Toy Story 4 (2019) - Movie Review

I’ve been somewhat dreading this one. Not because I have any doubt about the latest iteration of the franchise that pointed the way forward for CGI-animated cinema, or that Disney/Pixar in its current postmodern phase isn’t capable of delivering. It’s more because, as I got into last year, Toy Story 3 is a very important film for me. It’s the film that served as a paradigm shift in how I viewed media meant for children from that point on, making me realise that the age-old excuse of ‘it’s just for kids’ is nothing more than the catchcry of lazy filmmakers.

In order for this film to measure up to that, it would have to pull an artistic feat that I doubt even Disney/Pixar is capable of. There’s no way this could be yet another improvement on the franchise’s kid-friendly existentialism; all it could do is be another good addition, in my eyes at least, and that’s thankfully what we get here.

Godzilla: The Planet Eater (2019) - Movie Review

With the destruction of Mechagodzilla City, and the original Godzilla dormant but still alive, Haruo and the remains of humanity once again find themselves against the forces of the monsters. While the Bilusaludos try to gain the upper hand, the Exifs have begun amassing followers. They are preparing for the arrival of a being ever greater than Godzilla, one with the power to destroy not only all monsters, but all living things and the entire planet along with them. A being that the Exifs call Ghidorah.

Silence (2017) - Movie Review

When talking about a filmmaker as lauded as Martin Scorsese, traditional adjectives like “important”, “influential” and even “lauded” still feel too small to properly illustrate his reputation both in the industry and with audiences. Aside from his ground-breaking work with crime epics like Goodfellas, Casino and The Departed, he has also shown himself to be one of the most incredibly versatile filmmakers this side of Steven Soderbergh. Psychological thrillers, philosophical dramas, family films, even blacker-than-pitch comedies like the nuttiness of his last film The Wolf Of Wall Street; the man’s well into his 70’s and he still shows no signs of slowing down. So when someone of this calibre comes out with a film that they have apparently been trying to bring into fruition for literally decades, it’s no wonder that it’s gotten the attention that it has. But is it worth the acclaim it has already garnered? Let’s pretend I’m in a position to comment on such things and find out.

Irrational Man (2015) - Movie Review

Given the recent news of two other celebrities whom have become embroiled in sex scandals, talking about Woody Allen is going to prove… problematic, to say the least. What makes this even more awkward is the fact that, unlike the events surrounding Rolf Harris and Bill Cosby of late, it seems that people have forgiven(?) Allen for his actions; or, to be more accurate, developed a capacity to ignore them. Now, I’m a firm believer that a disconnection between the artist and his art is possible and, at times, necessary: Grave Of The Fireflies is an immensely powerful film, but it’s hurt when it’s brought into context of Isao’s intent for the film. I am not condoning Allen’s behaviour by any means; I’m just saying that how he is as a person shouldn’t immediately paint all opinions concerning his art, some of which is still beloved to this day. Hell, if that were the case then no-one would ever listen to another Phil Spector-produced song again. Okay, now that all of that is out of the way, let’s actually get into the film itself so that I can practice what I preach for once about separation of art and artist.