A Man Called Otto (2023) - Movie Review

Tom Hanks as “the grumpiest man in America”.

As I got into last year with his villainous role in Elvis, Hanks isn’t as bad a fit for abrasive characters as his public persona would imply. But that’s not necessarily what he’s doing here, at least from what I saw. His performance as the titular Otto is more melancholic than outright ‘grumpy’, dealing with the loss of a loved one and just wanting the world to leave him in peace… while he plans his exit from it. The film is set up to take him on a personal journey where he learns to move past his grief and live life again, making him come out of his shell and all that, but I’d argue that the film doesn’t do that well with the idea.

Pinocchio (2022) - Movie Review

While Snow White And The Seven Dwarves may have been where Disney’s animated film history started, along with their canon of Disney Princesses, their 1940 film version of Pinocchio is arguably where Disney as an artistic aesthetic began. The iconic soundtrack, to the point where When You Wish Upon A Star has essentially become the official anthem for Disney, the elegant use of metaphor in its depiction of a child self-actualising, the timeless animation, that horrifying donkey transformation scene (which likely gave birth to an entire generation of Cronenberg fans); it’s a well-deserved classic.

And it is also the latest film to get pulped and sifted in the modern Disney remake machine, and between the icy reception it’s garnered already and me losing all hope in these things being good anymore after Aladdin and The Lion King, I was fully expecting to hate this. Guess I’ve found my big dissenting opinion for the year, because I actually quite liked this.

Elvis (2022) - Movie Review

Baz Luhrmann. The Aussie king of camp. The Man from Showy River.

I don’t like Baz Luhrmann’s films.

His woeful adaptation of The Great Gatsby marks the first time I ever left a cinema actually angry at having wasted my time and money on a particular film. Romeo + Juliet was the first time a specific adaptation choice (the whole ‘Sword-branded guns’ thing) actively annoyed me. Australia was the first time I discovered how much test screenings can interfere with the creative process in rather peculiar ways (i.e. The Drover was originally meant to die, but test audiences didn’t want to see that happen to Hugh Jackman, so… that changed).

Yeah, he’s responsible for a lot of personal milestones, and none of them positive. The man’s insistence on absolute bombast constantly gets between him and whatever the hell point he thinks he’s making in his films, and even as someone who enjoys the patently ridiculous, Baz keeps testing my patience in just how loud he plays every aspect of his films.

But even with all of that in mind, one thing I have always maintained, alongside my utter contempt for the bulk of the man’s filmography (Australia and The Great Gatsby are easily on the shortlist for worst films I’ve ever seen, period), is that he is talented. He knows how to put a film together, he’s a properly unique voice in Australian cinema, and for as much as I personally can’t stand his work, I can at least understand why others would. Hell, I’ll even give him credit for Strictly Ballroom, which is a genuinely good film and something of a mission statement for Baz’s entire career to follow: Play to the crowds, don’t worry about the committees. It’s just that, with everything since Strictly Ballroom, that talent has been squandered on increasingly misguided and frequently exasperating storytelling decisions.

Suffice to say, I wasn’t really looking forward to his latest release. I may be growing more and more comfortable with lengthier films, but considering how much I just can’t with this guy to begin with, sitting down for a near-three hour presentation is one of those moments when this job of mine actually feels like work. Or, at least, that’s what I was expecting. In what is raring to be the biggest surprise of 2022 (pleasant ones, at least), this is the first Baz Luhrmann film I’ve genuinely enjoyed since Strictly Ballroom.

News Of The World (2021) - Movie Review

I get the feeling that if I keep actively seeking out Westerns like this, my reputation is going to shift from “guy who won’t stop bitching about movies with talking animals in them” to “if even this guy likes this Western, it’s gotta be good”. I guess I’m just trying to break the barrier of this not being my cup of tea as far as genre settings go, and still being able to dissect them efficiently as I (at least try to) do with any other kind of film on here. Well, banking on Tom Hanks in another warm and comforting lead role certainly helps with that, but honestly, this is easily one of the best Westerns I’ve seen all year. And it’s not as if this is all that fresh or creative with its setting either.

A Beautiful Day In The Neighborhood (2020) - Movie Review

Much like Seberg, the main casting choice behind this feature is one that admittedly is a bit obvious, but is also what this production needed right out of the gate. When you’re dealing with a figure as nigh-on-mythical as Fred Rogers, a person that some to this day still question the authenticity of, you need someone who can sell earnestness triumphant. So with that in mind, they basically picked the closest person we have that is as unabashedly likeable as Mr. Rogers himself: Tom Hanks, someone whose sheer charm has also veered somewhat into cliché.

Knowing that a documentary about Mr. Rogers wound up becoming my favourite film of 2018, I shouldn’t have been as surprised as I was at just how good Hanks is as everyone’s favourite nice guy in children’s television. The hushed tone, the endearing timbre, the gentle invitation in his voice that tells you he cares about you and wants to hear what you have to say; the moments with him on-screen genuinely come close to Would You Be My Neighbor? for sheer ugly-crying potential.

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.

The Post (2018) - Movie Review

 

The plot: While the New York Times publish an article detailing Pentagon papers that show a mass cover-up concerning the U.S.’s involvement in the Vietnam War, the Washington Post is stuck reporting on Nixon’s daughter’s wedding. However, when the government tries to censor the Times from posting any more of their findings, Post publisher Kay Graham (Meryl Streep) and editor Ben Bradlee (Tom Hanks) get to work on publishing the findings themselves. However, between the social, ethical and political hurdles involved, it seems that the truth comes with a price.

The Circle (2017) - Movie Review

Technology is an amazing thing. With a single click and a few keyboard taps, you can communicate with people on the other side of the world. Decades ago, we made jokes about how everyone thought virtual reality was the big new thing; now, I can just walk into my local game shop and pick up a headset for myself. Medicine, computing and just human invention in general have taken massive leaps and bounds and it’s only getting bigger with time.

 

However, technology is also a very scary and potentially lethal thing. With enough know-how, that same person on the other side of the world can bring a SWAT team to your house just because you did better than them in Team Deathmatch. Decades ago, we made jokes about how the government is trying to monitor every little action we do; now, thanks to social media, we’re all pretty much giving up our every movement for public consumption willingly. Medical advancements continue to be challenged, destroying a person’s life is as simple as having the right computer program, and human ingenuity continues to reflect how flawed humans still are. With all this in mind, how does today’s techno-thriller do at discussing such issues?

Inferno (2016) - Movie Review

Growing up as I did when the big debacle concerning The Da Vinci Code made headlines, I’ve probably got the same mental association with Dan Brown films as the rest of the world: Convoluted mystery stories justified by a business-casual approach to history. Of course, I’ve spent the years since first watching Da Vinci and Angels & Demons playing a lot of Assassin’s Creed, so fidelity to history and genuine science clearly isn’t an entertainment factor for me… most days, at least. As such, I don’t take as much issue with these films as the general consensus. Sure, they fall into some pretty illogical pitfalls with alarming regularity, and main character Robert Langdon can shift erratically from smartest man in the room to worst investigator ever, but as a couple of potboiler mystery thrillers, they serve their purpose. Yes, I realise how long I’ve spent lambasting Akiva Goldsman’s work, but the Dan Brown adaptations are easily some of his most tolerable contributions. Since Akiva has stepped away from the typewriter for this one, there’s nowhere to go but up for this series… maybe?

Sully (2016) - Movie Review

Bridge Of Spies (2015) - Movie Review

This is the kind of double act that film buffs construct entire fantasy worlds around. On one hand, we have filmmaking maestro Steven Spielberg, the man who helped define cinema as it stands today. He is the reason why the word 'blockbuster' exists in Hollywood. On the other hand, we have the Coen brothers, whose captivating and poignant stories have gone to dominate both the underground and the mainstream. Hell, how many filmmakers do you know of whose works have inspired an entire religion around them? But you know the saying about what the road to Hell was built on; just because you have two great tastes doesn’t automatically mean you’re on the verge of the next Reese’s. But, out of respect for three legends of the craft, I will hope and pray at the altar of Welles that this all pans out for the best.