Cinema City Quiz #256

[08 March 2020]

Winning Team:
Shin Splitty
Genre – Marv and the gang decide that weapons are futile and that the future of pain resides in a short, sharp twatting of the tibia
By The Power Of Grey Scale!
Genre – fabulous secret powers were revealed to me the day I held aloft my magic sword and said “Reduce saturation!”

Runners Up:
The Piss Artist
Genre – comedy

ROUND I: Pre-Production
1. Starsky & Hutch is an adaptation of which TV series?
2. The following quote is from which film, “I’m the king of the world”?
3. Who directed The Terminal?
4. Who played the role of Marty McFly in Back To The Future?
5. Which film featured the character Negasonic Teenage Warhead?
6. What type of animal is Flower in Bambi?
7. Which actor has played the roles of Queen Elizabeth I, Katharine Hepburn, Lady Marian, Kaa and Hela?
8. What is the full title of the sequel to The Lego Movie?
9. How many Amazing Spider-Man films were released?
10. What is the name of Kelly Marie Tran’s character in Star Wars: The Last Jedi?

ROUND II: Filming [Modern B/W Films]
1. Who directed Manhattan? Sidney Lumet? Roman Polanski? Woody Allen?
2. Frankenweenie was released in which year? 2008? 2012? 2016?
3. Who played the title role in The Elephant Man? Patrick Stewart?John Hurt? Malcolm McDowell?
4. What is the title that Schindler’s List is based on? Schindler’s Role? Schindler’s Workers? Schindler’s Ark?
5. Good Night, And Good Luck is set in which decade? 1940s? 1950s? 1960s?
6. Throughout Raging Bull we see Jake living in two cities, which of the following is not one of them? Chicago? Miami? New York?
7. What trademark look does Valentin give Peppy in The Artist? A diamond barrette? Beauty spot drawn on her face? Very dark shade of lipstick?
8. What career is Frances aspiring to in Frances Ha? Painter? Writer? Dancer?
9. The following is a quote from which film, “Heard about the guy who fell off a skyscraper? On his way down, past each floor, he kept saying to reassure himself: so far, so good”? La Haine? The Man Who Wasn’t There? The White Ribbon?
10. Despite being set in Iran, A Girl Walks Home Alone At Night was shot in California. True or False?

ROUND III: Post-Production
1. How many faces appear on the poster for Raiders Of The Lost Ark (excluding skulls carved in stone, angels and actual skulls)?
NINE (Jones 2x, Marion 2x, Belloq 2x, Toht, Dietrich, Terry Richards as “Arab Swordsman”)
2. Which film featured the character Nick Carraway? [bonus points for naming any of the actors who have portrayed him]
THE GREAT GATSBY [Neil Hamilton 1926, Macdonald Carey 1949, Sam Waterston 1974, Tobey Maguire 2013]
3. What is the name of the building that Die Hard is predominantly set in?
4. Which actor has played the roles of William Shakespeare, Martin Luther, Bassanio and Commisar Danilov?
5. What is the title of the sequel to Akira Kurosawa’s Yojimbo?
6. What animal does Bruce Willis voice in the 2006 adaptation Over The Hedge?
RACCOON (named RJ)
7. The following quote is from which film, “Any dreams you have, or plans, or hopes for the future, I think you’re going to have to put that on hold. For the rest of your life you’re going to be looking over your shoulder. I’m just telling you this because I want you to know the truth”?
8. What is the name of Daniel Craig’s character in The Girl With The Dragon Tattoo?
9. Who played the role of Arnim Zola in Captain America: The First Avenger and The Winter Soldier?
10. Who directed Marriage Story?

ROUND IV: Promotion & Release
1. What is the title of the sequel to Resident Evil: Extinction? Afterlife? Retribution? The Final Chapter?
2. How many biological children does Vito Corleone have in The Godfather? 3? 4? 6?
FOUR (Santino, Frederico, Constanzia, Michael)
3. What is the name of the high school in 1976’s Carrie? Bates High School? Price High School? Talbot High School?
4. What is the name of Kurt Russell’s character in Furious 7 and The Fate Of The Furious? Cipher? Mr Nobody? Major Boswell?
5. The following quote is from which film, “To those of you who know me, you will be aware by now that my ambition is unlimited. You know that I will settle for nothing short of greatness or I will die trying”? Prometheus? Steve Jobs? Master & Commander?
6. Which film featured the character Walter Sobchak? The Muppets (2011)? The Big Lebowski? Gran Torino?
7. Who played the role of the older Will Robinson in 1998’s Lost In Space? Tim Roth? Jared Harris? Eric Stoltz?
8. 2002’s City Of God is set in which country? Argentina? Mexico? Brazil?
9. Which of the following actors did not appear in Isle Of Dogs? Jason Schwartzman? Edward Norton? Owen Wilson?
10. The four principal characters in Hereditary (Toni Collette, Alex Wolff, Milly Shapiro and Gabriel Byrne) had never worked together and production had to be delayed a month to allow them to go on a trip together to bond. True or False?
FALSE (Wolff and Byrne had worked together and Shapiro and Wolff went to the same school)

Screenshots: Doubt / Fences / Ender’s Game / Out Of Sight
Poster: Extremely Loud And Incredibly Close
Actor: Viola Davis


What You Can’t See Can Hurt You

Leigh Whannell

Elizabeth Moss
Oliver Jackson-Cohen

Opening with Cecilia [Moss] escaping the clutches of her abusive boyfriend Adrian [Jackson-Cohen], we watch her rehabilitate while in hiding. This is until she learns that Adrian has committed suicide and left his money to her. Finally free, Cecilia tries to move on with her life but is tormented by a series of circumstances that lead her to believe that Adrian has somehow faked his own death to torment her. This fear escalates and Cecilia’s few allies are slowly pushed away, leaving her isolated and without anyone to trust.

After what feels like two decades trying to jump-start a resurrection of the iconic Universal monsters – the most recent failure being the commercially and critically lambasted The Mummy – Universal went back to the drawing board and created a contained, modern adaptation of H.G. Wells’ novel. To my mind, the last big invisible man release was 2000’s Hollow Man which ended up being little more than a male fantasy piece portrayed as scandalous indulgence. The unique aspect to this version is the emphasis on the monstrousness of Griffin and shifting the perspective from the killer to his primary target, while ultimately presenting an allegory for domestic abuse. And as such the final result feels fresh, poignant and remarkably tense.

The first thing that stands out about this film is how fantastically it has been constructed. From the extremely unnerving but simply opening scene, the location is beautifully shot but this escalates following Griffin’s death and the camera takes on a terrifying quality by framing certain shots to include empty spaces as if someone else was stood in the scene, going so far as to include a few tracking pans and focus pulls. This is heightened by pivoting from the uneasy opening to disarming family bonding before finally giving way to voyeuristic camera angles and a creeping sense of disquiet and growing apprehension. Catching the audience off-guard with banal relatability (situations that lull you with their familiarity before disrupting them with a horrific act) is far from a new technique, but here it is a keenly utilised weapon from the horror/psychological thriller arsenal.

Owing to the nature of not being able to see the danger, a lot of this tension comes down to aural manipulation; much like A Quiet Place, this film has come seemingly out of nowhere and is heavily reliant on what you can hear more than what you can see. Benjamin Wallfisch has proven himself multiple times over with a range of diverse and varied orchestral scores and while horror can be very formulaic in its musical output, the accompanying score has a fantastic presence, building masterfully from painfully ominous to thunderous and terrifying. The real unsung hero of this film is the sound design and mixing which go beyond the standard foley work, creating a whole character from nothing. After absorbing a medium like film for so long, we begin to accept the established rules, the pact that when a character moves across a room, you will hear a combination of audio recorded on the day and manufactured ambience to enhance the immersive experience. But to put these markers in place without a visual counterpart leaves the audience unnerved. I will, of course, admit that this isn’t some revolutionary new practice, it’s how every single feature with an unseen villain has operated for the best part of ninety years but it’s done extremely well and that’s what stands out.

**light spoilers concerning the nature of invisibility**
No matter the cause for the titular character, whether it’s technology, science or the supernatural, eventually CGI will need to play a role. And for the most part, it’s fairly absent and pleasingly subtle. For a large portion of the runtime we aren’t given definitive evidence that Cecilia is experiencing an actual attack and as such when her fears are confirmed, the audience begins to question how this is possible. Rather than the tried-and-tested method of a chemical compound – as used in previous iterations of the adaptation – this version opts for a technological morph-suit covered in cameras. It’s one of those novel changes that feels close enough to be a possibility while still firmly in the realm of science fiction. A wonderful by-product of this is the gentle whirring of the lenses as they shift focus, creating an eerie signature to torment the audience with later.

One of the reasons I genuinely love this movie is the character shift. From the opening scenes, the movie makes the smart choice of keeping Adrian largely in the shadows, never giving us a clear look at anything more than a very masculine form. This is magnificently used later to not only make the threat more foreboding but also to crushingly illustrate the nature and effect of abuse; just the idea of the silhouette is enough to terrify both Cecilia and the audience. Without getting too far into spoiler territory, the film progresses decently with its premise (arguably with a few conveniences for the sake of prolonging the suspense) but due to the perfect execution of a terrifying twist that invalidates Cecilia and the control dynamic shifting repeatedly over the three acts, The Invisible Man proves itself an absolutely worthy successor and/or companion piece to the 1933 original.

Release Date:
28 February 2020

The Scene To Look Out For:
With absolutely no pun-work intended, you don’t see a lot of the invisible man. The encounters are fairly limited to avoid weakening the impact but when he is finally on-screen, the experience never disappoints. One could argue the most memorable section, when Adrian finally drops the veneer of manipulator and marches confidently into unhinged serial killer, takes place in the asylum corridor. Cecilia has managed to get out of her cell by wounding Adrian, causing his suit to glitch but using this to his advantage he proceeds to brutally attack the facility guards. While there are several examples of gripping filmmaking, this scene demonstrates the flow of action and brilliantly executed choreography that we saw in Whannell’s last film, the stupidly underrated Upgrade.

Notable Characters:
Elizabeth Moss has proved herself time and again as a go to for extremely relatable performances, from more comedic turns in something like The Square to dark dystopian pieces like The Handmaid’s Tale, she is always captivating. Keeping the narrative focus on Cecilia creates a very different feature with a unique dynamic and there is so much pressure on that individual to keep the audience both hooked and convinced by the absurdity of what is taking place.

Highlighted Quote:
“Adrian will haunt you if you let him. Don’t let him”

In A Few Words:
“An absolutely fantastic and unsettling release that morphs and evolves from beginning to end”

Total Score:


Cinema City Quiz #255

[23 February 2020]

Winning Team:
Bedknobs And Boomsticks
Genre: Bruce Campbell teams up with Angela Lansbury to fight Nazis deadites in East England

Runners Up:
Get Into The Groovy
Genre: Ash takes Madonna to a cabin in the woods and all Hell breaks loose

ROUND I: Pre-Production
1. What is the name of the colonisation ship in Alien: Covenant?
2. In which Tarantino film are the majority of the characters named after colours?
3. Who played the lead role in World War Z?
4. What is the title of the only James Bond film to feature George Lazenby in the titular role?
5. Who directed Iron Man 2?
6. What is the name of Carrie-Anne Moss’ character in The Matrix?
7. Which historical figure did Judi Dench portray in Shakespeare In Love?
8. The following quote is from which film, “you had me at hello”?
9. What is the name of the lead rat in Ratatouille?
10. How many Tomb Raider movies have been made to date?

ROUND II: Filming [Bruce Campbell]
1. Which famous figure does Campbell play in Bubba Ho-Tep? Ronald Reagan? Errol Flynn? Elvis Presley?
2. Escape From LA was released how many years after Escape From New York? 10? 15? 20?
3. The following quote is from which film, “Butterfingers”? Spider-Man? Spider-Man 2? Spider-Man 3?
4. Cloudy With A Chance Of Meatballs was released in which year? 2002? 2009? 2014?
5. What is the name of the wizard, as portrayed by James Franco in Oz The Great And Powerful? Marlon McAllan? Hickory Bert? Oscar Diggs?
6. In Congo, what nationality is the philanthropist who funds the expedition, played by Tim Curry? South African? Romanian? Chinese?
7. The Army Of Darkness quote, “klaatu barada nikto” is a direct quote from which movie? The Thing From Another World? The Day The Earth Stood Still? The Man Who Fell To Earth?
8. What is the subtitle of the From Dusk Till Dawn 2? Texas Blood Money? Blood Omen? The Lawman’s Revenge?
9. What is Steve Stronghold’s superhero alias in Sky High? The Commander? Sonic Boom? Jetstream?
10. Many of Bruce Campbell’s characters have been named Shemp as a reference to the use of body-doubles to replace one of The Three Stooges after his death. True or False?

ROUND III: Post-Production
1. How many Star Trek films featured the character James T Kirk?
TEN (1-7, 11-13)
2. What is Norman Bates’ hobby in Psycho?
3. Which 1987 film featured Christian Bale, Ben Stiller, John Malkovich and Leslie Phillips?
4. The following quote is from which film, “I’ve always depended on the kindness of strangers”?
5. Name the three titles in Sergio Leone’s Dollar Trilogy. (one point per correct answer)
6. What is the name of the island in The Wicker Man?
7. Moonlight tell the story of Chiron across how many different time periods?
8. In David Cronenberg’s A Dangerous Method, which actors portray the roles of Carl Jung and Sigmund Freud respectively? (one point per correct answer)
9. Burning, New World, The Chaser and I Saw The Devil are films from which country?
10. Who directed Hail, Caesar?

ROUND IV: Promotion & Release
1. John Dunbar is the lead character in which film? Unforgiven? Dances With Wolves? Tombstone?
2. What type of animal is Nick Wilde in Zootropolis/Zootopia? Ox? Fox? Cheetah?
3. What is the name of the lodge in The Hateful Eight? Bonnie’s Patisserie? Minnie’s Haberdashery? Killer’s Respite?
4. What was Elvis Presley’s first film? King Creole? Jailhouse Rock? Love Me Tender?
5. The Favourite is the story fo which monarch? Queen Katherine? Queen Anne? Queen Margaret?
6. How many cinematic Lego movies have been released to date? 4? 6? 8?
FOUR (The Lego Movie, The Lego Batman Movie, The Lego Ninjago Movie, The Lego Movie 2)
7. What is the name given to the aliens in Edge Of Tomorrow? Mimics? Kilaaks? Thermians?
8. How many sanctums are present on Earth in Doctor Strange? 3? 5? 7?
THREE (New York, London, Hong Kong)
9. Who played the young Sil in Species? Michelle Williams? Julia Stiles? Kristen Bell?
10. Birdman’s full title (The Unexpected Virtue Of Ignorance) is a reference to a quote from Don Quixote. True or False?

Screenshots: A Royal Affair / Jason Bourne / The Man From UNCLE / The Danish Girl
Poster: Ex_Machina
Actor: Alicia Vikander


It Will Consume You

Richard Stanley

Nicolas Cage
Joely Richardson
Madeleine Arthur
Brendan Meyer
Julian Hilliard
Elliot Knight

Nathan Gardner [Cage] moves his family away from the city to his family home, deep in the woodland of Maine, following his wife Theresa’s [Richardson] mastectomy. Hoping this will help the family bond, he attempts to grow vegetables on the land and raise alpacas. This life doesn’t have the desired effect however as his two teenage children Lavinia [Arthur] and Benny [Meyer] resent being forced into the sticks and his wife feels detached from her high-pressure corporate job. The only one who seems to be at ease with the displacement is their youngest, Jack [Hilliard], but even he is quite withdrawn. Life for the Gardners shifts when a young hydrologist, Ward Phillips [Knight], is brought in to investigate a meteorite that crash-lands onto their farm and starts to display a clear and adverse effect on their mental stability.

To look at the technical aspects of this release is to understand why it ultimately doesn’t work. For every positive component there is a lacking one and the whole film suffers because of this general imbalance. From the very outset, Colin Stetson’s ethereal 80s synthy score is captivating, haunting and becomes progressively more manic and invasive in the best possible way, considering the nature of the premise. The visual elements are also quite interesting, from the effects which are often magical and otherworldly to the impressive practical effect work but unfortunately it never surpasses some of the maddening brilliance of The Thing and what we’re left with is a pale imitation. This also means we are offered several beautifully composed and constructed shots but not a great deal of cohesion between them and a great many ideas that never really go anywhere – but more on that later.

From a directorial and editorial standpoint, there is quite the heavy use of three way cross-dissolves (bleeding from one scene to another with a bridge shot that never fully materialises) but they regrettably fail to truly establish the displacement of time that they is intended. One could argue all of these pros and cons fall solely at the feet of director Richard Stanley. Stanley has been absent from the screen for over two decades and the details surrounding his firing from The Island Of Dr Moreau are fascinating but there’s something enjoyable about a director who was fired from a major project returning, not with a safe indie story but doubling down with a bat-shit crazy science fiction horror that will immediately ostracise a large portion of the audience for its weirdness. Knowing this, it almost explains how and why the film is the way it is, a stubborn, lovingly recreation of something that has never transitioned particularly well to cinema.

Aside from the atmospheric visual and aural aspects and with the narrative indifferent to the outside world, the majority of this movie is reliant on the Gardner family’s descent into madness; a task which the central cast rise to reasonably well. The chemistry between Richardson and Cage starts off well, with the family feeling like a plausible troupe. As the effects of the alien presence from the meteor become more felt, there are Close Encounters/Poltergeist levels of obsession and possession that add to the steady but slow march toward hysteria and moments of lucidity in between bouts of madness that help sell the decline. Given how a lot of people perceive Nicolas Cage, his subsidence into mania is a gradual one but the fact part of his transition relies on an impression of Nathan’s father (an individual, long dead, that we never see) often comes off cheesy and cartoony – which is so crushingly disappointing because there are so many fantastic instances of Cage staring off into the middle ground, like a worn out Kinski in Aguirre, breaking only to mutter some unsettling statement like “they’re not my family.” On top of this somewhat missed opportunity, each member of the ensemble cast have their own afflictions and symptoms but because we don’t get equal time with them, they feel lost or underdeveloped.

As much as there are parts of the casting that take a few missteps or come off as undercooked, the clear lack of a “sane” element, leaves the audience without a surrogate or anchor. The closest we have is Ward the hydrologist but his role is so minimalised that when he is eventually wheeled out, he acts completely irrationally, failing to establish he is distinctly different from the Gardners (albeit nowhere near as severe). This isn’t to say that a story about going insane can’t have an absence of logic, but not at the expense of the narrative or the characters themselves; there are plenty of examples where we follow individuals in this state but for every The Shining with its masterful performances, we have the completely baffling actions of the characters in something like Prometheus. But this is part of the trouble so many creatives have run into when adapting the works of HP Lovecraft, which heavily relies on the accounts of lone survivors and reminiscings/ramblings of strange events in journals or psychiatric doctor’s notes. Another similar disappointment was 2016’s The Void, which had a lot of decent visuals/effects amid the overall b-movie, schlocky aesthetic but it at least had a sense of prevailing urgency, which is somewhat lacking here. Speaking of which, the climax of the film rings little hollow but this is a unfortunate by-product of analysing an unknowable, malevolent colonising force from outer space (an intrinsic part of the horror) that can never offer any form of explanation to motivation. Again, something that should strengthen the sense of terror serves to simply undermine any form of structural closure, in a not too dissimilar way to Spielberg combining a cop-out closing with HG Wells’ clever conclusion in War Of The Worlds.

It also doesn’t help that the crux of the film is an unfathomable and inexplicable colour being shown in a visual medium like cinema, forcing them to resorting to a pink hue. It’s not a bad idea and it certainly looks eerie and atmospheric but when you have Cage saying, “there was a bright light, like a pink.. well actually it was like no colour I’ve ever seen before” the situation becomes laughable. There’s also a lot of markers and signposting set out in an organic opening that covers a lot of exposition neatly but most of it seemingly never goes anywhere. Things like Lavinia’s practicing of Wicca, the mayor wanting to buy the Gardner land and Nathan convinced he can get a profit from his alpacas; all of them effective dead ends. One of the most unusual is Theresa’s cancer. There is the assumption that the cancer would potentially link back to Richardson’s cosmic malady – most notably considering the visuals of her hair falling out, being unwillingly bonded with an organic form that is absorbing her and the helplessness of the family as they look on, not to mention the parallel with Stanley’s own mother suffering a similar fate – but no, it is apparently most inconsequential.

I feel that art shouldn’t necessarily be made to appease or assuage an audience (*cough* The Rise Of Skywalker *cough*), rather it should be created because it needs to experienced. For all the floundering and frustrations, I don’t actually dislike this film; I think it is grossly imperfect and wanting but ultimately Color Out Of Space feels different and for that it should be commended. I have heard that Stanley has plans to complete another two Lovecraftian releases, making this a thematic trilogy, and I would be sincerely curious to see what he does next.. providing he doesn’t return to exile for another twenty years or so.

Release Date:
28 February 2020

The Scene To Look Out For:
Toward the midpoint of the film, one of the first truly creepy moments takes place while Nathan is watching himself being interviewed on the news, loudly critiquing how it looks and that no one told him his hair looked so scruffy. All the while Theresa is in the kitchen, slowly entering a trance-like state, cutting a carrot dangerously close to her fingers. With the score, sound design and increasing rate of cuts, the whole thing becomes magnificently tense. Admittedly the conclusion plays off a little too jokey but that’s largely fine.

Notable Characters:
Two performances come to mind and they are both unfortunately neglected. The first is Hilliard as Jack Gardner, who holds his own extremely well – there’s one take that pushes in on him sat on the sofa as the family breaks down around him before he finally snaps out of it and seeks comfort from his mother. It’s the kind of impressive kid acting that horror often displays but is so often dismissed because the performance didn’t take place in a drama. The other performance is Tommy Chong as the local hermit Ezra. He too is given little to do but every time he is on screen he gives a captivating performance and his fate serves as the perfect embodiment of a Lovecraft victim.

Highlighted Quote:
“You might see her but I don’ think you’ll recognise her”

In A Few Words:
“While there are several positive elements at work, the final piece feels like an ultimately missed opportunity”

Total Score:



Gotta Go Fast

Jeff Fowler

Ben Schwartz
James Marsden
Jim Carrey
Tika Sumpter

The opening prologue details Sonic’s [Schwartz] younger years and how he was given a pouch containing rings that could transport him to any destination and forced to leave his homeworld after an attempted kidnapping. More exposition highlights that the blue anthropomorphic hedgehog has been hiding in a small American town, observing from a distance but keeping out of sight for fear of being captured to harness is unique power: super-speed. One evening, the young creature feels particularly isolated and alone so runs in a circle repeatedly to vent. Doing so creates a powerful discharge of energy that attracts the attention of the US military who send one of their foremost experts, the highly eccentric technophile Dr Robotnik [Carrey], to ascertain the cause. Fearing for his life, Sonic accidentally encounters the local Sheriff, Tom Wachowski [Marsden], who tranquilises the hedgehog, causing him to drop a teleportation ring linked to the Transamerica Pyramid tower. Feeling responsible, Tom begrudgingly agrees to help him get to San Francisco and recover his rings, allowing him to escape.

At the time of release, Sonic is primarily known for one thing (other than the mountain of video games and merchandise), the widely rejected design for the film which was then scrapped and the release date moved to allow time to rework the visual effects. But as this doesn’t have a direct bearing on what we have ended up with, I’ll largely ignore that. What we have got, after the protracted wait, is a story with a surprisingly fun atmosphere and energy and several actual laughs. The cinematography is pleasing, the Easter eggs for the fans are decent without feeling intrusive and the score is suitably epic – which is hardly surprising considering it was composed by Tom Holkenborg. To say this release was a surprise is an understatement.

Almost all of the film is carried by two very strong performances. In the role of the antagonist we have Jim Carrey giving a very nostalgic and familiar performance. One could argue that he did something similar in Dumb And Dumber To but due to the puerile humour, it felt more desperate and depressing to watch. The key difference here is that Carrey seems to be genuinely having fun with the performance and really hamming up the villain for the primary audience (more on that later). Admittedly, this is nowhere near Count Olaf level of compelling villain but thoroughly enjoyable nonetheless. What I found truly interesting is that this potentially flat role had some depth to it that added to the character. Throughout the movie we glean information about his past and the journey he has taken to become this misanthropic, vindictive individual, while still spouting moustache-twirling villainous lines such as, “Confidence, a fool’s substitute for intelligence.” In truth, there is a very fine line between an opponent who is too sympathetic, to the point they become a relatable figure, and someone who is so cartoonishly antagonistic that they come off as unbelievable and silly. Utilising Robotnik’s disdain for others, his earnest love of machinery and arrogance confirmed by circumstance, makes for an interesting adversary.

The other, arguably more important, member of the cast is the eponymous hedgehog himself. Whenever something is adapted from an early 90s console game, it is often necessary to inject a lot of lore and presence, on account of the simplicity of a side-scrolling platformer. As such, this version of Sonic comes off as a nice hybrid of contemporary sensibilities and the cocksure personality beats from the cartoon and comics. There’s also a plentiful injection of heart, exploring themes of belonging which a younger audience can easily relate to. What’s more, Sonic is aged to that of the target demographic which adds to the comedic impact and dictates how Marsden has portrayed Tom; specifically that of a nice but responsible father-figure with a heart of gold, even when the two butt heads or seem at odds. This also presents plenty of opportunity for great comic delivery; an example being Tom saying if Sonic were to use a ring to escape to the mushroom planet he “wouldn’t be the only fungi” which is immediately countered with “No, don’t ever do that again.” It may not sound like much but the back-and-forth is very reminiscent of a child reacting quintessential “Dad jokes.” This is a double-edged sword, however, as mature audiences who grew up with the character may find him a little irksome but he’s a blue hedgehog who runs fast, spins into a charged ball and jumps on bad guys to defeat them – on paper, it’s the very definition of what you would want from Sonic.

But despite the praises I’ve been singing, this movie is a pretty average release. The fact it wasn’t a total trainwreck is an accomplishment of late (as was the case with Detective Pikachu) but over time people will wonder what the fuss was about. Owing to the direction they took both the character and the story, the majority of this film comes off as excessively simplistic and innocent but also largely unadventurous. So often events are dismissed, overlooked or resolved with the assumption that kids won’t care. Stuff like the power going out all over town but the phones still working, Sonic is tranquilised and can’t run but when he recovers almost immediately, he takes literal directions (i.e. run that way until you hit the sea) and sometimes people are terrified of his strange alien form, other times he’s seen as just a regular kid. It shouldn’t matter but the other elements don’t compensate enough to account for these glaring issues.

In summary, Sonic The Hedgehog is an above average kids film and with that in mind, it is perfectly acceptable. It could have easily been more layered and complex but I think it was pitching to a significantly younger audience than initially expected. Keeping the action on Earth also limits the possibilities but it’s almost a given that this will spark a sequel, so hopefully these points can be addressed then. Either way, having a handful of impressive video game adaptations is quite the triumph and could be the start of a new, previously presumed impossible, bubble like the rise of superhero features. Who knows?

Release Date:
14 February 2020

The Scene To Look Out For:
There are plenty of extremely funny moments throughout this film that brought a smile to my face without being unnecessarily crass or dumbed-down. Having said that, the most brow-furrowing moment is probably the opening sequence. We are introduced to a lot of fantasy elements very quickly and they are just as quickly dismissed. Sonic lives on an island with an owl named Longclaw before a group of echidnas try to abduct him – that sentence alone needs a lot of unpacking but the movie doesn’t seem to have time to and it largely gets overlooked, creating a bit of whiplash right from the get-go.

Notable Characters:
Marsden is very basic in his execution but serviceable. Most of his motivation is wrestling with the idea of moving to San Francisco to help people there or to stay in his home town. If I was being cynical, I would say this is one of those developments that kicked off in the early 2000s: the idea that metropolises are dangerous places devoid of personality whereas the real heart of America is in the small towns, which have the same, if not more to offer. Regardless, it only factors in a handful of times and frankly primarily exists to remove Tom’s wife Maddie (played by Tika Sumpter) from the equation. Speaking of Maddie, she is completely side-lined to allow the boys road trip to exist but when Sumpter and Marsden are together, the chemistry is solid and we get a glimpse of something that could have been more entertaining. Still, the fact Maddie is played by a person of colour is a step forward, albeit a very small one.

Highlighted Quote:
“I’ve not been spying on you, we’ve been hanging out but from a distance and no one knew I was there”

In A Few Words:
“A painfully safe, considered release but one that achieves what it sets out to and will delight its target audience: kids”

Total Score:


Cinema City Quiz #254

[09 February 2020]

Winning Team:
The Matrix Evolutions
Genre: Neo enters the matrix to discover it has evolved into a Darwinian AI

Runners Up:
Yet Fond Of Me Quiz Name, Aren’t Ye?
Genre: Willem Dafoe reminisces at Cinema City
The 37 Steps
Genre – crime thriller where the missing two stolen steps have to be tracked down

ROUND I: Pre-Production
1. Which day is Phil Connors living over and over in Groundhog Day?
2. In the film Deadpool, the titular character’s suit is made up of which two colours? (one point per correct answer)
3. Who plays the lead role in the Pitch Perfect franchise?
4. In which film does Nicolas Cage play Benjamin Franklin Gates, a man who steals the declaration of independence?
5. Red Sonja, Dave, Collateral Damage, Around The World In 80 Days, Escape Plan and Maggie all featured which actor?
6. A League Of Their Own, starring Tom Hanks, Geena Davis, Rosie O’Donnell and Madonna is about which sport?
7. The following quote is from which film, “I wonder if people will ever say let’s hear about Frodo and the ring and they’ll say yes that’s one of my favourite stories. Frodo was really courageous wasn’t he dad”?
8. Which Final Destination film starts with the motorway pile up caused by logs falling from a truck?
9. Renee Zellweger and Catherine Zeta-Jones starred together in which movie?
10. Regina George, Gretchen Wieners and Karen Smith are characters in which film?

ROUND II: Filming [37% On Rotten Tomatoes]
1. Which of the following M Night Shyamalan films does not factor into Glass? Unbreakable? Split? The Village?
2. How many Johnny English films have been released to date? 1? 2? 3?
3. Who composed the score for Disney’s Brother Bear? Randy Newman? John Williams? Phil Collins?
4. What colour are the clocks in 2011’s In Time? Red? Blue? Green?
5. What is the subtitle of the second Jack Reacher film? Never Go Back? The Hard Way? Nothing To Lose?
6. Road House was released in which year? 1983? 1986? 1989?
7. Which member of the Fantastic Four is able to switch powers after coming into contact with the Silver Surfer in Rise Of The Silver Surfer? Reed Richards? Johnny Storm? Ben Grimm?
8. The following quote is from which film, “I was beaten up because I was different, so I’ve built a place where I can heal”? Hannibal? Welcome To Marwen? Justice League?
9. Which of the following is not one of the presumed identities of Credence in Fantastic Beasts: The Crimes Of Grindelwald? Corvus Lestrange V? Aurelius Dumbledore? Marvolo Grindelwald?
10. Every single Resident Evil film has made at least a 5% loss at the box office. True or False?
FALSE (every film has made between 186 and 680 percent profit at the box office)

ROUND III: Post-Production
1. Pretty Woman was released in which year?
2. Who played the lead role in Into The Wild?
3. Who directed 1996’s Matilda?
4. The following quote is from which film, “Oh America. I wish I could tell you that this was still America but I’ve come to realise that you can’t have a country without people. And there are no people here.”
5. In Incredibles 2, what device is used to control people’s minds?
6. At the start of Back To The Future, all the clocks are set to what time?
7. How many Unfriended movies have been made to date?
TWO (Unfriended / Unfriended: Dark Web)
8. Rear Window, Harvey and Mr Smith Goes To Washington starred which actor?
9. What is Peter Quill’s middle name in Guardians Of The Galaxy?
10. What did Roland Emmerich direct in between Independence Day and The Patriot?

ROUND IV: Promotion & Release
1. What is the name of the Atari 2600 game on Planet Doom that is the third challenge in Ready Player One? Vanguard? Adventure? Zaxxon?
2. In which bar of chocolate does Charlie find the last golden ticket in Willy Wonka & The Chocolate Factory? Snubbler Sizzler? Wonka Scrumdidlyumptious? Regular Wonka Bar?
3. Who are the two lead actors in the 2015 film Trainwreck? Kristen Bell & Josh Duhamel? Amy Schumer & Bill Hader? Anna Faris & Dax Shephard?
4. What is the name of the girl that James shoots during the audition process in Men In Black? Jessica? Brandy? Tiffany?
5. The following is a quote from which film, “I don’t see how a world that can make such wonderful things could be bad”? Artificial Intelligence? Wonder Woman? The Little Mermaid?
6. What is the name of the room wherein Jack first meets Lloyd in The Shining? The Gold Room? The Gala Room? The Great Ballroom?
7. What does Casey list as her favourite movie in Scream? Nightmare On Elm Street? Friday The 13th? Halloween?
8. Which of the following films is not based on a Disney ride? Tinker Bell And The Great Fairy Rescue? The Haunted Mansion? Mission To Mars?
9. What number house does Truman Burbank live in, in The Truman Show? 36? 120? 4283?
10. While working on Bond films, Pierce Brosnan’s contract stated he could not wear a full tuxedo in any other film he appeared in. True or False?

Screenshots: Swiss Army Man / Victor Frankenstein / The Woman In Black / Horns
Poster: Now You See Me 2
Actor: Daniel Radcliffe


Keeping Secrets Are Ye?

Robert Eggers

Robert Pattinson
Willem Dafoe
Valeriia Karaman

Set in the late 1800s, we are introduced to Ephraim Winslow [Pattinson] – a young man running from his past, trying to find a place he can belong and be productive – who takes on a four week position as a wickie for a lighthouse on a remote island off the coast of New England. Winslow’s only company is his supervisor, a cantankerous and superstitious ex-naval man named Thomas Wake [Dafoe]. The two say little to one another and go about their duties but Winslow quickly comes to resent Wake’s orders and dismissal of policy. As his time on the rock continues, Winslow grows restless and longs for the day his tenure is up and he can return to the mainland.

Despite being only his second feature film, Eggers has already proved himself an exceptional talent and become massively endeared to me for creating the kind of fiction that I could only dream of crafting. This is an important statement to bear in mind throughout the course of this review as my bias is more than evident. Having said that, even a layman could identify The Lighthouse as an extremely singular feature that has been powerfully constructed. More than that, it feels as if some old print of an experimental 30s film has been discovered and brought to light. The cinematography is bold and incredibly beautiful, the sound design is tremendous and the score is deeply haunting. But what stands out to me the most is the fact that this is an artist with the talent and (more importantly) the support to create whatever he pleases, regardless of what is trendy or expected; which is something that A24 has been championing since its inception less than ten years ago.

On a structural level, The Lighthouse is gloriously rhythmic. Visually you have the hypnotic draw of the ever turning light at the top of the tower paired with the audio of the continuous, maddeningly damning noise of the fog horn. It’s both comforting in its repetitive constant-presence and agonising in its intrusive indifference to the plight of those around it. In a way, there’s an almost Lovecraftian descent into mania, playing with themes of superstition, otherworldly influences and daring to know an uncaring natural phenomena. But the similarities with the works of HP Lovecraft are merely the surface of the inspiration and comparisons that can be drawn. In truth there are nods to Promethean legend and many parallels with The Shining and something like A Field In England but rather than directly homaging or plagiarising these works, The Lighthouse feels like a companion piece, analysing related concepts while still feeling fresh and original.

Speaking of sister works, so many of the underlying ideas at play were present in Egger’s previous release, The Witch. Both feel like time capsule pieces free from contemporary trappings, rife with superstition and projecting a world that feels at the same time both alien and eerily familiar to us. While this could be said for most period fiction, the way in which Jarin Blaschke shoots these films bucks modern expectations and preconceptions, giving us a truly uncommon aesthetic. Then we have the subject of man in isolation and all of the paranoid, horror that comes with it. For this story, religious fervour has been substituted with frantic, obsessive superstition but the effect is the same and an analysis is presented which posits that when left to our devices free from the watchful eye and judgments of civilisation, we sink to our baser urges, through sexual obsession aided by the consolation and comfort engendered by alcoholic stupor.

Something I sincerely adore is the script’s use of language, with little regard for the audience. Striving for authenticity and atmospheric immersion, it seems to almost purposefully ostracise the viewer in an attempt to bring to life this antiquated era. But while the words alone are fantastic, it’s the performances that sell us on this world. So much is put upon Pattinson and Dafoe but they rise to the challenge masterfully and command and captivate throughout; whether it’s Pattinson’s physical endurance and fatigue or Dafoe’s wide-eyed monologues, everything feels meticulously calculated and entirely organic. There is also an amusing nod to the possessive gatekeeper mentality that perfectly fits these keepers of the light. But this does bring us to the only real problems with this almost flawless release. Less a flaw, more a stumble, is that the pacing loses a bit of steam due to a lack of variety and the somewhat formulaic nature of the narrative. Earlier I praised the rhythmic quality to the film’s construction but this also leads to a somewhat monotonous slog of routine and repetition that can grind viewer’s patience and ultimately, when stripped of all its eerie majesty and pageantry, The Lighthouse is remarkably silly with a surprising amount of fart jokes that partly weakens its more superior qualities.

In conclusion, The Lighthouse is another audacious, impactful and unsettling study from Eggers that will polarise audiences and either be immediately rejected or held aloft. In my earnest opinion, it is an undeniable achievement and riveting throughout.

Release Date:
07 February 2020

The Scene To Look Out For:
One of the only additional members of the cast is a mermaid whose shrill cry and ghastly presence haunts Winslow’s (presumably) dreams. The mermaid sequences are truly terrifying and serve as one of the main sources of horror in this chilling dark supernatural thriller. In terms of performance, the visual effects and the sound design, her appearance serves a reminder of the sinister and monstrous origin of a mythology modern cinema has all but sterilised.

Notable Characters:
The gull. A combination of trained birds, puppetry and prop work is a true personality unto itself and a deeply oppressive and disturbing one.

Highlighted Quote:
“To ye, you beauty”

In A Few Words:
“Eggers once again proves he is one of the most unique and captivating talents working today”

Total Score:



Prey For Gotham

Cathy Yan

Margot Robbie
Ella Jay Basco
Ewan McGregor
Jurnee Smollett-Bell
Rosie Perez
Mary Elizabeth Winstead

Set after the events of Suicide Squad, Harley Quinn [Robbie] and the Joker separate and by openly distancing herself from him, becomes a target for every crook in Gotham. Simultaneously a rare diamond with clues to the Bertinelli family fortune is on its way to crime boss Roman Sionis [McGregor] but is accidentally pickpocketed by wayward teen Cassandra Cain [Basco]. This two-pronged bounty hunt gets the attention of both sides of the law with Detective Renee Montoya [Perez] and lounge singer Dinah Lance [Smollett-Bell] trying to locate and protect Cain. All the while a mysterious vigilante is taking out several high-ranking mafia officials, whose method of execution has earned her the nickname the crossbow killer.

Given the fourth-wall breaking, narrative-hopping, gleefully violent nature of this movie, it’s almost impossible not to talk about Deadpool. In terms of pushing the envelope on irreverent antihero stories and 15/R-rated action comedies, Deadpool kicked the door open but every success that follows through does so on its own merit. Case in point, as a counterpoint to Suicide Squad with a madcap energy, feminist tonality and an exceptional rock n roll visual aesthetic, Birds Of Prey is incredibly fun and, for better or worse, the embodiment of the zeitgeist. Essentially the story of a pariah looking for friends in a world operated largely by and for men, it’s a welcome treat to follow a story of the women who have been wronged by them at every turn. From the costumes to the comedy, to how characters are framed, the entire film benefits infinitely from a shift in director in terms of gender and ethnicity. And while the score takes a bit of a backseat to the music cues, it blends seamlessly with the song choices and the decision to include entirely female-led tracks was such a simple but smart move that adds to this movie’s unique flavour.

As the title suggests, this is very much an ensemble piece but Margot Robbie as Harley Quinn stands out as the clear lead. As one of the undeniably best elements of Suicide Squad, her return is fantastic and separating her from the Joker highlights to the audience the layered complexity this individual has to offer. There are also quite a few new characters introduced in this film and the movie mostly does a good job giving them equal screen time.. mostly (but I’ll come back to that in my highlighted character section). Admittedly, comic fans may be upset by the use of the Birds Of Prey moniker or characters bearing little resemblance to their source material counterparts (Cassandra Cain comes to mind) but in truth, cinematic adaptations have always harvested things from comics while working them into a new identity; sometimes this then influences how the comic presents said character going forward. But for the purposes of forging something new, I genuinely understood and appreciated the alterations. As stated, the eponymous team takes a bit of a backseat to Harley but their arcs all weave together pleasingly and the performances from Smollett-Bell, Basco and, most surprisingly, Perez were extremely impressive, managing to find a balance between the film’s overall zany manner and the seriousness of their individual agendas. On the other end of the spectrum, Ewan McGregor as Roman Sionis is very interesting. On the one hand you could take the entire performance as an overblown, scenery chewing, laughable mess but his general instability and childlike tantrums feel almost satirical and painfully identifiable as a heightened recreation of a lot of toxic men. Again, is this Black Mask from the comics? No but it’s the kind of sadistic erratic villain this movie required.

Yan’s kinetic yet coherent direction captivates from start to finish and the brutal fight choreography is a joy to watch. This momentum successfully pushes the film forward, culminating in a conclusion of unity in the group but while this chemistry is spectacular once they are all assembled, it’s only a shame we didn’t see more of it. Again, it could be said that the film is shallow or superficial, lacking any real depth outside of the primary McGuffin/manhunt plot-thread but I think that would be an unfair assessment and, again, if we were to rate something like Deadpool highly despite having an incredibly similar straightforward motivational drive interspersed with character building through flashbacks, it would be a gross exercise in hypocrisy.

Without knowing what the hell is going on with the DCEU in general, it’s hard to predict where this film will go or where it stands in the shared universe flow but in actuality, it is a fantastic and well-timed standalone that in all seriousness, shouldn’t have worked; this movie should have been a fiery mess rather than the enjoyable romp it turned out to be but I’m all the more grateful for it.

Release Date:
07 February 2020

The Scene To Look Out For:
Sionis being such a larger-than-life cartoonish individual, the film ensures we are reminded that the fun aspect of his manic, unhinged personality is short-lived. Flying into paranoid rages over seemingly nothing, screaming “these are my things!” he is the personification of every violently abusive partner. A great example of this takes place in Roman’s club when he learns that Cain has eluded them again. Banging on the table and repeatedly shouting “fuck,” Roman catches sight of a patron laughing across the bar and approaches her. In an incredibly demeaning manner he challenges her before demanding she dance on the table and instructs her friend to cut her dress off. The whole thing is remarkably uncomfortable and accented perfectly by the sobriety of the pulsing score.

Notable Characters:
Despite the fact that the Bertinelli family fortune is one of the main central focuses of this film, Huntress is quite heavily left out of this movie. Considering how much is being juggled I can almost understand it but given how amusing the character is and how well she mixes with the team, it just feels like a missed opportunity. Classically, we have no way of knowing whether this will be rectified in a future outing, should there be one, but I would love to see more from the entire team, especially if the creatives behind the camera are returning.

Highlighted Quote:
“Call me dumb.. I have a PhD, motherfucker!”

In A Few Words:
“Frankly, Birds Of Prey is a fuck-tonne of fun”

Total Score:



Let The Sun Shine

Makoto Shinkai

Kotaro Daigo
Nana Mori
Shun Oguri

The film opens with a prologue introducing us to Hina Amano [Mori], a young student whose mother is at death’s door. On a rainy day she notices a single crepuscular ray shining down on a shrine atop a rundown Tokyo building. Making her way to the shrine, she prays and steps through the gate, finding herself in a land of the clouds, surrounded by rain droplets in the shape of fish and clouds that resemble dragons. We are then introduced to sixteen year old Hodaka Morishima [Daigo] who has run away from his home to start a new life in Tokyo. On the ferry over, he encounters a freak storm and almost goes overboard but is saved by a suave quasi-antihero named Suga [Oguri]. Being a minor, Hodaka encounters a lot of difficulty getting his Tokyo life started but eventually seeks out Suga, who he learns runs a trashy conspiracy theory magazine. Suga hires the teen and sends him out to research a young woman who can supposedly control the weather dubbed the sunshine girl.

Despite the aforementioned synopsis, the folktale fantasy element is largely subdued, aside from a few bookended developments. The majority of the story presents some fairly adult themes, almost akin to something Isao Takahata would produce.. at least on the surface. Rather than just a kid’s story, this film covers all manner of things from opportunistic adults praying on young women, the bureaucratic nature of social services that are unsympathetic to the human element of each case, the responsibilities thrust upon young adults and indeed adults themselves and, of all things, the rise in Japanese gun crime. Subsequently, it feels like two films are desperately at odds with one another and both suffer slightly for it.

One thing that is absolutely flawless, however, is the technical achievements on display. As with Shinkai’s previous film, Your Name, Weathering With You is visually stunning with an incredible level of animation detail that is truly evocative of contemporary Tokyo. This is partly aided by the real-world product placement and accurate shop fronts/landmarks, to the degree that they may have created the best Big Mac ever constructed. The sound design is also fantastic, from the hum of the city to the ethereal wails of the cloud-based creatures. As far as the score goes, it can be broken down into three simple forms; it takes on a digitised (sometimes reversed) quality during moments of peak stress, soaring strings when joyous and light melancholy solo piano work when sombre or sincere. This is of course very reminiscent of radwimps’ work on Your Name and in truth, is very much in keeping with anime scores of the last decade but still very pleasing throughout.

**spoilers at the culmination of this paragraph**
The entire focus on weather is a curious one. Being British, I’m obviously able to relate to frustrations with the weather but one would assume a film about endless uncharacteristic rain would have quite a strong message about climate change but the biggest surprise Weathering With You has to offer is that it almost doesn’t. For the most part, the film looks back at old-held traditions and the inexorable ebb and flow of nature. More specifically it states that human sacrifice has kept nature in check but in the face of human happiness, why should we suffer – which is kind of a climate change denier’s fantasy narrative. Yet the film delves deeper than mere implication, it takes confident strides into baffling territory with its conclusion. Hodaka manages to save Hina from the ethereal cumulonimbus world that all sacrificed weather maidens go to and faces the consequences of his actions (for the most part and entirely off-screen). We then learn that Tokyo has become completely submerged due to the constant year-round rain, which is an incredibly bold move, but rather than challenging the audience with this flooded dystopia, the movie settles for an upbeat romantic close with a sort of “fuck it, we can’t change the inevitable” tone that didn’t really gel. This, for me, was the weakest element. No strong moral conviction, no satisfactory resolution and no emotional gut-punch; what should have been a tremendous storm of change and defiance in the teenage heart and soul peters out to little more than a light drizzle.

Ultimately, apart from the animation, everything seems just out of reach. The danger is never truly felt, the fantasy world-building often comes off as Ghibli-lite and I didn’t feel the – for lack of a better word – painful longing for our leads to come together. It’s not that Weathering With You is a bad story, it’s just not a particularly strong one considering how easily a few slight alternations could have transformed it into another animated classic of the 2010s, as Shinkai’s last feature is. But as much as this movie stumbles, it is still performing well above the average animated release, as well as a great many live-action narratives aimed at teens, and that should always be commended.

Release Date:
31 January 2020

The Scene To Look Out For:
Given his first assignment, Hodaka has to meet several potential sunshine girls. This montage segment is where the film starts to pick-up speed and we get more of a playful side than the fairly despondent, dour tone of a down-on-his-luck adolescent runaway.

Notable Characters:
Hodaka is a bit of an oddity. Daigo does a marvellous job with the role but we know so little about this man. We never learn what the home life he was so desperate to escape was like, other than it was apparently a bit dull. He is reckless and impetuous, as most teenagers are, but everything seemingly works out in his favour to the degree that even discharging a weapon at a (presumably) yakuza club owner is met with little lasting consequence. I understand the notion of the blank slate shonen that audiences can project themselves onto but this is a prime example of an element that could have benefited from just a little more nurturing and development.

Highlighted Quote:
“The weather changes on a whim, regardless of human needs”

In A Few Words:
“Technically marvellous but narratively lacking”

Total Score:


Cinema City Quiz #253

[26 January 2020]

Winning Team:
500 Spotless Mind Days Of The Eternal Sunshine Summer
Genre – the couples go on 500 dates together, oblivious that they had their memories wiped after swapping partners

Runners Up:
Jack Fell Down. A Pail Of Water Was Needed. Jack And Jill Went Up The Hill
Genre – non-linear retelling of a classic

ROUND I: Pre-Production
1. Saying what word three times conjures Michael Keaton’s character in Beetlejuice?
2. Heath Ledger played William Thatcher in which medieval action film?
3. The animated feature, Anastasia, is set in which country?
4. What colour is Alice’s dress in Tim Burton’s Alice In Wonderland?
5. The character Lt Aldo Raine appeared in which film?
6. The Sound Of Music was released in which year?
7. Guy Ritchie directed Charlie Hunnam in which epic fantasy adaptation?
8. Name the two lead actors in Gone Girl (one point per correct answer)
9. How many Die Hard films have been released to date?
10. The following quote is from which film, “What Jesus fails to appreciate is that it’s the meek who are the problem”?

ROUND II: Filming [Non-linear films]
1. Arrival was released in which year? 2012? 2016? 2019?
2. Who played the role of Steve Wozniak in 2015’s Steve Jobs? Josh Gad? Haley Joel Osment? Seth Rogen?
3. The following quote is from which film, “Most days of the year are unremarkable, they begin and they end with no lasting memories made in between. Most days have made no impact on the course of a life. May 23rd was a Wednesday”? (500) Days Of Summer? Confessions Of A Dangerous Mind? Bad Times At The El Royale?
4. Which novel is often referred to in Slumdog Millionaire? Oliver Twist? The Three Musketeers? Frankenstein?
5. How many years passed between the release of Sin City and Sin City: A Dame To Kill For? 5? 9? 14?
6. What is the name of Robert De Niro’s character in Once Upon A Time In America? Sharkey? Moe? Noodles?
7. What is Solaris in the1972 soviet film of the same name? A song? A computer? A planet?
8. What is the name of Mr Dawson’s (played by Mark Rylance) boat in Dunkirk? Fancy Lady? Moonstone? Ice Breaker?
9. How many men are sat under the Rashomon gate discussing the trial in Rashomon? 2? 3? 5?
THREE (the woodcutter, the priest and the commoner)
10. Warren Beatty was the original choice for Bill in Kill Bill. True or False?

ROUND III: Post-Production
1. Which film featured Jessica Chastain, Michael Fassbender, Jennifer Lawrence and Tye Sheridan?
2. Who directed all the Mad Max films?
3. Silver Linings Playbook was released in which year?
4. The following quote is from which film, “Once again I found myself on my own and going to my mother’s annual turkey curry buffet. Every year she tries to fix me up with some bushy-haired middle-aged bore and I feared this year would be no exception”?
5. What is the title of the sequel to Moonraker?
6. Who played the lead role in PS I Love You?
7. The Damned United is about which English football team?
8. What did Denis Villeneuve direct in between Prisoners and Sicario?
9. Which Disney film features the Sword of Truth and the Shield of Virtue?
10. What is the name of the Nostromo’s computer in Alien?

ROUND IV: Promotion & Release
1. Which Johnny English film is about an attempted assassination on the Chinese Premier? Johnny English? Johnny English Reborn? Johnny English Strikes Again?
2. What is the name of Damien’s nanny in The Omen? Miss Frye? Mrs Baylock? Mrs Drake?
3. Which of the following films did not feature Danny DeVito? Big Fish? My Little Pony: The Movie? Look Who’s Talking Too?
4. The following quote is from which film, “I wasted my life playing video games and we’re gonna die”? Weird Science? Step Brothers? Spider-Man: Far From Home?
5. Which of the following films made the most at the box office? X-Men: Days Of Future Past? Transformers: Age Of Extinction? Interstellar?
TRANSFORMERS: AGE OF EXTINCTION (highest grossing film of 2014 $1.1b, XMDOFP $747m, I $677m)
6. Which of the following did not appear in 2011’s Crazy Stupid Love? Kevin Bacon? Julianne Moore? Jon Favreau?
7. In which film did Clint Eastwood play Walt Kowalski? Gran Torino? Every Which Way But Loose? Unforgiven?
8. In Disney’s Hercules, the titular character meets Meg who is being hounded by what? Minotaur? Cyclops? Centaur?
9. What is the name of the sleeper ship in Passengers? Avalon? Arcadia? Elysium?
10. The infamous line from The Shining, “Here’s Johnny” was improvised by Jack Nicholson. True or False?

Screenshots: Layer Cake / Cloud Atlas / Paddington / The Zero Theorem
Poster: The Tempest
Actor: Ben Whishaw


From Rags To Riches.. And Back Again

Armando Iannucci

Dev Patel
Tilda Swinton
Peter Capaldi
Hugh Laurie

The film opens with David’s [Patel] birth and is told with the aid of voiceover as Copperfield recalls the events and distinct individuals he has encountered over his unpredictable often turbulent life, battered by the whim of fate. Following the death of his father, David’s mother remarries a haunting figure who crushes the young boy’s dreams and aspirations. This is made worse when David is sent away to work at his step-father’s bottle factory in London, residing with the wily Mr Micawber [Capaldi]. Following the death of his mother, David runs away from London to live with his neurotic aunt, Betsey Trotwood [Swinton] and her equally neurotic cousin Mr Dick [Laurie] and for a time Copperfield is happy. But it isn’t long before struggle and ruin return to his life.

In the same vein as Little Women, David Copperfield is a modern interpretation in terms of pacing and attitudes rather than setting and production. From a technical standpoint it bears all the common, recognisable markers of your standard Victorian literature adaptation. However by gently updating the source material, there is a sense that the content is more relatable and accessible but in doing so it loses some of the story’s general flow and feels like a series of rushed, albeit extremely well-constructed, vignettes. Told with a dose of whimsy, despite the often dour subject matter, The Personal History Of David Copperfield may be an effectively a straight adaptation in terms of aesthetic and score but the performances, cinematography and delightful scene transitions have almost dreamlike fantasy qualities, as if something recalled from memory – which is what the author ultimately intended and fits well despite the fairly chaptered, often rushed, consequence of trying to cram a 624 page novel into a 119 minute runtime.

The film’s finest achievement, other than the script distilling all the key qualities of the novel (a feat which hasn’t been attempted since the late 60s), is the skilled ensemble cast. At the front of it all is Dev Patel, an individual I have sung the praises of for years. With acute charm and range, he manages to embody Copperfield’s noblest and weakest qualities; from his analytical view of the world, constantly impersonating the memorable characters he meets throughout his life to his often cruel dismissiveness and self-absorbed quest to climb the social ranks. Of course, Patel’s casting was met with the usual cries from (let’s not beat about the bush) racists who cannot fathom anyone playing a Dickensian lead other than a blonde white boy but as I explained in my Mary Queen Of Scots review, if the actor fits the role, cast them. On top of that, the diversity to the cast is a welcome treat and the rotating door of supporting cast members all perform admirably. Admittedly, Dickens didn’t seem to have a great deal to say about his female supporting players but Iannucci has managed to thankfully elevate and improve them for modern sensibilities.

The greatest disappointment with this film is more a frustration of expectations and how this movie was marketed; put another way, the humour was not what I ultimately thought it would be. This is, undoubtedly, one of Iannucci’s most unambiguously approachable projects for mainstream audiences, a sort of half-way house between his foul mouthed satire and run-of-the-mill period drama. But with this level of restraint, rather than simply shredding and warping the source material into a cynical reworking catering to today’s audiences, the amount of sincerity and earnestness takes you aback. It’s not necessarily that the film is lacking in any way or to say that Iannucci cannot step outside of his usual comfort zone but it almost feels like a missed opportunity to sample what a Dickensian drama populated with characters like Malcolm Tucker and Alan Partridge could have looked like. But again, this is less to the film’s detriment and more to the type of audience, in the same way that certain cinemagoers weren’t happy with The Favourite or Possum because they stepped away from the images conjured in one’s mind when told that Olivia Colman plays a British monarch in a period piece or Matt Holness has created a film about a puppeteer. So why bring it up if this is but a question of personal perspective and preconceived notions? Ultimately to highlight that the film could suffer because of this shared preconception.

Despite this minor but impactful issue, I feel the film is a perfectly timed triumph. Dickens works best when the reader’s world is less than desirable, as if to draw a motivational comparison for support and inspiration. And with a significant amount of heart, optimism and bounce throughout this version, it serves as a reminder to the viewer that the sum of where we are is not the sum of who we are and things can always get better so be the best person you can; which I’m sure we can all agree is a fine message to put out in 2020.

Release Date:
24 January 2020

The Scene To Look Out For:
Of all the varied moments this film offers, one that stuck with me was David bringing his school friend to the whimsical summer home of his youth. Sent away to Great Yarmouth to live in a house made from an upturned boat on the shore, David is surprised when the saturated colours and palatial interiors of his memory are significantly faded and shrunken on closer inspection with a grown body and adult eyes.

Notable Characters:
As stated earlier, the cast are magnificent in their entirety yet one individual still stands out from the outset. Tilda Swinton is one of those actors who has been quietly appearing in the background of so many films over the last twenty years and never gets the true recognition she deserves. In spite of the wealth of mirth and soul on display from all, the film feels just a little weaker when she is absent and wholly elevated upon her return.

Highlighted Quote:
“Don’t worry, you’ll make it through. And you’ll have quite the ride on the way”

In A Few Words:
“A fabulous adaptation brimming with warmth that only occasionally wobbles under the weight of the undertaking at hand”

Total Score:



Ride Together. Die Together

Adil El Arbi
Bilall Fallah

Will Smith
Martin Lawrence
Kate del Castillo
Jacob Scipio
Paulo Nunez

Set nearly two decades after Bad Boys 2, Detectives Marcus Burnett [Lawrence] and Mike Lowrey [Smith] have their lives turned upside down when Isa bel Arteas [del Castillo] of the Arteas cartel is broken out of prison and sets her son, Armando [Scipio], on all those who were involved in her imprisonment. Because of this, Mike is subsequently gunned down in a drive-by and Marcus swears to God that if Mike pulls through he will put violence behind him. Thankfully, Mike recovers but while he is hungry for revenge he is unable to work his own case. Subsequently, he is brought on in a consultancy capacity to assist a modern investigatory team headed up by his ex, Rita [Nunez].

From the very outset, the absence of previous director, Michael Bay, is distinctly felt but by no means in a bad way. The whole thing has clearer direction and doesn’t feel nearly as grimy or grubby as Bay’s signature frenzied, erratic style but still retains the general aesthetic we have come to expect from these movies. Another noticeable change is that the general premise is more focused with a surprisingly straightforward narrative that doesn’t get distracted with digression and excessive music video style indulgence. Furthermore, in a moderately self-aware move, the film openly lampoons itself for its telenovela, soap opera plot points and reveals.

On the whole, this instalment feels like a departure from its sophomoric roots and a decent reflection of a maturing of the central characters.. for the most part. The movie opens with Marcus vying for retirement and wanting to slowdown, not only that, he wants the same for his partner but acknowledges that Mike is too wild and will resist mellowing, seeing it as a defeat, until the life catches up with him and he eventually dies on the job. Shifting a large portion of the emotional weight onto Lawrence is a solid choice and reminds us that the man is a decent actor who can give us more than fart jokes and stupid faces – which is all Bay’s previous films seemed to hand him. That isn’t to say that Smith in any way drops the ball or is side-lined but Lawrence’s mission from God thread and Smith’s quest for both vengeance and redemption are primarily sold to the audience because there is a noticeable level of energy and sincerity from the leads. Of course, this spotlight on character development means that the movie sort of veers away from action comedy mayhem and further into older couple buddy comedy but it’s a welcome shift. This is also nicely juxtaposed by the introduction of the new younger team dynamic, who fit in the established universe perfectly because they look like models that can execute impeccable quips but quickly endear themselves to the audience.

As much as the inclusion of new directors has helped shape this film, the fact that each instalment has had notably different writers speaks volumes. A lot (but disappointingly not all) of the homophobia is curbed and the level of humour has thankfully moved away from base-level dregs. Even simple physical comedy feels elevated – when meeting an informant, Mike and Marcus argue about the amount of superfluous tasks they have to undertake en route and upon finally arriving at the scene, the timing of the snitch being dropped onto Mike’s wife’s car is fantastic. The action sequences, while admittedly not nearly as hyper-intense as Bay’s usual fare, are decent and thankfully far easier to follow. The addition of Lorne Balfe’s score work is also very positive, bringing the requisite intensity with a very nostalgic 90s Bruckheimer throwback feel.

**the following paragraph contains huge spoilers**
One of the main plot developments involves a significant twist regarding Mike’s past. The lack of any real backstory development to date has meant that dropping a huge “I used to be an undercover agent in Mexico” reveal doesn’t seem too unreasonable. The added twist moment comes when it is hypothesised that Armando is in fact Lowrey’s son and in doing so, we get to address the idea of a man who cannot move past his job, a man getting on in his years with little in the way of legacy and a man who is confronted with the physical embodiment of all the mistakes of his past. Put differently, Bad Boys For Life achieves what Gemini Man could not and perfectly pits Will Smith against a younger adversary with all the emotional weight behind such a revelation.

My biggest frustration was that the story attempts to address slowing down and acting your age but as the film closes, Lawrence and Smith turn to each other with a cheeky grin and essentially say “fuck it, bad boys for life.” The solidarity and self-denial is arguably fine but feels more like two fifty year old men realising they should make way for the next generation only to dismiss that fear by continuing to pretend they’re in their mid-twenties forever. On top of that – and partly due to this immaturity – Bad Boys still suffers from the signature toxic masculinity that afflicted the previous two movies but at least it feels like some sort of progress is made and the general racist, sexist, misogynistic and generally intolerant overtones have also been muted. Not eradicated, just muted.

It’s quite surreal to conclude that the best of a franchise is its third instalment but Bad Boys For Life feels like it finally hits the right rhythm and comes together to form a solid heartfelt action comedy. The mid-credits sequence heavily implies another film in the future and if this was to pass on to the younger team, that could work but I feel everything that needs to be said for Mike and Marcus has been covered. But depending on how this one performs at the box office, who knows?

Release Date:
17 January 2020

The Scene To Look Out For:
I genuinely felt the humour in this feature was the best it has been over the entire franchise. Largely inoffensive, it plays to simple amusements without regurgitating the same abhorrent jabs. A prime example would be Mike and Marcus forced to use non-lethal weapons to apprehend a perp. Whilst in pursuit, Mike lands a perfect hit on the criminal’s forehead. Walking over to the unconscious individual, it is revealed that an enormous welt has developed on his head. Both are repulsed but Marcus is compelled to touch it. Again, same stupid puerile but ultimately innocuous.

Notable Characters:
Martin Lawrence gets a lot of schtick for the roles he finds himself in but he’s undeniably talented and does a great job reminding everyone why he is such a solid supporting role. In a way, I was reminded of his performance in 1998’s Life where he bounces off Eddie Murphy perfectly with a considerable balanced degree of humour and heart.

Highlighted Quote:
“Sometimes you’ve gotta suffer for what is right”

In A Few Words:
“For what could have been a very lazy retread, the third instalment stands as the best of the series thus far”

Total Score:


Cinema City Quiz #252

[12 January 2020]

Winning Team:
Genre – a lonesome idiot takes on the world whilst holding in the mother of all shits (not a true story)

Runners Up:
The Seven Year Witch
Genre – Hermione’s school years
Toss A Coin To Your Witch, O Valley Of Nancy
Genre – Nancy from The Craft is still destitute and needs money so turns to menial jobs
The Witches Of Beastpick
Genre – the witches go to Pets At Home and buy hamsters who they turn into men
Street Shiter XIV
Genre – comedy

ROUND I: Pre-Production
1. Warren Beatty played Dick Tracy in which film?
2. In Aladdin, Jafar’s staff has the head of which animal?
3. In which film did Charlton Heston play Moses?
4. Ethan Hunt is the main character in which film series?
5. What does Carl use to move his house in Up?
6. Who played the lead role in The Last Of The Mohicans?
7. Korben Dallas, Leeloo, Zorg and Ruby Rhod are characters in which Luc Besson film?
8. Doctor Sleep is the sequel to which film?
9. Who directed The Evil Dead trilogy?
10. What is Shaft’s first name?

ROUND II: Filming [Witchcraft]
1. Who played the lead role in The Witches? Helena Bonham Carter? Cher? Anjelica Huston?
2. The Witches Of Eastwick was released in which year? 1980? 1987? 1994?
3. What is the Owens family curse in Practical Magic? Any man who falls in love with them will die? They cannot use their powers after turning 30? They can never leave Massachusetts?
4. What was the subtitle of 2015’s The Witch? A Fairytale Curio? A Familiar Tale? A New-England Folktale?
5. How many cast members from Scream appear in The Craft? 1? 2? 3?
TWO (Neve Campbell and Skeet Ulrich)
6. What is the name of Christina Ricci’s character in Sleepy Hollow? Mary? Katrina? Beth?
7. The following quote is from which film, “Treguna, Mekoides, Trecorum, Satis, Dee”? Bedknobs And Broomsticks? The Sword In The Stone? The Black Cauldron?
8. Which character in 1959’s Sleeping Beauty was the only one to have the same individual serving as the voice actor and performance model? Aurora? Maleficent? King Stefan?
MALEFICENT (Eleanor Audley)
9. Who directed The Love Witch? Anna Biller? Alex de la Iglesia? Ana Lily Amirpour?
10. With consultant Pat Devin on set, many of the magic words in Hocus Pocus were actually part of Dianic rituals. True or False?

ROUND III: Post-Production
1. Blousey Brown, Fat Sam, Tallulah and Dandy Dan are characters in which 1976 film?
2. The following quote is from which film, “I think you’re the most attractive of all my parent’s friends”?
3. What is the name of Marty McFly’s home town in Back To The Future?
4. What is the name given to the trio of popular girls, in Mean Girls?
5. What does the super-villain, Gru, plan on shrinking and stealing in Despicable Me?
6. Which actor appeared in both Reservoir Dogs and Free Willy?
7. Who directed In The Loop, The Death Of Stalin and The Personal History Of David Copperfield?
8. Cronenberg’s remake of The Fly was made in 1986, when was the original released?
9. Kevin Bacon played Ren McCormack in which film?
10. Antonio Bay is the setting for which John Carpenter film?

ROUND IV: Promotion & Release
1. Which of the following actors was not approached by Doug Liman to play the lead role in The Bourne Identity? Colin Farrell? Russell Crowe? Sylvester Stallone?
2. During the closing shots of Se7en, Detective Somerset quotes which Ernest Hemingway novel (“The world is a fine place and worth fighting for”)? The Old Man And The Sea? A Farewell To Arms? For Whom The Bell Tolls?
3. Who scored Dr. No, Dances With Wolves and Howard The Duck? Leonard Bernstein? John Barry? Henry Mancini?
4. Who played the title character in The Man Who Shot Liberty Valance? James Stewart? John Wayne? Lee Marvin?
5. What is the name of the Skeksis method for settling disputes, debates and conflicts in The Dark Crystal? Meeting Of The Three Suns? The Conjunction? Trial By Stone?
6. Despite critical acclaim and commercial success, Fatal Attraction was the second highest grossing film of 1987. What was the highest? The Untouchables? Lethal Weapon? Three Men And A Baby?
7. What colour is The Blob in the 1958 film of the same name? Green? Red? Black?
8. Which of the following individuals did Christopher Lee not portray? Grigori Rasputin? Fu Manchu? Abraham Lincoln?
9. The Illusionist takes place in which city? Vienna? Venice? Versailles?
10. Steve Buscemi’s character in Desperado is called Buscemi as the part was written specifically for him. True or False?

Screenshots: Con Air / Ghost Rider: Spirit Of Vengeance / Mandy / The Croods
Poster: Season Of The Witch
Actor: Nicolas Cage


Time Is The Enemy

Sam Mendes

George MacKay
Dean-Charles Chapman

Set in the titular year on the western front of the first world war, an isolated group of nearly two thousand men are walking into a trap, as highlighted by new aerial photos, and two English lance corporals, Blake [Chapman] and Schofield [MacKay] are given priority orders to call off the attack. With less than a day to cross over into no man’s land and span ground that the Germans have supposedly retreated from, the two young men cautiously proceed with the added pressure that one of the men they’re trying to reach is Blake’s older brother.

It is impossible to talk about this movie without first addressing the method in which it was executed. To boil the sprawling madness of WWI to a simple personal story isn’t necessarily a difficult task but through a series of vignettes intercutting a straightforward objective, it does make for a unique guided tour of the conflict. Creating such a spectacularly devised microcosm must have required so much forethought and deliberation; more than that, I would wager that more planning and consideration went into this film than the entirety of WWI. But to reduce the achievement for a moment, it is ultimately a gimmick and one that can initially be quite distracting as audiences start to look for the potential cutting points and camera hand-offs. Yet as the story unfolds, the technical wonder is superseded by the emotional tale of survival.

Furthermore as much as the camera work is a marvel, there are so many technical aspects performing truly above and beyond, cementing this release as one that ideally needs to be seen in a cinema. The sound is delightfully immersive and the accompanying tense, building score by long time Mendes collaborator Thomas Newman, while devoid of a lot of his signature sounds, is magnificent. Case in point, the rat tripwire scene is easily more engrossing and tense than most recent horror films that are overly reliant on jump-scares and aggressively staccato sound work. And the final icing on the cake is the lavish production design which, while jaw-droppingly bleak, evokes such a morbid beauty owing to the recreation of the twisted, buckled landscape, period accurate costumes and props and the maddeningly precise set arrangement necessary to achieve the ambitious shots.

No amount of technical aptitude can entirely carry a movie and if this film had subpar performances, it would die on its feet. As such, so much is put upon the two relatively unknown leads but I believe they succeed marvellously. One could argue that some of the more nuanced camaraderie and interminable waiting of trench warfare is lost, so in essence portrays a fairly unique view of the great war but the general back-and-forth between Blake and Schofield, flitting between abject dumbstruck terror and light-hearted anecdotal joking to cope with the reality of the situation, is a solid compromise. I also genuinely appreciated the acknowledgement of diversity within the various passing regiments, too often global conflicts of the twentieth century were branded as a white man’s war but the whole essence of a world war is that every nation is involved. And while it is an entirely different animal from an entirely different war, it’s worth brining up something like Dunkirk which could also be considered a high budget claustrophobic drama with a novel central contrivance. As stated, these are two different projects with two different agendas but I found 1917 significantly more humanising and impactful in its delivery; if only for the narrow and intimate focus.

If I was forced to identify a fault or frustration, it would be something said by Mark Strong’s character Captain Smith. Entering the narrative at a particularly sensitive time (for both the lead and the audience), Smith is a figure of kindness and convenience and as such whatever he says is somewhat elevated in importance. Most notably, he warns Schofield that when he delivers his orders to Colonel Mackenzie [Benedict Cumberbatch], ensure there are witnesses. Regardless of the orders’ origins, Smith subtly explains that “Some men just want the fight.” This sets up such an interesting additional level of fear and concern because we had simply assumed the story would end if and when the orders were delivered but then we learn there may be an additional fight for the instruction to be read and followed. Regrettably this transpires to be foreshadowing that never delivers and is the only real anti-climax or flaw of the movie. It turns out Mackenzie is just a commander who is fed up of the war and thinks he is seizing the opportunity to end it.

As an example of continuous creeping paranoia and fear, the pacing is such that you don’t realise how much time has passed and once the film reaches its conclusion, you are left a little depleted in the wake of the experience. Subsequently, 1917 joins All Quiet On The Western Front, Gallipoli, A Very Long Engagement and Paths Of Glory as one of the best films set during the first world war and will likely be remembered in deservedly high regard.

Release Date:
10 January 2020

The Scene To Look Out For:
After the only clear and intentional cut of the movie, the narrative shifts from day to night and the reveal is absolutely fantastic cinema. With the general low light, fires burning in the distance, passing flares and so many moving elements, it is an absolute testament to the mastery of Roger Deakins. Paired with this to enhance the whole experience is the phenomenal sound design and Newman’s soaring score. It’s just a surreally beautiful heart-pounding moment.

Notable Characters:
The officer cameos punctuate the various vignettes and serve to highlight the different attitudes found in the army, from Andrew Scott’s jaded ambivalence to Mark Strong’s stoicism and Benedict Cumberbatch’s frustration. It’s a marvellous tapestry that helps reinforce the idea that despite the urgency of their mission, the two leads are treated with a general insignificance because life is being squandered on such a scale that the individual is irrelevant.

Highlighted Quote:
“It’s just a bit of tin, it doesn’t make you special”

In A Few Words:
“A genuine triumph of plain emotional storytelling and filmmaking technique”

Total Score:



Based On A Real Scandal

Jay Roach

Charlize Theron
Nicole Kidman
Margot Robbie
John Lithgow

Set largely during the early days of the election campaign that would lead to the Trump presidency, we are introduced to four key individuals working at Fox News. At the top is Roger Ailes [Lithgow], the man who built the network from the ground up and through his broadcasts, actively shaped how many Americans see the world. In his older age he is more frail but he controls his company with an iron fist, maintaining a clear direction over everything that is shown on his network. One of Fox’s lead anchors, Megyn Kelly [Theron] is a veteran broadcaster and acts as the introductory individual to this world, highlighting what makes Fox unique. We are then introduced to Gretchen Carlson [Kidman], another veteran anchor who has fallen out of favour with Ailes and been bumped to an unenviable afternoon slot and has contracted lawyers to start a sexual harassment case to counter the toxic environment she is expected to work in. Finally we have Kayla Pospisil [Robbie], a young up-and-coming researcher who leaves Carlson’s team to try and get on a superior career path but in doing so finds herself in Ailes’ sights.

Adopting the quirky style utilised by Adam McKay for features such as Big Short and Vice, Bombshell felt like it had the potential to be a whip-smart, irreverent yet sobering look at a horrific series of events through the prism of comedy. Regrettably, this overall approach is dropped fairly early on and what starts off as satirical comedy quickly veers to project a rather thin note of uplifting optimism. In a way, I was reminded of The King’s Speech which closes with nationwide celebratory scenes despite heralding the start of the worst conflict of the twentieth century. Ultimately, because this film can’t seem to decide what kind of story it wants to be, we end up with lacklustre pacing, a tonally mixed bag and central characters side-lined for (in story) months at a time.

In terms of the events being depicted, the reality is blisteringly tragic. In a time of such social and political division, there will be those who argue that it is incredibly hard to sympathise with those who work at Fox News but Bombshell does a great job of humanising the issue, raising it above politics and reminding the audience that this is an affliction that happens in all types of working environments; essentially challenging victim blaming just because the individuals affected work for the right wing press. Nowhere is this more aptly addressed than Kate McKinnon’s character: a staffer who works on Bill O’Reilly’s team who is in fact a Democrat voting lesbian. She acts as both counsel to Kayla but also serves as a reminder that for some individuals this is just a job and one that doesn’t reflect their actual worldviews, it also illustrates the blot on people’s curriculum vitae that traps them in the organisation because of their affiliation and association. Having said that, regardless of the subject matter and the implication of the very title, Bombshell never really crashes down with force, so the final result feels a surprisingly touch light with a handful of powerful, shocking scenes.

If there was a reason to watch this film (other than the importance of the issue presented), it would be the central performances, which are fantastic. The triumvirate combination of two specific examples and one amalgam is a nice touch, allowing the writers to draw audiences in with the authentic scandal while affording them the flexibility of several other similar stories in one followable thread. Backing this up is a grand, sprawling cast which doubles as a conveyer belt of notable cameos who all add their own touch and signature to this piece; with examples ranging from Richard Kind as Rudy Giuliani to Malcolm McDowell as Rupert Murdoch.

As I said in my Just Mercy review, we are seeing a changing landscape in the types of stories that are getting mainstream attention and promotion. While this will by no means be the last movie to address the subject of sexual harassment, it is a tale told in the eye of the storm – which is entirely absorbing and engaging at the time but cannot figure out a conclusion because society hasn’t reached one yet. And while that’s fine for certain releases (Margin Call’s heralding the pending fiscal crisis for example) it doesn’t seem to establish this tone or agenda from the start, setting itself up as an explanatory exposé but never really delivering, which is a damn shame.

Release Date:
17 January 2020

The Scene To Look Out For:
No matter how many characters defend him, the film offers several examples of Ailes being an absolute monster. One remarkably cruel outburst, as he loads up multiple doughnuts from a crafts services table, takes place immediately after Carlson has done a piece on raising awareness of the over-sexualisation of women and opting to not wear makeup for the entire segment. Ailes’ bitter rant comes to a head when he storms off crying out, “no one wants to watch a middle-aged woman sweating through menopause.”

Notable Characters:
While Kayla is the composite character, I’m hesitant to use the word fictional. Her transitional journey from keen and hungry for success to filled with regret and shame is one that an uncomfortable amount of audience members may be able to relate to or identify with. Nothing is ever explicitly shown but her reactions alone sell the absolutely appalling dilemma she finds herself in. Her initial scene with Ailes is presented without music, little background noise and probing camera angles making the entire experience remarkably uncomfortable. This is underlined when Kayla is summoned back to his office, unsure of what to expect. En route she briefly meets Megyn and Gretchen (who become slowly aware of what is going on) and the entire segment is accompanied by a tense yet playful rhythm that wonderfully enhances the practically dialogue-free scene.

Highlighted Quote:
“News is like a ship, you take your hands off the wheel and it pulls hard to the left”

In A Few Words:
“A noble effort but ultimately too drifting in its execution to be the hard-hitting revelatory drama it aspires to be”

Total Score: