TV Review: The Trip to Greece
This post contains spoilers for the 4th series of The Trip to Greece
The Trip to Greece is a sobering one. Once again we join fictionalised versions of Steve Coogan and Rob Brydon on their supposed journalistic trip, this time to Greece. Impersonations, good but ridiculously priced food (such small portions!) return, but something has infiltrated the atmosphere: death. Ten years after the two drove and ate their way through the long roads and Michelin starred restaurants of the Lake District, this final trip covering Homer’s Odyssey seems like a natural end.
Impressions of Roger Moore and Ronnie Corbett may seem to some as tiring come this 4th season, but Coogan and Brydon manage to deflect such an expectation through their location; if art is pure mimicry, a crime that mis-represents nature, then these two mimics want wholeheartedly to be guilty. It’s a wonderful parrell that marks the show as equally learned but capable of sending up that seriousness with little tit-bits of popular culture.
But this final series does ‘serious’ well. More sobering moments include an encounter with Kareem, a real life refugee actor who asks Steve for a lift to a camp. In the car, Brydon tells Kareem of Coogan’s large collection of cars, and when they pull up, the mood drops; the scenery and nice food fades for a moment against this horrifying reality.
There are two scenes in The Trip to Greece that are so incredibly humbling that I defy anyone not to tear up; firstly Brydon has Coogan lie down, place his t-shirt on his head and reenact the death of Socrates. Having drunk hemlock, Socrates awaits his death. Brydon’s recital of Plato’s description of the philosopher as ‘the wisest and most just of all men’ seems like an abstract demonstration of their brotherly love for one another - that’s speculation of course, but it does seem to me a wonderful exchange between the two. The most heartbreaking is the death of Coogan’s father. As they approach the ferry for Ithaca, Coogan’s son phones him. He hangs up, returns to Brydon who complains that they might miss the ferry and asks what’s going on. He tells him his father’s died, notices all the butterflies around and heads back to the car. The show has always mocked Coogan’s inability to be a serious actor, but Winterbottom’s close ups show just how capable Steve is being one.
Television comedy has, over the past decade, become increasingly dark. Shows like Rick and Morty, Bojack Horseman and Ricky Gervais’ Afterlife have taken mortality to task by asking their audiences to laugh in the face of it - it’s that age old adage of if you don’t laugh, you’ll cry. As always The Trip sees the two egos of Rob and Steve battle it out in the arena of impersonations, and whose career has fared better than the others. This time round, the two seem exhausted with their battling. It is particularly warming to see this time around Coogan being reduced to fits of laughter, showing a genuine break in his otherwise flamboyant exaggerated character, which results in what appears to be a warming admiration for each other. And so The Trip is a reluctant embrace of what comes next.
Written by: Liv Beards
Published: 12th March 2020
The Trip to Greece is a sobering one. Once again we join fictionalised versions of Steve Coogan and Rob Brydon on their supposed journalistic trip, this time to Greece. Impersonations, good but ridiculously priced food (such small portions!) return, but something has infiltrated the atmosphere: death. Ten years after the two drove and ate their way through the long roads and Michelin starred restaurants of the Lake District, this final trip covering Homer’s Odyssey seems like a natural end.
Impressions of Roger Moore and Ronnie Corbett may seem to some as tiring come this 4th season, but Coogan and Brydon manage to deflect such an expectation through their location; if art is pure mimicry, a crime that mis-represents nature, then these two mimics want wholeheartedly to be guilty. It’s a wonderful parrell that marks the show as equally learned but capable of sending up that seriousness with little tit-bits of popular culture.
But this final series does ‘serious’ well. More sobering moments include an encounter with Kareem, a real life refugee actor who asks Steve for a lift to a camp. In the car, Brydon tells Kareem of Coogan’s large collection of cars, and when they pull up, the mood drops; the scenery and nice food fades for a moment against this horrifying reality.
There are two scenes in The Trip to Greece that are so incredibly humbling that I defy anyone not to tear up; firstly Brydon has Coogan lie down, place his t-shirt on his head and reenact the death of Socrates. Having drunk hemlock, Socrates awaits his death. Brydon’s recital of Plato’s description of the philosopher as ‘the wisest and most just of all men’ seems like an abstract demonstration of their brotherly love for one another - that’s speculation of course, but it does seem to me a wonderful exchange between the two. The most heartbreaking is the death of Coogan’s father. As they approach the ferry for Ithaca, Coogan’s son phones him. He hangs up, returns to Brydon who complains that they might miss the ferry and asks what’s going on. He tells him his father’s died, notices all the butterflies around and heads back to the car. The show has always mocked Coogan’s inability to be a serious actor, but Winterbottom’s close ups show just how capable Steve is being one.
Television comedy has, over the past decade, become increasingly dark. Shows like Rick and Morty, Bojack Horseman and Ricky Gervais’ Afterlife have taken mortality to task by asking their audiences to laugh in the face of it - it’s that age old adage of if you don’t laugh, you’ll cry. As always The Trip sees the two egos of Rob and Steve battle it out in the arena of impersonations, and whose career has fared better than the others. This time round, the two seem exhausted with their battling. It is particularly warming to see this time around Coogan being reduced to fits of laughter, showing a genuine break in his otherwise flamboyant exaggerated character, which results in what appears to be a warming admiration for each other. And so The Trip is a reluctant embrace of what comes next.
Written by: Liv Beards
Published: 12th March 2020
Film Review: Jojo Rabbit
Before seeing Jojo Rabbit, I knew the bare minimum about the plot – that it’s about a little boy, Jojo, a fanatic member of the Hitler Youth, and his experiences in Nazi Germany towards the end of the war. This includes his discovery of Elsa, a Jewish girl he finds in a cupboard in his sister’s old room, hidden there by his mother. Oh, and not forgetting the presence of his imaginary sidekick, Adolf Hitler. I could say more, but I found my own lack of spoiler-y details made the film all the more riveting, so I’m going to try to be as spoiler-free as possible.
Jojo Rabbit was directed by Taika Waititi of Thor: Ragnarok fame, and is based on the bestselling novel Caging Skies by fellow New Zealander Christine Leunens. This film very openly satirises Nazi Germany, which could initially feel like a dangerous route to take and make for an uneasy watch. However, Waititi pulled off the desired effect beautifully through a very carefully and well-orchestrated balance of surreal, offhand humour and a solemn, emotional gravity. One minute, you’re laughing at a Monty Python-esque barrage of ‘Heil Hitler’s’ as people greet each other (apparently the most ‘Heil Hitler’s’ in one scene), and the next you’re watching horrified and overwhelmed as small Jojo runs through the massive devastation of his town as it is bombed by the Allied forces, liberating them from Nazi rule. This balance between satire and acknowledging the serious nature of the setting can also be seen in the singular case of Waititi’s characterisation of Hitler, because despite being very funny and very obviously a fanboy’s dream, he was a Hitler that was scarily familiar nonetheless. This was illustrated in a poignant scene where imaginary Hitler’s speech morphs from its campy, colloquial tone into a manner of speaking, extremely reminiscent of the real Hitler’s speech style we know from archival footage of his rallies. We weren’t allowed to forget who this man really was. Jojo Rabbit undoubtedly laughs at the ridiculous nature of the Nazi Party, but does not take anything away from the atrocities we know they caused.
The portrayals of the characters in this film were spot on, in general, but I was particularly impressed by the kids/teens playing Jojo, Jojo’s reluctant friend Elsa, and Jojo’s best friend Yorki (Roman Griffin Davis, Thomasin McKenzie and Archie Yates, respectively). It’d be really easy to say that their range was so good it was adult, but that would be a disservice to them, as it was their believably childlike nature that was so heart-warming and impressive. It was more that their talent was adult, that there was a maturity to their performances that made their characterisations seem so natural rather than like a movie’s impression of what a child is like. You could attribute this to good writing (which was amazing, to be fair), but these young actors really brought these characters to life and created believable people for us to enjoy on screen.
Scarlett Johansson’s performance as Jojo’s mother, Rosie, was also superb. This portrayal of a mother is a step in the right direction regarding showing believable women on screen. Rather than this character being known only as ‘Mother’ and her single character trait being ‘motherly’, Rosie bursts onto the screen as a wacky, energetic woman, with a name and a personality of her own. This movie mother is a three-dimensional person, a woman who simultaneously tries to appear upbeat for her ten-year-old son, but also one so obviously suffering inner turmoil as she tries to help the less fortunate (such as Elsa) survive Nazi Germany. These layers within her character come to the fore during an argument she has with Jojo, when in reaction to his demand for his father, she abruptly marches to the fireplace, smears soot onto her face as a beard, slings on an army jacket, and impersonates his father to chastise him. It’s so unexpected, and just part of an amazing, varied performance by Johansson.
This film can be very surreal, but it’s very realistic when it considers the war, as it looks at the situation of Nazi Germany and imagines the real people at its heart. A great example of this is Captain Klenzendorf, played by Sam Rockwell. Klenzendorf is, undoubtedly, a willing Nazi with Nazi views, but the film’s view of him is nuanced. It does not make excuses for his choices and actions, but does show him to also be capable of performing acts of kindness. A great example of this is when he makes a decision with the intention of protecting Elsa from immediate danger of the Gestapo - he doesn’t always follow the rules of the regime as rigidly and fanatically as the Hitler Youth children do, like Jojo himself. This in itself is making fun of Nazism, as the fact children find it so easy to follow Nazism could be the film pointing out how childish and ridiculous Nazism is as an ideology. The children find it easy to understand because it lacks complexity, which is precisely why some of the adults of the film cannot follow it to the same extent - they know that the world is greyer than that. As the Second World War is often thought of in a very black and white manner, this nuance makes for a very interesting watch, and certainly leaves you very torn regarding some of these characters, especially Klenzendorf. It definitely leaves a lot of room for discussion, which is something I think Waititi intended when he made this film.
Along with some great music choices (‘Komm gib mir deine Hand’/‘I wanna hold your hand’ by the Beatles at the beginning and Bowie’s ‘Helden’/‘Heroes’), Jojo Rabbit is a great watch. Layered, heart-wrenching and hilarious, it is overall a very hopeful film that will keep audiences talking long after the credits have stopped rolling.
Written by: Sofia Wood
Published: 2nd February 2020
Jojo Rabbit was directed by Taika Waititi of Thor: Ragnarok fame, and is based on the bestselling novel Caging Skies by fellow New Zealander Christine Leunens. This film very openly satirises Nazi Germany, which could initially feel like a dangerous route to take and make for an uneasy watch. However, Waititi pulled off the desired effect beautifully through a very carefully and well-orchestrated balance of surreal, offhand humour and a solemn, emotional gravity. One minute, you’re laughing at a Monty Python-esque barrage of ‘Heil Hitler’s’ as people greet each other (apparently the most ‘Heil Hitler’s’ in one scene), and the next you’re watching horrified and overwhelmed as small Jojo runs through the massive devastation of his town as it is bombed by the Allied forces, liberating them from Nazi rule. This balance between satire and acknowledging the serious nature of the setting can also be seen in the singular case of Waititi’s characterisation of Hitler, because despite being very funny and very obviously a fanboy’s dream, he was a Hitler that was scarily familiar nonetheless. This was illustrated in a poignant scene where imaginary Hitler’s speech morphs from its campy, colloquial tone into a manner of speaking, extremely reminiscent of the real Hitler’s speech style we know from archival footage of his rallies. We weren’t allowed to forget who this man really was. Jojo Rabbit undoubtedly laughs at the ridiculous nature of the Nazi Party, but does not take anything away from the atrocities we know they caused.
The portrayals of the characters in this film were spot on, in general, but I was particularly impressed by the kids/teens playing Jojo, Jojo’s reluctant friend Elsa, and Jojo’s best friend Yorki (Roman Griffin Davis, Thomasin McKenzie and Archie Yates, respectively). It’d be really easy to say that their range was so good it was adult, but that would be a disservice to them, as it was their believably childlike nature that was so heart-warming and impressive. It was more that their talent was adult, that there was a maturity to their performances that made their characterisations seem so natural rather than like a movie’s impression of what a child is like. You could attribute this to good writing (which was amazing, to be fair), but these young actors really brought these characters to life and created believable people for us to enjoy on screen.
Scarlett Johansson’s performance as Jojo’s mother, Rosie, was also superb. This portrayal of a mother is a step in the right direction regarding showing believable women on screen. Rather than this character being known only as ‘Mother’ and her single character trait being ‘motherly’, Rosie bursts onto the screen as a wacky, energetic woman, with a name and a personality of her own. This movie mother is a three-dimensional person, a woman who simultaneously tries to appear upbeat for her ten-year-old son, but also one so obviously suffering inner turmoil as she tries to help the less fortunate (such as Elsa) survive Nazi Germany. These layers within her character come to the fore during an argument she has with Jojo, when in reaction to his demand for his father, she abruptly marches to the fireplace, smears soot onto her face as a beard, slings on an army jacket, and impersonates his father to chastise him. It’s so unexpected, and just part of an amazing, varied performance by Johansson.
This film can be very surreal, but it’s very realistic when it considers the war, as it looks at the situation of Nazi Germany and imagines the real people at its heart. A great example of this is Captain Klenzendorf, played by Sam Rockwell. Klenzendorf is, undoubtedly, a willing Nazi with Nazi views, but the film’s view of him is nuanced. It does not make excuses for his choices and actions, but does show him to also be capable of performing acts of kindness. A great example of this is when he makes a decision with the intention of protecting Elsa from immediate danger of the Gestapo - he doesn’t always follow the rules of the regime as rigidly and fanatically as the Hitler Youth children do, like Jojo himself. This in itself is making fun of Nazism, as the fact children find it so easy to follow Nazism could be the film pointing out how childish and ridiculous Nazism is as an ideology. The children find it easy to understand because it lacks complexity, which is precisely why some of the adults of the film cannot follow it to the same extent - they know that the world is greyer than that. As the Second World War is often thought of in a very black and white manner, this nuance makes for a very interesting watch, and certainly leaves you very torn regarding some of these characters, especially Klenzendorf. It definitely leaves a lot of room for discussion, which is something I think Waititi intended when he made this film.
Along with some great music choices (‘Komm gib mir deine Hand’/‘I wanna hold your hand’ by the Beatles at the beginning and Bowie’s ‘Helden’/‘Heroes’), Jojo Rabbit is a great watch. Layered, heart-wrenching and hilarious, it is overall a very hopeful film that will keep audiences talking long after the credits have stopped rolling.
Written by: Sofia Wood
Published: 2nd February 2020
TV Review: Dracula (BBC) written by Steven Moffat and Mark Gatiss
Steven Moffat has always had a certain way of adapting novels. Take Jekyll (2007), Moffat’s adaptation of Robert Louis Stevenson’s psycho-scientific novella Strange Case of Dr Jekyll and Mr Hyde (1886). The Victorian novel was propelled into the 21st century, at once desiring a distance between its original and yet wanting to make meta-references to the original. This attitude to adapting appeared a little disingenuous to the fans, as if to say ‘You’ve read the original, but I understand the original’. This plagued my viewing of his adaptation of Sherlock (2010). Television should demand viewers imagination, not suggest they lack one. But Dracula was something different. Dracula inhabits every mood of its gothic original and praises the modern obsession with vampires in popular culture.
Moffat and Gatiss stage the book through intimate recallings of memories. Episode 1 ‘The Rules of the Beast’ shows an emaciated and truly horrifying shell of one Jonathan Harker. He sits in a quasi confession with Sister Agatha Van Helsing and tells her of his stay in Transylvania. Agatha works as the audience here, for whenever Jonathan recalls something confusing, she brings us out of the memory and back to the present to question him. The format works as a sort of cross-examination, meaning those not familiar with the story can better understand it and those familiar can have a cheeky wink and a nod at the little details being playfully pulled apart by a modern twist. And playfully pulled apart it is. When Agatha remarks in Episode 2, ‘Blood Vessel’, that Dracula didn’t stay in his box of soil on the voyage to England and instead socialised with those on board, Dracula wryly suggests that to do anything else would be silly - a pointed criticism towards the novel in which Dracula lies asleep in his box, only waking at night to quietly menace the passengers. Like any Moffat/Gattis creation, Dracula isn’t going to do anything without anyone watching.
Moffat’s work has always been about the spectacle of aesthetics. Whether he had a hand in the cinematography on Jekyll (along with Adam Suschitzky and Peter Greenhalgh) Moffat’s scripts no doubt reflect this ambition. The attention to detail - changing James Nesbitt’s hairline when he changed into Hyde, that he is perceived to be quite a bit taller than his alter ego - was a step British television was willing to take. It was no longer a case of thrilling aesthetics versus a dynamic script. It was a blend of the two and neither suffered (the CGI hasn’t aged all that well, but I digress). And this sentiment lives on in Dracula. The atmosphere of the series draws on its Hammer Horror adaptations with a particular fondness. When Claes Bang’s Dracula rears his head up at the camera, one could be forgiven for thinking it was Christoper Lee; The quiffed black hair, the smoky grey eyes and dusty red lips. But Bang’s performance as the charming Count is true to form for a Moffat-ian villain: like Nesbitt’s Jekyll and Andrew Scott’s Moriarty, a voice with a particular timbre and a face that flits between a snarl and smirk combine to make a man untouchable, but believe me, you’ll want to get near them.
Bringing characters out of their original is always challenging, and Episode 3 seemed to suffer from this. Suddenly after only having the main cast Dr Seward, Lucy Westernra and Renfield are launched at us with little to no characterisation. Lucy fairs better than the rest; the nympho in the book is given wonderful depth to her supposed superficiality, resulting in her being burnt alive and subsequent fate as a scarred vampire for all eternity being truly devastating. Lydia West deserves all praise for her performance of Lucy. Moffat’s strength is in the main character. He seems to focus on the inner workings, so much so that you don’t really care for the rest of the cast. But Gatiss is wonderful at making a match for the main man; he doesn’t so much create a double for them, but a shadow. John Watson always appeared to play second fiddle to the detective in Conan Doyle’s stories, but in Sherlock he plays an integral part in showing a human and tender side to the sometimes apathetic and socially ignorant genius. The tension between Dracula and Van Helsing in this new take was sometimes sexual other times platonic and infused the series with a tenderness towards loneliness and death. In the novel, Dracula was hunter and hunted. By giving Van Helsing status as a shadow, their shared characterisation in this series, meant the two became dependant on one another. The tension between Dracula and Van Helsing in this new take was sometimes sexual other times platonic and infused the series with a tenderness towards loneliness and death.
Dracula is a literal retelling that demands attention. WIth the advent of the rewind button, one can miss something and merely come back to it. But sitting there on New Year’s Day with a glass of left-over eggnog and crumbs on your lap, I defy anyone who didn’t throw their remote to the other side of the room and watch with no intention of looking away.
Written by: Olivia Beards
Published: 5th January 2020
Moffat and Gatiss stage the book through intimate recallings of memories. Episode 1 ‘The Rules of the Beast’ shows an emaciated and truly horrifying shell of one Jonathan Harker. He sits in a quasi confession with Sister Agatha Van Helsing and tells her of his stay in Transylvania. Agatha works as the audience here, for whenever Jonathan recalls something confusing, she brings us out of the memory and back to the present to question him. The format works as a sort of cross-examination, meaning those not familiar with the story can better understand it and those familiar can have a cheeky wink and a nod at the little details being playfully pulled apart by a modern twist. And playfully pulled apart it is. When Agatha remarks in Episode 2, ‘Blood Vessel’, that Dracula didn’t stay in his box of soil on the voyage to England and instead socialised with those on board, Dracula wryly suggests that to do anything else would be silly - a pointed criticism towards the novel in which Dracula lies asleep in his box, only waking at night to quietly menace the passengers. Like any Moffat/Gattis creation, Dracula isn’t going to do anything without anyone watching.
Moffat’s work has always been about the spectacle of aesthetics. Whether he had a hand in the cinematography on Jekyll (along with Adam Suschitzky and Peter Greenhalgh) Moffat’s scripts no doubt reflect this ambition. The attention to detail - changing James Nesbitt’s hairline when he changed into Hyde, that he is perceived to be quite a bit taller than his alter ego - was a step British television was willing to take. It was no longer a case of thrilling aesthetics versus a dynamic script. It was a blend of the two and neither suffered (the CGI hasn’t aged all that well, but I digress). And this sentiment lives on in Dracula. The atmosphere of the series draws on its Hammer Horror adaptations with a particular fondness. When Claes Bang’s Dracula rears his head up at the camera, one could be forgiven for thinking it was Christoper Lee; The quiffed black hair, the smoky grey eyes and dusty red lips. But Bang’s performance as the charming Count is true to form for a Moffat-ian villain: like Nesbitt’s Jekyll and Andrew Scott’s Moriarty, a voice with a particular timbre and a face that flits between a snarl and smirk combine to make a man untouchable, but believe me, you’ll want to get near them.
Bringing characters out of their original is always challenging, and Episode 3 seemed to suffer from this. Suddenly after only having the main cast Dr Seward, Lucy Westernra and Renfield are launched at us with little to no characterisation. Lucy fairs better than the rest; the nympho in the book is given wonderful depth to her supposed superficiality, resulting in her being burnt alive and subsequent fate as a scarred vampire for all eternity being truly devastating. Lydia West deserves all praise for her performance of Lucy. Moffat’s strength is in the main character. He seems to focus on the inner workings, so much so that you don’t really care for the rest of the cast. But Gatiss is wonderful at making a match for the main man; he doesn’t so much create a double for them, but a shadow. John Watson always appeared to play second fiddle to the detective in Conan Doyle’s stories, but in Sherlock he plays an integral part in showing a human and tender side to the sometimes apathetic and socially ignorant genius. The tension between Dracula and Van Helsing in this new take was sometimes sexual other times platonic and infused the series with a tenderness towards loneliness and death. In the novel, Dracula was hunter and hunted. By giving Van Helsing status as a shadow, their shared characterisation in this series, meant the two became dependant on one another. The tension between Dracula and Van Helsing in this new take was sometimes sexual other times platonic and infused the series with a tenderness towards loneliness and death.
Dracula is a literal retelling that demands attention. WIth the advent of the rewind button, one can miss something and merely come back to it. But sitting there on New Year’s Day with a glass of left-over eggnog and crumbs on your lap, I defy anyone who didn’t throw their remote to the other side of the room and watch with no intention of looking away.
Written by: Olivia Beards
Published: 5th January 2020
Fifty Shades Darker's Extended Trailer Looks Promising!
I appear to be one of the select few who didn’t bother to read, watch, or subsequently fan-girl over the Fifty Shades of Grey franchise when it first appeared. The film, from what I’d seen in trailers, held little to no promise of being entertaining and so I simply didn’t bother with it. However, we’re now in the cusp of the second instalment in the film franchise being released – Fifty Shades Darker, due on Valentine’s Day – and to my utter surprise and slight dismay, the trailers have got me quite interested.
It appears to our leading lady, Anastacia, ditched her somewhat abusive boyfriend Christian at the end of the last film and in this second feature, they look set to give things another go. However, somewhere in between corruption and helicopter crashes – plus a potentially crazy old flame who is causing trouble for our recently re-coupled protagonists – Fifty Shades Darker is looking less likely a socially acceptable porn film and more like a raunchy thriller.
A potential game-changer for those of us who scoffed at the franchise, you can check out the action-packed extended look online now and see for yourselves how much promise the film might just hold.
Written by: Charlotte Barnes
Published: 5 January 2017
It appears to our leading lady, Anastacia, ditched her somewhat abusive boyfriend Christian at the end of the last film and in this second feature, they look set to give things another go. However, somewhere in between corruption and helicopter crashes – plus a potentially crazy old flame who is causing trouble for our recently re-coupled protagonists – Fifty Shades Darker is looking less likely a socially acceptable porn film and more like a raunchy thriller.
A potential game-changer for those of us who scoffed at the franchise, you can check out the action-packed extended look online now and see for yourselves how much promise the film might just hold.
Written by: Charlotte Barnes
Published: 5 January 2017
New Trailer Revealed Online For The Last Word
A trailer has dropped online this week for the upcoming film starring Amanda Seyfried, titled The Last Word. The films follows the story of Harriet, played by Shirley Maclaine, who enlists Seyfried/Anne Sherman to write her obituary - before Harriet has even died.
Through a series of phone conversations and face to face confrontations it soon becomes clear that Harriet hasn't exactly led a quiet life, nor has she made many friends in her time. However, from the trailer alone it's already clear that it's never too late to change your life, no matter what people may think of you... A feel good two minutes, this is a stellar introduction to what seems to be a crackin' film, and you can check the trailer out now by clicking here. Written by: Charlotte Barnes Published: 14 December 2016 |
Tense Trailer Released for New Thriller, Unforgettable
If you're hungry for another crazed housewife on your big screen then fear not, because it looks like Katherine Heigl is about to step into the role beautifully.
In a newly revealed trailer for the upcoming feature, Unforgettable (or To Have and to Hold, depending on where in the world you are), we see Heigl take up the role of Tessa, a woman who becomes obsessed with ruining the life of her ex-husband's new wife. And, if this trailer is anything to go by, it looks as though there'll be no mercy here at all. In the two minute clip we have deception, obsession, and hand-to-hand combat that looks truly vicious, making for a promising introduction to the film. You can check out the clip online for yourselves now by clicking here. Written by: Charlotte Barnes Published: 14 December 2016 |
New Trailer Revealed for Fifty Shades Darker
For those of us (such as myself) who skipped out on the Fifty Shades of Grey hype when the first film hit the big screens, the arrival of a second trailer isn't much to shout about. For the fandom that follows thie film series, though, the latest trailer for Fifty Shades Darker is a reason worth celebrating - and, having had at the peak at the trailer, I'm begrudgingly admitting that it doesn't look that bad.
In this two minute and thirty second look at the second film we're reintroduced to our male and female leads from the first flick, picking up their dysfunctional relationship where they left off, it seems. The trailer shows drama, action, tension - and sex, of course - making for a solid intro to the film, and it seems that the powers that be are even trying to desperately cram some plot in around all that sex as well. To take a peak at the trailer yourselves, you can find it online now by clicking here. Written by: Charlotte Barnes Published: 8 December 2016 |
Debut Trailer Released
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Movie Review: Fantastic Beasts and Where to Find Them
The lights dim and I promptly lose my composure with excitement as the familiar score accompanies the title credits for Fantastic Beasts and Where to Find Them. Advertised as a welcome return to Rowling's Wizarding World, the film is exactly that, serving up two hours and thirteen minutes of special effects, unexpected plots, and endearing characters that will leave you desperate for the sequel - which, we have been told already, will definitely appear at some point in the future.
The Fantastic Beasts tale catapults audiences back to 1926, to the time when Newt Scamander, here played by Eddie Redmayne, had just completed his journey around the globe to study and subsequently document these so-called fantastic beasts of the wizarding world. However, on the final leg of his journey that sees the young wizard visit New York City, he bumps into a No-Maj (which, it transpires, is American-talk for Muggle) called Kowalski (played by Dan Fogler) who quickly scuppers Scamander's plans.
To cut the plot short - and to avoid dropping too many spoilers - a number of Scamander's beasts are accidentally unleashed on an unsuspecting New York, leaving Newt and his new associate Tina (Katherine Waterson) to find them. This also gives Kowalski a chance to fall head over heels for Tina's sister, Queenie (Alison Sudol), but that's another plot entirely.
As is often the case with Rowling's creations, there are various other plot elements to look out for. However, I went into this expecting to see a wizard running round, trying to catch his fantastic beasts, and I was absolutely blown away by this film - so not knowing further details of the plot will certainly not hinder your viewing. This entire feature was wonderful and thoroughly enjoyable from start to finish, packed with a superb cast of star-studded actors - Redmayne could not have been better cast as far as I'm concerned - and special effects that will leave your jaw sitting wide. An absolutely stellar return to the world of Rowling, Fantastic Beasts is a beautiful film with a gripping plot, endearing characters, and legs for many films to follow. If you're looking for a worthy watch at the cinema this week, this is definitely a film worth seeing.
Written by: Charlotte Barnes
Published: 28 November 2016
The Fantastic Beasts tale catapults audiences back to 1926, to the time when Newt Scamander, here played by Eddie Redmayne, had just completed his journey around the globe to study and subsequently document these so-called fantastic beasts of the wizarding world. However, on the final leg of his journey that sees the young wizard visit New York City, he bumps into a No-Maj (which, it transpires, is American-talk for Muggle) called Kowalski (played by Dan Fogler) who quickly scuppers Scamander's plans.
To cut the plot short - and to avoid dropping too many spoilers - a number of Scamander's beasts are accidentally unleashed on an unsuspecting New York, leaving Newt and his new associate Tina (Katherine Waterson) to find them. This also gives Kowalski a chance to fall head over heels for Tina's sister, Queenie (Alison Sudol), but that's another plot entirely.
As is often the case with Rowling's creations, there are various other plot elements to look out for. However, I went into this expecting to see a wizard running round, trying to catch his fantastic beasts, and I was absolutely blown away by this film - so not knowing further details of the plot will certainly not hinder your viewing. This entire feature was wonderful and thoroughly enjoyable from start to finish, packed with a superb cast of star-studded actors - Redmayne could not have been better cast as far as I'm concerned - and special effects that will leave your jaw sitting wide. An absolutely stellar return to the world of Rowling, Fantastic Beasts is a beautiful film with a gripping plot, endearing characters, and legs for many films to follow. If you're looking for a worthy watch at the cinema this week, this is definitely a film worth seeing.
Written by: Charlotte Barnes
Published: 28 November 2016
Trailer News: Disney releases Trailer for Cars 3!
As far as trailers for animations go, Disney Pixar have just dropped an absolute clanger to announce the upcoming Cars 3. Following on from the first two films that were smash hits around the globe, if this trailer is anything to go by then the third instalment looks set to blow the earlier films out of the water.
We're given very little in this trailer, beyond a race track, a car crash, and a strapline of: 'From this moment everything will change.' Which is quite the intimidating promise for an animation movie to offer up!
Plot is thin although you can guess at a tragedy from the snippets of a crash that we can see and, for a peak at this explosive trailer yourselves, you can find it online now by clicking here.
Written by: Charlotte Barnes
Published: 22 November 2016
We're given very little in this trailer, beyond a race track, a car crash, and a strapline of: 'From this moment everything will change.' Which is quite the intimidating promise for an animation movie to offer up!
Plot is thin although you can guess at a tragedy from the snippets of a crash that we can see and, for a peak at this explosive trailer yourselves, you can find it online now by clicking here.
Written by: Charlotte Barnes
Published: 22 November 2016
Movie Review: Arrival
Ahead of actually seeing Arrival, I had heard nothing but good things. The film is, allegedly, one of the finest pieces of science fiction to drop on the big screen in some years, and from the trailers alone I had completely bought into that assessment before my backside had even touched the cinema seat. Eager and excited, I went along with high expectations to see the film last weekend - and those high expectations might be the sole reason why the film actually fell a little short for me.
Controversial, I know, but try as I might I can't quite escape the feeling that the film hangs firmly on a convoluted plotline that only really becomes clear in the final five minutes or so - and after two hours of concentrating on what was happening in front of me, I was in no way mentally prepared to give that much concentration to the final five minutes of the film. On a complementary note, there is a lot about the film that I enjoyed. Amy Adams as Dr. Louise Banks - the linguist employed to try and translate from the alien language into English - is simply glorious here; she's passionate, appropriately awkward, and Adams delivers the role with great conviction. Her on-screen relationship with fellow researcher Ian Donnelly, played by Jeremy Renner, makes for wonderful viewing, and their partner in crime act was certainly an endearing element of this feature. The third man character for me here was Colonel Weber, played by Forest Whitaker, and he is everything you'd expect from this style of character; hard-faced, tough to the point of arrogant, and absolutely essential to the structure of this film. There were, of course, one or two other famous faces dotted throughout, but these three are the stars of this without a doubt. The interactions with the aliens themselves were surprisingly beautiful, and the linguistic-led approach to an alien invasion, of sorts, was a wonderful concept that was well-executed, and it did make for thought-provoking viewing on occasion. For me, though, the poignant ending could have hit a little harder had the film been played differently, and I can't shake the disappointment from that. Overall Arrival is a decent watch, but it may be worth grabbing the DVD rather than a cinema ticket - it feels like a second watch will answer the questions that the first watch does a brilliant job of dangling in front of you... Written by: Charlotte Barnes Published: 17 November 2016 |
Movie Review: The Lobster
The Lobster is a dystopian meets romance meets science fiction film that dropped in UK cinemas this time last year. Given the star-studded nature of the film, not a massive amount was actually said about it when it came to mainstream movie reviews. Now, having watched the feature for myself, I can half-understand why that is.
The basic premise of the film is this: There is a hotel where single people check themselves in for a 45-day stay. In those 45 days there are expected to find a suitable mate with whom they can couple off; if, however, they do not manage to do that, the single person in question is then turned into an animal of their choice. In and around this unique take on finding love, there is also the added corruption of the loners who live in the woods, who are as hellbent to stay single forever as everyone else seems to be to couple off; and there are also the daily hunts where people from the hotel are expected to go out and capture these roaming single people, so the free-singles can be turned into animals and the hotel-singles will be given the opportunity to lengthen their time at the hotel. Are you keeping up? Turning to these famous faces then, the central character here, David, is played wonderfully by Colin Farrell; throughout Farrell is quirky, dithering, and surprisingly endearing, and his interactions with his cast of equally off-beat characters make for interesting viewing to say the least. We also see the likes of Rachel Weisz here, who narrates much of the film ahead of actually appearing in it for the final third stretch of the plot, alongside Ben Whishaw and John C. Reilly. The casting here is absolutely stellar, it has to be said, because every single character in this has been completely drawn into this new world and every actor involved delivers on that pretence fantastically. It is an odd watch, yes, and I was left with a, 'Oh, that's it?' feeling when the screen blacked out and the credits started to roll - but there's something quite impressive about The Lobster, and indeed the message the seats glaringly behind it, and for me that definitely makes it worth a watch. The film is available on Netflix UK now. Written by: Charlotte Barnes Published: 17 November 2016 |
Trailer News: pet Drops a Terrifying First-look!
Pet is the horror meets thriller due to drop in a few months and, if this opening trailer is anything to go by, then the film is set to entertain and disturb in equal measure. Starting the likes of Dominic Monaghan and Ksenia Solo, the film tells the story of a man who, after running into an old flame, finds himself utterly obsessed with her.
But we're not talking the bunny boiler kind of obsession. No, we're talking the stalk her, drug her, and keep her in a cage kind of obsession. That's right! From the trailer alone it is already clear that all is not exactly how it seems from the beginning of this film and the early reviews of this release are promising twists like you've never seen before, so I for one am hugely excited to see what Pet plans to bring to the horror genre when the official release arrives.
For a taste of the twisted trailer, you can find it online now by clicking here.
Written by: Charlotte Barnes
Published: 10 November 2016
But we're not talking the bunny boiler kind of obsession. No, we're talking the stalk her, drug her, and keep her in a cage kind of obsession. That's right! From the trailer alone it is already clear that all is not exactly how it seems from the beginning of this film and the early reviews of this release are promising twists like you've never seen before, so I for one am hugely excited to see what Pet plans to bring to the horror genre when the official release arrives.
For a taste of the twisted trailer, you can find it online now by clicking here.
Written by: Charlotte Barnes
Published: 10 November 2016
Movie Review: Doctor Strange
I am an embarrassingly huge fan of Benedict Cumberbatch, so Doctor Strange was a film that caught my interest from the very first trailer. There were one or two good looking action shots, a snippet or two of the plot, and, as far as I could see, not a whole lot more to go on from the various trailer releases, though. Nevertheless when the film dropped in UK cinemas a couple of weeks back I went along to inspect the latest in the Marvel line and - to my utter relief - I wasn't at all disappointed.
Doctor Strange is a wonderful blend of regular reality and Marvel fiction like you've never seen it, and the effects liberally scattered throughout this whole film made for excellent viewing from start to finish. Cumberbatch makes for an antagonistic mortal and a thoroughly entertaining superhero and he was, in my opinion, perfectly cast here in the role of Strange. His surrounding cast, though, deserve a similar commendation! The Ancient One, played here by Tilda Swinton, made for thoroughly entertaining viewing throughout as she stood as an early rival to Strange's over-inflated ego; Swinton took to the role with ease and delivered with conviction making for a wonderful authority figure with a perfect amount of corruption thrown in. Chiwetel Ejiofor was a deliciously righteous Mordo while Mads Mikkelsen, as Kaecilius, made for a convincing and downright horrible bad-guy. Benefict Wong, as Wong, also has to have a mention here for being one of the most unexpectedly funny characters packed into this film - a stellar poker face indeed.
The plot was fairly solid although there was a little rushed feeling towards the close. I distinctly recall looking at my watch and thinking, 'How on earth will they do this in twenty minutes?' And, to the film's credit, everything was neatly pulled together and, as expected, splayed out again in order to lay the groundwork for the next film, but for me the timeline could have been slightly amended to allow for a better flow to the plot.
Overall, though, the film was truly beautiful - as the world collapses in on itself on more than one occasion, the main focus consistently rests on how beautiful everything looks while this collapse is happening. Polished, entertaining, and thoroughly amusing, Doctor Strange is a quality addition to the Marvel family and definitely worth a watch.
Written by: Charlotte Barnes
Published: 7 November 2016
Doctor Strange is a wonderful blend of regular reality and Marvel fiction like you've never seen it, and the effects liberally scattered throughout this whole film made for excellent viewing from start to finish. Cumberbatch makes for an antagonistic mortal and a thoroughly entertaining superhero and he was, in my opinion, perfectly cast here in the role of Strange. His surrounding cast, though, deserve a similar commendation! The Ancient One, played here by Tilda Swinton, made for thoroughly entertaining viewing throughout as she stood as an early rival to Strange's over-inflated ego; Swinton took to the role with ease and delivered with conviction making for a wonderful authority figure with a perfect amount of corruption thrown in. Chiwetel Ejiofor was a deliciously righteous Mordo while Mads Mikkelsen, as Kaecilius, made for a convincing and downright horrible bad-guy. Benefict Wong, as Wong, also has to have a mention here for being one of the most unexpectedly funny characters packed into this film - a stellar poker face indeed.
The plot was fairly solid although there was a little rushed feeling towards the close. I distinctly recall looking at my watch and thinking, 'How on earth will they do this in twenty minutes?' And, to the film's credit, everything was neatly pulled together and, as expected, splayed out again in order to lay the groundwork for the next film, but for me the timeline could have been slightly amended to allow for a better flow to the plot.
Overall, though, the film was truly beautiful - as the world collapses in on itself on more than one occasion, the main focus consistently rests on how beautiful everything looks while this collapse is happening. Polished, entertaining, and thoroughly amusing, Doctor Strange is a quality addition to the Marvel family and definitely worth a watch.
Written by: Charlotte Barnes
Published: 7 November 2016
Frank & Lola Reveal Steamy First-look Trailer!
The seemingly steamy Frank & Lola has this week dropped a brand spanking new trailer online that is as fascinating as it is ambiguous. Revealing little to nothing about the plot of the film, yet somehow serving up an impressive slice of action, the two-minute long trailer introduces us to the dysfunctional leads of the feature, alongside their surrounding cast that appears equally off-beat.
Marketing itself as a noir love story, the trailer is packed with bluesy music and atmospheric shots of the leading couple, including violence and sexual snapshots packed in here like you wouldn't believe.
Yes, the plot is thin, but this introduction is unbelievably appealing and it has set up something very intriguing for future trailers to follow. For a quick peak at the trailer, you can find it online now by clicking here.
Written by: Charlotte Barnes
Published: 25 October 2016
Marketing itself as a noir love story, the trailer is packed with bluesy music and atmospheric shots of the leading couple, including violence and sexual snapshots packed in here like you wouldn't believe.
Yes, the plot is thin, but this introduction is unbelievably appealing and it has set up something very intriguing for future trailers to follow. For a quick peak at the trailer, you can find it online now by clicking here.
Written by: Charlotte Barnes
Published: 25 October 2016
Trash Fire Drops Creepy
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New Trailer Revealed for Army of One
It's been a while since we had a potentially offensive but undeniably amusing film hit the big screens, but fear not, because Army of One is about to change all of that.
With Nicholas Cage playing the role of disillusioned Gary who receives a message from God - here played by Russell Brand, because he needed that sort of boost - we are, in this latest trailer, introduced to Gary's journey from America to Pakistan on his mission to kill Osama Bin Laden. I'm not joking, no. It looks good for a few laughs, admittedly, but there are some fine lines being stamped on in this trailer as well. You can check it out by clicking here. Written by: Charlotte Barnes Published: 15 October 2016 |
Movie Review: The Girl on the Train
The Girl on the Train, the big screen adaptation of Paula Hawkins' novel of the same name, dropped into UK cinemas this week - and, naturally, as a fan of the female-led thriller, I was there on the opening night. The book seriously impressed and intrigued me on reading on so I was sceptical about what the film would deliver by comparison, if indeed it would delivery anything comparable at all.
For those unfamiliar with either the book or the film premise, the basic idea is this: Rachel (Emily Blunt) takes the train to work every morning, and on that train journey she always sees, from the window of her train carriage, a woman, who we eventually discover is named, Megan (Haley Bennett) and her husband Scott (Luke Evans) (who, quite conveniently, live two doors down from Rachel's old house with her ex-husband now shares with his new wife, but that's another strand of the story). Rachel observes these two characters on and off for an eerily long stretch of time without interacting with either of them. However, when Megan goes missing, Rachel finds herself drawn into the case of trying to find out where Megan is and what happened to her...
The plot, in case you haven't already gathered, is a complex one, however the powers that be behind this film have made a decent attempt at communicating the intricacies of the book on to the big screen - some things have been lost, of course, the three-way narrative doesn't translate quite as well as I'd hoped it would, but it works nevertheless. There is tension, there are twists, and the casting only adds further to the communication of this plot in its entirety. Blunt deserves at least one award for her role in this feature because her delivery of Rachel is just stellar! She acts with determination and conviction from start to finish, making for a believable protagonist who is surprisingly easy to emotionally engage with. Bennett makes for a difficult-to-like Megan, but that feels like the hook of the character and so the film doesn't suffer for it. Then, there is our third narrative strand in the form of Anna - the woman now married to Rachel's ex-husband, Tom (Justin Theroux) - played by Rebecca Ferguson, who serves her purpose but, for me, does so a little flatly.
Overall there is a star-studded cast here with several familiar faces also popping up for short stints in the film, and the setting that acts as a back drop to this is wonderful. There's a great sense of location as Rachel moves throughout Manhattan which adds a little extra authenticity to the film; it's very firmly rooted in scenes and settings that are familiar to us too, which manages to pack a little extra punch into the harshness of the storyline (just a normal woman from Manhattan, and look what happens, is a feeling very firmly embedded here).
Is it as good as the book? No, but it was never going to be. That being said, The Girl on the Train is a good adaptation of a great novel and it makes for some entertaining viewing on the whole. So if you're looking for some big screen entertainment for the weekend, it's definitely worth a watch.
Written by: Charlotte Barnes
Published: 8 October 2016
For those unfamiliar with either the book or the film premise, the basic idea is this: Rachel (Emily Blunt) takes the train to work every morning, and on that train journey she always sees, from the window of her train carriage, a woman, who we eventually discover is named, Megan (Haley Bennett) and her husband Scott (Luke Evans) (who, quite conveniently, live two doors down from Rachel's old house with her ex-husband now shares with his new wife, but that's another strand of the story). Rachel observes these two characters on and off for an eerily long stretch of time without interacting with either of them. However, when Megan goes missing, Rachel finds herself drawn into the case of trying to find out where Megan is and what happened to her...
The plot, in case you haven't already gathered, is a complex one, however the powers that be behind this film have made a decent attempt at communicating the intricacies of the book on to the big screen - some things have been lost, of course, the three-way narrative doesn't translate quite as well as I'd hoped it would, but it works nevertheless. There is tension, there are twists, and the casting only adds further to the communication of this plot in its entirety. Blunt deserves at least one award for her role in this feature because her delivery of Rachel is just stellar! She acts with determination and conviction from start to finish, making for a believable protagonist who is surprisingly easy to emotionally engage with. Bennett makes for a difficult-to-like Megan, but that feels like the hook of the character and so the film doesn't suffer for it. Then, there is our third narrative strand in the form of Anna - the woman now married to Rachel's ex-husband, Tom (Justin Theroux) - played by Rebecca Ferguson, who serves her purpose but, for me, does so a little flatly.
Overall there is a star-studded cast here with several familiar faces also popping up for short stints in the film, and the setting that acts as a back drop to this is wonderful. There's a great sense of location as Rachel moves throughout Manhattan which adds a little extra authenticity to the film; it's very firmly rooted in scenes and settings that are familiar to us too, which manages to pack a little extra punch into the harshness of the storyline (just a normal woman from Manhattan, and look what happens, is a feeling very firmly embedded here).
Is it as good as the book? No, but it was never going to be. That being said, The Girl on the Train is a good adaptation of a great novel and it makes for some entertaining viewing on the whole. So if you're looking for some big screen entertainment for the weekend, it's definitely worth a watch.
Written by: Charlotte Barnes
Published: 8 October 2016
Movie Review: The Girl With All The Gifts
The Girl With All The Gifts hit cinema screens in the United Kingdom towards the end of September and, from the action-packed trailers that we'd all familiarised ourselves with prior to the release, it was clear that this was a zombie film with a twist. Taking lead from the likes of The Strain, The Girl With All The Gifts explains zombies - or, as they're called in the feature, hungries - away as being the product of a biological anomaly. They're the product of one fungus or another which successfully hijacked the human brain whenever someone comes into contact with the bodily fluids of an infect - so they're still zombies, but as explained by science.
There are, however, some people who aren't infected as modern medicine would expect them to be - and herein lies the hook of the film. We are quickly introduced to Dr. Caroline Caldwell (Glenn Close) who is researching towards a vaccine that will treat the virus; however, in this research, she is experimenting on children who are human on the outside but hungry in their cravings, and these experiments invariably lead to the death of the child. While this all seems to be for the greater good, eventually her colleague Helen Justineau (Gemma Arterton) objects to the experiments when Melanie (Sennia Nanua), one of the hungry children, is the latest to be experimented on. In a string of unexpected events, though, many of our central characters find themselves ejected from the safety of their army base and into a world dominated by creatures who are constantly hungry...
The plot itself actually has many riches. There are some wonderful moral complexities in here and, due to our early emotional involvement the characters - Melanie is impossible to dislike - it makes these complexities hit home even harder. The turns and revelations packed in make for some enjoyable viewing but - word of warning - you should brace yourselves for an ending and half because, after the set up we'd received, the final fifteen minutes or so are really where the film fell flat for me. It's impossible to explain thoroughly without giving away some of the bigger moments in the film, but the ending was... convenient, and inconsistent with the main character's behaviours and thoughts up to that point, which is a real shame because the first hour and a half of this was solid.
The two elements of the film that did not disappoint, though, are the staging and the casting. The near-apocalyptic London is (perhaps inappropriately) stunning in this! The shops are looted, the buildings are crumbling and tumbling down intermittently, and everything about the visual on this is eerily accurate, making for an even greater feeling of discomfort on viewing - in the best way, of course. Alongside this, then, the cast we see wander around this derelict city are wonderfully selected. Nanua makes for a wonderful Melanie who is instantly likeable while her loving teacher Helen/Arterton gives an authentic and emotive delivery throughout. These seemingly softer characters are well-balanced out alongside their comrades, though, with Glenn Close delivering her hard-faced character beautifully, joined by the tough-talking Paddy Considine who plays Sgt. Eddie Parks here. Small but perfectly formed, the film largely hangs around this four person plot but it doesn't suffer in the slightest for it. They're a wonderful group of actors who carry the film admirably.
As a whole, it's a mixed bag. It's a good concept that's put together well, but I can't overlook that ending - I just can't! If you're looking for a new take on the zombie genre then it's worth seeing because there are many good things wedged into this film, just clench and ready a grimace for when the ending arrives and you'll be just fine.
Written by: Charlotte Barnes
Published: 4 October 2016
There are, however, some people who aren't infected as modern medicine would expect them to be - and herein lies the hook of the film. We are quickly introduced to Dr. Caroline Caldwell (Glenn Close) who is researching towards a vaccine that will treat the virus; however, in this research, she is experimenting on children who are human on the outside but hungry in their cravings, and these experiments invariably lead to the death of the child. While this all seems to be for the greater good, eventually her colleague Helen Justineau (Gemma Arterton) objects to the experiments when Melanie (Sennia Nanua), one of the hungry children, is the latest to be experimented on. In a string of unexpected events, though, many of our central characters find themselves ejected from the safety of their army base and into a world dominated by creatures who are constantly hungry...
The plot itself actually has many riches. There are some wonderful moral complexities in here and, due to our early emotional involvement the characters - Melanie is impossible to dislike - it makes these complexities hit home even harder. The turns and revelations packed in make for some enjoyable viewing but - word of warning - you should brace yourselves for an ending and half because, after the set up we'd received, the final fifteen minutes or so are really where the film fell flat for me. It's impossible to explain thoroughly without giving away some of the bigger moments in the film, but the ending was... convenient, and inconsistent with the main character's behaviours and thoughts up to that point, which is a real shame because the first hour and a half of this was solid.
The two elements of the film that did not disappoint, though, are the staging and the casting. The near-apocalyptic London is (perhaps inappropriately) stunning in this! The shops are looted, the buildings are crumbling and tumbling down intermittently, and everything about the visual on this is eerily accurate, making for an even greater feeling of discomfort on viewing - in the best way, of course. Alongside this, then, the cast we see wander around this derelict city are wonderfully selected. Nanua makes for a wonderful Melanie who is instantly likeable while her loving teacher Helen/Arterton gives an authentic and emotive delivery throughout. These seemingly softer characters are well-balanced out alongside their comrades, though, with Glenn Close delivering her hard-faced character beautifully, joined by the tough-talking Paddy Considine who plays Sgt. Eddie Parks here. Small but perfectly formed, the film largely hangs around this four person plot but it doesn't suffer in the slightest for it. They're a wonderful group of actors who carry the film admirably.
As a whole, it's a mixed bag. It's a good concept that's put together well, but I can't overlook that ending - I just can't! If you're looking for a new take on the zombie genre then it's worth seeing because there are many good things wedged into this film, just clench and ready a grimace for when the ending arrives and you'll be just fine.
Written by: Charlotte Barnes
Published: 4 October 2016
Trailer Reveal: Fantastic Beasts and Where To Find Them Reveals Final Trailer!
The final trailer has been revealed for the seemingly stunning adaptation of Fantastic Beasts and Where to Find Them. After teasers, trailers, and artwork galore, the final sneak peak of the film ahead of its release arrived online a matter of hours ago and fans are already in awe of this final snippet.
For anyone who hasn't yet grasped the premise of the film - where have you been? - this latest trailer sets the plot up perfectly and, as if that wasn't enough, it is absolutely packed with impressive animations and endearing creatures, with a little comedy thrown in for good measure. It becomes clear from this that something magical is stalking a city and, like there always seems to be, there is a conflict between the wizarding world and the muggle world that is causing some tense battle scenes in this clip alone. There's magic, mischief, muggles, and much more and the effects in the trailer are enough to make your jaw drop. With an official release date pencilled in for November, this is the last reminder that any of us will need to go and see this film!
You can find the trailer online now by clicking here.
Written by: Charlotte Barnes
Published: 29 September 2016
For anyone who hasn't yet grasped the premise of the film - where have you been? - this latest trailer sets the plot up perfectly and, as if that wasn't enough, it is absolutely packed with impressive animations and endearing creatures, with a little comedy thrown in for good measure. It becomes clear from this that something magical is stalking a city and, like there always seems to be, there is a conflict between the wizarding world and the muggle world that is causing some tense battle scenes in this clip alone. There's magic, mischief, muggles, and much more and the effects in the trailer are enough to make your jaw drop. With an official release date pencilled in for November, this is the last reminder that any of us will need to go and see this film!
You can find the trailer online now by clicking here.
Written by: Charlotte Barnes
Published: 29 September 2016
Trailer Reveal: Action-Packed first-look Dropped for Trespass Against Us
Trespass Against Us, despite not seeing its official release yet, has been pulling in promising reviews and reports from critics after one or two outings at various film festivals. The film, starring Michael Fassbender, alongside various other familiar faces, tells the story of an outlaw family and the one man who tries to escape it.
The opening of the trailer introduces the father-and-son theme of the film wonderfully, suggesting that the criminal lifestyle Fassbender has inherited from his father is something he should be looking to pass down on to his own son. And from there, the explosions start, literally and figuratively; we watch as jobs are set up and knocked down by these men making for an action-packed teaser.
It's a great set up for the film here and with a release date pencilled in for later this year, this is certainly one worth keeping an eye out for. You can check out this footage for yourselves now by clicking here.
Written by: Charlotte Barnes
Published: 25 September 2016
The opening of the trailer introduces the father-and-son theme of the film wonderfully, suggesting that the criminal lifestyle Fassbender has inherited from his father is something he should be looking to pass down on to his own son. And from there, the explosions start, literally and figuratively; we watch as jobs are set up and knocked down by these men making for an action-packed teaser.
It's a great set up for the film here and with a release date pencilled in for later this year, this is certainly one worth keeping an eye out for. You can check out this footage for yourselves now by clicking here.
Written by: Charlotte Barnes
Published: 25 September 2016
Full Length Trailer Revealed for Sci-Fi Flick, Passengers
After a teaser or two hitting the internet in recent weeks, we finally have a full length trailer for Passengers to feast on - and what a trailer it is. Dropped on YouTube just a few hours ago, the two minute introduction to the film is a star-studded, action-packed preview that raises more questions than it answers and sets a high bar for the full film.
Science fiction to its core, the trailer introduces Jennifer Lawrence and Chris Pratt who have both, at some point, decided to leave earth to take part in a hibernation experiment. With a number of humans placed in isolation pods on a space station, the plan was for those taking part to wake up after 120 years - but something has gone wrong, which sees our two stars wake up early, and it looks like a whole load of other things are set to keep going wrong after that. A promising introduction, it's a great tease that has set up an intriguing premise, and you can check out the trailer clip for yourselves now by clicking here. Written by: Charlotte Barnes Published: 21 September 2016 |
Tense Trailer Released
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Movie Review: Blair Witch
The first Blair Witch film was a masterpiece in both tension and horror. The found footage formula it used added realism that played on the audience's deepest fears. This new film, then, released earlier this month, has in turn worked hard to retain everything that made the original so fantastic whilst adding its own unique twist to the "being lost in the woods" feel.
The film starts off impressively. While the first film focused on Heather, Josh, and Mike's journey, this focuses on Heather's brother years later. This set up is intriguing and enables the characters to be quickly established, making them easy to buy into from the off.
The wonderful thing about the original Blair Witch was that it created a mythology that was well thought out. In this, that same mythology is expanded on in a nice homage that doesn't feel forced.
The film's quick pacing brings about some truly terrifying moments. A one take search for firewood turns into a thrilling chase that doesn't let you catch your breath for a second. The characters, though not fully developed, feel real. James' frustration when he thinks his goal of finding his sister is unattainable is well done by showing what motivates the character and this relate-ability and humanity carries them all well throughout the film.
In a genre dominated by gore, it’s a joy to watch something that messes with your head rather than with your stomach! The end scene may not be as subtle as the first but it is certainly just as haunting. The moment when Lisa goes through the tunnel stands out for being a great dose of claustrophobic tension.
Comparing the two productions almost seems sacrilegious, though. Whilst the original had the chilling ending, the update feels like your worst nightmares come alive. It’s definitely worth going to see it, but do beware the witch…
Written by: JD Grant
Published: 19 September 2016
The film starts off impressively. While the first film focused on Heather, Josh, and Mike's journey, this focuses on Heather's brother years later. This set up is intriguing and enables the characters to be quickly established, making them easy to buy into from the off.
The wonderful thing about the original Blair Witch was that it created a mythology that was well thought out. In this, that same mythology is expanded on in a nice homage that doesn't feel forced.
The film's quick pacing brings about some truly terrifying moments. A one take search for firewood turns into a thrilling chase that doesn't let you catch your breath for a second. The characters, though not fully developed, feel real. James' frustration when he thinks his goal of finding his sister is unattainable is well done by showing what motivates the character and this relate-ability and humanity carries them all well throughout the film.
In a genre dominated by gore, it’s a joy to watch something that messes with your head rather than with your stomach! The end scene may not be as subtle as the first but it is certainly just as haunting. The moment when Lisa goes through the tunnel stands out for being a great dose of claustrophobic tension.
Comparing the two productions almost seems sacrilegious, though. Whilst the original had the chilling ending, the update feels like your worst nightmares come alive. It’s definitely worth going to see it, but do beware the witch…
Written by: JD Grant
Published: 19 September 2016
Television News: The Great British Bake Off is Moving to Channel 4 - Without Mel and Sue
There has been a chorus of dismay from fans of The Great British Bake Off up and down the country over the last forty-eight hours or so following the news that the BBC's much-loved baking show will be making an unexpected jump to Channel 4, due to a financial clash with the powers that be behind the hit series.
It is being widely reported that Love Productions - the name behind the show, and the owners of GBBO - has perhaps stumbled upon a little greed, which has allegedly seem then request a whopping £25 million from the BBC in order to keep air rights to the show. Which the BBC has, understandably, said they simply cannot provide.
The first blow, then, came in the form of the news that Channel 4 could provide a big enough lump of cash and had, by default it feels, won the show for 2017. The second blow? Sue Perkins and Mel Giedroyc will not be making the move.
That's right. When The Great British Bake Off goes it will be going without its hosts, who have become as loved as the series has itself, and so this has already raised a number of questions about the potential success of the show not only on a different channel, but also with so many additional changes as well. As yet it is still unknown whether Paul Hollywood and Mary Berry will be making the jump - more updates will follow in the coming days, no doubt, as negotiations close - and we also have those pesky Channel 4 advertisement breaks to take into account now as well.
While the initial backlash of this is strong, there are still many kinks to be ironed out in the framework for the old show on a new channel, so stay tuned for updates.
Written by: Charlotte Barnes
Published: 14 September 2016
It is being widely reported that Love Productions - the name behind the show, and the owners of GBBO - has perhaps stumbled upon a little greed, which has allegedly seem then request a whopping £25 million from the BBC in order to keep air rights to the show. Which the BBC has, understandably, said they simply cannot provide.
The first blow, then, came in the form of the news that Channel 4 could provide a big enough lump of cash and had, by default it feels, won the show for 2017. The second blow? Sue Perkins and Mel Giedroyc will not be making the move.
That's right. When The Great British Bake Off goes it will be going without its hosts, who have become as loved as the series has itself, and so this has already raised a number of questions about the potential success of the show not only on a different channel, but also with so many additional changes as well. As yet it is still unknown whether Paul Hollywood and Mary Berry will be making the jump - more updates will follow in the coming days, no doubt, as negotiations close - and we also have those pesky Channel 4 advertisement breaks to take into account now as well.
While the initial backlash of this is strong, there are still many kinks to be ironed out in the framework for the old show on a new channel, so stay tuned for updates.
Written by: Charlotte Barnes
Published: 14 September 2016
Movie Review: Don't Breathe
Don't Breathe? Don't bother. This film is an uncomfortable mis-blend of genres that sees a perfectly sound storyline completely ruined by the intrusion of another storyline, which feels much like a last minute 'Hey, what if?' from the writers behind the film. The premise introduced by the trailer is that three thieves - Rocky (Jane Levy), Alex (Dylan Minnette) and Money (Daniel Zovatto) - break into a blind man's house (played by Stephen Lang) to steal a considerable amount of cash. The Blind Man (his official character name in this film, might I add) came to possess this cash following a car accident that killed his daughter resulting in a considerable cash pay-off from the family of the driver.
So far, so good, right?
Admittedly the trailer hinted that there was more to The Blind Man than we perhaps originally thought. With a colourful military history in his past he turns out to be quite the opponent to the three youngsters, beating them physically and intellectually at every turn - which, again, is entertaining enough. What is less entertaining is the twist of the film. It's a twist I didn't fully see coming - I knew there was something, but wouldn't have guessed this - and I didn't at all appreciate because not only what is it not necessary, it was also taken way too far.
Don't Breathe would actually be a wonderful film if the final quarter of it was cut. There are false endings - which left me with a heavy 'Oh, c'mon now!' feeling - and a scene that is so unpredictable and so uncomfortable that myself and my partner in viewing were both grimacing at the screen - and I can't speak for him, but I am most definitely not a squeamish viewer on the average day.
The casting here is wonderful, though! Levy makes for a great lead who plays the role with conviction while Minnette makes for an endearing boy-next-door sidekick who gets caught up in the wrong deal. Lang is stunning in this role, too; he's eerie before his darker side even emerges making for a great atmosphere throughout. Oh and let's not forget the staging of this! The floorboard creaks have never been used to greater effect than they are here. The scene shot entirely in the dark - featured in the trailer - is another high point making for enjoyably tense viewing, so there are definitely good elements in the film. As a whole, though, Don't Breathe has well and truly caved on itself when it comes to fitting into a genre to the point that I can't pinpoint who would watch this film. I went expecting thriller, but the horrific scenes towards the end take it firmly out of that genre and into something else that I didn't expect or want.
Written by: Charlotte Barnes
Published: 12 September 2016
So far, so good, right?
Admittedly the trailer hinted that there was more to The Blind Man than we perhaps originally thought. With a colourful military history in his past he turns out to be quite the opponent to the three youngsters, beating them physically and intellectually at every turn - which, again, is entertaining enough. What is less entertaining is the twist of the film. It's a twist I didn't fully see coming - I knew there was something, but wouldn't have guessed this - and I didn't at all appreciate because not only what is it not necessary, it was also taken way too far.
Don't Breathe would actually be a wonderful film if the final quarter of it was cut. There are false endings - which left me with a heavy 'Oh, c'mon now!' feeling - and a scene that is so unpredictable and so uncomfortable that myself and my partner in viewing were both grimacing at the screen - and I can't speak for him, but I am most definitely not a squeamish viewer on the average day.
The casting here is wonderful, though! Levy makes for a great lead who plays the role with conviction while Minnette makes for an endearing boy-next-door sidekick who gets caught up in the wrong deal. Lang is stunning in this role, too; he's eerie before his darker side even emerges making for a great atmosphere throughout. Oh and let's not forget the staging of this! The floorboard creaks have never been used to greater effect than they are here. The scene shot entirely in the dark - featured in the trailer - is another high point making for enjoyably tense viewing, so there are definitely good elements in the film. As a whole, though, Don't Breathe has well and truly caved on itself when it comes to fitting into a genre to the point that I can't pinpoint who would watch this film. I went expecting thriller, but the horrific scenes towards the end take it firmly out of that genre and into something else that I didn't expect or want.
Written by: Charlotte Barnes
Published: 12 September 2016
Disney Promises Beauty and the BEast Teaser Release
The live action Beauty and the Beast film that's set to arrive from Disney has been causing excitement amongst new and old fans alike since its original announcement. The information on the film has been thin on the ground however a small snippet was recently dropped online to roll out the banners for a bigger snippet - as is Hollywood's way - that's due to arrive today.
The sneak peak look at production, including a table reading of a small segment of the script - which can be found by clicking here - promises an exclusive look at the upcoming theatrical release. So keep your eyes peeled over the day for our first real peak at what promises to be a beautiful Disney release. Written by: Charlotte Barnes Published: 6 September 2016 |
Sony Make Bid to Keep Daniel Craig As James Bond
While the world is still placing misguided bets on who will bag the role of James Bond, it seems that Sony themselves are still backing Daniel Craig for the role.
The actor, who has reportedly stated that he would never return to the 007 role, has now been offered an eye-watering $150 million to do just that. The next Bond feature isn't due for another two years, thankfully, so the firm has a little while to turn Craig around on the decision - and with a fee like that, offered in exchange for him featuring in two further Bond flicks, Sony look to be going all out to keep the actor on their books. Barbara Broccoli also made no secret of the fact that she didn't want a new Bond, commenting: 'Maybe I'm in denial, but I don't want to think about another Bond.' Written by: Charlotte Barnes Published: 6 September 2016 |
TV News: The X factor Makes Its Return to ITV
As far as I can see the return of The X Factor pales in comparison to the return of The Great British Bake Off, but the singing competition is a mostly stable element of ITV’s yearly line-up so its return to television probably deserves a note.
The series made its return yesterday evening – Saturday, August 27th at 8pm, and it will be back for a second episode at the same time tonight – with a new, sort of, judging panel and a familiar face in the presenter spot. And, following on from a fairly gruesome season of the show last year, the first episode of this latest season set sail with a pleasing start. Dermot O’Leary has replaced Olly Murrs and Caroline Flack, while the judging panel has been given yet another reboot, the time sporting Louis Walsh – who we apparently really cannot get rid of – alongside Sharon Osbourne, Nicole Scherzinger, and of course Simon Cowell. As first impressions go the four appear to work well together, although we’re one episode in and I’m already plagued by the concern of acts being put through with the sole purpose of peeing off Simon Cowell – Honey G, I’m looking to you there. Walsh, Osbourne, and Scherzinger are out to make mischief/mildly more entertaining television, but given the mixed opinions around the show already it feels a little too early on in this latest season for the show to make a parody of itself (there are enough people waiting in the wings to take on such a job already). Nevertheless, for better or worse The X Factor is back and as always it seems good for a few laughs, and cringes. Yesterday’s episode is available online now and you can tune in for another mixed bag of it this evening at 8pm on ITV. Written by: Charlotte Barnes Published: 28 August 2016 |
TV News: The Great British bake Off is back!
It’s back! The Great British Bake Off, the tent, the bakers, the Paul and the Mary – it’s all back and in this week’s opening episode it was all about as glorious and sugar-coated as it always is. Season seven of the hit series – a talent show for bakers really is one of the finest things that modern television has managed to do – launched on Wednesday, August 24th, and the country has been beside itself with excitement ever since.
The first episode introduced us to twelve new bakers who were put to the test during cake week, and after an hour of tense viewing I had already decided on two things: I’m a little bit in love with Val, and lemon drizzle cake is one of the finest things available to us in this world. For fear of spoilers – don’t panic! – I’ll keep my mouth firmly shut on the matter of the opening week's Star Baker, likewise on the topic of which contestant was the first to leave. I will however say that this opening episode was an entertaining medley of colourful sponges and half-baked cakes, complete with a chorus of, ‘How do they not know what a jaffa cake looks like?’ sandwiched somewhere in the middle of the episode. Oh and Mary’s face! Mary’s gloriously horrified at seeing Paul’s animalistic display of dunking a jaffa cake in his tea is something that will stick with viewers for life, I’m sure of it. It’s a much welcome addition to our weekly line-up of television and, if we have to suffer through another stint of The X Factor over on ITV, at least we have The Great British Bake Off to soften the blow for a while. You can find the first episode online now and you can tune into the second episode – for Biscuit Week! – on Wednesday, August 31st, on BBC One at 8pm. Written by: Charlotte Barnes Published: 28 August 2016 |
Movie Review: Lights Out
Lights Out is the latest horror film to arrive on the big screen, setting an impressively high bar for the features that will follow later in the year. The film is a short release – coming in at around only one hour and twenty minutes – but don’t let that tarnish your view of it; this is, hands down, one of the creepiest films that I’ve had the pleasure of seeing for some time.
The premise of the story is this: Martin’s (Gabriel Bateman) dad dies, he’s murdered under fairly gory circumstances – although nothing much ever seems to be said about this – which leaves Martin in the custody of his heavily depressed mother, Sophie (Maria Bello) – and her friend Diana (Alicia Vela-Bailey). Eventually Martin starts falling asleep at school due to the terrifying disruptions in his home life; it isn’t until Martin’s sister Rebecca (Teresa Palmer) gets involved that even bigger questions start to arise, though. Once thought to be a childhood delusion for Rebecca, it now becomes clear that Martin – and his problems with Diana – are all too familiar territory, and the siblings must pair up to finally discover what Diana is, and how they can get rid of her.
There are neat little plot points that make this difficult to discuss in depth – no spoilers, though, I promise – but rest assured that there are some really nice touches here in terms of the storyline. My main criticism is that the ending is set up far too early; in a film this short it should have been held back longer, rather than dangled on a string how it is, but we can overlook that mostly. There are complexities and surprising revelations – although the major twist is sorted of ruined by that pesky ending that I mentioned – and so as horror flicks go, this is certainly ticking a lot of the major boxes.
In terms of the casting, it’s commendable. Bateman’s delivery throughout this is consistent, professional, and genuinely quite touching as the film explores his poignant relationships with the women in his family – no matter how crazy they may appear to be. Maria Bello delivers a marvellous portrayal of an over-bearing bout of depression and Palmer’s constant frustration towards this is a lovely accompaniment.
The most enjoyable element of the film, for me, is that this doesn’t go for the gore; it goes for the scare. As you’d expect, perhaps, from something that sports the name of James Wan on the production team, Lights Out is all about the things that go bump in the light – rather than the things that make you grimace – and the film works all the better for the fact.
A creepy, jumpy horror of old, Lights Out is a brilliant little number and it’s definitely worth a trip to the cinema to catch this.
Written by: Charlotte Barnes
Published: 25 August 2016
The premise of the story is this: Martin’s (Gabriel Bateman) dad dies, he’s murdered under fairly gory circumstances – although nothing much ever seems to be said about this – which leaves Martin in the custody of his heavily depressed mother, Sophie (Maria Bello) – and her friend Diana (Alicia Vela-Bailey). Eventually Martin starts falling asleep at school due to the terrifying disruptions in his home life; it isn’t until Martin’s sister Rebecca (Teresa Palmer) gets involved that even bigger questions start to arise, though. Once thought to be a childhood delusion for Rebecca, it now becomes clear that Martin – and his problems with Diana – are all too familiar territory, and the siblings must pair up to finally discover what Diana is, and how they can get rid of her.
There are neat little plot points that make this difficult to discuss in depth – no spoilers, though, I promise – but rest assured that there are some really nice touches here in terms of the storyline. My main criticism is that the ending is set up far too early; in a film this short it should have been held back longer, rather than dangled on a string how it is, but we can overlook that mostly. There are complexities and surprising revelations – although the major twist is sorted of ruined by that pesky ending that I mentioned – and so as horror flicks go, this is certainly ticking a lot of the major boxes.
In terms of the casting, it’s commendable. Bateman’s delivery throughout this is consistent, professional, and genuinely quite touching as the film explores his poignant relationships with the women in his family – no matter how crazy they may appear to be. Maria Bello delivers a marvellous portrayal of an over-bearing bout of depression and Palmer’s constant frustration towards this is a lovely accompaniment.
The most enjoyable element of the film, for me, is that this doesn’t go for the gore; it goes for the scare. As you’d expect, perhaps, from something that sports the name of James Wan on the production team, Lights Out is all about the things that go bump in the light – rather than the things that make you grimace – and the film works all the better for the fact.
A creepy, jumpy horror of old, Lights Out is a brilliant little number and it’s definitely worth a trip to the cinema to catch this.
Written by: Charlotte Barnes
Published: 25 August 2016
Movie Review: Finding Dory
Excuse me,children, out of the way. Some of us have been waiting for thirteen years for a Finding Nemo sequel and we finally have it in the form of Finding Dory, which has been floating around stateside for some time now but has only just touched down on UK shores. The big question now, of course, is whether the film has actually been worth the wait - and for those who are yet to see it you'll be glad to know that it has, mostly.
The film follows a similar format to its older brother in that one of our favourite fishy characters - this time around it happens to be Dory (Ellen DeGeneres) - goes missing, or rather, gets lost. For anyone not familiar with the franchise - seriously, where have you been? - Dory is a blue tang fish who suffers from short term memory loss and, as we gathered from Finding Nemo, this led to her losing her family at a young age because she simply couldn't remember where they were. Here we see Dory hit the big screen again alongside Nemo (Hayden Rolence) and Nemo's dad, Marlin (Albert Brooks) only this time around, she can remember something. Cue Dory's quest across the ocean to find her family, and Nemo and Marlin's quest across the ocean to find Dory.
I'm going to come out and say this early on: I don't think this film is as good as Finding Nemo, which is, incidentally, a completely different statement than saying Finding Dory is bad, because it isn't. The animation is well polished, the characters are loveable, the plot feels fairly recycled but hey, that's Hollywood, and the voice actors throughout this feature are superbly cast. So it may not be Finding Nemo, but it's still a good watch.
Some familiar faces make a return here but it's the new ones that really had the audience giggling, with Hank (Ed O'Neill) the grumpy octopus teaming up with Dory for a while, and Destiny (Kaitlin Olson) and Bailey (Ty Burrell) dropped in for a stint as the most endearing characters in this film, as far as I'm concerned.
Overall it makes for easy and heart-warming viewing. Pixar have done well here at churning out a cute sequel to Nemo that is good for a few laughs while also wrapping up the storyline neatly - which is what we all wanted for Dory. Thirteen years in the making, if you loved Finding Nemo, then it's definitely worth checking out Finding Dory.
Written by: Charlotte Barnes
Published: 3 August 2016
The film follows a similar format to its older brother in that one of our favourite fishy characters - this time around it happens to be Dory (Ellen DeGeneres) - goes missing, or rather, gets lost. For anyone not familiar with the franchise - seriously, where have you been? - Dory is a blue tang fish who suffers from short term memory loss and, as we gathered from Finding Nemo, this led to her losing her family at a young age because she simply couldn't remember where they were. Here we see Dory hit the big screen again alongside Nemo (Hayden Rolence) and Nemo's dad, Marlin (Albert Brooks) only this time around, she can remember something. Cue Dory's quest across the ocean to find her family, and Nemo and Marlin's quest across the ocean to find Dory.
I'm going to come out and say this early on: I don't think this film is as good as Finding Nemo, which is, incidentally, a completely different statement than saying Finding Dory is bad, because it isn't. The animation is well polished, the characters are loveable, the plot feels fairly recycled but hey, that's Hollywood, and the voice actors throughout this feature are superbly cast. So it may not be Finding Nemo, but it's still a good watch.
Some familiar faces make a return here but it's the new ones that really had the audience giggling, with Hank (Ed O'Neill) the grumpy octopus teaming up with Dory for a while, and Destiny (Kaitlin Olson) and Bailey (Ty Burrell) dropped in for a stint as the most endearing characters in this film, as far as I'm concerned.
Overall it makes for easy and heart-warming viewing. Pixar have done well here at churning out a cute sequel to Nemo that is good for a few laughs while also wrapping up the storyline neatly - which is what we all wanted for Dory. Thirteen years in the making, if you loved Finding Nemo, then it's definitely worth checking out Finding Dory.
Written by: Charlotte Barnes
Published: 3 August 2016
Series Review: Stranger Things
If, like myself, you belong very firmly inside the Netflix generation (doesn’t everyone?) then you will have at least heard of Stranger Things, whether you’ve opted to watch it or not. The eight-episode long series has been causing something of a stir on the streaming site since its release a little earlier this year, and, having polished off the series last night after what I can only describe as an emotional rollercoaster, I can hand on heart say that if you haven’t tried at least one episode of this yet, for the love of God go and watch it before someone has the chance to ruin it for you, because it’s pretty damn wonderful.
Okay, if I can give you some basic plot without taking too much shock value away, then it’s this: Winona Ryder here stars as small town mother Joyce Byers, in a series that is set in 1983. At the beginning of this series Joyce’s son, Will, here played by Noah Schnapp, goes missing under peculiar circumstances and, from that one incident, there spills out eight episodes of government cover-ups and controversies and – as is the way of 80’s inspired releases – and whole load of science fiction themes that will leave you feeling somewhere between disturbed and nostalgic.
The plot intricacies of this release as a whole series make it practically impossible to give you anything resembling an overview without taking some of the major kicks away. On a more general note, then, the whole series is just brilliantly put together. The younger actors in this – Finn Wolfhard, Millie Bobby Brown, and Gaten Matarazzo in particular – just blew me away from their opening scenes through to the end and on more than one occasion I found myself saying, ‘I just love these kids,’ so convincing, amusing, and emotive are their roles and their deliveries throughout.
The settings are appropriately dark, dank, and claustrophobic adding further to the ambiguous feel that is heavily packed into every episode of this, and honestly it really does make for some wonderfully tense viewing at times.
And if all of that isn’t exciting enough to get you interested in the show, then it might be worth noting that there’s definitely scope for a second season of this and, after the buzz that’s followed the first around, Netflix would be missing a trick if they didn’t return to this concept. So, for fear that you’ll be reading another vague and excited review this time next year without knowing what the hype is about, clear your schedule, shut the curtains, and throw Stranger Things on because you certainly won’t be disappointed.
Written by: Charlotte Barnes
Published: 25 July 2016
Okay, if I can give you some basic plot without taking too much shock value away, then it’s this: Winona Ryder here stars as small town mother Joyce Byers, in a series that is set in 1983. At the beginning of this series Joyce’s son, Will, here played by Noah Schnapp, goes missing under peculiar circumstances and, from that one incident, there spills out eight episodes of government cover-ups and controversies and – as is the way of 80’s inspired releases – and whole load of science fiction themes that will leave you feeling somewhere between disturbed and nostalgic.
The plot intricacies of this release as a whole series make it practically impossible to give you anything resembling an overview without taking some of the major kicks away. On a more general note, then, the whole series is just brilliantly put together. The younger actors in this – Finn Wolfhard, Millie Bobby Brown, and Gaten Matarazzo in particular – just blew me away from their opening scenes through to the end and on more than one occasion I found myself saying, ‘I just love these kids,’ so convincing, amusing, and emotive are their roles and their deliveries throughout.
The settings are appropriately dark, dank, and claustrophobic adding further to the ambiguous feel that is heavily packed into every episode of this, and honestly it really does make for some wonderfully tense viewing at times.
And if all of that isn’t exciting enough to get you interested in the show, then it might be worth noting that there’s definitely scope for a second season of this and, after the buzz that’s followed the first around, Netflix would be missing a trick if they didn’t return to this concept. So, for fear that you’ll be reading another vague and excited review this time next year without knowing what the hype is about, clear your schedule, shut the curtains, and throw Stranger Things on because you certainly won’t be disappointed.
Written by: Charlotte Barnes
Published: 25 July 2016
Movie Review: Me Before You
Me Before You was dropped in UK cinemas way back at the beginning of this month, however it’s showing no signs of slowing down in popularity with many cinemas maintaining their regular viewing times for what has turned out to be a smash hit film.
Based on a novel of the same name by Jojo Moyes, Me Before You tells the story of Will Traynor (Sam Claflin) who, after being involved in a motorbike accident, is severely paralysed. Will’s parents make every effort to find a suitable carer and they eventually hire a local – intolerably happy, might I add – girl called Lou Clark (Emilia Clarke). Will and Lou form a surprising bond during their time together and, as you’d expect from a YA-book-based film, laughter and total heartache soon follow.
Ahead of seeing this film I had already decided I was going to cry at one point or another – one point or another turned out to be several points scattered throughout the film. It’s heartbreaking but beautiful. Claflin and Clarke have an absurdly easy onscreen relationship that develops convincingly throughout the feature, with amusing interludes appearing from the likes of Lou’s boyfriend Patrick, played by Matthew Lewis who – despite being a bit of a filler character at times – did a wonderful job of pulling some laughs and eye-rolls from an otherwise emotionally traumatised audience.
Janet McTeer and Charles Dance, taking to the roles of Camilla and Stephen Traynor respectively, were wonderfully cast and caused their own share of heartache in the film. Again, though, this was counteracted by another amusing character in the form of Nathan, Will’s on-hand physiotherapist, played brilliantly by Stephen Peacocke who was not only an integral character during some of the more serious scenes, but he was also a naturally funny buffer when he needed to be as well.
The film is beautifully set over a seaside back drop that adds wonderfully to Lou’s small-town-girl persona and overall the presentation of this film is very well polished. A brilliant feature, whether you’re a YA fan or not (ordinarily, I am not), this film is definitely worth a trip to the cinema to see – and it’s definitely worth wearing waterproof mascara to see it as well.
Written by: Charlotte Barnes
Published: 20 June 2016
Based on a novel of the same name by Jojo Moyes, Me Before You tells the story of Will Traynor (Sam Claflin) who, after being involved in a motorbike accident, is severely paralysed. Will’s parents make every effort to find a suitable carer and they eventually hire a local – intolerably happy, might I add – girl called Lou Clark (Emilia Clarke). Will and Lou form a surprising bond during their time together and, as you’d expect from a YA-book-based film, laughter and total heartache soon follow.
Ahead of seeing this film I had already decided I was going to cry at one point or another – one point or another turned out to be several points scattered throughout the film. It’s heartbreaking but beautiful. Claflin and Clarke have an absurdly easy onscreen relationship that develops convincingly throughout the feature, with amusing interludes appearing from the likes of Lou’s boyfriend Patrick, played by Matthew Lewis who – despite being a bit of a filler character at times – did a wonderful job of pulling some laughs and eye-rolls from an otherwise emotionally traumatised audience.
Janet McTeer and Charles Dance, taking to the roles of Camilla and Stephen Traynor respectively, were wonderfully cast and caused their own share of heartache in the film. Again, though, this was counteracted by another amusing character in the form of Nathan, Will’s on-hand physiotherapist, played brilliantly by Stephen Peacocke who was not only an integral character during some of the more serious scenes, but he was also a naturally funny buffer when he needed to be as well.
The film is beautifully set over a seaside back drop that adds wonderfully to Lou’s small-town-girl persona and overall the presentation of this film is very well polished. A brilliant feature, whether you’re a YA fan or not (ordinarily, I am not), this film is definitely worth a trip to the cinema to see – and it’s definitely worth wearing waterproof mascara to see it as well.
Written by: Charlotte Barnes
Published: 20 June 2016
Movie Review: Alice Through the Looking Glass
Alice Through The Looking Glass is the long-awaited sequel to Tim Burton’s Alice in Wonderland which was released in cinemas back in 2010. The sequel, fans will be pleased to know, sees many of the original cast members return for a second stab at Underland and Burton also returns in his role as producer for this movie and my, can’t we tell.
This second film sees Alice return to Underland/Wonderland, this time to save the Mad Hatter who has fallen ill leaving many of his friends – Tweedledee/Tweedledum (Matt Lucas), Mallymkun (Barbara Winsor), and Chesire Cat (Stephen Fry) – in genuine fear for his life. To help him, Alice must travel back in time however, and it turns out that Time (Sacha Baron Cohen) isn’t too happy about that – understandably so when we see the fallout that Alice’s endeavour causes throughout the film.
First things first, let’s deal with the plot! It’s a sound premise that deals with the Looking Glass well although there are times when the whole thing feels a little spoon-fed. Alice visits the Hatter, sees his trouble, and then quite suddenly everyone around her seems to know exactly how they can fix the problem – but they also know that they themselves can’t possibly do this, leaving the role up to Alice. It’s necessary, I know, but the execution of it lacked the fluidity that the first film had.
Moving on from that, though, the film is aesthetically stunning throughout – although Johnny Depp’s Mad Hatter appeared slightly overdone in the make-up department for his first stretch in the film – and Burton has clearly scattered his trademark stamps here. We shift between extreme uses of colour from one scene to the next and, after a particularly dramatic opening that sees a near-shipwreck plastered across the screen, it’s instantly clear where Burton’s influence has come in. The characters themselves also fit into this aesthetic discussion because they’re put together wonderfully. Anne Hathaway’s White Queen is as ghostly pale and brilliantly acted as she was the first time around while Helena Bonham Carter is magnificent as the Red Queen and, much to my delight, the time-turning plot even answers some questions about these two characters and their ongoing feud.
Mia Wasikowski returns to her role as Alice with ease, picking up right where she left off the last time and delivering the role with utter conviction making for a determined and believable display. For me, however, the character that really surpassed expectations was Time. Cohen’s delivery was superb! The character was rough around the edges, but extremely likeable, and he made for a brilliant complication in the film at times.
Overall Alice Through The Looking Glass is a decent watch. If you’re a fan of Burton or the Alice franchise – whether that be books or films – then you’ll get on with this film, because how could you not? There are elements that could have been a little smoother for me, but as a whole the film makes for good viewing and it’s certainly worth a trip to the cinema to check it out.
Written by: Charlotte Barnes
Published: 1 June 2016
This second film sees Alice return to Underland/Wonderland, this time to save the Mad Hatter who has fallen ill leaving many of his friends – Tweedledee/Tweedledum (Matt Lucas), Mallymkun (Barbara Winsor), and Chesire Cat (Stephen Fry) – in genuine fear for his life. To help him, Alice must travel back in time however, and it turns out that Time (Sacha Baron Cohen) isn’t too happy about that – understandably so when we see the fallout that Alice’s endeavour causes throughout the film.
First things first, let’s deal with the plot! It’s a sound premise that deals with the Looking Glass well although there are times when the whole thing feels a little spoon-fed. Alice visits the Hatter, sees his trouble, and then quite suddenly everyone around her seems to know exactly how they can fix the problem – but they also know that they themselves can’t possibly do this, leaving the role up to Alice. It’s necessary, I know, but the execution of it lacked the fluidity that the first film had.
Moving on from that, though, the film is aesthetically stunning throughout – although Johnny Depp’s Mad Hatter appeared slightly overdone in the make-up department for his first stretch in the film – and Burton has clearly scattered his trademark stamps here. We shift between extreme uses of colour from one scene to the next and, after a particularly dramatic opening that sees a near-shipwreck plastered across the screen, it’s instantly clear where Burton’s influence has come in. The characters themselves also fit into this aesthetic discussion because they’re put together wonderfully. Anne Hathaway’s White Queen is as ghostly pale and brilliantly acted as she was the first time around while Helena Bonham Carter is magnificent as the Red Queen and, much to my delight, the time-turning plot even answers some questions about these two characters and their ongoing feud.
Mia Wasikowski returns to her role as Alice with ease, picking up right where she left off the last time and delivering the role with utter conviction making for a determined and believable display. For me, however, the character that really surpassed expectations was Time. Cohen’s delivery was superb! The character was rough around the edges, but extremely likeable, and he made for a brilliant complication in the film at times.
Overall Alice Through The Looking Glass is a decent watch. If you’re a fan of Burton or the Alice franchise – whether that be books or films – then you’ll get on with this film, because how could you not? There are elements that could have been a little smoother for me, but as a whole the film makes for good viewing and it’s certainly worth a trip to the cinema to check it out.
Written by: Charlotte Barnes
Published: 1 June 2016
