Review Category: Movie

DIRECTOR: J.J. ABRAMS | SCREENPLAY: CHRIS TERRIO, J.J. ABRAMS | STARRING: CARRIE FISHER, DAISY RIDLEY, JOHN BOYEGA, ADAM DRIVER, OSCAR ISAAC | RELEASE DATE: OUT NOW

“Long have I waited…” as Palpatine says, and indeed forty-two years, eight main films and two spin-offs later, it’s time to lay the Skywalker saga to rest. Star Wars movies have an uncanny ability to polarise fans like no other franchise. Sometimes it seems that Star Wars, along with Doctor Who, are the main targets of what has become known as toxic fandom due to the passionate negativity they seem to generate. And this film will be no different.

From the scene immediately following John Williams’ proud fanfare and the usual title crawl, The Rise of Skywalker barely pauses for breath, getting straight to work with a dazzling mix of visual brilliance, stunning action sequences and good-natured humour that immediately establishes this as a Star Wars film in the classic style. There’s a lot to unpack here, which is essentially J.J. Abrams’ Christmas gift to the Star Wars faithful, showing us just how much had already been foreshadowed in the two earlier entries in the trilogy, and leaves us with a proper closure to all nine with no threads left hanging. 

We’re told in the opening crawl that Palpatine’s voice has been heard, and both sides, good and evil are in a desperate race to locate him. The returning Ian McDiarmid is absolutely on top form here. His Palpatine is truly the stuff of nightmares, his every slight gesture oozes cancerous, corrupting evil, every line delivered with a relish that drips with menace. The last quarter of the film channels scenes from Return of the Jedi – but within the plot narrative, it’s entirely appropriate and veers off on a tangent of its own to bring the saga to a conclusion that’s satisfyingly perfect, with a plot twist revelation that will rival Darth Vader’s shock announcement in The Empire Strikes Back. 

Carrie Fisher, we’re told, appears in the film thanks to some unused footage left over from The Force Awakens – but frankly, you would swear that the late actress had been on the set of The Rise of Skywalker. Thanks to the digital sorcery of Industrial Light & Magic, Leia’s appearances in this film are largely seamless (a flashback sequence with a younger CGI version of the character being the exception). Ultimately, Princess Leia is given the send-off the character so richly deserves.

Of course, it wouldn’t be a Star Wars film without the usual tropes which fans look out for, so yes, we do hear that a character “has a bad feeling about this” there’s the odd “utini”, and there’s an adorable new character for the toy market in D-O, a droid with social anxiety. But most of all, it gives full rein to the further fleshing out of the central characters of Rey, Finn, Poe, and Kylo Ren, while also giving an opportunity to several of the older characters to say their proper farewells, some in voiceovers, others in person – again with at least one major surprise that will warm even the most hardened heart. It also finally gives Anthony Daniels some meat to work with as C-3PO; our favourite protocol droid having been reduced to a cameo in this trilogy until now. The full comic range and pathos of the character is given ample opportunity to shine as the confused and befuddled droid suffers a memory wipe for the greater good. John Williams’ score alternates bombast with melancholy, using several themes we’ve heard before, again a sure-fire fan pleaser. 

J.J. Abrams has pulled off the seemingly impossible and delivered one of the best films of the year, with a final scene that couldn’t possibly be more perfect, bringing us a nostalgic echo of where it all started in 1977. 

CERT: 12A / DIRECTOR: JAKE KASDAN / SCREENPLAY: JAKE KASDAN, JEFF PINKNER, SCOTT ROSENBERG / STARRING: DWAYNE JOHNSON, KAREN GILLAN, JACK BLACK, KEVIN HART, AWKWAFINA, DANNY DEVITO, DANNY GLOVER, NICK JONAS / RELEASE DATE: DECEMBER 11TH

Some time has passed since Spencer, Martha, Bethany, and Fridge survived the treacherous game of Jumanji – but Spencer  (Alex Wolff), now living and studying in New York has drifted away from his friends and needs something to help him rediscover his bravery. So he turns to Dr Bravestone and ventures once more into the world of Jumanji, but this time, it’s The Next Level.

After the box office success of 2017’s reboot/sequel Jumanji: Welcome to the Jungle, Columbia Pictures has once again teamed up with director Jake Kasdan to bring us this sequel that isn’t entirely necessary, yet however, brings us back into this world to rejoin these incredibly likeable characters to witness more of their story. This time, we are introduced to Spencer’s grandfather, Eddie, portrayed by the ever hilarious Danny DeVito and his estranged business partner Milo (Danny Glover), who unwillingly are sucked into the game along with Fridge and Martha who are hellbent on saving Spencer – but this time, due to the game being damaged, they are unable to personally select their own avatars.

This is where the film excels and sets itself apart from its predecessor – we still have a similar format (complete the levels, escape the game), but this time, our main cast comprising of Johnson, Gillan, Black, and Hart are different people within their bodies. For example, instead of Kevin Hart (whose avatar name is Mouse Finbar) playing a teenage boy, he is now having to portray a softly spoken, confused Danny Glover, which provides a large portion of the laughs throughout the film. Along with the new ‘real-world’ characters, we have new ‘playable’ characters too including the cat-burglar Ming Fleetfoot (Awkwafina), who absolutely steals the show in this film having to embody a variety of personalities when the players discover a ‘character-swap’ mechanic. Every single member of the cast nails the delivery of their comedic material and, even though not every joke is necessarily funny, the performance of the actors makes it a laugh out loud moment – whether it be a one-liner or some physical comedy.

As previously mentioned, there are a lot of similar story beats, which is expected but that doesn’t make it any less enjoyable with plenty of laughs, over the top action sequences, and superb chemistry between each member of the cast, both new and old. Jumanji: The Next Level doesn’t quite catch the surprising ‘lightning in a bottle’ that the 2017 film accomplished, but still has enough juice in the tank to provide a solid two hours of entertainment suitable for all.

DIRECTOR: PAUL FEIG | SCREENPLAY: EMMA THOMPSON | STARRING: EMILIA CLARKE, HENRY GOLDING, EMMA THOMPSON, MICHELLE YEOH | RELEASE DATE: OUT NOW

Last Christmas completely understands the reservations you may have about buying a ticket to a movie based on George Michael’s seasonal earworm. From the opening scene, writer Emma Thompson and director Paul Feig set up all the Christmas film and rom-com tropes you’re expecting to see and proceed to take them somewhere new, often resulting in genuinely funny or poignant, real moments. We get it, you’ve heard it’s rubbish. You’ve heard wrong.

Emilia Clarke’s Kate is an extremely likeable mess from the start – an aspiring singer who can’t particularly sing, who’s been couch-surfing and torching friendships with her self-centred behaviour. She soon meets a handsome man (Golding) and begins a classic romantic comedy relationship with him, where he begins to show her the beauty there can be in everyday life if you notice it and are kind to those around you. This could certainly run the risk of being excessively cheesy, but we then learn of Kate’s recovery from a recent heart transplant from an organ donor (yeah that’s right, the heart they gave her ‘last Christmas’…), and the resulting trauma and complex feelings she has about hearing she’s ‘lucky to be alive’ all the time, giving this theme a real emotional resonance. The twist, and it’s a biggun, is a bold choice which really pays off and which may or may not have made STARBURST cry a little tear.

The relationships Kate has with those around her (including Thompson as her heavily accented Yugoslavian working-class mother and Michelle Yeoh as ‘Santa’, her boss from her job as a Christmas elf), are all unexpectedly complex, with each getting a compelling arc. Thompson’s script is packed with genuinely comedic moments – from the Taika Waitii-esque casual back and forth between a pair of policewomen investigating a break-in, to the standout cameos from Rob Delaney and Sue Perkins – there was rarely a joke that didn’t land. As Kate is a child of immigrants, the film also dares to deal with Brexit and issues of xenophobia in a surprisingly nuanced way. The characters and cast are remarkably diverse (shout out to casting directors Alice Searby and Fiona Wear for one of the most authentically inclusive casts we’ve seen in a long time), and even the use of the done-to-death ‘volunteering at a homeless shelter at Christmas’ trope works here, partly because the homeless characters and volunteers are so well rounded, and partly because the ‘spirit of Christmas’ message feels so earned. Its Rotten score may be at 47% at the time of going to press, but we had a quick chat with the guy who sold us our popcorn and he also “quite enjoyed it”, so that’s at least two positive recommendations you’ve got for the film now. Treat yourself!

 

DIRECTOR: ORSON OBLOWITZ / SCREENPLAY: COREY DESHON / STARRING: FAIRUZA BALK, JANEL PARRISH, ANGELA TRIMBUR, ZACH AVERY, JONATHAN HOWARD / RELEASE DATE: DECEMBER 16TH

Two couples who have rented a romantic getaway for the weekend have their festivities thwarted when a group of intruders invade the home in the quest to find something important to them in Hell is where the Home is.

Home invasion movies are a special breed of sub-genre within films. They can be combined with any other magnitude of sub-genres from comedy, thriller and, in this case, horror. Everyone can relate in someway being that the fear of having your home broken into is lodged firmly into our sub-conscience. So when a film of that ilk comes along, it manages to instantly resonate with its audience. In the case of Hell is where the Home is, the setting is instantly acknowledgeable but it falters with its less-than-friendly characters.

The two couples at the centre of this tale include Sarah (Trimbur) and her husband Joseph (Avery) and Estelle (Parrish) and her douchebag boyfriend Victor (Howard). The house that they have rented was found online and in order to spend some time away from the city, they set off to this incredibly expensive property that eventually turns into a nightmare scenario. Estelle and Victor are your typical carefree and egotistical couple who think that the world revolves around them and the only real feeling character is Sarah, who fortunately happens to be the protagonist of the story. Trimbur’s performance holds the piece together leading into the worthwhile final act.

With a runtime of 88 minutes, the first half of the film is less than inspiring – with the only glimpses of potential lurking in the opening and the strange visitor that visits the house as we tick over into act 2. From then on, the film begins to realise its true potential and ambition. Once the group of invaders eventually make an appearance, plot threads that seemed out of place in the first act begin to make sense and the tension and thrills come at you rapidly. The film’s cinematography is easily its strongest aspect with the second half being beautifully bathed in an Argento-esque glow of blues, greens and purple as the horror begins to unfold – think The Strangers meets Dario Argento.

Hell is where the Home is starts off incredibly slow with a run-of-the-mill setup and unlikeable characters but then all of a sudden changes into a thrilling beast in its final act with great cinematography and interesting twists that ultimately makes it a worthwhile watch when it hits VOD.

 

STARDOG AND TURBOCAT / CERT: U / DIRECTOR & SCREENPLAY: BEN SMITH / STARRING: LUKE EVANS, NICK FROST, GEMMA ARTERTON / RELEASE DATE: 6TH DECEMBER

British animation studio Red Star, which made its name with 3D and 4D animations for theme parks and other special attractions where children can be dazzled, makes its feature film debut with a solid superhero film that doesn’t stand out from the pack but will certainly entertain the little ones on a drizzly weekend.

It’s 1969 and we’re introduced to Buddy (Nick Frost), an excitable anthropomorphic dog who is being sent into space by his beloved owner, Dave. The craft malfunctions, mutating Buddy’s DNA; frozen in time, he crashes back to earth fifty years later, into a world where animals are persecuted by humans. He is saved by TurboCat (a charismatic Luke Evans), a Batman wannabe complete with gadgets and a robot butler (a perfectly cast Bill Nighy). Buddy wants to find his owner, so he and TurboCat team up with a band of misfit animals, including a militant goldfish and Gemma Arterton’s no nonsense rabbit, Cassidy. Calling themselves G.U.A.R.D, they’re all determined to take down animal-hating policeman, Peck, who wants to cage all the strays he encounters due to an injury his daughter suffered when she was a young child.

StarDog and TurboCat is a little low on jokes to start with and fails to grab your attention, but the animation is chunky and colourful, which will keep you invested until more characters are introduced and the plot develops. It slowly becomes clear that writer and director Ben Smith has put a lot of effort into creating a fun and sweet story that gives us a surprise villain, a nice call back to the 1960s, and keeps you guessing if and when Buddy will find Dave.

The move could certainly be more focused – there are a few too many elements thrown into the mix, from a Batman knock-off heist comedy to superhero movie (Buddy discovers superpowers exactly when the plot needs it to happen). TurboCat tries but never reaches the level of Lego Batman, which he feels based on. The jokes generally aren’t funny enough to keep the majority of adults entertained, yet its target demographic – excitable youngsters – will be satisfied and it’s good to see an animation studio based in Sheffield putting an oar in the water. A good entry point, but they haven’t reached the stars yet.

DIRECTOR: MARIELLE HELLER | SCREENPLAY: MICAH FITZERMAN-BLUE, NOAH HARPSTER | STARRING: TOM HANKS, MATTHEW RHYS, CHRIS COOPER | RELEASE DATE: JANUARY 31ST

It’s more than likely that most non-Americans won’t know who Fred Rogers was, and that’s okay! Lacking any knowledge of the children’s television show host will do nothing (or at least very little) to dampen the joy and warmth which exude from Marielle Heller’s A Beautiful Day in the Neighbourhood. 

The story is loosely based on the friendship between Rogers and the journalist Tom Junod, who in 1998 profiled the former for Esquire magazine. Here, the film’s protagonist is named Lloyd Vogel (Rhys), a cynical, embittered journalist and father-to-be who views his latest assignment – “a puff piece” – as a demotion and waste of his talents. 

Huffing and puffing, Vogel arrives at Mister Rogers’ Neighbourhood studio to interview Rogers (Hanks) and is caught off guard by the presenter’s quiet empathy and unusual kindness. Though Vogel starts off looking for the darker side of his subject’s character, he gradually realises that Mister Rogers on screen is the same person as Fred Rogers off-screen. This meeting also comes at an opportune time for Vogel, whose estranged father (Cooper) has recently come back into his son’s life wanting to make amends. 

Before you turn away from Beautiful Day, sick as you might be of the awards-season biopic onslaught or of sickly-sweet feel-good films, let’s get this clear: Heller’s third feature is neither of those things. If anything, it’s more of a father-son story in which Rogers plays a key role, teaching the protagonist that love and forgiveness are acts of strength, not weakness. Beautiful Day has been touted as ‘the film we need right now’, and it’s tough not to agree. 

Heller adeptly avoids turning this into a sickly-sweet, sentimental or even preachy story; much like the film’s subject, she refuses to infantilise her audience. Instead, she cleverly utilises Vogel as a conduit for the audience’s own cynicism and instinctive resistance to love: as the character’s defences are gradually lowered, so are the viewer’s. Beautiful Day is about how Mister Rogers’ lessons and worldview can be applied to how we interact with the world around us.

The film makes a point of demonstrating that kindness is hard, even for those who give it readily. Fred Rogers is not a saint, he is someone who constantly struggles to choose empathy over anger, something which Hanks’ subtle yet communicative performance makes clear. It is his ability to make that choice again and again that makes him a ‘hero’, as per the Esquire article’s headline. Likewise, the audience relates to Vogel’s resentment towards his father, and understand the difficulty in forgiveness.

As warm and feel-good as Beautiful Day might be, it is also very open about the fact that not only is empathy necessary, it’s also something that’s difficult and must actively be worked at – even for someone as good as Fred Rogers. That’s the kind of story worth seeing.