PREVIEW: September 2017

Well, August is almost over now, and I will be the first to admit that I did not manage as many reviews as I had intended to. Moving house and trips away visiting family and old friends ate up far more time and energy than I had expected. Nevertheless, a fair number of reviews were done in August.

September will, as ever, see a number of reviews published. There will be a fair number of new releases, including some of the most anticipated films of the year, including It and Mother!. Keep your eyes peeled for these reviews. I also intend to get some Netflix original content reviewed – including Death Note (yes, as a huge fan of the original anime, I am dreading it!).

As I start my Masters Degree in Film Studies at Kingston University in the latter part of September, the amount of content will again be less frequent, but it shall still be coming along. So, for the month ahead I wish you all Happy Reading, and as ever thank you for visiting this blog!

FILM: Your Name. (2016, Makoto Shinkai)

Your Name. is an anime fantasy-drama film, which was originally distributed in Japan by Toho, after premiering at the 2016 Anime Expo. A teenage boy from Tokyo named Taki (Ryunosuke Kamiki) starts to randomly swap bodies for no more than a day at a time, with a teenage girl from Itomori named Mitsuha (Mone Kamishiraishi). When in each other’s bodies they leave notes for each other detailing what they had done, as well as some facts about each other, and the pair soon find themselves forming a unique bond. Taki, in particular, is determined to get to the bottom of it all, but nothing can prepare him for the shocking revelations that lie in store.

PROS

• Director and screenwriter Makoto Shinkai crafts a truly marvellous narrative. He takes the genres of fantasy, drama, romance and high school film and balances them all perfectly, creating a consistently engaging tale. This tale will have the viewer piecing a puzzle together, as well as laughing, as well as being moved to the brink of tears, and most importantly of all root for the characters and their relationship.
• Makoto Shinkai’s story would not work so well, were it not centred on two such wonderfully realised characters. Shinkai gives both Taki and Mitsuha well realised relationships with peers and with family members, as well as backstories that lend the viewer a coherent understanding of the characters’ motivations and worldviews. Ryunosuke Kamiki and Mone Kamishiraishi also give terrific voice performances as the two teens, and create a great chemistry with each other.
• Makoto Shinkai comments on contemporary Japan, as he highlights the difference in wealth between Tokyo and the rural Itomori, as well as how many of the younger generation have little time for Japanese traditions such as kuchikamizake.
• The animation is simply incredible. Each frame is incredibly detailed, and the building of Tokyo in particular are rich in texture. Nothing, however, is as rich and magnificent as the colours, which make the frames like beautiful paintings: vivid and breathtaking to look at (especially the comet). What is even more incredible is that scarcely any CG was used…I know, right! Some of the finest animation of the 21st Century was done by hand!
• The score by Radwimps is magnificent, featuring many a beautiful composition that one cannot help but want to listen to again…and again…and again!

NITPICKS

• The running gag of how Taki determines that he is Mitsuha’s body is actually not that funny on most of the occasions that it is used.

VERDICT: 10/10

FILM: Detroit (2017, Kathryn Bigelow)

Detroit is a crime drama, which is distributed internationally by Entertainment One. The films tells the true story of Algiers Motel incident during the 1967 Detroit riots. During the riots, the motel was raided by Police and the National Guard after a toy gun was fired. Three officers (Will Poulter, Ben O’Toole and Jack Reynor) subsequently beat and tortured those inside, as well as shooting dead three unarmed African-Americans (Jason Mitchell, Nathan Davis Jr. and Jacob Latimore).

PROS

• With the exception of the very opening, the film grips the viewer from early on. While slightly rushed, the outbreak of the riots is quite shocking, as it highlights just how much racial tension there was, while the early scenes of the riot do not shy away from the brutality of the (predominantly white) Police force.
• Director Kathryn Bigelow and screenwriter Mark Boal make the scenes inside the motel a consistently engaging piece of drama. By highlighting how racist the three main officers are, and realising well the sadistic mind games that they were happy to resort to, we the viewers cannot help but fear for the innocent African-Americans that they hold at gunpoint.
• The tension is escalated even more by the fact that there is minimal use of a score, and diegetic sound is used to near perfection.
• For the most part (see the cons below for why not the entirety) cinematographer Barry Ackroyd does a very good job with this film. His use of handheld cameras in the riots really brings the viewers into the moment; while his use of close-ups during the motel interrogations captures the terrifying reality of it all.
• The cast are unanimously excellent, but the most memorable performances are Will Poulter and Algee Smith. Poulter gives a chilling turn as Officer Krauss, making him a highly dislikeable antagonist, thanks to perfect depictions of sadism and spite. Smith plays one of the interrogated, a young singer called Larry. He gives a very moving turn, emoting perfectly, in the latter scenes embodying just how saddening an impact such events can have on an individual.

CONS

• The film opens with text that describes the socio-political context that the film is set in, the text appearing over quite basic paintings that depict what the text says. This feels quite out of place, especially given the fact that Kathryn Bigelow uses stock footage and news reports a fair bit in this film.
• The chase sequences are not that good at all, thanks to Barry Ackroyd’s use of shaky cam, which makes them a lot less easy and pleasant to follow.

VERDICT: 8/10

FILM: The Dark Tower (2017, Nikolaj Arcel)

The Dark Tower is a western-fantasy, distributed by Columbia Pictures, and is a continuation of Stephen King’s seven-part literature franchise. Eleven-year-old Jake (Tom Taylor) keeps having visions of another world, in which a Man in Black (Matthew McConaughey) seeks to bring ruin to Planet Earth by attacking and destroying a Dark Tower. The only one who can stop the Man in Black is the last Gunslinger (Idris Elba). Upon realising that his visions are not dreams, but prophetic, Jake finds a portal to Mid-World, where he finds the Gunslinger, and they start working together to stop the Man in Black.

CONS

• There are countless flaws with the screenplay, the key one being the fact that the ninety minute running time means that the narrative is very rushed and quite convoluted.
• The other most glaring problem with this film is that Columbia Pictures, director Nikolaj Arcel and the screenwriting team cannot settle on a target audience. The narrative is too convoluted and rushed for a newbie to the franchise to get a coherent understanding of the universe, yet not dark enough to satisfy fans of Stephen King’s works. Visually the film is not graphic enough to satisfy fans of gritty westerns, yet uses too dark a CGI imagery to appeal to a family demographic.
• The supporting cast are altogether poor, with a number of wooden turns, and underused characters. The most disappointing cast member, however, is Matthew McConaughey, who gives a very wooden performance and is not at all threatening as the Man in Black.
• Altogether poor visual effects, with quite shoddy CGI that is quite messy on screen. The visual effects are also incredibly uninspired…why do Hollywood keep resorting to sky beams?
• The early scenes in Mid-World look like they have had an Instagram filter added to them, while there is nothing exciting about the chase sequences, due to very basic cinematography.

PROS

• Idris Elba is very authoritative as the Gunslinger, making him a very gritty character with a clear moral compass. Elba has a very good rapport with Tom Taylor, who gives a multilayered turn as Jake.
• There are a couple of tense moments in the forest, which highlight that even a character as strong and authoritative as the Gunslinger has a vulnerable side.

VERDICT: 2/10

FILM: Paterson (2016, Jim Jarmusch)

Paterson is a drama film, which premiered at the 2016 Cannes Film Festival, before being theatrically co-distributed by Amazon Studios and Bleecker Street. Set in Paterson, the titular Paterson is actually a bus driver and aspiring poet, played by Adam Driver. The film follows Paterson in his day-to-day life, which is quite mundane, following a routine. He shares his life with his wife, Laura (Golshifteh Farahani), who flourishes in doing creative activities.

PROS

• Paterson is a film that is charming in its simplicity. The fact that much of the narrative is somewhat repetitive highlights that a more mundane life, with specific routine, can be nice, relaxing and therapeutic.
• Paterson’s poetry is unique, as are the artistic and creative endeavours of Laura in their flare. In this, director/screenwriter Jim Jarmusch is making a deeply personal story, reflecting how he always had a unique creative flare and imagination, which he had to find ways to channel and express.
• Adam Driver gives a very natural performance, which is made as charming as it is by the fact that his emoting is note-perfect. Driver has great chemistry with Golshifteh Farahani, who is very charming and engaging as Laura. The supporting cast are also flawless in their unique, in the moment roles.
• By favouring close-up shots, as well as making excellent use of point of view shots, cinematographer Frederick Elmes successfully brings the viewer into Paterson’s world and day-to-day life.

NITPICKS

• There are a couple of supporting cast members who could have done with a little more screen time, notably Chasten Harmon, who plays Marie, and whose history with Everett (William Jackson Harper) could be explored in a little more depth.

VERDICT: 10/10

FILM: I, Daniel Blake (2016, Ken Loach)

I, Daniel Blake is a drama film, which premiered at the 2016 Cannes Film Festival, before being theatrically distributed by Entertainment One. Daniel Blake (Dave Johns) is a widowed carpenter, who is recovering from a heart attack. He has been told by the doctor that he cannot return to work, but he is messed about by the benefits system. He is helping a young mother called Katie (Hayley Squires) settle in the area, and she helps motivate him to fight the system and start appeals.

PROS

• A Ken Loach film through and through, this is a relatively simple premise, charming in its simplicity, which is told in a wholly realistic way, that presents the viewer with a multilayered piece of social realism.
• Regardless of whether or not you agree with Ken Loach’s opinions, he coherently conveys his view on what life is like in modern working-class Britain via interesting social commentary. Notably, he cleverly uses job centre employee Ann (Kate Rutter) to highlight how many people are unable to do what they consider right, when working for a regulation-obsessed corporation.
• The visually dreary quality of the film cleverly conveys the fact that Ken Loach considers the present day to be a dark, difficult time for working-class Britain.
• The cast are unanimously excellent, with Dave Johns giving a highly engaging turn as Daniel. Hayley Squires, however, steals the show as Katie, giving a very engaging, multilayered turn, and successfully conveying how a tough exterior hides a really vulnerable individual.

CONS

• The narrative proves somewhat predictable at times, thanks to a number of social realism cliches; while the sense of consequence within this film feels a little too toned down, A) for a Ken Loach film in general, and B) given what happens in this specific narrative.

VERDICT: 9/10

FILM: Jackie (2016, Pablo Larraín)

Jackie is a biographical drama, which premiered at the 2016 Venice Film Festival, before receiving theatrical distribution by Fox Searchlight Pictures. The film tells the story of Jackie Kennedy (Natalie Portman), in the days following the assassination of President Kennedy (Caspar Phillipson), exploring the pain that she went through, as she presented a strong, public image, while also trying to grieve for her husband.

PROS

• Screenwriter Noah Oppenheim crafts a beautiful, moving screenplay, a sensitive narrative that feels very realistic, and beautifully explores how one’s public image can hide and contrast our true depth and feelings.
• Noah Oppenheim and director Pablo Larraín make some brave narrative choices, such as recreating the moment that President Kennedy was shot, as well as recreating Jackie’s documentary tour of The White House.
• Natalie Portman gives a very emotional, nuanced turn as Jackie, the sensitivity with which she portrays the iconic First Lady moving the viewer to their very core.
• The supporting cast are flawless, their performances very in the moment, with the most intriguing being John Hurt, and the rapport he has with Natalie Portman, as he plays a priest who speaks with Jackie with regards to faith.
• The production design is very good, giving a wholly authentic feel of early 1960s, with everything from the clothes that Jackie wears to the government vehicles parked outside The White House.

CONS

• The visual quality is inconsistent at times, due to the fact that stock footage of the early 1960s is merged poorly with what cinematographer Stéphane Fontaine films.
• Stéphane Fontaine unfortunately favours rigid camera work, failing to take advantage of most opportunities to use things like tracking shots.

VERDICT: 9/10

FILM: The Edge of Seventeen (2016, Kelly Fremon Craig)

The Edge of Seventeen is a coming-of-age film, which premiered at the 2016 Toronto International Film Festival, before being theatrically distributed by STX Entertainment. Nadine (Hailee Steinfeld) is a social outcast, who has never made any real effort to move on from the death of her father (Eric Keenleyside) several years ago. She thinks that life is unfair, and is challenged even more to grow up after her older brother (Blake Jenner) starts dating her best friend (Haley Lu Richardson).

PROS

• Kelly Fremon Craig’s screenplay is a realistic look at one’s latter school years, exploring (in a way that feels wholly realistic) the mistakes that people in their late teens make, and awkward scenarios that they end up in. Fremon Craig also refuses to be politically correct, these youths speaking in a realistically vulgar way, with blunt attitudes and a lot of swearing.
• All of the characters are very well realised, with them being given backstories that provide a coherent understanding of them, as well as what factors feed into their relationships and everyday motivations.
• Hailee Steinfeld is an engaging lead, giving a very heartfelt turn, and bringing a real sense of depth to the character, successfully conveying a tough exterior that conceals a real vulnerability.
• The supporting cast are unanimously excellent, but the most memorable is Woody Harrelson as one of Nadine’s teachers, who provides some excellent comic relief, thanks to perfect comic timing and a real sense of dry delivery.

CONS

• Once all of the characters are established, the film starts to become more predictable, as there is a general reliance on the tropes and cliches of High School films, most of which date back to the early 1980s.
• The film’s conclusion and wrap up does feel just a little too convenient, as well as slightly rushed, with some ideas that could have benefited from just five more minutes.

VERDICT: 8/10

VIDEO GAME: The Simpsons: Road Rage (2001, Radical Entertainment)

The Simpsons: Road Rage is a car game, which was published by Electronic Arts for the PlayStation 2, Xbox and Nintendo GameCube. Mr Burns (Harry Shearer) has bought all of the buses in Springfield and made them radioactive, threatening public health. In order to buy him out, as well as provide safer transport, a number of Springfield residents turn their cars into taxis, and start raising money. The player controls the resident/driver of their choice, the goal being to eventually raise $1 million.

PROS

• The gameplay and “narrative” are quite fun, if a little simple, and for the younger demographic are quite addictive. As a 10-year-old playing this game for the first time, I could play for hours, determined to unlock all maps and drivers.
• Unlike the iconic Crazy Taxi, their are some very fun ways to earn bonuses, such as destroying X amount of objects, which was always fun.
• There are some fun side games to play, while the two-player mode, while somewhat simple, makes for good fun.

CONS

• The fact that the “narrative” of aiming to hit an eventual target is there in the first place stops the game having the same charm as Crazy Taxi, due to the fact that it is frankly very repetitive.
• While the graphics and gameplay are okay, they are nothing special, and there are some blatant glitches, not least the fact that collision awareness is almost non-existent, with buses “hitting” you when there is at least one or two metres’ gap.

VERDICT: 6/10

FILM: Valerian and the City of a Thousand Planets (2017, Luc Besson)

Valerian and the City of a Thousand Planets is a science-fiction film, based on the French comic books Valérian and Laureline, and is distributed in Britain by Lionsgate. In the 28th Century, the International Space Station has become “Alpha”, a city where creatures from numerous planets live in harmony. Two special agents – Valerian (Dane DeHaan) and Laureline (Cara Delevingne) – are investigating a mysterious radioactive zone that has appeared there. Once they start working independently, they are shocked to discover a planetary genocide that has been covered up, which they decide to get to the bottom of.

PROS

• Valerian (yes, I am calling it that for short) is visually gorgeous. The colour palette is rich and balanced, while the CGI is flawless, with incredible amounts of detail and texture.
• There are some fun moments in the narrative, which display just how imaginative this world is. The underlying message of the film is introduced well in the opening, highlighting how genuinely important and interesting a multicultural society is (a shame that this theme is a little too understated for the rest of the film). Meanwhile, the film’s climax is a well directed action sequence.

CONS

• The film’s narrative is ultimately convoluted, but the key issue is the pacing, with a number of scenes proving quite slow moving. As well as this, of the many action sequences there is only one exciting one – the climactic one. The others have no sense of suspense, are not all exciting, and not engaging at all.
• The characters are not fleshed out at all well, ergo we feel nothing for them, even when death happens. As well as this, the acting is undeniably poor. Dane DeHaan and Cara Delevingne are both dull, quite wooden leads, who have zero chemistry unfortunately. There are a number of poor supporting turns as well, with the most notable being Rihanna and Ethan Hawke.
• There is an inconsistent tone here, with regards to filmmaking for a specific target audience. The action is quite chilled and not at all gritty for the most part, as is the exploration of genocide, highlighting that this is meant to be a family film. Yet at the same time, women are treated as objects to be lusted over, with the scenes where Bubble (Rihanna) pole dances being highly inappropriate for younger viewers, and Cara Delevingne highly sexualised for much of the film.

VERDICT: 3/10