The Judge
What’s it about?
Big city lawyer Hank Palmer returns to his childhood home where his father, the town’s judge, is suspected of murder. Hank sets out to discover the truth and, along the way, reconnects with his estranged family.
What did we think?
Anthony Sherratt says: The first half of this movie is an overwhelming collection of cliches and stereotypes and it’s only the amazing performances of the truly impressive cast that keeps you on the hook. But somehow the second half of the movie actually manages to go a bit deeper, interspersing enough humour and pathos to leave you with a surprisingly satisfying ending.
Tusk
What’s it about?
A new media letch with a poorly calibrated moral compass gets abducted. He is to be the subject of experiments to see if his humanity can be stripped from him if he is surgically transformed into a walrus.
What did we think?
Dan Beeston says: I’ve never seen a film where a fifth of the audience walked out and two fifths stayed right through the credits. This film is nothing if not divisive. Kevin Smith creates an eclectic parody of a horror film. It’s never scary but is appreciatively grotesque.
Justin Long is denied lines of dialogue as his character transforms – it’s probably a good thing as his character is neither likeable nor charismatically detestable. The Québécois detective is boring and pales in comparision to Michael Parks’ stellar performance.
Smith has re-embraced his independent beginnings and I’m glad this film exists but I think that he also needs a slightly firmer guiding hand.
Gone Girl
What’s it about?
Nick Dunne’s wife Amy disappears suddenly one morning, with signs suggesting she has been abducted, possibly murdered. As the hunt for her begins and the story of their marriage unfolds, police and media suspicion falls on Nick.
What did we think?
Francesca Percy says: How well do you know your spouse? This is the central question of Gone Girl, based on the acclaimed novel and screenplay by Gillian Flynn, cleverly directed by David Fincher and featuring Ben Affleck and Rosamund Pike, brilliantly cast as the central couple, too cool to be true. It’s a suspenseful treasure hunt that draws you in further with every clue, twist and revelation about Ben and Amy, from the first time they meet to the day of their fifth anniversary. Honestly, the less you know about the plot, the better. It’s thrilling, chilling, occasionally funny, and well worth your time.
Dracula Untold
What it’s about?
Vlad the Impaler (Luke Evans), prince of Transylvania, risks eternal damnation by gaining demonic superpowers in order to save his people from the invading Turkish hordes.
What did we think?
Andrew Stewart says: Action hero flick meets comic-book thriller meets PG13 horror film and it’s not a winning combination. Evans carries the film through a suspenseful but ultimately jumbled Dracula origins tale. Battle scenes don’t reach any epic heights (they’re mostly just full of bats, and not the kind you hit people with) and for a vamp story there’s not a great deal of horror here either. This one didn’t totally suck (get it? Vampires!) but it wasn’t bloody good either.
The Equalizer
What’s it about?
An everyday insomniac turns out to be more than he seems when the scum of the earth floats to the top of his little pond. He quickly goes about adding ventilation holes to those who would do harm to the innocent in his life.
What did we think?
Dan says: This modern reimagining of the eighties TV show of the same name is a beautiful demonstration of the ‘Justice Porn’ genre of film. Denzil Washington is a calm and calculating avenging angel. Apparently invincible he separates each two dimensional bad guy from his insides on route to make calmly psychopathic speeches to his main adversary.
The film doesn’t really challenge the viewer unless the viewer’s stomach for visceral violence is weak. No big surprises but a well-made piece of cinema that would have wooed Edward Woodward if Edward Woodward could be wooed.
Sin City: A Dame To Kill For
What’s it about?
More intertwining stories from Basin ‘sin’ City. In black and white. With OTT violence and sexual themes.
What did we think?
Anthony Sherratt says: The sequel is almost exactly the same as the first in both style and general narrative technique. In fact, while some would say it should embrace what set it apart, you’re left feeling it’s actually far too similar and instead of a fresh continuation it’s almost a rehash. It’s certainly still enjoyable but Miller and Rodrigues seem to have sacrificed the grit for some average one liners and far more two-dimensional characters.
Fans of the original will still have fun with this romp but it ends up running 20 minutes too long and there actually may be a bit too much nudity (something I thought I’d never write – but it’s probably a reflection of the sameness of it) though it has to be said Eva Green yet again steals the show. Missing sparkle.
What’s Popular
Rogue One: A Star Wars Story
What's it about?
It is a period of civil war.
Rebel spaceships, striking from a
hidden base, have won their first victory
against the evil Galactic Empire.
During the battle, Rebel spies managed to steal secret
plans to the Empire's ultimate weapon, the DEATH STAR, an
armored space station with enough power to destroy an entire planet.
What did we think? Stephen Scott says: Where Return of the Jedi was let-down due to 'alleged' toy company requirements, Rogue One seems let down by a meddling committee. Too many cooks dilutes a terrific premise (4 stars) and muddies great characters (3½ stars) thanks to an overly-convoluted introduction (minus 2 stars) and dollops of unnecessary spoon-feeding (minus 7 stars).
But make sure you see it on the big screen for the final battle sequence - it's basically a 21st Century version of the ROTJ final act (5 stars in all its glory - wow it's good).
Epilogue: If you recall, we all loved Star Wars for George's ground-breaking "used universe" and the mythical unanswered questions (Jedi, Clone Wars, why there is no underwear in space). Edwards delivers a gloriously dirty reality, but the committee let the movie down by interrupting him, and providing us with too many answers to questions we didn't ask. A Star Wars movie doesn't require title cards to tell the audience where we are, that's part of the charm. Drop us in and let us swim!
Passengers
What’s it about?
When a spaceship malfunctions, two passengers on a 120-year voyage to a new home planet wake up from their sleep state 90 years too early.
What did we think?
Elizabeth Best says: Take a sci-fi flick, throw in some romance, a few major (and kind of messed up) ethical dilemmas, and a healthy dose of tension and you have a movie that will almost certainly promote robust discussion of that “what would you do?” variety after the credits roll. In what seems to be a trend in movies these days, the trailer for Passengers is a little misleading. Without spoiling things, the premise of this movie is a LOT darker than we are led to believe.
La La Land
What’s it about?
An aspiring actress (Emma Stone) and a jazz musician (Ryan Gosling) meet and fall in love in Los Angeles, musical style.
What did we think?
Elizabeth Best says: La La Land is simultaneously a loving homage to the golden age of cinema and completely uncharted filmic territory; nostalgic and new all at once. It delivers the feelings of falling in love in a heady, melodic rush that’s absolutely captivating. It channels films such as Singin’ in the Rain and An American in Paris while navigating the modern pitfalls of romance. But it’s so caught up in the quirky and magical “newness” of its concept that towards the middle it seems to rely solely on that. Unfortunately, this means the pacing feels at odds with the gloriousness of the rest of the film. But the magic returns for a finale guaranteed to take your breath away.
Collateral Beauty
What’s it about?
An advertising executive (Will Smith) totally shuts down when tragedy strikes. His “concerned” friends (Kate Winslet, Edward Norton, Michael Pena) try to help when he starts questioning the universe and writing letters to the concept of Time, Death and Love.
What did we think?
Elizabeth Best says: The intriguing trailer for this film is a lie. The concept, so artfully set up in the preview, is destroyed minutes into the film, creating a jarring effect that leaves a bitter, mean-spirited aftertaste. Collateral Beauty is emotionally manipulative, and seems to be created specifically to tug so fucking hard on heartstrings that it makes some kind of discordant non-musical cacophony of awfulness. It’s a movie purely about emotions that feels like it was made by someone who doesn’t understand how to human AT ALL. It gets two stars for what I thought the concept was, and the rest of the three taken off for what the actual movie robbed me of.
Editor's Choice
Rogue One: A Star Wars Story
What's it about?
It is a period of civil war.
Rebel spaceships, striking from a
hidden base, have won their first victory
against the evil Galactic Empire.
During the battle, Rebel spies managed to steal secret
plans to the Empire's ultimate weapon, the DEATH STAR, an
armored space station with enough power to destroy an entire planet.
What did we think? Stephen Scott says: Where Return of the Jedi was let-down due to 'alleged' toy company requirements, Rogue One seems let down by a meddling committee. Too many cooks dilutes a terrific premise (4 stars) and muddies great characters (3½ stars) thanks to an overly-convoluted introduction (minus 2 stars) and dollops of unnecessary spoon-feeding (minus 7 stars).
But make sure you see it on the big screen for the final battle sequence - it's basically a 21st Century version of the ROTJ final act (5 stars in all its glory - wow it's good).
Epilogue: If you recall, we all loved Star Wars for George's ground-breaking "used universe" and the mythical unanswered questions (Jedi, Clone Wars, why there is no underwear in space). Edwards delivers a gloriously dirty reality, but the committee let the movie down by interrupting him, and providing us with too many answers to questions we didn't ask. A Star Wars movie doesn't require title cards to tell the audience where we are, that's part of the charm. Drop us in and let us swim!
Passengers
What’s it about?
When a spaceship malfunctions, two passengers on a 120-year voyage to a new home planet wake up from their sleep state 90 years too early.
What did we think?
Elizabeth Best says: Take a sci-fi flick, throw in some romance, a few major (and kind of messed up) ethical dilemmas, and a healthy dose of tension and you have a movie that will almost certainly promote robust discussion of that “what would you do?” variety after the credits roll. In what seems to be a trend in movies these days, the trailer for Passengers is a little misleading. Without spoiling things, the premise of this movie is a LOT darker than we are led to believe.
La La Land
What’s it about?
An aspiring actress (Emma Stone) and a jazz musician (Ryan Gosling) meet and fall in love in Los Angeles, musical style.
What did we think?
Elizabeth Best says: La La Land is simultaneously a loving homage to the golden age of cinema and completely uncharted filmic territory; nostalgic and new all at once. It delivers the feelings of falling in love in a heady, melodic rush that’s absolutely captivating. It channels films such as Singin’ in the Rain and An American in Paris while navigating the modern pitfalls of romance. But it’s so caught up in the quirky and magical “newness” of its concept that towards the middle it seems to rely solely on that. Unfortunately, this means the pacing feels at odds with the gloriousness of the rest of the film. But the magic returns for a finale guaranteed to take your breath away.
Collateral Beauty
What’s it about?
An advertising executive (Will Smith) totally shuts down when tragedy strikes. His “concerned” friends (Kate Winslet, Edward Norton, Michael Pena) try to help when he starts questioning the universe and writing letters to the concept of Time, Death and Love.
What did we think?
Elizabeth Best says: The intriguing trailer for this film is a lie. The concept, so artfully set up in the preview, is destroyed minutes into the film, creating a jarring effect that leaves a bitter, mean-spirited aftertaste. Collateral Beauty is emotionally manipulative, and seems to be created specifically to tug so fucking hard on heartstrings that it makes some kind of discordant non-musical cacophony of awfulness. It’s a movie purely about emotions that feels like it was made by someone who doesn’t understand how to human AT ALL. It gets two stars for what I thought the concept was, and the rest of the three taken off for what the actual movie robbed me of.