tomfry-10237 Reviews

Godzilla: King of the Monsters (2019)

A pitiful whimper from the iconic king of the monsters

[4/10 · 6 June 2019]

As the First Act of 'Godzilla: King of the Monsters' came to a close, the thought settled in my mind that this sequel to 2014's 'Godzilla' if building on the intrigue and mystery of its First Act, with the splendour of titans clashing in a satisfying brawl, would certainly supersede its predecessor. However, as the plot plods along it becomes harrowingly clear to the audience clawing at the bit for the epic monster madness they've paid for, that they'll have to wait for the film to conclude before they can go home and pop on their copy of 'Pacific Rim'.

The premise of 'Godzilla: King of the Monsters' is one you've heard a thousand times before. Giant monsters rise from the oceans, some with the intent to harm, some to protect, and these titans battle it out behind the backdrop of a boring human storyline which steals the majority of screen time. When it comes to Kaiju movies such as these there really is a clear expectation for what we as an audience expect. The conventions are clear cut: Grand scale, satisfying and creative creature design, an underlying theme of the self-destructive nature of mankind and most importantly colossal battles that make us feel small and the issues in our own lives inconsequential. However, Godzilla inherently fails at 3/4th's of these expectations through distorted and unclear lighting design highlighting a lack of control over the grandiose scale of such a film, which as a knock-on effect makes the battles we have paid to see barely intelligible 80% of the time.

The flaws in the script, initially, don't seem all that problematic, yet that may be as a result of the cast trying their very best to work with the weak material which initially at least holds the attention for some time. However, as the film develops it becomes the victim of what I would refer to as "Dramatic one-lineritus" in which it appears the crux of the film relies upon a dimly lit character looking just right of the camera and uttering something intended to be dramatic and daunting, yet in the context of the cheesy dialogue comes off as simply laughable. Unfortunately, these moments outshine the intended comedic moments as the funniest of the film. You don't care about any of the characters or dramatic stakes of the narrative by the long drawn out conclusion of the film as nothing here feels natural, it all feels like cliché melodramatic nonsense.

There is certainly a childish joy elicited from the image of forces superior in stature to ourselves throwing their weight to each other while the insect-like humans look on, yet even this often times just appears as unclear mass throwing itself together: there were too many times I couldn't even distinguish Godzilla from King Ghidora, giving me eerie flashbacks to Michael Bay's 'Transformers'. The looking on is the real problem with 'Godzilla: King of the Monsters' as it feels as if the conflict, we have paid to see takes a backseat to the drama we've seen thousands of times before. Here's hoping Kong Vs. Godzilla rights the wrongs.

The Red Turtle (2016)

Ghibli's collaborative wonder

[8/10 · 11 May 2019]

The collaborative child of Studio Ghibli with Dutch Director Michaël Dudok de Wit, The Red Turtle may be a leap away from the rest of Ghibli's filmography, yet It deserves it's place at the top with greats such as Spirited Away, My Neighbour Totoro and Princess Mononoke.

From the very first shot, the raw power in the style of the film is prevalent and instantaneously reels you in. It's magical: tender and soft in its landscapes, yet terrifyingly powerful in the prowess of the raging waves that leave our protagonist stranded on land.

Our unnamed main character wakes up on an isolated tropical island, surrounding by vast trees and various birds and beasts. Within minutes he has established all the island has to offer: one monotonous source of food, water to drink and, most harrowing, the gallons of water that act as his prison. Instantly trying to escape, he finds his raft destroyed by a mysterious red turtle.

This is all I will reveal in terms of narrative, as the true beauty of the film is in the wordless wonder of seeing the fantastical events of the film unfold, revelling in the raw power of the cinematic form in order to convey a profound message on nature, humanity and the mutually beneficial relationship between the two, if they can find a way to harmoniously, symbiotically act as one.

The unique selling point of the red turtle is the intrigue of seeing a feature length film held up by cinematography, music and the elegance of its photogenic animation. The absence of dialogue in the film is courageous and will certainly serve to alienate some. However those that stick with it will find a tender reflection on life and nature unlike anything else Ghibli has produced.

The Red Turtle is truly something special. Despite flaws in its pacing, this film is a tender reflection on the relationship between man and beast and the world that we live in. The Red Turtle reminds us of the beauty in the world that we call home.

Princess Mononoke (1997)

Miyazaki's Fantasy Wonder

[9/10 · 8 May 2019]

Hayao Miyazaki isn't a name synonymous with fantasy epics grand and aggressive such as the Lord of The Rings, yet in a pleasant twist of fate it appears as if the renowned director has yet another genre wrapped around his finger, intertwining a vast yet personal epic with a profound message for the younger viewer in 1997's 'Princess Mononoke'.

Suffering a cursed injury, Ashitaka, the last Emishi prince of the Emishi village, finds himself on a journey Westward bound to try and find a cure for his ever-worsening ailment. Along the way we meet a colourful cast of characters including the titular Princess Mononoke (San) and her band of wolves.

Venturing into the wild Ashitaka discovers a town destroying the land around them, the home of the wolves, in order to develop iron, growing exponentially in power and wealth. Should this trope sound familiar to you it would be for good reason. For many years the issue of defamation of the natural world for the prosperity of humanity has been a frequently touched upon issue, yet from the get-go the beauty in this film is in its initial reluctance, and then outright refusal to take a side.

The destructive mentality of the people of the ironworks is merely a community attempting to find its place in the world; they destroy to prevent themselves from being destroyed (as it is established clearly they are not the most powerful force in this world). They destroy in fear of being destroyed, in many ways a reflection of the aggressive animals they kill rather than a binary opposition. Following this train of thought, even the animals are not without fault. The forest is divided into tribes of different species, and amongst them it is clear that there is conflict. They bicker and fight all in a desperate bid to survive, much the reflection of ourselves.

This conflict is centralised through our connection to Ashitaka whom from the first scenes retains a clear reverence for nature, smiling and gazing in wonder at its otherworldly beauty. He acts as us, the everyman, looking on in horror as two worlds that he adores and is familiar with crash together In fire and blood, a desperate bid for survival where no survival is guaranteed. He fits his role very well and plays off San well also, however if I did have one flaw with the film it would be that: in earlier scenes he seems to develop a connection with San that is only apparent to them and doesn't translate to the audience very well (yet one could always argue that the reason for this is as what they represent thematically usurps what they represent in emotional connection.)

Speaking of fire and blood, this is by far one of the most unexpectedly violent Studio Ghibli films I have ever laid eyes on. From the first scene blood is abundant, limbs are lost and death reins over the land. However, unexpected as it threw me, out of place it was not. The violence perfectly reflects the theme previously mentioned; the disarray of the conflict at the centre of the film between the growth of industry and nature, senseless and heart-breaking.

This profound melancholy surrounding the theme yet contrasts itself with joyous human moments sprinkled throughout the film in romance, friendship etc. all heightened by a mesmerising score and Ghibli's signature rich vibrant visuals, which both make the world we're exploring feel full, truly living and breathing.

Princess Mononoke is a film which takes risks, hovering in-between the side of nature's right to rule and the roaring progress of industrialisation, yet never wavering in its resolve. It knows that the issue isn't black and white, with dynamic elements frequently affecting the actions of both man and beast, with violence resulting from confusion, and a sense of pensive grief hanging over the film. Through all this conflict, neither side overcomes in the end, with the beauty of life itself being the true victory, a truly profound message for both children and adults alike.

Justice League (2017)

Is it a bird!? Is it a plane!? No it's...it's Henry Cavill's moustache?

[5/10 · 28 November 2017]

Justice League, starring Ben Affleck, Gal Gadot, Ezra Miller, Jason Momoa and Ray Fisher finds DC's greatest heroes uniting in the face of apokolips to defeat their greatest enemy yet, one that they can only defeat as a team.

This film has been a long time coming. Since the cancellation of George Miller's 2009 'Justice League: Mortal' fans have been eagerly awaiting seeing their favourite heroes unite on the big screen. Now after many years and the conception of Zack Snyder's new DC cinematic universe, the wishes of the fans have finally come true. But can this eagerly anticipated team up ever possibly satisfy the hunger of an audience with such high expectations?

In short: no. Unfortunately for fans a combination of studio meddling, a lack of understanding of the characters at play, and some of the worst CGI I've ever seen has lead to a sloppy, sub-par superhero film rivalling the mediocrity of 'Batman V Superman: Dawn of Justice'. The film isn't completely without merit and the most dedicated fans will likely find a lot to love, yet most will likely be very disappointed by this outing.

Some of the characters here are handled fairly well, yet all in all the majority of the characters are plagued by poor writing, shallow characterisation and poorly timed quips: a desperate attempt to address the DCEU's tonal critics, leading to an uneven infrequent tone throughout. The high calibre of actors work with that they have, but what they have isn't much. I found the characters of Fisher's Cyborg and Affleck's Batman simply quite infuriating. Cyborg is portrayed as a hollow straight-faced version of his vibrant comic counterpart: why is one of the youngest most vibrant members of the team with the most potential for natural comedy being turned into something (no pun intended) robotic? As well as Batman being incredibly poorly written with seemingly no inner development as a character or inner turmoil of any kind: All further emphasising the idea that these filmmakers don't know what makes the characters that they are working with so endearing.

Furthermore the film's villain is painfully weak, appearing as if the studio didn't even try. Steppenwolf is the absolute genre stereotype of what a supervillain is: big, dumb and ugly. Except that should be a template, a starting point, not the actual character. However it clearly is here. If a film is only as strong as its villain, Justice League is an outright failure.

There are definitely some redeeming factors in the film however. Every scene in which the League sits down and converses is very entertaining to watch; The actors all have clear natural chemistry making their interactions a joy to experience on screen. Furthermore, some of the action sequences are fairly exciting and engaging, serving to keep your interest, and as previously mentioned some of the characters do shine at points throughout the film such as Cavill's Superman, who here is the best incarnation of the character as portrayed by Cavill that we've received yet. However again the film shoots itself in the foot, as every time Cavill comes on screen WB's abysmal attempt to remove his moustache is a complete failure and consequently a distraction that instantaneously removes you from the film: it's infuriating.

All in all, Justice League for me is highly disappointing. It could have taken hugely beloved characters by me and many others, and made something that truly felt like a film crafted for the fans. Yet instead, corporate meddling with Zack Snyder's vision as well as the film effectively being directed by two different people (Joss Whedon) has lead to what seems like a pure mess. It has its positive qualities and for the most hardcore fans what they receive here will likely be enough. However, for the rest of us we'll have to keep on hoping that one day this property will fall in to the hands of someone with cares about the fans more than they do money, that can make something truly living up to our expectations, the worth of such rich characters, and the greats of DC comics.

The Party (I) (2017)

A witty satire on 'polite society'

[8/10 · 30 October 2017]

The story of 'The Party' was unbeknownst to me upon my viewing of the film. All I knew was that it is directed by British Auteur Sally Potter and stars Kristen Scott Thomas, Timothy Spall and Cillian Murphy, which is the extent of context I will divulge here as I feel it is better to watch this film knowing very little about its narrative.

Although simplistic in its base narrative, underneath 'The Party' is a short, snappy, satirical view on the modern day socio-political climate. It paints the modern system of politics as ineffective at implementing change, suggesting a more immediate method is required in this day and age to keep up with such a rapidly changing world. The film succeeds and does this effectively through witty dialogue, articulately crafted Mise en Scene and a comedic narrative progression.

The narrative progression I refer to is the advancement of the characters into pure chaos after the guise of 'polite society' is stripped away, revealing the hypocrisy behind its ideals and presentation. This chaos is the crux of the film as it magnificently illustrates the futility of the mask that the upper class have created for themselves, which the film heightens through comedic elements giving the film a heavily satirical atmosphere.

Furthermore, the films caricatured characters play a crucial role in conveying the film's message as many of them are hypocrites, their real faces hiding behind the mask of what 'polite society' expects to see, with costume being cleverly utilised to convey to us the true thoughts and feelings of many of the characters whilst simultaneously acting as a red herring in some circumstances, illustrating how we cannot always know whether or not people are truly what they present themselves as, linking to another key message the film discusses: distrust in the political landscape.

However, although the film has a profound message, it suffers from being very simplistic on its surface. The story is cliché and predictable with a couple of drawn out dull moments, with the real meat of the film laying underneath, and whilst this is the case for most films, the surface has to be captivating at the same time in order to engage the audience. In this sense 'The Party' could be potentially divisive for audiences as the film runs the risk of appearing pretentious and dull for some viewers, which I can confirm as many left my screening of the film verbally disgruntled.

In conclusion, 'The Party' is an incredibly humorous, satirical take on modern day society's political landscape as well as the hypocrisy of 'polite society' and its bloated sense of self righteousness. Although it has its flaws, 'The Party' is a highly entertaining film with a punchy message that really sticks with you after you've left the theatre: indecision is the face of modern day politics, and that desperately needs to change.

The Snowman (2017)

A boring, hollow, soulless disappointment

[3/10 · 23 October 2017]

'The Snowman' is directed by Tomas Alfredson and stars Michael Fassbender, Rebecca Ferguson and Charlotte Gainsbourg. Based on Jo Nesbø's novel of the same name, 'The Snowman' focuses on Detective Harry Hole, a washed up cop seeking an interesting new case to reinvigorate himself, before discovering a cryptic note addressed to his name: a note linked to missing women, broken families and icy snowmen marking the presence of death.

As someone who never got around to viewing Alfredson's previous work such as 'Tinker Tailor Soldier Spy' I personally wasn't overly excited for his new project when I first heard about it, yet over time my interest piqued as I learned of the involvement of credited actors Fassbender and Ferguson amongst others, as well as an intriguing, promising trailer.

It therefore pains me to say that this film is a messy, convoluted disappointment. From a plot that has no idea where it is going to characters that are two dimensional and hollow, this is one of the most forgettable experiences of 2017.

The most fundamental element dictating any film's success above all else, is in its ability to maintain a cohesive narrative that takes the audience on a journey, clearly having something to say regarding the world around us by the end. 'The Snowman' certainly has opinions, yet it conveys them in such a sloppy, unfocused way that these messages have nowhere near the impact intended. Additionally, the film appears to have no idea what is going to happen next, with random sub-plots ham-fisted into the story with little to no pay off, simply leaving you wondering why they are there to begin with. It truly lends to the sense of a rushed production, and consequently the absence of finesse.

Furthermore, all of the characters are two dimensional and flat. They all fall into well worn crime drama caricatures: the washed up detective, the corrupt businessman, the young officer with a hidden agenda. Yet unfortunately, they all fail to escape these stereotypes to become something truly fresh and interesting due to a lack of inspired writing and any true surprises in their character arcs. This leaves them in the shadow of far more three dimensional, complex characters in similar works, such as Idris Elba's Luther and Benedict Cumberbatch's Sherlock Holmes in their respective BBC Drama's, suggesting that maybe this story was better off told as a TV drama, with more time to expand on character and motive.

The only positives I can really find here is that all of the performances, shots and soundscapes incorporated are good; they aren't anything groundbreaking yet are the only elements that manage to suspend your disbelief whilst every other aspect of the film tries its hardest to pull you out of the experience.

The word that comes to mind when thinking about this film is passable. Usually, that would not be too bad.I could say 'The Snowman' is a passable film perfect for the background of a Sunday afternoon, because in reality that is exactly the type of film that it is. Yet I then recall that the creative team behind this are some of the most talented creatives working in the industry today, and I personally expect better. Therefore, I have to say 'The Snowman' is a true disappointment, a passable experience that should have been a mesmerisingly haunting one. It is forgettable, it is lacklustre, but most regretfully, it is incredibly dull.

Blade Runner 2049 (2017)

Masters at work

[10/10 · 17 October 2017]

Bladerunner 2049 is the sequel to the widely acclaimed original Sci Fi masterpiece Bladerunner, directed by Ridley Scott. The film is directed by Denis Villeneuve and stars Ryan Gosling as K, a Bladerunner who stumbles across a dark secret that leads to conflict, anguish and deep self-reflection; What is it that makes us human?

As I sit here and think of how to even begin to comprehensively summarise my thoughts on this modern Sci-Fi masterpiece, I listen to the penultimate track "Bladerunner" on Hanz Zimmer and Benjamin Wallfisch's mesmerising score for the film and realise that it perfectly summarises how I feel.

The song opens with no holds barred, a punchy introduction that thrusts you right into the tone of this world and refuses to let you go from that point onwards, just as the film does. This dystopia is saturated, and every frame drips with such colour and life that it appears cinematographer Roger Deakins is practically demanding your eye. Accompanied by a score and screenplay paralysing your body with intrigue, fear and anticipation from the very first frames, you will soon find yourself hooked.

The middle section of the track then flows in. Subtle, mysterious, revelatory. It coincides magnificently with the second act of the film which takes the staple question of the original(what is it to be human?) and asks it on a new level: does the ability to recall our past and remember our childhood make us human? We explore this through the character of K, Gosling's quiet and wonderfully subtle protagonist, attempting to find his place in the world accompanied by Ana de Armas' Joi, another enrapturing performance complimenting a very intriguing character. Through them we experience all the things that make us "human". Fear, anxiety, joy, a sense of belonging. The film has something to say about them all. And then we reach our conclusion. Surprise after surprise. shock upon shock. The film refuses to release you right up until the instant the credits start rolling.

Directed immaculately. Shot with a profound love for Ridley Scott's world and the craft of filmmaking. Scored to compliment each and every frame. Bladerunner 2049 is a true modern Sci-Fi masterpiece and a testament to how sequels should be done: nostalgic retrospect insighting new ideas, not acting as handcuffs, enabling the introduction of fresh and progressive ideas that new generations of moviegoers can ponder over for a long time to come.

Kingsman: The Golden Circle (2017)

Style over substance

[6/10 · 8 October 2017]

Kingsman: The Golden Circle is directed by Matthew Vaughn and stars Taron Egerton, Mark Strong, Colin Firth and Juliane Moore. In this sequel to 2014's Kingsman: The Secret Service, a new mysterious drug cartel known only as "The Golden Circle" are causing trouble for the Kingsman, resulting in a team up with their American counterparts: The Statesmen.

Kingsman: The Secret Service was one of my favourite films of 2014. From its incredible use of Lynard Skynard's "Free Bird" in the mesmerisingly energetic church sequence to the characters seemingly ripped straight from the page of a comic book, it was a reinvigoration of a genre long in need of some fresh charisma. Therefore, hopes were high for the sequel.

The marketing painted the film as Kingsman, but bigger, louder and crazier than before, and in that regard they did not disappoint. Within the first five minutes we have been thrust into the first action set piece of many, there are more characters, more crazy gadgets and more explosions than even Bond could handle.

However, despite the film undoubtedly being bigger than its predecessor, I would be lying to say it is better. It appears that unfortunately heart has been sacrificed for scale here. For example, in the first film, the church sequence blew my mind, as it did for many others. In this film the filmmakers clearly attempt to recapture this lightning in a bottle, however miss the mark completely. After leaving the theatre mere hours ago I can hardly seem to remember even one outstanding action sequence, hardly even a good one. The main issue with them I find is that in the first film the most famous sequence was filmed in a very shaky manner in order to convey that sense of impulsive violence and lack of control; As a result of this most of the action sequences here are filmed in a similar manner. However there seems to be very little thought put into it, resulting in most of the action (especially the opening sequence) leaving the audience stunned and disorientated, yet not in the positive way the original did.

Furthermore, there is a certain musician in this film that initially is there as a gag and is funny for a while, however, he then inexplicably becomes a main character and I still just cannot comprehend why. It was irritating, distracting beyond belief and just left a bad taste in my mouth.

My final negative is with the structure of the overall film. Where the first was a clear cut origin story of a adolescent boy turned mature super spy and the personal trials and tribulations required in order to pursue this transformation (a slick and stylistic coming of age film) it is incredibly difficult to pinpoint what this film wants to be. It is so unfocused, with random side plots endlessly inserted seemingly just for the fun of it until the film simply seems to lose its identity: what does it want to say? What's the message?

It is not all bad however. Most of the jokes still land to great effect as they did in the original, we have a multitude of A list actors giving their A game to deliver truly interesting characters that as an audience we care about, the standouts being Taron Egerton's ever lovable Eggsy and Mark Strong's Merlin, and visually the film still has that vibrancy and life that made the original such a standout in a genre saturated with bleak characters and vistas.

I truly wanted to love this film. Yet unfortunately, certain stories and characters just don't lend themselves well to sequels. Look at Kick-Ass for example, amazing first film, poor cash in sequel. I think as an industry we need to learn that it does not matter how successful certain films are at the box office or how well they are received critically, certain stories do not need to be milked for sequels as they just won't work. It was fun, but it won't be remembered anywhere near as fondly as the first.

A Ghost Story (2017)

A thought provoking reflection on grief, regret, love and the many mysteries of life

[9/10 · 25 August 2017]

David Lowery's 'A Ghost Story' is a masterfully crafted, heartbreaking and powerful reflection on life. It conveys to us pain, happiness, regret and so much more through mesmerising cinematography from Andrew Droz Palermo, as well as symbolic Mise en Scene in replacement for the traditional extensive pages of dialogue. It takes the staple rule of show and don't tell, and executes it impeccably.

The film tells the story of a couple portrayed by Rooney Mara and Casey Affleck (referred to as M and C respectively, reinforcing how the film seems to be striving to convey a message about life and humanity over having a traditional narrative, as none of the characters have true names, only titles e.g. 'Man in wheelchair'). The pair live together and have a comfortable life together despite the occasional turbulence; however, tragedy strikes the couple when C passes away in a car crash, before returning as a Halloween- esque white sheet clad ghost, in order to try and reconnect with his grieving partner.

The simplistic, almost cartoonish ghost portrayed by Academy Award winner Casey Affleck, despite acting as protagonist in nature, here simply acts as a vessel for the audience to witness grief, regret and pain accompanying death, with the narrative focusing more on exploring primal human emotion through the eyes of Affleck than delivering a traditional story. This is complemented by the framing of the film which has the audience view the film as if looking through a window almost, looking in on someone else's life, evoking sympathy as we can clearly witness the pain of the characters unfiltered.

Personally I appreciated the bravery shown here in the filmmakers taking this opportunity to paint a portrait of human nature. However, this is likely to turn some people away as the film is an art house film in the most literal sense. It is a reflection, a message. It tells the audience to live life to the full, but it does so through great performances and masterful cinematic technique instead of expositional dialogue, taking its time to convey these messages, which could lead to some becoming bored.

However, the true beauty and magic of this film is how masterfully it conveys emotion through cinematic language. For an example, there is a cross cut in the film which reverts back and forth to the original shot, and in which the same thing is happening in both shots, yet through the use of contrasting colour and cinematography two completely different emotions are evoked in the audience. It truly is mesmerising.

In conclusion, I believe that this truly is an incredible piece of work. From the masterful utilisation of its score and cinematography to a quiet yet striking performance by Rooney Mara, David Lowery has crafted a reflection on the highs and lows of life that has you mesmerised for the entire run time, and doesn't leave your mind long after.

Power Rangers (2017)

Jumping! Colourful costumes! giant robots! And...Krispy Kreme?

[5/10 · 2 April 2017]

I went in to the Mighty Morphin Power Rangers reboot with trepidation as to how my beloved childhood property would fare in the hands of Hollywood, as there have been many franchises of late that have been rebooted to dismal failure (I'm looking at you Transformers). Despite this concern, I left the theatre uplifted that I had seen a very good film, not a groundbreaking one, but certainly an enjoyable ride. The vast majority of this 120 minute picture is essentially a paint by numbers origin story, however, this is exactly what we were all expecting, and the producers knew this as well, refining the tropes of an origin story to mould the films greatest strengths. For example, the characters are successfully introduced and well developed here with standout performances from RJ Cyler, Dacre Montgomery and Naomi Scott giving their A game, who along with the other rangers grow together as a family throughout the course of the film, leading to a believable dynamic between them and no ridiculously undercooked dialogue (I'm looking at you Diablo from Suicide Squad) when emotions expectedly run high. The CGI isn't revolutionary, but serves its purpose well enough, and the action is fast, fluid and engaging when it arrives. However, Inevitably I also have issues with the film, more specifically with how there is a significant lack of story here, seemingly sacrificed for a focus on character development; Rita Repulsa, the main antagonist, being torn straight from the original TV show and distractingly juxtaposing the other characters' grounded realism, the many mindless, faceless foes the Rangers battle through, laughably in-your-face product placement, and the film's abstinence from action set pieces relived only during the final 30 minutes of the film that seriously impacts upon its rewatchability. However, in conclusion, despite the film's many mishaps it is still an extremely fun time with great action set pieces and performances, which awoke all of my nostalgia and had me leaving the theatre singing the original Power Rangers theme song all day long. ⚡️