Review Category: Movie

Adapting their hugely successful stage play, Jeremy Dyson and Andy Nyman hit the big screen with one of the most eagerly-awaited British horror films for some time. Thankfully, they are cineliterate enough to skilfully transfer their work and scare the pants off a whole new audience.

Philip Goodman (Nyman) is a professional sceptic, an academic who has made it his life’s work to debunk and unmask the paranormal cheats that prey on the weak-willed and emotionally vulnerable. He’s intrigued, then, when he receives word that his sceptic hero George Cameron (Leonard Bryne), whom the world believed to be dead since he vanished from the public eye decades ago, is alive but not so well and has requested a meeting. He gives him a file containing three case studies that he says convinced him that the negative stance they always held was wrong and there is indeed something to the paranormal.

The first case involves a warehouse night watchman (Whitehouse) who experienced something in his deserted workplace, then a teenager who swears he ran over a demon. The final, and arguably most disturbing, story has Freeman’s snobbish City trader who blames a poltergeist on his wife’s pregnancy problems. At first glance, they have little in common, but as Goodman finds out, ‘the mind sees what it wants to see’.

Taking the form of an anthology of sorts, much in the style of the Amicus films of the sixties and seventies that we all (the filmmakers included) loved, Ghost Stories goes one step further by remaining grittily down to earth in the way it’s shot and the delivery of the eerie accounts. While the older films had the ghoulish whimsy of EC horror comics, Dyson and Nyman play it dourly straight and sombre. Which is not to say there are no laughs, as there certainly are, but it’s never to the detriment of the tales. Likewise, there are subtle nods to classic horror films (and a blatant one in the case of The Evil Dead) that will keep die-hard fans smiling. It’s the way in which the psychological tension and dread builds that makes the film a winner, though.

The three stories are all brilliantly relayed in an almost effortless way, and there’s an undercurrent of social commentary throughout. People are casually racist, off-the-cuff anti-Semitic, or mistrusting of mental health issues. All which is tackled in a grand finale that is the definition of pulling the rug.

Without utilising every trick in the Big Book of Classic Horror, Ghost Stories manages to engage as well as chill. The jumps are there, but the real terror is in the deliberate pace and occasionally understated acting, which is particularly impressive considering the theatrical pedigree of the story.

Ghost Stories is a film that people will go back to, attempting to pick apart the threads and clues that are laid in front of them ahead of the devastating climax. Beautifully shot and expertly realised, it’s the sort of horror movie we’ve been waiting for.

GHOST STORIES / CERT: 12A / DIRECTOR & SCREENPLAY: JEREMY DYSON, ANDY NYMAN / STARRING: ANDY NYMAN, MARTIN FREEMAN, PAUL WHITEHOUSE, ALEX LAWTHER, PAUL WARREN / RELEASE DATE: OUT NOW

Expected Rating: 7 out of 10

Optimism is a word that doesn’t quite gel with the horror film in most cases, but in terms of where the genre and industry is, there is much of it at present, not least in part to the recent critical and commercial success of Get Out, a studio release that has been generating considerable discussion, not just amongst fans and traditionalists, but also those who have little affinity for this type of film.

It goes without saying that Get Out has paved the way for another film that has generated considerable buzz over the last few months, John Krasinski’s latest directorial effort, A Quiet Place.

Since its recent premiere at the 2018 South by South West Film Festival in Austin, Texas (where it played to an enthusiastic opening night crowd alongside another big-name blockbuster Ready Player One), the marketing campaign has been cleverly teasing audiences with limited trailers and exposure. The aftermath of the festival screening has seen the film out-pace Get Out in terms of appreciation and one predicts a healthy and encouraging return for all concerned.

The stock of Platinum Dunes, the horror brand that has been taking many of the classic horror titles like Friday The 13th and The Texas Chain Saw Massacre, will certainly rise with this film, which is being seen as a semi-departure in terms of content and ideas from the reboots and remakes that Michael Bay’s label has been renowned for over the last few years

Co-written by Krasinski with Bryan Woods and Scott Beck, the premise is simple. A Romero-esque world provides little if any optimism for a family (led by Krasinski with real-life wife Emily Blunt) who tip-toe around their haven looking for a way to survive amidst monsters who hunt by sound alone. Their predicament isn’t helped by the fact that there are plenty of obstacles and situations that will unleash these beasts. Before long, though, the family’s world is contracting and reducing within itself, upping the ante and the tension comprehensively….

It has certainly been a surprise to learn that both Krasinski and Blunt admitted in recent reviews that they don’t like horror films as such, although it was revealed by Blunt that JAWS is one of the few that she has seen.

In many ways, A Quiet Place does tap back into that level of taut, tense storytelling that took Spielberg’s calling card to the heights of a blockbuster event in 1975.

A Quiet Place is one of the most effective and intelligently realised horror offerings that will be a talking point amongst fans for years to come and a bonafide Horror classic that is up there with James Cameron’s Aliens. Much of the film’s power comes from the set-up and anticipation of where you might see the shocks, rather than where they actually do happen. Another reason for its success is the simplicity of the premise – set it up promptly and get to the gore and scares as much as possible.

That said, A Quiet Place is not overly reliant on gore and has much to offer audiences who welcomed The Silence of the Lambs into award-winning and commercial acclaim back in 1991 – 92.

A winner in every way.

A QUIET PLACE / CERT: 15 / DIRECTOR: JOHN KRASINSKI / SCREENPLAY: BRYAN WOODS, SCOTT BECK, JOHN KRASINSKI, NOAH JUPE, MILLICENT SIMMONDS / STARRING: EMILY BLUNT, JOHN KRASINSKI, NOAH JUPE, MILLICENT SIMMONDS / RELEASE DATE: OUT NOW

Expected Rating: 7 out of 10

Since we first heard about Elias’ Ayla back in 2015 or so, the film has been on our radar of must-see pictures. And now, the release is finally upon us, with Freestyle Digital Media having picked up the North American VOD and digital release rights. So, is Ayla worth the wait, or is it a let down that we’ve hyped up a little too much in our anticipation?

In terms of plot, Ayla centres on Nicholas Wilder’s desperate and lost Elton. Why’s he so desperate and lost, you ask? Why, that’s because he’s still longing to be reunited with the sister who died when she was just four years of age. 30 years later and Elton begins to see what he believes to be the adult version of his sister – as played by genre fave Tristan Risk – somehow back in the land of the living. Could this really be the sibling he’s spent so long grieving for, is it merely a case of grief driving a desolate, desperate man to convince himself that what he so badly wants to be true is indeed really happening, or is it something entirely more sinister? Either way, it’s safe to say that Elton has gotten more than he bargained for in every possible way.

The first thing that will strike you about Alya is the frankly stunning style Elias uses to convoy his tale, with lingering, lonely shots masterfully used to amplify the narrative of what we see playing out. As for performances, Nicholas Wilder is absolutely breathtaking as he takes centre-stage as Elton. Wilder has previously worked with writer/director Elias on Gut, and here he only further marks himself out as a serious player to keep an eye on. As poor Elton, Wilder excels as he puts in an emotional performance that has you both feeling for this tortured soul and simultaneously worrying for his very sanity. Clinging on to an impossible dream, Elton experiences a whole host of emotions; from self-harming and intense depression, to the utter euphoria on his face at seeing the adult version of his apparent sister emerging from the shadows of the woods.

As the titular Ayla, Tristan Risk gives an incredible performance that fits perfectly with the restrictions of the character. Throughout the film, we see Ayla depicted as a mute of sorts, meaning that for the character to be taken seriously then it would take a special talent to do so. And that’s where Tristan Risk was an inspirational choice for the role. With a background in performance and dance, Risk uses her body in a way that conveys a whole voice of its own. In addition to the visceral, instinctive side of Ayla, Tristan also brings a sense of wide-eyed child-like awe to her at times as she comes across as seeing the modern world for the very first.

Away from the two figures who find themselves taking up the bulk of the action, Ayla has a marvellous cast dotted throughout. It may be minimal in numbers and scale, but the talent is plentiful. Fan favourite Dee Wallace finds herself playing the mother of both Elton and Ayla, and she brings a mixed bag of feelings to the story; part of her wanting to help her son to finally get over the loss of his sister, the other side of her showing motherly concern and a more logical approach to proceedings, and then a glimmer of hope that maybe, just maybe, her daughter is somehow back. Then there’s D’Angelo Midili, who is another who shines as he plays the younger brother to Elton and Ayla. While his brother may be clinging on to the idea that their long-dead sister is now alive and well, Midili’s James is no-nonsense in making his feelings known that he thinks this whole concept is completely batshit crazy. Throw in some great supporting turns from Sarah Schoofs (who also appeared in Elias’ Gut) and Bill Oberst Jr., and you have a cast that delivers the highest of quality at every turn.

Ayla is an elegant, thoughtfully shot picture that is held together by some stunning performances and a script which is clever and well constructed throughout. In terms of tone, there’s feelings of a classic ghost story of yesteryear mixed with almost a childish optimism brought about by simply wanting something to be so true. Make no mistake though, this is a film about grief and what it can push us to do and to believe. And ultimately, that it something that so many of us will be able to relate to on at least some level.

Ayla is a deliberately paced effort which will have you hanging on its every word. Trust us when we say this could well be a true hidden gem of 2018, and it’s most certainly worth checking out as soon as you get the opportunity.

AYLA / CERT: TBC / DIRECTOR & SCREENPLAY: ELIAS / STARRING: NICHOLAS WILDER, TRISTAN RISK, DEE WALLACE, D’ANGELO MIDILI, SARAH SCHOOFS, BILL OBERST JR. / RELEASE DATE: OUT NOW

Based on the award-winning graphic novel of the same name, I Kill Giants is a coming of age tale about young girl’s journey towards acceptance. Plucky, precocious and proactively paranoid, Barbara (Madison Wolfe) is a social misfit who spends the majority of her spare time hunting and taking down monsters. Whether or not these actually exist, is an entirely different matter, however, it’s clear to see that there’s more going on with our protagonist than meets the eye.

Directing his first feature film, Anders Walter has been able to create a well-rounded fantasy drama that never shies away from dealing with more mature themes. Having had experience in the genre before with his Academy Award-winning short Helium, Walter seems at ease whilst helming such an ambitious project. From a visual standpoint, I Kill Giants is a sight to behold thanks to Rasmus Heise’s beautifully crisp cinematography whilst the set design is appropriately quirky without ever going into overly stylised territory.

With the screenplay written by Joe Kelly, writer of the graphic novel, there’s an air of authenticity to the story which rings true throughout. What could have very easily turned into a sentimental, by the book Hollywood blockbuster instead becomes something much more personal. Playing coy with the material at hand, I Kill Giants is never afraid to rein it in and focus on the fractured relationships within Barbara’s life.

With no sign of any parents, it’s down to her big sister Karen who has to fulfill the role of provider and carer. Fantastically played by Imogen Poots, it’s clear to see that responsibilities are rapidly piling up and with Barbara’s combative attitude adding more fuel to the fire, it’s evident that control is something that’s totally out of grasp. With a distant brother and school bullies hot on her tail, we begin to understand a little bit more about Barbara and her reluctance to let people in.

It isn’t until new girl Sophia arrives that she begins to open up about her bestowed upon the profession. Told through a series of animated shots, we’re introduced to a variety of monsters and given a comprehensive view into their background. With Sophia captivated by her giant mythology, a new friendship quickly starts to blossom.

Meanwhile, new school psychologist Mrs Mollé begins to try and get to the root of Barbara’s disruptive behaviour. Lashing out both physically and verbally to any intimate discussions, it quickly becomes apparent at just how fragile Barbara really is. Played by Zoe Saldana, the Mrs Mollé character is more of a conduit for the viewer as we try and delve deeper into what may be the crux of Barbara’s problems.

Overall, I Kill Giants is a refreshing change from the plethora of superhero movies that saturate the young market. With a powerhouse performance by Madison Wolfe, a strong female cast and some mature themes throughout, there’s plenty here for people of all ages. Although some may draw comparisons to A Monster Calls, I Kill Giants is its own beast that will no doubt leave most viewers with a lump in their throat. So if you’re looking for something slightly different that will appeal to all members of the family then take a giant leap to the cinema and check this one out.

I KILL GIANTS / CERT: 12A / DIRECTOR: ANDERS WALTER / SCREENPLAY: JOE KELLY / STARRING: MADISON WOLFE, IMOGEN POOTS, ZOE SALDANA, JENNIFER EHLE, NOEL CLARKE / RELEASE DATE: APRIL 6TH

Expected 7 out of 10

We first came across director Iain Ross-McNamee with his debut film The Singing Bird Will Come, which was an atmospheric old-school-style piece that really impressed us. This next feature similarly favours story and mood over cheap shocks. It’s a captivating and well-made film that will appeal to fans of the slower-paced movies of old as opposed to special-effects-driven gory shockers.

Isabelle (Goldfinch) works as a junior curator at a museum and is tasked by her boss to check the validity of a find at an old country house. It’s one half of a cauldron that was split into two centuries ago when its owner was accused of witchcraft. The museum already has one half, and if it proved genuine, could be a valuable historic discovery. At least the house owner, Karl (Larry Rew) thinks so and appears to be keen to get as much as possible for it and won’t let it leave the premises until a settlement is made. Isabelle is curious as to why the Professor (Phil Hemming) won’t undertake this potentially important treasure himself but nervously accepts the responsibility.

Once at the house, she’s made welcome but whether it’s the isolated nature of the property and village or the rather off-kilter behaviour of Karl’s daughter Scarlett (Cady), she can sense there’s something amiss. An encounter with a young lad following her through the grounds at night does nothing to help her unease. Meanwhile, Scarlett’s strange activities begin to get even worse as she starts showing more than a friendly interest in Isabelle, even going as far as to steal the visitor’s undergarments from her overnight bag (we’re not too sure about her giving them a sniff, though… perhaps she’d forgotten the fabric softener?).

Crucible of the Vampire is beautifully shot. The quality of the production gives the feeling of a much bigger budget. Taking elements of classics such as The Wicker Man and the spirit of M. R. James, it’s a film that is very easy to like, despite the occasional beats that don’t quite hit. The tone is pitch-perfect, and will certainly appeal to fans of parlour horror stories and moody old dark house flicks.

Having Neil Morrissey appear as the gardener is a minor scoop, but he’s really only along as a tool to info-dump exposition and while this feels a little forced at times, it’s not an overt problem as the pace and delivery of the rest of the tale is pleasing enough. It would actually work even without any explicit ‘vampire’ moments as it’s such an engaging story that is both broodingly ethereal, visually eloquent and thoroughly enjoyable.  As it is, it’s a fine stab at bringing back a style of movie that is sorely missed by many.

CRUCIBLE OF THE VAMPIRE / CERT: TBC / DIRECTOR: IAIN ROSS-MCNAMEE / SCREENPLAY: DARREN LAKE, IAIN ROSS-MCNAMEE, JOHN WOLSKEL / STARRING: KATIE GOLDFINCH, NEIL MORRISSEY, FLORENCE CADEY, BRIAN CROUCHER, AARON JEFFCOATE / RELEASE DATE: TBC

Expected Rating: 7 out of 10

At one point in the opening stretch of Ready Player One, this writer clocked a Minecraft reference and had a sweaty, trippy, alarming flashback to The Emoji Movie. In this sickening moment, this writer reassured himself that, “surely Steven Spielberg would not create anything comparable to that travesty”? Thankfully, mere moments later, a feeling of great relief arrived, as this irrational fear was proved nothing more than needless momentary panic. So, sod the keyboard cobras and their recent wave of absurd social media hatred aimed towards the posters reflecting the film’s quality (yes, the posters, not even any footage, let that sink in) because Spielberg’s adaptation of the 2011 novel by Ernest Cline is in no way, shape or form “The Emoji Movie of 2018”. If you are desperate for a comparison though, Wreck-It-Ralph would service that ambition far better as, like that film, this movie is a celebration rather than an advertisement, and has a human story beneath its wealth of pop culture worship.

Set in 2045, society has become tough but thank the maker for the OASIS, a virtual reality realm that has consumed the attentions of the globe. In this VR world you can escape through your headset and be anything, do anything and avoid the troubles of life. But when OASIS co-creator James Halliday (Mark Rylance) announced to the planet that he was dying, he also made everyone aware of a series of Easter eggs he left in the OASIS, and for the lucky individual who finds them goes the ownership of this trillion-dollar virtual world. Ohio teen Wade Watts (Tye Sheridan) is just one of many eager ‘Gunters’ (Egg Hunters) trying to claim this prize but once on course, will Watts be prepared for the merciless competition?

The aforementioned online dissenters have labelled the film as the death of imagination, however we’d prefer the term ‘fun’. Like the source material, this movie excitably fills the plot with a bombardment of references, as it uses popular culture (predominantly ‘80s born) to bring the OASIS to visually electrifying and fervid life onscreen. In many ways Cline’s text is one that is perfectly suited to cinema and while the plot dizzyingly assaults the senses at times, it is hard to resist a film featuring – among other things – mountain climbing with Batman, The A-Team’s GMC Vandura racing alongside a DeLorean and Christine’s 1958 Plymouth Fury while avoiding a King Kong attack and (in a goosebumpy final fight reveal) a joyous remix of Akira Ifukube’s Godzilla theme.

Half the fun of this feature will undoubtedly be playing spot the reference from the in your face, to the covert, to the blink and miss hard-to-spot cameo. The effects are spectacular as they bring to life a generational mixture of movie, TV and culture and stir it together for a mad ride of big screen exhibition. An equally nostalgic and vintage score by Alan Silvestri (alongside some spot on music choices from Van Halen to Twisted Sister) aids Spielberg, as he goes old school and conjures up another excitable adventure on film, filled with warm yearning for past classics. It does admittedly get very overpowering but such is the nature of the source material and behind the CG cavalcade is a cautionary yet hopeful human tale.

The OASIS’ adrenalized dream-like landscapes are at a contrast with the slum-like real world. Ready Player One warns of the importance of not submerging wholly in fantasy over reality, no matter how tempting that may be. It also, in a rather timely way, warns of the encroaching nature of conglomerates invading social media, as Watt’s story of making a better life outside the machine by the solving the puzzles within soon turns into a rebellious race against the cold corporate forces of greed. It is this human core that helps the film steady some of its break neck pacing and amalgamation of ideas and tributes. The best of which is a mid-section indebted to a certain horror classic (one of many horror nods, including a badass profane moment in the grand climax) that is both hilarious and affectionately crafted, not to mention brazen for a modern 12A film – considering that a good percentage of the intended audience will not be clued up on the film in question.

For a film filled with the ideas of others, Spielberg’s gamer-pleasing blockbuster has many of its own, sometimes too many all at once, as the director and screenwriters Ernest Cline himself & Zak Penn let loose and just enjoy. The script has some stretches that struggle with tone and delivery but never is Ready Player One any less than enjoyable and its characters are joyfully presented. Sheridan makes for a likeable young protagonist as Watts, as interesting support is offered by Olivia Cooke as Art3mis, a strong young woman whose avatar Watts falls for in the game. Ben Mendelsohn also, once again, makes for an effective villain as relentless CEO of power craving company IOI (intent on owning the OASIS). While Watts and Art3mis’ diverse team (known collectively as High Five) come to have greater relevance as the film goes on, with Lena Waithe, Win Morisaki and young Philip Zao making some moments for themselves amidst the madness. Meanwhile a mad haired Mark Rylance is great fun as socially hapless Halliday, as is Simon Pegg as OASIS co-creator Ogden Morrow, as the two are this film’s answer to Jobs and Wozniak.

Ultimately Ready Player One is like being in a movie-themed pinball machine, as Spielberg delivers an optimistic human story with effects heavy nostalgic referential spectacle on top. Press Start to begin, just make sure you take a breather when you can, as you don’t want to zero out!

READY PLAYER ONE / CERT: 12A / DIRECTOR: STEVEN SPIELBERG / SCREENPLAY: ZAK PENN, ERNEST CLINE / STARRING: TYE SHERIDAN, OLIVIA COOKE, BEN MENDELSOHN, MARK RYLANCE, SIMON PEGG, T.J. MILLER, LENA WAITHE / RELEASE DATE: 30TH MARCH

Expected Rating:
7/10

Ten years after Raleigh Becket (Charlie Hunnam) and Mako Mori (Rinko Kikuchi) ‘cancelled the apocalypse’ and stopped the Kaiju threat in the first Pacific Rim, a new generation of Jaeger pilots has grown up in the shadow of the Kaiju War. Among them, Jake Pentecost, (Jake Boyega), son of Stacker Pentecost of ‘today, we cancel the apocalypse!’ speech fame. Jake’s not quite followed in his father’s footsteps, having bailed on the Jaeger pilot program, and now ekes out a living scavenging in the coastal cities destroyed during the war, that has yet to be rebuilt.

A run-in with a fellow scavenger of Jaeger parts, Amara Namani (Cailee Spaeny) and the law results in the two of them being press-ganged back into the Jaeger academy, Amara as cadet and Jake as an instructor. They might be arriving just in time to be the very last generation of Jaeger pilots, thanks to some new drone jaegers developed by Liwen Shao (Tian Jing) and her corporation, which includes Charlie Day’s Dr Newton Geiszler on the payroll. Any thoughts of retirement are soon pushed to one side thanks to the appearance of a new ‘Rogue Jaeger’ (how do you hide one of these?) and it’s up to Jake, Amara, a cast of forgettable cadets and Jake’s old Jaeger co-pilot Nate Lambert (Scott Eastwood) to chase down the source of this new threat.

While not entirely a box office smash, the first Pacific Rim had a lot going for it, mostly thanks to director Guillermo Del Toro’s unique take on the giant monster genre. His world may have been populated with characters painted in broad strokes, but they at least gave the illusion of some depth. Pacific Rim Uprising, on the other hand, doesn’t even manage that much!

While there’s no sign of Raleigh Becket, a couple of characters do return from the first film, however, the fates of some of these old favourites are sure to tick off some fans. To be fair, the plot does also provide some very surprising developments for other old characters.

This treatment of the returning characters wouldn’t be so much of an issue the new charters were in any way compelling. It’s a testament to John Boyega’s considerable charm that he still manages to come across as likeable even when every single joke he is lumbered with falls completely. A supposed rivalry with Scott Eastwood’s character goes nowhere as Eastwood seems incapable of playing anything other than a nice guy and the late introduction of a possible competition between the two for the affections of Adria Arjona’s engineer Jules gets only slightly more screen time than Jules herself. She’s barely in the movie! The new cadets fare almost as badly as Jules, with little or no characterisation beyond ‘the angry Russian one’, ‘the Indian one’, ‘the other Russian one’, ‘the nice Asian one’ and the three other ones who stand in the background.

Almost everything that happens outside the Jaegers is eminently forgettable, although they do still provide a decent spectacle when they do turn up. They do feel a little weightless, however, and not just the CGI. For the first film, the actors famously had to work against ‘an elliptical machine from hell’ on set in order to ‘operate’ the Jaegers. Here it seems that no such hardship was undertaken, and the lack of attention to details like that really brings the film down. Why does no one point out why we still need Jaegers (a single line would have achieved this). Why do the Kaiju defence cannons in Sydney point AT the city instead of out to sea? Did John Boyega eat an entire bowl of cream without ice cream in that one scene? Why is Scott Eastwood?

Like the version of Ramin Djawadi and Tom Morello’s iconic theme from the original that plays over Uprising’s credits, this feels like a bad cover version.  At best it can be seen as the set up for a new ‘Young Adult’ take on the franchise, which wouldn’t be a bad thing. It would still need to focus more on either the kids or the young adults and build better characters if it hopes to follow through on the promise of more sequels that it hints at.

PACIFIC RIM UPRISING / CERT: 12A / DIRECTOR: STEVEN S. DEKNIGHT / SCREENPLAY: STEVEN S. DEKNIGHT, EMILY CARMICHAEL, KIRA SNYDER, T.S. NOWLIN/ STARRING: JOHN BOYEGA, SCOTT EASTWOOD, CAILEE SPAENY, TIAN JING, CHARLIE DAY, RINKO KIKUCHI/ BURN GORMAN / RELEASE DATE: MARCH 23RD

Expected:  8 out of 10

There’s a very real risk that the circumstances of Annihilation’s delivery to its British and European audience – distributed via Netflix rather than enjoying the theatrical release it’s been granted in the USA – will detract from the fact that here we have something increasingly rare in sci-fi cinema; a genuinely original, inventive, intelligent, thought-provoking proper science-fiction film. Let’s not concern ourselves too much with the fact that this wonderfully cinematic film can only be enjoyed in the comfort of our own homes for now (it’s sure to hit the arthouse cinema circuit) rather than on the big screen with all its attendant bells-and-whistles and relish Alex Garland’s audacious achievement. Annihilation, adapated by Garland from Jeff VanderMeer’s novel, is the best science-fiction film since 2016’s Arrival and in many ways it’s a solid companion piece. Where Arrival dealt with themes of communication and language, Annihilation strikes right at the very core of humanity, the achingly-cliched concept of what it means to be human and, perhaps more pertinently, what’s the point of being human and what humanity, form and existence really mean. Transformers this ain’t…

If Garland impressed with his measured artificial intelligence drama Ex Machina in 2015 then he dazzles with Annihilation, a story told on a much larger scale but which manages to be just as intimate and personal and, like much of Garland’s work, concerned equally with how human beings cope in extraordinary and unthinkable circumstances. At a secret location identified only as Area X a mysterious, glistening electromagnetic field, presumed to be of extra-terrestrial origin and referred to as “the shimmer” is slowly spreading and expanding. Military teams have ventured beyond “the shimmer” but none have returned – save an Army Special Forces soldier named Kane (Isaac), husband of cellular biologist scientist Lena (Portman). But Kane has changed; he’s listless and monosyllabic and suddenly becomes extremely ill. On the way to the hospital Lena and Kane are intercepted by a government security force and taken to Area X. As Kane’s condition continues to deteriorate, Lena joins another expedition into the shimmer, led by Dr Ventress (Leigh) – but what they find behind the shimmering veil challenges their understanding of life itself as they encounter strange and horrific mutations, wondrous reimagined life forms and, at the corrupted lighthouse which lies at the centre of the shimmer, an entirely new form of intelligence which is capable of mimicking and replicating the human form.

Annihilation is an extraordinary and powerful movie which largely eschews the wham-bam conventions of its genre and leads its audience down a rather more cerebral path. There’s an impressive sense of stateliness about the narrative as Lena and her team leave the world they know and understand behind and enter an environment which has become distorted and transfigured into something which they recognise but can’t fully comprehend. Once inside “the shimmer” the team become immediately disorientated. Whole chunks of time become forgotten and meaningless and when they are attacked by a ferocious shark/alligator hybrid they realise that the shimmer is acting on organic life as a prism distorts and refracts light. Later the group finds video evidence of a member of a previous lost expedition whose innards are capable of independent mobility and later still a monstrous bear-like creature savages one of the group, only to return later with the ability – it’s one of the film’s genuinely hair-raising moments – to replicate the terrified voice of its victim. By the time we reach the final act the film becomes a weird, psychedelic fever dream of blazing light, glowing humanoid shapes and abstract glass-like constructs which have sprung up in the area surrounding the compromised lighthouse. It’s an unsettling and discomfiting sequence which takes us away from anything and everything that we understand as the real world, offering up an alternative which is truly inhuman and incomprehensible as we’re cast adrift in this strange, almost hallucinogenic other-world landscape.

Annihilation is almost certainly a film which will demand and reward repeated viewings. Garland has crafted a genre film which won’t appeal across the board – apparently poor test screenings sealed the film’s fate as “too intellectual” for a popcorn-chewin’ multiplex crowd and in truth it genuinely is a difficult and challenging movie. It’s also pretty close to a masterpiece (it over-reaches itself visually once or twice and Leigh’s curiously casual and laidback performance is a little off-putting), a film which, palmed off on Netflix or not, is sure to figure highly in any serious sci-fi cinema fan’s end-of-year Top Ten. Remarkable.

ANNIHILATION / CERT: N/A / DIRECTOR & SCREENPLAY: ALEX GARLAND / STARRING: NATALIE PORTMAN, JENNIFER JASON LEIGH, OSCAR ISAAC, GINA RODRIQUEZ, TESSA THOMPSON / RELEASE DATE: OUT NOW (NETFLIX)

The Tomb Raider franchise has become a staple in video game history, constantly evolving and changing for better or worse, and it wasn’t surprising that it would receive the big screen treatment. The first attempt, which consisted of the original duology starring Angelina Jolie, did well at the box office, but they’re rarely brought up as good video game movies and both films got panned hard by critics. But in this reviewer’s eyes, they proved to be purely entertaining, guilty pleasure flicks with cool action scenes, fun characters, goofy effects, and charismatic performances, particularly in Angelina Jolie’s case. However, it was only a matter of time before the reboot switch would be thrown, and now we have the latest cinematic reimagining of the franchise, this time based on the post-2013 iteration of the character and starring Alicia Vikander in the central role. Does this break the curse and bring video game movies to a whole new level? Well… it’s complicated.

Directed by Roar Uthaug, this is an adaptation of the 2013 game whilst also borrowing elements from the 2015 sequel, and just like those games, this is a straight-up origin story for Lara Croft as she goes from an average civilian trying to make her mark in the world to full-on badass by the end. Whereas the original movies with Jolie had the same campy, tongue-in-cheek vibe of the early games, this has the matching dark, gritty atmosphere of the current instalments, where you do feel the pain and battering this Lara goes through, and for the most part, this delivers on that action. Uthaug delivered on the spectacle with his last movie, The Wave, and here see some of that intensity return since the action here feels brutal, energetic and visceral, even if it times it feels a little toned down in terms of bloodletting (this is more of a top-end 12A rating).

But the real true, raw, beating heart of this movie is Alicia Vikander, who helps ground Lara Croft and make her a fully-realised character. It’s been evident through Vikander’s back catalogue that whenever she’s in great films (Ex_Machina, A Royal Affair) or flawed films (Light Between Oceans, Tulip Fever), she always gives her very best, and that is truly evident here both emotionally and physically – her eight-pack will make audiences crumble! In fact, her impeccable physicality helps transcend herself above most action stars and that gives her an edge within this genre, especially considering Vikander was a former dancer.

Not everything is smooth sailing, however, as while the narrative is a solid one, it doesn’t feel highly original, which isn’t helped by the fact that a lot of it was borrowed from the recent video games. The screenwriters do make changes along the way, and while some changes are inspired, some feel very superfluous to the grand scheme of things. The supporting cast isn’t as well-realised as our main protagonist and some of them are put aside with nothing much to add (like Daniel Wu or Kristen Scott Thomas), while some are given brief cameos like the very odd and out-of-place appearances of both Nick Frost and Jaime Winstone. Plus, there are some obvious green-screen effects that are a tad distracting, and certain corny scenes and cringe-worthy lines of dialogue that do feel very off-kilter with the rest of the movie.

Tomb Raider certainly isn’t a perfect movie and isn’t quite the game-changer for video game films, yet it definitely isn’t a bad attempt; sporting impressive action, creative visuals and Vikander’s dynamic performance. However, saying that, the original films have more of a personality than this reboot does. Despite being ridiculously campy, those films relished in that. From the over-the-top action sequences to the awkward effects, to the cheese-riddled dialogue, to the hokey acting, and, of course, Angelina Jolie clearly having a blast in the central role. This is trying to be a gritty-reboot, a faithful adaptation, an action movie, a B-movie and a contemporary movie all at the same time, so it can be too much; resulting in this version having less of an identity. This may be a better, efficient movie, but the original duology will always be more memorable.

TOMB RAIDER / CERT: 12A / DIRECTOR: ROAR UTHAUG / SCREENPLAY: GENEVA ROBERTSON-DWORET, ALASTAIR SIDDONS / STARRING: ALICIA VIKANDER, DOMINIC WEST, WALTON GOGGINS, DANIEL WU, KRISTIN SCOTT THOMAS / RELEASE DATE: OUT NOW

Expected Rating: 7 out of 10