Review Category: Movie

If the negative buzz surrounding the release of Sony’s non-MCU Venom movie is true, there’s probably a load (a gaggle?) of Lady Gaga fans trying to hack into this review to try and make us all see that slice of flimflam she’s made with a sweaty beardy Bradly Cooper instead. Well, if it’s a committed and sweaty-looking performance you’re after, sod off Bradley because Tom Hardy plays a blinder in Venom. Bottom line: if you enjoy Hardy’s performance, you’ll have a really good time with Venom. Hardy, for his part, clearly had a good time making it: there are many laugh-out-loud moments as he wrestles to adjust to his new, wise-cracking ‘parasite’ on top of tall buildings, in his local convenience store or, best of all, nose to nose with his noisy neighbour. And if you find yourself getting nostalgic in these scenes for Sam Raimi’s comic style, there’s no harm in that.

The concept of a ‘Spider-Verse’ series with no involvement from Spider-Man himself remains a bizarre Frankenstein plan from Sony’s Amy Pascal, designed to churn dollars until the web-slinger’s MCU commitments are done with, but director Reuben Fleischer (Zombieland) has made a film that actually benefits from being smaller-scale and (bar a brief end-credits scene) free from connection to other superheroes. It does mean, though, that journalist Eddie’s backstory is now far less compelling than the comic strip version that broiled him in the rage and jealousy that comes with being humiliated on the job by smart-ass Spidey.

Which brings us to the nub of why Venom, as great as Hardy’s performance is, never climbs higher than the lower-middle rung of the superhero ladder: in an era when Fox has given Deadpool and Old Man Logan the R-rated movies they deserve, what a shame Sony has wimped out on the chance to do likewise for this darkly comic and most violent of anti-heroes. Too often the camera self-consciously pans away from the head-chomping carnage in a way that feels utterly contrived to get the family-friendly PG-13 (15 in the UK) rating. Even if you don’t know Venom from the comics, you’ll feel the cynical wheels of compromise turning in these scenes. Talking of which, the last act feels very rushed and perfunctory and seems to comes around very quickly; you have to wonder what’s been cut out. Minus the (very) extended end-credits and Venom is one of the shortest superhero movies in recent times.

Taken for what it is, Venom is a good night out – a fast-paced, often hilarious creature feature that’s nowhere near the train wreck critics would have you believe. And in Tom Hardy, the symbiotic funster has certainly found the host he deserves. Let’s hope their next outing has a bit more bite.

For a director with a flair for the horror genre, the PG rated The House with a Clock in Its Walls might not appear to be the obvious choice for his next film, but surprisingly, Eli Roth – he of Cabin Fever and Hostel – proves that horror isn’t the only genre he’s mastered, adding kids film to his palate.

Based upon the 1973 juvenile novel of the same name, written by John Bellairs and illustrated by Edward Gorey, the movie stars Owen Vaccaro as Lewis Barnavelt, a young 10-year-old kid who feels out of place in the world. With the passing of his parents he becomes an orphan, and is taken in by his mother’s brother Jonathan, a powerful warlock played by Jack Black. Pop trivia fans will know that Black sung the bonus track I Am the Warlock on Dave Grohls’ 2003 Probot album and here he inhabits the body and soul of lonesome magician Jonathan, playing a bickering, sniping Spencer Tracy to Cate Blanchett’s spiky and equally barbed Florence Zimmerman, a powerful witch who is essentially the girl next door. If house points were given for insults traded, Gryffindor would not be winning the house cup this year.

It’s testament to Blanchett’s ever-growing ability to play disparate characters that after the skin-tight leather-clad destruction wrought by Hera in Thor: Ragnarok, seeing her here as an older, buttoned up spinster Florence Zimmerman doesn’t feel at all out of place. Jonathan and Florence evoke that classic 1940’s fast taking, barb-bunging style, set against the backdrop of a house that is every bit as scary and unexpected as any cabin or hostel Roth might have set up shop in the past, especially with the titular clock hiding in its walls.

Pitted against this unlikely family unit is Kyle MacLachlan as Isaac Izard, the former partner of Jonathan Barnavelt who is attempting to bring doomsday to the world and kill everyone in it. He was stopped, but young Lewis’ attempts to fit in and impress the kids at his new school – and his clearly prodigious talents at wizardry – bring Izard back to life, putting life as we know it at risk.

At its heart it’s mostly a spooky kids’ film by numbers, but the film has a charm; the cast appear to be having fun and Owen Vaccaro is an engaging young lead. With Halloween on the way, and the remake of that classic John Carpenter masterpiece on the horizon ready to satisfy the grown-ups, you can take a delightful score by composer Owen Barr, mix it up in a giant carnivorous pumpkin’s head and have an easy afternoon watch, for kids of all ages.

THE HOUSE WITH A CLOCK IN ITS WALLS / CERT: PG / DIRECTOR: ELI ROTH / SCREENPLAY: ERIC KRIPLE / STARRING: JACK BLACK, CATE BLANCHETT, OWEN VACCARO, KYLE MACLACHLAN / RELEASE DATE: OUT NOW

An older generation may have fond memories of one particular cinematic double-bill in 1980 which teamed James Bond with Inspector Clouseau, The Spy Who Loved Me, and The Pink Panther Strikes Again was a memorable match and the latter certainly welcomed the legendary Peter Sellers character to a Bond-type adventure.

Rowan Atkinson certainly shares his forte with Sellers and returns to the big screen as the bumbling British spy Johnny English, who returns in the third of his continually successful films that mixes Atkinson’s trademark Bean characteristics with the best that 007 has to offer.

English is a retired spy who now teaches Geography at a school, but when a cyber-attack hits London’s techno-infrastructure which exposes the younger agents, English is called back into action and heads off to the South of France, where he encounters beautiful spy Ophelia (former Bond girl Olga Kurylenko) who is entwined with dotcom mogul Jason Volta (Jake Lacy) who has designs on helping the PM (Emma Thompson) with making the firewalls of UK Government safe. Inevitably, there is darker deeds afoot…

Parents who find the recent action intensity of the Pierce Brosnan and Daniel Craig Bonds can at least offer this as an alternative to their younger children, which more or less has the elements of the earlier gentler Roger Moore family-friendly films and apes Goldeneye and Skyfall for setting and style.

Admittedly this shares more with the Austin Powers films, with the expected prat-falls and silliness intact. However, there is a nice virtual-reality gag that is well worth the price of entry and the film sells well on the strength of Atkinson, who is at his level best here. Cameos from Charles Dance, Edward Fox, and Michael Gambon add to the charm. If the film does well, it will certainly be no surprise to see a fourth in the works down the line.

JOHNNY ENGLISH STRIKES AGAIN / CERT: PG / DIRECTOR: DAVID KERR / SCREENPLAY: WILLIAM DAVIES / STARRING: ROWAN ATKINSON, EMMA THOMPSON, OLGA KURYLENKO / RELEASE DATE: OCTOBER 5TH

Throughout the pantheons of horror movies over the decades, there have been a whole slew of serial killer pictures – some good, some outright awful. Here we are in 2018 with Who’s Watching Oliver, so let’s see which side of the fence this latest serial killer effort falls in to when it comes to quality.

Played by co-writer Russell Geoffrey Banks, Oliver is a loner who lives by regime and repetition and is someone who’s clearly socially awkward. He’s also a serial killer who’s desperately trying to break out of the life that his mother has imposed upon him. Living by himself in Thailand, he has regular video calls with Mama (Margaret Roche) as she  encourages him to bring back a random lady for her to watch him abuse, torture, rape, and eventually kill. And yes, all of that is as tough to watch as it sounds. Fortunately for Oliver, though, the shining light of hope presents itself in the form of Sofia (Sara Malakul Lane). You see, Sofia goes out of her way to make conversation with Oliver, and the two soon end up on a remarkably awkward, yet completely adorable date. As his feelings for Sofia surface, Oliver sees this as a shot at normalcy and a chance to finally remove the grasp this his deprived mother has over him.

Who’s Watching Oliver is a brilliant piece of filmmaking from first-time director Richie Moore, and the film instantly grabs you from its opening moments, at first through how it’s stylishly shot, and then through the roller coaster of a narrative that we see play out. While the film is indeed about a serial killer, the kills, carnage, and gore aren’t positioned as the focal point of the picture. Sure, the gore is there, but it’s just simply part of Oliver’s everyday routine at the behest of Mama. It’s not stylised, it’s not glorified, it’s simply there as a grim reminder of how messed up Oliver’s life is – regardless of how much he wants to just enjoy the normalcy that now finally seems within reach thanks to Sofia. Despite how much Oliver wants out of his murderous ways, the truly twisted hand of mother never seems far away.

Undoubtedly, Oliver is a broken being who has more issues that Michael, Jason, Freddy, and Chucky combined, but Russell Geoffrey Banks puts in a performance that often has you rooting for him to finally break Mama’s shackles. Banks – who we actually slated in our review of Ghost House earlier this year – is phenomenal here, bringing a whole range of emotions to Oliver. Rather than a film about a serial killer, the nuanced performance of Banks, not to mention the direction of Moore, make this feel almost documentary-esque in its presentation. Clearly Banks, Moore, and Raimund Huber did their research when putting together the screenplay for Who’s Watching Oliver, with the intricate details of the titular character truly breathtaking in how thorough they are. Whether Oliver is rehearsing his smile and dialogue in the mirror, or seeing his mannerisms change as he interacts with mother, there are so many small details brought to the fore in the portrayal of the clearly damaged Oliver.

Who’s Watching Oliver is a tough watch, and this minimal movie – with both Sara Malakul’s Sofia and Margaret Roche’s Mama the only other notable characters, taking the role of the proverbial angel and devil on Oliver’s shoulders – is a fascinating essay on the everyday life of a serial killer. Oliver is a reluctant monster who isn’t necessarily of his own making, and as the titular character, Russell Geoffrey Banks puts in a performance that is a true genre standout of 2018. Much like Who’s Watching Oliver itself. A grim watch at times, but a recommended watch nonetheless.

WHO’S WATCHING OLIVER / CERT: 18 / DIRECTOR: RICHIE MOORE / SCREENPLAY: RUSSELL GEOFFREY BANKS, RAIMUND HUBER, RICHIE MOORE / STARRING: RUSSELL GEOFFREY BANKS, SARA MALAKUL LANE, MARGARET ROCHE / RELEASE DATE: OUT NOW

After an estranged family buy an RV for a rekindling road trip, strange things start to occur as each of them get picked off one by one in the Toybox.

Directed by Tom Nagel and starring Denise Richards (The World is Not Enough) and Mischa Barton (The Sixth Sense), this interesting but flawed film has a little bit of everything for horror fans. What really makes TheToybox stand out in particular is that it lives up to its name on multiple fronts. On the one hand it is a toy box for the killer to play in, but also a mixture of various subgenres taking elements from films such as Paranormal Activity and Final Destination.

The set-up to the story is fairly straightforward. Our protagonists are a family that has drifted apart after the death of their mother and are brought together to fulfil one of her dying wishes – a family trip across country. Along the way, weird and unexplainable occurrences happen as the RV appears to have a mind of its own (think a more serious iteration of the likes of Rubber).

As mentioned previously, there is plenty on offer to enjoy but overall the execution isn’t quite there. At times, the dialogue and interactions between characters feels incredibly wooden and stilted with a lot of reactions to the deaths feeling very disingenuous. Because of this, audiences will never quite react the way they might be intended to, with little to no immediate danger or tension being portrayed. That being said, some of the deaths in the film have a big Final Destination vibe which is often a guilty pleasure for many.

Perhaps the most pertinent example of one of the film’s many good ideas paying off comes in the form of a scene in the third act when the origins of the RV are revealed and the true horror element of the tale is well utilised. This at least provides the audience with a satisfying conclusion to an otherwise promising but slow (like an RV) haunting story.

At its core, The Toybox lives up to its name. Tom Nagel obviously had a plethora of ideas and wanted to experiment with them all at once, but this unfortunately leaves the film feeling top heavy and very clunky in its execution.

THE TOYBOX / CERT: TBC / DIRECTOR: TOM NAGEL / SCREENPLAY: JEFF DENTON / STARRING: DENISE RICHARDS, MISCHA BARTON, JEFF DENTON / RELEASE DATE: OUT NOW

Back in 2016, after what felt like forever in development hell, Deadpool arrived and changed the comic book movie game. Turning the air blue with his language and red with his katana-wielding ways, Ryan Reynolds’ Wade Wilson was an unapologetic hit. And now, the hotly anticipated follow-up has made its way to home release.

This time out, tragedy strikes early for the titular Merc with a Mouth as he soon finds himself on a journey to find self-worth, to find a sense of being, and to maybe – just maybe – put others before himself for once. A troubled teenage mutant (Julian Dennison) is at the centre of Wade’s tale, as Deadpool ends up in the crosshairs of the time-travelling, tough-as-old-boots Cable (Josh Brolin). With the odds massively stacked against Wilson, he’s left with no choice but to compile his own team to stop the sinister powers at play. And that, ladies and gentlemen, is where X-Force comes to the fore. Sure, Pooly-D may now be well and truly out of the bag, but that doesn’t mean that this isn’t a sequel that’s a whole lot of fun.

With Deadpool 2, we have a sequel that attempts to tell a more nuanced, emotive story than its predecessor. And on that front, it largely succeeds. The Merc with a Mouth is given a dollop of heart and a more distinct mission than in his first outing, and that narrative often finds the insta-gags replaced by more drawn-out, elaborate laughs. That’s not to say there’s not quips aplenty, of course, and there really are some humdingers in there from Chiyonosake and his supporting players. And as ever, it goes without saying that this isn’t a superhero film for young ears ‘n’ eyes. In fact, some may even find it a tad surprising to see the picture given a 15 rating rather than an 18.

Where the performances are concerned, Ryan Reynolds is again on top form in the role he was born to play, but it’s Zazie Beetz as X-Force recruit Domino who steals the show. Bringing an effortless cool to the luck-driven hero, Beetz is a magnetic presence who is the perfect foil to both the crazed erraticism of Deadpool and the po-faced grumblings of Cable. And on the topic of Cable, Josh Brolin is an inspired choice to play the one-eyed, metal-armed time-travelling badass; bringing the gruff gravitas needed for this most stoic and serious of souls. Similarly, young Julian Dennison takes the momentum from his turn in Hunt for the Wilderpeople and runs with it as he delivers a foul-mouthed, angsty mutant who has some serious powers and potential at his fingertips.

If you’re here to find out whether the “Super Duper $@%!#& Cut” of Deadpool 2 has much to offer, the answer is a mixed bag. Certain action sequences have more meat to them, certain insults have extra chuckles to them, and certain characters get a little more time in the spotlight. On the other hand, however, one noticeable difference about this extended version is that it bizarrely replaces some of the musical numbers used in the film’s final third – a decision that may not sit well with some. There is more of what makes Deadpool 2 what it is, mind, just there’s a small price to pay if you choose to watch the longer edit. As for the special features included here, there are an absolute boatload to sink your teeth into. For a start, the audio commentary from Ryan Reynolds, David Leitch, Rhett Reese, and Paul Wernick is a total blast, both informative and hilarious at the same time. One little added bonus that will grab the attention of many a longtime X-fan, though, is the far-too-brief Chess with Omega Red piece in which we get to see a look at one of the X-Men’s most infamous rogues.

Deadpool 2 may not hit quite as many laugh-a-minute moments as the 2016 movie, but it’s still a riot of a comic book picture. Fun, frenetic, and full of F-bombs and decapitations, this sequel takes the all-action approach of its predecessor and splashes a little more humanity and heart on ol’ DP. While the shock ‘n’ sheen of the original cannot be matched here, Deadpool 2 is most certainly a sequel that takes what worked so well in that first film and adds more depth to proceedings.

Special Features: The Super Duper $@%!#& Cut / Audio commentary / Ten featurettes / Deleted/extended scenes / Gag reel / Stills

DEADPOOL 2 / CERT: 15 / DIRECTOR: DAVID LEITCH / SCREENPLAY: RHETT REESE, PAUL WERNICK, RYAN REYNOLDS / STARRING: RYAN REYNOLDS, JOSH BROLIN, ZAZIE BEETZ, JULIAN DENNISON, MORENA BACCARIN, STEFAN KAPICIC / RELEASE DATE: OUT NOW

A deadly virus has been unleashed in London. A team of elite soldiers have just 72 hours to extract a scientist with the key to a cure. Redcon-1 has been initiated.

From Lancaster-based director Chee Keong Cheung, Redcon-1 is a fresh take on the zombie genre. After a zombie virus is unleashed upon the unsuspecting British public via an escaped convict, a group of soldiers are thrust into an unknown environment of London’s quarantine zone tasked with extracting a very important scientist who claims to be the only one who can save mankind. Whereas the plot and setup is simple, it’s what lies within that makes this tale equally kickass and full of heart throughout.

Starring Oris Erhuero in the lead role and former WWE superstar Katarina Leigh Waters (aka Katie Lea), the story at its core is less about the zombies themselves, more about exposing true evil and understanding the power of family.

What makes Redcon-1 stand out against other zombie films is that it knows exactly what it is, managing to take itself seriously while also being an incredibly exhilarating and fun experience. It’s obvious that everyone, from the main cast right down to the zombie extras are having the absolute time of the lives. The fight sequences are admirably well choreographed, managing to capture the fast paced and electrifying atmosphere of 28 Weeks Later. One particular scene, set in the confined space of an apartment block hallway with infected coming at our protagonists from every possible angle, makes for one hell of a barnstorming action set-piece. In terms of the special effects, never does it seem overdone. The right amount of attention to detail is given, meaning that most of the zombies that are shown close up have a rotting look to them while also retaining their humanity.

Erhuero gives a heartfelt performance as Captain Marcus Stanton, with the most surprising element of the story potentially leaving viewers wiping away a few tears come the end credits scene. That being said, to its detriment, the film does feel a bit bloated and could perhaps be better suited as two part story. Either that or some of the subplots could have been shelved entirely in order to keep a consistent pacing.

With all that being said, the overall experience is pleasantly surprising. Redcon-1 is a badass British mashup of heavy hitters like The Raid and 28 Weeks Later but also has a lot of heart and soul akin to Train to Busan, especially in its finale. Zombie fans should definitely look to take a bite out of this one when it hits UK cinemas this September.

REDCON-1 / DIRECTOR: CHEE KEONG CHEUNG / SCREENPLAY: CHEE KEONG CHEUNG, STEVE HORVATH / STARRING: KATARINA WATERS, MARK STRANGE, CARLOS GALLARDO / CERT: 18 / RELEASE DATE: 28TH SEPTEMBER 2018