Connect with us

Movie Reviews

Journeyman

Published

on

Released: 30th March 2018

Directed By: Paddy Considine

Starring: Paddy Considine, Jodie Whittaker

Reviewed By: Sinead Beverland

After the BAFTA winning Tyrannosaur in 2011, Paddy Considine dons his writing and directing hat yet again to bring us Journeyman, the story of Matty Burton, a boxer whose life is irrevocably transformed after his final ever fight. It can’t be an easy task to follow up such a warmly received debut and with Considine’s obvious talent, the expectations are set high for Journeyman to hit all the right notes. The question is, can it deliver? The answer is yes, but only in parts. It can’t be denied that the sterling performances evoke a strongly emotional response, but the story itself somehow never quite manages to pull you fully inside its walls.

In conjunction with writing and directing, Considine also takes the title role of Matty, the boxer determined to prove his worth and retain the title that means so much to him. A title that some believe he came to by default and does not deserve. This, alongside the death of his father spurs him on to challenge the new kid on the block Andre ‘The Future’ Bryte, to a defensive title bout. The film moves quickly to the fight itself, establishing back story through home video footage and a pre-match press conference between Matty and Bryte, played by Anthony Welsh, (who does a fantastic job of making the upstart boxer cocky and unlikeable). He warns Matty that this fight will be life changing; a fact he then frustratingly mentions repeatedly. After the fight, Matty returns home to his wife and baby daughter, relatively unscathed. However, after collapsing, it becomes clear that the head injuries he has sustained are extreme and will have a monumental impact on his life, his relationships and his future.

Journeyman (meaning a fighter with adequate rather than outstanding skill) feels like a very personal film, perhaps a tale itching to be told. When watching the performances on screen, the passion for the project is unquestionable. Considine is excellent, particularly when portraying the injured man trying to rebuild his life. Whilst Jodie Whittaker (as his wife Emma) is beautifully understated, conveying emotion in a powerful, quiet manner. The film undoubtedly works best when these two actors are on screen together, particularly in the aftermath of Matty’s injuries. After they have reached rock bottom, a phone call between the two in which Matty tries to convey his feelings to his wife will tear at your heart; Considine is simply outstanding. Other performances, including Paul Popplewell and Tony Pitts as Matty’s friends and training team provide solid support, creating realistic characters that find themselves faced with an extraordinary situation.

Performances aside though, the film as a whole doesn’t entirely fulfil. Whilst it visually replicates a recognisable life, there are not enough cinematic flourishes to create a complete story world in which you can lose yourself. It never gives way to full blown fist pumping drama, nor does it seat itself at the kitchen sink realism end of the scale. It is a tale that lies somewhere in the middle, an important story nicely told but it feels that something is missing.

With a slight running time of just 92 minutes, the surface of the story is only beginning to be scratched and the opportunity to explore Matty’s behaviour and acceptance of his situation feels lost, as if a few vital scenes never made it to the final cut. As the film pushes swiftly towards the climax, the final scene ends up feeling understated instead of powerfully triumphant. In short, Journeyman succeeds based on its two central performances. The story itself unfolds precisely as we expect and unfortunately (as much as we may want it to) it doesn’t take us anywhere we haven’t been before.

Continue Reading
Click to comment

You must be logged in to post a comment Login

Leave a Reply

Movie Reviews

Mamma Mia! Here We Go Again ★★★★

Published

on

Released: 20th July 2018

Directed By: Ol Parker

Starring: Lily James, Meryl Streep, Cher, Christine Baranski, Amanda Seyfried, Julie Walters, Pierce Brosnan, Colin Firth, Stellan Skarsgard

Reviewed By: Darryl Griffiths

The iconic Swedish pop group said ‘Thank You For The Music!’. An overjoyed studio said ‘Thank You For The Box Office!’.

Sure. Pierce Brosnan singing ABBA’s SOS had a hint of the Borat (Sorry Sacha!) about it. But the summer of 2008 bared witness to a cinematic juggernaut in ‘Mamma Mia’, a jubilant jukebox musical whose sense of joy and fun proved irresistible for audiences. Considering life’s too short. Ten years on we return to the sumptuous setting of Kalokairi Greece with ‘Here We Go Again’, as the sequel fleshes out the timeline, remaining keen to create more cinematic memories.

Content with her unorthodox triple father situation in Harry (Colin Firth), Bill (Stellan Skarsgard) and Sam (Pierce Brosnan). Sophie’s (Amanda Seyfried) fierce determination to honour her mother Donna’s (Meryl Streep) dream of renovating her surroundings into a lavish hotel, coincides with the severe turbulence she’s enduring in her ongoing relationship with Sky (Dominic Cooper).

Increasingly doubtful of her own capabilities. The dynamo duo of Christine Baranski’s Tanya and Julie Walters’ Rosie look to bolster her confidence by delving into Donna’s past, as Lily James’ enthused younger incarnation of the character guides us through her eventful youth with the dungarees intact, reliving her initial encounters in 1979 with Sophie’s dads (Hugh Skinner/Jeremy Irvine/Josh Dylan).

Previously unapologetic in its ramshackle charm and high camp. Director Ol Parker to much relief resists applying restraint to its energetic, big-hearted song and dance numbers, whilst technically and narratively tightening up the deficiencies that perhaps plagued its 2008 counterpart for the purists, with a sharper focus on emotional engagement. As a result, it may not be as quick to overwhelm us with its blindingly sunny disposition like its predecessor, occasionally labouring in its first half with its time-hopping.

Yet when those glorious highs arrive like a new take on ‘Dancing Queen’ and Cher’s stellar firework-heavy rendition of ‘Fernando’, whose cameo evoked hearty cheers in the screening i was in. They are now armed with a poignant and reflective slant, reinforcing the ingenuity in how these timeless songs are integrated into the framework, in order to offer fresh interpretations.

Lighting up the screen as a young Donna Sheridan. Lily James captures the carefree spirit and mannerisms of the character superbly, proving a solid counterpart to Meryl Streep’s original performance and Amanda Seyfried’s Sophie in the singing stakes. Speaking of Streep, much has been made about her (lack of?) involvement in this follow-up. Without slipping into spoiler territory, her gorgeous screen moments this time around epitomise why many fans deemed her an instant hit in the first film. Elsewhere, Christine Baranski and Julie Walters continue to provide fantastic farce, stealing much of the script’s zingy dialogue whilst Andy Garcia’s enigmatic hotel manager is a disarming and dashing addition.

It may not have been a sequel we were warming up the vocal chords for. Yet in striking a killer balance between emotive and euphoric. ‘Mamma Mia! Here We Go Again’ is a truly wonderful follow-up that brims with sincerity and show-stopping splendour.

Dig out the spandex and unleash your inner ‘Super Trouper’…

Continue Reading

Featured Review

Hotel Artemis ★★★

Published

on

Released: 20th July 2018

Directed By: Drew Pearce

Starring: Jodie Foster, Charlie Day, Sofia Boutella

Reviewed By: Van Connor

Iron Man 3 alum Drew Pearce makes his feature directorial debut with this slick future-set actioner – evoking the neon-tinged hyperbolic aesthetic of John Wick and applying it to a more stripped-down set-up akin to Joe Carnahan’s strangely forgotten Smoking Aces. Hotel Artemis sees the eponymous underworld hospital of the future come under siege by forces both outside and in, with a who’s-who of “hey – it’s….!” figures to bring its gleefully vitriolic war well and truly to life.

On Pearce’s part, Hotel Artemis knows its own playbook pretty well – tense action beats are played with coherence but don’t skimp on imagination, and the staging of it all is first rate. Jodie Foster, meanwhile, leads an engaging cast that includes a wonderfully sleazy Charlie Day, the brilliantly deadpan Sterling K. Brown, and an amusingly in-her-comfort-zone Sofia Boutella. It’s best to keep as much of its casting a surprise as possible, but there’s tons of fun to be had via mere cast reveals to keep proceedings engaging.

On the action front, though, it is strange that Hotel Artemis feels as subdued as it does as regards its own sense of internal rage. Whilst far from a bloodless PG-13, Pearce’s film never quite embeds itself as much in the hyperviolence of its world as you’d expect, or, rather, hope. It’s certainly no John Wick in that sense, and, though there is a decent share of world-building to kick things off, it’s quickly evident that this element of restraint is self-imposed by Pearce’s writing, rather than a by-product of now requisite franchise-creation. Hotel Artemis, incidentally, could easily garner itself a cheap and cheerful sequel or two, were there somehow a demand.

On the back of this pretty solid ninety minute actioner, that’s absolutely a consideration. The world it builds is fleshed out enough to intrigue, the cast are game for an intriguing balance of quirk and creepiness, and Pearce steps up to the director’s chair with unbroken confidence and a comic book sensibility that takes him deftly to the finish line. Stoker cinematographer Chung-hoon Chung astonishes as ever, and, while not his showiest work to date, Cliff Martinez’s score fleshes out the bonkers world of Hotel Artemis nicely.

Best aimed at those looking for another round of Smoking Aces-grade action – though, without quite the same singular ferocity – Hotel Artemis is a nice bit of bullet-laden fun with a lively cast and some slick visuals. It’ll never be one of the iconic points on the timeline of action cinema, but it’s a worthy stop-off on the way between the ones that are.

Continue Reading

Movie Reviews

Skyscraper ★★★★

Published

on

Released: 12th July 2018

Directed By: Rawson Marshall Thurber

Starring: Dwayne Johnson, Neve Campbell

Reviewed By: Van Connor

Be honest. Sooner or later, you knew The Rock was going to make Die Hard. It was inevitable. As he ascends higher and higher thought the upper echelons of the – increasingly spartan – Hollywood star system, this was always going to be coming. The only question really, was going to be whether or not it was going to be either any good, or even welcome in a world in which even a bonafide Die Hardsequel now typically ranks among the worst of whichever year it’s released in.

Alas, Dwayne Johnson is no Bruce Willis, and that quality control barrier could not be any clearer as Die Hard meets The Towering Inferno – with a dash of The Fugitive – for Skyscraper. Rawson Marshall Thurber’s adrenaline-fuelled ride takes DJ to China as amputee and former FBI tactical agent Will Sawyer, an American tasked with signing off on the security of The Pearl – the tallest building in the world. When terrorists seize The Pearl, however, Sawyer finds himself the subject of a Chinese manhunt and forced to find a way back into the building in order to save his wife and children from not only the terrorists seeking to fulfil their own agenda, but also to the out-of-control blaze that threatens to consume them all.

Johnson’s played in the sort of arena on more than a few occasions now, with Skyscraper arguably skewing closest to San Andreas as regards the sort of tone and polished spectacle you’re in for. There are some offhand nods to more classical genre archetypes – hell, it makes more Die Hard references than Jake Peralta – and there’s the requisite degree of fistbumping and utilisation of the term “brother”, but those still unsure of what to expect can rest easy on the promise of what’s essentially an Irwin Allen movie with a Neal Moritz sensibility. It ain’t clever, it doesn’t want to be, it just wants you to sit on the edge of your seat and then cheer afterwards. Which you will. A lot.

Neve Campbell brings an impressive amount to what’s an already impressively sketched out female supporting character in Sawyer’s wife (take notes, Bedelia – that’s how you handle hostage takers), and Pablo Schreiber (Orange is the New Black) continues to make for an engaging added value element. Roland Møller, meanwhile, makes for a decent enough villain, but lacks the charisma needed to really sell the ludicrously named Kores Botha as much of an evil mastermind. Sure, he was never going to rival Hans Gruber on the scale of action movie villains, but Botha’s so thinly devised as a villain that he’s not up to the grade of Tommy Lee Jones’ Under Siege villain either. And that’s a real detriment when your action hero lead is someone as genuinely charismatic as Dwayne Johnson. Both Jeffrey Dean Morgan and Joe Manganiello took the wrong Rock movie, would be a decent takeaway.

In lieu of a captivating villain, Thurber nonetheless ensures value for money is had with a barrage of spectacle-fuelled set-pieces the likes of which will have you squirming in your seat biting your fist for dear life – IMAX could well inspire a sense of vertigo with this one. It’s a glossy-looking actioner – thanks to some smooth production design and slick visuals from cinematographer and Mission: Impossible alum Robert Elswit – and fight choreographer Allan Poppleton goes above and beyond to stage Johnson’s antics not as the all-powerful action commando, but a credible fighter dwarfed by the spectacle of what’s up against him.

It’s a good time for all. Sure, it’s in no way destined to become an enduring classic of the action genre – though, the spoilerific marketing campaign does well and truly show off what will become one of this summer’s more memorable movie moments – but it’s Die Hard on fire. With The Rock. In 2018. And if there’s an easier sell for a good time at the movies than that, it just means Dwayne Johnson has another movie out. In which case, still see Skyscraper first.

 

Continue Reading

Trending