Wonka (2023) - Movie Review

Even for a year where filmmakers have been trying extra hard to swing for the fences, this is arguably one of the biggest ones. And honestly, if it were made by literally anyone else, any and all conversation surrounding it would be dominated by the age-old question of “Why is this a thing?”. Ignoring the previous attempt to revivify Roald Dahl’s classic story with Tim Burton’s Charlie And The Chocolate Factory (and whatever the hell that Tom & Jerry movie was supposed to do), the 1971 film is such an ingrained nostalgic classic that it’s basically untouchable. A film announcing itself as the origin story for pop culture’s most famous chocolatier, on its face, feels like a doomed idea.

But as I wrote above, it would be if it were made by anyone else. In this case, it’s the director and writers behind the Paddington movies, two little confections that defied all preconceptions on first release and have garnered (arguably) a similar untouchable status in modern cinema. They are such pure creations, full of wonder and whimsy and yet perfectly palatable, that they represent an ideal when it comes to making family films that… well, hits at my heart of hearts. That it is possible to tap into that same sense of delight that the best kinds of children’s films bestow on their audience, but as an adult, and without any of the cultural framing that one is ‘too old’ to enjoy things anymore.

Dungeons & Dragons: Honor Among Thieves (2023) - Movie Review

After their last film in Game Night, with its story all about role-playing games and how revealing they can be for the personalities of those playing them, writer/directors Jonathan Goldstein and John Francis Daley are now going after the biggest name when it comes to RPGs: Dungeons & Dragons. The extent to which these guys have advanced since the days of Horrible Bosses and Vacation only grows more staggering with each passing release (even if our last check-in with the duo, Vacation Friends, was not that great), and since I’ve actually gotten into a bit of dice-rolling recently, I was doubly excited to see what they had cooked up (all while trying not to let D&D owner Wizards Of The Coast themselves become cooked over the Open Game License fiasco that would’ve caused trouble for a lot of content creators and fans alike).

Now, my own experience with D&D is rather limited; I only have a handful of actual game sessions to my name, and quite a few character sheets and backstories that likely won’t get used, but never say never (the story must be told of Hughal Dughal, the Dwarven pro-wrestler monk). But between those sessions, the nights spent brainstorming backstories, my general interest in video game RPGs like the Elder Scrolls series, and from watching liveplays of groups like Critical Role, I’d like to think I have a good enough idea of what makes this specific IP, and indeed tabletop RPGs in general, appealing. And it looks like Goldstein and Daley have nailed it.

Operation Fortune: Ruse De Guerre (2023) - Movie Review

After the pleasing return to form in The Gentlemen, I was fully on-board for Guy Ritchie to keep making movies I could fuck with again. After the painfully mediocre snoozer Wrath Of Man, I am now also prepared for Ritchie to still be capable of underperforming as he had for quite a while before The Gentlemen. Out of a want to just see something simple and engaging (I’ve spent a good amount of January stuck at home with a fractured arm, hence my lack of activity lately), I’m still willing to give this one a chance, although it could go either way. And what I ended up getting was not only a weird combination of his last two films, but also of elements from his 2010s output.

The Gentlemen (2020) - Movie Review

I’ve been ragging on Guy Ritchie as a filmmaker for a few years now, and I feel the need to clear some things up. For as much as I’ve taken issue with his more recent efforts, I don’t want to come across like my objections are coming from some knee-jerk “how dare he try and do something different” shit. Rather, I keep pointing this out because I’ve seen enough of Ritchie’s work to know where his strengths lie. He’s a Brit-crime storyteller, and a damn effective one when he plays to what he does best. But as soon as he reaches for something bigger, his limitations present themselves.

Whether it’s coating his usual style in philosophical wankery like with Revolver, adapting classic stories that clash with his sensibilities like with King Arthur: Legend Of The Sword, or just plain doing what he should know by now isn’t his strong suit like with Aladdin. I bring all this up because I want to see Ritchie deliver satisfying cinema again, and it’s why I’m very happy with his latest.

Florence Foster Jenkins (2016) - Movie Review

Earlier this month, I went to an interactive screening of The Room at one of my locals. Again. I lost count a while ago, but I’ve definitely reached double digits in how many times I’ve done this already. Under normal circumstances, I don’t go and see movies at the cinema more than once; the only time I can remember doing it was with Spy Kids 3, and that was ultimately because I missed the first few minutes the first time round. I also don’t usually advocate for repeatedly giving money to what is undoubtedly a very, very bad filmmaker, especially not to this degree. However, this is why I have always shown leniency towards films that can be enjoyed by less than legitimate means, and The Room in particular because these are less screenings and more a form of communion. A mass of people getting together that all have the same approach to movie-going as I do is a rarity in today’s day and age, and it is kind of comforting to be able to connect with that many people about something. I bring all this up because the idea of ironic entertainment is hardly a new concept and has been around for a long time, with today’s film highlighting one of the earliest examples of it. I’m coming into this with a certain understanding of the phenomenon that would normally have me on some mental ward waiting list, but I wouldn’t have it any other way honestly. So, with all that said, let’s get started with today’s film.