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By midlandsmovies, Aug 28 2019 10:13AM

Review - Movie catch up blog 2019 - Part 4


In this collection of recent reviews we take a look at ANGEL HAS FALLEN, KILLER'S ANONYMOUS, IN FABRIC and THE STANDOFF AT SPARROW CREEK.


Read on to hear our thoughts on some of these new 2019 cinema and dvd releases.



Angel Has Fallen (2019) Dir. Ric Roman Waugh

A frankly out-of-shape Gerard Butler returns in this third instalment in the Fallen film series following Olympus Has Fallen (the number 10 entry of our worst films of 2013) and London Has Fallen (the number ONE entry in our worst films of 2016) again playing secret service agent Mike Banning. Suffering from a form of PTSD, he protects US President (Morgan Freeman) from a drone attack but is implicated in the crime itself. Cue a tedious game of cat and mouse between an on-the-run Banning and his previous colleagues. He’s also chased by forces “unknown” (it’s so obvious from the outset who the culprits are) who want to get to Banning to finish the job and execute their conspiracy.


What we have then is an unexciting, monotonous and dreary “action” film whose 2-hour runtime feels like 2 weeks. Jada Pinkett as an FBI agent spouts tedious action-film clichés passing itself off as dialogue and its plot has been done numerous times before as seen in the Bourne franchise, Sentinel (2006) and most of M:I series as an operative is framed for a crime he didn’t commit whilst others attempt to bring them to justice.


Positives? Although I’m struggling to find many, when Banning meets his father (Nick Nolte) in his remote wood cabin, the film is given some much-needed pleasure with a tongue-in-cheek tone and some nifty banter. A mid-credits scene has to be seen to be believed too, so if you manage to make it to the end, stick around for that. I also thought the explosions were pretty spectacular with some stuntmen really taking a battering as they are thrown around. But the woeful quick editing on the fights makes them hard to follow and one brawl in a car at night is frankly unwatchable and shouldn’t be in a movie with this budget. In the end it may just be the best of the series, stay with me on this, as the others were beyond terrible and this is simply mostly bad. Action fans may find something in this that I didn’t get out of it, but for general audiences, the franchise should fall into retirement as soon as possible.


Killers Anonymous (2019) Dir. Martin Owen

This American crime thriller film directed by Martin Owen tells the story of a group of assassins being brought together in a secret hideaway situated in a London church after the assassination of an American Senator on UK soil. Opening with an elongated conversation between Gary Oldman and Jessica Alba – filmed strangely, as characters talk to the camera Peep Show-style – the group finally congregates in a small set of rooms as they share their backgrounds and “days since last killing” stories like an AA meeting. The film wastes its talented cast which includes a delicious Tommy Flanagan as Markus, an excellent Rhyon Nicole Brown as Alice, a subtle performance from MyAnna Buring as Joanna and stalwart Tim McInnerny as Calvin who all did their best with some awful dialogue. It could have worked as a more serious chamber piece like 12 Angry Men (1957) or pushed the envelope and gone further into the knowing horror of the more recent Would You Rather (2012) but in the end it sticks to a bland unsatisfying middle-ground. How Oscar-winner Gary Oldman got involved in this is anyone's guess and it most reminded me of the darkly comic Inside No. 9 both in flat TV look and its eclectic soundtrack. In the end though, what could have worked as a one-off ITV drama is not cinematic enough for the ideas it has. And sadly this more than tiresome movie tries to be a big screen blockbuster but is much more of a lacklustre little screen disappointment.

★★



In Fabric (2019) Dir. Peter Strickland

A horror comedy infused with Italian ‘Giallo’ genre stylings, In Fabric is a new movie featuring, bear with me, a killer dress. A ridiculous conceit, the film in fact uses this far-fetched idea to look at consumerism, desires and hypnotising capitalism. It stars Oscar-nominated Marianne Jean-Baptiste as Sheila, whose awful managers and worse dates increase her feeling of loneliness since her recent divorce. She purchases a crimson dress at the enigmatic Dentley and Soper's store from assistant Miss Luckmoore (an incredibly creepy Fatma Mohamed) who appears part of a ritualistic coven. The cursed dress leaves a strange rash on Sheila as the supernatural piece of clothing causes havoc with a washing machine and attempts to murder Sheila’s son’s girlfriend – played by a welcome but all too brief appearance from Gwendoline Christie. A sharp turn in the narrative though is where the film started to lose its way a little. The dress ends up in possession of washing machine repair man Reg Speaks (Leo Bill) whose story of hypnotism is far less interesting and developed than Sheila’s. In Fabric’s tone however seems not only to be hinting at classic Italian horrors but also by very British influences too. I saw hints of the satirical website Scarfolk Council, who is in itself influenced by the panic-filled sensibilities of 1970/80s government health and safety films and iconography. And In Fabric at times seems to be what Matthew Holness was attempting in Possum (2018) which was a snail-paced disappointment. A beautiful looking film of strong colours and lighting and a terrific cast playing bizarre and peculiar characters, In Fabric suffers most with its plotline switch at the halfway point, dismissing almost all of what came before it. Fans of the cinematic influences will lap it up but for me, it’s a slightly missed, but to be fair with a lot to like, opportunity to bring Suspiria to suburbia.

★★★



The Standoff of Sparrow Creek (2019) Dir. Henry Dunham

Written and directed by Henry Dunham in his feature debut The Standoff at Sparrow Creek tackles current U.S. obsessions with gun ownership, responsibility, media blame and political and social paranoia. Throwing us straight in, James Badge Dale plays ex-cop Gannon who has joined a local militia and ends up investigating his own group after one of them is suspected of a mass shooting at a police funeral. Information comes in sporadically over the police radio meaning a time limit is set, and in their secluded warehouse base one of their machine guns is suspiciously missing. Creating a sense of dread and hidden motives, the film is set almost solely in this location and using the fantastic conceit, the group is faced into confronting this situation with the audience trapped in this mystery along with them. The cinematography mixes dark shadows and spotlights as the questions fly and these help create the best scenes which involve Gannon interrogating members using his previous experience. A small but powerful indie feature, its 88 minutes gives the movie a swift pace with more depth than most small dramas. But it doesn’t let up either with a multitude of talented performances from the excellent cast playing distrustful characters obsessed with protecting their “freedoms”.

★★★★



Michael Sales



By midlandsmovies, Nov 21 2017 05:52PM

2017 Movie Catch-Up Blog Part 5


As we steam full ahead towards 2018, here are a few reviews of films we’ve seen during the past year in the fifth catch-up blog of 2017.




The Discovery (2017) Dir. Charlie McDowell

Released through Netflix this drama has a fantastic cast of Rooney Mara, Jason Segel, Robert Redford and Jesse Plemons and we begin with scientist Thomas Harbor (Redford) who has proved the existence of life after death. With the world population plummeting as the public commit suicide to experience this other world the film has a very interesting premise yet sadly little else. As Redford’s weird sect at a mansion attempt to record what these dead folk are seeing in their afterlife, the boring drama spoils its ideas in scenes of unbelievable dullness and a slow moving pace. It’s great to see Netflix as the spearhead of well-budgeted independent films that tackle subjects that no longer seem to get cinema releases but this has to be noted as a well-meaning failure. An investigation into the strange images captured lead to the film’s most interesting themes and a final reveal about what they are viewing is disappointing and unfulfilling with no light at the end of a very dark and depressing drama tunnel. 4/10




Catfight (2017) Dir. Onur Tukel

Directed and written by Turkish-American Onur Tukel, Catfight is a dark comedy drama starring Sandra Oh and Anne Heche as two women who begin a feud that ends up lasting decades. Wealthy socialite Oh embarrasses her old friend Heche who is a struggling artist at a party and thus starts a violent drunken fist fight. The action is brutal, yet contains over-the-top comedy punch sounds straight from Indiana Jones and ends with Oh falling into a coma and waking years later. After finding her son died in military service and broke owing to medical bills, the previously rich Oh deals with a role-reversal as Heche’s artist has become a narcissistic and successful artist. Great support comes from the little-seen Alicia Silverstone as Heche’s put-upon and broody girlfriend and a second vengeful fight ensues before Heche herself falls into a coma and also loses her money in the same circumstances. This is a film with hints of Trading Places but has a surreal story to tackle more serious themes of war (both in relationships and a background narrative about military intervention) and loss – of memories, possessions and family. An interesting if slight film, Catfight has two fantastic female leads and sticks to a strange and unique concept yet also has the guts to follow through with a ‘Being John Malkovich’ heightened reality. A punch-drunk oddity. 5.5/10



Valerian and the City of a Thousand Planets (2017) Dir. Luc Besson

Based on the comic series Valérian and Laureline by Pierre Christin and budgeted at an enormous €197 million, Besson returns to his eye-gouging visual sci-fi aesthetic first seen in the 1997 film The Fifth Element. In the 28th century, the movie follows Major Valerian (a rogue-ish Dane DeHaan) and his partner Sergeant Laureline (a feisty Cara Delevingne) who investigate a mysterious anomaly at the centre of Alpha which is an enormous space station populated by aliens from across the universe.


The film is great at portraying other-worldly environments and mystical beings in colourful CGI and whilst it’s clearly a green-screen mess, it’s such a glorious and inventive mess that most of the artifice is forgiven. An extra-dimensional bazaar called Big Market is an ingenious use of different worlds and Besson actually gives his audience credit for working out how this strange parallel phenomenon works. The film is filled with exciting action scenes which are perfunctory but again, and most importantly, fun. And whilst it’s no Star Wars, it certainly creates an understandable world that feels lived in and inhabited by wildly designed creatures. A commercial failure, the film is far from awful in comparison to similar recent science fiction universes such as the dull Jupiter Ascending. Away from the Pratt and Lawrence of Passengers from earlier this year, some critics didn’t like the strange and cold dynamic between DeHaan and Delevingne but I thought their quirkiness and less-than-Hollywood take on the characters was far more interesting.


Delivering the same fun yet inconsequential science fiction as his previous foray into the future, Besson has no way created anything close to a masterpiece but if you leave your brain at the door, the movie gives audiences thousands of better ideas than other summer hits like the trashy Transformers. 7/10




Casting JonBenet (2017) Dir. Kitty Green

This unique documentary about the death of child pageant superstar JonBenét Ramsey covers the theories and evidence surrounding the mysterious tragedy that caught the attention of an entire nation in 1996. Taking a very distinct approach, rather than the usual vox pops and archive footage, Kitty Green employs a more visceral technique where she runs a casting process for a fictional film. Amateur actors from the Colorado area where the death occurred are interviewed and assessed in their attempts to gain a part as one of the real people involved in the case. As they run through dialogue and dramatic recreations, this in itself is illuminating but the interspersed interviews allow these part-time actors to revel in their own theories surrounding the tragedy. Whilst they are auditioning for the roles of John and Patsy Ramsey, Burke Ramsey, John Mark Karr and various Boulder police officials that are “up for grabs”, they speculate on the motivations and emotions of the case. Being from the community, they give their insights from a local perspective as they impart their raw feelings and uncensored thoughts. Although I’d prefer a little more context to the case – the uninitiated are given a bare minimum of objective context – the film is intentionally provocative and emotional, reflecting the upsetting sentiments that echoed throughout the USA at the time. Upsetting yet extremely fascinating, Casting JonBenet takes a risk away from a traditional documentary format to deliver a fascinating portrait that is successful in all the ways I found I Am Not Your Negro wasn’t. 7/10


Midlands Movies Mike



By midlandsmovies, Aug 31 2017 03:44PM

2017 Movie Catch-Up Blog Part 3




24x36: A Movie about Movie Posters (2017) Dir. Kevin Burke

This documentary concerns the lost (and now maybe regained) art of the illustrated movie poster. With conversations from key artists over the last 40 years, the film shines a nostalgic light to the changes within the industry from the iconic (and painted) nature of the past to the resistance of the homogenised digital ‘Photoshop-ing’ of the present. It also follows the resurgence of the MONDO brand who, in the absence of Hollywood’s calling, filled the gap for creative, limited edition, screen-printed posters which has grown into an underground (but maybe no more) phenomenon. The doc is structured with the usual voice-overs and interviews yet despite its average structure, if you’re a fan of the subject then it does a great deal to explain the industry’s avoidance of creative risks with the increase use of focus groups. Similar to “Drew: The Man Behind the Poster” (2013) – a doc focused on the most famous poster-creator of them all Drew Struzan – the passion of the collectors just pulls it over the line – as was a surprise appearance from Leicester’s own Thomas Hodge whose 80s-flavoured posters are part of the scene’s rebirth. As a fan of alternative poster art (see our blogs here & here) I enjoyed the documentary, but for the passing fan however, it may be a bit too bland in style to grab you like well-designed placard. 6.5/10




Prevenge (2017) Dir. Alice Lowe

A pregnant woman who commits murder owing to voices she believes come from her unborn foetus is the dark narrative from this new British comedy horror. I had high hopes for this film after a spate of fine reviews yet right off the bat, the film is neither shocking nor comedic enough to warrant such regard. The movie’s positives include a terrific turn by writer/director/actor Alice Lowe who brings some depth to the troubled character but it delivered a poor script that thought it was far cleverer than it was. The overall feel was a few “skits” tied together with an over-arching and confusingly delivered narrative. The themes of female passions are surface level at best and an (almost) hand-held filming style meant I couldn’t get beyond the mix of its low budget technical style combined with the self-important themes and 6th Form-level wit. Apparently it was filmed in 2 weeks and boy can you tell. No laughs and no scares make Prevenge a dull girl. 4/10




Opening Night (2017) Dir. Isaac Rentz

A low budget frolic into the world of the musical stage sees Topher Grace playing a backstage producer of a new show that is as haphazard as it is a giant mess. Mixing the front of house musical numbers with the chaotic backstage antics of divas and dead-headed actors, the film is a light-hearted and enthusiastic tribute to the stresses of putting on a professional performance for the first time. Grace brings his inoffensive but warm persona from That 70s Show and a great comedic support cast delivers a stock love-story that, like the show within the film, wins the audience over despite its amateurism. Even though I’ve toured in a rock band myself, I have but a passing interest in film musicals as bursting into song in the middle of a scene has never really connected with me away from the stage. However, Opening Night is itself a meta-musical with the actors at times singing and dancing ‘outside’ of their own show. In many ways it works much more naturally than the artificial construct of most musicals. Like Moulin Rouge, well known pop songs are mixed with a handful of originals (which helps) and overall the movie avoids blandness as it harmlessly pokes fun at the crazy dramas of the theatrical world. 6.5/10




It Comes at Night (2017) Dir. Trey Edward Shults

Another film coming with a raft of praise-worthy reviews, this minimalist horror-drama also sadly fails to live up to expectations with a story about an unknown contagious disease and two families’ attempts at secluding themselves in the forest away from its ravages. One unit is headed by Joel Edgerton delivering an intense rage-filled role we’ve come to expect from him. He tries to ensure the safety of his family with a firm-hand and strict set of rules until he crosses paths with Will (Christopher Abbott) and his wife and child. The two then come together for both company and the sharing of scarce resources. However, the slow build up creates an unsettling distrust and from ‘sleepwalking’ children to barking dogs, the filmmaker aims to increase both the character’s and audience’s paranoia throughout. With dream and nightmare sequences though, the film is very ambiguous in what it is presenting. This at times works owing to the fear of the unknown but unfortunately this ‘open-to-interpretation’ delivery is stretched to a point of confusion. As the water and supplies dwindled, so did my interest and the director delivered some stock Hollywood horrors (a tree rustle here, a locked red door there – ooh spooky) whilst the investigations and infections come to an unsatisfying conclusion. It’s therefore a big shame the film failed to grab me as there are a few glimpses of a more narratively coherent horror in here. Yet It Comes at Night is ultimately a well-filmed and beautifully lit chamber-piece that some viewers will find tense, ambiguous and atmospheric whilst I predict a majority will come away simply bored to death. 5.5/10


Midlands Movies Mike

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