Infinity Pool (2023) - Movie Review

While Brandon Cronenberg’s filmography up to this point has shared some similarities with the work of his father (emphasis on body horror, fascination with interfaces, bleak sense of humour), he has also developed his own style and flavour that has helped keep him out of his father’s shadow. Where David fixated on the body as it changes, be it from internal or external forces, Brandon focuses specifically on the body (and mind) as it disintegrates under the weight of capitalistic systems. Antiviral took the idea of ‘viral star’ to its icky yet logical conclusion, Possessor showed that the workplace demands psychological compartmentalising even at the best of times, and with Infinity Pool, we get a class satire along the same lines as something like Triangle Of Sadness, only I’d argue that this hits much harder.

The Northman (2022) - Movie Review

After two certified winners with The VVitch and The Lighthouse, writer/director Robert Eggers has cracked his artistic ambitions wide open with his latest. Shedding his New England aesthetics like a snakeskin, he now sets the stage for an epic historical revenge myth, co-written by himself and Icelandic scribe Sjón and itself based on the Scandinavian legend of Amleth. Yes, for the classics nerds amongst my readership, this is the same legend that inspired fellow classics nerd William Shakespeare in the creation of Hamlet. This film is the culmination of just about every storytelling idea and mood Eggers has been chipping away at over his career thus far, and what results from that is a production that redefines the word ‘visceral’.

Godzilla Vs. Kong (2021) - Movie Review

My opinion on Legendary Pictures’ Monsterverse seems to be steadily growing more and more favourable the more films come out. 2014’s Godzilla was good, although not exactly landing high on my radar, then Kong: Skull Island had me in a gleeful frenzy at how kitchen-sink the action sequences were, and then Godzilla: King Of The Monsters… well, I named it one of my favourites of that year, as something that literally awe-inspiring deserves such commendation. With all the big studios still doing the COVID do-si-do with their release schedules, I was expecting the latest from this franchise to end up stuck in limbo, given it was one of many that was meant to come out in 2020. But now that it’s here, I can safely say that it is everything I wanted out of a new Godzilla/Kong movie… and even gave me shit I didn’t realise I wanted. Yep, it’s a Deadpool 2 situation.

Mute (2018) - Movie Review

 

The only thing worse than a bad idea is a good idea used badly. And in the realms of science fiction, the inherent freedom of the genre allows for a wealth of possibilities for stories to tell. However, as I have unfortunately gotten into before like with Self/Less and Downsizing, there’s a difference between having possibilities and actually making them pay off. With writer/director Duncan Jones’ latest, we see one of the more bewildering examples of this in action.

War On Everyone (2016) - Movie Review

The Legend Of Tarzan (2016) - Movie Review

Since getting back into a regular routine with my movie-watching again, I’ll admit that what I’ve been looking at over the last little while have been pretty good overall. Hell, the only real down point of late (Jem And The Holograms) was only watched by yours truly as a Plan B; I originally set out to see Suicide Squad with a friend but, due to matters outside of both of our controls, we were unable to. Will that film break the streak when I eventually get to it? Too late, honestly, because this film seems to have done it for me. Now, even though the classic Disney iteration of Tarzan was the first film I ever remember watching in the cinemas, that isn’t going to factor into how I see this. The problems with this one are so numerous that I don’t even need to.