Us (2019)

Spoilers: this film isn’t as good as Get Out. That’s not damning it though, as VERY few films are as good as Get Out. I feel that film could weigh Jordan Peele down slightly, it has given everything he is involved with INCREDIBLY high expectations which it’s going to be hard for him to match.

That being said, this film is still spectacular. I don’t see it hitting pop culture quite as high as Get Out did, but it’s still probably one of the highlights of the year, and definitely the best horror film of the year so far.

Honestly, and as much as I hate to say this, the weakest part of this film is the script. It feels like it needed adjusting slightly. I mean, it is still good, but there are moments where it’s a bit too unsubtle, a bit too unfocused, taking too long to say certain things. It’s still great, it just needs slight tweaks. While the script isn’t as good as Get Out, this film is MUCH better directed, which considering how great a job he did on Get Out, really says something. EVERYTHING seems to have purpose visually. He’s great at making sure a sense of unease looms over the entire film, giving even innocuous scenes a sense of dread. You could watch normal scenes out of context, scenes of family just walking down the beach, and they’d be SOMETHING about it which would tell you it’s slightly off.

The performances are also SUPERB. Almost everyone in it has to play two roles, and they need to make them different enough to visually identify which character we are seeing. Lupita Nyong’o in particular really nails it. The way she makes her characters move effects how you see them as people, it’s truly great.

My favourite moment of this film? The wham moment (which is not to be confused with the scene from Keanu where they argue that George Michael was a gangster, that’s a Wham! moment) is one of the best I’ve seen. This moment has slight spoilers so if you don’t want this film spoiled, look away now, and I’ll tell you when you can look back.

Those fucking idiots. If they’re looking away then they won’t see when I tell them to look back, they’re going to be walking around forever looking slightly to the left, they’re going to walk into so many open sewers. Hah!

Wait, where was I? Oh right, the wham moment. For a lot of this film it’s played like the only clones (ok, they’re not clones, but if I call them “tethereds” that will make no sense unless you either see the film, or I explain it) that exist are the ones of the family. We then find out that they exist of another family, and they’re all similar; all sociopathic killers. We then see a news broadcast and find out it’s country-wide. This moment is SUPERB. We find out that what we have been watching has been happening all over the country, that there are millions of stories just like the one we’ve seen, and they’ve all ended brutally. That is what I will remember from this film, how I felt in that moment. Also, that moment had a piece of realisation of visual foreshadowing that made me say out loud “You magnificent bastard”. So that’s that, this film made me annoying.

Advertisements

Black Panther (2018)

Different films inspire different reactions (shocking, I know). That instant gut feeling you have no conscious control over, that just enters your head when you leave a film. Sometimes it’s “that was good”, sometimes it’s “that ending was a real letdown”, my reaction to this can be summed up in just one word:

giphy

Finally! FINALLY, we get a black lead in a mainstream comic book movie of extremely high quality. FINALLY, Marvel has a “personal connection to the hero” villain that really works (and isn’t Loki). FINALLY, a Marvel movie has a great soundtrack, as opposed to a great compilation album. Similar to Wonder Woman last year, this film NEEDED to succeed, and it needed to do so unquestionably. If this was anything less than a massive success then it would have been deemed a failure, and people would have said “well this just proves no films should ever have a black lead”. Thankfully it’s a massive hit, unarguably so.

There’s a reason this film has been a hit: it’s really really good. The script is sound, the characters are all fully formed, there’s none of that “but that character is just a stereotype”, even the minor characters have arcs and motivations. The villain, in particular, is superb. Fantastically written, and blessed with one of the best performances of the year so far (and considering that this is when the “Oscar movies” are released in UK that says a lot). His motivations make sense, you can see why he’s doing what he does. Martin Freeman and Andy Serkis also do well in their roles of Tolkein White Guys.

28575721_10156332088341800_6793160926706449561_n

With Moonlight, Get Out, and now this, there seems to be a real renaissance for mainstream, critically acclaimed black cinema. I usually dislike that term as it tends to just mean “films where the main character is black”. These films are different though, they explore concepts and issues which are specifically black, they’re films where if the main characters weren’t black the stories would be completely different. It helps that this has been brilliantly researched. There are countless nods to African culture throughout, some obvious (the clothing and jewellery), some really subtle (the hair). Yup, even the hair tells a f*cking story in this, EVERYTHING has been meticulously planned and executed.

screenshot_20180301-234055.png
I wasn’t joking about the hair

One disappointment is that it doesn’t really continue the overall MCU story arc they have going on. If this film came out earlier this wouldn’t be an issue at all, but this is the final film before Infinity War. Actually, they’ve completely screwed up the order of this phase. It should have been:

  1. Civil War
  2. Guardians Of The Galaxy
  3. Black Panther
  4. Doctor Strange
  5. Spider-Man: Homecoming
  6. Thor: Ragnarok

This way it slowly sets up the background arc of Thanos gradually becoming a threat, then you have the comedic calm of Spider-Man working as a breather before the chaotic storm of Infinity War. It also introduces the idea of magic later on, which cuts out a lot of “why doesn’t this guy help?”. Also, Guardians would make a great contrast if it came after Civil War. You’d have the story of a team falling apart, and then one about a team gradually getting bigger. This also meant that the fact the soul stone wasn’t in Black Panther isn’t as disappointing to audiences as it is at the moment. It also means the ending of Thor has an actual “holy shit, things are going to get serious really quickly”. As opposed to now, where it’s “holy shit, things are going to get serious in the film after the next one”. See, this film was so good one of the only things I can criticise is the running order of the series. It’s like criticising an album by saying the songs should have been in a different order. Go see this film, then buy it when it comes out.

End Of 2017 Film Awards

Our final look back at 2017, after this it’s onwards and upwards as we look forward to the wonders of 2018 (by which I mean, Coco, Ghost Stories, and Three Billboards, two of which I’ve already seen, so really the year is all downhill from here)

Best Actor

Winner

Daniel Kaluuya – Get Out

The entire film sinks or swims on his performance. If he doesn’t give a good performance then this entire film sinks. The writing, the directing, it’s all for nothing if you don’t buy the central performance. Fortunately, he’s superb. Not just vocally, visually he just owns this performance. Starting off seeming really cocky and arrogant, then ending up terrified. If this doesn’t lead to him leading more films then I officially give up on Hollywood.

Screen-Shot-2016-10-04-at-5.40.57-PM
I know, the film that had this in the trailer ended up being creepy, who’d have guessed?

Other Nominees

Jason Sudeikis. – Colossal

Genuinely creepy and unsettling. Brilliant. I expected his performance to be comedic and one-note but he managed to turn in a magnificent performance that made him seem like the creepiest person on the planet, but believable. You could see his thought processes in play and knew why he was thinking like that. The revelation about his creepy persona makes sense because of how well it’s been set up. A sign of not only a great performance, but also great writing.

Hugh Jackman – Logan

This is a personal choice, because I didn’t think he could do as much as he did in this. The way he carries the character contains a lot of backstory. He’s no longer the invincible hero, he’s playing him as someone who knows his time is up. Someone who knows he’s not long for this world and is struggling to face his own mortality. It’s a depressing performance for a comic book film, but works wonderfully.

Best Actress

Winner

McKenna Grace – Gifted

Want to know how good this performance was? It was a performance by a child actor that I didn’t hate. The character is a know-it-all smartass. So it would be incredibly easy for her character to come off as annoying and pretentious. The way McKenna plays her, however, is great. She’s played as someone who knows the downside of her intelligence, someone who knows that whilst she is much smarter than her uncle/caregiver, that doesn’t necessarily mean she knows more than him. It’s played with a slight vulnerability to her which renders her incredibly easy to root for and support. No idea where she, as an actress goes from here but I’m intrigued.

mckenna_grace_and_chris_evans_in_gifted
And she had great chemistry with Chris Evans

Other Nominees

Anne Hathaway – Colossal

I do love Anne Hathaway. She’s most known for romantic comedies sadly but has a phenomenal range. For proof of this watch Rachel Getting Married, she gives an amazing performance as a recovering addict haunted by her past choices. She’s just as good in this. Some of that is obviously down to the script, but a lot of it is down to the performance. She plays someone who is broken incredibly well, I’d like to see her as a psychopathic killer in a film.

Mandy Moore – 47 Meters Down

Yes, THAT Mandy Moore. What do you mean, who’s that and what’s that song? Do you people have no respect for late 90’s pop? Damn kids, get off my lawn! Anyway, in this, she was very, very, good. So good that I forgot I was watching a former pop star and just got heavily invested in the story. I kind of forgot I was an actress and felt I was watching actual people. That’s not the easiest thing to do.

Worst Film

Winner

Wish Upon

Very bad, but all the worst because it had a good concept. If a film is just bad, that’s okay, if a film is bad but has the potential to be good, I find that a lot harder to forgive. Even the good parts of the film seem to have come from other, better films.

Other Nominees

Sleepless

Dull, dull, dull. So boring. I’ve suffered from insomnia for years and this film almost put me to sleep. It almost feels like it would take effort to make an action film this dull, so in some ways, it’s actually quite impressive.

The Belko experiment

It runs out of ideas before the trailer has even finished. Would be a great short, but as a feature-length film, it’s an abomination.

The Dark Tower

“surely this isn’t as bad as everybody says?” It is. It really is. And serves as more proof that Idris Elba really needs to fire his agent.

Best Film Moment

Winner

Atomic Blonde: The Stairwell Fight

I am a sucker for a good really long shot. Especially in action sequences. I love nothing better than a fight scene where you can almost feel the impact of every hit, where’s there no cutaway before every impact. If one of those goes on for a minute I’m in heaven. I know that doesn’t seem long, but sit back and time that out, and picture a fight scene with no cuts lasting that long. Bit difficult isn’t it? This was NEARLY 10 MINUTES! Now this isn’t actually, one shot, it’s just edited like that, but it’s still a really impressive feat and is visually magnificent. The seemingly unedited nature of it means when the character hits someone, you really feel it. It feels like a fight, rather than a fight scene. It’s actually really great character work too. It means you don’t view Charlize Theron’s character as some kind of invincible hero, you view her as a human who is potentially one mistake away from being severely injured.

Other Nominees

Wonder Woman: No Mans Land

No Mans Land. If you want to explain Wonder Woman as a character, and as a feminist icon, show this scene. Without a doubt the best moment in the DC cinematic universe, by a long shot. This film may have been underappreciated when it comes to the oscars (which is something I don’t agree with, but I get why), but this scene is something that I feel deserves to be seen by everybody.

Spiderman Homecoming: The Car Scene

You know the one, where Michael Keaton’s character is taking Peter Parker to the school dance and slowly comes to the realisation of who he is. Marvel films have had great action set pieces in films lately, but this is a great character piece. It’s a testament to both the script and the performances that what could have been dull turned into one of the tensest scenes of the year.

A Monster Calls: The Stories

This was a great film, super depressing and wonderful. But there were moments throughout the film where it became magnificent. Whilst the Liam Neeson tree was telling stories (it’s an odd film) the art style switches from a normal live-action film to something which can be best described as a living water-colour painting. The images flow through each other like they’re made of water showing off a multitude of colours leaving the viewer gobsmacked at the pure unrelenting beauty of the whole thing. This is the one out of the three that you might not have seen, so here’s the scene in question:

Best Film

Winner

Get Out

Not just a good film, a very very important one too. This is like the fourth time I’ve had to talk about how much I love this film in these end of year blogs. It’s had almost everything you need. Great story, great actors, great script, great directing, not too many cliches. This film will be spoken about for years to come, and hopefully, lead to a resurgence in socio-political horror.

Other nominees

Logan

More than just a superhero film, a great western tale about morality and mortality, with a great performance by Dafne Keen too.

IT

Yes, Get Out is a better horror film. But this was more than that. This was a great coming of age film. Genuinely heartwarming with characters it’s impossible to not to love.

The Big Sick

I’m a sucker for romcoms, and I’m a sucker for depressing bleak films. Who’d have thought they’d be a film that can combine both? Made all the better for the fact it’s based on a true story. Also the winner of the “Most surprising cameo by a cast member of Crazy Ex Girlfriend” award, which doesn’t exist as an award, but if it did, this would win it, and Downsizing would win the award for 2018, and nothing else because it was dull.

The “Well I Liked It” Award

Winner

Murder On The Orient Express (Rotten Tomato Score: 57%)

The visuals alone should have merited a higher score for this. I think part of the dislike for this is just because it’s a remake. Every single remake has had people bitch that it’s different from the original (I bet back in the day people were complaining that DeNiro in Cape Fear wasn’t as good as Robert Mitchum in the original). Yes, the glut of remakes is a problem. Actually, no, strike that, the glut of lazy remakes is a problem. You can remake anything you want as long as you put the effort in. I would much rather watch a remake made with love than an original idea made “just because”.

lead_960

Nominees

Table 19 (Rotten Tomato Score: 26%)

I’d accept a low 50 score for this, but 26 is far far too low. Incredibly funny, great performances and a magnificent script. I’m a sucker for great dialogue, which this had in spades.

The Last Word (Rotten Tomato Score: 37%)

Do people just not appreciate dialogue any more? Yes, the story was cliche at times, but the way it told it was magnificent. Also it should be commended for promising something dark, and then delivering on it rather than just going for the happily ever after ending.

Best Film To Look At

Winner

Blade Runner 2049

Because LOOK AT IT!

https-blueprint-api-production.s3.amazonaws.comuploadscardimage544323446eb31c-fe20-47df-8552-01dd10cd480dDo I actually need to say anything else? It looks so gorgeous I almost made an audible response so many times. Almost every shot could be used as a poster.

Also nominated. 

Kong

Mainly because it proved that spectacle cinema can still work in this day and age. I’m a cynical person so assumed it would have no impression on me. Yet I was amazed when I watched it. Was sucked into the universe completely.

2017 In Film: Part 5 (The Amazing)

47 Meters Down

Superbly done. Also had one of my favourite endings ever. It made it look like it had a “slightly unhappy but full of hope” ending, then it went the other way and made it super depressing. Most of the film takes place underwater, and it looks gorgeous. There’s one scene where a flare is going through the ocean water and you it’s almost complete darkness apart from the small flare making its way up, beautifully done. Since most of the film is underwater it relies heavily on performance. Luckily Mandy Moore completely knocks it out the arena with her performance in this

+Claustrophobic

-Getting a sequel. Because sequels to shark films always go well. Advice; don’t go 3D and hire Michael Caine.

A Monster Calls

This is not an easy film to watch on an emotional level, almost seems like it’s attempting to emotionally blackmail the audience. It’s kind of a mix between Pan’s Labyrinth and a Neil Gaiman book, sort of a modern-day fairy tale. There are moments whilst the tree is telling stories (it’s an odd film) where the film switches visual styles so it almost becomes a living watercolour painting, it’s awe-inspiring and genuinely new, never seen anything that was done like this (the closest is when Hermione was telling the stories of the Three Brothers in Harry Potter and the style switched to a weird animated one). The only previous film I’ve seen of the director was The Impossible, and that was in 2012 so can’t remember too much about it, but I can remember being really impressed with the way he directed certain moments in it and was really good at creating visual tension, which is a good sign for his next film; the Jurassic World sequel

+The art styles when the monster is telling the story

-Longer than it needs to be. Sigourney Weaver’s accent wavers.

Atomic Blonde

Like a companion piece to John Wick, looks superb and the music is brilliant. Had one of my favourite soundtracks of the year. And there’s one scene which everyone has to see; a single shot fight scene that lasts about 15 minutes, one of (in fact probably the) best fight scene I’ve seen all year. It doesn’t cut away before impact like most do, it’s mostly silent, no music so you hear every hit, and the fight has an effect on people, you can see them get gradually more exhausted as the fight goes on. Highly recommend seeing this.

+THAT scene. Also the soundtrack.

-Comparisons to John Wick are inevitable.

Baby Driver

The opening scene alone ranks it among one of the best films of the year. Very well done. Great films usually inspire you into film-making. I think this has the opposite, this is like “yeah we can’t match that”. Bound to inspire a lot of poorly-done imitators. Yes, the plot is wafer thin, but it’s so fun you don’t notice. You don’t sit there thinking “well I know how this story is going to end”, you think “oh my God! Did you see that?”. It’s a non-blockbuster version of spectacle cinema. Everything about the way it’s made just works, the way the music complements the action and vice versa, the way the car chases are impressive without being unrealistic, the fact that Jon Hamm continues to exist.

Screen Shot 2017-07-08 at 16.07.52
Even Jamie Foxx agrees

The love and dedication that goes into this is obvious. This was not “film by committee”, this was a true passion project, and it shows through every inch of the screen. It’s also surprisingly American. The open road, the American dream, diners with endless coffee are all essential to the story, so it’s weird that such an American film was made by a Brit, this feels like the film where Edgar Wright has finally stepped away from under the shadow of Simon Pegg and Nick Frost.

+A technical masterpiece.

-The plot is wafer thin. And the female characters are woefully underwritten. Oh, and it’s got Kevin Spacey in it which makes it an uncomfortable watch.

Blade Runner 2049

I have not seen the original film, don’t get me wrong, I am aware of the film, and it’s importance, and I understand a few references to it. This, combined with lots of people saying they didn’t understand this film and that it was too complex, made me think that I would hate this film. Not because of what the film is, but because I just wouldn’t get it. My response was going to be “it’s good, it’s just not for me, and I was really confused”. Well, I was confused, I was confused by the confusion. People are talking about it as if it’s a really complex plot where you have to pay close attention to everything in every scene and do a lot of research beforehand to understand, I knew nothing and still knew what was going on, it’s not that complex if you’re paying even the smallest amount of attention. I mean, I understood it and I’m basically a moron.

thumbnail_25319
“that fourth raindrop from the left is actually vitally important, if you miss that you miss everything”

Was surprised that Harrison Ford didn’t appear until MUCH later than I thought he would. I expected him to make an appearance at about the 1/3 mark. Nope, it was more like the 2/3 mark. Which was a bit strange as he was all over the marketing campaign and was the lead in the original, so a lot of people would have been waiting around him to appear. Although I suppose this did mean that by the time he did appear, everybody was already invested into the story, so he didn’t really take away from Gosling. Make no mistake, this is Gosling’s film, and he nails it. Although the supporting cast does a great job too, So many of your new favourite actress’s will be in this film. A lot of unknowns were cast, yet gave amazing performances. Ana De Armas and Carla Juri deserve special mentions. They both portray their characters with enough vulnerability to make them believable, yet enough determination that they fit this universe. Their characters were great too, you imagined they all had lives outside of this film, they exist on their own terms, not just related to the story.  It felt like you could write entire novels based around them.

https-blueprint-api-production.s3.amazonaws.comuploadscardimage544323446eb31c-fe20-47df-8552-01dd10cd480d
This scene is actually genuinely quite touching in the final film

The world itself was beautifully created as well, not just visually (although it was visually stunning), but also in terms of believability. Those of you who read the review of Valerian will know how important I consider world building to be, particularly in this genre, for films like this the universe it’s set in is almost a character in itself, so if you don’t do that well it really effects it. Done really well in this though, everything looks just dirty enough to be real, yet clean enough to be futuristic. On that note; this film looks SUPERB. You could pause this at almost any point in the film and use that as a poster. This, combined with Arrival last year must surely make Denis Villeneuve one of the best-regarded directors around.

bladerunner2049.jpg

I also liked how the story threw a genuine curveball in the closing stretch. I do like a good twist if it’s well done. That’s the trouble with a lot of plot swerves, they come out of nowhere and make no sense. A good one makes sense, a GREAT one will be so logical you’ll feel stupid for not realising it sooner. So in summary, this is going to be one of those films that pretentious film buffs constantly try to show you, let them.

+LOOK AT IT! Seriously, just look at it.

-Not a “popcorn film”, in the slightest, so won’t appeal to everyone.

Colossal

Oh, it’s flawed as hell (particularly in terms of time and establishing exactly “when” certain scenes take place in relation to each other) but all those flaws do is take it from a 10/10 to a solid 8. Anne Hathaway gives a performance which equals Rachel Getting Married (which if you haven’t seen, you really should, it’s superb), and Jason Sudeikis is creepier than I ever thought he could be, the kind of performance which makes you think he could easily move into more dramatic roles, or play a serial killer. So well written too, so much so that I immediately looked into the writer and made a note to watch everything he’s done. It’s also extremely unique, I can’t think of a film to compare it too, stands alone in a genre of one, and I can’t see anybody doing it better.

+Unique story wonderfully told

-As creepy as the guy is, his motivations never really ring true.

Free Fire

“You know how films have gunfights between people? Imagine if that was an entire film” “you’re fired”. That’s what should have happened. Instead, we got this, and it is glorious. Definitely worth a watch as a curiosity. It is essentially a gunfight in a warehouse, for an entire film. But it’s done so well that you’re never bored, you never sit there waiting for it to end. It helps that the gunfights are really well choreographed, not every bullet hits, people conserve ammo when they need to, and bullets to the arms actually do damage as opposed to just “ouch, that arm is slightly weaker now”.

+It works. As a concept it really shouldn’t work, but it does, and it’s superb.

-Very unlikeable characters. Slightly unsatisfying ending.

Get Out

There’s a French film from 2002 called Irréversible, it’s a weird art-house psychological horror that’s apparently disturbing in many ways. During a large section of the film there’s a noise played throughout that’s played at such a frequency that it’s almost inaudible; this was done as a sound played at that level causes nausea and sickness. I should note there’s a chance that this is just an urban legend, but truth be told I don’t want to research it in case it’s not true, it’s too magical for me to find out it’s false. But what does that have to do with this film? Well that feeling, that sense of unease, is what this entire film is about. There’s not many scares in the traditional sense, it’s just almost two hours of something being slightly “off”.

Screen-Shot-2016-10-04-at-5.40.57-PM
I know, the film that had this in the trailer ended up being creepy, who’d have guessed?

 

There’s a lot of VERY good eye-acting in this film. I know that sounds stupid but there’s a lot of moments in this film which are enhanced by the way the actors utilise their eyes. A lot of times things that ordinarily would take a lot of dialogue to say is done just via an eye movement. Tremendous showcase of acting skills, and luckily it’s in a very important film. Yes, this film does touch on a lot of racial issues, but not the usual “we’re from Alabama, and we don’t like those coloured folk”. The racism in here is very different, it comes not from anger or hate, but from a fetishisation of black people, a condescending view of them as being “genetically superior” but intellectually lacking. One which is like “think what they could do if they had the mind of a white person”. As such the film has a weird dynamic where the villains kind of worship the heroes. Very weird, very unique, and VERY well done.

GetOut

This film was written and directed by Jordan Peele, who I’ve only seen in Key & Peele (a sketch show on Comedy Central that I really need to get around to watching one day), one of the voices in Storks (animated children’s comedy that’s actually better than you think it would be), and Keanu (an action comedy film about someone getting a cat from a Mexican drug lord). As such I always thought of him as a comedic person, I never thought he’d be able to transfer his skills to horror so effectively. I was wrong, he did brilliantly, I’ll go as far as to say it’s one of the best directorial debuts I’ve seen in a long time, which considering he’s basically committing genre adultery is impressive. Don’t get me wrong, it is still very very funny and the mood whiplash between horror and comedy is very well balanced. Usually in films like this you run the risk of having the comedy make the horror seem less scary, it doesn’t enhance the film, it undercuts it and stops you taking it seriously, usually because the comedy comes from a character not taking the situation seriously, they’re being chased by a monster/demon/dishwasher and they stop to make jokes. The way they do the comedy in here is believable, you can tell the jokes are being made by the characters to help them deal with the situations, and most of them are made by a character who isn’t directly involved in it, so is literally distanced from the situation already. This isn’t comedy-horror done like a mid-90’s slasher film, this is comedy-horror done like An American Werewolf In London. Seriously, go see this film. In fact, you could say “Get Out, to go see this film”. You could say that, but you’d be making a really obvious comment and would just come off looking like an idiot.

+The sense of unease that’s present throughout. Its greatness increases on second watch.

-There are not more films like it.

Guardians Of The Galaxy Volume 2

Did you enjoy the first one? Then you’ll enjoy this. Just as impressive, funny, and brilliant as the first one.

+Has the emotion that the first one was lacking.

-Apart from that, it’s not that different. Also, the pacing is all over the place.

Happy Death Day

This was just a lot of fun. Very, very, funny, and really well written. Some films you watch and you think “”this is so meh, I can’t imagine a writer thinking “I have to write this film”. You do with this, you can just imagine someone toiling over this night and day, a true passion project. One of the funniest films I’ve seen all year with a genuinely great story.

+Incredibly funny, and with a compelling central mystery.

-Not scary enough.

IT

Oh this was good. This was very good. Get Out was more of a social drama, and Happy Death Day was more comedy, but in terms of pure visceral horror, this one wins hands down. Eye openingly scary. So scary that clowns complained, yet manufacturers of red balloons didn’t, probably because it’s led to an increase of people buying them. Horror remakes are always hard, because they will be compared to the original, and people hate change so usually will detest anything different, but if you don’t do it differently then you end up with Gus Van Sant’s Psycho. So essentially you need to keep same tone, but add a new take on it. This does it, and does it well. Oddly enough it’s kind of sweet as well, but it does have to be because it’s SUCH a character driven film so you need to care for these characters.

John Wick Chapter 2

If you enjoyed the first one, you’ll enjoy this. It’s basically the first film, but more so and in a way that never feels like it’s walking in the same footsteps. One of the first times in a while I remember leaving the cinema and being incredibly excited for the sequel.

+Masterfully well made.

-Does occasionally seem like it was just done to set up a sequel.

Logan

This film was what I expected to be, and to be honest it’s what it needed to be; which is the first truly mature comic book film in a long time. Some people would say that Deadpool deserves that accolade, but I wouldn’t count that as mature. It had lots of blood and adult content, but it was very silly and lowest common denominator, don’t get me wrong, I do love that film (it was one of my favourites from last year), but it’s not mature at all. One of the best compliments you can give this film is that it is a fantastic film, not “fantastic for a comic book movie”, on its own terms it’s a fantastic film. There’s going to be a lot of people who find this film dull, it takes quite some time for certain things to happen but it’s brilliant. Not every film has to be fast food, designed to be satisfactory but finished quickly, this film is more like a three course meal at a restaurant, you savour every moment and really take your time with it, so that when it’s over you feel completely satisfied and all you can do is sit there and recover from the brilliance you just consumed. The ending of this film will be talked about, not here as you can’t without spoiling it. It is brilliantly done though, it’s an ending which this series has truly deserved, and it ends with a Johnny Cash song, which most comic book films wouldn’t be able to do but for here it fits. It is pretty much a modern western, a tale of a retired gunslinger coming back for one more gunfight, the last outlaw, in a time and place without purpose and that has moved on without him, causing him to need to go out in a blaze of glory.

+The first comic book movie I’d describe as a true cinematic masterpiece.

-Very underwhelming villains.

Spider-man: Homecoming

The plot was simplistic but it was still better than at least 50% of MCU films purely because it had a compelling villain. Michael Keaton’s character (he plays some sort of Birdman) makes sense. You’re not watching it thinking “what a terrible person, glad he’s not real”, you’re thinking “he’s actually making a lot of sense. I see where he’s coming from, and in a way, I agree with him”. He’s the most compelling villain in the MCU so far, and the performance matches the writing. A lot of comic book fans were disappointed that they changed his appearance for the films, I don’t particularly care about it to be honest, mainly because it would be really hard to take THIS seriously.

Vulture-Comic-Vine1

I know that this talk about “taking it seriously” makes this sound like it’s attempting to be super serious and gritty, thank God they didn’t do that, this film is fun as hell. Even the colours are better than lots of superhero films. A lot of films have orange and blue as the main colours, but use them against dark backdrops, this uses those colours but uses them against light. It’s very summer-ey in appearance. It’s also really funny. The characters are well written and have great lines, Zendeya’s character, in particular, is a great collection of sarcasm and apathy which I really identify with for some reason. She has the best lines throughout and is one of the films many comedic highlights. In terms of comedy though, most of the best moments from the non-main characters belong to Jacob Batalon’s Ned, who absolutely owns his role as “guy in a chair”. He also helps provide an audience surrogate, since the film starts with Parker already as hero, many people expected the origin to either be ignored, or told in flashbacks. It did neither, it had Ned ask questions and we found out small details from that, not so much that we were re-covering old ground, and not so little that people new to the franchise were confused. So in summary; very good, very fun, and I think it’s safe to say that Tom Holland is the best Spider-Man, although part of that is due to the way he’s written, he’s actually written as an adolescent, the villains he faces aren’t ones who are going to destroy the world, the main villain is basically an unfriendly neighbourhood villain.

+Tom Holland is perfect.

-Not entirely sure it works as a standalone film. Bit too heavily indebted to other MCU films.

Table 19

Table-19-trailer-700x300

I enjoyed it, a lot. It’s what I deem “social mystery” film. Where the audience has to work out why certain characters are who they are, what caused them to be like that. It’s like an Agatha Christie murder mystery if the victim was good manners. It’s a hard film to describe the plot about without it sounding really bad, it’s mostly just people talking. But the characters are so well created and acted that it works. A lot of people dislike this film, and I kind of see why, nothing really happens. But to me, it was wonderful, one of the most emotionally honest films I’ve seen in a while.

+Really, really funny.

-Attempt at emotional heartpull seems a bit obvious.

The Big Sick

Incredibly funny, and with the right amount of heart. You’d need to be made of stone not to feel touched by this film. The characters are so well-written as well, every character seems fully fleshed out. They seem like they exist outside of the film.

kumail-nanjiani-emily-v-gordon-the-big-sick
Probably because it’s based on his real relationship with his wife (pictured here
I know in these blogs I do come off as deeply cynical and incapable of love or any positive emotion towards others, but I do have a soft spot for the romantic comedy genre. I just hate a lot of them because they’re done badly, they’re usually really cliche and unoriginal. I like them when they do something new. Definitely Maybe is the film that fully cemented my Ryan Reynolds obsession, and Chasing Amy did the same for Ben Affleck. I think I like these films it’s because they’re usually very people-based. Action films are about the set-pieces, horror films are about the effects, but for a rom-com to work you need two things:
  1. Believable characters.
  2. Great dialogue.

They’re basically my kryptonite, especially dialogue. I’m a sucker for great dialogue. It’s also a genre that doesn’t really get affected too badly by the quality of the way you’re viewing it. Some genres are really badly affected by what you watch them on. Horror, for example, is not exactly something you can appreciate watching on a small television screen on an airplane. With advances in technology happening at an astronomical rate, visual spectacle fades, good writing doesn’t. The best rom-com’s; When Harry Met Sally, Annie Hall etc, all have one thing in common; fantastic writing. You can watch them again and again and still love them. They also have a wide audience. As much as I do love odd films like Buried (Ryan Reynolds in a box), Bogowie (a Polish film about heart transplant) and Four Lions (a comedy about suicide bombers), I’m not stupid enough to think they have mass appeal. They’re too weird. Rom-coms are for everyone though. They have universal themes that almost everybody can identify with. So where does this film stand compared to the greats of the genre? It’s a little difficult to tell at the moment, but I have a feeling that if I was to sit down in six years time and watch this, I’ll still love it. It also has the best 9/11 joke you’ll likely to hear all year.

+Will make you laugh cry.

– As much as he nails the performance 95% of the time, there are a few heavily emotional moments where Kumail Nanjiani looks like he’s desperately hiding a smirk, robbing the scene of some of the emotion

The Death Of Stalin

Incredibly funny and biting satire, which seems mostly historically accurate too. And it almost got banned in Russia, which is a bonus. Caused a Russian politician to describe it as a plot aimed at discrediting the figure of Stalin. Yeah, damn those films and their “anti-genocide” blinkered viewpoints.

+Satire that bites so hard it leaves teeth marks.

-Historically innacurate at times. Also, Jeffrey Tambor in it can make it difficult to watch in light of recent allegations.

The Last Word

Holy crap where did this come from? It’s like High Fidelity mixed with Christmas Carol. Really good. I really wish this film had a better marketing campaign so that more people would have seen it. Genuinely one of my cinematic highlights of the year. Seemingly just with me though, a lot of reviewers really hate. I loved it though, very dialogue and character-heavy. Genuinely sweet and heartwarming, there’s a scene near the end which is a bit “meh”, but other than that I loved it. A story about an elderly woman who hires someone to write her obituary before she dies, only a lot better than I made it sound.

full.1500.png

+The dialogue. Specifically, as it relates to the lead. So fantastic.

-Not promoted by the studio, like, at all.

The Lego Batman Movie

Usuall, it’s taken me about ten minutes into a film to think “okay I’m into this”, this film sold me in the first sentence. From the opening narration:

“Black. All important movies start with a black screen. And music. Edgy, scary music that would make a parent or studio executive nervous. And logos. Really long and dramatic logos. DC. The house that Batman built. Yeah, what Superman? Come at me bro. I’m your kryptonite”

That sets up exactly what type of film you’re about to watch; a film that’s very silly, and gloriously so. It then gets sillier, there’s an odd faux-mance between Batman and the Joker which culminates in Joker teaming up with Voldemort, Sauron, Godzilla and King Kong. Yes, this film is silly, but you can tell that whilst the film-makers are making jokes about Batman and the mythos, they do have a genuine love for the character and his world, they’ve clearly done their research. References to not only previous films, but also very very obscure villains (who’d have thought that Condiment Man would finally make an appearance?). The story is really good too. There’s a tendency in comedy films to think the story isn’t important, this is very very wrong. Perfect example of this is Airplane, that film only works because of the story, yes the jokes are funny, but they’re funny within the context of a serious situation, the story itself isn’t comedic, but it has comedic situations in it. My rule of thumb for determining whether a comedy films story is good is this: would the plot also as a serious film? I think this one would work, it’s a story about a lonesome superhero dealing with his isolation whilst also maintaining a mutually destructive rivalry with the Joker (which is also one of the themes from the seminal piece The Killing Joke). Since I saw it I’ve been trying to think how to sum it up in one sentence, and I think I’ve finally found it. The sentence which best describes everything about this film, so here it is: this film is basically Deadpool for children. And we all know how great Deadpool was.

Plus, there’s a Christian group in America protesting it and calling it “gay propaganda”, so you have to see it, even if only to annoy them.

+Trying to list all the references this film makes will make your head explode in nerdgastic joy.

-Not much of a sense of tension at any point.

War For The Planet Of The Apes

A stunning end to one of the best trilogies of the last few years. Some people considered the franchise dead in the water after the Tim Burton version, the knives really were out for Rise, but it managed to become highly regarded not just by fans of the franchise, but by the general public. It made weirdly concept sci-fi cool again.

+The ending that this trilogy deserves.

-The realisation that the trilogy has missed out on a lot of opportunities it will now never take.

Wonder Woman

I explained my thoughts on this here. Spoilers; LOVED IT! Even the closing credits were amazing. They were like a watercolour painting. I like when films take the time to attempt to do something with the credits, it shows a real dedication to what they’re doing, like they want to take every possible moment to leave a good impression on the audience. This film is every bit as fantastic as BvS was critically reviled.

+Gal Gadot. This is her film and she owns it.

-Pretty bad villain. Which I’ve just realised is consistent for a lot of superhero films lately. That’s odd as normally villains are the most interesting part, yet for last few years a lot of them have been really bland.

 

So, that’s 2017 in review. Next week will be the 2017 film awards, then it’s back to usual with random reviews and opinion pieces every monday. And to answer the question; I never got to see Disaster Artist.

2017 In Horror (From Worst To Best)

13. The Bye Bye Man

This was originally going to be a bit higher, but then I realised this has a few advantages over the one in 10, and as such should have been better. It had a higher budget, a wider cinema release, and an actual advertising campaign. Was actually kind of looking forward to this as it seemed intriguing. I thought at the very least it would be an interesting watch. I was wrong. It was boring, pointless, and did the whole “scary thing, scary thing, actually those scary things didn’t actually happen so nothing matters, repeat” thing that I hate about modern horror. Also, it has a stupid name.

The-bye-bye-man-poster-099178297d2f630b
Don’t Watch It (and with that this film wins Easiest Diss Of The Year award)

12. Wish Upon

Have you heard of this film? No, there’s a good reason for that. It’s not great, the story is stupid, the characters are annoying as hell, and it’s not even original. Every idea it has comes from a better film. It also meant that I could no longer put Joey King’s performance in Going In Style in my “end of year notable mentions” list, which I’m sure she’s absolutely devastated about.

11. The Belko Experiment

Not the worst film, but definitely the most disappointing. I expected this to be either fun or smart, it was neither. Didn’t help that it completely ran out of ideas before the trailer ended. If this was 20 minutes long I’d have loved it. It just didn’t have enough ideas to stretch to a feature.

10. Annabelle: Creation

Well it was a LOT better than Annabelle (or as I call it: Annabelle, fuck that movie). But it’s a prequel to an origin story, which makes me uncomfortable. Some very good performances in it, but ultimately rather forgettable (very forgettable actually, I only just realised that for some reason this wasn’t on my list of films seen this year).

9. Rings

Only ahead of Annabelle based on thing: the PHENOMENAL opening scene. Sadly almost negated by the ending being in the trailer.

8. Split

A fun film, albeit kind of disposable and not one I ever really need to see again.

7. Jigsaw

If you bring back a dead franchise, you best do it well. You need it to justify it’s own existence. This doesn’t really do that, it seems like just the next step in a yearly franchise. It doesn’t need to exist, adds nothing new, doesn’t really do much. This does something worse than being bad, it’s pointless.

6. A Cure For Wellness

This film disturbed me. It made me feel very uncomfortable. I liked it, but wouldn’t really say I enjoyed it. Pretty gross, but a fascinating watch. Seriously, this film has a visual style and it just runs with it. I’m not sure whether Dane DeHaan is supposed to be creepy at the end, or whether it’s just because he looks kind of creepy. Either way, it worked, he was great in this. As was Mia Goth. This is one of those films I would definitely recommend you watch at least once. Actually, you don’t really watch this, you experience it.

fullsizeoutput_48cc-e1485355181904
“Why don’t we do the poster for Slither, but sexy?” “Genius! More cocaine”

5. Prevenge

As I said in August: “The best horror film about a pregnant woman being controlled by a homicidal fetus that I’ve ever seen.”. 

Still the case. A great British horror quirky slice of cinema. Definitely worth a watch.

4. The Ritual

The book is now on my “to-read” list. Not a nice watch, but a very very good one. Chilling to the bone with a great story and remarkable performances. Probably going to be one of those films that are going to be really hard to find on DVD, I hope not as it would be a great Halloween watch.

Screen-Shot-2017-09-26-at-8.12.34-AM

3. Happy Death Day

This was hard to place, as a film it was great, as a horror it was good. This is mainly here to break up the depressing creepiness of this list. Also, it was a new idea that was risky and worked, I like to reward things like that.

2. It

Holy crap! Holy crap this was great. Everyone needs to not just watch this, but to own it and cherish it. This had a lot working against it, mainly because it was a remake. If this failed it would have failed spectacularly. Luckily it succeeded, and it’s easy to see why. Good story, fantastic setting up of the universe, great performances, and most importantly, it’s fucking terrifying.

1. Get Out

This was close. Very, very close. If you asked me to do this again on a different day there’s a good chance the top two on this could be switch around. Today I’m favouring this because what’s on my mind is that weird feeling I had when watching this film. It wasn’t “arrrrrrgh” it was just 2 hours of everything being ever so slightly off somehow. Deeply, deeply unsettling and should win ALL THE AWARDS. Yup, even best musical, it’s that damn good.

Screen-Shot-2016-10-04-at-5.40.57-PM
I know, the film that had this in the trailer ended up being creepy, who’d have guessed?

How We Got Through…March 2017

Film

A Cure For Wellness

As you can read here I liked it, but it made me want to self harm. It’s basically this years Nocturnal Creatures, but not quite as great. I do wish Celia Imrie was in it more, she was in the trailer but her role in the film was really nothing more than an extended cameo. Mia Goth was superb however, as was Dane DeHaan (which reminds me, I really need to see Chronicle)

fullsizeoutput_48cc-e1485355181904
“Why don’t we do the poster for Slither, but sexy?” “Genius! More cocaine”

Deadpool

Still very very funny, still lacking a compelling story though, but it’s so funny that that makes up for it. One of my favourite soundtracks from last year, although there were a lot of REALLY strong soundtracks last year; Deadpool, Edge Of Seventeen etc all showed that art of the mixtape method of soundtrack making isn’t dead whilst Moana and Kubo showed how you can use a soundtrack as an extensive mood piece for the film.

1454333009819

Get Out

As you read here, really really good and I can’t wait to see it again to catch things I missed the first time. Got an almost perfect Rotten Tomatoes score, and it fully deserves that.

Hidden Figures

It was good, I wouldn’t call it “Oscar Worthy”. The main trouble with these sorts of stories is it’s impossible to have a good villain. The key to a good villain comes in two separate flavours:

  1. The “nobody knows anything about him” (usually used in horror films)
  2. The “I can see his point, but he’s very very wrong”.

Because these films are character pieces you can’t have the villains be the first one, so you need the second one. But they never work in these films for one simple reason; there’s no logical defence of racism. There’s no way of seeing their point. I had similar problems with Selma too, the villains are so clearly wrong that they don’t make compelling characters. Now I know this is what it was actually like at the time, and it is a truly fascinating story, but it does mean as a cinema experience it never really stays with you. So really my problem isn’t with the film, it’s with reality not conforming to my expectations, so maybe the problem is me.

hf-gallery-02-gallery-image
Definitely not with the performances which were strong all round

John Wick 2

If you enjoyed the first one, you’ll enjoy this. It’s basically the first film, but more so and in a way that never feels like it’s walking in the same footsteps. One of the first times in a while I remember leaving the cinema and being incredibly excited for the sequel.

Kong: Skull Island

I went into this with low expectations. I was thinking “but I’ve already seen everything, how can spectacle cinema work in this day and age? And you showed too much Kong in the trailer, you idiots, you ruined everything I hate you”. Looking back at it, that may have been an overreaction. The film was, well it was solid. It showed that spectacle can still work in a post Avatar world. It’s not a “I must buy this film immediately”, kind of film, but if it’s on on TV at some point, grab a couple of mates, get some beers in, and leave your brain at the door.

kongskullisland-poster-191584-640x320

Logan

One of the best films I’ve seen this year, without a shadow of a doubt. Fully deserves all the plaudits praising it, and more so.

The Great Muppet Caper

I always assumed The Muppets weren’t self referential until the new films came out, like all generations I assumed it was my generation that invented meta-comedy as we’re all so much smarter than all the previous generations. Yeah, I was wrong, and I’m an idiot. Some people say a good film is one that makes you ask questions, the major question of this film is “how the hell did they do that bicycle scene? That’s superb”

Muppets-Group-Bicycle-Ride

Books

We Need To Talk About Kevin

A very very good book, but not a very nice one. Has a unique way of telling the story and very rarely comes off as exploitative. I’ve yet to see the film but I’m very excited to get round to it.

TV Shows

I should point out; a LOT of these are going to be BBC based. I went on a website I frequent to see what will be taken off netflix soon. There was A LOT of BBC based stuff coming off at the end of the month. As such I had to watch a lot before it got taken off. I got halfway through Doctor Who (which I was watching whilst I was reading Hitchhiker’s Guide, never do that as it creates a weird mash up in your head) and whatever legal issues there were with contracts ending etc was resolved, and a lot of the stuff stayed on. I went off list for no reason.

Extras/The Office

First season of The Office; very very good. Second series; still good. Christmas special; he tried so damn hard to make the main character likeable it’s like he forgot the point of his own story. Extras however is the point where Ricky Gervais just started angrily complaining about the state of comedy in a smug “I’m better than you all, only my comedy is true comedy” way. Which would be admirable if one of the points he was making wasn’t about people releasing comedy singles in-character, which he has since done.

Fawlty Towers

Surprisingly, I had never seen this show before, not all of it anyway. I’d seen an episode or two here and there, but never the whole thing. I get why people love this, very very funny. Does more in 14 episodes than most comedies could hope to do in 14 series.

That Mitchell And Webb Look

Like all sketch shows it’s a bit repetitive but not as obviously as most shows of the genre. I think the reason for this is the history behind it. A lot of sketch show characters have the catchphrase as the joke; so every line in the script is building up to a new way to say that catchphrase. This show tends to put the catchphrases at the start, due (it would seem) to the shows history on radio, which necessitated you put the catchphrase first so that the audience would know which sketch you were in. Has some sketches which are just brilliantly funny (I will never not find a way to use “our caps have got skulls on them, are we the bad guys?” in political discourse). But is also one of the few sketch shows which made me hate life and cry, the “Dementia Sherlock Holmes“. Completely heartbreaking.

The Trip

Yes, it is very up itself, but it is also very very funny, and features two actors self-evaluating every criticism they have of themselves, and they have a lot. New series starts next month, but not on the trusty BBC, instead on Sky Atlantic.

The-Trip-to-Italy

The Wrong Mans

I’m a sucker for long-form storytelling, particularly in sitcoms (it’s one of many many reasons why I love Crazy Ex Girlfriend and Bojack Horseman), and this has a fantastic story thread running through it. It’s hard to explain just how tightly and intricately plotted this is without it seeming like hyperbole. Hopefully now that James Cordon is huge in America this will start to get strong DVD sales.

Twenty Twelve

Very very BBC. Not going to change your life, but a pleasant enough way to wile away the hours. Funny and enjoyable, just not very memorable.

Music

Shenanigans

Weird to think this is now halfway through Green Days career in terms of albums released, six albums either side of the releases of this and International Superhits. But let’s forget about how this makes me aware of my own mortality and focus on how good this album is; B-sides which are better than most bands release as singles. “Ha Ha You’re Dead” is still one of my favourite songs by the band but you can’t say that without sounding like a hipster douche who’s all like “oh, you probably won’t know my favourite song by them”, and nobody likes those kind of people.

Best songs: Ha Ha You’re Dead

Do Da Da

Suffocate.

Also check out; they have this album called Dookie that you might not know about, pretty good. Also, check out this other super rare album that nobody knows about called American Idiot

All That She Wants – Wizo

I love pop punk covers of songs, and this is no exception. The original is a simply wonderful slice of summer pop (and yes, to me that is a genre) and a pop punk version of it suits it so well.

Podcasts

Toku Podcast

A podcast about video games, biscuits, films, biscuits, tea, biscuits, tv shows, and biscuits. The two hosts are extremely likeable, funny, smart, and kind of strange in the most wonderful way. They spent a long time discussing which avengers would be which biscuits that was hilarious ((in case you were wondering what my choices would be: Iron Man; Jammie Dodger. Captain America; Hob Nob. Hulk: Those oat biscuits that crumble all the time. Spider-Man: Jaffa Cake (is it an avenger, is it a cake? Nobody knows)).

tumblr_no8ppvqsqd1urvjino1_500
They also have the best episode titles

So that’s that for this month; I’ll see you in April unless I get hit by a bus and die, then I might have to delay until May.

Get Out

There’s a French film from 2002 called Irréversible, it’s a weird art-house psychological horror that’s apparently disturbing in many ways. During a large section of the film there’s a noise played throughout that’s played at such a frequency that it’s almost inaudible; this was done as a sound played at that level causes nausea and sickness. I should note there’s a chance that this is just an urban legend, but truth be told I don’t want to research it in case it’s not true, it’s too magical for me to find out it’s false. But what does that have to do with this film? Well that feeling, that sense of unease, is what this entire film is about. There’s not many scares in the traditional sense, it’s just almost two hours of something being slightly “off”.

Screen-Shot-2016-10-04-at-5.40.57-PM
I know, the film that had this in the trailer ended up being creepy, who’d have guessed?

Nowhere is that more apparent than in some of the performances. I’ve seen films with better individual performances, but I can’t remember the last time I saw a film where every performance across the entire film was perfect. There’s not a single weak link in terms of performances, even characters who are only seen for a few minutes knock it out the park. The lowest mark you can give a performance in this is 8/10, but there’s definitely a few perfect 10’s throughout. She’s not in it for long but Betty Gabriel in particular was absolutely superb and if there’s any justice in the world she’ll use this to springboard herself into bigger roles, I’m sure studios will be falling over themselves to cast the woman who’s in one of the most popular GIF’s of the year, being seen by people who haven’t even seen the film.

58c308bd1d000027007cdc4c

There’s a lot of VERY good eye acting in this film. I know this sounds stupid but there’s a lot of moments in this film which are enhanced by the way the actors utilise their eyes. Some of this has been seen in images of Daniel Kaluuya used in promotional material, which, whilst we’re on the subject; the promotional material for this was all delightfully understated, keeping the films cards very close to its chest. It showed a lot, but nothing that will spoil the plot. I’ve spoken a lot in the past about invasive marketing for films, and how that can help create interest for a film, and about how much I love stuff like that and I wish it happened more. Not for this though, it wouldn’t have suited it. This didn’t need marketing to create its universe, as it’s a world in which we can imagine we already live in, this really helps you lose yourself in the film. It’s also a film that sadly I can imagine being relevant for a very long time as a lot of the cultural issues it touch upon are ones which have been relevant for a long time, and will sadly continue to be part of society. Yes, this film does touch on a lot of racial issues, but not the usual “we’re from Alabama, and we don’t like those coloured folk”. The racism in here is very different, it comes not from anger or hate, but from a fetishisation of black people, a condescending view of them as being “genetically superior” but intellectually lacking. As such the film has a weird dynamic where the villains kind of worship the heroes. Very weird, very unique, and VERY well written.

GetOut

It’s kind of odd how well written and made this film is. It’s written and directed by Jordan Peele, who I’ve only seen in Key & Peele (a sketch show on Comedy Central that I really need to get around to watching one day), one of the voices in Storks (animated children’s comedy that’s actually better than you think it would be), and Keanu (an action comedy film about someone getting a cat from a Mexican drug lord). As such I always thought of  him as a comedic person, I never thought he’d be able to transfer his skills to horror so effectively, in fact I’ll go as far as to say it’s one of the best directorial debuts I’ve seen in a long time, which considering he’s basically committing genre adultery is impressive. That being said, it is still very very funny. The mood whiplash between horror and comedy is very well balanced, usually in films like this you have the comedy make the horror seem less scary, it doesn’t enhance the film, it undercuts it and stops you taking it seriously, usually because the comedy comes from a character not taking the situation seriously, they’re being chased by a monster/demon/dishwasher and they stop to make jokes. The way they do the comedy in here is believable, you can tell the jokes are being made by the characters to help them deal with the situations, and most of them are made by a character who isn’t directly involved in it, so is literally distanced from the situation already. This isn’t comedy-horror done like a mid-90’s slasher film, this is comedy-horror done like An American Werewolf In London. 

4418An_Amreican_Werewolf_In_Paris
Not to be confused with its extremely sub-par sequel.

One final note about this, I have to say my favourite thing about this film; that it’s doing well. Last I saw it had made $136million against a budget of $4.5million and had received universal acclaim from both critics and audiences. I like that, it would be a real shame if this film didn’t do well as it’s superbly well made, as it is this film has broken records and is certain to go down as a modern classic. Seriously, go see this film. In fact, you could say “Get Out, to go see this film”. You could say that, but you’d be making a really obvious comment and would just come off looking like an idiot.