Review Category: Movie

DIRECTORS: ADIL EL ARBI, BILALL FALLAH | SCREENPLAY: CHRIS BREMNER, PETER CRAIG, JOE CARNAHAN | STARRING: WILL SMITH, MARTIN LAWRENCE, VANESSA HUDGENS, ALEXANDER LUDWIG | RELEASE DATE: OUT NOW

This is a very surprising release for early January, traditionally a dead space in the film release calendar. Bad Boys for Life has all the hallmarks of a big summer blockbuster, which in reality it is. 

While easily dismissed as throwaway Lethal Weapon wannabe buddy cop movies, the Bad Boys films have carved their own niche in that genre with their mix of fast humour at the hands of likeable stars Will Smith and Martin Lawrence. But nothing lasts forever, and family man and new grandfather Marcus (Lawrence) has decided it’s time to retire to a quieter, safer life. Mike (Smith) has other plans and wants to continue his womanising, fast driving, sharp suit-wearing, bad guy shooting lifestyle. 

It’s no surprise that they’ll get back together for one last case, otherwise there wouldn’t be a film – but the stakes are higher than they’ve ever been for our crime-busting dynamic duo as there’s a new hitman with his sights firmly on Mike. 

Despite being the third film in the series, the formula, though cliched at times, still works. It’s good to see the Boys back in action in a crowd pleasingly loud, brash slice of escapism. They’re older, no wiser and they still manage to commit vast swathes of property damage both in Mexico City and Miami on what might be their last outing. The box office take will ultimately have the final say on that though, and at the time of writing it’s already looking likely that the Bad Boys will ride again! 

I SCREAM ON THE BEACH! / CERT: TBC / DIRECTOR & SCREENPLAY: ALEXANDER CHURCHYARD, MICHAEL HOLIDAY / STARRING: HANNAH PATERSON, DANI THOMPSON, REIS DANIEL, JAMIE EVANS / RELEASE DATE: TBC

Many low budget films use techniques to hide the lack of funds. It could be utilising shaky cam found footage or going all-out on parody as if to say ‘we’re deliberately being crap’. I Scream on the Beach! uses a little of the second style – adding in a retro VHS feel too – but actually winds up doing a pretty decent job.

Emily (Paterson) has never gotten over the disappearance of her father, and when a string of murders begin happening in her sleepy seaside village, she’s determined to get to the bottom of why he vanished. Meanwhile, the ineffective cops (led by Martin W. Payne and Will Jones) are leaving all the proper police work to Detective Kincaid (Leigh Trifari) and the locals are spending most of their time down the pub planning their Halloween viewing.

I Scream on the Beach! is presented as though we’re watching a VHS tape from the ‘80s, complete with tracking marks, glitches, badly transferred colour, and even trailers before the movie. These gimmicks aside, it’s actually not a terrible film. There are moments, certainly in the dialogue and miss-synched dubbing, in which you feel the filmmakers are trying a little too hard to be deliberately ‘bad’, but go beyond this and the story stands up. The cast are clearly having fun, and that translates to the viewer, and you surprisingly find yourself warming to them.

The plot is unexpectedly engaging, although there is a twist that comes out of nowhere and unleashes the movie’s inner Troma (well, with Uncle Lloyd Kaufman cameoing, it’s hard not to expect the studio’s influence to the directors). As in often the case, many of the gags fall as flat as the puny title, and the ‘VHS effect’ gets a bit wearing as the film goes on, but there are enough amusing moments to make it worth your while.

DIRECTOR: TROY QUANE, NICK BRUNO / SCREENPLAY: BRAD COPELAND, LLOYD TAYLOR / STARRING: WILL SMITH, TOM HOLLAND, KAREN GILLAN, RASHIDA JONES, BEN MENDELSOHN, DJ KHALED / RELEASE DATE: OUT NOW

Will Smith and Tom Holland team up to save the world in the surprisingly hilarious Spies in Disguise.

With many animated comedies, one would predict that the main target audience would be adolescents or even younger resulting in a sub-par, lacklustre attempt at pandering to said audience – however, Spies in Disguise bucks that trend and is unexpectedly well written with jokes that land with all ages and all-round great voice acting from its stellar all-star cast.

Lance Sterling (Smith) is the world’s greatest super-spy and after his agency discovers that someone that looks like him has committed treason, he must turn to Walter Beckett (Holland) a “weird” kid who specialises in science and wacky gadgets, unlike the usual ones a spy would use. The two unlikely partners must work together to prove Sterling’s innocence and stop the evil Killian (Mendelsohn) by going undercover… as a pigeon. The story, which is based on the short animated film, Pigeon: Impossible, is nothing entirely new as it borrows the usual tropes of spy thrillers such as James Bond and Mission: Impossible from its gadgets to the classic one-liners – but what it does with these cliches is what makes it stand out.

Directors Troy Quane and Nick Bruno knew exactly what they wanted to make – a satire with a strong message of the positives of teamwork and friendship. The relationship between Sterling and Beckett is strengthed by the performances of Smith and Holland which, even though recorded separately, felt like they were in the same room with electrifying chemistry. Beckett’s backstory of wanting to be accepted and save the world is arguably the backbone of the film and firmly placed the audience on his side from the very beginning.

As for the comedy, we found ourselves constantly cackling throughout the almost two-hour runtime which just flew by. From the unique take on the quips (with Beckett referring to himself as Bond, Hydrogen Bond) to the film and characters being self-aware and laughing at their situations, everything fell into place to create an entirely enjoyable experience which felt welcome and refreshing. The only real negative is that the narrative is something we’ve seen before and did feel predictable in places – but the comedy and performances more than makeup for that in spades.

Expected Rating: 6 out of 10

DIRECTOR: TAIKA WAITITI | SCREENPLAY: TAIKA WAITITI | CAST: ROMAN GRIFFIN DAVIS | THOMASIN MCKENZIE, SCARLETT JOHANSSON, TAIKA WAITITI | RELEASE DATE: OUT NOW

Nazi humour isn’t an easy thing to do well. Casting yourself as a buffoonish Hitler in your own film, which also happens to employ Nazi humour and asking an audience to empathise with a Nazi, might just be madness. And yet, who else would ever attempt this feat than Thor: Ragnarok and What We Do in the Shadows director/actor Taika Waititi? 

To be a fly on the wall when Jojo Rabbit was pitched to investors… It is true that filmmakers as venerated as Charlie Chaplin (The Great Dictator, 1940) and Ernst Lubitsch (To Be or Not to Be, 1942) have successfully blended humour with the Third Reich, even continuing to be lauded after 1945 when the horrifying realities of concentration camps were laid bare to the world. Now, within the context of rising neo-Nazism and popular far-right politics, to ask an audience to open their hearts to a Hitler-loving child is not an easy sell. Yet Waititi’s strangely quaint and openhearted black comedy waltzes onto the screen as though without a care. 

Jojo Rabbit stars Roman Griffin Davis in an astonishing debut as protagonist Johannes ‘Jojo’ Betzler, an adorable 10-year-old with a mop of blond curls and huge, puppy dog eyes. Slight downside, his best friend is an imaginary, rather camp Hitler (Waititi, of course) and his life’s dream is to meet Der Führer. His mother Rosie (Johansson) on the other hand, though she wouldn’t dare voice it, fails to share in Jojo’s enthusiasm. She tries her best to quietly challenge his views, taking him past a group of men and women who’ve been hanged and displayed in the town square – we only see their dangling feet, for Waititi insists on keeping graphic horror out of frame – and forcing him to look; flinching, Jojo asks what these people had done. “What they could,” she says. 

The real extent of Rosie’s opposition reveals itself gradually both to the viewer and to her son. She too is doing what she can, which means harbouring a Jewish girl, Elsa (McKenzie) in their attic for the Resistance. It is when Jojo stumbles upon Elsa’s hiding space that his entire worldview begins to collapse on itself. A Jew who doesn’t have horns, or a tail, or evil powers? Faced with the reality of what he’s been taught to fear and despise, Jojo begins to question all he thought he knew, and all he thought he wanted.

Presenting the story through a child’s eyes makes for the perfect canvas on which to effectively blend goofy humour with a chilling recognition of true horrors, and moments of tenderness and deep sincerity. And while some have (and more undoubtedly will) expressed concern that the slapstick portrayal of Nazis makes light of one of humanity’s darkest moments, others will agree that this is what makes Jojo Rabbit a great satire. The screenplay gives our heroes the complexity and empathy they deserve, while the villains are denied any narrative weight. Waititi isn’t here to give Nazis a platform. 

What he is here to do is present a truly affecting account of a child’s moral evolution. Jojo Rabbit simultaneously doesn’t give a shit and cares very, very much. It’s funny and irreverent yet respectful of the narrative context and incredibly affecting. The end scenes might let it down a little by being too comfortable but at the end of the day, whatever you think of this film, few can deny that Jojo shines like a beacon of hope and humanity, and who right now couldn’t use a bit more of that? 

DIRECTOR: MAKOTO SHINKAI | SCREENPLAY: MAKOTO SHINKAI | STARRING: KOTARO DAIGO, NANA MORI, TSUBASA HONDA, SHUN OGURI, SAKURA KIRYU | RELEASE DATE: JANUARY 17TH

A runaway boy. A sunshine girl. A stunning tale of young love against the elements. Legendary Japanese director Makoto Shinkai is back! After releasing the worldwide smash hit romance anime Your Name in 2016, Shinkai now brings audiences another remarkable story of finding love amongst your darkest days and not letting anything get in the way of your destiny.

Even though Tokyo, the shining metropolis of Japan, is consistently plagued by torrential downpours, a young boy named Hodaka (Daigo) takes a massive leap and runs away from his home to journey to the capital. During his treacherous travels aboard a ferry in a violent storm, he meets the father-like figure Keisuke (Oguri) who offers him assistance if he ever needs it. After struggling to get by, Hodaka ends up working with Keisuke before our protagonist becomes a hero and meets Hina (Mori), a kind-hearted soul who possesses a magnificent power – she can alter the weather. There, a relationship begins to blossom as Hodaka and Hina, along with her younger brother Nagi, venture forth to use her ability for good and personal gain, offering their services to provide a clear day for the local civilian’s events. But, as is the case with most relationships, the two encounter many instances that will test the strength of their bond from the local law enforcement, to Mother Nature herself as the rain keeps on coming.

Romance and anime is a match made in heaven – through animation, a filmmaker can extend the boundaries of realism and expertly blend them with a dash of the fantastical with expansive worlds that come alive with the stroke of a brush. And that is exactly what Shinkai-san has accomplished with his latest string on his bow.

As with his previous works, the animation is simply astounding. The photorealistic land and cityscapes are a character of their very own and serve as much importance to the story as the living and breathing characters do. While Hodaka is discovering Tokyo for the first time, he is also unearthing his own hidden characteristics as he develops a bond with the mysterious Hina. Every shot is jaw-droppingly gorgeous; you could easily use any frame to hang it on your wall as a breathtaking talking piece.

Our protagonists Hodaka and Hina both possess truly captivating backstories and qualities that resonate on a deeply personal level with anyone of any age. The real-life and relatable story beats throughout, keeping you grounded in reality before you are whisked away on a magical journey to explore the tale through the eyes of these wonderful characters.

Another key aspect of the film that masterfully elevates it is the extraordinary score from RADWIMPS. After working with Shinkai-san on Your Name, the band completely understand his way of thinking, and offer another marvellous score that is both subtle yet grand and will floor you during the key scenes. It’s another soundtrack that can be listened to out of context and is guaranteed to bring those astonishing memories of our characters’ journey flooding back, opening the gates for plenty of tears (both of joy and sadness).

As the story progresses and our characters grow both physically and emotionally, it is clear to see that Shinkai-san wanted to tell a much more mature story than what he has previously attempted. Although Hodaka and Hina are only young, the growth that they have to endure in order to make sure that their relationship survives will offer countless examples of relatability for both young and old members of the audience. For the youngsters, the astounding visuals and catchy music take them on one hell of a journey, while the adults can easily see some of their own traits within the leads throughout the runtime.

For most filmmakers, replicating the ‘lightning in a bottle’ effect from a previous standout title can be a difficult and near-impossible task, but Shinkai-san has proved once again why he is the most talented anime director working today. Weathering with You recaptures everything audiences loved about Your Name – it’s emotional, funny, truly heartwarming, and will have you in floods of tears. Brought to life by his unrivalled attention to detail when crafting a gorgeous visceral world along with a beautiful score, Weathering with You is an absolute masterpiece.

DIRECTOR: BONG JOON-HO | SCREENPLAY: BONG JOON-HO, HAN JIN-WON | STARRING: SONG KANG-HO, LEE SUN-KYUN, CHO YEO-JEONG, CHOI WOO-SHIK, PARK SO-DAM | RELEASE DATE: FEBRUARY 7TH

After seven months of praise following its Palme D’Or win at Cannes, Bong Joon-ho’s enthralling near-masterpiece Parasite is finally released in UK cinemas. Co-written with Jim Won-Han, the Okja and Snowpiercer director’s latest soars as both a black comedy, family drama and post-modern Hitchcock hat-tip, yet is replete with themes which surreally reinforce its subtexts and story with social relevance.

The Seoul-set tale starts with a shot of wet socks drying but swiftly turns exciting after introducing the Kims: a struggling family who fold pizza boxes for a living in their foetid and cramped semi-basement apartment. The four quibble and bicker while stretching for free WiFi signals to connect to the outside world. Father Ki-taek (Song Kang-ho) schemes while mum Chung-sook (Hye-jin Yang) fends for daughter Ki-jung (Park So-dam) and son Ki-woo (Choi woo-sik). A latent end to the Kim’s hardship arises when a college friend of Ki-woo offers him a job teaching English to student Da-hye Park (Jung Ziso) in her affluent family’s home. Ki-woo takes the job, then starts creating employment opportunities for the rest of his family. One by one, while posing as unrelated people, the Kims are appointed positions in the Park home, led by avaricious husband/father Dong-ik (Sun-kyun Lee) and wife/mother Yeon-kyo (Yeo-jeong Jo).

On paper, Parasite’s set up reads like the kind of hackneyed Hollywood silage excreted into life on a studio conveyer belt, but is crafted with artistry via Bong Joon-ho’s striking pen and eye, then adorned further by Production Designer Lee Ha Jun, who constructed both the Park and Kim homes on spectacularly elaborate soundstages. A playful tone is established prior to the plot curtailing from high-concept comedy into a riveting thriller, by way of family drama punctuated with black comedy, and occasionally sharp violence which dallies into slapstick. After a seemingly predictable plot path is established, characters get duped, the comedy re-emerges darker and gears shift, twisting Parasite out of its commercial forage into a subversive Hitchcockian tale of secrets, subterfuge and ulterior motives.

Bolstered by proficient performances of pleasant characters, a slow (to start with) yet engrossing plot, tight (where needed) editing and exemplar direction, Parasite resounds as so much more than the genre mending potboiler it could have been if it had landed in the hands of a hack. The script’s not totally taut, but themes linking social statuses and class clashes are plaited to issues of nepotism and cronyism which fire a story that glides before rising via fascinating style shifts, all the while fudging tentpoles.

Plot/character twists and complex dynamics make Bong Joon-ho’s latest bud into a multifaceted masterwork that’s irrefutably matchless. At 2 hours and 12 minutes, it’s a smidge too long, but it’s predominantly exciting, striking, hilarious, and has a heart.

A possible paranormal presence is teased, while suspense and restrained horror also manifest via Audition and Psycho-style story turns. However, later act character arcs linked to these aren’t seeded enough to seem feasible. But the Kims’ heart and humour are elegantly fused with the sense of foreboding to shape an otherworldly, prescient and prevailing tale and style that’s totally timeless and indisputably Bong Joon-ho’s.