daisy Ridley is at one with the force. 

Best Director: Jordan Peele- Get Out

Ok, hands up who thought that one half of comedy duo 'Key & Peele' could have made a movie like Get Out? In his first feature film, Peele had the kind of debut few directors dream of. Showing a confidence behind the lens and unafraid to tackle difficult subject matters, Peele should definitely be among the nominees come Oscar time. His ability to blend sheer tension along with a more goofy side marks him out as a special talent. 

Scene of the Year: Baby Driver- opening sequence 

This opening car chase in Edgar Wright's thriller was everything you could want a beginning scene to be. Soundtracked to 'Bellbottoms' by Jon Spencer Blues Explosion, this chase sequence is slick, unpredictable, breakneck and best of all, rousing! Elgort's Baby looks like a youthful Steve McQueen behind the wheel and this scene easily challenges Bullitt for one cinema's great chase scenes. 

Summer Lovin': Review of Call Me by Your Name

Call Me By Your Name

Director: Luca Guadagnino

By Alex Watson

Fair warning before you see Luca Guadagnino's latest- this movie is heartbreaking in all kinds of ways. Call Me by Your Name is a movie that expertly and breathtakingly showcases the pain of true love. Set against the lush and stunning Northern Italy backdrop, this movie is far more just a feast for the eyes. Two magnificent central performances by Timothée Chalamet and Armie Hammer is what brings this piece to life and Luca Guadagnino emerges as Europe's new directorial threat.

During the summer of 1983, Elio (Timothée Chalamet) is spending his summer sunbathing, transcribing music and casually dating his girlfriend Marzia (Esther Garrel). His peaceful existence is interrupted by the arrival of Oliver (Armie Hammer) who arrives to assist his father (Michael Stuhlbarg). Over the next six weeks, a romantic connection ensues and Elio's world is turned inside out.

Any lovers of Guadagnino's previous work I Am Love and A Bigger Splash will be aware of how he can combine subtle humor with crippling emotional blows. Call Me by Your Name is a romantic film that sizzles in the summer heat. However, Guadagnino's brilliant piece is one that forces its audience to endure and as this tale slowly progress our hearts slowly crumble. A smart and well read 17-year-old, Elio is a confident and respected young man. Used to owning every room and dinner he visits, the arrival of Oliver automatically sends him into a flat spin. At first, disliking Oliver's natural charm and charisma, Elio attempts to avoid him. Its made apparently obvious that this unease is definitely physically related and the pair has a chemistry that is undeniable.  As the attraction between them intensifies, this sparks crackle all around.

Guadagnino's film fills its summer days with a variety of parties, dinner, dancing and endless relaxing by the pool and lakes. There is a lazy and peaceful feel to the flow of this movie, each day Elio dwells on his feelings is another lost opportunity. His parents seem aware of the budding romance between the pair and seem even to encourage it. One particularly emotional monologue by Stuhlbarg at the movie's climax is particularly heartbreaking. The pangs and longing of first love are beautifully expressed here- Guadagnino also finds some borderline creepy moments such as Elio smelling Oliver's bathing suit. Once the awkwardness melts away, a passionate love is born. Guadagnino isn't at all interested in showing explicit sex, instead, he focuses on the intimacy and the warm glow it brings. Before long the pair is becoming inseparable, but there is that inevitability that this will have to end soon.

Call Me by Your Name comes down hard on its audience during an overwhelming third act. The most poetic things about this movie are how little effect words have on the story. Every gesture, longing embrace, and pained expression tells us the whole story. Elio is shown to be a young man coming into his element but is shaken to the core over how raw and deep his feelings go. There is also a vibrancy and depth to the supporting characters too- Marzia is only a few brief moments of screen time has a profound effect. Even Elio's mother Annella (Amira Casar) is there to bring a tenderness when the movie most needs it. Few movies in 2017 are as earth-shattering as this one, the final shot is one of pure emotion. Take a moment to sit in your seat and get yourself together, you will definitely need it

Timothée Chalamet is a stunning find in Guadagnino's movie. Wearing the movie's heart on his sleeves, the young actor feels so natural it's impossible to believe he's acting. Feeling at ease with the movies rollercoaster of feelings, Chalamet is a talent that deserved to rewarded at this year's Oscars. Armie Hammer is also superb as the cocksure yet big-hearted Oliver. Coming across as the dreamy 'Odd Jew Out' All-American, Hammer draws both Elio and his audience to his brand of charm. One of the most dependable actors around, Hammer shows a newer and more rounded side to his talents. Never thought of as one for romance, this could a new career renaissance.

Call Me by Your Name will bend your heart into so many ways you will need to requisition a new one. A real romantic juggernaut, Luca Guadagnino's Suspiria remake will now be even more anticipated.

A Disturbance in the Force: Review of Star Wars: The Last Jedi

Star Wars: The Last Jedi

Director: Rian Johnson

By Alex Watson

Life in the galaxy rolls on and in the hands of Rian Johnson it still feels thrilling. Keeping the twists and turns coming thick and fast, there is also a heavy emotional core to Star Wars: The Last Jedi. Characters are forced to look inside and make some tough internal choices. Some Star Wars fans might gripe over its feel along with its more humorous and heavy-hearted approach. But you can't deny there is potential here and finally, this new batch of characters are beginning to come into their own.

The Resistance led by General Leia Organa (Carrie Fisher) is being forced to fall back against the might of the First Order. Low on numbers and morale, the only hope they hold is for Rey (Daisy Ridley) to convince reclusive Jedi Luke Skywalker (Mark Hammill) to return. Meanwhile, Kylo Ren (Adam Driver) is also fighting his own personal battle against his own conscience. 

Johnson wastes no time thrusting Star Wars: The Last Jedi into light speed. Starting with a thrilling dogfight which sees hotheaded but heroic Poe Dameron (Oscar Isaac) take on the First Order fleet and permanent sneer of General Hux (Domnhall Gleeson). This side of the story provides the unpredictable thrills of the story. Dameron along with former First Order trooper Finn (John Boyega)  and newcomer Rose (Kelly Marie Tran) are on a mission to disable an enemy tracking device. Dameron in this story emerges as the new Han Solo in the making- charismatic yet immature and brave yet ballsy. Always drawing the wrath of new commander Vice Admiral Holdo (Laura Dern), Dameron is both indispensable and a wild card all in one. The Kylo Ren/Ben Solo side story also holds its own as the conflicted Jedi is pushed and pulled by Supreme Leader Snook (Andy Serkis once again rocking motion capture) to embrace his evil side. Rey can still feel the human side of him but is he past the point of redemption?

The real heart of this picture comes from the unlikely alliance of Rey and Luke Skywalker. At first glance, this would seem like the movies Achilles heal. Not only does it succeed but it is by far the movies most glorious aspect. After the lightsaber hand over at the end of Force Awakens- Johnson makes this scene an unlikely moment of hilarity. Skywalker wears the ghost's of the past in this flick- scarred by his failure of his nephew Ben he at first stubbornly refuses to help Rey. However, the new protege never backs down and a caring and strong bond forms. As talented as she is with a lightsabre, Luke also greatly fears the influence of the dark side. Also during this time, a mysterious connection arises between Rey and Ren which could potentially alter the course of either life. Johnson during this sequence brings a tender touch which could bring big things in later movies. Of course, who won't enjoy the nostalgia of watching Luke board the Falcon after so many years?

While the Star Wars: The Last Jedi has plenty of ideas that hit, there also some that just fall flat. During an overly long sequence to rich planet Canto Bight, Johnson's movie comes a little unstuck. This whole plot device just feels added to draw out the mileage and becomes little more than a wild goose chase. Was the introduction of Benicio Del Toro's codebreaker DJ really necessary? This trickster comes and goes while making little impact or weight to the story. This is easily the strongest Star Wars effort since Empire Strikes Back, but Johnson is all about the changing of the guard. Seeing Carrie Fisher on screen for the last time will bring a tear to some eyes. Luke Skywalker along with many others are present but by no means are the focal point of the story. Some fans may not like the more jokey side or the almost video game like approach during the battle scenes. But you cannot deny that this franchise is at once with the force again.

Firstly it feels amazing to see Mark Hammill once again holding a lightsabre as Luke Skywalker. Turning in a career-high performance, Hammill reminds us why this character is so special. Playing a more jaded and afraid version of Skywalker, he shows a man unable to let go of the past. Oscar Isaac emerges as the new king of cool for this franchise. Poe Dameron is a man who plays by his own rules but is also the leader the Resistance desperately needs. John Boyega once again is superb as Finn and matches Isaac for strength of character. Daisy Ridley, however, is the real ace in the deck in Johnson's movie. Effortlessly looking cool with a lightsabre, Ridley is the picture's backbone. Able to handle the difficult of upstaging Skywalker, Rey is very much the franchises future Jedi master.

Star Wars: The Last Jedi brings new hope to the galaxy- just a shame Johnson won't be returning for episode 9.

The Lady in the Water: Review of The Shape of Water

The Shape of Water

Director: Guillermo Del Toro

By Alex Watson

The most unique and offbeat tale this year can offer, Guillermo Del Toro has created something very special. The Shape of Water is a movie unlike any the Mexican maverick has made before. Known for his stunning visuals in movies such as Pacific Rim, Crimson Peak, and Hellboy, this movie is all about heart and soul. With a clutch of wonderful performances to compliment the touching story, this will be an award's season favourite.

Set in Baltimore during the 1960's, Elisa Esposito (Sally Hawkins) is a mute yet big-hearted cleaner at a government science facility. She helps care for her elderly neighbour Giles (Richard Jenkins) and she also has a strong bond with co-worker Zelda (Octavia Spencer). One day a mysterious creature known as 'The Asset' (Doug Jones) arrives along with hard-nosed and brutal security officer Colonel Richard Strickland (Michael Shannon).

Alongside DP Dan Laustsen's bright colored and vivid cinematography, Del Toro display's a delicate touch with his directing. This picture goes above the level of emotion displayed in his masterpiece Pan's Labyrinth and shows us that love isn't just bound by species. Elisa is a character who views herself as an 'incomplete' human due to her muteness but yet she brings little pockets of joy to those who know her. Giles- a gay and rather scatterbrain artist relies on her heavily to get by. At first, a mousy person who doesn't dare rock the boat, the sheer courage she displays, later on, make us adore her. When she first comes across the creature- she is naturally very curious. Slowly, she bonds with it by feeding it boiled eggs and little by little a deep bond is formed. What makes this so poetic is the fact they have to communicate without words. Connecting through music and simple gestures, Del Toro shows how the smallest actions can be the most effective.

Despite the fact, this creature poses no threat to anyone- Strickland is all about protecting national security. This picture's equivalent to Captain Vidal, Strickland is a harsh man armed with an electric cattle prod who always believes that the end justifies the means. Although a family man, the Colonel lives a very regimented existence both in and outside work. He likes to keep his wife quiet during their passionless sex and seems to have little interest in his two children. Inside work, he bullies and terrorizes the creature for little other reason than he can. What is wonderful about Del Toro's The Shape of Water is that each supporting character has their own story to tell. Scientist Robert Hoffstetler (Michael Stuhlbarg) is a man who desires to protect this creature- but yet is also a Russian spy! Giles is a failed artist who is unwanted by both his old company and the attractive male diner worker he desires. Zelda in any other movie would have been the comic relief aspect, but in Del Toro's universe, she's a key player whose devotion to her friend Elisa is unconditional.

Coming together as an unlikely army of protectors, this band of cast off's are determined to protect the Asset with all their might. The growing love between Elisa and this amphibian being is unique because both are considered not completely human. From the beginning she doesn't see this creature as something to be feared- instead, she notices a being that needs to be nurtured. Unable to express her love- there is a beautiful scene in which she imagines singing 'You'll Never Know' which gradually turns into a full-on black and white musical dance number. Credit also needs to be given to production designer Paul Austerberry whose transforms 60's Baltimore into a sparkly place of wonder. His use of teal, in particular, is stunning and his underwater scenes wouldn't look out of place in a Disney picture. Even Strickland at one stage purchases a teal Cadillac- these subtle nods towards nautical themes is one of many fascinating elements this picture possesses.

Sally Hawkins gives a performance of the highest order. Boasting arguably the finest silence turn since Jean Dujardin in The Artist, Hawkins is simply mesmerizing. Excellently projecting her character's inner torment at being unable to express herself- Hawkins brilliantly uses her sign language to both highly comical and extremely devastating effect. Reliable baddie Michael Shannon is once again memorably nasty as the button-down psycho Strickland. Heavy on 'protocol' but unafraid to bend the rules- Strickland is hulking and violent menace whenever on screen. Richard Jenkins stakes his own supporting claim with a wonderful turn as the rejected Giles. A fun reverse on the old cat person spinster character, Giles like Elisa is unloved by the world. Jenkins gives a gentle yet potent supporting turn. Octavia Spencer will most definitely be among the nominees come award season. Zelda is a character that goes deeper than expected, on the surface, she is the typical chatterbox but underneath she has the heart of a lion.

The Shape of Water is a movie that will undoubtedly grace many top 10 and awards lists this winter. Guillermo Del Toro has shown us another beautiful side of his directing, where he goes from here will be fascinating.

The Wiseau One: Review of The Disaster Artist

The Disaster Artist

Director: James Franco

By Alex Watson

Tommy Wiseau's 'The Room' is a movie that was truly awful. Savaged by critics, it opened on one screen and was expected to disappear into obscurity. Since 2003, a cult following has ensued and the movie holds a special place in the 'So Bad its Actually Good' category. The making of his picture was another story entirely and James Franco has come up with one of the funniest pictures of 2016. The Disaster Artist feels like the Ed Wood of the 21st century and Franco gives us the most offbeat character in Wiseau.

Greg Sestero (Dave Franco) is a semi-talented actor living in San Francisco. One day during acting class he witnesses the bizarre yet utterly fearless Tommy Wiseau (James Franco). From this, an unlikely friendship is born. Both attempt fame and fortune by moving to Los Angeles, but their severe lack of talent and contacts extremely hinders them. Frustrated by the Hollywood machine, Wiseau decides to create his own movie titled 'The Room'. His lack of experience behind the camera and his strange script will ruffle more than a few feathers though.

The Disaster Artist faithfully adapts Sestero's memoir. The story of the worst movie ever made is one that is a lot of love and respect. When we first meet Wiseau, he's a character with instant magnetism yet you feel a great sense of unease. Sporting an obvious Eastern European accent and looking like he's half asleep, question marks hover over him throughout. Where precisely does he get his seemingly endless supply of money? How old is he? Wiseau can give us laughs from the strangest of places "Don't look at robot crab, he shy!" Franco beautifully sums up his lack of talent and presence acting-wise. Frequently quoting and overacting Shakespeare, at one stage a famous producer (Judd Apatow) angrily tells him "You because you want it, doesn't mean it's going to happen!" suggests he become a villain. He may lack any kind of acting gift, but Franco respects his determination and his desire to become a star really draws us to him.

Sestero is a man with his own issues- although totally faithful to his friend this putting a strain on his relationship with girlfriend Amber (Alison Brie). Wiseau emerges as an insane genius during filming and Franco brilliantly recreates some The Room's most infamous scenes. Making full use of his heavily accented voice- the dreadful dialogue has never sounded better "URR TARRING ME APART LEESA!" From day one its apparent that this movie is a real stinker. Script supervisor Sandy (Seth Rogan) is the weary and frustrated voice of the crew as he picks apart some of the movie's many glaring errors. Fans of The Room will no doubt delight at this aspect. From Wiseau weirdly laughing during a supposedly serious scene to his awkward love scene where his 'position' makes everyone squirm. Although everyone tells Tommy to stop and to give up- he refuses to give in. The cast and crew are suspicious of this picture throughout and question and are confused what the movie is even about? Acting pro Carolyn (Jacki Weaver) is quick to point out that the infamous breast cancer reveal "Never comes back!"

Seemingly realizing his production is doomed- Wiseau soon becomes a tyrant on-set. Showing up late, refusing to provide air conditioning or water and now extremely jealous and petty with Greg. Tommy soon alienates everyone. Although he acts like a jerk we do hold a small amount of pity for him because he knows this is his one shot and it's going up in flames. The comedy aspect of The Disaster Artist is put on the backburner during the third act as Franco shows us the pain of art being misunderstood and the bewilderment of failure. He does provide us with an ending which is glorious in its failure. Showing us the disastrous premiere and the hilarious reaction of the audience members to this awful film. Franco also captures the spirit and the affection that filmgoers hold for this movie. A financial and critical failure upon its release- but despite this Tommy Wiseau has achieved his dream!

You couldn't have chosen a better Tommy Wiseau than James Franco. Superbly capturing his bizarre voice and his weird persona, this role fits Franco so well it hurts. Effectively channeling his softer side along with his more toxic one- this character comes across as a man with no quit in him. Coming up with moments of comedic gold, Franco is able to get laughs from audiences wherever possible and this might just be the funniest character of 2017. Brother Dave Franco also impresses as the more rational but equally talentless Greg Sestero. Against the unpredictable and often volatile Wiseau, Greg is the calm voice of reason whom his friend slowly grows to resent.

A love letter to the worst movie ever made The Disaster Artist is a picture that shows that sometimes even failures can make an impression. Remember to bring your spoons though!

Life on the Farm: Review of God's Own Country

God's Own Country

Director: Francis Lee

By Alex Watson

Against the windswept and grey plains of the Yorkshire Moors- debut director Francis Lee has created 2017's most affecting love story. Unfairly labeled 'The British Brokeback Mountain', God's Own Country was a surprise hit at this year's Sundance Film Festival. With a minimal use of words, the sexual tension bubbles all around. Lee also delves deeply into male insecurity and coming to terms with your identity.

Twentysomething Yorkshire lad Joe (Josh O'Connor) is a hard-drinking farmhand who has little in the way of meaningful relationships. Aside from the odd casual male hookups, Joe lives a busy life of keeping the farm together. His father (Ian Hart) is a cold and distant man recovering from a stroke and his nan (Gemma Jones) is simply trying to keep things together. Desperate for help, the family hires Romanian immigrant Gheorghe (Alec Secareanu). As a result, Joe's world is turned upside down.

The way God's Own Country explores relationships is brilliantly observant. Joe's doesn't have much in the way of interaction- the first scene we see him rising and puking his guts out from a night at the pub. A man who expects nothing out of life expect work- we see him going about his isolated existence against the harsh yet beautiful landscape. Lee excellently emphasizes the bleakness and the continually grey sky seems to reflect his mood. While alone we see him kindly tending to the cattle on the farm and lovingly stroking a pregnant cow's body. Here we get a sly glimpse of the love that Joe is capable of giving and in this one moment, he can be something more. Unexpectedly we soon see him engaging in rough sex with another guy in the back of a cattle trailer. The way Joe casually disposes of him afterward says volumes. He prefers to keep things quick and distant as its the only way he knows how. His relationship with his father is limited to orders and him constantly berating him for his failings. Love is a luxury that cannot be afforded so Joe expects nothing in return for his efforts.

Gheorghe's arrival is at first interpreted as a threat. Few words are spoken between the pair- but Lee makes sure each feeling fills the winds in the air. The tension and unspoken desire is almost unbearable at first. Joe treats his new colleague with a barely concealed contempt. When a reaction is finally provoked from Gheorghe, Lee breaks the hostility. For the first time in his life, Joe is treated with a kindness which is completely alien to him. One tender moment sees Gheorghe lovingly treating a graze on his hand- in this one moment you can almost feel Joe's heart swelling. Gheorghe's comes across as a gentle and heartfelt soul which Joe is unaccustomed to seeing in these parts. The way he desperately tries to save a runt sheep from dying is a truly uplifting moment. This man is the answer that Joe has been seeking- yet he refuses to acknowledge it. Lee fills his picture with wonderful little moments which are so simple yet cause the biggest waves. Gheorghe's setting the table for a meal seems to open up a new world of possibility. 

At its purest God's Own Country is a movie about how love can change a person. There is a notion of racism and xenophobia- particularly during the pair's opening scenes where Joe degradingly refers to Gheorghe as 'Gypo'. Post-Brexit, this is all the more relevant and believable. But Lee doesn't see the need to portray their love as a forbidden romance. This movie is more about someone being unable to come to terms with the possibilities in front of them. Joe believes in simply getting things done and is unable to return love or affection because he is unaware how to. Slowly the hearts of the audience are torn to shreds as we see our hero struggling against accepting something wonderful. Slowly as his world opens up, Lee's movie starts to radiate joy.

Josh O'Conner is a revelation as Joe and as the young lad, he gives a performance of extreme depth. A character of few words, O'Connor says more in his silence than dialogue ever could. Giving a raw depiction of a man finally experiencing love, O'Connor is simply brilliant. Alec Secareanu is the picture's beating heart though and as Gheorghe, he brings a loving and sweet side. His simple gestures to Joe are what makes this picture widen. Secareanu has a presence that is undeniable and he makes full use of this character's soft side but is unafraid is to be tough when called upon.

God's Own Country is quite possibly the best piece of British cinema that 2017 can provide. A love story that will make its audience feel the entire spectrum of emotions.

We Gotta Get Outta This Place: Review of Lady Bird

Lady Bird

Director: Greta Gerwig

By Alex Watson

Greta Gerwig emerges as a talent to watch behind the camera. Lady Bird is a picture that sparkles and gives a deep yet hilarious look at the angst of youth. Dealing with people experiencing an identity crisis and the typical back and forth arguments between mother and daughter- Gerwig's movie feels refreshingly real. Although alongside the laughs there is a heavy emotional core that will audiences all the way to the bone.

Sacramento teenager Christine 'Lady Bird' McPherson (Saoirse Ronan) is a high school senior who desperately wants out of her modest California life. Eager to leave home for illustrious college's on the East Coast, Lady Bird continuously bickers with her mother Marion (Laurie Metcalfe) over her future plans. Her family is facing a crisis since her father Larry (Tracy Letts) has been laid off. Although she is capable- Lady Bird must do far better to reach her dreams.

Early on in Lady Bird, Gerwig gives a close-up example of the problematic relationship between Christine and Marion. We first see the pair returning from a college tour crying over an audio tape of 'The Grapes of Wrath'. Initially, the pair lovingly reflects on it. Within moments, Marion is nagging her daughter over her apathy about her future which soon descends into her berating her to the point where Christine physically jumps out the vehicle. Marion is a character wracked by self-doubt and anxiety and her failure to inspire or connect with her daughter pains her. By no means is either character completely likable-Christine is a fiercely independent creature who chafes under the rule of her underbearing mother. Desperate for life on the East Coast where 'writers live in the woods' Christine attempts musical theatre as a way of boosting her college prospects.

Set in 2002 during Bush's America, money and wealth is also a talking point in this picture. The McPherson's are a family barely holding their head above water. Larry has struggled with depression and being out of work has put a huge financial strain on them. Despite this, he is still willing to help his daughter with her financial aid forms. When Christine befriends wealthy and popular Jenna (Odeya Rush) she pretends she lives in a big luxurious house in an affluent neighbourhood. Gerwig puts a good spin on the pain, angst, and joy or teenage crushes. Danny (Lucas Hedges) appears to have it the complete package- wealthy, handsome and from a close-knit Irish-Catholic family. However, in one subtle yet brilliant reveal, Gerwig superbly shatters Christine's portrait of him. Dreamy rocker and wannabe philosopher Kyle (Timothée Chalamet) is the boy who seems so wrong to us but a figure of aloof desire to her.

Lady Bird is heavily inspired by Gerwig's own experiences before going off to college. This is the element that makes her directorial debut feel so raw and real. Christine and Marion are the driving force of the movie and this is possibly the most realistic mother-daughter depiction you will ever see. Marion only wants the best for Christine- but that doesn't stop her from continually observing her flaws and picking her unrealistic expectations. Christine is also blind to just how much work her mother puts into keeping the family together. Though Gerwig is always careful to remind us how each insult comes from a place of affection. Few debuts are as assured or genuine as this one- being the best-reviewed movie on Rotten Tomatoes in 2017 speaks volumes

Irish actress Saoirse Ronan once again is on firecracker form as Christine. Perfectly channeling her character's desperation to be something other than ordinary, Ronan is well cast. One of Hollywood's strongest young actresses, the 23-year-old never seeks for us to love this character- only to understand where she is coming from. Laurie Metcalfe should be the favourite on every person's supporting actress list. Known to audiences from her time on Broadway and as Sheldon Cooper's mother in Big Bang Theory. Metcalfe gives a supporting turn of sheer power and immense depth. Her Marion is a character that is always criticizing her daughter's choices. Through Metcalfe, we come to realize her words although cutting are actually being said of out love. 

Lady Bird is more than just a critic's darling this award season. Few indie efforts feels as polished or emotionally engaging as this one. Another hit for A24, who have been the studio to beat this year.

All Aboard: Review of Murder on the Orient Express

Murder on the Orient Express

Director: Kenneth Branagh

By Alex Watson

Agatha Christie has never looked so stylish. Kenneth Branagh gives his audience an enjoyable ride in Murder on the Orient Express. Showing some neat visuals and generating some lovely moments of mystique on board the cramped rail coaches. But despite sporting a wonderful heavyweight cast- we can't escape the fact that the needed tension is disappointingly absent. Branagh adds style and finesse- but this fails to really add anything new to an already well-covered story

After successfully solving a mystery in Jerusalem, world-famous Belgian detective Hercule Poirot (Kenneth Branagh) decides to take a mini holiday on board the Orient Express. While onboard, suspicious American businessman Samuel Ratchett (Johnny Depp) is stabbed to death. Although wishing to stay out of it, Poirot is the only man on board who can find the killer. This will be his most challenging case yet because all the passengers seem to have their own past demons.

Murder on the Orient Express is a very beautiful looking movie- thanks in part to the colorful and scenic photography by DP Haris Zambarloukos. Branagh definitely has the look of the era down and he is clearly having a ball playing the egotistical but brilliantly minded detective. Nailing down the more tricky aspects of his persona (including his obsession with having two perfectly symmetrical eggs)- Poirot is a nemesis for any criminal. When the passengers are loaded onto the train in Istanbul, the tension begins to build wonderfully. Ratchett emerges as a rather crass and bullying figure who is beginning to fear for his life. The passengers nervous and scornful looks they pass at each other give sparks of mystery.

When the big moment hits- the air seems to go out of the picture. The suspense seems to feel flat and although the legendary reveal is still clever, in this adaptation it just feels predictable. The cast that Branagh has assembled is wonderful to watch, but great names such as Judi Dench, Derek Jacobi, Daisy Ridley, Michelle Pfeiffer, Penelope Cruz, Josh Gad and Willem Dafoe are confined to bit parts. As the mystery unravels there are some fine moments of emotion on display. Josh Gad, in particular, comes up with some fine acting which gives depth to a complex character. Poirot already seems to have an idea of who the killer is, but knows he must tread carefully. The claustrophobic setting of the train carriages is still nerve-wracking in places. With the train derailed by a snow drift, Poirot knows every step he takes could be dangerous.

Classic mysteries like Murder on the Orient Express are rarely seen in today's film world. Although Branagh still gives us a great middle of the road thriller, you can't help feeling that this tale feels dated. Already well adapted for film and television, Branagh is unable to bring any new to proceedings. Any newcomers to this story will be able to guess to the big finale from a mile away- partly because Poirot gives red herrings throughout. Although there are some missteps its a picture that still entertains and on the visuals and star power alone, this is a good journey onscreen.

Kenneth Branagh does an interesting new spin (and new mustache) as the famous Belgian Poirot. A more physical version of this character, Branagh is unafraid of doing more heavy lifting that sitting around. He wonderfully shows the more quirky side to this character and is unafraid to give light to his arrogance. However, TV's David Suchet remains the perfect Poirot. In the supporting ranks, we are given some performances to savour. Michelle Pfeiffer, in particular, is glorious as the conflicted Caroline Hubbard. Derek Jacobi still shows he has a presence that few veterans as the tricky Edward Masterman- his character alone deserved more screen time.

Murder on the Orient Express is a mystery that is still rightly regarded as a classic. However, despite Branagh's best efforts, it doesn't feel any newer on screen.

Mississippi Burning: Review of Mudbound

Mudbound

Director: Dee Rees

By Alex Watson

Dee Rees' Mudbound is a movie that is unafraid of tackling a dark point in US history. Among the muddy fields of Mississippi, the racial tension simmers. However, Rees also makes the human struggle element clear because this story is about how one piece of land causes a great divide among families. There is also a notion of brotherhood and two characters although worlds apart are drawn together by a terrible experience. The end result is an emotionally engaging piece.

Henry McAllan (Jason Clarke) leaves his idyllic city life in Memphis to pursue his dream of owning a farm in Mississippi. The move is hard on his wife Laura (Carey Mulligan) who struggle to adapt to living in a shack with no running water or electricity. She is also drawn to his war hero brother Jamie (Garrett Hedlund) who is affected by his combat experience. At the other end of the spectrum is sharecropper Hap (Rob Morgan) who has five children with wife Florence (Mary J Blige)- their son Ronsel (Jason Mitchell) has also returned home from WWII but faces another war altogether.

While six different characters providing narration does feel like overkill in places, there are few complaints to be had about Mudbound. Rees is able to draw us to each individual characters and bring them into their innermost thoughts. There is an unspoken sense of order through the early stages of this picture and from the moment Henry's family arrives, Hap knows their place in the world. His family has worked on the land for generations even though the land will never become his. " this character continually wonders about his place. While Henry is never outright hostile or unkind, his Pappy (a delightfully evil Jonathan Banks) is very much upfront with his hostility. Refusing to even sit next to Hap in the front of their car, his blunt hatred causes friction whenever he appears.

Jamie's arrival is one that stirs the pot. Permanently drunk and suffering from PTSD, he is saddled with a deep-seated guilt over the soldiers he failed to save in WWII. Laura is drawn to his kindness as he seems to embody everything her husband isn't. When meeting Ronsel for the first time, the pair do not see black or white but a fellow combat vet. Their friendship blossoms because they both understand the horrors of war. Sadly it also ignites a furious reaction from Pappy and what transpires is truly horrific. At the height of segregation, this friendship becomes the movie's heart and soul.  Laura's story is also one that brings a sadness to our hearts. A woman trying to make the most of the soggy and mud-filled land she occupies, she also chafes under the dominance of her unlikable father in law and her distance husband.

Rees's takes her audience into a time that most American audiences wish to forget. In 1940's deep south, there was an obvious social ladder and Hap and Florence's family unwittingly found themselves on the bottom rung. The intense hatred and hostility are at times also unbearable to watch. Especially during a tense sequence where Ronsel attempts to leave via the front door of a shop. Pappy and his equally racist pal are quick to ensure he knows to leave through the backdoor "I don't know what they let you do over there, but you're in Mississippi now!" Hap and Florence are bravely trying to build their own dream despite the odds being stacked against them. The notions of losing and keeping faith are strongly enforced- Laura is continually losing hope over her husband's perhaps foolish intentions.

While Carey Mulligan gives a stand-out turn as the struggling Laura, she is almost a background player in this story. Garrett Hedlund is outstanding in a strong supporting role and firmly captures a man wrestling with his conscience. Dismissed as drunk by both his brother and father, Jamie carries a burden few men understand. Hedlund is definitely Oscar-worthy here. Jason Mitchell's Ronsel is the character who will capture your heart. A brave soldier, he comes home to find the old problems that plagued his life are still there. Mitchell's barely contained disgust is mesmerizing to watch and on merit alone, he deserves to rewarded. Mary J Blige is the one tipped for Oscar glory and as in a powerful and less showy turn- she thoroughly lives up to the hype.

Mudbound is a movie that captures the struggles of everyday people trying to live a dream. It is also a powerful voice about a dark era of US history.

A Stranger In My Home: Review of The Killing of a Sacred Deer

The Killing of a Sacred Deer

Director: Yorgos Lanthimos

By Alex Watson

Colin Farrell and Greek helmer Yorgos Lanthimos are becoming the new odd couple. After collaborating on the bafflingly brilliant picture, The Lobster, once again they strike gold. The Killing of a Sacred Deer is a bold, brave yet disturbing feature film. Lanthimos may confuse some people with his mixture of sadistic humor with high tension. Those who are familiar with his style will be blown away by one of the best movies of 2017.

Steven Murphy (Colin Farrell) is a successful surgeon who is bonding with troubled teen Martin (Barry Keoghan). Happily married to Anna (Nicole Kidman) with two children, everything seems pretty rosy. However, Steven was also the surgeon who operated on Martin`s father when he died. One day, Martin reveals he has placed a curse on the family and now Steven must kill one of his own family to balance the scales.

There is an eerie and distorted feeling from the very first moment of The Killing of a Sacred Deer. Kicking off with a bizarre conversation between Steven and colleague (Bill Camp) about watches- Lanthimos clearly intends to take us in all different directions. Steven`s relationships with others are put under the microscope early. Barry seems to have an almost mentor friendship with him, despite the deliberately strained conversation. There is also a heavily sinister undertone and Martin is always showing up unannounced at the hospital. Anna is a loving and doting wife and willing allows him to explore his fetish of having sex with her while she pretends to be asleep. Although everything is picture perfect on the outside- Martin slowly exposes the flaws the family has and pretty soon things become tense.

Quickly Martin asserts his dominance over Steven's daughter Kim (Raffey Cassidy) and son Bob (Sunny Suljic). One moment sees his daughter get undressed in front of him, only for him to casually reject her. Guilt is another factor that is heavily implied throughout Lanthimos' picture. Steven carries a burden from the night Martin's father passed away. His refusal to acknowledge his potential liability marks him out as prideful and stubborn. During the early stages, we are never sure whether Martin is toying with Steven or is genuinely interested in bonding with him. During a freaky dinner at Martin's, his mother (Alicia Silverstone) makes a bizarre pass at his 'beautiful hands' and the rejection that follows seems to be the catalyst for what follows. In a shocking yet brilliantly underplayed sequence, the young man reveals the terrible truth. In a nervous and overly fast voice, Steven is informed that if he doesn't kill one of his family, they will all become paralyzed and slowly die.

From this point on The Killing of a Sacred Deer transforms into pure psychological horror. Thanks to the terrific camera work of Thimios Bakatakis we are drawn into every father's worst nightmare. Out of nowhere, his children get sick and no solution can be found. Steven transforms from a cool and collected being to becoming a wounded tiger. Soon he resorts to increasingly desperate measures to try and salvage a no-win situation. The moral implications of what he will have to eventually do are almost sickening. Lanthimos drags his audience through the whole spectrum of emotions and we all know that we cannot look away.

Colin Farrell demonstrates that with the right director he can be a revelation. Carrying the movie's emotional and mental core- Farrell shows a side of his acting we have seldom seen. Some may still sneer at his ability (particularly his big-budget failures) but its impossible to deny that he is Oscar-worthy here. Nicole Kidman also gives strong support as the suffering yet committed Anna. Almost the Lady Macbeth figure, later on, she is the one behind the scenes keeping it together. Newcomer Barry Keoghan almost steals the picture from Farrell with a menacing turn as Martin. From the moment he enters his permanently monotone voice is immediately unsettling. Keoghan is a star we need to watch closely.

Some may find The Killing of a Sacred Deer extremely unsettling, but Yorgos Lanthimos is very different kind of director. On tension and style alone, this is brilliant filmmaking.

Hammer Time: Review of Thor: Ragnarok

Thor: Ragnarok

Director: Taika Waititi

By Alex Watson

After the underwhelming sequel, 'The Dark World' many Thor fans were left wondering where the Thor could possibly go next? Getting Taiki Waititi in the director's chair was the smartest move imaginable. Thor: Ragnarok is a sharp and funny ride that finds its humor in very unlikely places. Unlike previous director`s, Waititi is given free reign and the success of the movie comes from his lack of reliance on action scenes.

When estranged sister Hela (Cate Blanchett) aka the Goddess of Death returns, Thor (Chris Hemsworth) finds himself in a tricky situation. Exiled the garbage planet of Sakaar, he finds himself forced to fight as a gladiator for the Grandmaster (Jeff Goldblum). However, while on this planet he finds himself reacquainted with his old buddy Bruce Banner (Mark Ruffalo) and once more facing off against troublesome brother Loki (Tom Hiddleston).

After showcasing his unique brand of funny in his acclaimed movie `Hunt for the Wilder People`, Waititi was an unusual candidate for Thor: Ragnarok. He proves to be an inspired choice because he is the first director to really channel the comic gold this character has. Watching a dangling Thor slowly enraging villainous demon Surtur (voiced by Clancy Brown) during a threatening monologue immediately sets the tone. In other hands, the mashed together plot involving usurping, past murders and slavery could have been a messy affair. Waititi makes it seems like a breeze and keeping the focus on comedy makes this a much better viewing experience.

When Thor literally arrives with a bump on Sakaar, much of the comedy is found here. Grandmaster is the most Goldblum role that Jeff Goldblum will ever play. A smooth-talking tyrant with his fingers in many pies, Thor's entry into being a gladiator couldn't have been worded more nicely. The showdown in the arena between Odinson and the Hulk gives us a hilarious verbal and physical battle. This also lasts outside the walls as the pair squabble throughout, including a brilliant reaction by Thor to seeing the Hulk's green dick. Waititi, also plays the scene-stealing rock gladiator Korg, in his soft-spoken voice he provides the bulk of belly laughs. There's also the added problem of Loki being around. Morally ambiguous at every turn, once more his brother makes it hard for him. In this installment, sibling rivalry is present but almost takes a backseat. Although we do learn how they play the game 'Get Help' (recommended for all to try at least once).

As a villainess, Hela feels like Thor: Ragnarok's weak link. Although central to the plot she just comes across as just a moody and bitter relative. Banished from Asgard after her genocidal desires outgrew her father's, Hela has the potential to have a cold, malevolent presence. While she physically matches Thor, she lacks any kind of real threat. Although there is a fine supporting turn from Tessa Thompson as a former Valkyrie. Scarred by her past encounter with Hela, Valkyrie has resorted to heavy drinking and slave capturing to get by. Getting her on board to protect Asgard is a major hurdle and she makes Thor work for it. The emotional content of this movie also makes Ragnarok creak slightly. Waititi effortlessly blended heavier content with a light touch in Wilder people but for a picture like this, it feels unnecessary. When a movie crams so much into one film, they can't all winners, unfortunately. Aside from this, there are few grips to be had and Waititi is welcome back to tickle our ribs anytime.

Chris Hemsworth has molded Thor so well it fits him perfectly. One of the few action movie stars capable of both great depth and sheer comedy, Hemsworth once more stands out. Tom Hiddleston again makes a great love/hate figure. His facial expressions alone make his character impossible to pin down and Hiddleston is clearly loving every minute. Cate Blanchett should have been a fine nemesis but finds herself stranded in a one-note role. Mark Ruffalo is also able to find his funny side as Banner. Hilarious neurotic and forced to wear Tony Stark's tight pants, he is barely keeping his green friend inside. Anthony Hopkins in one very brief scene still shows just why he is one of few remaining greats. In a single monologue, he can conjure up feelings of remorse, fear and ultimately hope. It's a shame the central pairing didn't get more time alongside him.

Thor: Ragnarok is very much the strongest of the trilogy so far. Taika Waititi proves he can handle the big-budget pieces and let's hope the Marvel Universe brings him back for the next installment.

If I Were a Rich Man: Review of Brad's Status

Brad's Status

Director: Mike White

By Alex Watson

Ever wondered if your life was worth a damn? Mike White's movie Brad's Status is a picture for anyone going through a crisis. We frequently compare our achievements against those who have greater success. We always want more and curse ourselves for not trying hard enough. White throughout makes us wonder where doing this actually gets us anywhere?

Brad Sloan (Ben Stiller) is a 40-something man who runs a non-profit organization. Even though he has a happy life with life Melanie (Jenna Fischer), he feels like a failure compared to rich buddies Craig Fisher (Michael Sheen), Billy Wearsitter (Jermaine Clement) and Jason Hatfield (Luke Wilson). A trip to Boston for his son Troy's (Austin Abrams) college interviews sparks a voyage of self-realisation.

From the opening of Brad's Status, it becomes clear that the man is at crisis point. His one employee has quit on him because he wanted to make money rather than beg people for it. Very much a man of first world problems, Brad's jealousy as he looks through his friend's social media updates is poorly masked. He questions everything in his life, even wondering if his supportive wife should have pushed him harder? The question of selling out is a big point in White's movie- his friends have all become rich through various ventures while Brad who is trying to help people feels like he is going backwards. When trying to go through a VIP line at the airport he is turned away because he 'only has silver membership'.

Constantly Brad mulls over how things could have been. His jaded view doesn't always make him a pleasant on-screen character. In one moment, he urges a young college student to sell out on her 'for the people' views because it is how people make money. Within seconds he is fighting for control and digging himself a deeper hole. Refreshingly the girl he talks to calls him out on his self-pity and entitlement. White's direction stunts the film's growth in places and he feels the need to map out precisely what Brad feels constantly. Its apparent to the audience due to the frequent voice-over where he bemoans "This is not the life I imagined!" His obliviousness to his superficial friends is at times hilarious because Brad has a life many single men would long for.

Brad's Status is a movie that is well aware of itself and White refuses to let him picture wallow in sadness. We all know there will be a lightbulb moment which helps Brad clue into his worth. His relationship with his son feels slightly underexplored even though his happiness and future are central to Brad. In one scene he panics to his son over his underdog status getting into Harvard and worries about him being a white kid without a sob story. There is also a good intelligence to the story and thankfully it never once urges us to feel any pity for our hero. White might not be the skilled director he wants to be yet, but his writing is always sharp and inviting.

Ben Stiller is on familiar ground in this piece, because of this is able to carve a very natural performance. His Brad is a man wrestling with himself and Stiller is able to make him believable without seeming self-loathing. Michael Sheen is what amounts to a brief cameo is wonderfully arrogant as his frenemy Craig. That one friend who constantly pats himself on the back while oblivious to the needs of other is all too familiar. Sheen does a great job of channelling a man clueless to his own unlikeability. Credit to Austin Abrams too, in an underused role as Brad's son, he has some fine underplayed moments alongside Stiller.

Brad's Status is not the indie darling it so desperately wants to be, but it will help anyone struggling to see the upside of life.

About A Girl: Review of Una

Una

Director: Benedict Andrews

By Alex Watson

There is an undeniably stagey feel to Benedict Andrew's film Una. An adaptation of David Harrower's play 'Blackbird', this movie is a powerful look at how the past can still hurt us. Rooney Mara and Ben Mendelsohn make for a fine central pairing and their back and forth verbal duals make this picture electric to watch. Unfortunately, the movie struggles to fill the gaps where they are urgently needed.

Una (Rooney Mara) finds a picture of her ex-lover Ray in a newspaper. Having not seen him in 15 years, on impulse she travels to his workplace. Ray is less than thrilled to see her and her presence brings us a past that he wants to leave behind. Una however, refuses to be ignored and is intent on discovering why he abandoned her all those years before.

Anyone who sees Una will be shocked to discover early on that this picture deals with a forbidden romance between Ray and a 13-year-old Una. Ray sexually abused her at a young age and the pair were planning to run away together. But one night her supposed lover disappeared leaving Una to pick the pieces. Showing no fear or reluctance about her past- Una confronts him head-on about things. Although Ray openly admits there was a romance, he refuses to admit he abused her. Throughout the pair shows a different acceptance of the past, Ray went to prison but has moved on. He now has a wife and a secure management job. Una on the other hand, refuses to let things lie and demands to know why the man she thought loved her just disappeared? Set mostly within the confines of a warehouse, the pair is literally boxed in and there are no places to run to.

When Una and Ray are on screen, the movie pops with bright colour. At first, Una is very dominant and her aloof and frank approach to calling her abuser is almost seductive. Ray is a man who in brief flurries we feel a pang of sympathy for, especially when he describes his prison experience. Though we must be careful not to become too attach and as past flashback reminds us, it was him who groomed Una. Although he has done his time and wants nothing more than to settle down with his new wife, his former lady feels an injustice as she was still made to suffer afterwards.  Andrew's makes neither character likeable, then again they are not supposed to be. The way Andrews moves between two timelines showing us adult and young Una (an excellent Ruby Stokes) is haunting. Teenage Una is a girl with a sly confidence above her years, which Ray quickly feeds off. We are never shown any of the illicit acts taking place, but the implications are far scarier.

Outside of their rollercoaster of emotions, Una struggles to find a sure footing. Very few supporting characters are given any kind of screen time. Ray's co-worker Paul (a disappointingly underused Riz Ahmed) is one of the few who gets any kind of attention. Unfortunately, the movie cannot shake it stagey feel and as the pair hops from one part of the warehouse to another, there is a little room for the story to move. Also, its lack of a satisfying conclusion is one aspect that will frustrate viewers. Andrews excellently builds up the emotional and sexual tension to a stifling level. Problem is the movie has no way to really release it so we are left with a third act that has a deflated feel. There is one moment which will stick in the memory, we see Una curled up on a child's bed as she remembers being with Ray on a Ferris wheel. At first, the scene starts out as touching and affectionate, but by the end, it borders on seductive and uncomfortable.

Rooney Mara is absolutely excellent as the title character. Making full use her character's longing and pent-up anger, she gives a performance of complex emotions. Still loving and hating this man, Una is a woman who is still stuck in a time warp and unable to move on. Mara is one of Hollywood's most capable talents and she is on fiery form her. Ben Mendelsohn matches his co-star blow for blow and the most impressive aspect of this performance is how measured it is. Ray is undoubtedly a monster and paedophile but is trying to bury his past and become something new. We are given timely reminds of what crime he committed, but Mendelsohn gives an everyman charm. One of the most underrated actors on the planet, hopefully, this year he gets noticed at award season.

Una is a movie is worth seeing for the performances alone. It might not suit all tastes, but its quality of acting cannot be denied.

Jailhouse Rock: Review of Brawl in Cell Block 99

Brawl in Cell Block 99

Director: S. Craig Zahler

By Alex Watson


Vince Vaughn is an actor that many people still disregard. S.Craig Zahler's Brawl in Cell Block 99 might just cast a whole new perspective on this man. Turning a career-best performance, Vaughn shows a newer and tougher side to his persona. Currently going through a career renaissance, the 47-year-old shows he might be casting off the shackles of his comedic past.

Bradley Thomas (Vince Vaughn) is a former tow truck driver turned successful drug runner. When he is arrested in a botched police bust, Thomas refuses to talk and is given seven years in jail. While in a medium-security prison, Thomas is informed by a creepy middleman (Udo Kier) that his former boss has captured his pregnant wife Lauren (Jennifer Carpenter). To erase the debt caused by his imprisonment, he must get transferred to maximum security and kill a man in Cellblock 99.

A quietly ferocious presence throughout, Bradley Thomas from the opening frame shows he is not a man to be messed with. Fired from his job as a tow truck driver- Thomas wordlessly drives home and finds his wife about to leave him. Rather than screaming and shouting, he instead goes to town ripping apart her car. All of his anger and frustration with life are channelled through this bending of metal. Quick to remind people he's called Bradley, not Brad- Thomas is a man who has a 'get her done' attitude which leads to his vast success as a gun runner. Zahler takes his time actually getting Bradley behind bars- remaining loyal to his values is what sees him get in trouble. At first, he gets put in a safer prison and seems content to just do his time and come home to his wife and future child.

The first hour of Brawl in Cell Block 99 trundles along at a steady pace- but when Bradley is given his ultimatum inside the jail, the movie is given a huge shot of adrenaline. At first a placid character, the second half sees our hero becoming a hulking figure of revenge. Informed that his wife has been taken and that his unborn child will be mutilated by an abortionist if doesn't comply, you can almost feel the anger on his lips. Zahler's film becomes a thrill ride from this point and he doesn't hold on back on the gory details. Picking fights with both prisons and guards alike to get closer to this target, Bradley will do whatever it takes. Watching the bones break and the blood spray, audiences will definitely squirm in discomfort.

Getting landed in max proves to be a tricky last step as it lands him in the custody of the slipper Warden Tuggs (a scene-stealing Don Johnson). Tuggs is a man who believes in 'limited freedom' which will become even more limited the more Bradley pisses him off. When he goes past the point of the no-return, our hero never once blinks. His sheer physical presence alone marks him out a real danger. In one scene he cooly beats the seven bells out of a gang of prison yard thugs without breaking a sweat. It becomes clear that he may be fighting a losing battle, but his well-being is the furthest thing from his mind. Zahler takes us the dark region of a desperate man, but it is presented with a gritty cool that makes all the more fascinating.

After impressive turns in Hacksaw Ridge and True Detective, Vaughn has now become a fascinating talent. Effortlessly keep this picture together, Vaughn shows no strain at the physical side of this role. His Bradley Thomas is a one-man machine and although he is going through every person's worst nightmare, he keeps his composure. This picture shows a whole new ability of the man known for his easy money slacker films. You might be expecting Owen Wilson or Ben Stiller to appear at first, but once Vaughn gets going it is impossible to take our eyes off him.

Brawl in Cell Block 99 might not be easy viewing, but it is a tight and tense thriller that showcases the talents of Vaughn and Zahler.

The Happiest Place on Earth: Review of The Florida Project

The Florida Project

Director: Sean Baker

By Alex Watson

A heartbreaking and raw look at the playfulness and naivety of youth, Sean Baker's The Florida Project is bound to break hearts. Previously gathering huge acclaim for his iPhone shot movie Tangerine, Baker emerges as a real indie talent. Set in Orlando, Florida in the shadow of Disneyland, this is one place where dreams and lives go to rot. Willem Dafoe and six-year-old actress Brooklynn Kimberley Prince give performances that will no doubt be given consideration come awards season.

In the run-down Magic Castle Motel, six-year-old Mooney (Brooklynn Kimberly Prince) is a talkative and troublemaking girl who lives with her heavily tattoed and foul-mouthed mother Hailey (Bria Vinaite). Alongside her friends Scootey (Christopher Rivera) and later Jancey (Valeria Cotto), they spend their days getting up to all kinds of mischief. Motel manager Bobby (William Dafoe) is continually concerned about the pair, particularly when it becomes clear Hailey might be up to suspicious activity.

From the very first frame of The Florida Project, there is a grimy yet carefree approach. When we meet Mooney and Scootey, they are cheerfully spitting off the side of a rail onto another person's car below. When caught in the act, they gleefully spirit away. When confronted about her daughter's behaviour, Hailey can only reply with a barely contained smirk. Mooney is a girl full of energy but she is also a bundle of trouble. Living in a roadside motel that looks like a welfare version of the Grand Budapest Hotel, there are numerous abandoned buildings to cause havoc and food places where they scrounge money off locals. Despite her surroundings and obvious poverty, the little girl finds joy and wonder all around. Hailey, on the other hand, is a ticking time bomb. Having a fast mouth and no filter, her aggressive style frequently gets them into trouble. Fired as from her last job, she now seeks to come up with rent money every month. Desperate she hustles and pleads tourists at nicer hotels to buy her knockoff perfume and indulges in some other more... illicit methods.

The side story of Bobby is one that gives the movie a more nurturing side. A man with a calm and rational approach to life, Bobby has a hard time keeping up appearances at this decaying motel. One of the few people to show Hailey any ounce of kindness, Bobby is the father figure Mooney desperately needs. He also a protector of the weak, in one scene he at first kindly then furiously sees off an old paedophile who approaches some kids.  The struggles of the lower class is the most obvious theme of Baker's movie. Hailey is a woman barely getting by and there are no jobs on offer. Even people like the jaded cab driver who drives a bickering couple to the motel is struggling to get paid. Mooney however, thrives in her environment but her lack of discipline soon causes issues. Hailey throughout makes no attempt to correct or punish her daughter and this causes a huge strain with her only friend Ashley (Mela Murder).

Inevitably The Florida Project descends into a heartbreak and tragedy in its final act. All the way you sense that something terrible is building, but we know we are powerless to stop it. Baker includes some moments of pure joy and beauty, one particular scene we see Hailey and Mooney happily messing around during a rainstorm. In this one moment you feel the bond between mother and daughter and it stings us to the core. As a person, her mother is more of a handful than her daughter. But you know her love for Mooney is absolute and she strives to keep a roof over their head no matter what. Bobby is also a man with his own issues as he is regularly forced to evict troublemakers and has a strained relationship with his own son (Caleb Landry Jones). Baker stretches our emotions to the maximum- although the final scene of the movie will draw a more divisive response.

Willem Dafoe gives one of the finest performances of his career as Bobby. One of the movie's more caring figures, Dafoe injects a great deal of warmth into this picture. Young Brooklynn Kimberly Prince is the standout performer as Mooney. A real force of nature on screen, this kid is both extremely sassy but also so adorable and sweet. Prince projects the movies childlike innocence and seeing the world through Mooney's eye is both fascinating and devastating at the same point. Bria Vinaite is also magnificently as the grenade gobbed Hailey. Discovered by Baker on social media, this actress is like a hurricane of destruction throughout. Her performance is one that is wonderfully natural and feels almost like she is a subject of a documentary than a feature film star.

The Florida Project is one of those indie efforts that really knocks you off your feet. Sean Baker is a real talent to watch and we wait for his next movie in anticipation.

Back to the Future: Review of Blade Runner 2049

Blade Runner 2049

Director: Denis Villeneuve

By Alex Watson

After 30 plus years of questions, doubts, delays, and fears, finally, Blade Runner 2049 comes to our screens. Many doubted its credibility and others simply wanted to believe it was a bad idea. In the hands of Denis Villeneuve, we have been given one of the greatest sequels of all time. Still engrossed in the grimy and neon-soaked world that Ridley Scott delivered- this is a picture that has both heart and brains.

In 2049, LAPD officer KD6-3.7 (Ryan Gosling) is assigned with hunting down the obsolete Nexus 8 replicants. However, while investigating on a protein farms, K finds an old box which contains a big secret. The contents of this box could spark a war between human's and replicants and his boss Lt.Joshi (Robin Wright) is keen for it to disappear. While on the hunt for clues, K's investigation will lead him to old Blade Runner Rick Deckard (Harrison Ford).

Villeneuve has stayed true to his source material and the future he shows us is equally as bleak and haunting as the 1991's directors cut version. Veteran Roger Deakins' provides some lush and colourful cinematography which contrasts beautifully with Dennis Gassner's retro set designs. The old Tyrell corporation has gone broke and now visionary Niander Wallace (Jared Leto) creates all 'skin jobs' walking the streets. K as a character is almost like a blank slate- a dutiful officer who does his job without arguments and has a hologram for a girlfriend (Ana De Armas). Subject to hate and scorn by his fellow officers and neighbours for his 'Blade Runner' status, K is just a man doing a job. Watching him undergo a weird 'Voight- Kampff' type test will make your head spin as you hear 'integrated' so many times. His investigation begins with something so innocuous. While investigation old Nexus 8 farmer Sappar Morton (Dave Bautista)  he happens upon an old box containing bones. The secret behind them is truly mind-blowing and any preconceived notions of replicants are blown out of the water.

Anyone in a hurry to get results needs to be patient because this is one investigation that rolls along at a steady pace. Blade Runner 2049 is a movie intent on revealing the puzzle one piece at a time. We understand early on something earth-shattering is coming our way. Wallace, in particular, has his eye's on the big prize and sends his faithful assistant/assassin Luv (an impressive Sylvia Hoeks) out to stake his claim. Visually this is a stunning ride and we see such sights such as a scorched Las Vegas ruin (Deakins photography shines brightly against the neon orange glow) and a derelict orphanage in a junkyard that used to be San Diego which looks like a cross between Oliver meets Dune. Taking us beyond the rainy and snow-swept streets of urban LA, Villeneuve shows us the true decay of planet earth and how those left behind are playing the price.

Smartly the appearance of Deckard is left until almost the final act- giving us time to understand K's mission and his motives for giving chase. Very much a secondary character but still so vital to everything, Deckard still hasn't lost any of the old charms. Possibly the most beautiful looking movie of 2017, it's actually astounding just how much Denis Villeneuve has achieved with this sequel. Subtle nods to the old one are there in droves, but their presentation of life in 2049 makes for a much grittier and bleaker atmosphere. Humanity is on its last legs and is now reduced to using protein farms to avoid famine and death. In this universe, Replicants might just be the way of the future. Hans Zimmer and Benjamin Wallfisch's score is one that captures the mood and emotions that go with this sequel- while also saluting the legendary Vangelis score that came before it. Few sequels will achieve this level of brilliance in the next few years.

Ryan Gosling is perfectly cast as new Blade Runner K. His air of cool gives his character a much-needed edge. On the surface, he is a barely drawn character, but underneath he is far more complex. Driven to solve this mystery, K fears just what he may find and that he might just be an important cog in the machine. Harrison Ford also boasts his strongest performance in many years. Rather than just showing up, Ford digs deep and shows us a hollowed out wreck of a man who is conflicted about past actions. Ford's screen time is simply electric and but he also stays true to the principles of this character and 30 plus years on- Deckard is still a great character.

Blade Runner 2049 is simply magnificent- Denis Villeneuve has taken this sequel to heights never thought possible. As Gaff said in the original 'They've done a man's job sir!"

All American: Review of American Made

American Made

Director: Doug Liman

By Alex Watson

The second collaboration between Tom Cruise and Doug Liman proves the former Top Gun is still terrific flying a plane. American Made and its subject Barry Seal is the perfect fit for its big star. Throughout we see a man who is always going after the ultimate adrenaline fix. The bigger the danger, the more he thrives on the risk involved. Although it doesn't dig particularly deep, knowing this story is real makes it all the more mindblowing.

Barry Seal (Tom Cruise) is a bored TWA pilot who has a side business smuggling Cuban cigars. Noticing his success, shady CIA agent Schafer (Domnhall Gleason) offers him the chance to 'serve his country'. At first taking reconnaissance photos of Soviet enemies in South America, Seal soon gets an offer from the Medellin cartel to smuggle drugs. Making money and living fast, Seal will begin flying too close to the sun.

American Made feels much like its real-life subject- fast and furious. Constantly running on adrenaline and forever looking to push the envelope, Barry Seal was no ordinary man. Although he has a solid career and a loving wife (Sarah Wright), being ordinary makes him feel restless. Liman fully exploits the wild factor in this movie, both in the air and on the ground. Seal seemingly has no limit to the dangers he will risk. Watching him fly kamikaze style through the trees to make his tiny plane filled with cocaine take off shows his determination. Always on the lookout to up the ante, Barry gets himself into some pretty hairraising situations. Seeing him land in the middle of a suburban street covered in the devil's powder is possibly the most out there moment. When he first meets cartel members Jorge Ochoa (Alejandro Edda) and Pablo Escobar (Mauicio Mejia), there is a wonderful air of subtle menace which carries throughout Liman's film.

The success that Barry attains smuggling is shown as a both blessing and curse. At first, he reveals in the hard living and the cash that flows freely whenever his 'snowbirds' squadron takes the air. With great hilarity we soon learn he is earning so much- he has trouble storing it away. Coming off as an airborne version of Scorcese's 'Casino' soon Seal finds himself getting into all sorts of trouble. Our hero is never shown as a sympathetic figure and his constant need to get his danger fix causes a great strain on his family life. Despite the potential to show a family in turmoil and the stress having a daredevil husband causes, Liman sadly treats his family as a footnote in this outrageous tale. Frustratingly we never really get to fully know Seal as a man. We know he has the business savvy and a distaste to playing by the rules. Outside of seeing the grainy and wiggly home movie tapes, he makes to explain parts of the story- there is no real insight into his motivations.

While American Made flies under the radar when it comes to character development- the thrills it offers make the film soar. There is a sense of impending doom each time Seal embarks on another business venture. What makes us give him respect is how he manages he dodge so many landmines throughout. His Louisiana charm is infectious on many high ranking government officials, lawmen and even Pablo Escobar. When in a tight spot, Seal shows some great brains and quick thinking to get out of trouble. This larger than life tale couldn't have been told any other way. In places, it might feel overblown and we quickly learn that Seal isn't a reliable narrator. Ignore any misgivings and just enjoy the flight.

Tom Cruise has had a rather barren run of form in 2017. Jack Reacher: Never Go Back and his disastrous The Mummy reboot were both poorly received. American Made shows that Cruise still has plenty of pulling power and with the right director, he can be wonderful onscreen. Its unlikely he will be rewarded with a first Oscar, but this is still a highly skilled turn. Barry Seal and Top Gun's Maverick Mitchell would have gotten along just fine.

American Made is a story that is just mindboggling! Doug Liman has the perfect pilot for this flight and Tom Cruise makes it fly smoothly. 

At Your Service: Review of Kingsman

Kingsman: The Golden Circle

Director: Matthew Vaughn

By Alex Watson

Kingsman: The Golden Circle is a certainly a movie that provides fun, its just a shame similar focus wasn't given to its story. While Matthew Vaughn's swift style gives the movie a coat of gloss, underneath it feels like an incomplete portrait. Saddled with numerous plot holes and a pretty laughable villain, this second instalment tries too much into one movie. Although it recaptures some of the spirit of its predecessor, Vaughn pushes things a step too far.

Eggsy (Taron Egerton) is now a fully fledged member of the Kingsman. However, one day his entire organisation is literally blown to pieces by drug baroness Poppy Fields (Julianne Moore) leaving only Eggsy and mentor Merlin (Mark Strong) as survivors. Desperate to stay alive they make contact with US affiliate Statesman led by Champagne (Jeff Bridges).

The first Kingsman movie was a retread of a diamond in the rough coming good. Kingsman: The Golden Circle on paper seems like as fun of an experience, but no amount of finesse can disguise the flaws. The main problem seems to come down to the direction of the story. Having this picture as a straight up fight between Golden Circle and Kingsman would have made a more concise effort. Things start heroically with a thrilling duel inside a taxi speeding through London. Sadly Vaughn seems to lose his picture in numerous and unnecessary subplots. The first concerning Eggsy's unconvincing romance with his hookup from the last movie, Princess Tilde (Hanna Alstrom) which just gives the story deadweight. Then there's the return of Harry Hart (Colin Firth)- now an amnesiac who believes he's his former before Kingsmen self. The explanation for his magical reappearance while test even the biggest Kingsmen fan.  His road to recovery should have been one of the main devices, instead, he's left simmer on the back burner.

Including sister agency Statesman (known for their whiskey) adds little to the movie's story. Head honcho Champagne (or Champ to everyone else) is a good ole southern boy but is only wheeled out for group meet and greets. Likewise, Channing Tatum's Tequila who gets precisely zero to do other than a couple of brief scenes. Ginger Ale (Halle Berry) is the US equivalent of Merlin so spends most of her time looking at computer screens. There are some fine scenes with the underrated Pedro Pascal as Whiskey- a lasso carrying agent whose moral compass seems unclear. Vaughn's command of the action sequence is a hit and miss affair. While he does a manage a joyous finale shootout, there is also an overblown and frankly ludicrous scene set on a cable car. This instalment doesn't seem to know where to set the limits, though you can tell Vaughn is having a blast directing this.

The real weak link in Kingsman: The Golden Circle comes from its poor villain. Poppy is a forever peppy international drug dealer who spends the majority of her time behind a counter at her diner styled hideout. Given little presence onscreen other than looking like a drug-dealing version of Martha Stewart, Vaughn invests little in the villain stakes. Elton John in a hilarious extended has far more impact and is given an impressive array of fancy costumes. Plus the idea of Poppy having a pair of murderous robot dogs will make anyone squirm. It's a real mystery how this sequel could have all the ingredients for success but still end up burning the cakes?

Taron Egerton gives things his best shot and as usual, he has the charisma to pull off this character. Asking him to go deeper is where his performance unravels and Egerton struggles to find the romantic side of the character. Colin Firth is completely wasted on his return. So important first time out, in this instalment it feels like a misstep to resurrect this character. The real hero of Golden Circle is Mark Strong's Merlin. Coming off as the real brain of the organization, this time he is given sufficient screen time. In one particularly potent moment, Strong firmly stamps his important on this sequel. A-listers Bridges, Tatum and Moore are all cast in decidedly underwhelming and thankless roles that require little outside of showing up. With all this supporting talent on display, why were they not given meatier roles?

Kingsman: The Golden Circle will go down as one of the more disappointing sequels we will see in 2017. Although I guarantee you will tear up each time you hear 'Country Roads' by John Denver afterwards.