Tag Archives: Sky Cinema

SKY CINEMA SPECIAL including film reviews of: ATOMIC BLONDE (2017), FATE OF THE FURIOUS (2017), MAUDIE (2017), SHOT CALLER and more.

SKY CINEMA SPECIAL REVIEWS

There are so many films released at the cinema each year that it’s impossible to catch them all. Unfortunately, for me, and billions across the world that damned thing called employment gets in the way. Nonetheless, there are many other avenues to catch up with movies and SKY CINEMA is one such route. So, here are some reviews of films I have caught up with recently on SKY, with the usual marks out of eleven.

**MAY CONTAIN SPOILERS**

AFTER THE STORM (2016)

This Japanese family drama is slow moving but quietly unfolds in a compelling fashion. Former prize-winning novelist, Ryota (Hiroshi Abe), is a gambling addict “researching” his next book and making ends meet with private detective work. He tries to become a better son and father but his hereditary flaws and addiction haunt him. That’s about it for Hirokazu Kore-eda’s character drama which features some excellent dialogue and a wonderful acting performance from Ryota’s mother, portrayed by Kirin Kiki. (Mark: 8.5 out of 11)

ATOMIC BLONDE (2017)

Charlize Theron portrays a sullen yet kick-ass spy in this style-over-substance-action-thriller. Directed by David Leitch, who also helmed John Wick 2 (2016), rather amusingly doesn’t even have the depth of Keanu Reeves’ B-movie-assassin-classics. Adapted from the comic book novel The Coldest City (2012) and set in late 1980s Berlin, it uses the unstable politics of the time loosely as a means to hang a slender narrative on. This essentially is all rocking soundtrack, kinetic action, and sexy fighting with NO story. Theron and co-star James McAvoy do their best with the spy McGuffins but it’s main redeeming feature is a barnstorming “one-take” fight scene in the middle of the film. Now THAT rocks!  (Mark: 7 out of 11)

THE FATE OF THE FURIOUS (2017)

Charlize Theron pops up again in eighth film of the franchise, this time as cyber-baddie hell-bent on doing something bad for some heinous reason. Anyway, her fiendish plot is just an excuse to blow up cars, planes, jails, roads, buildings, and submarines in the usual explosive fashion. Vin Diesel, Jason Statham, Michelle Rodriguez, Tyrese Gibson, Dwayne “The Rock” Johnson and the rest of the team (minus Paul Walker R.I.P) are all back trying to stop her. There’s something both obscene and incredibly satisfying witnessing stunts and action this over-the-top!  I mean the carnage present in the final-submarine-versus-vehicle-set-piece is absolutely breath-taking and its worth watching the film for that alone.  (Mark: 7.5 out of 11)

MAUDIE (2016)

Since her striking performance in Mike Leigh’s excellent character piece Happy Go Lucky (2008), Sally Hawkins has been carving out quite the number of brilliant acting roles. Perhaps overshadowed by the success of the big budget monster/love story The Shape of Water (2017), the low-budget Maudie features another stunning Hawkins turn. She is quietly powerful in the role of Nova Scotia painter Maud Dowling. Maud came to mild prominence for her painting in the late 1960s and became somewhat of a cult treasure. Hawkins and Ethan Hawke steal the acting honours as the unlikely husband and wife, as Aisling Walsh directs a fine tribute to a small woman with a massive artistic talent. (Mark: 8.5 out of 11)

SHOT CALLER (2017)

This is a hard-boiled and brutal crime thriller which moves very slowly but with highly confident direction. Ric Roman Waugh has marshalled a very decent B-movie with Game of Thrones Nikolaj Coster-Waldaj excelling in the muscular lead role. He portrays a banker sent down for manslaughter who suddenly finds himself at the mercy of white supremacist gangs. Rather than lay down and get screwed he jumps straight in and sets in motion a gruesome set of events. Jon Bernthal pops up as a hard-piped criminal while Lake Bell is excellent as the anti-hero’s long-suffering wife. You need some patience but ultimately the ending pays off in an enjoyable, if incredibly contrived, finale. (Mark: 7.5 out of 11)

ROUGH NIGHT (2017)

This ridiculous over-the-top mixture of sex, crime and comedy rips off Very Bad Things (1998) and The Hangover (2009), with a smattering of Weekend at Bernie’s (1989). Having said that I really enjoyed it despite the incredibly broad comedy and implausible nature of the plot which takes five buddies on a Bachelorette party and throws a dead hooker into the mix. Zoe Kravitz, Scarlet Johannsson, Kate McKinnon, Illana Glazer and Jillian Bell, while slumming it in this often-filthy material, commit to their roles with ludicrous abandon. While very derivative I couldn’t help but laugh on several occasions, most notably at Ty Burrell and Demi Moore as the lascivious “sex-people” neighbours.  (Mark: 7 out of 11)

 

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SCREENWASH – SEPTEMBER 2016 – PART ONE – TV SHOW REVIEWS

SCREENWASH – SEPTEMBER 2016 – TV SHOW REVIEWS

I love watching TV shows and films. Mainly to fill a void in my soul, or put it another way, stop me drinking myself to death. Oh, also because I just enjoy escaping reality by watching stuff on a screen.

I have split my September Screenwash reviews into television and movies, because I watched so much damned stuff last month. Here are the TV shows I watched with marks out of eleven.

**THERE MAY BE SPOILERS AHEAD**

 

ASH V. THE EVIL DEAD (2015) – SEASON 1 – STARZ/VIRGIN  

This 30-years-later-sequel to the original Sam Raimi Evil Dead trilogy featuring Bruce Campbell is a gory, cheesy and bloody delight. It brings back one of the most iconic-blue-shirted-wise-cracking-big-chinned-chain-sawing-action-horror-dudes ever in Ash Williams.

Having accidentally conjured up the Deadites from the Necronomicon – Book of the Dead, Ash heads cross country battling demons and ghouls with his trusty chainsaw and boomstick. He finds new friends and enemies along the way and Campbell is on wonderful form as the sexist, ageing demon-killer.

Plot wise the story is flimsy and generic, yet the bloody and bone-crunching gore is brilliant and Bruce Campbell is hilarious as usual. Ignore the evil and abominable reimagining from 2013 and get on board this silly and superb horror nostalgia trip with Ash Williams and co.  (Mark: 9 out of 11)

 

BLACK MIRROR – WHITE CHRISTMAS (2014) – NETFLIX

Charlie Brooker is pretty much a genius in my eyes and as well as being a bastard-funny TV critic, he is also a formidable storyteller. The Black Mirror stories echo the short-sharp-shocking plots of Rod Sterling’s The Twilight Zone and Roald Dahl’s Tales of the Unexpected; yet with a very contemporary and technological twist. Season 3 Black Mirror is imminent on Netflix yet this Chrimbo special provided some darkly imaginative tales for the season.

Brooker presents a triptych of stories including: a Dating Coach (John Hamm) guiding – via contact-lens-style-Go-Pro – a naïve lad on a sexual conquest; a spoilt and demanding rich bitch (Oona Chaplin) who buys the ability to digitally clone herself so she can be her own personal ‘slave’; and a story of a doomed relationship between Rafe Spall and Janet Montgomery where an app allows a human to physically BLOCK them in reality. Safe to say all the narratives criss-cross to fiendish effect as cyber-technology is presented as initially a positive thing but ultimately something horrific which undermines humanity and hinders emotions and physical contact. Brooker is of the view that the future isn’t orange but very black indeed.  (Mark: 9 out of 11)

FARGO (2015) – SEASON 2 – NETFLIX

Was Season 2 Fargo any good? It sure was – darn tooting!  For me this was almost perfect television viewing. It had a great story, memorable characters, and brilliant dialogue and is filtered, like the first season, through the twisted eccentricities, imagery, sounds, music and narrative style of the Coen brothers.  Having said that, the writer and showrunner Noah Hawley has taken the Coen’s football and sprinted away with it and almost transcended the primary source material.

Season 2’s plots – and there’s some serpentine shit going down – are set in Fargo and surrounding counties, mid 1979.  We focus on country gangsters the Gerhardts and the attempted takeover by some Kansas City “business” people who think they can run the hicks out of town. In amongst the bloody hits, kidnapping and badassery we have Patrick Wilson and Ted Danson as the good cops who, having seen the horrors of war overseas, just want an easy life. Thrown into the mix by the dark lords of fate are self-improver Kirsten Dunst (amazing)  and simple butcher Jess Plemons who get out of their depth very quickly.

Overall, the drama, humour and suspense are incredible as is the cast, notably: eloquent hitman Bokeem Woodbine and brutal rural gangsters Jean Smart and Jeffrey Donovan. Philosophically and thematically the writing is very strong too with an existential bent which makes the whole show gold-plated genre TV of the highest quality.   (Mark: 10 out of 11)

 

THE KILLING (2007) – SEASON 1 – NETFLIX

I recall when this first hit the TV screens the Guardianistas shitting bricks over how good this Danish cop-procedural-politico drama was. The moody atmosphere, murky lighting and winter jumpers were all the rage with the lentil-eaters; as were the performances of Sofie Grabol, Soren Malling and the formidable Lars Mikkelsen. In the cold light of day and almost ten years later there is still much to like about this Scandi-genre-cop-thriller. Over twenty gruelling episodes we find ourselves amidst the investigation of the vicious murder of a young woman called Nanna Larsen. Simultaneously a mayoral election is taking place in Copenhagen and the two events become fatefully entwined.

Ultimately, it is pretty generic stuff with the device of “red herring” suspects and characters revealing information later than they could of being over-used. Also, it could’ve have been wrapped up WAY before the twenty episode run, yet, it was gripping throughout with some terrific suspense. I especially liked Grabol’s intuitive cop who could see past the surface and into the psychology of a situation or person. Her obsessional cop was flawed but brilliant at her job even though her family life was threatening to implode. Also, exceptional is Lars Mikkelsen as mayor candidate Troels Hartmann, a man trying to do the right thing, yet with ghosts of the past haunting him. The best scenes were with the Larsen family whose lives were about-faced by the death of their daughter. Their grief brought a real depth to proceedings with many heart-breaking and emotive moments surrounding their ordeal. Perhaps over-hyped on first release, this remains a tremendous cop drama with loads of twists to keep you hooked.   (Mark: 8.5 out of 11)

ORANGE IS THE NEW BLACK (2014) – SEASON 2 – NETFLIX

What started, in Season 1, as an ensemble prison drama with the focus mainly on spoilt-brattish-over-grown-Prom-Queen, Piper Chapman (Taylor Schilling), has developed quite brilliantly, by Season 2, into a sexy-black-comedy-drama of the highest quality. Piper is of course still there driving me mad with her bouts of narcissistic wants but this time she’s toughened up and is now bouncing off the inmates, walls and screws with a bit more spunk and verve.  However, the power of this narrative is now driven by the ensemble characters – both inmates and guards – who all get a chance to shine in a collection of stories, flashbacks and vignettes which the writers weld together expertly over thirteen brilliant episodes.

Season 2 develops further the histories of, among others, love-struck Morello, cancer-sufferer Rosa, Taystee, Black Cindy, Poussey and Sister Ingalls; as well revealing more about crooked Assistant Warden Figeroa, prison Counsellor Sam Healy and ambitious head screw Joe Caputo. Also, entering the prison was a cracking antagonist Vee Parker brilliant portrayed by Lorraine Toussaint and her battle to control rackets in jail saw her on a collision course with ‘Red’ Reznikov (Kate Mulgrew). Overall, there was SO much going on in the show yet it didn’t feel cluttered. The characters  were drawn so well, relying on archetypes and human definition rather than soapy stereotypes. I was just going to give it one more season but the drama, dialogue, performance, humour and pathos delivered here made me want to go in for Season 3 and beyond.  (Mark: 9.5 out of 11)