film review

REVIEW: Point Blank (2019)

When ER nurse Paul’s (Anthony Mackie) heavily pregnant wife Taryn (Teyonah Parris) is kidnapped, he has to work with injured murder suspect Abe (Frank Grillo) to get her back as they face off against rival criminals and renegade cops.

Mackie and Grillo work well together here. Their characters are polar opposites which leads to some amusing moments, but they bring a lot of energy to their scenes together as thy have a common goal. Paul wants to get back to his wife, while Abe wants to get back to his younger brother Matteo (Christian Cooke) and all four of them are trying to keep ahead of the criminals who want them dead.

Point Blank is a predictable action thriller but the way the action is shot and how the plot speeds along makes it a fun ride. Quick edits a long with some decent fights make those scenes interesting however the car chases are more pedestrian than exciting. There are some surprisingly emotional moments though the script isn’t good enough to really pack an emotional punch.

There are some odd music cues in Point Blank as a fight or something will kick off and it’s like a needle drops onto a record but the song that starts playing isn’t one that really fits. It can be quite jarring and takes you out of the film as what you’re hearing and what you’re seeing really don’t mesh that well together. Sometimes the music choices even cheapened those times where they were going for something dramatic.

Towards the end of Point Blank, it starts to lean too far into the buddy comedy element and the ending is cheesy, but that doesn’t stop most of the film being a fast-paced and a generally compelling action film. 3/5.

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REVIEW: Fast Five (2011)

Dominic Toretto (Vin Diesel) along with his sister Mia (Jordana Brewster and friend and former-FBI Agent Brian O’Conner (Paul Walker) are on the run and backed into a corner. After they cross paths with a powerful Brazilian drug lord in Rio, they call in old friends to pull off one last job to buy their freedom. But all the while federal agent Luke Hobbs (Dwayne Johnson) is on their tail.

Following on from Fast & Furious, Fast Five continues the trend of stepping away from its street racing roots becoming a heist film and it’s all the better for it. It still has some great car racing action, but a lot of it either pushes forward the plot or is a nice character moment. It has all the usual heist tropes, but they come together with characters you’ve seen across the previous four films means which makes them extra fun and enjoyable.

Moulding characters into the roles of heist archetypes like the techy (Ludacris’s Tej), the quick talker (Tyrese Gibson’s Roman), and the social chameleon (Sung Kang’s Han) is handled really well and it feels like an extension of the characters we’ve already meant rather than a complete reinvention.

Having all these characters come together and become friends, some of which previously knew Dom before while some only knew Brian, fully cements the key theme of this franchise – family. It’s a theme that had been there from the start but really, it’s once this cast of actors and characters are finally together that you properly start to connect with that message.

Dwayne Johnson is a brilliant addition to the cast and he is a formidable foe for Walker’s Brian and Diesel’s Dom. Really, Hobbs is a combination of the two of them; he has the knowledge of the legal system of Brian, the physical strength of Dom, and is just as loyal to his team as the two of them are to their own family.

The action spectacle of Fast Five is top-notch too. There are foot chases through a favela, an opening set piece with a heist on a train, brutal fistfights, and then there’s the climax which sees a lot of destruction on the streets of Rio. All the action sequences are exciting, well-shot and easy to follow and above all, they are really fun.

Fast Five is a thrill ride from start to finish. The false starts, and not so great films that came before it, can be forgiven because this one is a fantastic blend of action, intrigue, fun and above all – likeable characters that are one big family. Fast Five really set the bar for what the rest of the franchise could be. 5/5.

REVIEW: Spider-Man: Far from Home (2019)

Following the events of Avengers: Endgame Peter Parker (Tom Holland) just wants to put aside being Spider-Man for a bit and have fun with his friends on a school trip across Europe. But when elemental creatures appear, Nick Fury (Samuel L. Jackson) comes to Peter for help and introduces him to new superhero Mysterio (Jake Gyllenhaal).

Spider-Man: Far from Home is so much fun, but it also manages to handle some emotional beats while adding a whole new dimension to the MCU. Following on from Endgame, Far from Home touches on some of the logistical issues that would come with half of the world’s population returning after five years. People’s homes have been sold to someone else, people’s younger siblings are now older than them, and naturally people have missed a good chunk of what’s happened with their friends and families while they’ve been gone.

It’s the emotional fallout though for Peter Parker that really adds to the pressure he’s feeling. He lost is father-figure and mentor and feels like he has huge shoes to fill while still wanting to live a normal life. A scene where Peter and Happy Hogan (Jon Favreau) reminisce about Tony Stark and how they are, or are not, coping without him is a wonderful scene that highlights how Far from Home balances the fantastic with the personal.

Far from Home, like Spider-Man: Homecoming, is a teen high school comedy with all the good and bad things that can come with that. There are some cheesy jokes that don’t land or carry on too long, but then there’s also some hilarious moments as the young cast really do feel like a bunch of friends. MJ (Zendaya) has a larger role in this film as she’s sarcastic and funny but thoughtful as she tries to learn to let people be close to her. The teacher Mr. Harrington (Martin Starr) is a standout though and just about everything out of his mouth is hilarious.

Mysterio is an enigma and a character that is very difficult to talk about without going into spoiler territory. Gyllenhaal does a great job of playing the different layers of the character though, and midway through the film there’s a scene where he goes all out with a monologue and it’s magnificent.

The special effects are great too but there’s one sequence that will be talked about as a standout in the MCU for years as all of Peter Parker’s fears come to life. That whole sequence is awe-inspiring as it is so well put together and fits into both the story of the film and Peter’s emotional journey perfectly.

Spider-Man: Far from Home is funny, thrilling and spectacular. The first act isn’t as solid as the latter two as it retreads old ground seen in the previous Spider-Man film, but when the story shifts and certain things are revealed, it becomes something completely thrilling and innovative. Both post-credit scenes are some of the most important and game-changing in the MCU. Spider-Man: Far from Home is a satisfying end to Phase Three of the MCU, and where Phase Four is heading is anyone’s guess. 4/5.

REVIEW: Fast & Furious (2009)

When reinstated FBI Agent Brian O’Conner (Paul Walker) crosses paths with fugitive Dominic Toretto (Vin Diesel) in Los Angeles, they reluctantly put aside past differences to take down a common enemy, a drug lord known only as Braga.

Fast & Furious sees the main four characters from the first film; Dom, Brian, Letty (Michelle Rodriguez) and Mia (Jordana Brewster) return and work together. It is great to see these characters again and the cast still has great chemistry, however the story lets them down. The script is dull, the action sequences are, for the most part, uninspired, and there’s more brooding than fun.

In hindsight, Fast & Furious lays the character groundwork for future and better films in the franchise. But that doesn’t make Fast & Furious an enjoyable film to watch. There’s the odd good moment, like when Mia says to Brian; “Maybe you’re not the good guy pretending to be the bad guy. Maybe you’re the bad guy pretending to be the good guy.” But these few interesting character moments are hard to come by.

Fast & Furious is a lot more serious than its predecessors and losing that sense of fun makes the film, and the story, a lot more generic. There’s less straight out car races in Fast & Furious but more action sequences like shootouts and foot chases, though unfortunately the only exciting sequence is the one the film opens with. The opening and first act of the movie are the most interesting as it sets up these characters we already know and it’s exciting to see where they are going. Regrettably, once you know that, the plot is very predictable, and the film loses almost all momentum.

While it’s good to have Brian and Dom back together, there’s not enough thrills nor a compelling story to make Fast & Furious stand out in either the franchise, or as an action film. To be honest, the biggest problem of Fast & Furious is that two of the main action sequences, including the finale, are set in a poorly lit tunnel where choppy editing makes things hard to follow. There’s nothing thrilling about it. 2/5.

REVIEW: Bullet to the Head (2012)

After his former partner is killed, Washington D.C. detective Taylor Kwon (Sung Kang) comes to New Orleans and forms a reluctant alliance with hitman James Bonomo (Sylvester Stallone), whose partner has also recently been killed, in order to bring down a common enemy.

The plot of Bullet to the Head is somewhat derivative but the action sequences and the characters make that plot enjoyable on the whole. Stallone and Kang make an unexpectedly great duo and the scenes of them finding their feet around one another are fun. Stallone’s Bonomo is the typical monotone antihero who resorts to violence to get what he wants very quickly, while Kang’s Kwon is a by the book cop who wants those responsible for his partners death to face legal justice. The filmmaker did a nice job of sidestepping the usual trope of having the Asian lead be a martial artist, instead Kwon can throw a punch but it’s his logic and connections with the police that help him and Bonomo track down their partners killer.

While Kang and Stallone are fun to watch, Jason Momoa steals every scene he’s in as sadistic killer Keegan. He’s an intimidating combination of brains and brawn and manages to standout against a physical adversary like Stallone, and against a potential strategic adversary like Adewale Akinnuoye-Agbaje’s Morel.

There are some grisly fights in Bullet to the Head and the action sequences pad out a plot that is surprisingly convoluted with multiple bad guys, and people double-crossing one another at almost every turn. The plot is unoriginal, but having minor characters who then get a backstory and motives means there’s a lot of moving pieces and they don’t always come together neatly.

Bullet to the Head is a retro action film that knows exactly what it is and leans into all of its one-liners. It’s not great but it’s not boring either. 3/5.

REVIEW: The Fast and the Furious: Tokyo Drift (2006)

After getting caught street racing one too many times, Sean Boswell (Lucas Black) has to move to Tokyo to stay with his father to avoid a jail sentence in America. There he meets Han (Sung Kang) who becomes Sean’s mentor and coaches him into becoming a major competitor in the world of drift racing.

Besides a cameo at the end, and the whole messed up timeline thing future films cause because of Han, Tokyo Drift is a film that can very much stand on its own in the franchise. It has new characters, a new setting, and a whole new style of racing not seen before in the franchise.

Having the racing style be drifting rather than a 10 second drag race, means the race and chases have a whole new feel compared to the previous films. Cars drive around like they’re on a slalom ski slope rather than the busy streets of Tokyo. The way the races are shot, along with a score that’s not so heavy on the techno beats, leads to some thrilling moments.

Considering how far this franchise of films goes in terms of having more female characters, and often ones that are just as capable and as layered as their male counterparts, it’s jarring to see in the opening five minutes of Tokyo Drift a teenage girl offering herself up as the prize for two young men to race for. It does leave a bad taste in your mouth and while there continues to be scantily clad girls, when a new female character is introduced in Neela (Nathalie Kelley) it is slowly revealed she’s not just a pretty face and has the most interesting backstory in the film.

Sean isn’t the most interesting of leads, and Black’s performance is not that great either (the guy doesn’t really know how to emote) but luckily Sean is surrounded by more interesting characters and actors who do better at delivering clichés-filled lines of dialogue than Black. Han is cool, calm and collected and is the kind of person who stays in the background to observe people. He forms a bond with Sean but that doesn’t stop him working with D.K. (Brian Tee), a young man connected to the Yakuza. It’s Black’s scenes with Kang and Kelley that make Sean feel more than a stand in for the audience as you get glimpses of what can almost be classed as chemistry between them.

The Fast and the Furious: Tokyo Drift makes great use of the Tokyo cityscape, making night-time races look slick and the colours of the city lights, and the bright cars, pop. The first half of Tokyo Drift is a bit slow, but the second half is a thrill ride as things come to ahead between characters and stakes get higher. Tokyo Drift is a bit like the black sheep in the Fast and Furious family, and it’s one that has more resonance after the events of Fast & Furious 6/Furious 7, but it is still a good time. 3/5.

REVEW: Robin Hood: The Rebellion (2018)

When Maid Marian (Marie Everett) is captured by the Sheriff of Nottingham (James Oliver Wheatley), Robin Hood (Ben Freeman) leads Will Scarlett (James G. Nunn) and Little John (Jamie Kenna) into battle to rescue her.

There are so many different takes on the Robin Hood story, and this one is not going to be remembered – fondly or otherwise. Robin Hood: The Rebellion is largely set across one day as Marian is captured and Robin infiltrates the Sheriff’s castle and attempts to rescue her. Being set in such a short space of time, the film relies on the title cards to explain what has been happening to the people of Nottingham, and also through so much expository dialogue that it becomes almost a chore to listen to the characters talk.

One of the main elements of the Robin Hood story that makes it something people enjoy to revisit, is the characters and their relationships. However, in this tale the characters have little to no characterisation and there is no chemistry between any of the cast members. Whether that’s Everett’s Marian and Freeman’s Robin who are supposed to be in love, or Freeman’s Robin and Nunn’s Will Scarlett who are said to be best friends in the opening titles but there’s not sense of any kind of relationship between them. John’s defining characteristic is that he complains all the time, and at least he got a gimmick as Will Scarlett barely has any lines or is unable to make an impression. There are a few quips courtesy of Robin Hood but they don’t work as they happen so rarely in an otherwise sober film that they feel out of place.

On the whole, the acting is as wooden as the trees in Sherwood Forest and those who are able to ham it up, like the Sherriff or his cousin Guy of Gisborne (James Groom), come across desperate and the performances don’t work in the film they’ve been given.

Robin Hood: The Rebellion is dull and uninspired. The sword fights are not at all exciting and the dialogue and plot are tedious as the same things happen again and again and characters have the same conversations again and again. 1/5.