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Movie Reviews

Wonder Woman



Director: Patty Jenkins

Stars: Gal Gadot, Chris Pine, Robin Wright, Danny Huston, David Thewlis

Released: 2nd June 2017 (UK)

Reviewer: Van Connor

The First Lady of comic books finally reaches the big screen as Wonder Woman finally receives the cinematic outing fans have been crying out for ever since they made to believe a man could fly in 1978. By virtue of having full-fledged characterisation and a coherent fleshed-out storyline, it’s far and away the best DCEU outing yet. And though that may sound like damning praise, it really isn’t; as Wonder Woman just so happens to be the single best female-driven superhero movie the genre has literally ever produced.

Reprising her third-tier role from last year’s Batman v Superman: Dawn of Justice, Israeli actress Gal Godot is the eponymous princess of the Amazons in this wartime comic-book roll that effectively sits on the conceptual and tonal halfway point between Thor and Captain America: The First Avenger. Behind this wondrous woman though stands an even better woman in the form of Monster helmer Patty Jenkins, and – while David Ayer and Zack Snyder might have buried their respective DCEU instalments under a staggering volume of macho posturing – this lady’s not taking her (all too rare) blockbuster opportunity for granted, and indeed kicks the crap out of both as regards spectacle, character work, and outright technical proficiency.

Her silver screen debut sees Princess Diana leave the idyllic (and female-only) island of Themyscira following the arrival of downed pilot Steve Trevor (Chris Pine). Carrying key information that could help turn the tide of “the war to end all wars”, Diana decides that it is her duty to swap her paradise-like land without men for the literal No Man’s Land – departing with Steve to aid him in his mission, and to seek out the evil god Ares, whom she believes is behind the darkness engulfing humanity.

Assembled with a surprisingly quirky tone by screenwriter Allan Heinberg, proceedings are anchored by a startlingly top-of-her-game Godot, who carries both herself and Heinberg’s screenplay with a previously unseen charm and a wry wit. Selling the heck out of the fish-out-of-water elements without ever playing it too dumb, Godot nevertheless excels in the more revelatory moments which see her Diana faced with – what, from her perspective, is shocking – humanity’s ability to be darker than the evil she’s only been told of in stories. Godot’s always been a serviceable performer with a pretty face before, Wonder Woman sees her absolutely worthy of the star billing.

Pine too gets the chance to exude a level of charisma denied him in previous blockbuster efforts by other more extraneous character traits – the arrogant streak of his Captain Kirk, for example, the chauvinism of his This Means War role, the dullness of The Finest Hours, to name but a few – but here, sharing some captivating chemistry with Godot, Pine finally looks somewhat like the star he’s always been unduly marketed as being. His supporting troupe of pseudo-Howling Commandoes too – Ewan Bremner, Eugene Brave Rock, Saïd Taghmaoui – a treat, though underserved by far too little screen time. If there’s a weak link in the bunch (excluding a certain piece of casting that outright screams an eventual reveal far too long in advance), it’s Office star Lucy Davis, whose comic-relief character not only serves so little a function as to be completely irrelevant to the film as a whole, but also plays as if it’s been lifted straight from a Richard Curtis comedy and feels so jarring as to be a straight distraction.

Also hindering matters is the continuation of the DCEU’s unwielding love affair with pre-impact CGI slow-downs and grim dark aesthetics. The former quickly grows tiresome, and continually weakens the strength of Jenkins’ otherwise gloriously staged combat sequences – take note, this is a film in which violence has genuine heft – while the latter comes on the heels of a first act that truly shows off the glorious visuals of Chronicle cinematographer Matthew Jensen, and feels nothing short of a tremendous letdown in an otherwise shockingly good time. Yes, a good time – this is the first entry in the DCEU canon that will elicit an actual smile from its audience and allows its characters to enjoy the kind of cutesy moments Marvel fans have long taken for granted. You’ll laugh with this one, not yawn at it; and that it’s got such interesting characters – all of whom are allowed genuine on-screen growth – is a big part of that.

Sure, Wonder Woman’s a tad overlong at two hours and twenty minutes – and could easily have been a tidy two hours had someone thought to excise Davis’ almost embarrassing character and a wholly unnecessary Affleckless “but we know Batman!” bookending mechanism – but it’s a superhero film that knows its limitations and nonchalantly kicks them to the kerb anyway. It’s the single best superhero movie ever to sport a female lead – c’mon Marvel, get Black Widow ready now – as well as a solid, robust, and rompingly enjoyable period piece fantasy flick. It took four goes to get it right, but the DCEU finally made one stick – proving once and for all that you shouldn’t send the men to do a lady’s job.

Keeper of Lola M. Bear. Film critic for Movie Marker, TalkRADIO, and others. Producer of podcasts. Skechers enthusiast and blazer aficionado. All opinions my own.

Movie Reviews

LFF 2018 Review – Assassination Nation ★★★★



Assassination Nation Movie Marker

Director: Sam Levinson

Stars: Odessa Young, Hari Nef, Suki Waterhouse

Released: London Film Festival 2018

When Director, Sam Levinson started writing Assassination Nation over two years ago, he probably had no idea how shockingly relevant this dark comedy would be today. Written as his wife was about to give birth, he credits his fear of raising his child in an increasingly brutal country as the main inspiration behind this vivid satire, depicting the disastrous consequences of living online.

The city of Salem, Massachusetts is about to delve into chaos when a data hacker starts exposing highly porn-ified secrets of its population. Internet search history, digital photos and texts conversations are published. Political careers and marriages end. The hack reaches Salem’s high school whose principal is also targeted and forced to resign, despite claiming his innocence. In need of a scapegoat, the town’s authority (macho detective and police man) finds it in high school head girl, Lily (Odessa Young), whose affair with a married man,  just leaked. Lily and her friends must face the town’s growing hysteria that quickly turns into a blood bath of sexism and brutality.

The film’s core storyline revolves around Lily, who with her friends make up the popular clique of Salem’s High School. The 1990’s had their mysterious virgin nymphs (“Virgin Suicide”) and the 2000s, their bullying princesses (“Mean Girl”) but in 2018, the popular girls are fun, clever and most of all, nasty. Born in a comfortable middle class family, Lily has good grades and a cheeky talent for drawing. What Lily and her friend lack is a reliable grown up figure to look up to. Surrounded by threatening boyfriends and denigrating parents, the only grown-up who pays her some attention is her principal but even he cannot completely give in when she makes a clever accusation of the sexism of internet and social media while defending her pornographic art work.

Assassination Nation 2 Movie Marker

There is thin line between victim and executioner in Assassination Nation and Levinson strategically jumps from teasing to threats as if one didn’t exist without the other. Levinson seems less interested in exposing the already well established outcomes of the digital age than exploring the hypocrisy and shaming young people, and particularly young woman, face on a daily basis.

Half way between  Little Red Riding Hood and Nikita, and far from victims, these girls fight back with whatever they are threaten with, usually guns but at times razors and even a shovel. Full of extreme close-ups, the camera is intrusive, and if this closeness can be difficult at first, it quickly helps creates a real connection with those girls.  Surrounded by obvious and familiar characters (naïve head cheerleader, immature boyfriend, cheating husband…), and lifted by invigorating performances by Hari Nef (Bex) and Odessa Young (Lily), these girls can only shine in authenticity and it is hard not to root for them.

Salem’s utter obliviousness takes final form in the slushy sipping little brother, revealed as the hacker. Youngest and quiet, he seemed like a harmless addition to the dinner table and yet could bring a nation to its knee. The warning signs were there, adults chose to ignore them. The film ends with a public letter to a certain president of a certain powerful nation and a feminist call to action against any form of violence and misogyny.

The film will most likely not affect every generation in the same way and will probably swing between anti-sexist fantasy revenge to painfully relevant. Yet there is nothing in this film that can’t be traced back to a recent newspaper headline or twitter feed, regrouped to create a bloody picture of the modern America, kids are made to grow up in.

“Don’t take your anger out on me, I just got here.”

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Movie Reviews

LFF 2018 Review – Beautiful Boy ★★★★



Released: 18th January 2019

Directed By: Felix Van Groeningen

Starring: Steve Carell, Timothee Chalamet, Maura Tierney, Amy Ryan

Reviewed By: Darryl Griffiths

It was his tender infatuation with Armie Hammer’s sun-kissed research assistant, in the exquisite Italy-set romance Call Me By Your Name, which allowed Timothee Chalamet to emphatically march into many a cinema goer’s heart. Now he seems determined to shatter them in this affecting portrait of a young man torn apart by crystal meth addiction, based on the best-selling memoirs written by David and Nic Sheff.

Fusing the separate father and son perspectives into a singular vision. Felix Van Groenigen’s Beautiful Boy plays out like a slideshow of a photo album, leaping between various stages of Nic’s (Timothee Chalamet) upbringing in San Francisco, with the emotional pulse of the film quickening as his troubles deepen.

Applying significant strain on his relationship with his dad David (Steve Carell), who goes to remarkable lengths to garner a thorough understanding of this drug epidemic and how it tortures one’s self in both body and mind, whilst his son struggles to articulate his emotions. It only ripples throughout the family unit, slowly severing the ties with stepmother Karen (Maura Tierney) and Nic’s LA-based birth mom Vicki (Amy Ryan). Encompassing them all is a real air of desperation, as they look to salvage their home life and drag their eldest back from the brink.

Arguably intentional to mirror the often disorientating state of Nic. The narrative structure adopted by Van Groenigen allows heady highs of intimacy and unflinching honesty, making continuous leaps within the time frame. Yet it does hamper the film’s early attempts to build emotional momentum, surprisingly leaving you distant as you look to engage in this family’s plight. The musical choices seem intent to compliment this approach too and whilst some are inspired in their beauty, there is the occasional song that creates a sense of intrusion.

A theme that is prominent throughout Beautiful Boy is the perception of control, established by Nic’s growing discontent towards David and Van Groenigen utilises this visually in its confined and open-aired spaces. One fine example being through an intense cafe exchange, as Nic laments the great expectations placed on him, with both figures captured at a lower angle to emphasise their descent into hopelessness. What becomes clear and almost tangible is Nic and David are both addicts in their own way, unable to break respective habits and methods in order to move forward.

The great comedian who for me has become superior in far more dramatic works. Steve Carell is quietly impressive as David, remaining remarkably centred as he’s driven down a road he never envisaged for his son. With such a sharp focus on the father/son dynamic, Maura Tierney and Amy Ryan are somewhat sidelined, but both provide moments of potent poignancy when called upon. Of course, the film truly belongs to a stunning Timothee Chalamet who is fearless in representing the true horror and heartbreak of such a debilitating condition.

Brimming with sensitivity in its handling of an admittedly brutal subject matter. Beautiful Boy is painstakingly brilliant in its sincerity and authenticity.

To quote the trailer. When Carell and Chalamet share the screen. It’s… everything.

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Movie Reviews

Bad Times at the El Royale ★★★★

Bad Times at the El Royale feels like a throwback to Tarantino in all his 90’s pomp.



Director: Drew Goddard

Stars: Dakota Johnson, Cynthia Erivo, Jeff Bridges, Jon Hamm, Chris Hemsworth, Lewis Pullman

Released: 12th October 2018 (UK)

Bad Times at the El Royale has seemingly fallen foul of the particularly hectic October release schedule in the U.K. As Venom and A Star is Born dominate the box-office and with the London Film Festival in full swing, El Royale has not received the recognition it deserves.

Boasting an impressive cast, Bad Times at the El Royale follows seven strangers whose stories intertwine at the El Royale hotel in Lake Tahoe. As each person’s agenda for being at the El Royale is revealed, tensions inevitably rises and the characters collide.

From the get-go, El Royale feels like a throwback to Tarantino in all his 90’s pomp. Director Drew Goddard, no stranger to managing madness following his debut A Cabin in the Woods, has crafted an immersive, intricately linked murder-mystery that feels like a grindhouse version of Cluedo. The violence is garish but necessary, the dialogue is short and snappy and the characters are most importantly, interesting. The hardest part of any film with so many moving parts, is making the audience actually bond with those involved. Goddard, who also wrote the screenplay, has nailed this – giving enough back-story for each, whilst holding enough back to keep us learning more.

Between Jeff Bridge’s bad-ass priest, Dakota Johnson’s kill-happy hippy and Chris Hemsworth’s dancing cult-leader, the wider cast have somehow managed to create a credible on-screen dynamic, despite the stark character contrasts. Cynthia Erivo’s soulful singer Darlene is the obvious standout and her interactions with Bridge’s Father Flynn provide some of the most film’s most satisfying scenes. Lewis Pullman’s unassuming concierge Miles is another strong performance deserving of a mention.

The film swaggers along accompanied by its killer soundtrack, which plays a crucial part in the films tonal change from chapter to chapter. It’s dark and violent, yet at times it’s engaging and even emotional. The sharp edits that mash-up the timeline don’t over-complicate the plot, but accentuate the frenzied feeling that Goddard is creating as we head towards the plot’s crescendo.

As expected there are some areas where a film with so much going on inevitably suffers. Jon Hamm’s Seymour is arguably the biggest victim of this, with his character perhaps not utilised as much as it could have been. The film also feels a little too fleshed out in parts, lingering on some of the less necessary aspects and leaving one or two plotlines unexplored as a result.

Bad Times at the El Royale really does feel like a Tarantino movie and that’s no mean feat, Goddard has taken his own style and applied tried and tested techniques to create a compelling, genuinely exciting movie and one that deserves to be enjoyed by a wider audience.


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