Taz Goes to the Cinema 2020

Cobweb

It's... fine. Has it's moments of creepy, but mostly predicatable and overall just feels like the diet coke version of Evil Dead. A boy has a series of nightmare, fo voices talking to him in dreams and through the walls, uncovers some disturbing facts about his family.


Mercy Falls

Scottish film about a group fo friends in their 20s taking a hike into a remote woodland and befriend a stranger, a woman of roughly the same age, in this contrived slasher. The dialoguie ranges from the utterly dumb to the pretentiously dumb, the story is daft and the conclusion is weak to say the least, without even the hint of a twist or explaination. Really the whoie thing comes across as purely amatuer hour. Not much more to say about this one, sorry.


***

Apologies in advance for the brevity of these reviews. Was at the cinema yesterday, and the AD failed in 3 of the 4 films I sat through, the exception being Cobweeb, but as that was the last of what was a frustrating day. Barbie I had sat through before with AD so was just filling in time with this one, while The Blackening for the 3rd attrempt at 3 different screens at 2 different cinemas in 2 different cities - all of which were listed as being AD sessions (in fact every film I go to is listed as an AD session, but roughly am only getting approx 60% actually are, which is really getting frustrating - failed yet again. So, it's no surprise the AD failed yet again. Even still it annoyed me considerably. Besides, horror is not my genre of choice, but as the options for new films was very limited this week. :/

Sound of Freedom


So, straight off the bat this is not a fun couple of hours to spend, to say the least. To me, it comes across as well enough intentioned as it tackles a serious and traumatic issue, that of child abduction and sex trafficking - a genuine horror more perplexing and terrifyingly real than any of the many films of that genre that are likely tobe released at the cinema over the next couple of months.

At the same time is unashamedly manipulative and to that end easy to see why it has been weaponized by conspiracists, and the studio behind it, sadly, among other things.

Obviously the controversy surrounding it may colour opinion of this and undoubtedly because of this it is hard to have a pure opinion without it triggering and trying to be purely critical of it as a film alone. The subject matter of film itself is undoubtedly worthwhile that perhaps could've been handled with more tact, but that is not it's goal, rather the blunt beating over the head and a messiahnistic Jim Caviezel fighting a crusade that seemigly according to the film barely noone else wants to acknowledge even exists. Perhaps giving a little more time to sit on this will add a fuller perspective but this was my immediate takeaway, for better or worse.

Past Lives

This Korean/American production is one of the better films have sat through at the cinema this year so far. At the crus of the story is 'Nora' who is born in Seoul but emigrates to US with her family when she is 12. leaving behind her 'first love' Hae Sung. 12 years later they reconnect on something like Facebook and against 12 years after that when Hae Sung comes to New York. There are some of the same beats that Richard Linklater explores in his 'Before' trilogy, but there is more to it than just that, as Nore has moved on to living her 'American' life and is married to Arthur, who himsefl questions his place and Nora's, who still 'dreams in Korean' , compared with Nae Sang, who seems still to be in love with the girl that was but is not the woman is now is, and it is in this understanding lays the crux of this drama. It's well written and worth checking out.

Additionally, I am grateful for the cinema for tracking down and putting on a single screening with the AD for this, as I would've oitherwise missed out on a really good and thought provoking film. Oh, and the effort put into this AD is clear they've learned a bit since the laughable attempts that were the AD tracks that were recorded for Parasite.


My Big Fat Greek Wedding 3

Did sit through the first of these, must be the better part of 15years ago now, I think, and tbh only half paid attention to it - was more focused on who I was with at the time and thoughts were let's say, distracted by thoughts drifting in that direction, lol) so I didn't remember a lot of the characters that well. and so was largely going into this with not that many preconceptions in mind. That all said I was not really impressed. The film barely triggered any audible laughter, real or forced from anyone in the screening I was at, that was largely silent throughout. The characters presented are largely one-dimensional and uninteresting, the story (a village reunion and ofc a wedding follows) is predictable and really cantt think of anything would commend this film for, apart from it not being as terrible as Strays as the worst 'comedy' this year.


The Equalizer 3

What have come to expect from this series. In all honesty I do much more clesarly remember the first more than the second (can only seemingly recall fragments of that one, what its about etc), but here Denzel's vigilante, McCall, is just as deadly as ever. This time taking on the mafia in Sicily. In truth it's never really explained why he is there in the first place and obviously there are parellels with the first when he takes down the Russian Mafia in Boston (and beyond), but for what it is, it's slick, pretty well paced with no shortage of the violent deaths that characterize this series. No great mystery in the plot, just lots of bloody carnage.

Rally Road Racers

An anthropomorphic animated kids film about a slow loris, named Zhi, who has to win a rally car race to save his home and villiage. Pretty predictable on that front, against the mechanations of the apt named villianous cane toad, Vainglorious (John Cleese' voice work was like channelling his inner Toad, from Wind in the Willows). For a animates film coming from outside of Hollywood it hits a lot of the same sort of beats, but there are things that did make it stand apart also. Obviously I can't comment about the actual animation itself and there was no AD (not that it was really necessary), but it did give a little of the old wacky racers vibe. But there were some nice elements that differentiate it from the Hollywood fare also.. of Asian heritage, and a couple of little things for older audiences, such as Brexit jokes for baddie Vainglorious and a cool little take in the style of the iconic 'Take on Me' music video that was warmly recieved by the audience etc. Overall, kids probably won't get those, but they will still get more than enough with the loud, the colours and more than enough cars go fast and the underlying threads to keep them reasonably amused.


A Haunting in Venice

In my opinion the best of the Kenneth Branagh takes on Agatha Christie's Peroit murder-mysteries to date, especially compared to the previous outing, Death on the Nile. The tone and shift of dark and stormy night, elements of the things that go bump, the occasional jump score for those around me (being blind it didn't really work on me but could feel a few seats around me jolt a couple of times), and in adding to the suitably Halloween-ish atmosphere. Hopefully it will find it's audience a bit more on streaming as it is apparently struggling at the Box Office, but it is undoubtedly one of the better wntries stemming from established movie franchises this year.


Rise of the Footsoldier: Vengeance

Speaking of which, this British gangster flick is the 6th entry into this series - of which I have only seen the one previous to this, which was a prequel to the entire series, so there was a pretty big disconnect, lol. Additionally, without the aid of AD (the cinema I go to is currently operating with just 5 out of 13 screens with functioning AD... Not. Happy. Jan! But I digress...) there are things that I found confusing in amid a story that centres of Pat Tate, whose gangster pal is brutally murdered, which sends him on a hunt to track down those responsible. It's what you expect. Brutal. Bloody. Loud. Angry. Gratuitous. It knows it's audience, and if you like this sort of thing, you'll get your money's worth here.

Today was a rough day, where the AD failed to work in all 3 of the screens I was at today. Not impressed, and it means that I will have to sit through a couple of these at least once again, because to say the least, there are serious significant gaps. That said...




The Lesson

I had some interesting thoughts during this movie, not least of which being a companion piece of sorts, of Richard E Grant films, exploring concepts of literary theft, along with Can You Ever Forgive Me? Whist that dealt with forgery, this one perhaps strikes even closer to home for the characters involved here.

Liam (Daryl McCormack) is ostensibly brought to tutor Bertie (Stephen McMillan), who is preparing to apply for entrance to university, but there is far more going on in the Sinclair home, with self-centred novelist father (Richard E Grant) and a controlling and calculating mother (Julie Delphy); a family still dealing with the death of Bertie's brother, Felix, a couple of years before. It's an intrigueing premise with a delicious little slice of the ironic while being a slow burn yet ultimately worthwhile, pretty well written for what it is, but above all it's the quality performances of the 4 main actors that is the sell here. I would like to sit through it again as there are gaps.


Canterville Ghost

Animated film adapted and expanding upon Oscar Wilde's tale (which thankfully I remember from long time ago, which helped fill in blanks and piece things together here because of lack of AD). It was a very busy screening I was at, far bigger than what is normal with lots of families in attendance, and while it takes a little while to really click and could hear the rstlessness of the kids, the second half of the film really had them hooked and cheers, and more than a few kids proclaiming it 'best movie ever, lol. It's not that, but I wanted to point this out as it knows it's audience and it does click for them... it just takes a little while to take that hook. The voice cast is pretty good, including the likes of Stephen Fry, Hugh Laurie and Imelda Staunton.


Dumb Money

This one I really am going to need to sit through again. I have so many gaps, so many, many silences that clearly things were on screen but I had no idea about, and the occasional laugh from people in the same screening that I had no idea about, so really feel like I wasted a couple of hours here with just the broad grasp of what happened, so big asterixk and reserving judgement for a repeat but with AD.

Dumb Money (...take two, lol)

So finally got this with AD, and it makes so much more sense with all the details that I had missed from the previous sit through. It's an interesting enough story and explains in a much better way that I could make head nor tail of, when the events were being played out in RL and the news outlets I followed were able to record. That said, for all of it';s attempts to play like this years 'The Big Short', it never really quite hits, or is as sharp in it's writing or insight as that movie.


Blackberry

And speaking of which, yet another movie that withouot the aid of AD left me grasping at times, the rise and fall of the Blackberry smartphone... who knew this needed a movie, but here we are, lol. It's a curious story, of the spectacular rise and fall and actually felt more engaged with it than other business-centic tales and one worthy of the telling in a way perhaps not since the story of Ray Kroc's snaking the McDonald brothers to establish a burger empire in The Founder.

I did miss some of the details during scenes of no dialogue and the last couple of minutes, no idea what happened there so will be looking to sit through this again with AD to fill in those gaps but not nearly as badly needed as with Dumb Money where I felt like I had completely wasted 2hrs of my time the first time through.


The Old Oak

A group of Syrian refugees are brought to settle in a small northern English villiage. It centres on the emerging friendship between Yara (one of the refugees) and TJ, the publican at the Old Oak, the pub that serves in so many ways as the lynchpin for the villiage, both as serving as the centre of where a new sense of understanding and community is built, while not shy away from the bitterness, anger, racism and prejudice of those opposing.

While it didn't hit me like a tonne of bricks the way some of Loach's films have, it still packs plenty of his trademark social consciousness, empathy and rooted in realism that is the hallmark of his long career. A very worthwhile tale, if a little simplistic (although it doesn't need a whole lot of additional complexity) and as an unashamed long time admirer of Loach's work, I absolutely recommend.


Talking Heads: Stop Making Sense (40th Anniversary Remastered)

Remains the gold standard of concert films. The remastering has done a phenom job with the sound and can only imagine the visuals are likewise. Admittedly I've not sat through the original in probably 30 years but did have it on VHS back in the day and sat through it a few times, way back when. Wishes more music was like this nowadays. One thing I didn't note from way back then was the involvement of Bernie Worrell in this show, makes me wonder if the late, great P-Funk keyboardist contributed to any of TH studio work as well, may he rest in peace. Might be time to dig out a few of their old CD's see if there is any mention in the notes, rather than just listen to their tracks, lol.

Oh, and trainspotting, apparently I was sitting two seats away from the author, Ian Rankin. Obviously was oblivious to this at the time but the staff at the cinema told me of it afterwards. That is the 3rd time this year have been in the same movie screening as him, after Sisu and The Dive... who knew? Will be on first name basis soon, haha!

The Great Escaper

Based on the true story of 90 year old WWII British Navy veteran (Michael Caine) who skips out of his retirement home in England to attend the 70th Anniversary of the D-Day landings in France, with the media attention it brought and all the rest. His supportive wife (Glenda Jackson) is unable to go due to her health as the film flits back and forth between the scenes of 1944 wartime Britain and the landings, while also exploring it's memory and guilt that haunts still in 2014. It's a solid little movie, no real frills but it works especially because of with those two performances at the heart of it that really make it what it is. This was Jackson's last film, may she rest in peace, and she goes out on a winner, while Caine at 90 himself still proves he can deliver.


The Expend4bles

What can't deliver is this. An action movie that had me close to nodding off with boredom. When what it is essentially aspiring to be is a Steven Seagal 'Under Siege' and falls flat at that, it's not exactly like the bar is set super high, and for it to so badly miss says it all really. Having not sat through any of the previous installments in this franchise, but on the strengfh of this alone I really have no desire to go back to check them out. I may well will at some point, but won't be bothering with this one. Dud.


Do the Right Thing (re-release)

A rerelease of this Spike Lee classic, still stands up and in a way it's sad to say it remains as relevant as ever. While no AD was available, but considering I've not sat through this since I worked at a video store in the late 90's and had watched it once previously, in the early 90's, but those couple of shifts rewatched a bunch of his movies including this one when Summer of Sam was coming out (and not sat through this since), it's remarkable how vividly can remember most of the scenes.

The characters continue to live large in a melting pot as events of that hot summer day heat up, booth literally and figuratively as Mookie navigates the neighbourhood around him. Form Sal (Danny Aiello) and his boys (John Turturro & Richard Edson) with all their individual frictions, to Mother Sister and da Mayor (Ruby Dee & Ossie Smith) casting a watchful parental eye even over the entire neighbourhood, the Korean market and his his fam, to Samuel L Jackson's DJ. it's all still here, with all th eaccompanying prejudices that come to a boil. Hopefully won't wait the better part of another 25years before sitting through this again.


The Creator

I actually kind of liked this movie. There is some cool concepts in the world building here. It's a shame that hasn't connected with a big enough audience because, while it is not perfect, it's a much more interesting and complex than most that get churned out of Hollywood at the moment. The story itse;f is not that complex when stripped away of the world building beneath it, but that shouldn't matter. After all, that exact same sort of formula is what Avatar did and done arguably better in the writing in this than in either of James Cameron's two Avatars. I can't comment about the visual side of things, but while I do srill have some questions that will require a second sit through, it is one I will be looking forward to undertaking.

The Exorcist: Believer

Someone forgot to write the scares for this movie. Can't believe they spend $400m for the rights to make these and it's the 50thy anniversary of the original and yet this is the best they could come up with? It was like they completely forgot the scary and then tacked on a quick exorcism at the end almost like an afterthought, making it almost like Avengers Assemble of exorcists. Why bother. Dud.

Sumotherwood

Seroiusly, if this is what Gen Z thinks is funny, heaven help us all! This was a straight sprint to stupid. Ricco and Kane are two incompetant wannabe urban gangstas in London, whose patter of speech is certain to drive anyone up th ewall. Seriously, this makes the scripts, accents and dialogue in Guy Ritchie's movies seem like absolute Shakespeare in comparison. The problem is, it's not just these two who talk like that, it is literally every character, from the real hard men to the poilice to the passers by. It's inconsistent,. it's incoherant and it's quite simply not at all funny. The thing is, they even tried to add a flavour of that to the Audio Description, so there was no escape from the relentless vapid unfunny stupidity at all. The best thing is that it's not that long and the blessed relief of it being over. Avoid.

The Miracle Club


A group from Ireland go on a pilgrimage to Lourdes, set in the 1950's or 60's (I'm not exactly sure, just piecing together clues/lines etc from dialogue and the Audio Descriptions). Chrissy (Laura Linney) returns to Ireland after 30-odd years living in Boston after she was 'sent away' by her mother, but returns for her funeral, which provides the catalyst for the friction even before the group set off on this pilgrimage. It touches on many different aspects of belief, of Catholic symbolism and mysticism; of what is a miracle, forgiveness, reconciliation and catharsis, while the families of the various women left back in Ireland and how they cope without them provides the supposed comic relief B plot, even with it's stereotyped tropes. Thus weaves the story and while it is reasonably straight forward enough so thats not the issue for mine, rather the film did leave me asking questions about the film itself.

The performances themselves of Smith's heartfelt and Bates bitterness are fine, I do however have issues with Linney's written character and her performance of that, considering she is the seeming central protagonist feels a bit misfired. The written character is not her fault, as it is almost too angelic, vanilla and bland despite what haunts her past, but her performance here rather feels like she is not at all pressed to make much of an effort - for example, considering her character grew up in Ireland for the first 18-odd years of her life and yet there is not even the barest trace of an accent. Not the barest hist of an Irish accent, a Boston Irish accent or even just a Boston accent, just her normal speaking voice. Which suggests either she tried but the decision was made it was dreadful and not to bother, or that she just didn't bother in the first place to even try - which for a seemingly talented actress, either way it's disapppointing.

Then there is the casting itself. The leads are all incredibly talented individuals and have bodies of work that testify to that, yet it doesnt really work here. Kathy Bates possibly feels the most out of place, even though she makes the most of it and effects a passable accent, but her character is supposed to be the same age as Laura Linney, when she must be close to 20 years older than her in RL and I believe closer in age to Maggie Smith than Linney, and yet trying to reconcile this thoughout... if there has been an attempt to de-age Bates through CG or simply makeup or what? Or make Linney older? Anyhow, throughout from listening to the AD it was weird disconnect trying to imagine it in my mind's eye, and did provide a bit of a unnecessary distraction that could've been avoided entirely purely by casting.


Cat Person

The premise is simple enough; in which a college student and cinema employee sparks an infatuation and develops a tentative relationship with a seemingly quiet man a few years her senior... or so she thinks, before reality and perception turns ugly in this low budget film based on a short story. There is a quirkiness that doesn't really sit right with the overall tone. Is he a creep or just a insecure nerd with a Harrison Ford fixation? Is she judgemental or just paranoid? Is this supposed to be a dark comedy, an anti-romance or a cringey type of thriller? Is there a twist that the Audio Description failed to enlighten me about, as I was left with some questions on the actions of some of the supporting characters.

As a sidenote, am kind of curious, how much of the $12m budget did they have to fork out just for the rights to extensive use of The Empire Strikes Back clip, that could potentially been put to better use elsewhere? For the budget it's fine and the premise is a strong and intriguing one - just feel like the adaptation could've really used a little something more and because of that it all feels a bit right in the middle - not terrible, it's not dull and did keep me engaged in anticipation, but nor is this brilliant, biting and insightful either.

Here are links to my reviews of Beautiful Day in the Nieghborhood and The Lighthouse:

https://www.movieforums.com/reviews/...ghborhood.html


https://www.movieforums.com/reviews/...ighthouse.html

[quote=Taz;2361003]And so, on with 2023...


Mon 9 Jan

Whitney Houston: I Wanna Dance With Somebody

This was disappointing. In recent years there have been a series of these biopics about singers/musicians, such as Walk the Line (Johnny Cash), I Saw the Light (Hank Williams), Bohemian Rhapsody (Freddie Mercury), Rocketman (Elton John), Respect (Aretha Franklin) and Elvis (Elvis Presley) off the top of my head. Each of these have something notable/worthwhile in the telling. Even those that focus on a particular phase of one of these people's lives, such as Judy (Judy Garland) or Miles Ahead (Miles Davis). In comparison to all these, this Whitney Houston one really lacks, pretty much everything.

This film seeks to compartmentaiize WH life and career that is both a disservice but also undercuts their relevance. Wishing to learn about her life, I would strongly direct towards the 2018 documentary, Whitney, rather than this movie that barely scratches at the surface. The writing and direction are the two biggest problems here, but they are far from being the only flaws. The music (and admittedly I was never a great fan of her music, but can appreciate the talent she possessed none the less) is by far the strongest suite on display, but that didn't need a movie to showcase that. The writing especially is deserving of much criticism in that it lacks to show how all of the myriad of problems, such as her drug use, money disputes with her father, toxic marriage with Bobby Brown etc, which are all interweaved in her life are barely brushed upon and when each is touched on, it is in isolation, which misrepresents the truth of her tragic downturn.

Once again, I cannot more strongly recommend the 2018 documentary, Whitney, over this lightweight fabrication in comparison. Dud.

Totally agree with you about this totally lackluster retelling of Huston's life...we and she deserve better.

Agree with everything you've said here and I'll say it again...Danielle Deadwyler was robbed of an Oscar nomination for Till

Didn't like this movie as much as you did...here's a link to my review:

https://www.movieforums.com/reviews/...0-babylon.html

[quote=Taz;2389713]Are You There God, It's Me, Margaret

I remember we had to do this as a class reading when was in school, but being a 11 or 12yo boy at the time, to say the least half the class did not take it at all seriously or really payed close attention. Fast forward 35+ years to today and am still clearly not the target audience for this. That all said, this movie is pretty well written/adapted, the cast, from the youngsters (lead by Abby Ryder Fortson in the titular role) to veterans such as Kathy Bates pretty much all deliver across the board and is all things considered a pretty good coming-of-age film. Really am surprised that it has taken so long for this to be made.


As a male in his 60's, I was shocked at how much I enjoyed this movie.

No argument that Hailee Bailey and Daveed Diggs were the best things about The Little Mermaid

I just couldn't get behind the basic premise of this film.

Five Nights at Freddy's


I have sat through this twice now and it still makes no sense at all to me. All it leaves me with is questions but overall really didn't do much for me as a story/movie. It just doesn't make any kind of sense. My daughter assures me that as a fan of the game/s she thinks it's great, but i have no idea about any of that. It was kinda cool to have Matthew Lilliard and even older throwback, Mary Stuart Masterson (used to like her in a lot back in the 80s and early 90's and seemed went quiet for a long time after that).

I am a little perplexed at the trend that suddenly video game IP's are the new 'hot' thing, after the likes of the success of Sonic and Mario Brothers. None of them have been particularly good movies and yet have been doing big box office, which means that no doubt there will be more and more of these, just as there were with comic books before it. The trend is there after all, as Hollywood has become increasingly devoid of originality, and the few original ideas/stories etc that do get made are not really getting supported or givrn anywhere near the same sort of investment, But horror is doing horror, so FNAF has been expectantly killing it over the past week or so.


Killers of the Flower Moon

Scorcese rarely ever disappoints. A real actor's director, here Lily Gladstone really is exceptional and when having to share the screen with the likes of DiCaprio for so many of their scenes as well as DeNiro, and not just hold her own but tak e the deserved plaudits. The true story is shocking - but sadly not a surprising one - given the way greed, exploitation and jealousy motivates so much of the evils and amorality in human nature, coupled with the sad truths of the treatment of the native peoples in American history (and indeed, anywhere in the world). It doesn't shy away from the callous nature of the violence, the ruthlessness of the lengths that some will go to, to get what they want through fair means and (mostly) foul.

It's a shame that more people have not gone to the cinema to check this movie out. Have heard people say they might prefer to wait for streaming because it's so long, which is odd as so many went to Oppenheimer over the summer, which was a drama and played out over 3hrs as well. Yes, 'Killers' is longer and given arriving at the cinema roughly halfway through the trailers will mean there isn't a whole lot of change from 4hrs, it is a big ask but it is worthy of it and hope that it does find more of an audience when it does eventually go to streaming.


Trolls: Band Together

Literally just sat through this as it fit the gap between Killers of Flower Moon & Bottoms. I am already a diabetic, but just sitting through this makes me feel like if I wasn't before, I would be by the end of it. Having not sat through the preceeding films in the series, it does seem none the less, to follow a very formulaic template. The music didn't do much for me, can't comment about the visuals and story feels like one that has been dished out 100 times before. Seriously feel like they just stole the entire thing from an episode of the Smurfs from like 40-50 years ago.




Bottoms

This had a good few laughs in it. For a movie I had no idea what it was about going into, it's a comedy that doesn't outstay it's welcome, about a pair of teen girls, both lesbian but just friends, that start a 'fight club' of sorts at their high school. Sounds daft, but it actually works, and some things do get a bit far fetched, but that's OK, it's a comedy not something that to be taken too seriously.

How to Have Sex

If there is a silver lining to the SAG strike, it is that Hollywood has had to pace it's output of content to the theatres, which has opened the door for some UK films to get a theatrical release that otherwise they may've missed out on. I am so glad they did, because this movie was remarkable. Shows what can be done on a shoestring budget compared to so many bloated fare from tinseltown that ends up so contrived or formulaic. This a real surprise! The title lends it'self to some corny teen comedy, but don't let that fool you.

Molly Manning Walker's feature length directorial debut is a highly impressive effort. It feels so natural and real, not like sititng watching a film but as though just a home movie of a group of 16 or 17yo friends who go to a beach resort and what ensues. The screenplay (also by the director) feels so raw and real, brought to life by a couple of remarkable performances by a largely newcomer cast, lead by Mia McKenna-Bruce as Tara feels so genuine. I don't know what sort of a career she may have in years to come, but she is so on point in this and haven't been blown away by a newcomer actress as much as this since Florence Pugh in Lady MacBeth.

This year's AfterSun, if not, even better. It;s not the same nor tells anything like the same story, but is excellent, none the less. One of the best of the year so far. Highly. highly recommend.


Dance First

This biopic of the writer Samuel Beckett is told in an episodic framework, and the writer reflects on his life and the notable frigures and guilts that stayed with him through all his days. from his disdainful and overbearing mother to his complicated interactions with fellow literalry giant James Joyce and his unhinged daughter to the guilt for leaving a friend in occupied France during WWII to the conflicting loves of his life. Gabriel Byrne's Beckett is haunted by these ghosts of his past through his own self loathing counter balanced by his own high opinion of himself. There was no AD but t felt very much like this would've worked better as a stage play that has been adapted and made for streaming or something, but again I get thge feeling because of circumstances has found itself a theatrical release.

Royal Hotel

Apparently inspired by true events (although how close that is to what happens in the film, I cannot say), this psychological thriller follows two Canadian backpackers, short of funds, agree to travel to a remote mining community deep in the Australian outback, where the 2 20-something girls agree to work at the titular hotel, serving an overwhelmingly male population. With all the comes with it, including the wanted, but mostly unwanted, attentions that prompts. They are there to replace two departing British girls who seem to have treated the whole thing like one big party but are on the cusp of leaving. Hanna, in particular, is repulsed by much of what she sees and will have to deal with, everything from the casual misogyny and sexism to the raucous hard living and hard partying of men behaving badly, that is virtually relentless from Hotel owner, Bill, to the array of locals and blow-ins, and as it goes on, seeing how this all compounds on Hanna while seems to be coming to accept it as time goes on is pulpable. Definitely worth checking out.


Saltburn

I really didn't think that much of this. The whole thing was all pretty predictable and devoid of suspense or mystery, and yet it is presented as though it is all supposed to be a great shock at ther end. Upon starting university in 2006, Oli Quick aspires to a life that is not his own and his envy of the wealth and lifestyle of Felix, finding a way increasingly into Felix's social circle, eventually leading to the arrival at Felix's stately ancestorial home of Saltburn, where much of the film takes place thereafter. Even the weaving of reliable and unreliable narration cannot mask the obvious and fails to provide any misdirect. The whole thing, including virtually every character, was pretty unlikeable and a waste of such a talented cast in truth. While ti touches an many similiar themes, I'd still much rather revisit The Talented Mr Ripley than sit through this again. Being generous at the moment, maybe 5/10.

*******

Of these 2 psychological films, despite the settinfgs cannot being any more different from the rough and crude Hotel Royal to the opulance and magnificence of Saltburn, the more lavish setting while fitting the story, doesn't necessarily make for a better story, but it just struck me the dichotomy of these 2 movies' locations and settings and yet the bad behaviours abound in both, and while different, equally as toxic.

Dream Scenario

There is always the danger of hearing other people's opinions of films and how that can potentially raise or lower expectations and sadly this happened here. While I managed to get a few half chuckles out of this, it's far from the laugh out loud jokeathon some seem to have taken away from this, especially in the first half. But it's not a bad movie, and has enough to keep it interesting through the premise and the dark turn that it takes, and worth checking out for that alone. Whether I'd bother revisit it again? ... it's a maybe.


The Marvels

Well marvellous, this ain't. It's just hard to get excited about and overall feels like another underwhelming dud. The MCU (& indeed generally speaking comic book movies in general - Guardians 3 being the notable exception over the past couple of years) seems to be continuing down to slowly circle the gurgler.

On the positives, the film is not overly long, and if there is good to be taken from it, it is Iman Vellani as Miss Marvel. I've not sat through the accompanying show on disney+ or whatever, but she was at least trying to inject some life into the character and the movie in general that was sorely lacking, especially from what I could take from Brie Larson's Captain Marvel, which just felt like if they'd dressed up a lump of wood it would be virtually the same performance, especially for a character so ridiculously overpowered that it makes it hard to invest in them or care really. I've defended Larson in the past, but it's just purely going through the motions, as it seems is everyone from the screenwriters in concept and script right through to the formulaic conclusions and meh villian. The basic premise isn't the worst, but it, along with so many other aspects of this film, feel like are on repeat &/or autopilot, the song planet scene is just cringingly bad and is just a fail, and it's not the only thing that does.


**

Also did an encore of How to Have Sex before it left the cinema. This time was able to take even more up about the supporting cast of characters, and has only further cemented in my mind this has to be a top contender for film of the year for mine, and that both Mia McKenna-Bruce as well as director Molly Manning Walker are both names will be looking out for in the future and if there is any actual merit left in award season, then both deserve to be in the conversation.