Sometimes it’s not necessary to go on and on about a film so here’s a rapid-fire round-up of films I’ve seen over the last couple of months. It’s like speed-dating for films but without the crushing romantic disappointment of mass rejection in one evening. As usual I accompany the reviews with marks out of eleven.


1922 (2017) – NETFLIX

Thomas Jane excels as a scheming farmer haunted by death, greed and rats!    (Mark: 8 out of 11)


An OCD-assassin portrayed by Ben Affleck wreaks havoc in a very tidy fashion.    (Mark: 8.5 out of 11)


Schizoid-meta-textual-yet-intriguing Jim Carrey / Andy Kaufmann documentary. (Mark: 7.5 out of 11)


Gripping WWII story concerning Czech resistance fighters assassinating Nazis.   (Mark: 8 out of 11)


Stunning production values and cast are let down by a bemusing plot and script.   (Mark: 6 out of 11)


Spanish comedy-thriller has selfish occupants trapped in a bar all turn on each other!    (Mark: 7.5 out of 11)


Miles Teller excels as boxer Vinny Pazienza battling for survival in and out of the ring.   (Mark: 8 out of 11)


Hamstrung horror film throws away a brilliant concept via hopeless script and acting.  (Mark: 5 out of 11)


Watchable American Civil War historical drama with McConaughey on good form.  (Mark: 7.5 out of 11)

GOLD (2016) – AMAZON

McConaughey again shines as a modern day gold prospector in compelling drama.  (Mark: 8.5 out of 11)


Affleck as gangster anti-hero in stylish but empty “Roaring Twenties” adaptation.   (Mark: 7 out of 11)


Narcissistic family members talk at each other about life in pretentious drama.    (Mark: 7 out of 11)


Oliver Stone brings the famous whistle-blower’s story to life in a well-shot drama.   (Mark: 7.5 out of 11)


Franco and Hill sleepwalk through a compelling real-life murder case narrative.   (Mark: 6.5 out of 11)


Incredibly rendered yet abstract Korean horror centring on Shamans and viral death.   (Mark: 8 out of 11)


Tonally haphazard mix of war satire, biopic and drama with Brad Pitt hamming it up.   (Mark: 6 out of 11)




“Here you leave today and enter the world of yesterday, tomorrow, and fantasy.”
Walt Disney Company

Once upon a Time. . . four simple words which immediately conjure a whole host of possibilities and eventualities in literature and by extension, cinema. In her book A Once Upon a Time: A Short History of Fairy Tale, Marina Warner attests that fairy tales are “Stories that try to find the truth and give us glimpses of greater things. . . this is the principle that underlies their growing presence in writing, art and cinema.” My own personal experience growing up was of reading fairy tales, myths and legends. Indeed, such stories formed a narrative backbone to my childhood and opened my mind to all manner of worlds of monsters, magicians, Kings, Queens, dragons, spiders, ghosts, gold-haired heroines, muscular heroes, acts of love and war, epic journeys; as well as breath-taking battles and feats of unimaginable compassion and bravery.

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Such an education conditioned my young mind for an array of imaginative potentialities and in later life my love of fairy tales and stories would bleed through into my love of cinema. But how does one make the leap off the page onto the screen, making that which is fantastic believable to our eyes, hearts and minds? In this article I would like to consider certain ways we have been conditioned and how storytellers develop their narratives in the fantasy genre. How does the unbelievable become believable in our minds? There are many ways in which this is achieved but I would like to focus on two methods which are familiarity and nostalgia.

How does one define fantasy cinema?  One could certainly posit the notion that the fantasy genre deals with fantastic themes including: magic, the supernatural, myth, folklore, exotic worlds, and fairy tales; and for the benefit of this article can encapsulate science fiction, horror and superhero movie genres. Essentially, fantasy is that which is not of our perceived rendition of reality, enabling escape into the extraordinary. Fantasy cinema is not simply dragons and wizards but more far-reaching as their stories cast their magic from childhood to adulthood. I myself recall the day when I first saw The Wizard of Oz (1939) as Dorothy’s journey from Oz literally took my breath away. Moreover, only recently I marvelled at the fantastic images and comedy of Thor: Ragnarok (2017) on the big screen.

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Lew Hunter’s book Screenwriting 434 is a fine research tool for all budding writers. He opines, “You have to make the audience care about your on-screen people and their dilemmas, and when that occurs you’ve created believable unbelievabilty. Audiences will not just get with a film that starts with what they perceive as unbelievable unbelievability.” Thus, this is an integral rule in getting the audience to suspend disbelief and come into a fantastic world. I mean for every Lord of the Rings Trilogy, which in my view brilliantly brought to life J. R. R. Tolkien’s incredible literary behemoth, you get many films which fail to achieve this. Peter Jackson obviously used, at the time, state of the art special effects to achieve his vision of the book but more important, in my view, is establishing the world and characters in the audience’s psychology and making the unbelievable believable.

As aforementioned there are many other movies which do not arguably work as fantasy films. Of course these are subjective choices but offerings such as: The Island of Dr Moreau (1996), Judge Dredd (1995), Batman and Robin (1997), Van Helsing (2004), Cat Woman (2004) The Lady in the Water (2006), Eragon (2008), Foodfight (2012), Terminator: Genisys (2015), Death-Note (2017), to name a few, could all be argued to have failed to make the unbelievable believable. Be it the poor writing, bad production choices or a lack of cogency in the presentation of the rules of their respective worlds, these are a few examples of movies which arguably did not work. But what of the films that successfully connect with our imagination. How do they achieve that?

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Disney Studios has been presenting animated and live action films for close to a century now. As well as developing short animated films centred on iconic characters such as Mickey Mouse, Disney Studios used established texts too. Their first short was Little Red Riding Hood (1922) and subsequently they would win an Oscar for The Three Little Pigs (1933). Thus, the Disney template of utilising familiar stories from folklore or fairy tales was born and since then they have produced many, many such short and feature length productions such as: Snow White and the Seven Dwarfs (1937), Sleeping Beauty (1959) and The Little Mermaid (1989). The suspension of narrative disbelief is achieved because innately we are accustomed to the idea of talking animals or wicked witches or half-woman-half-fish characters as they were familiarised to us in infancy. Indeed, as famous fantasy writer Neil Gaiman confirms, “We encounter fairy tales as kids, in retellings or panto. We breathe them. We know how they go.” Thus, believable unbelievability is achieved due to conditioning as children with the extraordinary. Likewise, our acclimatization with commercial products when growing up, including toys such as: Lego, Transformers, Barbie and the Pixar’s ingenious Toy Story trilogy tap into this familiarity model and the child’s dream that perhaps our toys can actually come to life.

As we grow older though many of us can become cynical and lose the innocence and imagination we had when younger. Thus, the challenge for filmmakers is to make not only children but also adults believe in the fantastic and the unbelievable. One way of doing this is through nostalgia or harking back to narrative conventions established from yesteryear. Academic Frederick Jameson wrote in his seminal essay Postmodernism and Consumer Society, that society entered a key cultural period from around the 1960s onwards where modernism had given rise to postmodernism and that originality per se was being replaced by emulation; more specifically satire, parody and pastiche. He goes on to suggest “. . . individualism and personal identity is a thing of the past. . . stylistic innovation is no longer possible and all that is left is the imitate dead styles.” A cinematic element of pastiche he argues is the “nostalgia film” which consists, not of original narrative, but of film moments and narratives from the previous films.

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Indeed, one of the most successful cinema franchises of all time is George Lucas’ series which began with, Star Wars (1977). While containing many original elements in regard to the fictional monsters, creatures, planets, space ships, weapons, heroes and villains it’s structurally very familiar, featuring the archetypal hero rescuing a “Princess in a Tower” narrative.  Even the “Once Upon a Time. . .” like beginning is echoed in the now classic opening text: “A long time ago in a galaxy far, far away. . .” Moreover, the expositional crawl which then follows is inspired by the early Saturday cinema sci-fi adventures such as: Flash Gordon. Lucas’ genius in using such nostalgic devices creates a clear pattern of familiarity and mental preparation for the fantasy elements yet to come in the story. Lastly, and less obvious, Star Wars also draws heavily, in terms of structure and characters, from Akira Kurosawa’s classic film Hidden Fortress (1958).

Similarly, J.K. Rowling’s Harry Potter series is equally adept at creating a magical world out of nostalgia and familiarity. The films are all structured around the school year and generally begin with an opening set-piece set in a mundane suburban area before slowly introducing the fantasy elements. Of course, some of us may not be so nostalgic for our school years but we are familiar with the educational structure. The Harry Potter books and films are a creative stroke of genius creating both emotional connections for children and adults. Children see the characters of Harry, Hermione and Ron as reflection and wish to emulate such characters; while adults can look back on their school days nostalgically and perhaps also enjoy the magical adventures from a position of halcyon positivity. What Star Wars and Harry Potter both offer is a means to project some incredibly fantastical elements but make it believable by setting their worlds in a recognizable environment such as school or through the stylistic signifiers like the opening Star Wars text.

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Ultimately, most of us love reading or going to the cinema in order to be entertained and escape from our reality. However, if the writer or filmmakers have not successfully created a suspension of disbelief we as an audience will fail to enter their fantasy world. Quality writing, production design, costumes, make-up, performance are of course integral to ensuring we believe what we read and see on the screen. However, as I have attested films also work on a more psychological level of drawing us in using methods such as familiarity and nostalgia to tell their stories. We may not even be aware of this but to make the unbelievable believable it paradoxically must connect with our prior knowledge and experiences, especially those we had as children.

*Originally posted on







The Marvel Franchise bus shows no sign of slowing down and the number of Superhero passengers and routes its taking increases every year. Indeed, I’m wondering which driver (i.e. director) will be the first to get a puncture and crash their respective bus, because even though we are well past saturation point the successful formulae is still sweetly cruising along without the threat of breaking down. Even slightly lesser known heroes such as Dr Strange (2016), Guardians of the Galaxy (2014) and Ant-Man (2015) have all made loads of money, and corny vehicular metaphors aside, surely it is only a matter of time before Marvel’s monopoly on Superhero movie success flails. However, Thor: Ragnarok (2017) is most certainly NOT the film that causes the decline.

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The crafty Marvel bosses have kept their products fresh by often changing directors because where DC failed artistically, in my view, was they allowed the hyperbolic effects-driven blockbuster style of Zach Snyder — until the impressive Wonder Woman (2017) that is — to dominate their bombastic releases. Marvel Studios, on the other hand have given reign to arguably more quirky, indie-flavoured filmmakers such as: Joss Whedon, James Gunn and now Taika Waititi to drive their movies forward. Thus, along with the standard heroes-versus-villains-end-of-the-world storylines, massive battle set-pieces and fantastical worlds and characters on show, such directors add an element of humour and characterization to proceedings.

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Humour, more than anything, is what Waititi brings to Thor: Ragnarok. This is essentially the first all-out Marvel comedy pitched an octave funnier than Guardians of the Galaxy on the comedic scale; as punchline after punchline reigns down with the power of Thor’s lightning bolts. The opening scene is a case in point where Chris Hemsworth’s sly comic timing is utilised to great impact when facing the demonic Sutur. Hanging upside down and chained, Thor’s momentum swings him around and away as the fiery devil delivers his monologue, only for Thor to ask him to wait until he comes back round again. While covering the exposition in a very funny way the gag also satirizes the clichéd villains’ plot while serving as a wonderful taster for the events to come.

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The witty screenplay and lightning pace covers up the familiarity of the story as once again Asgard comes under attack from a hellish force, this time in the guise of the beautiful evil of Hela (Thor’s older sister) portrayed with tremendous gusto by the ultra-talented Cate Blanchett. Usually seen in more serious dramatic roles Blanchett excels as Hela, and arguably is a touch underused until the incredible battle scene at the end. Anthony Hopkins and Tom Hiddleston once again reprise their roles as Odin and Loki respectively; Loki, as usual, getting some great moments to show his dupliticity and mischief. Both Hopkins and Hiddleston take great pleasure to also parody their characters compared to the pitch black seriousness of Thor: The Dark World (2013).

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Waititi, the writers and production crew deserve much credit for not only delivering some familiar faces and worlds to the film but also some new ones to freshen it up. I must admit I wish the trailer hadn’t spoilt the appearance halfway through of the “Big Guy” because if I had not known that I would have been amazed at such a twist. Nonetheless, the Hulk does appear and via Mark Ruffalo’s neurotically bemused turn as Bruce Banner we get, amidst all the gladiatorial mayhem, a cracking buddy story too. Moreover, Tessa Thompson as a hard-drinking-hard-fighting “Scrapper 142” (with a hidden past) is another sterling addition to the ensemble and the visuals which derive from her backstory via flashback are the some of the most impressive I have seen all year.  Jeff Goldblum as a wacky but dangerous Space Dictator and the hilarious Taika Waititi as a wise-cracking Kronan (a rock-looking dude!?) almost steal the show too.

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As he showed with Eagle versus Shark (2007), What We Do In the Shadows (2013) and the exceptionally funny and touching, The Hunt for the Wilderpeople (2016), Waititi is a very talented filmmaker and he has brought his love of eccentric characterization and comedic ability to great effect within the Marvel Universe. Thor: Ragnarok is a riotous mix of stunning visuals, booming rock music, huge battles, family wars, smashing punchlines and hilarious performances. Arguably the comedy sidelines the drama and tonally the film is uneven in places and compared to the magical and hallucinatory world of Dr Strange it is not as satisfying in terms of the whole world and vision created. Nonetheless, as comic book adaptations go it is one of the most entertaining Marvel sequels to date.

(Mark: 9 out of 11)





Over the past few months I’ve focussed my extra-curricular viewing on BBC produced dramas via the BBC channels and catch-up on Netflix. The British Broadcasting Corporation, being the public-service-tax-payer-funded-beast that it is has a commitment to produce quality programming for national viewing and also overseas sales too. I then got to thinking; why not check out where some of my £12.12 per month money goes. So, here are some bitesize reviews of recent BBC dramas with marks out of the usual eleven.



Based on Ian McEwan’s prize-winning novel this was an interesting drama which worked in many respects but did not quite connect in others. Benedict Cumberbatch and Kelly McDonald are parents whose child goes missing while out shopping. The drama and grief of this was very well evoked but the supporting story of a publisher’s regression and mental collapse did not quite thematically meld for me. No doubt McEwan’s original source is a master work and I enjoyed many of the emotional moments provided by the excellent acting. (Mark: 8 out of 11)

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DOCTOR FOSTER – SEASON 1 (2015) + SEASON 2 (2017)

Suranne Jones is absolutely stunning in this domestic drama written by Mike Bartlett. She acts her heart and soul out as the eponymous GP, who in the face of her husband’s suspected infidelity, attempts to find both the truth and maintain her family unit and sanity. It’s a brilliantly written TV series which creates great drama from the “whodunnit” aspect of the potential spousal treachery. Plus, in addition to the Hitchcockian elements Dr Foster herself is very unpredictable in her actions; making for some nail-biting scenes. Bertie Carvel also excels as the charismatic husband and the second season, while not reaching the emotional heights of the first, and feeling more contrived, had some decent dramatic twists too.

(Season 1 – Mark: 9.5 out of 11)
(Season 2 – Mark: 8 out of 11)


The always-impactful actor Ben Whishaw is superbly supported by thespian giants Jim Broadbent and Charlotte Rampling in this obtuse spy thriller. Playing a troubled warehouse worker called Danny, Whishaw falls for the enigmatic genius, Alex (Edward Holcroft); and is thrown into a murky and murderous world of spymasters and upper-class family feuds. Beautifully acted and designed the story moved too slowly for me. Over five episodes the slow-bleed plot of character despair, double-crosses and cover-ups did not sustain the suspense and tension throughout.  (Mark: 7.5 out of 11)

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Suranne Jones (again!) leads the acting line in an earlier post-Coronation Street role. She portrays a mother who, along with her family, seeks the solace of the countryside after their young child has gone missing. However, the house they reside in is haunted by ghosts from the past and as the family attempt to overcome their grief, evil spirits threaten their present. The contemporary narrative works well with the wartime scenes in a decent haunted house scenario that was adapted from the book by horror legend James Herbert; also featuring an early role for Maisie Williams. (Mark: 7.5 out of 11)

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Notable for its excellent ensemble cast and featuring before-they-were-famous roles for: Ruth Wilson, David Oyelowo, Naomi Harris, Benedict Cumberbatch and Ashley Walters, this excellent drama focussed on the war and post-war lives of several disparate characters whose lives become intertwined by fate. Based on Andrea Levy’s novel it is especially rich in regard to the diasporic characterizations and experiences of Jamaican immigrants in war-torn England. The writing is solid and there’s some fine acting and emotional moments to keep one enthralled and I enjoyed how the stories dovetailed dramatically at the end. (Mark: 8 out of 11)


Hey, what if Jane Campion wrote and directed a cop drama? Well, the answer is Top of the Lake!  This is a slow-burn, who-why-how-dunnit with a superb cast, beautiful New Zealand vistas and eccentric, dark characters. Some may find it too slow and artsy, while certain decisions by the characters and plot turns were intriguingly weird. However, Elizabeth Moss excels as the burnt-out cop (is there any other kind?) searching for a missing pregnant teenager, while Peter Mullan is suitably vicious as the rural patriarch; and Holly Hunter is fantastic too as the leader of a women’s commune. Overall, Campion’s barbed world-view satirizes humanity and cop show clichés in a compelling crime drama. (Mark: 8.5 out of 11)


Screened earlier this year on the BBC, the follow-up finds Elizabeth Moss, now back in Sydney, tracking down the killer of an Asian prostitute while battling illegal adoption rings and all manner of sexist-pig-men. Like the original it pulls you in with its richly drawn characters and brilliant cast all committing to the lurid and quirky plotlines. Moss is always reliable and does the brooding, melancholic and troubled cop perfectly, while Nicole Kidman is brilliant as the middle-class academic out of her depth with the emotions of her adopted daughter. The sinister beta-male-nemesis Puss portrayed by David Dencik was a great rendition of spurious masculinity while it was great to see Gwendoline Christie out of her Game of Thrones armour, as a naïve rookie cop assisting Moss’ detective. (Mark: 8.5 out of 11)

TRUST ME (2017)

Jodie “New Doctor Who” Whittaker leads the cast as a downtrodden nurse and single-mum struggling with an NHS cover-up over poor service delivery. Faced with the sack she decides to engage in a cover-up herself by taking on the identity of a Doctor; and then the real drama kicks in. Whittaker is very empathetic and natural, while the suspense was very thrilling at times as her character gets deeper and deeper into the mire. Overall, it was a very tense and fun medical drama which made some very good social points in regards to a Doctors’ life and the NHS in general. Ultimately, it made me appreciate what the NHS does for us but also want to avoid getting ill in the future too!

(Mark: 8.5 out of 11)

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Well, the BBC certainly pushed the budget boat out on this one with a who’s who of new and experienced acting talent including: Jim Broadbent, Paul Dano, Lily James, Tuppence Middleton, Aneurin Barnard, Adrian Edmondson, Jessie Buckley, Tom Burke, Rebecca Front, Greta Scacchi, Brian Cox, Stephen Rea, Gillian Anderson and many more. Adapting Tolstoy’s gigantic and classic doorstop novel must have been some feat and it is indeed and sumptuous and incredible production. As a drama it drew me in with its’ stories of over-privileged Russian lives set during the Napoleonic wars as they live, love, cheat, duel, war and die. Yet, while I did not feel too much empathy for the characters, the acting, design and directing is a joy to behold and I garnered a certain hypnotic pleasure bathing in the high quality of the whole shebang. (Mark: 8 out of 11)

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Philip K. Dick’s dense, dystopic and futuristic novel, Do Androids Dream of Electric Sheep (1968), is an ugly, beautiful, depressing, obtuse, hypnotic wade-through-treacle read full of incredible concepts relating to: Artificial Intelligence; robot technology; android simulacra; animal husbandry; apocalyptic disease; virtual reality/empathy mood tech; extinguished humanity; and ultimately, of course, mortality and death. The fact that Hampton Fancher and David Webb Peoples were able to fashion a workable screenplay for Ridley Scott to direct is a creative miracle in itself. Moreover, it is testament to the writing and Scott’s incredible production team that Bladerunner (1982) is held in such high esteem among cinema fans now.


The original Bladerunner, despite bombing at the box office and subsequently going through a number of cuts, re-cuts, final cuts and re-re-re-releases, has become a bona fide science fiction cinema classic. I watched the original theatrical version recently and despite the deadpan Harrison Ford voiceover and spurious, tacked on “happy” ending, it actually has a lot going for it. Obviously the ‘Unicorn Dream’ re-edits released under the guidance of Ridley Scott are the purer versions but the film holds up notably because of Ford’s gruff, depressive and world-weary performance as Rick Deckard; the imperious psychopathy of Rutger Hauer as android assassin Roy Batty; Scott’s glorious tech noir rendition of our desecrated future; as well as the evocation of Philip K Dick’s thematic existential power.


Thus, to offer up a near three-hour sequel to a box office bomb of an almost unfilmable novel was something I thought extremely brave from a creative and business perspective. However, as soon as I saw the director Denis Villeneuve was attached, I immediately knew that Bladerunner 2049 was a must-see! This filmmaker has elevated himself to the higher echelons of Hollywood directors with superlative work such as: Incendies (2010), Prisoners (2013), Enemy (2014), Sicario (2016) and Arrival (2016). In such films he was able to meld story, style, character and performance to create very accessible genre films which encapsulate the pain and drama of the human condition adroitly.

In Bladerunner 2049, the future’s orange but, like the original novel and film adaptation, it’s definitely not bright! We are in a sick, unforgiving and murderous world where a dying Earth, specifically California, is inhabited by killer replicants, pleasure models, and totalitarian law enforcement and overseen by the venal, profit driven capitalist oligarchic Wallace Corporation. In this vision of Earth, men, women, children, animals and robots are all slaves to be bought and sold to the highest bidder. I have seen some critique that the film is exploitative in its female representations but the films reflects much that is wrong with our world today and the original novel’s dystopic and misanthropic themes.


Both male and females are objectified and deemed commodities and alas that is true too of the sick world we live in today, yet perhaps just not as blatant? Bladerunner 2049, I does not offer solutions but depressingly mirrors society’s desire to sexualise and exploit others. Our “hero” the replicant cop ‘K’ (Ryan Gosling) is a victim of such exploitation in his touching relationship with A: I hologram Joi (Ana De Armas). Ultimately, he learns that they’re all being faked by the horrific technological nightmare they call existence. I think it extremely interesting that K’s wry smile when he realises he has been exploited by the Wallace Corp. product Joi; and paradoxically this demonstrates his humanity.


Villeneuve, aided with startling artistry by cinematographer Roger Deakins directs from a screenplay written by original writer Hampton Fancher, plus Michael Green. One could argue that the original Bladerunner is style over content, as the story was distilled to that of Deckard basically hunting down a bunch of outlaw robots. However, the style WAS the content along with the dense richness of the themes. Similarly, Bladerunner 2049 does not have a particularly complex plot, save for one fantastic thematic reversal, yet at its heart it explores the powerful question of what it means to be human? I think all intriguing narratives should ask this and explore important notions of existence. I mean, it’s not surprise Gosling’s character is called ‘K’ – because the story echoes Kafka’s The Trial in many ways. Indeed, is his seemingly futile search for meaning or humanity just a pointless pursuit or is it reward enough to delude oneself with the possibility of hope or love? Life and the decision whether to carry on regardless is therefore very much on trial.


I think this is a film which will benefit from further viewings. I felt like I was watching a Tarkovsky or Bergman film on a massive budget.  It’s like Denis Villeneuve managed to combine, with the writers and designers, an indie-Hollywood-art film installation. I would say this is a character and theme led narrative rather than purely plot driven. Even Niander Wallace’s (Jared Leto) weirdness, while not essential for the plot, added to the depth of character and surface emotion. He felt like a Colonel Kurtz figure trapped in his own insane delusion and obsession. Could he have been a replicant too? Likewise, Harrison Ford’s reappearance as Deckard adds great flavour to a wonderful sci-fi broth. Yet, his aging persona is integral to the plot and not simply a meta-textual nod to the original film.

Ultimately, we mere mortals are arguably not worthy to critique this fantastic work of genre art cinema. I understand it was slow but that almost increased the joy for me. It moved glacially but with high confidence and in Ryan Gosling it had a bona fide star to guide us through this sick yet beautiful world. Moreover, the sound design and music from Hans Zimmer and Benjamin Wallfisch was a powerful force which heightened the suspense and paranoia. While the visuals are absolutely breath-taking I was also drawn in by the existential intrigue of the themes.  Technically, within the story, the replicants are not living people but we empathise with their plight nonetheless because THEY are US. There lies the paradox and beauty of this film, in that I cared and was fascinated by what happened to actors playing robots on the cinema screen.

(Mark: 10 out of 11)