REVIEW DOUBLE BILL: Daphne & Final Portrait

Daphne

The feature debut of filmmaker Peter Mackie Burns, Daphne isn’t so much about finding yourself as just figuring out you’re lost.

Daphne (Emily Beecham) is a stylishly insouciant redhead in her early thirties, living and working in contemporary London.

She gets drunk on a nightly basis and hooks up with random guys.…

REVIEW DOUBLE BILL: American Made & The Limehouse Golem

American Made

Scarface, 1932 and ‘83. Goodfellas. The Wolf of Wall Street. War Dogs. American Made is just the latest film to take aim at the dark, opportunistic side of the American dream.

“Based on a true story”, as such films generally are, American Made is the story of Barry Seal, a pilot extraordinaire turned TWA lifer, recruited by the CIA in 1978.…

REVIEW GRAB-BAG: The Dark Tower, Logan Lucky, & The Hitman’s Bodyguard

The Dark Tower

Or How to Make Soup out of Stephen King’s Keystone Series.

In brief: Take an epic eight-book series inspired by both Lord of the Rings and Spaghetti Westerns, strip away the character and the uniqueness, boil down the mythology and the plot, and reduce to 95 minutes.…

REVIEW DOUBLE BILL: Atomic Blonde & Shin Godzilla

Atomic Blonde

James Blonde. Joan Wick. Taken with a pinch of Salt.

It may sound derivative, but it’s a formula that can reap bountiful rewards. You take a frosty cool female lead, drop them into a previously male-dominated genre, and unleash their ass-kicking potential.…

REVIEW: The Emoji Movie – sad face, poop emoji, poop emoji, fuck this shit

Now I usually enjoy giving a terrible film a booting as much as the next reviewer, but there’s something about The Emoji Movie that’s so utterly dispiriting that it even takes the joy out of that.

Rather than simply being utterly misjudged in the way that, say, Batman V Supermanthat redoubtable object of loathing for me, was misjudged – The Emoji Movie gives no impression that anyone ever sincerely expected it to be good.…

REVIEW: Detroit – anger on the streets, horror at the Algiers Motel

Returning from a five-year hiatus, director Kathryn Bigelow seems likely to trouble Academy again with a film that, unlike the ambiguously pro-torture Zero Dark Thirty, shows the real factors at play behind “enhanced interrogation”.

A hard-hitting depiction of racial animus in America, Detroit opens with an animated prologue that uses vivid, mural-style artwork – like the wall of some grand municipal station brought to life – to lay out the plight of African-Americans in the lead up to 1967.…

REVIEW: Valerian and the City of a Thousand Planets makes imagination boring

The space opera is well on its way to becoming my least favourite genre; romcoms included.

Embracing a gaudily frenetic aesthetic may make for a great splash panel in a comic book but it rarely leads to satisfying cinema. Case in point: Luc Besson’s latest, Valerian and the City of a Thousand Planets.…

REVIEW: The Big Sick – a relationship comedy where one party is out for the count

It’s been said that comedy is a natural response to tragedy; indeed, humour is proven to speed recovery.[none]Patch Adams can still fuck off, though.[/note]

Even so, taking perhaps the worst period of your life and turning it into a romcom, that most disposable of genres, is certainly a bold move.…

REVIEW: Dunkirk; or my thoughts on time & tide in Nolan’s masterpiece of immediacy and magnitude

Christopher Nolan is arguably the foremost British director of his generation, certainly when it comes to visionary blockbusters.

As such, it seems strange that he should follow the – literal – universality of 2014’s Interstellar with a film that seems, on the face of it, so self-contained; parochial even.…