Napoleon (2023) - Movie Review

Much like with Killers Of The Flower Moon, we’ll be looking at another instance of an auteur digging into Apple’s deep pockets to realise their historical epic. Even ignoring the lengthy discrepancies concerning initial box office impact and overall cultural impact, I can only see the notion of a great filmmaker creating great art while also putting a dent into a company that, quite frankly, is rich enough already, as a net positive. Although, I’ll admit that in the case of this film, said positive isn’t quite as strong as Scorsese’s.

House Of Gucci (2021) - Movie Review

This marks the second Universal screening I’ve been sent to outside of FilmInk this year, and unlike with the ticket for Cry Macho, I consider this more of a personal favour because I’ve been hyped to see this film since I saw The Last Duel. I really treasure when one of my favourite filmmakers has two features come out in the same year, and with how well Last Duel went, I was really hoping that he would go 2 for 2. And I am so relieved to report that Ridley Scott has done it once again, albeit in a distinctly different fashion (heh) than last time.

The Last Duel (2021) - Movie Review

I haven’t really gotten into this in past reviews of his work, but I have a serious admiration for the work of Ridley Scott. When he’s on point, he is capable of some of the greatest works that the medium has to offer, whether it’s Alien, Blade Runner, or (personal pick here) Hannibal. But even in his lesser films, there is always something in his productions that I just have to point to as being objectively brilliant.

Exodus: Gods and Kings? Yeah, that wasn’t great, but the casting for God was ingenious. Prometheus and Alien: Covenant? Michael Fassbender’s David is one of the most fascinating cinematic characters of the entire 2010s, even if those films didn’t make full use of him. Even All In The Money In The World, which I seem to be in the minority on as I found it quite inconsistent, has Christopher Plummer giving the performance of a lifetime that held everything together. The man’s talent shines through no matter what he’s working on, so regardless of how this turns out, I’ve been looking forward to it all the same.

Earthquake Bird (2019) - Movie Review

The latest feature from former gay porn director and current frontrunner for best queer filmmaker working today Wash Westmoreland certainly fits into his main oeuvre. It’s a psychosexual thriller about a Swedish expatriate in 1980’s Japan, played with simmering anguish by Alicia Vikander, one that is basically bisexual aesthetic on blast. As I got into earlier this month, we stan the Bisexual Bard in this house, and between his previous efforts Still Alice and Colette, I’ll admit to looking forward to this. Not sure if that was the best move, though.

All The Money In The World (2018) - Movie Review

 

The plot: John Paul Getty III (Charlie Plummer), grandson of billionaire oil tycoon J. Paul Getty (Christopher Plummer), has been kidnapped. His captors are demanding a ransom of $17 million, a price that J. Paul Getty isn’t willing to pay. He sends former CIA operative and now deal broker Fletcher Chase (Mark Wahlberg) to assist Getty III’s mother Gail (Michelle Williams) in the situation. However, as tensions grow between the parties involved, it seems that it will take more than money to pay this price.

Alien: Covenant (2017) - Movie Review

 

Release Date: May 11, 2017 (AUS)

Genre: Sci-Fi, Action, Thriller

Director: Ridley Scott

Writers: John Logan, Dante Harper

Cast: Michael Fassbender, Katherine Waterston, Billy Crudup, Danny McBride, Demián Bichir

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Blade Runner 2049 (2017) - Movie Review

Blade Runner isn’t just a good film or even a great film; it is one of the few genuinely important science fiction films. Setting in stone the cyberpunk/neo-noir aesthetic that would give franchises like The Terminator their most iconic moments, its approach to both world-building and thematic context is one of the first real instances of the wider mainstream audience seeing that maybe there’s something to ‘genre’ films beyond just visceral nonsense. It took me a couple of viewings for it to really sink in, and I wouldn’t call it one of my all-time favourites or anything, but it’s a film that I have an entire truckload of respect for. This is one of those situations where making a sequel could turn out disastrously badly, much like most other attempts to make a follow-up to a decades-old film. 

However, after seeing director Denis Villeneuve make a triumphant step into the realms of SF with Arrival, which is still one of the single best films of the last several years, I have enough faith in him to pull this one off. Probably helps that not only is writer Hampton Francher returning from the original but he’s also aided by co-writer Michael Green, who helped give us Logan, a film that I am slowly starting to develop an even greater understanding of and appreciation for. Maybe this will turn out okay; it’s already being heralded as one of the greatest sequels of all time. Will I agree or will I have to be the bearer of bad news? Get out your torches and pitchforks, because I can already tell this is going to get ugly.

The Martian (2015) - Movie Review

To paraphrase one of the more boisterous names in space exploration: “Space: the final frontier”. However, something that is becoming clearer and clearer with every day since that phrase was first uttered is that space will always be the final frontier. Unlike our home planet, there is an infinite amount of, well, space outside of our atmosphere and it is expanding every second. The distance between points of interest (stars, planets, space fog, etc.) is occupied by a vacuum that seems to exist at the exact opposite of our ideal living conditions, and that’s if we even have a vessel that can stay in one piece during all that travel.

Is it any wonder, with all this in mind, that space travel and exploration is frequently used as the setting for dramas and thrillers? Sure, space combat will always be enticing, but the thought of how claustrophobic, hazardous and ultimately liberating leaving Earth for greener pastures can be has produced some truly amazing works of art, particularly in the realm of cinema. So, when director Ridley Scott decided to return to the cold void that yielded him a bona fide sci-fi classic with Alien (and a modest success with Prometheus), how did it turn out considering his last cinematic venture?