Film Review: It: Chapter Two

"Something Happens When You Leave This Town. The Farther Away, The Hazier It All Gets. But Me, I Never Left. I Remember All Of It..."

With It surprising both critics and audiences alike back in 2017 as it proudly declared itself as not just one of the best films of the year but undoubtedly one of the best Stephen King cinematic adaptations of all time, this week finally brings with it the release of Chapter Two, the hotly anticipated concluding tale of the battle between Pennywise the Dancing Clown and The Loser's Club, one set twenty seven years after the events of the previous film as we see our returning heroes return to the town of Derry in order to face the fearful figure which has haunted them throughout their individual lives. Directed by the returning Andy Muschietti, Chapter Two continues the Argentine's dedicated affection for the original King novel as he brings to the big screen a three hour long, horror adventure epic which, in a similar fashion to the original source material, is thrilling, well orchestrated and thunderously entertaining, but a film which also annoyingly suffers drastically from an overlong and poorly managed runtime, bloated pacing issues and an over reliance on very repetitive set pieces, factors of which at times puts shivers down your spine in completely the wrong way as you cry out for a cold-hearted editor to cut away the deadwood in order to create a film which would have proudly stood head to head with the 2017 original but instead, is clearly the inferior chapter of the two.

With Chapter Two of course set twenty seven years after the events of the first film, the opening movement of the movie takes time to re-introduce the adult form of our beloved Losers, most of whom have managed to move away from the confines of Derry and into successful lives elsewhere until they are quickly brought back to their homeland by Isaiah Mustafa's Mike Hanlon, the only remaining member of the pack still residing in Derry, who quickly realises that the threat of Bill Skarsgård's ominous Pennywise has once again returned. With the reunion party out of the way and memories of their childhood slowly rising back to the surface, the narrative then sees each of the Losers each attempt to fully remember the reason for their return, a clever plot device which allows the story to weave in and out of time shifts as we dive deeper into the lives of the Losers' younger selves and further chance encounters with our beloved baby-headed primary antagonist, a strangely similar device to that seen within Avengers: Endgame whereby time travel was utilised in order for individual characters to revisit iconic sequences in an almost victory-lap appraisal of the events which have come before it. Whilst this most definitely worked within Endgame thanks to a buildup of characterisation over twenty films, the same cannot be said for Chapter Two, as the individual set pieces soon become incredibly repetitive, resulting in a sense of unease not caused by horror but by a willingness for the narrative to actually get on with it, particularly when most of the scenes do seem direct re-treads of those seen within the first film, but even with that in mind, certain set pieces do evoke a chilling sense of knowingly ridiculous, overblown horror, particularly one scene lifted straight from the novel in which Jessica Chastain's (Zero Dark Thirty) Beverly Marsh takes a haunting trip back to her childhood home address.  

With the original King novel itself suffering from a sense that certain aspects within the story go so out there in terms of the sublime ridiculousness that to transfer them onto the big screen would be nigh-on impossible, the first part of Muschietti's vision did well to bend particular set pieces in order to cater to a more mainstream audience with alarming success, and as Chapter Two finally arrives at its' final act, all memories of the cringey, low budget depiction of Pennywise's true form from the 1990 television miniseries are completely expelled thanks to a final confrontation which is probably the best big screen depiction of the source material as you possibly could get. As per the overall sensibility of the film, the final act manages to blend supernatural horror elements with laugh out loud moments of comedy, where although not every pun manages to quite stick the landing, carries on the coming-of-age feel which the first chapter clearly evoked so well, as we see the Losers continue the charming character conversations and witty banter shared all the way through the first film and now almost effortlessly once again as they reunite as adults. With Chastain, James McAvoy (Dark Phoenix) and Bill Hader (Saturday Night Live) the clear standout performers, with Chastain particularly being well and truly put through the wringer thanks to THAT bathroom scene alone which evoked the look of Shauna Macdonald in The Descent, and a sheer fondness for the central characters, Chapter Two works excellently as a two hour horror adventure, but thanks to an unholy decision to add on an extra hour just for the memories, Muschietti's approach to King's novel is undoubtedly the best adaptation fans could have hoped for thanks to characters and a Pennywise for the ages, but as a standalone picture by itself, Chapter Two is baggy, but is still very, very good. 

Overall Score: 7/10

Film Review: X-Men: Dark Phoenix

"The Mind Is A Fragile Thing. It Takes Only The Slightest To Tip In The Wrong Direction..."

With Avengers: Endgame showing forevermore how to successfully handle a blockbuster, superhero franchise which not only pretty much exceeded the expectations of obsessive fans across the globe, myself included, but ticked the boxes many times over in both the critical and financial categories, here we are no more than a month and a half later with X-Men: Dark Phoenix, 20th Century Fox's own "endgame" which brings to a messy conclusion, the entire X-Men franchise which began all the way back at the start of the century with a movie which in retrospect, could be argued as being the kickstarter for the comic-heavy filmic universe we find ourselves in today. With the X-Men cinematic universe being handled with less delicacy as the MCU, it's fair to say that Dark Phoenix arrives with little hype or expectation, a concluding chapter that screams with half volume a fond farewell to the alternative universe of our familiar mutated characters first introduced in X-Men: First Class, revived excellently in the franchise best, Days of Future Past, and once again in the not-so great but still watchable, Apocalypse, and with the movie attempting to revive the titular and very well regarded "Dark Phoenix Saga" from the original comics which was somewhat soiled in the franchise low, X-Men: The Last Stand, the final chapter in Fox's almost twenty year franchise is indeed a solid, by-the-numbers superhero blockbuster, but that's pretty much it.  

As per the standard of most cinematic franchises, Dark Phoenix ultimately works or doesn't work depending on how much you personally bring to it, and whilst I do not hold Fox's own superhero franchise with anywhere near as much regard as I do with the MCU, I can claim to bear a slight relationship with the film's central characters, with the likes of McAvoy (Filth), Fassbender (Shame) and Jennifer Lawrence (mother!) each returning in their respective roles, yet where the movie ultimately fails is in its' approach to both the sloppy introduction of new characters, particularly Jessica Chastain's (Zero Dark Thirty) criminally underdeveloped leading villain, and the wider universe, with timelines now completely out of whack and the effect of the predecessing movies having less of an impact when watching in retrospect. With sloppy dialogue and a highly predictable plot, Dark Phoenix is ultimately saved by the Phoenix herself, with Sophie Turner of Game of Thrones fame giving the best big screen performance of her career so far, outshining her elder Hollywood colleagues who in all honesty, seem to be waiting for the franchise to end in order to collect their well earned bonuses, and whilst a film which starts with a car crash is somewhat begging for certain similarities to be made, Dark Phoenix is by no means the worst superhero movie in the world, it just happens to be one of the more forgettable. See ya, X-Men...

Overall Score: 6/10

Film Review: Molly's Game

"You Managed To Build A Multi Million Dollar Business Using Not Much More Than Your Wits..."

The first film of 2018 has swiftly arrived and brings with it the talented presence of writer/director Aaron Sorkin whose screenplays for the likes of The Social Network, Moneyball and Steve Jobs have placed him at the top of many's list for the most in-demand screenwriter in America. Turning to the director's chair for the very first time, Sorkin utilises the prestigious talents of Jessica Chastain in a dramatic representation of Molly Bloom's autobiographical memoir about the rise and fall of her independently managed luxurious poker empire and the subsequent legal battles following the fallout of a statewide led criminal investigation. With Sorkin's recognisable literary craft sweeping throughout, Molly's Game is a rigorous exercise of the American's unmistakable style audiences have grown to respect and love, and whilst a lengthy and bloated narrative timeline does weaken the finished product and prevent the movie being held in the same esteem as previous Sorkin penned releases, Molly's Game is a flashy full house of a movie with a Chastain on unmissable form. 

Beginning with a quickfire introductory voiceover outlining a young Molly Bloom's disastrous Olympic skiing experience, Sorkin's narrative weaves its way sharply and smoothly throughout a first act which follows Chastain's Bloom as she develops from wandering idealist to opportunist successor, one who uses her real estate agent contact (Jeremy Strong) to flex her intellectual muscles and take over control of an infamous and highly prestigious unlicensed poker ring. With the money flowing, the famous faces increasing and a drug addiction mounting, Sorkin's script attempts to mix in a wide range of elements of both a personal and dramatic nature of which the source material may have successfully delved into on paper, but even with a two and a half hour runtime to play with, these multiple plot threads do end up feeling convoluted come the final act where even the addition of a ever reliable Idris Elba does strangely seem somewhat added on, with his character never really having the depth to solidify his existence. However, with Chastain owning a leading role which carries all the charisma and charm you would expect from an actress renowned for playing similar characters in Miss Sloane and Zero Dark Thirty, Molly's Game is a zippy and smart character drama which excels thanks to the involvement of a writer whose move to directing has began more than rewarding. 

Overall Score: 8/10

Film Review: Miss Sloane

"You Crossed The Line When You Stopped Treating People With Respect. You're Smart Enough To Know That. You Just Don't Care..."

When it comes to my favourite actors and actresses of recent times, the iconic and wholly reliable face of Jessica Chastain is always a healthy sight to behold, due in part to her lavish and totally envious good looks (Healthy celebrity crush incoming) but of course mainly down to a wide range of countless superb performances in films such as her outstanding leading role in Zero Dark Thirty, Christopher Nolan's science fiction masterpiece Interstellar and Terrence Malick's slightly baffling, yet undeniably beautiful The Tree of Life, all of which have quickly turned Chastain into one of Hollywood's most productive and bankable leading stars.  With the release of Miss Sloane this week, the latest from The Best Exotic Marigold Hotel director John Madden, Chastain once again is given the freedom to flex her incredibly versatile acting muscles, taking a tightly wound grip of leading character Elizabeth Sloane, an esteemed and frighteningly determined US lobbyist, and completely taking control within the confines of a narrative which is as gripping as it is infectiously ludicrous where although the movie's shark-jumping conclusion does threaten to ruin the smartly positioned groundwork which precedes it, is undoubtedly an enjoyable and vigorously entertaining political ride.

With a script from first time writer Jonathan Perera, one which moves along ever so efficiently and robustly and one which inevitably nods its' head to a wide range of modes of political escapism including the likes of House of Cards and The West Wing, the titular character of Elizabeth Sloane is indeed a cold and calculated amalgamation of Kevin Spacey's Frank Underwood and Peter Capaldi's conniving and spidery spin doctor, Malcolm Tucker, in the masterful Armando Iannucci led, The Thick of It, slipping her hands into a rafter of political pies in order to achieve what she desires most. Supported by the likes of Mark Strong, Michael Stuhlbarg and Belle star, Gugu Mbatha-Raw, Madden's film travels between elements of tension, comedy and tight-knit drama, occupying a much needed space in the vacuum of below-par movies I have suffered in these last few weeks, and whilst the concluding act in which genetically configured insects and a cop-out resolution does come across way too immature and silly when considering the fundamental subject matter, Miss Sloane is a highly entertaining political drama which reinforces Jessica Chastain as the person you need to take your movie up an entire critical level.

Overall Score: 8/10

Film Review: Crimson Peak

"Beware Of Crimson Peak..."

Sometimes a film can be so incredibly mouthwatering and exciting, whether it be a release from a new favourite director, a return to acting from an esteemed actor or actress, or even something as minute as a certain film featuring a song that you admire on the soundtrack, (take Muse on the World War Z soundtrack for instance; a mediocre movie but one that holds a place deep in my heart for the use of one Muse song) that no matter what the final result is in terms of the film's overall critical appeal, such a film is always set to be brilliant in the eyes of a small contingency of followers. In the case of Crimson Peak, the hype-train was well and truly boarded months back when I realised the core ingredients was made up of director and writer Guillermo Del Toro, the visionary mastermind behind the pretty-much perfect Pans Labyrinth and other horror pieces such as The Devils' Backbone and The Orphanage, if only on production duties, and the holy trinity of recent acting favourites of Mia Wasikowska (Stoker), Tom Hiddleston (The Avengers, Only Lovers Left Alive) and Jessica Chastain (Zero Dark Thirty, The Martian). Sound too good to be true? Indeed, with Crimson Peak not being a case of complete disappointment, but something that seemingly had all the tools to become a masterpiece on the same level as Pans Labyrinth yet ultimately, has failed to become so. 

After the idealistic young novelist Edith Cushing (Wasikowska) falls in love with the dashing, if rather mysterious Sir Thomas Sharpe (Hiddleston), much to the disdain of her father Carter Cushing (Jim Beaver), she decides to accept his hand in marriage and follow him to his place of residence, the rustic, ancient Allerdale Hall in Cumbria, England, home not only to Thomas but to his sister Lucille (Chastain) who is reluctant at the thought of her brothers' choice in marriage. Living in the screeching, clay-ridden confines of Sharpe's mansion, Edith begins to witness a wide range of activity from both the abnormal and paranormal, with her husband and newly proclaimed sister-in-law perhaps hiding their true intentions for Edith and her involvement in the prophetic notion of the cryptic and titular Crimson Peak. In terms of the films' successes, both costume and production design are enigmatic and entirely flawless, with the construction of the dying, decomposing Allerdale Hall being a sight to behold and arguably being the star of the show, with the design being made to within an inch of its' life and surely bringing with it a well-deserved Oscar nod and hopefully, win.

Within the success of the production, it's a shame that Del Toro couldn't have as much time on the script, with the plot to Crimson Peak being rather cliched and wholly un-original, something of which made the surprises not entirely surprising and the creepy, if rather obvious foreshadowing. rather plodding, resulting in a conclusion that was quite inevitable, something of which I can't can't quite comprehend from the director and writer of the wonderfully complex and deliciously dark Pans Labyrinth. Even with the minimal plot in hand, each of the three leads make the most of the script they are given and fully embrace the Gothic romantic nature of the film's tone, with Wasikowska and Hiddleston being undeniably perfect in their casting, albeit if sometimes the chemistry between the two did seem rather off, perhaps due to the ambiguous nature of Sharpe's true intentions. Pans Labyrinth it is not, but Crimson Peak remains a rather gorgeous experience in terms of its' visual presentation yet suffers from a rather underwhelming script, resulting in a flawed but fun piece of cinema that manages to explore the heavily-examined Gothic theme in the hands of Del Toro. 

Overall Score: 7/10

Film Review: The Martian

Life On Mars

When the first theatrical trailer for Ridley Scott's new sci-fi movie The Martian was released to the world a few months back, the two-minute clip was so spoiler-heavy in terms of some rather important plot points, you could have been easily forgiven for not choosing to pay to watch what essentially might have been a two and a half hour extension of the ideas highlighted in that particularly short amount of time, and when a following six-minute trailer for the film was released soon after the first, I completely blocked it in order to save some of the excitement for the film's release. If you were one of the many who chose to watch The Martian in its' six-minute release format, I can't imagine you could have been overly impressed by the complete package, with it, like Everest recently, suffering from the now-familiar problem that its' core shocks and storylines were overtly spoiled before the film's release in a vain attempt to sell the film to the masses via that of a trailer, something of which detracts the film from the excellence it could have possibly become.

When the NASA led Ares III manned mission to Mars is forced to retreat due to heavy storms and dangerous weather, astronaut and acclaimed botanist Mark Watney (Matt Damon) is left for dead on the planet after being hit by debris, yet soon after, NASA realise Watney is in fact alive and well on the planet after surviving the accident and is now attempting to survive on Mars for the duration of time it takes until the next scheduled NASA mission lands. Using the wide range of expertise of both Watney and those back on Earth, the two combine in an attempt to accomplish the miracle of getting Watney back home, a destination all of 33 million miles away. Directed by the genius that is Ridley Scott, creator of two of my favourite films of all time in the form of Blade Runner and Alien, The Martian proves to be one of his better works in recent times but ultimately fails to touch the greatness of some of his most prestigious work whilst feeling indirectly and unfortunately familiar to the masterpiece that was last year's Interstellar, with the film even going so far as having some of the same actors (Matt Damon and Jessica Chastain) whilst having an unbelievably uncanny plot point that derives straight from last years' Nolan epic (Matt Damon being stranded alone on a alien planet).

Areas in which the film succeeds is the way in which Damon's portrayal of the lone astronaut Mark Watney is strongly handled with him neither passing into the realm of annoyance or boredom and instead being an interesting and well-developed character throughout, whilst the interaction of geeks and gargantuan space-filled characters on Earth was also highly enjoyable with a wide range of unexpected comedic content, aside from the inclusion of Donald Glover's Rich Purnell whose annoying ten-minute inclusion almost ruined every scene in which he was present. Excellent also was the presentation of the desperate wasteland that is Mars, with Dariusz Wolski's cinematography being on tip-top form when confronted with the planet's desolate surroundings. The main problem in my opinion with The Martian, aside from it being around twenty-minutes too long, was there was no real sense of threat for the character of Mark Watney, with it being blindingly obvious that his escape from Mars was set to be a successful venture, something of which was rather disappointing, whilst the sometimes cheesy script and dialogue (That Iron Man scene...Eugh) resulted in The Martian being a solid return for Sir Ridley, but nothing actually that spectacular on the face of it. 

Overall Score: 7/10

Film Review: A Most Violent Year

Sympathy for the Devil

J. C. Chandor's, A Most Violent Year, is the second of two films released in the past week, the first being Ex Machina, that include Star Wars -bound Oscar Isaac, who is slowly becoming one of my favourite actors. I first noticed Isaac when watching Inside Llewyn Davis, yet after looking at his back catalogue, it's surprising to see the wide range of films he has been a part of, such as Drive and two Ridley Scott efforts; Robin Hood and Body of Lies respectively, all of which are pretty fab, particularly, Drive. Similarly, Jessica Chastain also seems to be in films that particularly appeal to me, such as Zero Dark Thirty, and most recently, Interstellar, yet the third cog in this particular wheel, director J, C. Chandor, hasn't won me over, yet, with his last effort, All Is Lost, not enthralling me in the slightest. Still, two out of three ain't bad. 

The film is set during the latter stages of 1981 New York, a time in which, statistically, crime rates reached an all time high, particularly those consisting of a rather violent ilk, and tells the story of Abel Morales, who attempts to expand his business by purchasing a new, and valuable, piece of land. In the background however, his oil trucks are repeatedly being stolen and sold on, whilst the DA, played by Selma's, David Oyelwo, is running an investigation into potential illegal activity within his empire. Within my review for Ex Machina, I stated Isaac's performance was, "top notch," and the same can be said for his performance in this film, with his portrayal of a character, who, although the title suggests otherwise, attempts to stay within the boundaries of the law despite all of the ongoing threats to him and his business, being simply brilliant.

Adding to this brilliance, is Jessica Chastain, who plays the role of Anna Morales superbly, and who, in contrast to her husband, is no stranger to violence thanks to her father's gangster background. The chemistry between the two leads is explosive, and helps develop the way in which each character changes throughout the course of the movie, particularly Abel, who transforms from an almost reluctant hero into a no-nonsense hard-man. These strong performances help keep the film going, particularly when it is at its' weakest, with the rather shallow plot taking a while to kick in, and just slightly stretching its' two-hour run-time.

Overall, A Most Violent Year, is J. C. Chandor's best film to date, helped particularly by two terrific performances from Isaac and Chastain. Although its' rather simple plot is stretched into the film's run-time, the film is an entertaining and gripping crime drama that can stand strong next to other films in the same genre. 

Overall Score: 8/10