The Queen's Corgi (2019) - Movie Review

Oh, nWave Pictures; welcome back, old friend. Having covered two of this studio’s previous features, and considering their 2013 effort The House Of Magic was part of my rather formative initial year at this reviewing biz, I can make a pretty solid claim that they are one of the most unnecessary animation houses working today.

At their worst, they can provide aggressively annoying nonsense meant to placate kids, and even when they find their groove, they usually only end up shining when it comes to animating chase scenes. Everything else ends up in the realm of dead-eyed plastic (or, in the case of The Wild Life, dead-eyed pottery). With all this in mind, their latest is somewhat of a surprise, as it’s definitely a lot riskier than their usual. However, chasing that risk results in one of the most horrifically misguided ‘family’ films I’ve ever watched.

Mamma Mia! Here We Go Again (2018) - Movie Review

The plot: Sophie (Amanda Seyfried), now in-charge of her mother (Meryl Streep)’s hotel on the Greek island of Kalokairi, is under a lot of stress for the hotel’s grand re-opening. As she seeks advice from her mother’s friends Tanya (Christine Baranski) and Rosie (Julie Walters), as well as her dads Sam (Pierce Brosnan), Harry (Colin Firth) and Bill (Stellan Skarsgård), she also learns about her mother’s trials when she was younger (Lily James). Between all of them, Sophie might just find the resolve she needs to pull through.

Film Stars Don't Die In Liverpool (2018) - Movie Review

The plot: Old Hollywood actress Gloria Grahame (Annette Bening), after a health scare backstage in the U.S., decides to go to Liverpool and stay with Peter Turner (Jamie Bell), an aspiring actor and Gloria's former lover. As Peter and his family take care of her and the two reconnect over their past, Gloria is faced with not only her own mortality but also how her age, his past romances and her career have shaped her and how she is perceived by others.

Brooklyn (2016) - Movie Review

Along with the better appreciations for the names of directors attached to a film, which has led me to go back through their filmographies in prep for their latest as you’ve probably noticed on this blog already, I have also taken note of specific writers as well. While last year got me to really take note of Mr. Alex Garland, whom I can only hope continues his ride in the director’s chair, it also gave me my first proper exposure to that footy-loving music junkie Nick Hornby. His penned film Wild mainly made my best of the year list thanks to the amazing production qualities of the overall film, but I’d be lying if I said that this guy’s spellbindingly warm writing didn’t factor into it as well. As such, when the posters came in for his latest write-up, it became one of those situations where I knew I’d check it out regardless of my current compulsions. But, even though I fixate on the writing of films far more than I probably should if I want to keep my film buff membership ID card, I still admit that that is only one part of a larger process that is filmmaking. So, even with my affinity for the writer’s work aside, how does today’s film fare?

Paddington (2014) - Movie Review

When one of the most prominent trailers for your film contains your main character licking earwax from a toothbrush, we can be forgiven for assuming the worst. Add to that that we’re dealing with a film aimed primarily at kids and we’re dealing with a high probability of running from the theatre wanting to burn everything. I have never read any of the original books, and only have marginal knowledge about the character itself; this means that I only had the very disheartening trailer to go on. This is the kind of recipe that results in clouds of thick black smoke, melted lab equipment and possibly the need for several HAZMAT suits. What does this cook up in practice? Let’s dig in and find out: This is Paddington.