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.

Empire Of Light (2023) - Movie Review

Well, we seem to have found my limit when it comes to movies about the magic of movies. Following up his one-shot-trick feature 1917 (and bringing back DP Roger Deakins and editor Lee Smith), Sam Mendes has decided to get in on the recent trend of storied filmmakers tipping their hats to the art form they exist in. But where directors like Steven Spielberg and George Miller and even Ti West had a sturdy head on their shoulders when tackling that level of idealism, what Mendes and company have cooked up here is… well, cooked.

Ron's Gone Wrong (2021) - Movie Review

A new contender has entered the ring for family-friendly animated films… kind of. This is the first feature release from UK-based Locksmith Animation, although the actual animation is courtesy of Double Negative, the rendering wizards behind a lot of Christopher Nolan’s bendiest works like Inception and Interstellar. They don’t usually dip into full-on animated works, usually just accompanying live-action films, but this shows them in pretty solid territory as far as visuals go. The animation quality is up to the mainstream standard as far as lighting and the like, the character designs are just goofy enough to work on the kiddie level without being distractingly stylistic, and the design for the titular robot is simplified in a way an actual tech company would engineer, and he's quite adorable the longer he stays in-frame.

The Mitchells Vs. The Machines (2021) - Movie Review

When trailers for this film first dropped (back when it was under the far lamer title Connected), I didn’t think much of it. I mean, it looked cool and all those pug licks put a smile on my face every time they showed up, but it didn’t seem like anything all that special. Or, to put it more accurately, it didn’t seem like a film that, once it finally escaped the COVID carousel, would become one of the most popular films of the year. This thing has been getting hyped into the stratosphere for the last few months, and while lockdown brain has kept me from getting as many reviews done as I’d like, this is one I wanted to hold back on for a bit just so I could separate it from the colossal praise this has been getting. And then I watched it… and realised that everyone might have been underselling it.

The Father (2021) - Movie Review

It’s been a while since I’ve had a chance to look at a proper mind-screw of a film. And what’s more, this is about as far from the high-concept sci-fi trappings or Lynchian dream narratives I’ve come to associate such things with. This is as grounded as grounded gets, focusing on one man (Anthony, as played by Anthony Hopkins) as he interacts with his daughter (Olivia Colman), her husband (Rufus Sewell), and… well, beyond that point, it’s hard to tell. Because, for as domestic as this is, it might be one of the most disorienting films I’ve ever watched, let alone reviewed on here. And that's not an insult; that's me praising the fuck out of this movie.

The Favourite (2018) - Movie Review

 

The latest from Greek director Yorgos Lanthimos, while it lacks his attachment to the script as well as the involvement of his go-to DOP Thimios Bakatakis, operates within his usual realms of all things quietly insane. A costume drama set in the early 18^th century, involving a battle for the favour of Queen Anne (played superbly by Olivia Colman) between cousins Abigail (Emma Stone in rare, vengeful form) and Sarah (Rachel Weisz apparently trying to redeem herself for her last attempt at romantic period drama). It marks the most easily-digestible film Yorgos has made yet, meaning that I’m not going to be wallowing in a critical malaise trying to figure this shit out like last time. It also means I get to talk about one of the funniest films I’ve seen all year without any cerebral hang-ups.

The Lobster (2015) - Movie Review

I’ve talked before about the high-conceptuality of speculative fiction, but as much as I like it when filmmakers indulge in their more bonkers side, it is perfectly understandable if it repels other, more discerning film-goers away. Even if My Little Pony doesn’t get the same knee-jerk reaction out of me these days as it used to, a certain level of self-awareness is required so as to understand why other people may see you as… odd, to say the least, for watching it. For all our talk about not judging books by their covers, every so often there will be a film that sounds too out there for audiences to apparently take. This is one such occasion, and I will freely admit that the premise had me sceptical about its efficacy as well… then again, I’m sceptical about pretty much every release these days, so this is nothing new. However, I can only hope that by this review’s end, I will have converted at least some people on seeing this film because it deserves to be watched.