A Quiet Place film review Chris Hembury

A Quiet Place ****

Real life Couple Emily Blunt and John Korsinski, who also writes and Directs star in the quietest horrors you’ll see all year… A Quiet Place.
In the not so distant future the world has been overrun by monsters that use noise to hunt and kill. In the midst of this nightmarish world a family are trying to survive.

That’s basically the story, there’s no overruling goal or MacGuffin it’s gently paced mature Horror that works harder than most others in the genre to deliver this fresh narrative spin. Not unlike Don’t Breathe where teenagers had to evade a blind killer here it’s a filmmaking experiment of making noise scary and it works.

In a world that any noise could mean your sudden gruesome death you know A Quiet Place

may be a quiet film but that’s trick the silence is almost intermittently erupted into a multitude of jump scares that keep things from getting dull. The jump scare tradition has become a bit of a Hollywood reliance where as here I think the film could have got away without based on the strong script.

The script (which nearly joined the Cloverfield universe apparently in it’s original pitch) was also co written by Krasinski it keeps things tight and has some nice horror moments and a very good third act ties things up. The attention to detail with the monsters is also well done as they are genuinely gruesome and not something you want meet in an ally.

The film starts with a shock which sets the tone making it apparent that anyone could be for monster lunch which keeps tensions high. Potentially the three writers behind this may have social services checking on them after watching the film as the children are really put through the mill from word go from peril to peril. And with Emily Blunt’s Character heavily pregnant a prime target there’s really no end to the danger with the stakes high.

The story focuses on the human survival element entirely with very little on the background of the story in other films it works well but here it almost feels like a loose end aside from the odd newspaper clippings we have don’t get much information on the origins of the downfall of global society which seems incredibly vague. It’s also bewildering to conceive with the might of the world’s military technology that no one could make a good enough attempt to stop these creatures. It actually never ever pops up in conversation (Or should I say Sign language) what happened, how and where the human is heading which with such a high concept back story seems a little unrealistic.

These are little points within a film that ultimately is a great success which brings freshness and originality to the horror genre that should be celebrated and Krasinski has done that here with gentile and precise direction showing his skill behind the camera as well.

Ghost Stories Film Review by Chris Hembury

Ghost Stories **

A host of British Talent are getting their scare on in this Brit Ghost Flick.  

A investigator is summoned by a dying fellow professional to take over three cases that he could never solve during his career and convinced him of the existence of the paranormal.

The biggest problem for the film is the ghost stories aren’t actually that scary or memorable.  

 The film never really elevates past jumps or shocks that haven’t been much better executed in the likes of modern horrors like The Conjuring or stylish TV horror’s like Sky One’s TV series The Enfield Haunting .

This is a play adaption which explains the simplistic plot structure investigating three horror cases, each bigger than the last until a twisty ending. That in the Theater as originally intended would have been satisfying, this adapted for British Television could have been equally as successfully formatted.

 There simply doesn’t seem to be enough original groundbreaking content to elevate this above the massive horror competition out there.

Ghost Stories is no Exorcist or Blair Witch but in terms of Brit Horrors it’s neither The Wicker Man, 28 Days Later or The Woman In Black it fails to rise above the competition.

A good cast in particular Martin Freeman give their all but it’s not enough to raise the bar here with a twist ending that’s no Sixth Sense nor that satisfying to make the film that memorable.  

Ready Player One *****

In 2045 the world has become cramped with people living in mass slums but there is an alternative to the depressing reality called The Oasis a virtual reality where you can be or do whatever you want.

The creator of The Oasis has passed away and in his wake left three keys in the virtual reality that can be obtained by winning games and solving glues. Once someone has all three keys The Oasis will be there’s to control and run.

An epic battle ensues between a large corporate ruthless company and a young player from the slums to win the game and save The Oasis.

The story and characters are engaging and sfx wise you truly do not get much more cinematic than Ready Player One. If you are only to watch one film in the cinema this month catch this.

If there was such thing as Spielberg Magical Glitter it’s been poured all over the screen bringing fantasy, comedy, adventure and excitement into a futuristic action film that oozes 80s nostalgia in a truly joyous way.   

In fact the way the film draws so many references from the 80s and incorporates them into the story is remarkable effective vibe to the coolness of driving the DeLorean from Back to the Future to scary interaction from The Shining one of the craziest sequences. 

Original, epic and Spielberg who’s about to become is own genre.  

Mom and Dad Review by Chris Hembury

Mom and Dad **

Nicolas Cage and Selma Blair star in this deeply dark Black Comedy about a wide spread epidemic that causes parents to murder their children.

The film moves round themes starting with zombie style like spread set up that builds tensions, then relocates to a simple horror house set up, then zig zags into a middle age melodrama then back to horror.

The parents trying to kill their loving children is a darkly bizarre comedic exercise that is so crazy it provides originality to the format but the film also provides touching black flashes indicating that real life unconscious resentment and mid life depression of missed opportunities.

One thing is certain Nicolas Cage acting in this resembles that of a untied balloon zooming across the room in any and every direction with no restraint, rhythm or coordination. The saving grace is it fits the film but still this is lunacy acting to bizarre new heights.          

The back flashes are tender to a point and start to mold the story to a deeper level but the script ultimately doesn’t land all the punches or really land a decent outcome worthy of the set up. 

Red Sparrow Film Review Chris Hembury

Red Sparrow ***

Jennifer Lawrence stars as the Russian Dancer forced into the spy world and most undergo the ruthless training to become a Red Sparrow.

Red Sparrow is similar to Spectre in terms both are very big full blockbusters, Spectre felt like it was based on book and could have used a good hour chopping off. Red Sparrow however was based a book and very loyally adapted for the screen which does create a long running time but certainly fits in a considerable amount.

In order to become a Red Sparrow the training is intense, demanding and requires using your body as a tool for seduction of whatever sex to psychological and psychically infiltrate your target.    

Jennifer Lawrence gives her all in the physical intensive part showing her skills as a actress and reconfirming her popularity as the face of this Blockbuster.

It’s a film of two halves which the first a origin story of her rise from dancer to hard core spy and the second is the mission that drives the story as she most dig out a American spy to find a Russian Mole whilst trying to escape her own new life she’s been forced into.

The attention to detail is nice in the film but the run time is some what of a slog dragging the plot in many different directions but a very tidy finale with twists and turns neatens the proceedings leaving you with a satisfying conclusion to the film. 

I, Tonya *** Film Review Chris Hembury

I, Tonya ***

I, Tonya tells the true life story of the American Ice Skating champion Tonya Harding, her raise to fame and her downfall.

The film is really, proudly and unapologetically true grit story telling. Tonya Harding (Margot Robbie) is a product of her environment and that environment is toxic because of the hard hitting, abusive, chain smoking, drinking Mother (Allison Janney) who’ll stop at nothing to push her daughter into becoming a ice skating champion.

The film told in flash forward interviews inter cut with the back story of Harding’s whole life is directed with huge amounts of energy and passion keeping the scenes flowing seamlessly in a ambitious stylized cinematic effort that pays off.

The performances are really career bests from the lead Margot Robbie who lives and breathes her part moving through various moods, emotions, hardships, confusions, time lines and issues handling all this with ease captivating a world of emotion through her face as if it was a second language.

Allison Janney almost scene steals every frame chewing up her foul stinking dialogue of this detestable Mother and gives a performance that should see her walk off with a Supporting Oscar this year.

The film provides great retelling of a event of 90s that most of the new generation would have totally been oblivious to and gives traumatic and very often comedic insight into a story that’s hard to believe but that’s what makes it great entertainment.

The film is truly loyal to series of events that really happened but in consequence the film’s narrative struggles in the third act with a concluding a story structure which instead has the free flowing nature of a true life story that isn’t going to have the same predesignated story beats that ultimately complete a neat payoff.

Hard hitting story, acting and directing produce a loyal account to crazy real life event worth witnessing to believe, with Robbie proving she’s a leading actress on the road to greatness.  

Finding Your Feet **** Film Review Chris Hembury

Finding Your Feet ****

Finding Your Feet is British Romantic Comedy Drama telling a mature love story of life, starting again and discovering yourself.

The story see Lady Abbot a high class socialite who discovers that her Husband of 34 years has been having a on going affair and is forced to stay with her free spirited poor sister.

The film delivers on all sides of it’s mixed genre format perfectly blending the comedy the romance and a healthy dose of Drama that cements the story and various points is spot on.

The rarity of a mature Rom Com being made is totally capitalized on by the amazing array of talent they have in the cast. Everyone involved smashes their lines and relishes the scenes which they most know do not come along that often in the mainstream for their age.

Imelda Staunton and Celia Imrie as the sisters work very well together whether they are arguing, bonding or crying there is a chemistry that hits the screen.  

Timothy Spall as a leading love interest is not something ever associated with the actor and yet fits the part superbly gritty, heart felt, comedic and tender.  

The first hour shoots bye with a well paced scripted story that delivers not only the laughs but the dramatic moments as well.

The care that has gone into the characters is refreshing with almost everyone having a back story, with them all being tragic with works in contrast to the happiness they put out.

There’s a slight halt in pace at the mid way point which is not long lasting and replaced with tidy third act that delivers a beautiful story that should leave the audience with a smile.    

A love story that looks at life with a such a over view it begs the question of not just love but the meaning of happiness that only occurs in such overview until older years. To pull off that maturity in the Romantic Comedy genre whilst still hitting all the right beats is a real achievement and a wonderful additional to famous British Rom Com collection.  

Phantom Thread **

Paul Thomas Anderson and Daniel Day Lewis reunite after the intense There Will Be Blood with Phantom Thread.

Phantom Thread is a psychological Drama about a emotional dysfunctional highly regarded dressmaker Woodcock (Day Lewis) who after he dispatches his current girlfriend begins a new romance of kinds with a waitress he just met Alma.

Woodcock is basically a emotional crippled highly sensitive perfectionist who catching him smiling is about as often as the full moon who can make life for those around him pleasant or painful.

Women are drawn into his life as his muse as he make dresses for them and they become the face of his label but they all fall under the hammer once his interest or patience runs out which is frequently.

Woodcock regards little or no need for the permanence of Love treating his girlfriends coldly and like staff even telling Alma at one point the painfully obvious “If you don’t like it, fuck off to where you came from” yes no quite Romeo but point made. Alma however is going to try to break Woodcock and get into his life whatever the cost.

Loyalty to the script is paramount with the direction painfully slow and purposefully dated, it looks as through this could have been made decades earlier in the directorial style employed here. This helps the style but certainly not the pace which moves with the urgency of a snail. We are here to engage with every single character trait exposed at every single point.

It’s effectively a punishing watch to get through, much like Silence was but Silence pulled it off where as here unless your hardened fan or have the patience of a saint this film will deliver a outcome that may require repeated viewings I was told I understood it in one and one was enough.

Day Lewis puts his all into his role but after Gangs Of New York and There Will Be Blood it’s a shame this performance will be his rumored last in a love or hate film that may be interesting in a film study class in a University classroom or in film journalist coffee room but to the average viewer this film will be hard painful work like making a wedding dress. 

Film Stars Don’t Die In Liverpool ****

Fantastic Anette Benning and Jamie Bell hand in powerhouse performances in this emotional packed true life Drama.

 

Jamie Bell plays the struggling actor who becomes romantically involved with Annette Benning’s former Hollywood star twice his age.

The film adapted from a book based on the real event captivates in it’s bitter originality of such a unlikely romance occurring in such unlikely of circumstances and directed with elegance.

The unlikely romance begins and true story of love unfolds in the rarest of kinds from Hollywood bold, sad, honest and with sterling performances from all involved.

That cast by the way happens to include Stephen Graham, Julie Waters and Vanessa Redgrave who all hit their parts hard adding to the nice ensemble.

Benning really does give it her all in career best that unfortunately has occurred the same year as 3 Billboards otherwise an Oscar for Benning’s work could well have been guaranteed. Meeting her every step of the way is Bell who not since Billy Elliot has worn his heart on his sleeve with his every emotion captivated across his face we feel every aspect of character’s emotion just looking at him.  

Whilst Graham and Redgrave are some what underused they still make the most of their scenes but it’s Waters who has the most lines from the supporting cast and hits them all. 

Kenneth Granham plays the quiet spoken Father, who hands in a underrated performance with sadness, humor and ultimately a moral compass for the film. This is summarized in touching little scene in the pub with his son where the full complexity of the situation is captivated through a full array of emotions and thought process. Certainly the casting director can raise a class of champagne as the right actors were assembled for the right tasks here.      

The story unfolds at a nice pace and utilized a change of perspective in the third act effectively to pull on the heartstrings and add to the tragedy of circumstance.

In many viewers the dark subject matter at times will become a little too heavy for some to enjoy with a depressing tone as romantic comedy this is not.

This is not easy watching or for the casual viewer but if you do invest you will come away with a story that captivates the emotions from such unlikely of origins of human attraction and love from a multitude of angles and emotions. 

The 15:17 To Paris ** 

Hot off Sully Director Clint Eastwood returns to the true story big screen adaption genre with The 15:17 To Paris the true story of the foiled terrorist attack on a train heading to Paris by three Americans.

It sounds great on paper, with Clint’s CV as well what could go wrong? Well the problem is that is does unfortunately.

Clint’s riskiest choice was to cast the real life people in the film as themselves. Its sounds bizarre but in an attempt to reach real life accuracy Clint changed them from consultants to actors or both I suppose technically.

The real problem is they are heroes yes but actors no and unfortunately no matter how hard they all try, they never actually reach a point of true naturalism or fit that comfortably into the roles of themselves.      

A reinforcement of this point was when I saw all three stars a Talk Show where they all seemed relaxed happy and different to the onscreen personas. So if the film versions still weren’t a true version of them it doesn’t seem a move worth the risk really and certainly didn’t make my day Clint.  

Spencer even asked Eastwood whether they should have acting lessons, which Clint declined wanting it just be natural.  However it doesn’t appear to be natural, how could it be reenacting your life in front of a camera is not a natural thing to do, were not all Kardashians you know Mr Eastwood. 

Then the back story which perhaps starts with relevance slowly differs in and out of the point, finishing on something that resembles a tourist promotion video rather than a thriller or drama or whatever.

The most useful part of the back flash was establishing what a flawed character Spencer is. The amount of failure he has in his life building to the vital moment of the train but it’s kind of white washed amongst such absolute non relevant sequences selfies, wine sipping, walking during their European travels. It almost seems like an attempt to simply boost the running time. It’s almost the equivalent of seeing Sully taking a shit the morning he landed on the Hudson. Yes maybe it is historically accurate, but does that make it pulse racing entertainment? I find it definitively unlikely.  

 

In Sully the inciting incident is short but it shown from different perspectives, different emotions built up and revealed.

Instead of filling the running time with such non relevant, interesting scenes before the train why didn’t they show (like Sully) what happens afterwards to beef out the story? We could have seen the parent’s reactions, the ill judging Head Teacher’s reaction, the Military’s reaction? The vindication of being a hero after years of negativity would have been a rewarding pay off.

What did the boys do next wit their hero status? They became stars. They talked a Hollywood Director into making there film! There lives were changed! Do we see that? No, we see scenes of them drinking flat beer in Dam instead, damn indeed. 

This film seems rushed into production and as a result the script lacks a more interesting narrative and when linked to such a interesting amazing story it’s a accomplishment in their own right how they got it so misjudged. 

A great idea misjudged none the less that does deflect from the amazing actions of bravery from tourists who did prevent a potentially massive disaster.  

Fifty Shades Freed **

The third and final part of the fifty shades trilogy has arrived!

Finally the Climax is here (see what those witty marketing department execs did there) in Fifty Shades Freed.

Each film usually jumps straight into action (not that type of action) with Freed no exception so the opening credits begin over Christian and Anastasia getting married. Then the honeymoon of a life time begins no not your standard Benidorm weekender the happy couple embark on a round the world trip. 

The first peril that beseeches our happy couple is Anastasia wanting sunbath without a bikini on a semi naked beach where no one is wearing a bikini at this point Billionaire Christian must thinking “Mo money, Mo problems”.  

Fear not make up sex can not be far away only to be interrupted by trouble back at the office with someone breaking into Christian’s computers and sabotaging. The culprit is none other than Jack Hyde Anna’s cruel boss from the previous film who has a dark vendetta against the Christian!

You may have gathered I may not be taking this review all that seriously but seriously that’s the key to enjoying this film. The minute to spend a second taking it in on a serious note your going to have problems. 

There gaping holes of logic for one that really require us to just shut down and follow the beats of the film (Or in this motion picture case abbs, cheekbones and breasts)

Then some of dialogue is a little frowning in terms of Anna telling Christian he is “Honorable man” which yes is a compliment and sweet but let’s be serious he still beats birds in his red room and tips ice cream down her privates so perhaps he won’t be nominated for Pride Of Britain Award this year. 

However there is some funny writing (perhaps we could have used more of) involving security trying to restrain someone and ask Anna if she has anything they could use, with the red faced response she might have cuffs. 

The other aspect about the film is notorious reputation of the sex. It’s the sex which is the selling point. It’s the sex that has the groups of girls queuing up with their mates for their fun night out. But all in all it’s really quite tame. Not just tame it really doesn’t go for it when in terms of a trilogy surely there is an escalation to make each film bigger than the last. An opportunity to make it the riskiest one yet is not capitalized on here. 

Like some sexual endeavors this might feel like anti climax for the amount of work put in but a climax none the less, that at least ties up the franchise securely like the cuffs from the red room. 

Let us all just hope with their rampant sex life, good looks and billions of dollars the couple finally find some glimmer of ever lasting happiness. 

Den Of Thieves ****

A modern day heist movie thriller that sees a gang of ex soldiers turned bank robbers hunted by renegade corrupt cops whilst they attempt the ultimate heist of robbing the Federal Reserve. 

A two hours four minute run time does ask the question of how that time is going to be filled in a genre that has been done time and time again.

Den Of Thieves plays well into the format and offers many twists and thrills in a film that Is trying desperately hit above it’s weight. 

The film which is going to be compared on some level to great Heist genre films like Heat does attempt to stray into it’s own unique territory. 

The first element that provides uniqueness in this story is it’s totally unknown who we really are rooting for if anyone. We have the cop killing bank robbers on one side and corrupt torturing cops on the other. 

In fact as the film reaches its climatic shoot out it’s debatable who you want to win? By definition alone it has to go to the police surely but frankly with characters this faulted it’s hard to know. 

Talking of which it’s a pleasure to see Gerard Butler after years of hollow pay check roles in Geo Storm or London Has Fallen, and let’s not forget (No matter how much the therapy cost) Gods Of Egypt that here he actually hands a great performance of a haggard, drink abusing, suspect abusing, wife abusing, hard as nails corrupt sheriff.

He plays it well and unlike other 90% of characters we explore his personal life of which is a complete disaster. In fact it makes it obvious his only ambition to succeed to derived from the fact his no good at doing anything else nor has anything else to do. 

The bank robbers on the other hand it’s hard to really sympathize with any after the opening sequence sees them kill half a dozen cops and security men just doing their jobs. 

This however is the uniqueness of it all the real life aspect of trying to separate good from bad or bad and worse well you get the idea. 

The film offers twists in the tale that one point play out the genre beat by beat then start providing alternate beats to misdirect then back on the main plot. 

Being a LA Heist Movie and being in the same genre as Heat which was which contained a epic climatic shoot out you know Den Of Thieves is going to try and give it a run for it money and surely its does.

The build up to the shoot out is thrilling and with characters as flawed as these you have no idea who’s for the fatal bullet. 

A final Ocean’s 11 sequence near the end breaks the tone of the overall film but still its faults, mini plot holes etc are forgiven with a ambitious thriller that tries harder than most.