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Mother!

For anyone in the know, you'd have to be living somewhere under a rock to be unaware of the release of Director, Darren Aronofsky's, latest offering: 'mother!'. Yes, it's perhaps been one of the most controversial of cinematic releases in recent memory, certainly this year, and viewers and critics alike have been split in their critiques and appraisals of the film. A lot has been said, and questioned, not least of which is why the title is all lowercase, but I'll let you Google that one, yourselves. There is no doubt about it, 'mother!' is a polarising filmic journey of one couple's descent into hell, told through the perspective of the woman; in this case the unnamed lead, played by Jennifer Lawrence. Our lead spends her countless days lovingly restoring and beautifying her beloved's old home, a hexagonal dream house for those that love all things rustic, woody, and vintage. Her other half is played by Javier Bardem. A genius Poet who has been suffering for a long time with a bad case of Writer's Block. We join the two one fine day; the sun is shining peacefully and both are happily enjoying their coziness and their home. This state of quiet bliss does not last when a stranger comes knocking (Ed Harris), and our Poet lets him in. It is soon discovered that this man is a huge fan of our Poet's and has deliberately sought him out in his dying days. It's not long before his unruly wife also shows up unannounced (Michelle Pfeiffer), and the two start to make themselves at home, much to the dismay of our Hostess, who spends most of the first half of the film reeling with anxiety, every time she walks into another room where a mess has been left. Things start to really unravel, however, when our visiting couple's two grown boys barge into the house. Played by the Gleeson boys: Domhnall and Brian (yep, Brendan Gleeson has two talented sons!), the two brothers wreak havoc in the beloved house and Lawrence's character is quickly shellshocked and unsurprisingly scared! The events that unfold after this pivotal point in the film, are nothing short of astounding, as moments increase in their uncomfortably shocking nature. This film is not a horror in the traditional sense of the word, but if you're like me, I can bet you will struggle to sit through some of these scenes without some anxiety and stress. For those that suffer with OCD, 'mother!' will haunt you! There are a plethora of theories with regards to what this film means, or what it's trying to convey in messages and, frankly, any one of these could be accurate. The most obvious of these theories, that I feel seem to fit most aptly, are: 1) the theory that the mother in question is Lawrence's character, who is Mother Earth, herself and our Poet plays the part of God in this allegory. The metaphor is clear: God is the Creator; both parts loving and caring, and yet unyielding and unforgiving. A God that has millions of worshippers- devotees who blindly follow, whilst Mother Earth has created a paradise that is being (literally, in this case), overrun by too many unwelcome guests and her pleas for peace are continuously ignored. Even the ending of 'mother!' could be viewed in a Biblical sense, with Jesus being offered to the masses and then completely devoured (I'm talking about a specific scene which I will not mention further- because that would mean some serious spoilers), in perhaps the most disturbing and heartbreaking scene of any film I have seen in recent memory! There is an element of this which could very clearly be an argument for the Environmentalists out there, and 2) is obviously illustrating how us humans ravage, pillage, disregard and destroy our Mother Earth, until she herself wants to finish us all (in the very real form of hurricanes, tsunamis, fires, floods, and the like). The people that swarm the house, literally highlight the issue of over-population on the planet and how we take and take until there is nothing left anymore. The final theory I feel is relevant is 3) The idea of a narcissistic artist and his muse. The artist that constantly craves attention and fans and is addicted to the praise of others. He uses his muse until her resources are depleted and becomes all-consumed by the worship that his fans offer him, allowing them to share what's his. The 'worshippers' (or visitors) in this case, literally follow crowd mentalities: from silent reverence to riot, peaceful sit-ins to looting, and all the extreme shades of human devotion, frenzy and fanaticism, are made apparent here. On a simpler note, I loved all of the cast in this piece, particularly Jennifer Lawrence and Michelle Pfeiffer who completely stood out. Lawrence's character goes through metaphorical and practically literal hell, in 'mother!', and yet every expression is believable, every feeling relatable and every emotion nuanced. This is perhaps one of Lawrence's best works, in my opinion and that says a lot, considering we are constantly distracted by the events taking place around her and wondering what's happening next (though the narrative unfolds from her perspective). Pfeiffer is brilliant as the metaphorical temptress, Eve, to Ed Harris' metaphorical Adam, and the simmering tension between the two women is superb. I'd also like to remind people to look out for Kristen Wiig who plays Bardem's Publicist, and does a fantastic job in her role. Bardem, himself, is perhaps the least likeable character- but that is not because of his portrayal, but more because, the longer the film goes on, the more we empathise with Lawrence's portrayal of 'mother', and silently pray he would just, for one second, stop being so selfish! 'mother!' is a work of art, in the most sincere meaning of the word. Aronofsky has created a film, much like his others (most notably: 'Black Swan', and 'Requiem for a Dream'), that can be read and interpreted in any number of ways. The acclaimed Director is known for producing work that is surreal, psychological and thought-provoking, and his latest does not disappoint, in that realm. Fans of his previous works will most likely enjoy this film, whilst those that seek to find cinema that is far more straightforward will wish they hadn't wasted their time. 'mother!' most definitely is not for everyone, and only those that are keen on art house cinema (and those with the digestion of an Ox), should endeavour to watch this. I, personally, loved 'mother!'. Equal parts beautiful and unbearable, paradise and hell, for me, the film really is about the world we live in, our role on the planet, and how we continuously take without regard for those around us, or our Mother Earth. I found the film incredibly powerful in it's visual symbolism, metaphorical meaning and thought-provoking allegory. It's hard to ignore 'mother!', whether you like it or not, and that's often the mark of real art: something that gets us thinking and talking, critiquing and questioning. You will either love or loathe this film, and that's much like Aronofsky's repertoire, and actually, much like God's creations, too! 4/5

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The next review is Mother! We can’t wait to see what our movie blogger thought!

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Baby Driver

Director, Edgar Wright's, latest offering: Baby Driver, has raced into cinemas with the momentum of a race car driver- but is it actually any good? Firstly, Baby Driver feels like an amalgamation of many films: Drive, Heat, The Fast and the Furious, and even La La Land, but that is definitely no bad thing! With more brains than The Fast and the Furious franchise, more pace and action than Drive, and less musical cheese than La La Land- but still all the class of Heat, Edgar Wright has certainly created a blockbuster hit with Baby Driver. This is a film that sees a concerted shift in focus, bold confidence, and freedom within the filmmaker's journey and it signposts an exciting change in his career after the charming, but niche, likes of Hot Fuzz, Shaun of the Dead, and even Ant-Man. A rather simple, yet efficiently executed story, the film's titular and main character is, the mostly silent, Baby (Ansel Elgort), a young man that lives with his deaf foster parent, Joseph (C. J. Jones), and moonlights as a getaway driver for Doc (Kevin Spacey), a criminal mastermind, to whom he owes a considerable debt. To add to the story (and as an excuse for the banging soundtrack), Baby also suffers from a bad case of Tinnitus, which he manages to suppress thanks to his omnipresent earbuds and his impressive iPod collection; playing hits after hits that superbly, brilliantly and utterly set the pace and fuel the action for this flick! Indeed, this is one album you will want to buy immediately as the definitive soundtrack to your life (much in the same way as the Guardians of the Galaxy soundtrack stole the show for the 2014 blockbuster). But further on the music, later. Back to the action, boy oh boy, is there bags of it! Baby Driver is, after all, a heist thriller at its core and this plot formula is not only clever, but cleverly executed throughout. Doc designs heists to ultra, military-grade, precision and he never uses the same crew twice- though believes that Baby is his 'lucky charm'. Meanwhile, outside of the driver's seat, Baby meets and falls in love with doe-eyed diner waitress, Debora (Lily James), and the lovebirds decide to run away after Baby completes his 'one last job'- and thus completely pays off his debt to Doc. Sadly, however, the course of true love never did run smoothly, and it's not long before their plans are thrown into disarray when paranoia, distrust and macho posturing between two of Doc's regulars, Buddy (Jon Hamm), and Bats (Jamie Foxx), come to a head and things unravel into a deadly fight to double-cross each other, with Buddy squarely in the middle of the whole ordeal. Needless to say, there's a definite feel of Bonnie and Clyde, between our two lovebirds, Baby and Debora, who are forced to take matters into their own hands for a chance at the freedom they both crave so desperately. This is a tightly wound, fast-paced plot that works well with the talents of our cast, especially Elgort, himself, who plays Baby so effortlessly, that it's hard to ever imagine him having played another role- such as that of the dying teenager, Augustus (Gus) Waters in The Fault in Our Stars. He is every bit as cool and understated as his character and yet keeps the tempo moving, throughout the film with, oh so much, sincerity. Back to the music, though, Wright has well and truly woven a humdinger of well-curated tunes to set the ambience for his action, including such icons as: Queen, Barry White, and Blur, and other amazing artists such as: T.Rex, The Damned, Golden Earring, the Jon Spencer Blues Explosion, Danger Mouse, Dave Burbeck and Young MC. At the very least, this soundtrack will have you toe-tapping your way through the action, if not completely (albeit, internally), rocking your way through the film and straight to your local music shop, or online retailer! Perhaps the greatest difference between Baby Driver and a film such as Drive, is that the latter takes itself far more seriously and is rooted, quite firmly, in the existential elements of the Film Noir genre, but Baby Driver is unafraid to be over-the-top, offbeat and even a little cartoony its style, and this works wonders for the film, ultimately bringing it a more rounded and (overall) entertaining feel. Now, don't get me wrong, I absolutely love Drive, but I'd be lying if I said I thought it would beat Baby Driver for all-round entertainment, and that's even after my considerable love for Ryan Gosling! No, it's undeniable that Wright illustrates a clear skill for crime fiction storytelling- a skill we did touch upon in Hot Fuzz, though not as brilliantly executed (and not on such a grandiose scale) as Baby Driver. The 'cartoony' style works like a charm, especially when Wright shows off his alchemy and applies his magical touch to some epic chase scenes and in-camera car stunts that are not only jaw-dropping, but honestly make some of the stunts in other, heavily-CGI'd, car chase films look like child's play! Wright's is a surprisingly simple film executed with absolute craftsmanship and dexterity,  which serves a much-needed respite from the other run-of-the-mill, overly bloated blockbusters that clog up and over-saturate the big screen, particularly during the Summer months. This is a superb film; sleek, action-packed, witty, impressive and bold and I'd be surprised if Baby Driver leaves anyone unimpressed as we roll on to the Summer big-hitters. Quite frankly- this is already the action flick to beat this year! Bring it on, Hollywood! 5/5

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King Arthur: Legend Of The Sword

It seems Hollywood really cannot get enough of this mythological legend, and so we have yet another remake- or 'reboot', if you will- of King Arthur of Camelot and his faithful companions: the Knights of the Round Table. This time around, the gauntlet has been thrown down to Director, Guy Ritchie (you see what I did there? Gauntlet?...oh never mind). For those who don't know, Ritchie is best known for his uniquely British gangster flicks (think Snatch, Lock Stock and Two Smoking Barrels, and The RocknRolla), and especially for his particular brand of quick wit!

You may think, then, that a reboot of Kind Arthur that's been Directed and co-written by Guy Ritchie, would be a little odd- and you would be right. Simultaneously, the best and worst thing about his King Arthur is that it’s an utter mess on the grandest of scales (and the biggest of budgets). On the one hand, a generic fantasy film in the standard wheelhouse of the Warner Bros. superhero movies, and on the other hand, a cockney-fied mash-up of the same; it's like two completely different worlds, styles and genres, coming together. The now, all-too-familar, franchise-hungry studio model has produced far too many idiotic rehashes of classic myths and fairy tales, but it has to be said, this is the first that is actually funny- on purpose. We can call that the 'Ritchie Charm' and this is certainly where the Director gets his plus points.

The prologue to King Arthur sets up expectations for a film that seems incongruously humourless by Ritchie’s standards, as Arthur’s father, Uther Pendragon (Eric Bana), overcomes Mordred (the evil Mage- or Wizard, to you and I), and his army, while defending famed Camelot from giant elephants. Not only is it evident from the offset that we are dealing with an overly exaggerated fantasy, but we are also completely steering clear from the classic tale, as it should be noted that: other than being a knight, the traditional Mordred is also Arthur’s illegitimate progeny from an incestuous affair between he and his half sister (perhaps this is where Games of Thrones' George R. R. Martin got the inspiration for his dirty Lannister family secrets from?).

But Uther is betrayed by his brother, Vortigern (Jude Law)- the power-hungry usurper, and our poor hero: Arthur, is sent floating down the River Thames to safe refuge and a life of relative anonymity, à la baby Moses. All of a sudden, King Arthur surprisingly and thankfully, turns into a hyper-active/ADHD-type Guy Ritchie movie, commencing with a swift montage. The film races through Arthur's growing pains and adolescence, until we see the man he has grown into, himself (the brilliantly gorgeous and charming Charlie Hunnam), who is now a fully-fledged small-time rogue on the tough streets and back alleys of “Londinium.” He runs his dealings out of the same brothel he has been raised in. But our hero would not be Arthur (and he certainly wouldn't be a Ritchie-esque Jack the Lad), without his 'Knights', or just his pals- with names like Wet Stick (Kingsley Ben-Adir), Back Lack (Neil Maskell), and Chinese George (Tom Wu). As if all the 'coolness' and 'swag' of Ritchie's iconic style weren't enough, he and costume designer, Annie Symons, have even given Arthur a proper aviator-styled shearling coat, albiet a primiative shearling one; now isn't that a sexy look for our lead?

Unfortunately, even Arthur's gorgeous coat cannot disguise the fact that this is still very much a paint-by-numbers tale. Arthur fulfils his prophecy of pulling Excalibur (the fabled sword) from the stone; gets rescued and whisked away by Sir Bedivere The Wise (Djimon Hounsou) and his loyal group of treasonous allies and, throughout, is aided by one of the few remaining Mages (Astrid Bergès-Frisbey) on a number of trippy and hallucinatory vision quests (or periods of 'finding himself') and a final climactic battle with Vortigern. And what a showdown this battle is; without a doubt, the fight is totally unbelievable- but more than just that, it's plain incomprehensible, being the type of scene that would leave some critics wondering what on earth they had just seen!

In King Arthur’s more inspired moments, however, Ritchie does a cat-and-mouse with the narrative of his reboot, discombobulating everything you'd expect from a film about King Arthur (you know, all that “reclaim Excalibur, defeat Vortigern and save Camelot” rubbish), and instead filling the the time with potty-mouthed rapid-fire cuts and flashbacks straight out of a smart heist movie- or hearkening back, so clearly, to Ritchie's very own one-two banter of his classics: Lock Stock and Two Smoking Barrels, and Snatch. This is the King Arthur where characters wonder, out loud, how the Round Table got into Camelot- or indeed, what exactly it is. A unique take on the traditional mythology, it definitely is- but for all it's mad-cap cut-and-splice-ing, and insanely fantasised action, it is actually entertaining and pretty funny with some decent one-liners, just don't expect the genius of Ritchie's aforementioned films- because genius, it ain't!

This King Arthur has it moments—albeit mostly distorted and kind of gross- such as the trio of witch-sirens who live in an eerie and unsettling cavern under Camelot- their origin and purpose within our fable, never really explained, let alone touched upon. The brooding Law, who definitely manages to make evil sexy, even makes for a believable and creepy (though underused), villain. But though there is ample opportunity to really push the boat out and to over-indulge his well-established and iconic style, we do get the impression that Ritchie has somewhat given up on this project before we even hit the half-way mark; perhaps even he realised that this enterprise would play out like a dysfunctional marriage- with two parties (or genres) constantly at loggerheads with each other.

Indeed, this is when I think it is definitely safe to label the overuse of special effects as 'lazy', and I think Guy Ritchie has deliberately tried to hide behind them in order to distract from his uneven film. The special-effects-leaden sequences are as standard as any these days, and, to make matters worse, mostly incoherent. It's as if Ritchie tired himself out here; his vision of Camelot is as sobering and joyless as they come, which is why the humour (though entertaining in itself), feels out of place and odd. I imagine the thought of ruling over such a dreary, bleak and miserable land, is reason enough to make Arthur reluctant to claim his throne- and I don't blame him. If the film is anything to go by, Ritchie's Camelot and 'Londinium', only seem to jar with this wise-craking, humorous Arthur- and that is perhaps the best way to understand the discord in King Arthur. As always, I advise to judge for yourself but, if you're a fan of Guy Ritchie's classics- you will most likely find this a poor substitute, and if you're a fan of Arthurian mythology, then you might as well miss this one altogether- or it may make you quite frustrated, but if neither of these apply, then chuckle you will!

3/5

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Have you seen King Arthur Yet?

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Review: Ghost In The Shell, 1

The long-awaited release of Japanese cultural phenomenon, Ghost in the Shell has released as a futuristic, neon-clad explosion of all things science-fiction, dystopian and AI (Artificial Intelligence). In the ever-expanding universe of the Japanese Anime, the United States of America is a failed state, a (no longer) united nation that has, in a desperate ploy to regain its lost glory, resorted to militant imperialism and surprise, surprise: its first target is Mexico.

The landscape of this new world is not only prescient (let's not forget, for those in the know, that the original Manga started way back in 1989. Yep- I was 1!), but like all the best dystopian and science-fiction diegeses, it is shockingly so! It's one thing to simply present a detailed, complex world so remarkably well- and the Japanese franchise does this so well- but it is quite another to showcase a fantastical scenario and ensure that it never quite becomes unbelievable, but rather always remains uncomfortably close to the edge of becoming a reality!

No surprises, then, to learn that the Wachowski brothers, have sited Ghost in the Shell as one of their biggest inspirations and influences for the utterly brilliant masterpiece: The Matrix (the first one, before things did become a little too far-fetched and insane)! But where this remake of Ghost in the Shell differs from The Matrix is in its depth. Like Major (played by Scarlett Johansson), the highly skilled, cybernetic soldier- and our Protagonist, whose human memories (the ghosts) are enveloped inside a synthetic body (the shell), this Blockbuster remake is clearly fascinated by, and drawn to, the compelling concepts of the original; however, the reboot only manages to skim the surface in much the same way that you or I might have a gander at the Religion or Philosophy sections in an old bookshop: with interest, but nowhere near enough conviction! We've all been there, when we want to read-up and educate ourselves so that we sounds smart and intellectual, but we can't really be bothered to do the research.What we have instead, with Ghost in the Shell, is a film that (in a fairly reasonable way, given that it is a $100 million US production), casually bypasses the lone person perusing through the pages of Arthur Koestler's, 'The Ghost in the Machine', hidden in and amongst the dusty psychology and philosophy shelves, and makes a beeline for the 'Bestsellers' section, with towers of thrillers, spy and espionage actions, graphic novels and science fiction. It is definitely a shame that Director, Rupert Sanders, seems to have been more preoccupied and seduced by the cheap thrills and highlights, instead of the darker, cerebral concepts that the original is known for.

But beneath the surface of its vibrant, gorgeous, larger-than-life visuals, and stunningly designed diegesis (take the toxicity of Blade Runner's LA, and cross it with the almost fetishised neon canvases and cultural stylings of downtown Tokyo/Hong Kong), there is a story about privacy, immigration, the notion of consent and finding humanity in a world that is silently and increasingly moving further and further away from what it means to be human. It is normal for the inhabitants of this world to rely on technology, daily. It is basically almost a given that everyone has some form of technology enhancing or extending their lives, so much so, that it is rare to find someone that doesn't have, say, x-ray eyes, a highly powerful artificial limb, or highly sensitive hearing, for example. One of my favourite moments of the film is when Major sits opposite a fully human woman and is fascinated by her natural beauty and the softness of her face, all while she tries to remember what it must be like to be human, in a human body.

The Major is the first of her kind. She is told that her family were killed in a terrorist attack and that only she survived, but that her body was too damaged beyond repair and so it was salvaged and replaced by Hanka Robotics, the world’s leading manufacturer of this new normal. But instead of inserting an Artificial Intelligence, her human brain is the one part of her body that has remained intact. She is their experimental weapon, a highly skilled, highly intelligent fighting machine, designed to take down the same cyber-terrorists who made her into what she is. One year later, an enigmatic new threat known only as Kuze, hacks into several geisha robots and uses them to stage and facilitate an assassination attempt on the first of Hanka Robotics’ leading figures and researchers. Major and her team manage to save them, but as a result, instigate a police procedural that descends into a surprisingly stoic film noir plot of corporate misdeeds, underworld gangsters, and morally grey characters.

Speaking of hard-to-pin-down characters, Major is as grey-shaded as they come. Johansson brings a subtle humanity to a role that is basically a robot and, as a result, she is utterly compelling and keeps us engaged throughout (even when the commodity of the aesthetics starts to fade). Yes, it's safe to say that this is another quietly groundbreaking role for Ms. Johansson, who never seems to shy away from taking on lesser-known/surreal characters and bringing them into the mainstream for all of us to see. She is bold, yet understated, nuanced yet detached, human yet robotic. She is excellent in the role! So even when perpetual gawking at the cinematography seems a little stale, Johansson brings a story of self-discovery as the duality of her being is ever present: the Ghost versus the Shell.

Unfortunately, there is still a 'but'. If this screenplay were written better- illustrating more confidence in us: the audience (because seriously, we actually do have brains), and had a more talented filmmaker at the helm, one who doesn't simply employ the stylistic use of visuals to make his film look cooler whilst sacrificing the actual narrative (I'm sorry Sanders, but Snow White and the Huntsman was just plain awful!),

Ghost in the Shell could have been a much better film, one that would easily (and impressively) start off the Summer Blockbuster season with a bang, all whilst not shying away from the bigger concepts, issues and questions at hand.

On the plus side, it is very hard to shield my excitement over the sight of the great 'Beat' Takeshi Kitano (the man, known mostly outside of Japan as the don behind some of the most infamous Yakuza films), gunning down thugs in a beautifully shot, dank alleyway, dripping in neon hues! Yes, please! The legend lives on, and what an awesome presence he has on screen.

Ghost in the Shell is deserving of a watch; at the very least the film will wow you with its stunning visuals and Scarlett Johansson's ease of navigation through the not-quite-human, but emotively empathic landscape of a character in-between. And if you are a fan of the original Japanese Anime, then this should add to your imagined reality of Major's world, even if it does fall just short of expectations.

3/5

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Ghost In The Shell Review up next!

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John Wick: Chapter 2

For those of you that may have missed John Wick when it released back in April 2015 (nearly 7 months after the US release!), the film signalled the return to true action hero form for Keanu Reeves- and what a surprisingly brilliant film it was! Nearly 2 years on, Reeves is back in John Wick's 'tactical' suit to wreak more havoc on the seedy world of mafia dons, hitmen and gangsters. So, to catch us all up, John Wick: an ex-hitman who had recently lost his wife to a terminal illness, was forced out of retirement to track down the gangsters that killed the puppy she had left him in her memory and who had stolen his precious Mustang. The callous disrespect cannot go unpunished and Wick soon learns these thugs are closely linked to Mob Boss, Viggo Tarasov (Michael Nyqvist). As the film progresses it quickly becomes clear that Wick is a man you do not want to mess with; he is also a man that does not want to get back into the business of being a Hitman, but he must make them pay for what they have done, as he is a grieving man, with nothing left to lose. In this instalment, Wick finally gets his beloved Mustang back and, still reeling from the death of his wife, Helen, is truly ready to fade back into some sense of normalcy. But this state is, of course, shortly lived, when Wick is paid a visit by a former associate, Santino D'Antonio, with nefarious intentions to seize control over a large part of the international assassins' guild. D'Antonio (played by Riccardo Scamarcio), forces Wick's hand by reminding him of the blood oath that he holds over him, the price of which is to assassinate whomever he is instructed to, no questions asked. Little does Wick know, however, that once the oath is honoured and the debt is paid, he is to be targeted by every international assassin in the market for his bounty. But how does John Wick: Chapter 2 fare in comparison to Wick's first cinematic outing? Well, as far as entertainment goes, this one definitely hits the mark in much the same way as the fist! Hugely audacious and certifiably more violent than its predecessor, Chapter 2 takes a much bolder step into the action genre. What is plainly evident, is that John Wick is not great at retiring at all and perhaps, as others have commented along the way, he is addicted to bloody path of vengeance- but really, what else does he have to live for? And what could be more dangerous than a man with nothing left to hold him back? After its opening, the film wastes no time at all plunging us deeper into the particular diegesis of Wick's world, its mythologies, arcane rules and boundaries. This labyrinthine world of assassins is far more rigidly structured, regimented and orderly than we might otherwise think and it's a treat to explore the various layers and inner-workings in such a way. One of the best examples of these appetising details is the introduction of an old-fashioned administrative steno pool of tattooed ladies that handle and process the release of 'hits' and other nasty things that need to get done. There are also several moments of pleasure to be had watching Wick prepare for his various showdowns. Here is a man with incredibly refined flawless tastes and he knows what he wants. The conversation with the weapons Sommelier (Peter Serafinowicz) that is carried out as one, perfectly formed, metaphor for fine dining, is absolutely brilliant! Another highlight is when Wick responds to the question of 'what style?' by his Italian suit tailor, with the one-word response: 'tactical'. Yes, even gorgeous, precisely tailored dinner suits can serve a higher purpose in Wick's world- one of bullet-proof armour! It could be argued that some of the focus of the first film is lost here, with such attention paid to the smaller details of the criminal world, but these details are charming and help to add so much more class to the film, whilst also enabling a natural precursor for moments of humour. All of this lending the story the chance to venture down some fun avenues. Obviously, cinema was created so that we could all marvel at Keanu Reeves' ability to look about two decades younger than his actual age, in the slickest suits and simultaneously slice through people with the same grace as Fred Astaire! Yes, I am clearly a fan of Mr. Reeves, but joking aside, for all its charming craft and flawless style, John Wick: Chapter 2 is undoubtedly, like its predecessor, a showcase for Keanu Reeves: a great actor that has made great films for decades and a man, more importantly, with a sincere love for and skill in the action genre. I don't believe, as great as this series is, that it would be anywhere near as good without Reeves in the titular role. The action truly is second to none and it is obvious that Reeves knows what he's doing when it comes to the martial arts. Over the length of his career, Reeves has trained in such arts as Jiu Jitsu, Wushu, Boxing, Krav Maga, Judo, Karate and many more, so there is no chance of questioning the authenticity of the action in this one. Keanu Reeves was born for action, he was born to play the hero and yes, some have criticised his acting over the years as wooden or stilted, but I find- at least as John Wick, that he plays the grieving, reluctant hitman brilliantly. Having said all of that, Reeves is not the only star that shines brightly in this one. There is the returning cast of Ian McShane as Winston, the Owner of New York City's Continental Hotel, Lance Reddick as the Manager, and the ever-amazing John Leguizamo as Aurelio the mechanic. However the new faces also bring plenty to the table with the likes of Orange is the New Black's, Ruby Rose, as Ares, who manages to be a commanding presence in every scene despite no dialogue whatsoever, the brilliantly talented, Common, as Cassian, who completely nails the silent but deadly assassin mode with such panache that his and Reeves' scenes together light up the film! Finally, there is the superb addition of Laurence Fishburne, as the Bowery King. Indeed, there is no doubt that these two actors have a wonderful rapport between them, I mean, how could they not after their shared history in The Matrix franchise? But Fishburne is powerful in the role with a hint of eccentricity, for good measure, even though his role is a fairly small one, he manages to make quite the impact and I certainly felt those Neo/Morpheus chills! How could I not? It's Neo and Morpheus, people! The only real negative, for me, was how rapid the Ares and Wick fight was. As a Ruby Rose fan, I was anticipating a grander showdown but what I got was one that, sadly, did not last as long as I'd have liked it to, but she definitely has a place in the cinematic action world, no doubt about it! However, I must applaud Director, Chad Stahelski for the superbly choreographed art gallery sequence as that is a sheer work of art in itself! The visual feast that Stahelski and Cinematographer, Dan Laustsen have created is truly sumptuous. Every frame takes advantage of the refined styles of Wick's world, forming a colour palette unique to the action film landscape that gives John Wick: Chapter 2 an artistic quality. These two also know how handsome and physically expressive their leading man is. Often Reeves is the only thing on-screen, his face and body cast in shades of turquoise, jade, and neon pink and the angles of his frame beautifully highlighted in a gorgeous, stylish, yet masculine way. The fight scenes are also quite artful, they are never over-edited and the continuous use of wide shots only serve to further highlight just how much Reeves trained for the physicality of the role. It's safe to say that the violence is never one-dimensional, either, instead frequently oscillating between darkly humorous and even poetic. This chapter is definitely more brutal than the first- but we do get to see Wick's pencil trick- which is a testament to how deadly he really is. Reeves' dialogue may be spare, but his body tells a story of its own, even in the subdued moments and often, he manages to communicate more of a history than some actors do in entire monologues. Indeed, where Ares may be frenetic and Cassian brutal, Wick is elegant and poetic in his violence. Quite frequently it feels like Reeves is creating dance crafted by his skill with the action and violence and I'm hard pressed to think of any other modern action star who manages to be so brutal yet utterly beautiful in equal measure. But, it must be said that Keanu Reeves' talent goes beyond just his undeniable flair as a physical performer in action scenes. John Wick: Chapter 2 highlights the theme that has snaked its way throughout his entire career: loneliness. There is no doubt that Reeves has always been at his best when he has played men that are isolated due to choice and pathology. Wick's struggle to find peace in this dangerous, chaotic and volatile world is actually moving and you desperately want him to succeed in finding it. Here is a man without any real home in the world- emotional or tangible. Yes this is a slick, adrenaline-pumping action flick that will be sure to keep the masses entertained, but John Wick: Chapter 2 is also a moving depiction of how loneliness and grief can warp the best of us. A sharp, ferocious and stylish piece of cinema, John Wick: Chapter 2 is every bit as cool and bloodthirsty as the first. The film oozes sophistication and class and the franchise is probably one of the most artistic and technical we have seen within the Hollywood action genre in recent years- in fact the only other double-hitter that springs to mind is the Indonesian: The Raid (both parts 1 and 2), but John Wick definitely is bridging the gap between the Eastern giants in Martial Arts and the Hollywood mainstream! The door has been left open for a potential Chapter 3, and I know (if it goes ahead), I will definitely be first in line to see it. If it turns out to be anywhere near as good as the first two, then it's bound to be excellent! 4.5/5

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Coming up next - Our Movie Reviewers take on John Wick 2

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La La Land - 12A

So it's all doom and gloom. The Trumpster has been officially sworn in, the world has been in uproar and we're all going to die! Or are we?! Well, they say hope and Cinema are dead (especially musicals). They say love and romance are for losers. They say magic doesn't exist anymore- but fear not, my dear Movie Lover readers, for there is a cure to this madness: La La Land has released and successfully whisked us all away to a place (perhaps in time, as much as in location), where hope, dreams, magic, and love still do exist! Don't believe me? Follow me to La La Land! 

This is a tale of dreamers, made by dreamers, for dreamers! A tale so perfectly suited to the musical backdrop, La La Land centres on two dreamers lost in the City of Stars- or Los Angeles (LA) to you and me! She (Emma Stone), is a hopeful actress with posters of Ingrid Bergman on her walls, struggling to keep her dream alive and he (Ryan Gosling), is an aspiring Jazz pianist that seems forced to play 'elevator music'-style Jazz instead of the chaotic, intense and liberating kind that runs through his veins. Their paths persistently cross until love blossoms (because HELLO?! It is Ryan Gosling and Emma Stone we're talking about- and their chemistry is always on fire!) and, just as their individual hopes and dreams have to navigate their way through LA's, equally as inspiring as they are stifling, backdrops- their love story must navigate the quirks, ups and downs of the magical realism of La La Land in the most expertly choreographed and beautiful way! 

I'm not sure if La La Land will win the Oscar for Best Picture in next month's Academy Awards- but it absolutely should! It's been a while since I've left a cinema truly, genuinely, believing that I've been transported to a beautiful place. Hugely nostalgic, but in a way that pays pure, gorgeous, homage to the Golden Age of Musical Cinema. I just couldn't stop smiling, throughout! From the euphoria of the opening number, set on an LA freeway, to its final wistful moments inside a Jazz club; there is not a single moment, not a single beat, a single sparkle in the eye, a single smile or a swish of cocktail dress that doesn’t completely envelope and steal you with its irresistible charm. It’ll sweep you off your feet, much like the duo, themselves in a certain scene- and for 2 hours, it’ll make you fall in love with the movies again! This may not be the movie to save the Musical Film genre, but my gosh, if musical films are on their way out, having danced their final waltzes, then at least La La Land will ensure that the genre be respected, forevermore- bowing out with a final flourish of the hand and a curtsy that rouses the audience to a standing ovation as the final curtains fall. 

And that's not even touching on the sheer delight of the Gosling-Stone reunion! La La Land is the actors' third film together and they will, most certainly, go down in history as the Kate and Leo of this new generation, or even one of the most iconic romantic couples in Hollywood to have ever graced the silver screen, just like Humphrey Bogart and Lauren Bacall, or keeping with the musical theme: Fred Astaire and Ginger Rogers; there is even a dance in homage to the duo's famous 1935 number: Cheek To Cheek, from the film: Top Hat.

There truly is something utterly enchanting about Ryan Gosling's face, right? It can't just be me that thinks so. Bathed in the sun-drenched lighting of LA's gorgeous sunsets, the neons of the Jazz bars and the twinkly twilight of the Moon, I don't think it's possible to doubt his brilliance anymore. Sure there are those that choose to view Gosling as nothing more than 'that guy that starred in The Notebook' (which, by the way, is also a pretty amazing romance!) and there are those that believe he doesn't ever talk...you know, because of that ONE film where he barely talks: Drive, but Gosling is SO much more than that. Here is an actor that started his career with a searing performance as a xenophobic, arrogant and rude bigot in The Believer, to an endearing oddball who falls in love with a blow-up doll in Lars and The Real Girl; from the comedic heights of the brilliantly funny The Nice Guys last year to the devastating beauty and realism of Blue Valentine in 2010. He has done it all and he really is an incredible actor. 

For any other fans of his out there: you will most likely already know this, but for those who don't, Ryan Gosling has a band and they are hauntingly good, ethereal and magnificent. The band is called Dead Man's Bones and Gosling is the lead singer and pianist. Here is a man with MANY talents and so, to see his fingers blithely work the keys on the piano in La La Land, is a treat, even more so when his gorgeous voice accompanies! Yes, with more classics under his belt than most actors can manage in five-decade-long careers, can there really be any doubt that Gosling is a star in the leagues of Brando, DeNiro, Eastwood, Jimmy Stewart or Carey Grant? Even Gene Kelly after this film! It's not just Gosling, Emma Stone is sheer perfection in her role, too! Lighting the screen on fire with her deft musical and dance skill that I really didn't know she had. Having always been a fan of hers, too, it's even more amazing to be surprised at just how impressive she really is! She is every part awkward and relatable, beautiful and timeless, quirky and modern and carries the role off with such authenticity that you feel as if this could be her real life story (if only, Ms Stone, if only)! Indeed, I challenge anyone to not be wowed by these two magnificent leads and to not be swept up by their romance. 

Shot by Linus Sandgren in Cinemascope and on film, the visuals of La La Land are so stunningly beautiful that literally, any frame of the film would make a gorgeous piece of wall-mounted art! At times, it even feels like the sets and scenery are actually dancing with the camera! I have been to LA and visited a lot of the locations used in this film, but I have never seen a more vibrantly colourful, alive, hopeful and alluring LA than in La La Land! Iconic destinations such as the Griffith Observatory, Angel's Flight and Chateau Marmont are now venerable movie characters in their own right and it was a pleasure to see them in this enchanting light.

But it's Director, Damien Chazelle, who has given us all reason to flock to the cinemas, even during this particularly cold month when we'd all rather be hibernating at home (hiding away from the cold, or just the Trump situation- in my case it's a bit of both)! Chazelle, our champion of cinema, has found a way to bring the magic back! I can tell you that during the particular screening that I went to, there were irrepressible smiles, everywhere, there was laughter, there were tears and there was a lot of head-bopping and toe-tapping! Yep, the songs are wonderfully infectious and have such tender hooks and perfect lyrics that you'll be hard pressed to not be humming the melodies the whole way home (and for the next few days, if you're anything like me)! There is no doubt about it that Chazelle is trying to preserve the magic of film in all its visceral glory; his 2014 hit, Whiplash, is a brilliantly bold and fantastically executed film, one of my favourites of that year and now La La Land, I think, is one of my favourite films of all time! Depending on how kind and gentle life has been with you up until now, La La Land's final moments will be either heartbreaking or irrecoverably shattering. It is absolutely one of the finest, most stunning, sequences ever put on film.

Yes, it might be quite a wait for the next film that is anywhere close to this in cinematic gold and beauty. There is so much mediocrity that perhaps we will have to wait a year, maybe 5, or maybe we'll have to wait indefinitely, but at least we now know that magic really does exist and that Cinema is alive. WE are alive! And isn't knowing that a gift in itself? There isn't one thing I would change about La La Land, not one thing, I just cannot remember the last time I really felt like I'd been transferred to a different time and different place and I really didn't want to come back! Can we all just move to La La Land? ....We can make that happen, right? 

5/5

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La La Land Review - Coming up Next!

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Movie Lovers Review: Moana

If you are as big a Disney fan as I am, no doubt you will be excited about the release of Moana! Yes, it's another (somewhat) classic Princess story from the studio, but I assure you, it's not like any we've seen before! There is a magic to Moana that is far greater than just what meets the eye. It's much more than simply what we see on screen – the awesome Moana, the charismatic demigod Maui, the stunning visuals and the wonderful screenplay.

The narrative follows our titular character, Moana, the Chief's daughter on an ancient Polynesian island, as she grows from a curious and fearless toddler who falls in love with the ocean, to a young woman who is torn between doing her duty on the island that she has always called home and her desire to venture out farther than anyone has ever gone before. Moana's island is dying and in order for her to save it and her people from a curse that is seeping through the earth and water, she must break with centuries of tradition and sail out in search of the one person that can help break the curse: the Demigod, Maui (Dwayne 'The Rock' Johnson). Of course, Moana's journey is not without it's difficulties and this really is a journey of self-discovery for our protagonist as, with every storm and wave, she learns that much more about herself and the heritage and legacy of her people.

You would be right in thinking that this is a relatively simple story, but that simplicity only serves to add to the mythical quality of the tale (some of the most epic stories are, after all, rather simple, in actuality). And, what's more, the simplicity also helps to showcase just how beautiful and under-represented the people of the South Pacific Islands really are! So, not only is Moana learning about her culture throughout, but we are too and, for that alone, I am thankful to Disney! The studio also, apparently, set up an Oceanic Story Trust to make sure the film would respect and honour the culture of the South Pacific people, and their dedication to preserving the culture really has paid off.

It is only at the end (and what a beautiful ending it is), that we realise what Disney's achieved with Moana and the realisation washes over you in the most poetic and poignant way. That achievement? Well, like I said, this is still a Princess tale and there are many 'quintessentially Disney' elements to the story and yet, the way in which the narrative and, particularly, the characters have been woven together is completely original, especially with our lead!

Moana (brilliantly voiced by Hawaii native, sixteen year old: Auli’i Cravalho) is spirited and bold and I instantly fell in love with her. As far as gender is concerned, Moana is the Disney princess we’ve been waiting for: A natural progression from Belle’s curiosity to Mulan’s courage to Anna and Elsa’s strong sisterhood. Moana stands out from the very opening scene when she is sitting with the other toddlers (predominantly boys), listening to her Grandmother tell the mythic tale of the 'Heart of Tafiti' and how a Demigod, known as Maui, brought a curse on their island and the surrounding ones. The other children are terrified but Moana sits there, rooted to the spot, eyes wide and gleaming, with an excited smile on her face! And then when they all start to cry, she escapes out to the beach and plays with the water. Yes, it's clear that she is a special Disney princess from the get-go!

We are at a time when Hollywood is finally and justifiably, being held to task for its stereotypical portrayals of gender and race and audiences are increasingly wanting those stereotypes to disappear from our media, in general. Put simply, Moana epitomises the alchemy can happen before our eyes, should filmmakers decide to go against these baser norms and create films that are more inclusive and empowering, all round!

It is so refreshing that when Moana sets sail on the ocean for her grand adventure, it's not because of some misguided or angsty love, nor is it because she wants to run away, but instead, because she is on her own quest- completely on her own too (bar her dimwitted and oblivious rooster, Hei Hei)! This may appear as a faint, even subtle change, but it is an empowering one that ultimately restructures the frameworks for the traditional princess and allows her to be more of a 'true' hero, in the way that male protagonists seem to be.

To bring it back to the culture, there is definitely a dynamism to the setting of Moana that we have never before seen from Disney – powerful dynamism that can only be attributed to the ways in which the Polynesian culture is both celebrated and respected. So, when the film navigates its way to an unanticipated ending that, somehow, feels just right, it is clear that Moana is not just the story of one girl, but the story of a people and what could be more empowering than that?

But, truly, the best part is that Moana is a gorgeous film that, amazingly, manages to tick every box, critically, whilst also being incredibly entertaining! There is something enjoyably for all ages and Johnson’s Maui is sure to be a winner with the kids (as will Hei Hei, because this rooster is somethin' else!), and his scenes with Moana definitely make up some of the best bits of the film.

It's not just the narrative of the film or the cultural depictions, or even the Feminist Moana that set this one apart, Disney have also pushed the animation side of things to a whole new level with its glistening visuals of the ocean in its various moods (there are quite a few) – some of the animation in Moana will blow away even the most apathetic!

I also loved the coming together of Mark Mancina, Lin-Manuel Miranda and Opetaia Foa’i on the musical side of things and the results speak for themselves with such an emotive and moving score blanketed, beautifully, with traditional Polynesian sounds. How Far I’ll Go, Moana’s theme song, is stirring and galvanising, but perhaps unlikely to join the ranks of Disney classics, such as Frozen's: Let it Go, or The Little Mermaid's: Part of Your World, though I love Alessia Cara's honeyed vocals on the credits version of the song! For pure joyful buoyancy, Johnson deserves a round of applause for Maui’s introductory song, You’re Welcome. The most powerful and meaningful number, fittingly, is We Know The Way; a triumphant anthem (by Foa'i and Miranda), which sings of Moana's people and their history.

Ultimately, Moana’s true success lies in the fact that it proves you absolutely can take a winning and hugely profitable formula and actually better it! Not only is Moana reinventing the formula but also raising the bar by turning it into an example of just how spot-on a film can be when diversity and inclusiveness are coupled with an empowering protagonist! I love everything about this film, and I think it's exactly the kind of (modern-day) movie magic we really could use more of, especially when it means we can learn about other cultures along the way! Bring on more culturally-diverse films, Disney! That's what I say and I'm now eagerly awaiting November 2017's Day of the Dead-themed: Coco, which will be set in Mexico where the festival originates (El Dia de los Muertos). If it's anything like Moana, it's sure to be an instant hit!

5/5

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The Movie Lover review for Moana is coming soon...

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Fantastic Beasts and where to find them

So in a year that has seen such disasters as Brexit and the election of Donald Trump as President of the 'free world' (just my opinion), it is perhaps understandable that we are all seeking a little light-hearted and, even magical, distraction. It is even more understandable that we would want to seek it from a film so highly anticipated as Fantastic Beasts and Where to Find Them as the latest, official, 'Harry Potter' film! And, though this instalment of magic actually has nothing to do with Harry and his friends, it is very much a part of J. K. Rowling's Wizarding World, only set in 1926 New York. As Rowling's first film as a Screenwriter, Fantastic Beasts and Where to Find Them is based on a Hogwarts textbook by the same name ('Potterheads' will have already recognised the title from Harry's first year of studying at Hogwarts in Harry Potter and the Philosopher's Stone), penned by Newt Scamander (J. K. Rowling, herself, for us folks sadly stuck in the real world), a 'Magizoologist', now played by Eddie Redmayne, who has dedicated his life to magical creatures after being kicked out of Hogwarts School of Witchcraft and Wizardry. Despite the absence of Harry, Ron, Hermione and Co., the early NYC setting is actually pretty apt for a magical tale about tolerance and acceptance. During the Roaring Twenties, a decade of prosperity and hedonism, but also intolerance and repression that came about in such forms as The KKK and Prohibition, witch hunts were also commonplace and thus, the scene is set for Newt's arrival to the United States. The protagonist and focus of the film is the very loveable and endearingly odd, Newt Scamander and he is soon mistakenly intercepted by a buoyant and affable 'No-Maj' (the American name for a non-magical person. I think I still prefer 'Muggle'!) sidekick, Jacob (played by Dan Fogler). The two are forced together when wires are crossed upon their first chance encounter and Jacob accidentally retrieves the wrong briefcase when leaving the scene. Little does he know what myriad of 'things' are stored inside Mr. Scamander's magical briefcase (fans who remember Hermione's beaded bag with it's Undetectable Extension Charm will have an idea of just how much can be hidden in such a small space)! Needless to say, the creature contents of Newt's briefcase starts to get compromised when Jacob unwittingly opens it up and all manner of disarray ensues. Newt and Jacob are then apprehended by a determined ex-Auror (investigator) for the Magical Congress of the United States of America (MACUSA), Porpentina- or Tina for short (played by Katherine Waterston) and her flirtatious sister, Queenie (Alison Sudol) a mind-reading, flapper-wearing sweetheart who would make Samantha, from the TV show Bewitched, proud with her magic-enabled cookery skills! It might all seem cute and fun, but there are definitely dark forces at play in the city (I mean, it wouldn't be a J. K. Rowling story without a darker, overriding sense of impending doom!). One of the ways these more sinister influences of the era materialise is in the metaphorical form of the pious and puritanical Leader of the New Salem Philanthropic Society, Mary Lou Barebone (Samantha Morton), a witch-hating woman who terrifies her young, impressionable charges with warnings against all forms of magic and her vehement intolerance has certainly already taken a hold of a large part of the No-Maj community of the city. Because, as we know, fear is such a great tool for power! There is also the gloomy presence of Percival Graves (Colin Farrell) who relishes his role of Head of MACUSA security and who seems to be playing his own game from the start. Last, but by no means least, the frightening impulses of the times are reflected greatly in the existence of the notorious dark wizard, Gellert Grindelwald (another name 'Potterheads' will be familiar with from the original series as one of Professor Dumbledore's greatest foes!), who has seemingly disappeared after the chaos he caused in Europe! If you are reading this thinking that that seems like a lot to cover, you're not wrong- it is! And, like with all major blockbusters, Fantastic Beasts and Where to Find Them does have slight difficulty in fully rounding off characters and plot lines that would have been better more fleshed out to begin with (in particular Mary Lou and her adopted children). We get just enough of an insight into their lives to understand that something is not quite right, but not enough to feel as if we truly know them and, perhaps I am old-fashioned, but I do like to know my characters if I'm to fully care about what happens to them. The action is what you would expect from such a film, especially one that has the ability to magically re-build the city-scape after each major catastrophe, but nevertheless, the visuals are impressive and I love the way the period has been designed, re-created and brought back to life! I especially enjoyed the journey into a special, wizard/witch-friendly speakeasy, complete with the beautiful, Bluesy, dulcet tones of an elfin singer and a brilliantly unscrupulous Goblin named Gnarlack who runs the establishment (played by Ron Perlman). Yes, it's safe to say that The Big Apple's Jazz Age is delightful to behold. There is no doubt about it, what sets this new franchise off to a cracking start is definitely the fantastic beats themselves! Whether it's the hilariously sneaky, mischievous Niffler (a cross between a Mole and Duck-billed Platypus), who is always hunting for shiny things to steal; or the cute Browtruckle, named Pickett (a cross between a Stick Insect and a Praying Mantis), who just wants to stay hooked onto Newt's lapel all the time; or an Erumpent, a Demiguise, an Occamy, a Murtlap, Billywig or Thunderbird, these creatures are wonderfully entertaining and engaging in their own right! It is not hard to appreciate just why Newt is so keen to protect his beloved creatures and why he has chosen to dedicate his life to them. Not only are these animated characters as entertaining (even more so, in some cases) than their human counterparts, they are beautifully animated and rendered and I, for one, eagerly await the next chapters of the series, if only for the fantastic beasts, alone! However, as bewitching as the beasts are, it is our loveable leads that hold the heart of the film. This winning foursome are charming, through and through. Newt is in full cute-shy-boy mode and I would not be surprised if, by the end of the franchise, this eccentric, endearingly clumsy, misfit has taken on the imposed spokes person status for animal rescue groups, worldwide...even if he is just recapturing them all after they've escaped from his own briefcase. Redmayne is adorable in the role! Fogler shines as Jacob, the utterly relatable Everyman whom, through sheer luck (good or back), ends up riding shotgun on this whirlwind adventure, delving into a world he never even dreamed could have existed. Jacob is kind and unassuming and when the gorgeous Queenie takes an interest in him, it's no wonder they instantly click. Queenie has a good, altruistic heart and buying into the 'love story'-type connection between her and Jacob is easy, despite the fact that she, stereotypically, would perhaps be out of his league. I was rooting for them, particularly during their initial, awkward, but funny, first encounter! Likewise, Tina is a plucky ex-Auror (investigator), but despite the 'Ex' status, she doesn't give up and instead, in many ways, she is the reason that the film moves at the pace it does! She is wonderfully spirited and gutsy, yet also delightfully human and unsure of herself. With Rowling in the driver's seat with the Screenplay, it's not surprising that the film is as magical as you would expect it to be. It may not be a perfect film, but I was carried away, early on and if, like me, you revel when the soundtrack plays a small snippet of 'Hedwig's Theme'- named after Harry Potter's owl, Hedwig, or you feel a sense of knowing upon hearing such names as 'Lestrange' and Grindelwald', then you will most likely enjoy this new foray into Rowling's American world of magic! It has excitement, it has many endearing and wholesome characters (not least of which are the beasts themselves), many a moral message on acceptance and peace, the visuals are engaging and beautiful and the plot is decent enough for the first in the series. In fact, I think this just might be the perfect distraction or instant remedy for what's happening in the real world these days and the perfect way to get cosy for Winter! As Jacob says at one point: "I don't got the brains to make this up", we empathise because we too, couldn't have come up with such a brilliant fictitious world, yet thankfully, J. K. Rowling did and I hope the magic never fades! Simultaneously dark, yet light-hearted, enticing and rousing, you can't go wrong with this one!4/5

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Our review of Fantastic Beasts is coming...

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The Girl On The Train, 15

So the time has finally come and the big screen adaptation of Paula Hawkins' best-selling crime novel, by the same name, The Girl on the Train has released to somewhat tepid and mediocre reviews. Surprising, considering the undeniable success that the novel had.

The story revolves around Rachel (Emily Blunt), an alcoholic divorcee whose life has completely fallen apart. Rachel finds solace in the perfect couple: Megan (Haley Bennett) and Scott (Luke Evans). After Rachel's husband, Tom (Jennifer Anniston's real life hubby: Justin Theroux), leaves her for the 'other woman'- in this case the seemingly perfect, younger, housewife: Anna (Rebecca Ferguson), Rachel's every day is filled by her wiling away the hours riding the train into the city; the same train that passes by her old neighbourhood. She spies her dream couple from the same window seat, daily and, like a lot of us perhaps, Rachel conjures up their story from her imagination, believing they must have the perfect life. However, when Megan mysteriously goes missing and Rachel wakes up finding herself bruised up and covered in blood, she is forced to confront her demons and reconcile herself to her troubled past.

The Girl on the Train is a psychological thriller in the same realm as Gone Girl, another best-selling crime novel turned film- where almost every single character is flawed with some very negative personality traits, such as being: dishonest, delusional and destructive and it is clear that this, perhaps, may not be a genre that is everyone's cup of tea. There is no ignoring the fact that Rachel's issues are unpleasant and depressing and yes, at times her despair does indeed find its way over to us in the audience. It's a lot to go through and this certainly isn't a film for the feel-good-seeking audience- but it definitely has its place.

The film is dark in tone and the characters flawed (as you would expect of a psychological thriller), but we slowly start to realise that we are also watching Rachel just as she watches Megan and Scott and not only is that thought unsettling, it sends shivers down your spine. This is especially true watching Rachel's life rapidly descend into a figurative black hole as she struggles to cope with the loss of her marriage, her impending insanity, her constant drunken stupor, her insecurities and unstable mind but, most importantly, it is Rachel's inability to see a sense of purpose and value in her life that definitively sets the tone for the film; a bleak peek into a very miserable woman's psyche.  

What doesn't help with the dreary impression that this film appears to have left with some, is that the pace at which the story unfolds is slow and the film seems longer than it actually is. However, rather like watching a spider spin its web: slow but captivating, we find ourselves being magnetically drawn in to the lives of these three women: Rachel, our alcoholic protagonist, Anna, the woman who stole Rachel's husband from her and Megan, the enigmatic, beautiful and young wife that disappears. They are inextricably linked in ways that I doubt Rachel will ever forget, but finding out the truth involves her being a potential suspect and certainly the most unreliable witness imaginable.

Whilst I, personally, enjoyed the pace and director, Tate Taylor's (best known for 2011's immensely popular, The Help), treatment of the novel, I can understand where the critics are coming from. If you are not, like me, seduced by the narration and uneasy tension, then The Girl on the Train is likely to miss your station completely, excuse the pun! It is indeed a Marmite type of love-hate affair by the looks pf things. I, however, find that whatever the film's downsides may be, the cast are what elevates it from another run-of-the-mill thriller to a psychological, engaging and unsettling one.

Emily Blunt is a revelation as Rachel and somehow, I still found myself sympathising with her, despite Rachel's self-annihilative behaviour and the train-wreck that she has turned her life into. It's definitely no easy feat to play a woeful alcoholic whose life is so out of her own control and yet, Blunt pulls the role off in a very believable and natural way. I found myself rooting for her even though I could see that her old, happy, life was slipping further and further out of her hands.

I also found Bennett to be pitch-perfect in her portrayal of Megan; she is simultaneously beguiling, seductively beautiful and mysterious and yet also fragile and endearing. You want to protect her and despite her self-proclaimed title as a 'whore', you know there is more to her than meets the eye. Bennett is definitely the ingénue of our piece. Ferguson, too, is enticing and every bit the 'Yummy Mummy' as Anna and I especially enjoyed her in the scene when she remarks to Tom about how she misses being the 'other woman'. The only negative about Anna is that I wish I had seen more of her and that her characterisation was a little more fleshed out, as it is in the novel, because I think this would only add to the frosty tension between her and Rachel. Theroux is also perfectly cast in the role of the loving husband caught between a rock and a hard place with his ex-wife, Rachel refusing to go away. There was even a moment that I remember thinking: oh, he seems so lovely! The rest of the cast are an excellent supplement, also, to this otherwise slow burning film.

I can definitely understand where the criticisms are coming from with The Girl on the Train, but at the same time I absolutely found enough material and treatment to get stuck into. Most of all, I loved the way the story revolves around these three women and how, through various ways, they have been mistreated, used and/or abandoned by the men in their lives, seemingly causing a ripple effect (for each of them) that has somehow changed something deep and fundamental about themselves, forever. Ultimately, this feels like a very extreme case of self-discovery and catharsis.

There are a lot of psychological aspects to this story and perhaps other viewers have been seeking more gritty violence and crime, but I genuinely loved the creeping, wordy and deliberate pace of The Girl on the Train, because it only means that the ending is even more shocking and brutal. Another aspect which I found truly eerie was the undeniable voyeuristic element to Rachel's life and how deeply she has inserted her own dreams and reflections into the fictitious story of Megan's and Scott's relationship and the life they share. This is never more apparent then when Rachel flies into a rage on the train when she thinks she's witnessed Megan kissing another man, because this obviously triggers her own rage and despair over Tom ending their marriage and leaving her.

I may be in the minority with my review, this time, but I really did enjoy this one! I went to the cinema feeling exhausted and slightly worse for wear, but I was bound and committed from the first bit of Blunt's narration, right until the end, managing to stay wide awake! I was impressed by the plot (thanks to Hawkins' novel), the acting, the treatment and (contrary to popular opinion), the brooding sense of impending doom (it can't just be me that thinks that's surely a key ingredient in any good thriller, can it?!). All these factors came together to create a film that I believe, whilst it may not be the Gone Girl of 2016, still rightfully holds its own as a credible psychological thriller! Have a look for yourself and you just may be pleasantly surprised!

4/5

[stgeorgesmovielover-blog]

The review of The Girl On The Train... Coming Soon!