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REVIEW: Ready Player One (2018)

When James Halliday (Mark Rylance), the creator of a popular virtual reality called the OASIS dies, a virtual contest is created to compete for his fortune and for control of this virtual world.

Ready Player One is based on the book of the same name by Ernest Cline. I read the book back in 2016 when the hype for it was at its peak and to be honest, I didn’t really like the book. I thought the main character was creepy towards and obsessed about the main female character as well as being very arrogant and all around unlikable – and then there was this over reliance on pop culture references that ended up being more annoying than anything else. So to say I had low expectations for the film version is an understatement.

The film follows Wade Watts or, as he’s known in the OASIS, Parzival (Tye Sheridan) as he and his friends search through the OASIS for the clues to finding the keys that will lead to Halliday’s fortune. There’s car races and battles and so many pop culture references. Some references are very blatant while others are blink and you’ll miss it types where if you get it that’s cool but it if you don’t you’re not missing anything. Or at least, I feel that what the film was going for but as it relies so heavily on nostalgia and computer game and movie references, there’s a whole other level of enjoyment to potentially have with Ready Player One if you get all these references. Otherwise, when Wade is in the virtual world it does look great and there’s all these cool looking characters or items, but you don’t get any meaning from them – they’re just there.

Wade’s not as unlikable here compared to his book counterpart and that’s probably because while we do get voice over narration from him explaining what the OASIS is, you don’t spend all his time with his thoughts. There’s still a very rushed “romance” that’s terrible and Wade’s friends turn out to tick the ethically diverse box.

As well as Wade and his friends competing with other players to find the keys to OASIS’s future, there’s a big bad corporate businessman played by Ben Mendelsohn who wants to win the challenge in order for his company to take it over. It’s such a cliché and Mendelsohn is pretty great as the over the top businessman who’ll stop at nothing to stop those pesky kids, but it’s something we’ve all seen so many times before and they don’t do anything interesting with it.

In the virtual world, Ready Player One looks great and some of the battle sequences are engaging but on the whole the characters and story just seem flat. It’s also a pretty depressing future (it’s set in 2045) where people escape into the OASIS because everyone’s stopped trying to make the real world better. Ready Player One plays out like a video game and if you enjoy them and know a lot of the pop culture references, you’ll probably have more fun with this film than I did. 2/5.

REVIEW: The New Mutants (2020)

The saga of The New Mutants production and release is almost legendary at this point. Different cuts were made, reshoots happened and the release date got pushed back by at least two years and was then released after the supposed peak of a global pandemic. What a legacy this film has.

The New Mutants follows Danielle Moonstar (Blu Hunt) who wakes up in a facility after her home is destroyed. There she’s told by Dr. Reyes (Alice Braga) that she’s a mutant and she and the four other teenagers are there to learn how to control their powers.

The New Mutants gets props for attempting something different within the comic book/superhero genre. There’s a small group of superpowered people (something we’re all familiar with by now) but instead of being in a safe and nurturing environment to learn about their powers like we’ve seen in previous X-Men movies, these teens are in what is called a hospital but is more like a creepy mental institution from a horror movie. There’s cameras and microphones everywhere and Dr Reyes likes to do tests on them and send them to solitary confinement if they misbehave. And that’s before each of the teens start to see and experience unexplainable horrors.

These mutant characters aren’t ones that are so easily recognisable. Personally while they’re regular human names didn’t instantly mean something to me, like Scott Summers would for instance, as their powers were slowly revealed I realised that all but one of the five were in the latter seasons of the X-Men: Evolution cartoon series. I highly recommend that series (it does the Apocalypse storyline brilliantly) especially if you want to see more of these characters as I feel it’s unlikely they’ll get a movie sequel.

Danielle is a nice enough character but isn’t particularly compelling. Her scenes with Rahne (Maisie Williams) are the best as their hesitant but blossoming relationship is an unexpected bright spot in a film where all the characters have or currently are experiencing great trauma. Anya Taylor-Joy often steals the limelight as the cutting Illyana, while Sam Guthrie and Henry Zaga aren’t given much to work with as their characters are the stereotypical quiet but nice guy and the brash jock type respectively.

After all the wait, The New Mutants is just fine really. It could’ve been scarier, and it could’ve delved more into these characters, so it doesn’t end up fulfilling the potential of its concept. It has a 90 minute runtime and you do feel that, an extra 20 minutes could’ve done wonders for character development and allowed for scenes to breathe as it was hard to gauge how long Danielle and the others had been in the facility before everything went wrong. Overall, The New Mutants is perfectly serviceable but not one to rush out to see during a pandemic. 3/5.

REVIEW: Victor Frankenstein (2015)

Told from Igor’s (Daniel Radcliffe) perspective, the troubled young apprentice tells the tale of his unhappy life before being rescued and befriended by Victor Frankenstein (James McAvoy) and how they worked together to create life where it should not be.

The story of Frankenstein is so well known – it’s the blueprint for the monster genre – that it is nice to see a film that does try and put its own spin on things, however that doesn’t mean it’s successful in doing so. Having Igor being the main character is new and having him being intelligent and not a snivelling sidekick to Frankenstein was interesting. He goes from being downtrodden and never having anyone care about him, or even see him as a human being, to being more self-assured thanks to Frankenstein’s friendship and belief in him – that turn around is very quick though.

McAvoy as Frankenstein is good fun, the way he annunciates certain words or gets into other characters personal spaces is unsettling as he seems like he’s living life on a knifes edge. His Frankenstein is obsessive and volatile and is indeed the quintessential mad scientist. The characteristics of this Frankenstein seems to take a lot of inspiration from Robert Downey Jr.’s Tony Stark and Robert Downey Jr.’s Sherlock Holmes. In fact, the tone and filming and editing style seems to be trying to emulate the Guy Ritchie Sherlock Holmes films. There’s the bickering relationship between Frankenstein and Igor, the random slow-motion shots in action sequences, the illustrated title cards, and one scene where Igor runs through a forest seemed to be a poor imitation of a sequence in A Game of Shadows.

Besides from the ethical dilemma of what Frankenstein and Igor are trying to achieve, the main antagonist for them is Inspector Turpin (Andrew Scott) who is investigating the thefts of human and animal bodies parts. He is also obsessive and unfortunately quickly becomes a cartoonish villain – though a verbal sparring session between him and Frankenstein is one of the more compelling parts of the film.

The editing in the scenes where Frankenstein and Igor have successfully animated a dead body and then everything goes wrong is not good. Especially in the final showdown it is difficult to keep track of where characters are in relation to each other and to generally have a good idea of the space they are currently inhabiting. It’s hard to keep track of what’s happening and minor antagonists are dispatched so quickly it’s laughable.

While Victor Frankenstein does attempt to breathe new life (ha!) into a well-known story, in the end the final act becomes a clichéd monster movie and the lead up to it often feels like you’ve seen it before due to character and stylistic choices being so similar to previous big franchises. 2/5.

REVIEW: The Losers (2010)

I shall preface this by saying I think this “critical review” is going to turn more into a “gushing review” as I talk about one of my favourite films.

After a CIA special forces team known as the Losers are betrayed and left for dead by their superiors and a mysterious and powerful man known only as Max (Jason Patric), the Losers wage a war against them in order to get their lives back.

A film like The Losers lives or dies on its core team of characters and The Losers thrives. From the first scene you can feel the comradery between the Losers and can feel how these often very different men fit together in a cohesive team. Jeffrey Dean Morgan plays Clay, the leader of this team. He’s more world-weary and feels responsible for the others. As a side note: I once heard someone saying Jeffrey Dean Morgan should have the career Gerard Butler has and I can’t say I totally disagree with that statement.

Anyway, back to the team. Roque (Idris Elba) is more volatile but he and Clay balance one another out. Pooch (Columbus Short) is the wheelman and has some very funny moments, while Chris Evans plays a very sarcastic and talkative Jensen who’s the tech guy. It’s honestly a delight seeing Chris Evans in a role like this, especially as The Losers was released a year before he made his debut as Captain America. To round out the Losers there’s sniper Cougar (Óscar Jaenada), who’s more of the silent but deadly type.

When a secretive woman Aisha (Zoe Saldana) comes to the Losers with a plan for them to get Max, things get complicated as they have heists to carry out in order to get to Max. Max is a fun character too. He’s shady, unpredictable nature, and always has an air of menace even though you rarely see him get his hands dirty. Think it’s down to the costuming choice.

Having read the comics this film is based on (and after seeing the film), I think The Losers is one of the best comic book movie adaptations out there. It has the same humour, the essence of the story is there, if naturally changed a little, and the actors do a great job at bringing these characters to the screen.

The way The Losers is shot is fun and interesting. A lot of the time it’s like a standard action film, but then there’s slow-motion shots of fights or sudden camera zooms; it’s like the filmmakers had fun with the concept of bring a comic book to life.

I think fun is a good word to describe The Losers. The action, the fights, the dialogue, it’s all really fun and enjoyable to watch. The character beats are good, the intrigue is there, the music choices are sometimes unexpected but great, and it has a proper tight script and a runtime close to the 90 minutes mark. The Losers is a great comic book adaptation and a really enjoyable film. 5/5. Fun fact: The Losers is also one of my go to comfort films and is a great piece of escapism.

REVIEW: Skyscraper (2018)

Framed for the unfolding disaster, security expert Will Sawyer (Dwayne Johnson) must infiltrate the world’s tallest building as it burns to save his family who are trapped inside with criminals.

If the premise of Skyscraper sounds familiar to you, that’s probably because you’ve seen some variation of this film before and it hits some pretty generic action beats to move the plot along. It’s also very easy to make comparisons to Die Hard and The Towering Inferno. In fact, it’s not a stretch to say Skyscraper is a combination of the two. Luckily for Skyscraper it has Dwayne Johnson as it’s lead, so some terrible dialogue and recycled plot points are easier to ignore.

Honestly the charisma and star power of Dwayne “The Rock” Johnson really has to be admired as he will make any generic action film watchable. Will Sawyer is a compelling character who happens to be ex-military and is an amputee with a prosthetic leg. Having the hero of this disaster movie be more vulnerable was a nice touch. While Will was still strong and capable of running through fires, climbing buildings and fighting bad guys, there are moments where he has to stop and check his prosthetic leg over. Plus, as the days turmoil goes on it shows how having a prosthetic leg can be both a help and a hinderance in this unique situation. There are some action sequences that make use of the prosthetic leg, but on the whole, it is just shown as a part of him and that he is just fighting to save his family.

The performances from the supporting cast are solid too with people like Noah Taylor and Chin Han showing up making you go “I know him from somewhere!” Neve Campbell plays Sarah, Will’s wife, and she actually ends up with more to do than you think.

The set pieces are pretty spectacular, and I imagine seeing Skyscraper on a big screen would’ve made them even more impressive – and maybe even a sense of vertigo. The sequences where Will is climbing outside of the building, or his family is running through the burning building are good though the closer hand to hand fight scenes are a bit harder to follow and look a little messy at times.

Skyscraper isn’t really anything new to the disaster/action move genre, and it’s more serious than you’d expect, but it’s still reasonably enjoyable even if you can predict a lot of what happens and everything gets wrapped up unexpectedly quickly. 3/5.

REVIEW: Bloodshot (2020)

After he and his wife are murdered, Ray Garrison (Vin Diesel) wakes up with no memories, having been resurrected and enhanced by a team of scientists. The nanotechnology in his blood makes him a super soldier and near indestructible. But as flashes of what happened to his wife come back to him, he seeks revenge, not realising that there might be more to his resurrection than he was led to believe.

Bloodshot is an action/sci-fi film that doesn’t quite now if it wants to be cheesy and fun or overly serious. Vin Diesel is his usual growly self. Is decent in the fight sequences and does a good job at being confused when needed. The supporting cast are pretty fun, with them all fitting the usual tropes. After Ray wakes up, he meets Dr Emil Harting (Guy Pearce), the scientist who saved and enhanced him, along with other former military personal who have been given a new lease of life by Harting’s technology.

KT (Eiza González) is the former soldier that gets the most development and appears to have more of a moral integrity than the others. There are small moments with her that make you start to suspect there’s something more going on. Alas those moments are small because the answers are given far too quickly.

There is some intrigue to be had in Bloodshot but unfortunately due to the script being chockfull of exposition – honestly some characters just monologue on their motivations or backstory at the drop of a hat – the intrigue comes to nothing. It’s like the filmmakers didn’t trust the audience was smart enough to pay attention to some pretty big cues and to puzzle together what was happening themselves. Instead, anytime there seemed to be a moment where new information was being revealed, it was explained almost straightaway.

The action and special effects with the nanotechnology are pretty good. There’s an action sequence in a tunnel that really stands out. The action is contained to a small area and it really showcases the power Ray has at his fingertips. It’s also lit by red flares and the smoke and powder everywhere along with the dramatic score and slow-motion shots, makes it an aesthetically pleasing sequence.

That being said, another action scene stands out for the wrong reasons. There’s an action/chase sequence that’s supposed to be taking part in London, but it is so clearly not in London that it’s completely jarring. It doesn’t even look like the characters are in the UK anymore as they run down side streets and encounter police cars that look nothing like UK police cars. At a guess, I’d say it was filmed in a Mediterranean country because the houses and shops in the UK look nothing like the ones in that sequence.

The concept of Bloodshot is interesting and while the majority of the action sequences are well shot and engaging, the actual plot doesn’t live up to its potential. 2/5.

While I’ve included the trailer like I always do, I’d not recommend watching it as it gives away the majority of the twists and turns in Bloodshot.

T is for Troy (2004)

When Trojan Prince Paris (Orlando Bloom) falls in love with Helen of Sparta (Diane Kruger) and brings her home with him, it plunges the two kingdoms into war. Paris’s older brother Hector (Eric Bana) leads Trojan’s armies, while undefeatable warrior Achilles (Brad Pitt) fights with Greece’s forces, led by the power-hungry Agamemnom (Brian Cox).

The scale of Troy is epic. The costumes, makeup and set design should all be commended. Not sure how much of the setting of Troy is practical vs computer generated, but it still looks impressive over fifteen years later. However, the battles are hit and miss in terms of how easy to follow they are. The big battles need some more wide shots because when you see the scope of it all it is spectacular. The one on one fights though are tense and thrilling and the actors really look like they’re trying to take each other’s heads off.

There are a lot of characters in Troy, and with all the names that often have multiple syllables it’s difficult to keep track of who is who. It’s easier to refer to characters by the actor who plays them than anything else and, whether it’s down to script or performance (or both), a lot of them aren’t that memorable or are well-rounded characters.

The dialogue is really rather clunky thanks to there needing to be so much exposition to set up all of these characters and their motivations. Some of the performances seem a little wooden at times too – Orlando Bloom being the main culprit of this. The chemistry between key characters isn’t always there either, making it more difficult to invest in them and their relationship.

For instance, the one between Briseis (Rose Byrne) and Achilles is framed as a big romantic love story thanks to the score and the dialogue. But It’s often uncomfortable to watch as Byrne and Pitt do not have any chemistry and the fact that, while he says otherwise, for all intents and purposes Briseis is his captive. It makes an unpleasant power dynamic. However, the chemistry between Bloom and Bana as the two Princes of Troy is great. Kudos to the casting department because they really do look like brothers, and they work really well as brothers too.

Troy is a decent action film if you enjoy the whole sand and sandals, epic ancient history battles kind of thing. Though it’s long and drags a bit at times, on the whole it’s an engaging watch, especially if you don’t know the whole story of Troy. 3/5.

S is for Sudden Impact (1983)

Trigger warnings for scenes of rape.

After angering a gang of criminals, San Francisco Detective Harry Callahan’s (Clint Eastwood) bosses send him on an out-of-town case until things calm down. But things are never quiet for Harry. In the seaside town he ends up there’s Jennifer (Sondra Locke), a rape victim who is exacting her revenge on her attackers, and soon Harry ends up following the case.

Sudden Impact is the fourth film following Eastwood’s “Dirty” Harry. It’s been a good few years since I’ve watched the first three so I can’t compare it to them in terms of quality or Harry as a character’s story arc.

That being said, this film sees Harry as a man who sees murderers as murderers with very little grey area to move in. This means having the serial killer he’s chasing having a very understandable motive as she was a victim of a heinous crime, means there’s some interesting ground to cover in terms of Harry’s character. Unfortunately, this aspect is never really fully explored besides some lingering gazes and Jennifer being able to keep up when verbally sparring with Harry.

Jennifer is a compelling character and it’s refreshing to see her be allowed to be angry and scared, and how she seeks “justice” is never framed as a bad thing – especially once the audience knows her motives. The scenes when she confronts her rapists are powerful and Locke gives a steely performance in those moments.

The car and foot chases sometimes feel a bit dated, but the score is a great at increasing the tension in the sequences. The final act is exciting as Harry begins to put everything together and he and Jennifer both become caught up in danger.

Sudden Impact is an intriguing detective story that puts the killer almost on par with the hero in terms of screen time and understanding. 4/5.

Q is for The Quake (2018)

Three years after surviving a deadly tsunami, geologist Kristian Eikjord (Kristoffer Joner) is estranged from his family as he struggles to deal with the fallout and the constant fear of another tragedy. When his friend and fellow scientist shares with him his data on the tremors in Oslo, Kristian rushes to the city to learn more and to try and save his family from an impending tragedy.

The Quake is the sequel to The Wave and stars the same actors as the central family. Much like its predecessor, The Quake puts many big budget Hollywood disaster movies to shame. By focusing on so few people, you become invested in their survival and how they fight to overcome such a huge natural disaster.

Everything about The Quake builds tension brilliantly. The first half of the film is focussed on Kristian’s research and how he struggles to connect with people when he feels he has to be ready to save people at any time. The Quake does a great job as showing the lasting effects on living through an ordeal like a tsunami and even if you survive it, there’s still so many things you must come to term with. The score is haunting and slowly amps up the tension as Kristian begins to put things together, even when others aren’t sure there’s anything to worry about.

When disaster does hit, it’s horrifyingly spectacular. In a strange way the catastrophe seems almost earnt as you’ve had to wait for so long, and by waiting, you’ve become more attached to the characters and are more invested in their fates. With the aftershocks and collapsing buildings, The Quake never stops being a nerve-wracking experience as everything that could possibly go wrong does.

The Quake keeps you on the edge of your seat but never forgoes common sense or character development. Just like the first film, it’s well worth the watch – even if it may make you slightly hesitant about visiting Norway any time soon, because as it says in the end credits, the country is overdue for a large-scale earthquake. 5/5.

O is for Outlander (2008)

During the reign of the Vikings, Kainan (Jim Caviezel) a man from a far-off world, crash lands on Earth bringing with him a deadly alien predator known as the Moorwen. On Earth he meets King Hrothgar (John Hurt) and his people who he tries to convince that something a lot deadlier than warring tribes is out to get them.

Outlander is one of those films I’d seen pop up on Netflix for ages before I finally decided to watch it, and admittedly I thought it’d be pretty rubbish based on the premise. I mean, guy from a place with far superior technology has to deal with primitive Vikings? It sounded cringey. Luckily, instead of being condescending towards the townspeople, Kainan is actually a pretty chill and adaptable guy and looks for a way to work with these people, even if they don’t believe him straightaway.

While you might think that there may be humour derived from the culture clash between Kainan and the Viking people, that’s not the case at all. In fact, Outlander is serious and gets straight down to the action and it is often bloody action too.

The tension in Outlander comes from two places, the suspense of waiting to see the Moorwen and the conflict between Kainan and warrior Wulfric (Jack Huston). The two of them butt heads over how to deal with the threat facing them all as they struggle to trust one another. Surprisingly, while Wulfric is set up as an antagonist for Kainan the film does allow him some growth and their dynamic becomes interesting. The film makes you wait to see the Moorwen, showing you glimpses of the large creature and flashes of light as Kainan and the others go hunting. It also throws in a few red herrings as well, making you wait even longer for the big reveal.

The blend of sci-fi monster and Middle Age aesthetic works surprisingly well, and though sometimes the film does drag, Outlander ends up being an unexpectedly engaging monster movie. 3/5.